ÉMILE BERNARD | Chemin de Bretagne avec gardien de vache

Private Collection, New York
America-Israel Cultural Foundation, Inc., New York (a gift from the above and sold: Parke-Bernet Galleries, Inc., New York, May 16, 1962, lot 93)
Hammer Galleries, New York (acquired at the above sale)
Private Collection, Geneseo, New York
Acquired from the above circa 1980s

This work is in excellent condition. canvas has been lined and the edges have been reinforced with tape. The surface is slightly dirty overall. A few pindot accretions on the surface. Under UV light: there are some strokes of inpainting to the taped part of the lower right corner but not within the composition itself.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Dating from the most important period of Bernard's output, the present work has not been seen at auction for over half a century. In 1886, Bernard set off on a voyage à pied along the coast of Brittany. As far back as the 1860s, this remote region of northwestern France had held an almost mystical fascination for avant-garde artists. Its raw and dramatic coastline was a source of endless inspiration for Impressionists like Monet and the distinctively religious and almost medieval culture of its people a draw for Post-Impressionists who sought a reprieve from the French capital. When he arrived in Pont-Aven for the first time in the summer of 1886, he was introduced to Paul Gauguin, a fateful meeting that led to a tumultuous partnership that would impact the trajectory of modern art. Bernard’s affinity with Paul Gauguin in his Breton works and their subsequent falling out was perhaps one of the more public artistic relationships at this time, nonetheless the quality of Bernard's work clearly benefited from his collaboration with the master colorist (see fig. 1). 

Béatrice Recchi Altabarra has kindly confirmed the authenticity of this work.