J Michael Bond Paintings-2590 (2).jpg
IntheCompanyofPaintings-5.jpg
IntheCompanyofPaintings-4.jpg
The Rose (after erte) unframed.jpg
J Michael Bond Paintings-2590 (2).jpg
IntheCompanyofPaintings-5.jpg
IntheCompanyofPaintings-4.jpg
The Rose (after erte) unframed.jpg

The Rose (After Erté), 2025

$800.00
Acquired

A stylized female figure in a blue gown, with fur stole and headband, holds a rose inside a circular black field set within a gold frame. The flat, ornamental treatment nods to Erté’s Art Deco design language—emphasizing silhouette, costume, and poise over depth. Within the exhibition’s staging, this work functions as a level 1 piece: self-contained and not “in dialogue” with viewers (level 2) or other paintings (level 3). This, among other framed pieces, is a self-contained anchor: it doesn’t “perform” for viewers, helping establish the show’s premise that exhibition visitors complete the scene and become part of the environment. The figure in the work was based on Jennifer Ball Burwell, whose likeness informed the work.

A stylized female figure in a blue gown, with fur stole and headband, holds a rose inside a circular black field set within a gold frame. The flat, ornamental treatment nods to Erté’s Art Deco design language—emphasizing silhouette, costume, and poise over depth. Within the exhibition’s staging, this work functions as a level 1 piece: self-contained and not “in dialogue” with viewers (level 2) or other paintings (level 3). This, among other framed pieces, is a self-contained anchor: it doesn’t “perform” for viewers, helping establish the show’s premise that exhibition visitors complete the scene and become part of the environment. The figure in the work was based on Jennifer Ball Burwell, whose likeness informed the work.

This work was part of an immersive exhibition of new works in October, 2025, titled In the Company of Paintings.

Exhibition Description: 

The rose, the fur, the gown: all sealed within the circle of gold and black. If she could speak, what would she say? But a study after Erté doesn’t see you, doesn’t comment. It cannot interact.

To her left, though, stands the butler—and he is no painting. He’s a presence in the room, practicing the art of ignoring you and everyone else. His silence is as deliberate as her poise. Elsewhere, others lean in, glance over, catch your eye.

That’s when the floor tilts. You realize everyone here is practicing some form of art—and so are you. It feels like stepping into another dimension, where roles swap without warning. Some art breathes beside you, some passes judgment, some trades secrets, some looks straight into you. The room is full of company, and the moment you crossed the threshold, you joined it.