In 1974 the American Grove Press produced a collection of Bertrand’s drawings, nearly all of which had been previously reproduced in the two Losfeld volumes. This is the most complete collection of his work, allowing us to experience his psychedelic fantasies in their full range and context. This was the time of Timothy Leary, LSD, the Oz trial, and the musical Hair, when Bertrand-style imagery was the must-have artistic outpouring of hippydom and the alternative dropout lifestyle. There was little of the later analysis of gender and race stereotypes, so it seemed perfectly acceptable to sexualise young women with frizzy Afro hairstyles.

Emanuelle Arsan in 1972

Like the first Losfeld collection, The Drawings of Bertrand included an introduction by Emanuelle Arsan, at the time as well-known an alternative character on the artistic scene as Bertrand. Arsan (1932–2005) was the nom de plume of Marayat Rollet-Andriane, formerly Marayat Krasaesin or Bibidh, a French novelist of Thai origin, best known for the novel featuring the fictional character Emmanuelle, a woman who sets out on a voyage of sexual self-discovery.

In the long, florid introduction to the drawings, Arsan writes poetically of the many lesbian encounters imagined by Bertrand: ‘But what exactly have they come to teach us? It will surely help us to discover what it is if we attentively contemplate their breasts, more supple and resilient than any earthly flesh, their symmetrical nipples starred by infinitesimal cross-hatches and surrounded, without a single break in their botanical eyelashes, by little involucres suggestive of sensual pleasure that are better ordered and more precise than those our imperfect species is capable of.’