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Concerto after Arman, Limited Edition, Plate Number 30 for Rosenthal
$650
£491.32
€564.61
CA$905.12
A$1,006.91
CHF 527.83
MX$12,304.19
NOK 6,721.32
SEK 6,327.19
DKK 4,214.62
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About the Item
"Concerto d'apres Arman, Edition Limitee, Assiette No 30." signed and numbered in back. Concerto after Arman, Limited Edition, Plate Number 30
Porcelain platter for Haviland Limoges, made in France printed in back. Large white round charger, plate decorated with abstract violin in blue, pink and gold in box signed by artist in front.
Arman (née Armand Pierre Fernandez) was born in 1928 in Nice, France. Arman’s foundation as an artist began in 1949, where he spent time painting in the Surrealist style at the École du Louvre.
By 1958, Armand was making his mark on the art world as a painter and sculptor, who retained a printer’s misspelling of his name and referred to himself as Arman.
Dimensions: 0.5 in. H x 12.5 in. D
Arman explores reality. He strives to transform and sublimate artefacts into works of art. Everyday objects become poetry for the eye. Forks, women’s shoes, credit cards, bottle caps and revolvers. Cast, welded together or enclosed in plexiglass “vitrines”, these things are metamorphosed into a form of art that he calls “accumulations”. Starting in the late 1950s, Arman immersed himself whole-heartedly in these inventories of reality until he passed away in 2005. He collected and amalgamated piles of junk, pens, paint tubes, rubber stamps and much else. These accumulations became his hallmark, just as much as the sliced, burnt and sawn objects of his “tantrums”, ranging from violins and Roman gods to veteran motorbikes and telephones. Arman’s sculptures lent new dimensions to objects that already were perfect as they were. Armand Pierre Fernandez was born in Nice in November 1928. He developed his passion for artefacts in his father’s antique shop. At the age of 18, he studied at the Nice Academy of Art, but left three years later in protest against the conservative leadership. Now he set out on his own path, began to paint in earnest and, under the influence of Pollock, Schwitters and Duchamp, evolved his own idiosyncratic language of form and ideas. Initially, in the late 1950s, he painted abstract motifs. Then he turned his talents to sculpture, which in turn led to his breakthrough. After a catalogue entry at the legendary Galerie Iris Clert accidentally omitted the final ‘d’ from the artist’s name, he resolved that from that time on, he would sign his works simply ‘Arman’. When Yves Klein met Arman at a judo course in the autumn of 1949, there immediately arose a close affinity between the two men, who subsequently divided the world between them. Yves assumed responsibility for the spiritual world, Arman for the material. In 1960 they joined with César, Pierre Restany, Niki de Saint Phalle, Jean Tinguely and Rotella, among others, to form the Nouveaux Réalistes. This was also the year when Arman put together his much noticed show titled Plein (“Full up”), a neo•realist exhibition at Galerie Iris Clert. The installation consisted of a monumental heap of junk – trash piled from floor to ceiling in a manner reminiscent of Raymond Hains’ collage Slum Sculptures. Arman wrote, “The bow on the strings releases an explosion of sounds,” in the book Trio à cordes published by GKM Siwert Bergström nearly twenty years ago. The words are his own. The book is a tender homage to music and expresses the artist’s predilection for the tones of violin, cello and double bass. Lyrically orchestrated poems are conflated with ingenious detail images: multi-coloured violins and a delicately painted cello are but two of the motifs drawn against the straight lines of the score. The first steps towards collaboration with GKM Siwert Bergström came with an exhibition in Malmö, when Arman staged a “happening” in Malmö Concert Hall. This was followed by several exhibitions in Malmö, at the Stockholm Art Fair, at FIAC in Paris and at the Glyptoteket in Copenhagen. Contacts with GKM subsequently led to an exhibition of Arman’s works at the Lund Konsthall gallery with the support of Marianne Nanne-Bråhammar. This also included a happening. Arman died in October 2005 at the age of 76. For the last 30 years of his life he maintained two homes and studios, in New York and in Vence, in the south of France. His works featured in a total of almost 500 separate exhibitions during his lifetime. In addition to being well represented in museums around the world, he also created several works of art for public spaces, ranging from welded shopping carts, to clocks, double basses and cars stacked on top of each other. Among his best known are Hope for Peace in Beirut, À la République in the Elysée Palace in Paris, L’heure de tous and Consigne de vie outside Saint Lazare railway station in Paris. There is something animated in Arman’s work – a provocation, a challenge, an inner power in the things in which his art resides – that links the past to our own age, and casts the soul and the body as one.
- Creator:
- Dimensions:Height: 0.5 in (1.27 cm)Diameter: 12.5 in (31.75 cm)
- Style:Modern (In the Style Of)
- Materials and Techniques:
- Place of Origin:
- Period:
- Date of Manufacture:1970
- Condition:Wear consistent with age and use.
