Eugene Berman Collage in Original Frame

This Mughal miniature was painted at one of the princely courts of India. It depicts a raven-haired princess in a gold-trimmed saffron-colored silk sari. Under a glowering evening sky she dawdles on a white marble terrace, with a pet fawn on a leash, before a landscape dotted with buildings nestled amongst trees beyond a river. Her hair, falling loosely about her shoulders, rather than carefully dressed on her head, indicates that she is a maiden. The overall mood is one of expectancy. Perhaps walking a pet and catching an evening breeze is a pretext to escape palace scrutiny for a lovers’ assignation. In Mughal India tender sentiments were a bridge to the erotic – and if this seems contradictory, so too is the balance of realism and caricature, and naturalism with the schematic. Both are hallmarks of miniatures painted in this place and time. The earliest Mughal Indian miniatures date to the 16th century. They were inspired by those painted at the refined Moslem courts of the neighboring Persian empire. They incorporated figures in spite of the Moslem faith’s proscription against depicting the human form. Such was the nature of sophisticated courtly life everywhere that beauty and pleasure trumped systems of morality. This was no less the case at the provincial Indian courts, where our miniature, marked by a charming pictorial naiveté, was most likely painted. Yet the artist was undeniably accomplished. His command of perspective, introduced by Jesuit missionaries in the 17th century, is seen in the landscape, which rolls back to a distant horizon, contrary to the flat two-dimensional ones following Indian-painting traditions. And if Mughal artists were influenced by Western art, the compliment was returned by Rembrandt and Sir Joshua Reynolds, among others, who collected Indian miniatures (as did, perhaps, Giovanni Bellini who painted in Mughal style the famous miniature of a Persian man...

This trompe l'oeil drawing depicts the artist's tools -- a black and a red crayon, and a folding steel ruler that was painted with silver pigments, which have blackened with age. They're shown on a sheaf of papers that include a medieval manuscript page, a musical score, and a group of prints. The unifying theme is the artistic patronage of the Medici, the Grand Dukes of Tuscany, who intermarried with the Habsburgs, who were the Holy Roman Emperors. Among the papers are prints by Stefano Della Bella, the Florentine artist who worked for the Medici. They depict a negro page with a horse, and portraits of Lorenzo Lippi...

This large Art Deco table is attributed to the Austrian born New York designer Eugene Schoen. The mahogany carcass is veneered in Macassar, and surfaced with a sheet of black opaline...

This mercury-glass mirror was made in 19th century Italy, and has a greyish tinge that endows it with mystery. Stylistically, it harks back to 17th century mirror-framed mirrors, whi...

Pen, ink and gouache on paper, painting "The Temple of Dendur' by Eugene Berman. Signed and dated, 1964. Framed size is 28.25 x 22.25.

Gouache on paper costume design for Annabella, for the John Ford play: "Tis a Pity She's a Whore" by Eugene Berman signed with the cypher (E.B.), dated 1942 and annotated. Pencil ske...

