Pierre Arman Paintings & Artwork for Sale | Pierre Arman Art Value Price Guide

Jul. 04, 2026
Arman: Sliced Violines 1994
Est: €4,800 - €5,800
Arman (Armand Pierre Fernandez) 1928 - 2005 Sliced Violines 1994 Polished bronze, 1994; H 69 cm (including marble base); Edition Diego Strazzer, Verona; Manufacturer Fonderia Bonvicini, Verona; signed and numbered ''arman 37/100'' on the reverse
Peter Karbstein - Kunst und Auktionshaus
Jun. 12, 2026
ARMAND PIERRE FERNANDEZ – 'VIOLENT VIOLINS' (1970)
Est: €150 - €300
ARMAND PIERRE FERNANDEZ ('ARMAN') 1928 Nizza - 2005 New York 'VIOLENT VIOLINS' (1970) Colour serigraph on laid paper. F 103,5 x 81 cm. Sheet size 76 x 56 cm. Signed in pencil lower right and num. lower left '53/150'. Framed behind glass (unopened). ARMAND PIERRE FERNANDEZ ('ARMAN') 1928 Nizza - 2005 New York 'VIOLENT VIOLINS' (1970) Farbserigrafie auf Bütten. R 103,5 x 81 cm. BM 76 x 56 cm. Unten rechts mit Bleistift signiert sowie unten links num. '53/150'. Hinter Glas gerahmt (ungeöffnet). Please note that this lot has a flat-rated charge of 2% of the hammer price which will be payable to satisfy the provisions of the statutory resale right pursuant to art. 26 of the German Copyright Act (Urhebergesetz, UrhG). Bitte beachten Sie, dass bei diesem Objekt wegen der Abgeltung des gesetzlichen Folgerechts § 26 UrhG eine pauschale Umlage von 2% auf den Zuschlagpreis zu entrichten ist.
Hargesheimer Kunstauktionen Düsseldorf
Jun. 06, 2026
ARMAN (ARMAND PIERRE FERNANDEZ) (1928-2005) FRENCH/AMERICAN
Est: $15,000 - $18,000
Limited Edition bronze sculpture "Ofelia (Foundation Arman 98)". Sliced bronze with green and gold patina. With incised signature and numbered PA 20/20. Circa 1996. 23 1/2" high, 10" wide, 9" deep.
Chamberlain Auction Gallery
May. 20, 2026
"ARMAN", ARMAND PIERRE FERNANDEZ (Nice, 1928 - New York, 2005). "Chandelier africain", 2003. Bronze in patinated gold, specimen XXI/XXX. Signed and justified.
Est: €5,000 - €6,000
"ARMAN", ARMAND PIERRE FERNANDEZ (Nice, 1928 - New York, 2005). "Chandelier africain", 2003. Bronze in patinated gold, specimen XXI/XXX. Signed and justified. Measurements: 36 x 44 x 40 cm. "Chandelier africain" is fully inscribed in Arman's mature stage, when the artist had consolidated a recognizable and deeply influential sculptural language within the New Realism. Made in bronze with a golden patina and conceived as an accumulation of objects - in this case spoons and metal utensils - the work transforms functional and everyday elements into a sculptural structure of strong symbolic and formal presence. The piece takes the form of a totemic, almost ritualistic candelabrum, which refers both to the Western decorative tradition and to primitive and archaic imagery suggested by the title itself. Arman subverts the original function of the objects: stripped of their utility, they are integrated into an organic, dynamic and ascending composition, where the balance between chaos and order is essential. "Chandelier africain" synthesizes several of his fundamental axes: the reuse of the industrial object, the reflection on consumption and seriality, and the poetic transformation of material reality. At the same time, it shows his late interest in sculpture as an autonomous object, monumental in its conception despite its contained scale. Having become one of the most important French artists of the 20th century, Arman's work is present in the streets of various cities - in Beirut he piled up tons of battle tanks in the Place des Martyrs; in Paris dozens of clocks in front of a train station; in Roanne hundreds of forks in front of a prestigious restaurant-, decorate the interior of hotels and stores and their actions -filling an art gallery with garbage, destroying with axes the furniture of a bourgeois interior or systematically sawing violins or saxophones- have been reproduced in the press and on television. At a Parisian art fair, a 1963 work of his -Birth Control- was sold for 250,000 euros. He is currently represented at the Reina Sofia Museum, the MET in New York, the Tate Modern in London, the Pompidou in Paris and the Walker Art Center.
