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Emile Bernard

France (Lille 1868 -  Paris 1941 ) Wikipedia® : Emile Bernard
BERNARD Emile La Rue Mal Famée, Bruxelles

Millon & Associés /Oct 25, 2015
800.00 - 1,000.00
1,400.00

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Variants on Artist's name :

Nemo Ludovic

Emile Henri Bernard

 

Artworks in Arcadja
582

Some works of Emile Bernard

Extracted between 582 works in the catalog of Arcadja
Emile Bernard - La Crucifixion

Emile Bernard - La Crucifixion

Original -
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Lot number: 582
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Description: Bernard, EmileOil on canvas (doubled). Signed and dated as well as with exhibition labels on stretcher frame on verso. - Decoratively framed. Occas. with slight craquelure, left margin with retouching. - Provenance: K. Noordenbos, Den Haag (with label on verso), private estate Hesse, Germany. - Exhibition: Dienst voor schone Kunsten, Gemeentemuseum S'Gravenhage, 1967. - With added copy of certificate by Jean-Jacques Luthi (1994).La Crucifixion. 1899. Öl auf Leinwand (doubliert). 106 x 70 cm. Signiert und datiert sowie verso auf dem Keilrahmen mit alten Ausstellungsetiketten. - Dekorativ gerahmt. Vereinzelt mit leichtem Craquelé, am linken Rand mit Retusche.Provenienz: K. Noordenbos, Den Haag (verso mit Aufkleber), Privatsammlung Hessen. - Ausstellungen: Dienst voor schone Kunsten, Gemeentemuseum S'Gravenhage, 1967. - Mit beiliegendem Zertifikat in Kopie von Jean-Jacques Luthi vom 18. November 1994.
Emile Bernard - Mère Et Enfant

Emile Bernard - Mère Et Enfant

Original 1898
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Lot number: 350
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Émile Bernard 1868 - 1941 MÈRE ET ENFANT Signed Emile Bernard (lower left) Oil on canvas 15 by 18 1/4 in. 38.3 by 46.3 cm Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice Authentication Madame Béatrice Recchi Altarriba has kindly confirmed the authenticity of this work. Provenance Galerie René Drouet, Paris Dr. & Mrs. James H. Lockhart, Jr., Geneseo, New York Private Collection, New York (by descent from the above by 1978) Acquired from the above Catalogue Note In 1884 Bernard began his studies in Paris at the École nationale des Beaux-Arts. He studied under the painter Fernand Cormon and soon became friends with fellow students Henri de Toulouse-Lautrec and Louis Anquetin. Expelled a year later for his debates relating to the Impressionist artists, he traveled by foot along the coast where his path crossed with Émile Schuffenecker, who in turn arranged an introduction to Paul Gauguin. Bernard also met van Gogh, and after the latter's death he would go on to organize the first French retrospective of van Gogh's work. Fascinated with the concepts of Divisionism and Pointillism as well as the aesthetic of Japanese woodblock prints, Bernard and Anquetin would together create Cloisonnism. Some years later Bernard planned on accompanying Gauguin on one of his voyages, but instead he found himself traveling on his own to Cairo where he settled in the old Arab quarter in 1893. By the middle of 1894 he married his wife, Hanenah. Hanenah's elegant arched brows and bow shaped lips feature prominently in several of the artist's works (see fig. 1) and the figure in Mére et enfant can hardly be of another woman. Hanenah and Bernard had five children together, although only two survived infancy. Years later the two split ways after Bernard fell in love with Andrée Fort, with whom he also had a child. In 1896 the family traveled to Spain where Bernard created several works with predominantly blue backgrounds similar to Mére et enfant which, it has been suggested, presage Picasso's Blue Period. This coincided with his renewed interest in Catholicism, as evidenced in the crucifix found in his self-portrait painted during this time (see fig. 2). Fig. 1 Emile Bernard, Portrait d’’’’Hanenah , 1898, oil on canvas, Private Collection Fig. 2 Emile Bernard, Autoportrait de Séville , 1897, oil on canvas, Private Collection See More See Less
Emile Bernard - Molosmes - Soir D'automne Dans Les Vallons

Emile Bernard - Molosmes - Soir D'automne Dans Les Vallons

Original 1916
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Lot number: 23
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Emile Bernard French, 1868-1941 Molosmes - Soir D'Automne Dans Les Vallons , 1916 Signed Emile Bernard Oil on paper laid down on canvas 29 5/8 x 41 3/8 inches (75.3 x 105 cm) Provenance: Private collection Sale: Pillon, Calais, Tableaux XIXe et XXe Siecles , Mar. 14, 1993, Lot 112 Private collection Literature: Jean-Jacques Luthi, Emile Bernard: Catalogue Raisonne de l'Oeuvre Peint , Paris: Editions SIDE, 1982, p. 140, no. 905, illus. Jean-Jacques Luthi and Armand Israel, Emile Bernard: Instigateur de l'Ecole de Pont-Aven, Precurseur de l'Art Moderne: Sa Vie, Son Oeuvre: Catalogue Raisonne , Paris: Editions des Catalogues Raisonnes, 2014, p. 274, no. 927, illus. This work is accompanied by a letter of authenticity from Dr. Laure Harscoet-Marie, the granddaughter of the artist, dated October 4, 1993.
Emile Bernard - La Rue Mal Famée, Bruxelles

Emile Bernard - La Rue Mal Famée, Bruxelles

Original 1927
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Lot number: 433
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Emile BERNARD (Lille 1868 - Paris 1941) La Rue Mal famée, Bruxelles 1927. Plume et lavis d'encre sépia sur papier 45 x 31,5 cm Signé en bas à droite "Emile Bernard" annoté, localisé et daté en bas à gauche "Bruxelles 1927 La rue mal famée" Porte au dos du carton de montage deux anciennes étiquettes mentionant "Galerie Charpentier Emile Bernard 1868 - 1941; Automne 1943 et E Bernard Bruxelles 128 Altarriba" The infamous street, Brussels, 1927 Sepia pen and wash drawing on paper 45 x 31.5 cm Signed at the bottom right "Emile Bernard”, noted, located and dated at the bottom left "Bruxelles 1927 La rue mal famée” It bears two labels at the back
Emile Bernard - La Seine À Asnières

Emile Bernard - La Seine À Asnières

Original 1887
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Lot number: 18
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Émile Bernard 1868 - 1941 LA SEINE À ASNIÈRES Signed with the initials E.B. and dated 87 (lower left) Oil on canvas 18 1/4 by 22 in. 46.4 by 56 cm Painted in 1887. Provenance Ambroise Vollard, Paris M. Knoedler & Co., New York Acquired from the above by the parents of the present owner in the 1950s Thence by descent Literature Jean-Jacques Luthi, Emile Bernard, Catalogue raisonné de l'œuvre peint, Paris, 1982, no. 44, illustrated p. 10
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