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Joseph Bernard

(1864 -  1933 ) Wikipedia® : Joseph Bernard
BERNARD Joseph Femme A L'enfant (woman With A Child)

Sotheby's
Nov 11, 2008
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Along with Joseph Bernard, our clients also searched for the following authors:
Albert Muller, Ida Kerkovius, Pablo Picasso, Man Ray, Fritz Schaefler, Max Klinger, Otto Mueller
Artworks in Arcadja
78

Some works of Joseph Bernard

Extracted between 78 works in the catalog of Arcadja
Joseph Bernard - Race Against Rain

Joseph Bernard - Race Against Rain

Original 1940
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Net Price
Lot number: 41
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Description:
Description: Bernard Joseph Steffen (American, 1907-1980) Race Against Rain, c. 1940. Signed "Bernard Steffen" in pencil l.r., titled in pencil l.l. Color screenprint on paper, image size 8 7/8 x 13 in. (22.4 x 33.0 cm), framed (unglazed). Condition: Subtle toning visible to margins, gentle surface rubs to image, not examined out of frame.
Joseph Bernard - Femme À L'enfant

Joseph Bernard - Femme À L'enfant

Original
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Net Price
Lot number: 9
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Description:
Joseph Bernard (French, 1866-1931)

Femme à l'enfant

signed, numbered and monogrammed with the Coubertin foundry stamp 'J. Bernard/8/8 FC'

bronze with brown patina

179cm. (70 1/2in.) (height) (excluding base)

Conceived in 1914/1925 and cast in 1987 by the Foundry Coubertin in an edition of 12

PROVENANCE Purchased from the artist's son 1990. EXHIBITED Somerset, The Bruton Gallery, Two Sculptors - Auguste Rodin and Joseph Bernard , 1991 (illustrated pp.74-75). Yorkshire, Yorkshire Sculpture Park, Rodin and French Sculpture , 1995. London, Canada Square, Canary Wharf, The Quiet Revolution , 2000. LITERATURE Joseph Bernard , exh. cat, Musée Rodin, Paris, 1973, no.82 (another version illustrated). R. Jullian, L. Stoenesco & P. Grémont, Catalogue raisonné des sculptures et essais de Jean Bernard , Paris, 1989, no.238, pp.328-329 (another version illustrated p.328). This work is sold with a certificate of authenticity from the artist's son, Jean Bernard, dated Boulogne, le 24 avril 1991 . Along with Jeunne fille à la cruche , Bernard's Femme à l'enfant is one of his most famous sculptures. Conceived at the height of his career in 1914, its simple and monumental grace shows how the artist had succeeded in breaking away from the realistic style of his contemporaries and from the influence of Auguste Rodin, which is so often seen in his dramatic themes and figures' poses. An independent figure, Bernard had only occasional contact with Rodin and differed from him greatly in his method of modelling directly in plaster rather than clay. The standard process used by sculptors at the time involved making a model in clay, then a mould in plaster, before using this plaster model to carve the final work by mise-aux-points . This system was used on large scale in Rodin's studio, but it necessarily distanced the artist from the actual stone or marble. Bernard omitted this first clay stage for his bronze works, modelling in plaster instead. This had the disadvantage of drying quickly but it could be polished and carved like stone, allowing him to create smoother, more stylised forms. For his stone or marble pieces, Bernard would carve directly, missing out the preliminary stages altogether. Known as taille direct , this method reminds us of Bernard's family background in stone hewing. Femme à l'enfant presents the classic motif of mother and child in a gentle dance of perfect harmony. The mother's arms appear elongated in a Mannerist style and her feet are delicately pointed. The child lifts his opposite foot in an enthusiastic parody of his mother, while she gently clasps his hands. Both figures lean slightly backwards to balance the composition and their features and details are pared down to simple, graceful forms: 'I would like to move more and more towards an art which would be the most intense expression of Beauty in its most characteristic lines; in sculpture you must make abstraction out of detail, not that you must be unaware of it, but have sufficiently experienced it to subjugate it to lines which are absolutely dominant, as a symphony which is the sum of the parts expressing the whole range of sensibilities.' (The artist quoted in Two Sculptors - Auguste Rodin and Joseph Bernard , exh. cat, Bruton Gallery, Somerset, 1991, p.65). The original full-size plaster for Femme à l'enfant formed the centrepiece of the 1914 exhibition of Bernard's works at Galerie Manzi-Joyant. The state commissioned a bronze cast of the work in 1925, which was displayed along the façade of the Musée de Luxembourg and is now exhibited at the Musée d'Orsay. This posthumous bronze was cast by the Coubertin foundry.
Joseph Bernard - Jeune Fille À La Cruche