Setdart Auction House
May. 19, 2026
ARMAN, Guitarra, Escultura em bronze, Alt. aprox.: 31 cm.
Est: €1,400 - €3,000
ARMAN, Armand Pierre Fernandez (1928-2005) Guitarra Escultura em bronze, edição EA 12/20 Assinada Alt. aprox.: 31 cm. Sinais de manuseamento.
Palácio do Correio Velho
Apr. 26, 2026
Arman (Armand Pierre Fernandez; 1928 – 2005), Bamako Table, 1992
Est: Kč350,000 - Kč450,000
Lacquered glass, nail polish in glass bottles, metal and bakelite, height 15 cm, width 125 cm, depth 125 cm, signed lower right on the glass: Arman. On the side label with inscription Arman, BAMAKO, 1992, lower label Cet exemplaire de la table d’Arman porte le numéro 52 / 60. Consulted with Dr Irena Zantovska Murray HonFRIBA, Professor Jaromir Zemina, Dr Jiri Machalicky and Vladimir Lekes. Authenticity certificate enclosed. He collected many ordinary objects such as the nail-polish bottles visible in the presented work: laid out in a display case in Succession, they demonstrate this process of decomposition and the playwith everyday objects, now elevated to works of art.
Adolf Loos Apartment and Gallery
Jan. 14, 2026
§ ARMAN (ARMAN PIERRE FERNANDEZ) (FRENCH 1928-2005)
Est: £300 - £500
ARMAN (ARMAN PIERRE FERNANDEZ) (FRENCH 1928-2005) DOLLAR BILL - 1964 Screenprint on U.S. currency the sheet 6.5cm x 15.5cm (2.5in x 6in), unframed A gift from the Artist to the current owner.
Lyon & Turnbull
Dec. 07, 2025
Arman
Est: €650 - €1,300
(1928 Nizza - 2005 New York City) "Résister Colère". Originaltitel Portfolio mit 44 ungebundenen, teils doppelseitigen Lithographien in Schwarz und Rot mit ausgewählten Gedichten in franz. Sprache von Tita Reut. Im Kolophon nummeriert 69/100 sowie sign. von Arman und Tita Reut. Erschienen in einer Gesamtauflage von 125 Expl. bei Atelier Franck Bordas, Paris 2001. Schwarzer Leineneinband mit geprägtem, illustriertem Leinen-Schuber. Blattmaße 20 x 15-30 cm bzw. 20 x 30 cm. 21,5 cm x 16,3 cm x 5,7 cm. Portfolio with 44 unbound, partly double-sided lithographs by Arman with selected poems in French by Tita Reut. Numbered 69/100 and signed by Arman and Tita Reut in the colophon. Published in a total edition of 125 copies by Atelier Franck Bordas, Paris 2001. Black linen cover with embossed, illustrated linen slipcase.
Kunstauktionshaus Schloss Ahlden
Dec. 03, 2025
ARMAN, Pierre Fernandez dit, (1928-2005) ‘Libenus’
Est: €4,000 - €6,000
ARMAN, Pierre Fernandez dit, (1928-2005) ‘Libenus' Brooch/pendant sculpture in 18k yellow gold (750‰) representing a broken violin and female figure Signed Arman, numbered EA 2/4, hallmarks of Master Goldsmith and fineness Dimensions: 5.5 x 3.8 cm Weight: 23.6 g ARMAN, Pierre Fernandez dit, (1928-2005) "Libenus" Broche/pendentif sculpture en or jaune 18k (750‰) représentant un violon et une figure femminine brisés Signée Arman, numérotée EA 2/4, poinçons de Maître Orfèvre et de titre Dimensions : 5,5 x 3,8 cm Poids : 23,6 g
Piasa
Nov. 27, 2025
ARMAN (ARMAND PIERRE FERNANDEZ)
Est: CHF2,500 - CHF3,500
ARMAN (ARMAND PIERRE FERNANDEZ) (Nice 1928–2005 New York City) Cellopige. 1992. Cut bronze casting, patinated. 46/50. The plinth with the engraved signature: Arman, and the name of the foundry: Bocquel fd. Published by Arman, New York City. Manufactured by Fonderie d'Art R. Bocquel S.A., Bréauté. Dimensions: 37 × 17 × 12 cm. Reference No.: Bocquel, Bréauté. Movement: Durand-Ruel/Moreau, no. 17. ------------------------------------------------- ARMAN (ARMAND PIERRE FERNANDEZ) (Nizza 1928–2005 New York City) Cellopige. 1992. Geschnittener Bronzeguss, patiniert. 46/50. Auf der Plinthe mit der eingravierten Signatur: Arman, sowie dem Namen der Giesserei: bocquel fd. Erschienen bei Arman, New York City. Hergestellt von der Fonderie d'Art R. Bocquel S.A., Bréauté. Masse 37 × 17 × 12 cm. Referenz Nr: Bocquel, Bréauté. Uhrwerk: Durand-Ruel/Moreau, Nr. 17.