Eugène Berman - "Paludia" (1967-1968) Type : Huile sur toile Signature : Monogrammée en bas au centre, contresignée au dos Date de création : 1967-Rome-1968 Dimensions : 67 cm x 54 cm Encadrement : Rare cadre Troubadour en papier mâché, circa 1840 Expositions et provenance : Étiquette d’exposition de la Galerie Lucie Weill au dos Annotations de la Galerie Forni à Bologne Bibliographie : Galerie Lucie Weill, Les Néo-romantiques: Christian Bérard, Léonid et Eugène Berman, Pavel Tchelitchew, Paris, 1971. "Paludia" est une huile sur toile réalisée par Eugène Berman entre 1967 et 1968 à Rome. L'œuvre, représentative de son style néo-romantique, est empreinte de mélancolie et de poésie, avec une touche onirique caractéristique de son approche théâtrale de la composition. Son cadre troubadour en papier mâché, rare et datant de circa 1840, confère à l'œuvre une aura historique et une mise en valeur singulière, dans l'esprit des cabinets de curiosités qu'affectionnait l'artiste. Biographie d'Eugène Berman (1899-1972) : Né le 4 novembre 1899 à Saint-Pétersbourg, Eugène Berman est un peintre et décorateur de théâtre d’origine russe, naturalisé américain. Il est le frère de Léonide Berman. Son éducation artistique débute en Europe occidentale, avec des formations en Allemagne, Suisse et France, où il suit les cours de Pavel Naumov et Sergey Gruzenberg entre 1914 et 1918. Après avoir quitté la Russie en 1918, il étudie à l'Académie Ranson à Paris, sous la direction de Maurice Denis et Édouard Vuillard. Inspiré par Giorgio de Chirico et Picasso, il expose ses œuvres (portraits et paysages) aux Salons d’Automne et des Tuileries entre 1923 et 1927. Il promeut, aux côtés de son frère, une forme de peinture poétique et symboliste. En 1935, il émigre aux États-Unis, où il travaille comme décorateur de théâtre tout en poursuivant son œuvre picturale. Il devient citoyen américain en 1937. Il meurt le 14 décembre 1972, à Rome ou New York. Cabinet de curiosités et collection personnelle : Eugène Berman possédait une importante collection d’objets anciens, comprenant : Céramiques, statuettes, sculptures, verrerie, textiles, tapis de diverses civilisations (précolombienne, africaine, de Nouvelle-Guinée, de Colombie-Britannique, égyptienne, copte, grecque, étrusque, romaine). Mobilier italien et latino-américain du XVIe et XVIIe siècles. Œuvres d’amis artistes, dont Mirko, Ernst, Cagli, Cremoni. Sa collection fut installée dans un appartement romain, transformé en un véritable cabinet de curiosités, situé au dernier étage d’un palais proche de la Piazza del Popolo. ------------ Eugène Berman - "Paludia" (1967-1968) Type: Oil on canvas Signature: Monogrammed at the bottom center, countersigned on the back Creation Date: 1967-Rome-1968 Dimensions: 67 cm x 54 cm Frame: Rare Troubadour-style papier-mâché frame, circa 1840 Exhibitions and Provenance: Exhibition label from Galerie Lucie Weill on the back Annotations from Forni Gallery in Bologna Bibliography: Galerie Lucie Weill, The Neo-Romantics: Christian Bérard, Léonid and Eugène Berman, Pavel Tchelitchew, Paris, 1971. "Paludia" is an oil on canvas created by Eugène Berman between 1967 and 1968 in Rome. Representative of his neo-romantic style, the piece exudes melancholy and poetic introspection, with a dreamlike quality reflecting his theatrical approach to composition. The rare papier-mâché Troubadour frame, dating from circa 1840, enhances the historical aura of the work, aligning with the artist’s deep appreciation for curiosities and antiquities. Biography of Eugène Berman (1899-1972): Born on November 4, 1899, in Saint Petersburg, Eugène Berman was a Russian-born American painter and theater designer. He was the brother of Léonide Berman. He received his early artistic education in Western Europe, training in Germany, Switzerland, and France, with studies under Pavel Naumov and Sergey Gruzenberg between 1914 and 1918. Leaving Russia in 1918, he studied at Académie Ranson in Paris, under the guidance of Maurice Denis and Édouard Vuillard. Influenced by Giorgio de Chirico and Picasso, he exhibited his works (portraits and landscapes) at the Salons d’Automne and des Tuileries between 1923 and 1927. Alongside his brother, he championed a poetic and symbolic form of painting. In 1935, he emigrated to the United States, working as a theater designer while continuing to produce allegorical works. He became an American citizen in 1937. He passed away on December 14, 1972, in Rome or New York. Cabinet of Curiosities and Personal Collection: Eugène Berman owned a significant collection of antique artifacts, including: Ceramics, statuettes, sculptures, glassware, textiles, and rugs from Pre-Columbian, African, New Guinea, British Columbia, Egyptian, Coptic, Greek, Etruscan, and Roman civilizations. Italian and Latin American furniture...

Fabulous antique French portrait of a young boy, original pastel, original frame (artist unknown and apparently unsigned) Original gold leaf frame (some gilt loss noted) portrait ...