In these final Sapphic works, which were painted in 1895, we notice the definite separation of the women, defining Toulouse-Lautrec’s fears of the bond between them. By this time Lautrec had been painting fewer lesbian works and began to move on to caricatured lithographs and circus scenes. 
Initially he was intrigued by the relationships of the women but appears to have felt a conservative pull due to his aristocratic influence and the damage done by his dear Uncle Charles. In the first of these final works, Le Sofa, the embrace of the women is totally abandoned. One of the women is propped up by a bent arm while the other is lying on her back on the sofa with an arm dangling at her side. They are not embracing each other. There is noticeable empty space between the two women. An invisible barrier appears to exist in this gap. Again, as with the previous sketch The Two Girlfriends, a viewer cannot tell if these women are lesbians. The relationship between the two women does not appear to be sexual but rather more friendly and conversational. The woman who is reclining appears uncomfortable. She is leaning further back into the divan, attempting to further distance herself from the woman above. In a similar manner, Toulouse-Lautrec is distancing himself away from these women, thus being less acknowledging of the lesbians. The embrace in his artwork has certainly been effaced.
The lack of embrace is manifest in the title of the final painting, Abandon. The women are in similar positions as in the previous two paintings, but we now see the back of the propped-up woman, and the reclining woman’s arm is placed across her forehead. 
They are not embracing each other, and the position of the arm on the forehead almost seems to give a signal for the hovering woman above to stay away. Toulouse-Lautrec is blocking our view of what the women are doing with each other as the women’s back is the object of obstruction. He does not allow us to enter the real world of these women. Any notions of embrace are abandoned. The painting is more conservative than the others and appears more as if the women are just engaging in conversation rather than in sexual activities. Still, Toulouse-Lautrec did not dare to exhibit these paintings even though they were less provocative. Regarding Abandon O’Connor states, “The realism of the approach used by Lautrec here would have made a scandal had the painting been exhibited.” (O’Connor 74) Toulouse-Lautrec did not feel that he could take the risk of displaying scandalous material which he himself in the end did not fully accept. Toulouse-Lautrec, the artist known for his laissez-faire attitude, was finally abandoning his furia with the lesbians and was unable to fully accept the existence of their relationship.