Koller Auctions
Nov. 20, 2025
Pierre Arman "Violin Assemblage" Sculpture, 1983
Est: $300 - $500
Pierre Arman (French/American, 1928-2005) "Violin Assemblage" Silver Plate Sculpture, 1983, signed and dated "Arman / Dec. 83" to edge, marked "Christofle / France", signed and inscribed "My warmest wishes for 1984 with the original work by Arman" in French and English to reverse. 4.5" L x 4.25" W x 1.25" H. Provenance: From the Collection of Laura and Lewis Kruger. Keywords: Statue, Ornament, Musical instruments, Metalwork, Contemporary Art, Decorative Arts
Auctions at Showplace
Nov. 08, 2025
Arman: Candy
Est: €150 - €200
Arman (Armand Pierre Fernandez) 1928 - 2005 Candy Lithograph on paper; H 290 mm, W 180 mm; signed below ''EA Arman''
Peter Karbstein - Kunst und Auktionshaus
Oct. 12, 2025
ARMAN "ARSENIC AND OLD LACE" SERIGRAPH
Est: -
Armand Pierre Arman (1928 - 2005) "Arsenic and Old Lace" Serigraph on Paper. Artist: Arman Title: "Arsenic and Old Lace" Medium: Serigraph; Signature Type: Pencil Signature | Signature Location: Lower Right | Edition: 101/150 | Keywords: Modern, contemporary; Ref: BD2025
Bradford's
Oct. 12, 2025
ARMAN "VIOLENT VIOLINS" SERIGRAPH
Est: -
Armand Pierre Arman (1928 - 2005) "Violent Violins" Serigraph on Paper. Artist: Arman Title: "Violent Violins" Medium: Serigraph Signature Type: Pencil Signature | Signature Location: Lower Right | Edition: 118/150 | Keywords: Modern, contemporary; Ref: BD2025
Bradford's
Oct. 12, 2025
ARMAN "SYMPHONY PASTORALE" SERIGRAPH
Est: -
Armand Pierre Arman (1928 - 2005) "Symphony Pastorale" Serigraph on Paper. Artist: Arman Title: "Symphony Pastorale" Medium: Serigraph; Signature Type: Pencil Signature | Signature Location: Lower Right | Edition: AP 20/30 | Keywords: Modern, contemporary; Ref: BD2025
Bradford's
Oct. 12, 2025
ARMAN "HOMAGE TO VIVALDI" SERIGRAPH
Est: -
Armand Pierre Arman (1928 - 2005) "Homage to Vivaldi" Serigraph on Paper. Artist: Arman Title: "Homage to Vivaldi" Medium: Serigraph Signature Type: Pencil Signature | Signature Location: Lower Right | Edition: 112/150 | Keywords: Modern, contemporary; Ref: BD2025
Bradford's
Sep. 25, 2025
Arman, eigentlich „Armand Pierre Fernandez", 1928 Nizza – 2005 New York
Est: €7,500 - €10,000
PAAR CELLO-STÜHLE Bronze, gegossen und patiniert. Sitzhöhe: 47,5 cm. Lehnhöhe: 85 cm. Auf dem Fuß jeweils signiert, verso mit Gießeremblem. Arman war ein Objektkünstler und einer der Mitbegründer des Nouveau Réalisme, zu denen auch Yves Klein, Daniel Spoerri und Jean Tinguely gehörten. Nach dem Design von 1993. (14506010) (13)
Hampel Fine Art Auctions
Sep. 23, 2025
Pierre Fernandez Arman (Nizza 1928 - New York 2005) Saxophones
Est: €250 - €500
Saxophones. Signed and numbered "Arman 64/120". Silkscreen print, 103x77 cm.
