Oil on canvas

Self-Portrait: The Painter in hospital.

The Last Supper.

Lenkiewicz never completed his self-portrait - as Judas Iscariot - for this painting. It is one of a number of late works exploring religious iconography and was inspired by a perfromance of the Harrison Birtwhistle opera The Last Supper.

Self-Portrait with Hourglass.

One of a number of late works on the theme of Time, which the artist intended to explore in a Project of that name.

Self-Portrait holding Phillippe Aries’ ‘In The Hour of Our Death’.

Here, the artist is holding one of the influential texts which inspired his 1982 Project on the theme of Death and his essay on the contemporary "death industry" The Changing Pattern of Dying (1981). The picture relates to a number of late works on the theme of Time, and the book's title - In The Hour of Our Death - suggest this painting is a memento mori.

Study of Monica.

Megan and Isaac on the bed.

Diogenes at Night in Studio Window.

This painting was probably undertaken during the preliminary phase of what would eventually become the Gossip on The Barbican Project (1980).

Portrait of Jeny Lelya Bremer.

Inscribed: An allegory of Folly”. Quenten Massys c. 1510-20.

‘Mouse’ with Wool – Interior.

An early watercolour sketch of this painting includes Lenkiewicz’s design notes. These explain the method of construction of the perspective and use of the Golden Section (a mathematical ratio said to give aesthetically pleasing and harmonious qualities to pictures and architecture) in the painting and show that Lenkiewicz had meant to place the three chairs in the picture in an unbroken line, a reference to Marcel Duchamp’s The Bride Stripped Bare by Her Bachelors, Even (1923).

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