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Manon (Deuxieme Tableau, 1920 #7)

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Medium: gouache on paper
Year: 1920

Image Size: 11.75 x 9.75"
Sheet Size: 11.75 x 9.75"
Framed Size: 20 x 18.25"

Signature: signed 'Erté' center right

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Manon (Deuxieme Tableau, 1920 #7) by Erté
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About the Work
About the Artist

About the Work

"Manon (Deuxième Tableau, #7)" is a gouache on paper painting created by Erté in 1920. The artwork is signed 'Erté' center right, and numbered and titled in Erté's hand verso - "Manon Deuxième tableau No 7 VIII - 1920 Pour Mme ganna Walska'. It is stamped with Erté's name and address along with the 'Composition originale' stamp verso. The image size is 11.75 x 9.75" and the artwork is framed in a custom, closed-corner, Art Deco frame. The artwork ships framed.

Erté first met the legendary beauty Ganna Walska in 1920 when she contacted him about creating designs for her nascent opera career. He created many designs over the years for her, including extravagant costumes for her anticipated 1922 Chicago Opera Company performance in "Manon" (which Walska ultimately did not perform in). This beautiful creation with floral accents and lovebirds still stuns today. Though Walska never wore it on stage, she may have had the dress realized by Redfern and displayed to guests in her home.

About the Artist

Erté was born Romain de Tirtoff in St. Petersburg, Russia on November 23rd, 1892 and was raised amidst Russia's social elite. At the age of five he created an evening gown for his mother and managed to persuade the adults to craft it, they were astounded by the results. In 1912, Romain left St. Petersburg for Paris at the age of nineteen with the aim of becoming an artist. After working with Paul " Le Magnifique" Poiret on several theatrical productions Romain, still under the pseudonym of Erte, began to work more independently. He hand-crafted original costume and fashion designs for many of the era’s most renowned actresses, including Joan Crawford, Lillian Gish, Marion Davies, Anna Pavlova, Norma Shearer, and others. His masterpieces for the stage included extravagant production designs at venues such as New York’s Radio City Music Hall, the Casino de Paris, and the Paris Opera. In 1915 he began his long professional relationship with Harper's Bazaar and created 240 covers for the esteemed magazine. For 6 months in 1916, Erté simultaneously worked with Vogue as well. As a result of his highly publicized success, Erté would later be called the father of the ‘Art Deco’ movement.

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