Portrait of Grand Duke Gavriil Konstantinovich - Tamara de Lempicka
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A striking 1927 portrait by Tamara de Lempicka, depicting Grand Duke Gavriil Konstantinovich in a formal military uniform with characteristic Art Deco precision.
Tamara de Lempicka painted this portrait of Grand Duke Gavriil Konstantinovich in 1927. The work captures the subject in a formal military uniform, reflecting the artist's signature approach to portraiture during the interwar period. Lempicka, a Polish artist who moved to Paris, became known for her precise, sculptural treatment of the human form. Her style draws upon the influence of Cubism, yet she maintains a polished, smooth surface finish that aligns with the aesthetic preferences of the Art Deco era.
The Grand Duke is depicted with a stoic expression, his features rendered with sharp, clean lines. The uniform is a study in controlled detail, featuring gold braiding and tassels that contrast against the bold red fabric. Lempicka uses light to model the form of the face and the folds of the clothing, creating a sense of volume that feels almost metallic. The background remains simplified, ensuring the focus stays on the subject's presence and the texture of his attire.
This painting demonstrates the artist's ability to combine traditional portraiture with modern stylistic sensibilities. The composition is balanced, with the subject positioned centrally. The colour palette is dominated by the intense red of the uniform, offset by the muted tones of the skin and the neutral background. Lempicka's work from this period often featured members of the aristocracy and the social elite, documenting a specific class of people through a lens of geometric clarity. The portrait remains a clear example of her technical precision and her contribution to the visual culture of the 1920s.
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Care and materials
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
- Multiple sizes and framing options available
- 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
Portrait of Grand Duke Gavriil Konstantinovich - Tamara de Lempicka
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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