Casa d'aste ARCADIA
Jul. 02, 2025
Arman (Armand Pierre Fernandez) , French American (1928 - 2005), Romantic Suite: vertical green, blue and black violin, lithograph, 38"H x 24 1/2"W (sheet)
Est: $160 - $300
Arman (Armand Pierre Fernandez) French American, (1928 - 2005) Romantic Suite: vertical green, blue and black violin lithograph Pencil signed lower right, edition 75/100. Work was produced by the artist in collaboration with Badey Rue de L'ouest, Paris, France. Biography from the Archives of askART: Armand Pierre Arman, whose birth name was Armand Fernandez, and who goes by the single name of Arman, was born in Nice, France in 1928. His father, an antique dealer and weekend painter, had moved the family from Algeria to southern France. Best known for his 'assemblages' created from found objects, Arman divided his time between France and the United States. His first exposure to painting was through his father, who gave him art lessons. In 1946, he began his painting study at the Ecole Nationale d'Art Decoratif in Nice, where he also earned degrees in mathematics and philosophy. There he met artists Claude Pascal and Yves Klein, and together they hitchhiked across Europe. He completed his studies in Nice in 1949, and went on to the Ecole du Louvre, studying oriental art and archaeology. Some of his first works were in Abstract and Surrealist styles. At a 1954 exhibition in Paris, Arman was impressed with the works of Kurt Schwitters, which inspired him to begin working with stamp imprints known as 'cachets'. Concurrently, he earned a living selling furniture, harpoon fishing, and other odd jobs. He first exhibited in London and Paris in 1956. A year later, he traveled to Turkey, Afghanistan, and Persia. The story of Arman's name change is curious. He was an admirer of the works of Van Gogh, who omitted his first name in signing his paintings. Thus, Armand Fernandez decided to become simply Armand. Then in 1958, a Paris gallery, Galerie du Haut-Pave, mistakenly left off the 'd' of Armand. Upset at first, he later preferred to be known as Arman. In 1973, he changed his name to Armand Pierre Arman after becoming an U.S. citizen. Arman began his Accumulations in 1959, where collections of like, everyday objects were crowded together in boxes, or vitrines. The objects were not arranged, expressing an element of chance in his work. Along with Yves Klein, the two became founding members of the "Nouveau Realisme" (New Realism), a group interested in creating different and new ways of thinking about real life and art. Yves Klein opened an exhibition entitled Le in 1958, consisting of empty gallery space to intrigue viewers about non-material things. Arman responded in 1960 with his exhibition of Le Plein, in which he filled the gallery with debris he collected from the streets of Paris. These non-utilized items, he believed, had their own distinctive worth, which should not be lost. In 1961, Arman visited New York City for the first time, and his work was shown as part of an exhibition called The Art of Assemblage at the Museum of Modern Art. In 1962, after his friend Yves Klein passed away in Paris, Arman began to spend more time in New York City. His first museum retrospectives occurred in 1964 at the Walker Art Center, Minneapolis, and at the Stedelijk Museum in Amsterdam. From the 1970s through the 1990s, his art was primarily created for public participation and display. His largest work, Long Term Parking (1982), was a concrete tower of 60 cars, 65 feet high, standing in front of a suburban parking lot in Paris. Arman maintained studios in Paris and New York since 1973. He died in 2005 Sources: Les Krantz, American Artists Peter Hastings Falk, Editor, Who Was Who in American Art http://www.asama.org/ARTISTS/ARMAN.HTM (American Sport Art Museum) ARTnews, Obituaries, December 2005, p. 92
Ripley Auctions
Jul. 02, 2025
Arman (Armand Pierre Fernandez) , French American (1928 - 2005), Romantic Suite: vertical orange, brown and black guitar, 1976, lithograph, 38"H x 23"W (sheet)
Est: $160 - $300