Joseph Bernard - Jeune Fille À La Cruche

Original 1912
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Lot number: 57
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Description:
JOSEPH BERNARD (1864-1933)
Jeune fille à la cruche
signé et daté 'J. Bernard 1912' (à l'arrière de la base), avec lecachet du fondeur et numéroté 'CIRE PERDUE A.A.HEBRARD 3' (sur lecôté à l'arrière de la base)
bronze à patine brune
Hauteur: 54 cm. (21 3/8 in.)
Conçu en 1912; cet exemplaire en bronze fondu avant 1937
Post-Lot Text
'YOUNG GIRL WITH A JUG'; SIGNED AND DATED ON THE BACK OF THEBASE, WITH THE FOUNDRY STAMP AND NUMBERED ON THE SIDE OF THE BACKOF THE BASE; BRONZE WITH BROWN PATINA; CONCEIVED IN 1912; THISBRONZE CAST HEBRARD BEFORE 1937.
Joseph Bernard - Femme A L'enfant (woman With A Child)

Joseph Bernard - Femme A L'enfant (woman With A Child)

Original
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Lot number: 110
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Description:
Joseph Bernard began his studies in Lyons and received ascholarship in 1886 which enabled him to travel to Paris to attendthe Ecole des Beaux-Arts. Whilst reference is often made to AugusteRodin's influence, Bernard never worked in his studio, preferringto work nights at a printing press to finance the early lean yearsof his career. His fierce independence is reflected in his oeuvre,as he experimented with unconventional techniques such as carvingin taille directe and modelling directly in plaster ratherthan clay. Towards the end of his career Bernard's own influence onFrench sculpture had become immense. As one critic of the 1927Salon d'Automne wrote: 'if all sculptures influenced by Bernardwere removed from the galleries, what would there be left?'As for his famous Femme à la cruche
, all of the studies forFemme à l'enfant were made in plaster. The full-sizeoriginal plaster version formed the centrepiece of the Manzi andJoyant's exhibition of Bernard's work in 1914. However, the plasterwas not shown at the Salon d'Automne until 1925, when the statecommissioned a bronze cast. A limited early edition of thefull-size model was edited by Rudier. The state commission wasoriginally displayed along the façade of the Musée de Luxembourgtogether with other large-scale sculptures including a cast ofFemme à la cruche
. The two sculptures are now preserved atthe Musée d'Orsay. Another Rudier cast is in the collection of theMuseu Biblioteca Condes de Castro Guimarães, Portugal.As with all posthumous sculptures by Bernard the present finebronze was cast by the Coubertin foundry. The lot is sold togetherwith a certificate of authentication from Jean Bernard.RELATED LITERATUREGrémont Gervaise, pp. 9-11
Joseph Bernard - A Torso Of Victory

Joseph Bernard - A Torso Of Victory

Original
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Lot number: 120
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Description:
signed:
J. Bernard
stamped
CIRE PERDUE AA
HEBRARD
and inscribed
(3)

bronze, dark brown patina on red and green veined marble
base

CATALOGUE NOTE
Despite the early influence of Rodin, Bernard never worked in
his studio, preferring to work nights at a printing press to
finance the lean early years of his career rather than work for
another sculptor. The present figure is a version of Bernard's
Victory, which he worked on from 1928-1931. Like Rodin
Bernard would rework and fragment his models. The full-length
winged figure with her right arm outstretched has been distilled to
focus on the torso and head, with its open mouthed cry of
victory. It was in this late period of Bernard's career that his impact was
most keenly felt. As one critic of the 1927 Salon d'Automne wrote:
'if all sculptures influenced by Bernard were removed from the
galleries, what would there be left?' RELATED LITERATURE Bruton Gallery, p. 85; Rinuy, fig. 30, p. 42
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