Arman - Filtres a Air

Original Lithograph - Hand signed in pencil by the artist.
Limited edition hand numbered 88/100.


Filtres a air, 1969Car Air Filters

This lithograph has been printed in 2 colors black and beige on very thick white paper, the paper is in extremely good quality and in excellent condition with no foxing, it looks like it has never been framed before.

This beautiful Lithograph was bough from someone who bought it in 2005 at an auction in Drouot (the major auction house in Paris France), this limited edition lithograph has been signed in pencil by the artist twice, probably once when he numbered and signed it, then I believe he gave it to a friend, he inscribed the words ”bien amicalement pour cette nouvelle annee 76″ (To our friendship for this new year 76) and he signed it a second time after that message. Both signature are very legible and are in pencil.

Condition: Excellent

Measurement are approximately:
Paper: 24″ x 30″ (60cm x 76cm)
Print: 22 3/4″ x 26″ (58cm x 66cm)

Pierre Fernandez Arman – (1928 – 2005)
arman-500x500specialize very much in… everything,” the French-born American artist Arman told an interviewer in 1968. “I have never been — how do you say it? A dilettante.” Regarded as one of the most prolific and inventive creators of the late 20th century, Arman’s vast artistic output ranges from drawings and prints to monumental public sculpture to his famous “accumulations” of found objects. His work—strongly influenced by Dada, and in turn a strong influence on Pop Art—is in the collections of such institutions as the Metropolitan Museum of Art in New York, the Tate Gallery in London and the Centre Pompidou in Paris.

Inspired by the Dadaist collages of Kurt Schwitters, Arman’s first solo show, in Paris in 1954, exhibited his “Cachets,” assemblages and accumulations of stamps and fabric that were to prove an important step in the development of his artistic vision. More consequential yet was his signing, in 1960, of the manifesto of the “Nouveau Réalisme” (New Realism) movement, with fellow artists Klein, Martial Raysse and Jean Tinguely, among others. “New Realism equals new, sensitive, perceptive approaches to the real,” asserted the document, and Arman set out on a new course, in which he would re-examine the artistic possibilities of everyday objects, elevating the banal to the aesthetic, and refuse into art.

The same year, Arman had a Landmark exhibition at the Iris Clert Gallery in Paris, “Full Up” (“Le Plein”), an audacious installation/happening that filled the entire gallery with garbage. In 1961, he unveiled yet another of the many “strategies” he would employ over his career: the “colères,” manmade objects he would smash, then reassemble and mount on wood panels. These well-known works, together with his “coupes” (“slicing”)—objects (frequently mass-produced) he would cut apart then put on display—and his “combustions”—objects he set ablaze, and whose charred remains he exhibited—represented acts of artistic creation through destruction. They exemplified the way Arman continually compelled viewers of his work to re-evaluate their ideas with respect to beauty and fine art.


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  • Arman - Filtres a Air


    Original Lithograph - Hand signed in pencil by the artist.
    Limited edition hand numbered 88/100.