the Vorticist manifesto published in the first issue of their literary magazine, Blast in 1914, and also contributed illustrations and a written piece, Monologue, to the second issue in 1915. She shared the group's depiction of the dynamics of the machine and their desire to challenge the public's conservative views on art but little of her work from this period survives. The four works she contributed to the Vorticist exhibition in 1915 are now thought to be lost, as is the original of The Engine which was reproduced in an edition of Blast. Both the Victoria and Albert Museum and the Tate hold one example each of Dismorr's work from this period and the collector John Quinn displayed several examples in New York in December 1916. Dismorr exhibited with the Vorticists again in New York in January 1917 at the Penguin Club. Apart from Dismorr, the only other female member of the Vorticist group was Helen Saunders. William Roberts's painting The Vorticists at the Restaurant de la Tour Eiffel, Spring 1915, from 1961–62, shows the seven males dominating the foreground and the two women behind with Dismorr in the doorway being the furthest away. According to Kate Lechmere, the financial backer of Blast and the Rebel Art Centre, Dismorr had a difficult relationship with Wyndham Lewis, and was, along with Helen Saunders, one of the "little lapdogs who wanted to be Lewis’s slaves and do everything for him". Lechmere claimed that on one occasion Dismorr stripped naked in Oxford Street to demonstrate she would do anything Lewis asked of her. Dismorr and Wyndham Lewis fell out in 1925 when she refused to purchase some drawings from him when he was short of money but they appeared to have resumed a cordial friendship in 1928 when she did lend him some funds. Robin Ody, a close friend and the executor of Dismorr's will (in which all the beneficiaries were women), summed her up as "the Edwardian phenomenon of the new woman". Ody considered that she did not have a physical relationship with Lewis. Lechmere's relationship with Lewis ended bitterly, and she carried out a legal struggle to recover money owed her by him. Lechmere had provided all the funds to pay for the Rebel Art Centre, where the Vorticists first met in 1914—a fact which Lewis had to admit to Christopher Nevinson who had not wanted "any of these damned women"