Calla Lillies - Tamara de Lempicka
Archival giclée
Ready to hang
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Description
A classic Art Deco still life by Tamara de Lempicka, featuring calla lilies rendered with sculptural precision and clean, geometric lines.
Tamara de Lempicka, a central figure of the Art Deco movement, applied her signature precision to this study of calla lilies. The work demonstrates her characteristic approach to form, where organic subjects are rendered with the clarity and structural rigour of industrial design. The smooth, sculptural quality of the white petals contrasts with the sharp, geometric lines of the stems and the surrounding space. Lempicka utilised a controlled palette to focus the viewer on the interplay of light and shadow. The composition avoids the soft, atmospheric qualities often associated with floral painting, opting instead for a polished, metallic finish that reflects the aesthetic values of the 1920s. The inclusion of a small, wrapped gift at the base of the vase introduces a narrative element, suggesting a domestic setting while maintaining the artist's detached, objective perspective. Her technique involves a meticulous application of paint, resulting in a surface that appears almost seamless. This approach removes the evidence of the artist's hand, creating a sense of permanence and stillness. The calla lilies, often associated with elegance and purity, are transformed here into objects of modern art, stripped of sentimentality and presented as architectural components. The background, composed of vertical planes, reinforces the sense of order and balance that defines Lempicka's work from this period. This print captures the crispness of the original oil painting, preserving the tonal transitions and the distinct, cool light that characterises the artist's early career in Paris.
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.
Calla Lillies - 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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