- Seller Location:North Hollywood, CA
- Reference Number:Seller: 6220161stDibs: f90681605164708413fs
Arman
Arman was born in Nice, France, in 1928, and showed a talent for painting and drawing as a child. He studied at the the Ecole Nationale des Art Décoratifs in Nice followed by studies at the École du Louvre in Paris. In his early years he focused on abstract paintings. Then, in 1957, he became interested in common objects as works of art. He first did what came to be called his "allures d"objet" (object impressions), where he would dip an object into paint and press it on canvas thus leaving the object's shadow or impression. Then he decided the object itself was worth paying attention to and started to treat them in his own way. His intention was to remove the material purpose of an object so that its only remaining function was to "feed the mind" as a work of art. What better way to achieve that result than by breaking, slicing or even burning objects such as violins, telephones, typewriters or even whole cars? He also made objects useless by accumulating them, such as 2,000 wristwatches in a Plexiglass box that all kept different time. Once emotionally detached from the circumstances associated with a broken object, the viewer could grow to appreciate its abstract beauty; so, in a sense, Arman was literally teaching that things one never thought could be regarded as attractive could indeed turn out to be so. Through this achievement, Arman gained worldwide recognition and is regarded as one of the most prolific and inventive creators of the late 20th century. His work can be found in the collections of numerous museums including the Metropolitan Museum of Art in New York, the Tate Gallery in London and the Centre Pompidou in Paris. Arman’s work has also been exhibited in galleries, museums and public spaces worldwide including the Musée D’Art Contemporain in Tehran, Iran; the Museum of Art in Tel Aviv, Israel; the Musée Des Arts Decoratifs and Opéra De Paris in France; the La Jolla Museum of Contemporary Art in California; and the Museum of Arts and Design and the Guggenheim in New York He died in 2005 in New York.
Limoges
Limoges porcelain has withstood the test of time for centuries. The widely cherished ceramics named for the French city and commune in which they are made are synonymous with sophistication, elegance and refinement. Today, antique Limoges dinnerware, serveware, decorative objects and other porcelain products are coveted and collected all over the world.
The story of Limoges porcelain, which refers to porcelain made in the Limoges region of France — not by a specific factory — begins in 1768. The region is a rich source of kaolin, feldspar and quartz — vital ingredients to the production of this type of pottery.
Porcelain was first made in China and spread all over the world owing to the trade routes to the Far East established by Dutch and Portuguese merchants. Given its origin, English speakers called porcelain “fine china,” an expression you still might hear today. "Fine" indeed — for over a thousand years, it has been a highly sought-after material. Meissen Porcelain (Staatliche Porzellan-Manufaktur Meissen), which was founded in the Electorate of Saxony (now Germany), is one of the preeminent porcelain factories in Europe and was the first to produce true porcelain outside of Asia.
Limoges porcelain refers to porcelain produced in and near the city of Limoges — it does not refer to a specific manufacturer — and it’s distinctive for its luminous hue and bright white qualities, providing an ideal canvas for intricately detailed hand-painted decorations. (Revered Impressionist painter Pierre-Auguste Renoir began his career painting plates in Limoges.)
It wasn’t long before Limoges porcelain captured the attention of King Louis XVI — the region’s first manufactory, established toward the close of the 18th century, was placed under the protection of the King’s brother, the Comte d’Artois. It was later purchased by the King and became Manufacture Royale de Limoges. The facility produced a variety of pieces, including delicate, gold-embellished trinket boxes, ornamental vessels, Rococo-style figurines and elaborate dinnerware service sets.
Following the end of the French Revolution in 1794, Limoges porcelain was no longer restricted, and the commercial porcelain industry ballooned.
By 1819, Limoges had four porcelain factories, and as demand for porcelain grew during the 19th century, the industry expanded in the French city. In 1853, American businessman David Haviland opened the Haviland & Co. factory in Limoges to export porcelain to the United States. The company produced several iconic serveware collections for many American presidents, including Abraham Lincoln, Ulysses S. Grant and Rutherford B. Hayes. Bernardaud opened in the early 1860s.
By 1900, Limoges had 35 factories, which employed close to 8,000 workers. In 1925, Limoges porcelain was shown at the International Exhibition of Modern Decorative and Industrial Arts — the design fair in Paris that brought global attention to the Art Deco style — where it garnered international acclaim.
During the 20th century, Limoges factories such as Bernardaud collaborated with a range of notable artists and designers, including Franz Bischoff, Joan Miró, Raymond Loewy, Alexander Calder and Julian Schnabel, to name a few.
Today, authentic Limoges porcelain tableware, vases and objets d’art continue to gain renown with collectors and design lovers all over the world.
Find an extensive collection of antique Limoges porcelain on 1stDibs.
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