Arman (Armand Pierre Fernandez) French American, (1928 - 2005) Romantic Suite: vertical orange, brown and black guitar, 1976 lithograph Pencil signed lower right, edition 75/100. Work was produced by the artist in collaboration with Badey Rue de L'ouest, Paris, France. Biography from the Archives of askART: Armand Pierre Arman, whose birth name was Armand Fernandez, and who goes by the single name of Arman, was born in Nice, France in 1928. His father, an antique dealer and weekend painter, had moved the family from Algeria to southern France. Best known for his 'assemblages' created from found objects, Arman divided his time between France and the United States. His first exposure to painting was through his father, who gave him art lessons. In 1946, he began his painting study at the Ecole Nationale d'Art Decoratif in Nice, where he also earned degrees in mathematics and philosophy. There he met artists Claude Pascal and Yves Klein, and together they hitchhiked across Europe. He completed his studies in Nice in 1949, and went on to the Ecole du Louvre, studying oriental art and archaeology. Some of his first works were in Abstract and Surrealist styles. At a 1954 exhibition in Paris, Arman was impressed with the works of Kurt Schwitters, which inspired him to begin working with stamp imprints known as 'cachets'. Concurrently, he earned a living selling furniture, harpoon fishing, and other odd jobs. He first exhibited in London and Paris in 1956. A year later, he traveled to Turkey, Afghanistan, and Persia. The story of Arman's name change is curious. He was an admirer of the works of Van Gogh, who omitted his first name in signing his paintings. Thus, Armand Fernandez decided to become simply Armand. Then in 1958, a Paris gallery, Galerie du Haut-Pave, mistakenly left off the 'd' of Armand. Upset at first, he later preferred to be known as Arman. In 1973, he changed his name to Armand Pierre Arman after becoming an U.S. citizen. Arman began his Accumulations in 1959, where collections of like, everyday objects were crowded together in boxes, or vitrines. The objects were not arranged, expressing an element of chance in his work. Along with Yves Klein, the two became founding members of the "Nouveau Realisme" (New Realism), a group interested in creating different and new ways of thinking about real life and art. Yves Klein opened an exhibition entitled Le in 1958, consisting of empty gallery space to intrigue viewers about non-material things. Arman responded in 1960 with his exhibition of Le Plein, in which he filled the gallery with debris he collected from the streets of Paris. These non-utilized items, he believed, had their own distinctive worth, which should not be lost. In 1961, Arman visited New York City for the first time, and his work was shown as part of an exhibition called The Art of Assemblage at the Museum of Modern Art. In 1962, after his friend Yves Klein passed away in Paris, Arman began to spend more time in New York City. His first museum retrospectives occurred in 1964 at the Walker Art Center, Minneapolis, and at the Stedelijk Museum in Amsterdam. From the 1970s through the 1990s, his art was primarily created for public participation and display. His largest work, Long Term Parking (1982), was a concrete tower of 60 cars, 65 feet high, standing in front of a suburban parking lot in Paris. Arman maintained studios in Paris and New York since 1973. He died in 2005 Sources: Les Krantz, American Artists Peter Hastings Falk, Editor, Who Was Who in American Art http://www.asama.org/ARTISTS/ARMAN.HTM (American Sport Art Museum) ARTnews, Obituaries, December 2005, p. 92
Ripley Auctions
Jun. 26, 2025
ARMAN (ARMAND PIERRE FERNANDEZ)
Est: CHF3,000 - CHF5,000
ARMAN (ARMAND PIERRE FERNANDEZ) (Nice 1928–2005 New York City) Untitled. 1998. Cut bronze casting, nickel-plated, gilt and patinated, on granite base. XXI/XXX, Outside the edition of 100. With incised signature lower right on the violin: Arman. Published by Diego Strazzer, Verona. Produced by Fonderia Buckle, Vicenza. Measurements 80 × 35 × 25 cm (inc. plinth). Exhibited: - Durand-Ruel/Moreau, no. 90. ------------------------------------------------- ARMAN (ARMAND PIERRE FERNANDEZ) (Nizza 1928–2005 New York City) Ohne Titel. 1998. Geschnittener Bronzeguss, vernickeltelt, vergoldet und patiniert, auf Granitsockel. XXI/XXX, Exemplar ausserhalb der Auflage von 100. Mit der eingeritzten Signatur auf der Violine unten rechts: Arman. Erschienen bei Diego Strazzer, Verona. Hergestellt von der Fonderia Buckle, Vicenza. Masse 80 × 35 × 25 cm (inkl. Sockel). Ausstellung: - Durand-Ruel/Moreau, Nr. 90.
