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Emile Bernard

France (Lille 1868 -  Paris 1941 ) Wikipedia® : Emile Bernard
BERNARD Emile Emile

Christie's /Oct 22, 2016
134,998.18 - 188,997.45
244,440.00

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Variants on Artist's name :

Nemo Ludovic

Emile Henri Bernard

 

Artworks in Arcadja
661

Some works of Emile Bernard

Extracted between 661 works in the catalog of Arcadja
Emile Bernard - Femme Assise Sur Un Canapé Rose

Emile Bernard - Femme Assise Sur Un Canapé Rose

Original 1887
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Lot number: 25
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Description:
Émile Bernard FEMME ASSISE SUR UN CANAPÉ ROSE 1868 - 1941 Oil on canvas 12 1/4 by 15 3/4 in. 31 by 39.9 cm Painted circa 1887. Lucrezia Argyropoulos Recchi has kindly confirmed the authenticity of this work. Gabriel-Albert Aurier, Paris (acquired before 1892) Private Collection, France (by descent from the above) Acquired from the above by the present owner Exhibited Mannheim, Städtische Kunsthalle Mannheim & Amsterdam, Van Gogh Museum, Émile Bernard, 1868-1941, A Pioneer of Modern Art, 1990, no. 40 Literature Jean-Jacques Luthi & Armand Israël, Emile Bernard—sa vie, son oeuvre, catalogue raisonné, Paris, 2014, no. 82, illustrated in color p. 149 Painted circa 1887, Femme assise sur un canapé rose is a striking composition from the artist's early oeuvre. Bernard's most notable compositions date from his early career when he was friends with the leading members of the late nineteenth-century art world including Vincent van Gogh, Paul Gauguin and Eugène Boch. The present work was painted when he was living in the Pont-Aven, just a year after he first met Gauguin. The present work is distinguished by important early provenance. The first owner of Femme assise sur un canapé rose was Gabriel-Albert Aurier (1865-1892), the French poet, art critic and artist. An artist in his own right, Aurier was also a close friend and supporter of artists including Vincent van Gogh, Paul Gauguin, Pierre Bonnard and Émile Bernard. Due to his close friendship with these artists, Aurier amassed a considerable collection of paintings most notable those by van Gogh which were acquired upon his death by Helene Kröller-Müller and later donated as the founding collection of the Kröller-Müller Museum, Otterlo. While most of Aurier\’\’\’\’s collection of works by van Gogh now reside in the Kröller-Müller Museum in The Netherlands, many works by other artists, including Femme assise sur un canapé rose remained with his estate for nearly 125 years.
Emile Bernard - Illustration For Les Cantilènes

Emile Bernard - Illustration For Les Cantilènes

Original
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Lot number: 1227
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Émile Bernard (French, 1868-1941) Two Framed Works on Paper: Illustration for Les Cantilènes: Va tuer mon mari (Le Raffian) and La Vieille et Femme Nue. Cantilènes stamped with the artist's initials l.r., signed or inscribed "Emile Bernard" in pencil on the supporting sheet, zincograph with hand coloring, 13 x 7 7/8 in.; Vieille signed "Emile Bernard" l.l., sepia, sight size 12 x 8 in. Condition: Cantilènes with small repair to l.l. edge, Vieille with tears with cellophane tape staining, mounting stains, rippling, not examined out of frames. N.B. The book in which the zincograph was published is Jean Moréas, Les Cantilènes, 1883-1886 (Paris: Bibliothèque artistique & littéraire, 1897)
Emile Bernard - Les Cantilènes: Va Tuer Mon Mari

Emile Bernard - Les Cantilènes: Va Tuer Mon Mari

Original
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Lot number: 367
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Sale 2429 Lot 367 ÉMILE BERNARD Les Cantilènes: Va tuer mon mari. Zincograph with hand coloring in watercolor, 1892. 330x220 mm; 13x7 7/8 inches, full margins. With the artist's initials ink stamp, lower right recto. A very good impression with significant hand coloring. Bernard (1868-1941) met Gauguin and Van Gogh in Paris in 1886/1887, and he and Gauguin worked closely together in Port-Aven in 1888, the year before Gauguin transferred to Arles to begin painting with Van Gogh. Morane 34
Emile Bernard - Emile

