The subject of this masterful portrait is Hélène Franck, the daughter of François Franck, a prominent art dealer and influential figure in the Antwerp art scene. According to the memoirs of Youki, Foujita’s companion at the time, Hélène visited the artist’s studio in early 1924 with her mother. Deeply aware of her father’s admiration for Foujita’s work, she sought to commission a portrait of herself to present to him as a birthday gift. Though she could offer only a modest sum, Foujita was moved by her youthful sincerity that he accepted the request. This gesture of goodwill by Foujita deeply impressed François Franck, who later visited the studio to provide double the original fee, marking the beginning of a profound patron-artist relationship that would endure for years.

　The composition is dominated by a striking gown of vibrant green, white, and black—a cutting-edge creation by the then-emerging couturière Jeanne Lanvin. However, beneath this surface of high-fashion elegance lies a remarkable secret. In her later years, Hélène confided to her son that the small round pochette she clutched in her left hand concealed a loaded pistol. Wary of rumors regarding Foujita’s reputation as a seducer, she prepared to safeguard herself. This internal resolve and the palpable tension of the sitting are immortalized in the work’s atmosphere, captured through the artist's characteristically sharp, meticulous line work that defines every detail of her presence.
Painted in 1924, this work represents the pinnacle of Foujita’s Parisian period. It was during this era that he established his renowned “le grand fond blanc” (milky white ground) technique—a sophisticated method involving a luminous, opalescent base that earned him widespread critical acclaim as a leading figure of the École de Paris. The interior setting reflects Foujita’s passion for antiquities; an engraving of the Gardens of Versailles, a ceramic decorative plate, and bedding adorned with 18th-century Toile de Jouy patterns—all sourced from Parisian flea markets—provide a nostalgic backdrop. This sophisticated juxtaposition of historical decor with the avant-garde modernity of the Lanvin dress offered contemporary viewers a startlingly fresh aesthetic experience.

　Upon its debut under the title Portrait d'Hélène Franck at the Contemporary Art Exhibition in Antwerp in May 1924, the critic Georges Marlier lauded the artist for transposing the charm of antique fashion engravings into the realm of high art (Sélection: Chronique de la vie artistique et littéraire, 3 année, No. 8, Antwerp, June 1924 "Sélection: Chronique de la vie artistique et littéraire" 3 année, n°8, Antwerp, June 1924 ).
After François Franck passed away, much of his collection was donated to the Royal Museum of Fine Arts Antwerp, this portrait remained in Hélène’s private possession as a cherished memento of her father.

　Beginning with his meteoric success in 1920s Paris, Foujita’s œuvre has undergone a re-evaluation within the 21st-century international art market, garnering renewed and intense global attention in recent years. This upward trajectory is exemplified by the 2018 sale of La fête d’anniversaire for a record-breaking £7.1 million at Bonhams London. As interest in his masterpieces continues to intensify, this portrait stands as a definitive testament to the artist’s technical brilliance and his unique position in the history of modern art.

Bibliography :
Yoko Hayashi, Tsuguharu Foujita: Opening the Works — Travels, Handiwork, Japan The University of Nagoya Press, 2008
LEONARD FOUJITA ART BRIDGING THE EAST AND THE WEST, exhibition catalogue, The Chunichi Shimbun, 2016Bibliography :
"Tsuguharu Foujita: Opening the Works — Travels, Handiwork, Japan" The University of Nagoya Press, 2008
"LEONARD FOUJITA ART BRIDGING THE EAST AND THE WEST" The Chunichi Shimbun, 2016




Lot.043 Léonard Tsuguharu FOUJITA
Portrait d'Hélène Franck
Oil on canvas
144.5 × 114.0 cm (56⅞ × 44⅞ in.)
JPY 200,000,000 - 400,000,000
USD 1,282,100 - 2,564,100

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