Koller Auctions
Jun. 21, 2025
Poster by Pièrre F. Arman (1929-2005) - Skyscraper Marzotto prijs De Stad: Beeld en Object, Stedelijk Museum Amsterdam
Est: €60 - €120
Skyscraper Marzotto prijs De Stad: Beeld en Object, Stedelijk Museum Amsterdam - 49x68, 1966 by Pièrre F. Arman (1929-2005)
Van Sabben Poster Auctions
Jun. 19, 2025
"ARMAN" Armand Pierre (Nice, 1928 - New York 2005). Untitled, from the series "Olympic Suite". Lithograph on 270 grams Vélin d'Arches paper, copy P.A., 35/50. Signed and justified by hand.
Est: €250 - €300
"ARMAN" Armand Pierre (Nice, 1928 - New York 2005). Untitled, from the series "Olympic Suite". Lithograph on 270 grams Vélin d'Arches paper, copy P.A., 35/50. Signed and justified by hand. Measurements: 90 x 63 cm. Armand Pierre's father, better known as Arman, was an antique dealer and amateur painter, as well as a musician, he played the cello. He settled in Nice, where Arman was born and studied at the city's School of Decorative Arts. There he met the painter Yves Klein, representative of abstraction and performance. He would later be trained at the Louvre School, where he would remain in contact with artistic modernity. His great contribution to painting and graphic work is what is defined as "Accumulations", groupings of objects of the same type dislocated from their natural location and presented as a group that constitute a critique of consumer society, as in this lithograph of the Olympic Suite. The Olympic Suite is composed of 50 lithographs and serigraphs chosen to represent various contemporary artistic trends. It was published to commemorate the first centenary of modern Olympism.
Setdart Auction House
Jun. 14, 2025
PIERRE FERNANDEZ ARMAN – GLACON (1965)
Est: €200 - €400
PIERRE FERNANDEZ ARMAN 1928 Nizza - 2005 New York GLACON (1965) Multiple, screws and stainless balls encased in synthetic resin, published by Galerie Lawrence, Paris. 3 x 4,2 x 3,5 cm. With inset text inscr. Multiple as an invitation on the occasion of the exhibition at the Lawrence Gallery in Paris. Condition age-appropriate, year cut off due to production. Provenance: Private collection Rhineland. PIERRE FERNANDEZ ARMAN 1928 Nizza - 2005 New York GLACON (1965) Multiple, Schrauben und Edelstahlkugeln eingeschlossen in Kunstharz, hg. Galerie Lawrence, Paris. 3 x 4,2 x 3,5 cm. Mit eingelassenem Text bez. Multiple als Einladung anlässlich der Ausstellung 1965 in der Pariser Galerie Lawrence. Altersgemäßer Zustand, Jahreszahl Produktionsbedingt abgeschnitten. Provenienz: Privatsammlung Rheinland.Zeichen Bitte beachten Sie, dass bei diesem Objekt wegen der Abgeltung des gesetzlichen Folgerechts § 26 UrhG eine pauschale Umlage von 2% auf den Zuschlagpreis zu entrichten ist. Please note that this lot has a flat-rated charge of 2% of the hammer price which will be payable to satisfy the provisions of the statutory resale right pursuant to art. 26 of the German Copyright Act (Urhebergesetz, UrhG).
