Double 47 - Tamara de Lempicka
Archival giclée
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Description
A striking 1927 Art Deco portrait by Tamara de Lempicka, featuring two figures rendered with sculptural precision and cool, geometric modernism.
Tamara de Lempicka, a central figure of the Art Deco movement, painted Double 47 in 1927. This work displays her characteristic approach to portraiture, which combines the precision of neoclassical form with the sharp, angular geometry of modernism. The composition features two figures, their faces rendered with a sculptural quality that suggests the influence of Renaissance masters, yet their styling is distinctly of the interwar period. The figures are depicted with bobbed hairstyles and a cool, detached expression. Lempicka uses a palette dominated by deep blues and contrasting flesh tones, creating a sense of volume and weight. The background is simplified into geometric planes, which pushes the subjects forward and emphasises their presence. The inclusion of the number 47, repeated in the upper right, adds a graphic element that aligns with the aesthetic of the era, where typography and fine art began to intersect more frequently. Lempicka was known for her ability to capture the glamour and the underlying tension of the Parisian social scene. Her technique involves smooth, almost invisible brushwork, which gives the skin a polished, metallic appearance. This method creates a sense of artificiality that is intentional, reflecting the constructed nature of identity in the 1920s. The figures do not engage with the viewer, but rather exist within their own private, enclosed space. This work is a clear example of the artist's ability to synthesise traditional portrait techniques with the machine-age sensibilities of her time. It remains a representative piece of her output during her most productive years in Paris, where she became the preferred portraitist for the elite.
Return policy
Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. EU customers have a 14-day cooling-off right. See our refunds page for full details.
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We ship worldwide, printing at the production hub nearest to your delivery address. Delivery times and costs vary by destination — you'll see the options available to you at checkout.
Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Double 47 - Tamara de Lempicka
Our Features
Designed for Lasting Impact
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Choose poster, framed print, canvas or framed canvas
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
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Artist Biography
Tamara de Lempicka
In December 1917, the Cheka arrested her husband Tadeusz Lempicki in the night, suspected of connections to the Tsar's secret police. She searched the prisons for him and reportedly secured his release by offering favours to the Swedish consul. They fled through Copenhagen and London to Paris. She initially signed her paintings Lempitzky, the masculine form of the name, to be taken more seriously. Critics praised the work, thinking a man had made it.
She moved in the lesbian and bisexual salons of 1920s Paris, a circle that included Vita Sackville-West and Colette. Her female portraits carry both the painter's gaze and the lover's. Perspective (The Two Girlfriends), shown at the 1923 Salon d'Automne, was among the earliest. Her style blended a late, polished Cubism with neoclassical form, influenced by Ingres but drenched in the glamour and geometry of Art Deco.
In 1929, she painted herself for the cover of the German fashion magazine Die Dame: Autoportrait (Tamara in a Green Bugatti). The car in the painting was a Bugatti. Her actual car was a yellow Renault.
She divorced Tadeusz in 1928 and married Baron Raoul Kuffner, an Austro-Hungarian art collector. They moved to America in 1939 to escape the war. She became a favourite of the Hollywood set. After the war, her work drifted into obscurity. The Art Deco revival brought her back: a 1972 retrospective at the Galerie du Luxembourg restored her reputation. A stage play called Tamara ran in Los Angeles for eleven years, from 1984 to 1995, the longest-running play in the city's history. Madonna became a major collector. She died in 1980.
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