Bertrand de Vismes

"Vietnamese Mark" figurative drawing and indian ink on paper

2020

"Curves" figuratif nude oil on linen canvas 92x65cm 2009 The flesh full of pleasure…

"Balls game" figurative painting on wood panel 80x80cm Return of an exhibition in Beijing… An interpretation of the sensations felt…

"Fascination" abstract acrylic paint on bristol paper linen panel 54x81cm 2014 The title is enough on its own… tonic color chords.

"Chronos" figuratif oil paint on linen panel 100x65cm 2006 Chronos' metaphor has always impressed Emmanuelle Vroelant with his violence and sends her...

"Blue Scarf" figuratif acrylic on linen panel 60x173cm 1986 For her exhibition in Abdijan at the invitation of Professor Dadié, Emmanuelle Vroelant came there the previous year to ...

"Sorrow" figuratif nude oil on linen canvas 82x60cm 2009 The sorrow leads the withdrawal on oneself, I staged the scarlet dress and the hair to accentu...

Caption: "He proposed this morning right after the alarm clock went off." From the Estate of Charles Martignette Signed lower center unframed

Barbara Shermund (1899-1978). Showgirls Cartoon for Life Magazine, 1934. Ink, watercolor and gouache on heavy illustration paper, matting window measures 16.5 x 13 inches; sheet measures 19 x 15 inches; Matting panel measures 20 x 23 inches. Signed lower right. Very good condition with discoloration and toning in margins. Unframed. Provenance: Ethel Maud Mott Herman, artist (1883-1984), West Orange NJ. For two decades, she drew almost 600 cartoons for The New Yorker with female characters that commented on life with wit, intelligence and irony. In the mid-1920s, Harold Ross, the founder of a new magazine called The New Yorker, was looking for cartoonists who could create sardonic, highbrow illustrations accompanied by witty captions that would function as social critiques. He found that talent in Barbara Shermund. For about two decades, until the 1940s, Shermund helped Ross and his first art editor, Rea Irvin, realize their vision by contributing almost 600 cartoons and sassy captions with a fresh, feminist voice. Her cartoons commented on life with wit, intelligence and irony, using female characters who critiqued the patriarchy and celebrated speakeasies, cafes, spunky women and leisure. They spoke directly to flapper women of the era who defied convention with a new sense of political, social and economic independence. “Shermund’s women spoke their minds about sex, marriage and society; smoked cigarettes and drank; and poked fun at everything in an era when it was not common to see young women doing so,” Caitlin A. McGurk wrote in 2020 for the Art Students League. In one Shermund cartoon, published in The New Yorker in 1928, two forlorn women sit and chat on couches. “Yeah,” one says, “I guess the best thing to do is to just get married and forget about love.” “While for many, the idea of a New Yorker cartoon conjures a highbrow, dry non sequitur — often more alienating than familiar — Shermund’s cartoons are the antithesis,” wrote McGurk, who is an associate curator and assistant professor at Ohio State University’s Billy Ireland Cartoon Library & Museum. “They are about human nature, relationships, youth and age.” (McGurk is writing a book about Shermund. And yet by the 1940s and ’50s, as America’s postwar focus shifted to domestic life, Shermund’s feminist voice and cool critique of society fell out of vogue. Her last cartoon appeared in The New Yorker in 1944, and much of her life and career after that remains unclear. No major newspaper wrote about her death in 1978 — The New York Times was on strike then, along with The Daily News and The New York Post — and her ashes sat in a New Jersey funeral home...

Signed lower left: Seymour Ball Inscribed upper left: To Morris E Weiss with best wishes Seymour Ball" Matted not framed

The paper in some of these photos looks overly textured due to the sharpness of the high-res digital camera. In person, with the human eye, the paper looks reasonably smooth with out blemishes. For this fashion illustration, Georges Lepape paints a stunning abstract pattern for the subject dress that is repeated in her hair. The work represents an early use of metallic paint, with silver metallic in the dress and bronze metallic in the blouse. Lepape's highly detailed drawing becomes more evident the closer you look. It's quite amazing how deftly he rendered facial feature on such a small scale. "Eva" 1918 Gouache, watercolor, and ink on paper Signed and dated, lower right: '1918' Inscribed, verso: "Costume for L'enfantement du mort, (miracle en pourpre, et or.). Devised by Marcel L'Herbier and performed at the Théatre Edouard VII and the Comédie des Champs-Elysées, 1919" Provenance: Ex-collection Lucien...

"Translucent Purple Bubbles" is a hand-painted acrylic painting on high-quality 300g paper by artist Ryan Rivadeneyra. These painting, influenced by modernist artists of the 50's, 6...

Unique, one of a kind original gouache on paper from Harper's Bazar series. Hand signed lower front by Erte; titled top front with studio catalog number on verso. Sheet size 10.7...