Hargesheimer Kunstauktionen Düsseldorf
Jun. 14, 2025
PIERRE FERNANDEZ ARMAN – VIOLONS SAMURAI
Est: €200 - €400
PIERRE FERNANDEZ ARMAN 1928 Nice - 2005 New York VIOLONS SAMURAI Colour serigraph on light cardboard. Sheet size 84.2 x 59.2 cm. Signed in pencil 'arman' lower right and numbered '73/100' lower left. Verso inscribed in pencil by ankown hand. Published as an annual edition 1979 by the Düsseldorfer Kunstverein für die Rheinlande und Westfalen. Several crease marks in the margins. Provenance: Private collection North-Rhine Westphalia. PIERRE FERNANDEZ ARMAN 1928 Nizza - 2005 New York VIOLONS SAMURAI Farbsiebdruck auf leichtem Karton. BM 84,2 x 59,2 cm. Unten rechts mit Bleistift sign. 'arman' sowie unten links num. '73/100'. Verso: von fremder Hand mit Bleistift bez. Erschienen als Jahresgabe 1979 im Düsseldorfer Kunstverein für die Rheinlande und Westfalen. Mehrere Knickspuren im Randbereich. Provenienz: Privatsammlung Nordrhein-Westfalen.Zeichen
Hargesheimer Kunstauktionen Düsseldorf
May. 24, 2025
Arman TEA FOR TWO Bronze Sculpture
Est: $1,000 - $2,000
Artist/Designer; Manufacturer: Arman aka Armand Pierre Fernandez (French, 1928-2005) Marking(s); notes: signed; ed. 44/100 Materials: patinated bronze, wood, granite (base) Dimensions (H, W, D): 13.25"oah, 12.75"w, 6"d (base comprises 2.5" of height) Additional Information: Gallery label to underside of base: Alex Slato Art Services, Miami, Florida. Provenance: Alex Slato, Miami, Florida.
Palm Beach Modern Auctions
May. 08, 2025
PIERRE ARMAN (France/Italy/Sweden, 1928-2005), Violin assemblage, 1983., Silver plate, diameter approx. 4.5".
Est: $500 - $600
PIERRE ARMAN France/Italy/Sweden, 1928-2005 Violin assemblage, 1983. Incised signature and date center right "Arman Dec 83". Violin-shaped cartouche on underside engraved "Christofle France" and "My warmest wishes for 1984 with this original work by Arman" in both English and French.
Eldred's
Apr. 04, 2025
Pierre Fernandez Arman (Nizza 1928 - New York 2005) - Violin
Est: €250 -
Signed on the front right and numbered 64 / 125. Silk-screen printing
ArtLaRosa
Feb. 19, 2025
Pierre Fernandez Arman Nice 1928-New York 2005 Untitled
Est: €400 - €800
Pierre Fernandez Arman Nice 1928-New York 2005 Untitled circa 1978 Silkscreen 64x97 cm - in frame 70x104 cm Signature and numbering Arman 29/150 Arman Estampes Catalog Raisonné pag. 164 n. 125
Casa d'aste ARCADIA
Dec. 05, 2024
Arman (Armand Pierre Fernandez) (American - French, 1928-2005)
Est: -
The saxophonist, Bronze sculpture, 28 x 14 cm, Signed and approved "E.A."
Yair Art Gallery
Dec. 05, 2024
ARMAND PIERRE FERNANDEZ ARMAN. Sculpture table
Est: €15,000 - €20,000
ARMAND PIERRE FERNANDEZ ARMAN (Nizza 1928-New York 2005). Patinated bronze sculpture table with crystal top. Signed at the base. Numbered 15/20. With authentication from the foundation. Slight signs of wear and tear over time. ARMAND PIERRE FERNANDEZ ARMAN (Nizza 1928-New York 2005). Tavolo scultura in bronzo patinato con piano in cristallo. Firmato alla base. Esemplare 15/20. Con autentica della fondazione. Lievi usure del tempo.
Viscontea Casa d'Aste s.r.l.
