Excerpt taken from Casas e Gente (Houses and People), no. 33, 1989: "Tamara had been coming to Cuernavaca for years before she finally, in 1978, bought Tres Bambus, a beautiful home built by the architect Ignacio Landa for Barbara Hutton." The article is illustrated by numerous photos, including views of the studio where Lempicka's last unfinished replicas are to be seen.

She retired to Cuernavaca in Mexico.

De Lempicka died at Tres Bambùs, her house in Cuernavaca. At her request, her ashes were scattered at the top of the volcano Popocatépelt.

Victor Contreras is a sculptor, who lives in Cuernavaca, Mexico. That is where he met Lempicka, who - two years before her death - had bought the superb property next to his. A deep intellectual sympathy linked the two artists. The difficult task of executing Lempicka's last wish fell to Contreras: to scatter Lempicka's ashes over the Popcatépetl volcano. Keeping to his word, the sculptor endured a turbulent helicopter ride to carry out his dangerous task. A Victor M. Contreras Foundation has taken charge of the collection of paintings and drawings left by the Lempicka.

The retrospective mounted at the Galerie du Luxembourg in 1972 - the object of Lempicka's drawn out hesitations - provided occasion for a new, and, above all younger, generation to rediscover and admire Lempicka's oeuvre from the thirties. The extent of this show's success came as a surprise, and rewarded the artist with the feeling that her work was once again appreciated on the art market. Indeed, it became very much in demand, and many art lovers pressed her for more famous-titled works - such as "My Portrait" (B.115), "La belle Rafaëla" (B.87) - which would once again bear her renowned signature. Yielding to their pressure, she accepted to produce replicas of her most popular paintings. Unfortunately, she no longer had the same sure hand as forty or fifty years earlier, nor the same color perception that had lent a mauve cast to the originals: the copies she now created could in no way be taken for those originals. Meanwhile, for her own sake, she could be found - alone and in the silence of her studio - painting version after version of her venerated St. Anthony.