Emile Bernard - Emile

Original 1966
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Lot number: 220
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Bernard Buffet (1928-1999) Emile signed 'Bernard Buffet' (lower left), signed and numbered 'Bernard Buffet 31' (lower right) and inscribed 'XX' (upper left) wax crayon, watercolor, brush and India ink and pencil on paper 65.1 x 49.6 cm. (25 5/8 x 19 1/2 in.) Executed in 1966 This work is recorded in the Maurice Garnier Archives. In the present work, there is a tension between the clown's colorful make-up and his despondent expression. Whilst the attire he adopts during his performance projects an impression of happiness, joy and exuberance, behind this façade the character is clearly enveloped by feelings of despair. Underneath the thick layers of pan-stick and eccentric accessories, the man behind this character, his sorrows and his hardships, remains hidden from public view. This concept has been taken up by a number of contemporary artists in recent years, most notably Zeng Fanzhi, in his celebrated Mask series. Here, the Chinese artist explores the conflict between superficially composed appearances and true identity in the modern world, as he painted numerous types of people wearing blank, expressionless masks that conceal the faces and emotions of the figure portrayed. The present lot depicts the clown Emile who was celebrated in his day, and this depiction of him would form the basis of a lithographic print in 1968. Bernard Buffet enjoyed a remarkable rise to fame during the 1940s and 50s, quickly gaining an international reputation that would soon rival that of his contemporary, Pablo Picasso. Born in Paris, he enrolled at the city’’’’’’’’s École Nationale Superieure des Beaux Arts at the age of just fifteen, where his unique artistic talents were soon recognized by his teachers. In the years following the cessation of the Second World War, he became known as one of the most exciting figurative painters in France, a reputation enthusiastically promoted by the writer and art critic Pierre Descargues, who became one of the young artist’’’’’’’’s earliest and most ardent supporters. On the occasion of his first solo-exhibition in 1947, the Musée National d’’’’’’’’Art Moderne bought one of Buffet’’’’’’’’s still life-paintings for its collection, and the following year he was awarded the prestigious Prix de la Critique at the age of just twenty. Buffet’’’’’’’’s distinctive style, characterized by stark, angular black outlines, stylized figures and areas of flat color, made him a unique artistic voice in Post- War France, and earned him a place among the elite artistic personalities of the day. This reputation was cemented in 1955 by the art review Connaissance des Arts, when it decreed him the greatest post-war artist in France. Beginning in 1955, the artist undertook an extensive exploration of the theme of the travelling circus, painting melancholy portraits of clowns, trapeze artists, animal performers and acrobats as they entertained an invisible audience. In these paintings, the mournful expressions of the characters clash with the exaggerated makeup and flamboyant costumes they wore, projecting a contemplative atmosphere that belied the traditional view of the circus as a gleeful, jubilant form of entertainment. Viewed in the context of Post-War Europe, these figures were seen as symbolic reflections of the internal suffering and angst hidden by so many people following the conflict, as they attempted to continue with normal life in the wake of such tragedy.
Emile Bernard - La Sicilienne Au Bouquet De Fleurs

Emile Bernard - La Sicilienne Au Bouquet De Fleurs

Original 1922
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Lot number: 17
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Lot 17: Émile Bernard, La Sicilienne au Bouquet de Fleurs, 1922 Description: Oil on paper, laid on cardboard Italy/France, 1922 Émile Henri Bernard (1868-1941) – French painter, graphic artist and art theorist; co-founder of the school of Pont-Aven Signed and indistinctly dated ‘Émile Bernard 19 ..’’’’’’’’ lower left Most likely inscribed by the artist ‘Émile Bernard’’’’’’’’ with address in Paris on the reverse Catalogue raisonné: Luthi 1056
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