Sep. 26, 2024
Arman. 'Tranche de lecture', 1988 (CD)
Est: kr7,200 - kr8,000
Arman (Armand Pierre Fernandez, b. Nice 1928, d. New York 2005). 'Tranche de lecture', 1988, book case cut into pieces and placed on plexiglass, no. 17/100, sign. Arman. Mounted in a Plexiglas box. Box dimensions: 91 x 71 x 7.5 cm. There are scratches in the Plexiglas. (CD)
Auktionshuset.com
Sep. 22, 2024
Armand Pierre Arman, American/French (1928-2005)
Est: $300 - $500
Armand Pierre Arman, American/French (1928-2005) Large Lithograph. "Sans Titre 4". Pencil Signed Lower Right & Numbered 33/99 on Lower Left. In Beautiful, Original Frame Under Glass. Has Not Been Examined Out of Frame. Condition: Excellent. The Frame Has a Small Chip on The Top Right Corner. Dimensions: Sight-39.5" x 25.5". Frame-50.5" x 36.5". Provenance: From a Long Island, NY Home. Please note the absence of a Condition Report does not imply that there are no condition issues with this lot. Please contact us for a detailed Condition Report. It is the Buyer's responsibility to inspect each lot and deem their own opinions on Condition, Description, Provenance, and Validity before purchasing. Please make an appointment to preview or ask for Condition Reports. Condition Reports are rendered as an opinion by the staff of the Auction House and not as statements of fact. REMEMBER ALL SALES ARE FINAL AND ALL ITEMS ARE SOLD AS-IS, WHERE IS.
World Auction Gallery
Aug. 17, 2024
Mixed-Media Work by Armand Fernandez.
Est: $150 - $250
Armand (Arman) Pierre Fernandez (France, 1928-2005). This mixed-media work is pencil signed and dated from 1981, lower right. It depicts a montage of black and red violins against a reflective copper-tone background. The work is floated in a brushed aluminum frame. The deckled edge sheet measures 30" x 22", and the frame measures 31" x 23". In-house shipping is available. Please see our website regarding our in-house shipping procedures.
Direct Auction Galleries, Inc.
Jun. 20, 2024
ARMAN (ARMAND PIERRE FERNANDEZ)
Est: CHF3,500 - CHF5,500
ARMAN (ARMAND PIERRE FERNANDEZ) (Nice 1928–2005 New York City) Saxophone. 1984. Sliced nickel plated bronze casting on a marbel base. 51/100. With the engraved signature: Arman. 83.5 × 50 × 25 cm (incl. base). --------------- ARMAN (ARMAND PIERRE FERNANDEZ) (Nizza 1928–2005 New York City) Saxophone. 1984. Geschnittener vernickelter Bronzeguss auf Marmorsockel. 51/100. Mit der eingeritzten Signatur auf dem Saxophon unten mittig: Arman. 83,5 × 50 × 25 cm (inkl. Sockel). ---------------
Koller Auctions
Jun. 13, 2024
ARMAND PIERRE FERNANDEZ ARMAN (NIZZA 1928-NEW YORK 2005) IL FAUNO
Est: €3,000 - €5,000
Il fauno 2004 Bronze 63 x 40 x 36 cm Signature and edition engraved on the base: Arman, 22/50 Authentication by Archivio delle opere di Arman of Dante Vecchiato, Padova Excellent conditions
Bertolami Fine Art s.r.l.
Jun. 01, 2024
PIERRE FERNANDEZ ARMAN VIOLONS SAMURAI
Est: €100 - €200
PIERRE FERNANDEZ ARMAN 1928 Nice - 2005 New York VIOLONS SAMURAI Colour silkscreen print on light cardboard. Sheet size 84,2 x 59 cm. Signed in pencil 'arman' at lower right and numbered '47/100' at lower left. Published as an annual edition 1979 by the Düsseldorfer Kunstverein für die Rheinlande und Westfalen. Minimally browned, minimally with crease marks. Provenance: Private collection Düsseldorf.PIERRE FERNANDEZ ARMAN 1928 Nizza - 2005 New York VIOLONS SAMURAI Farbsiebdruck leichtem Karton. BM 84,2 x 59 cm. Unten rechts mit Bleistift 'arman' sowie unten links nummeriert '47/100'. Erschienen als Jahresgabe 1979 im Düsseldorfer Kunstverein für die Rheinlande und Westfalen. Minimalst gebräunt, minimal mit Knickspuren. Provenienz: Privatsammlung Düsseldorf. Bitte beachten Sie, dass bei diesem Objekt wegen der Abgeltung des gesetzlichen Folgerechts § 26 UrhG eine pauschale Umlage von 2% auf den Zuschlagpreis zu entrichten ist. Please note that this lot has a flat-rated charge of 2% of the hammer price which will be payable to satisfy the provisions of the statutory resale right pursuant to art. 26 of the German Copyright Act (Urhebergesetz, UrhG).
Hargesheimer Kunstauktionen Düsseldorf
May. 20, 2024
ARMAN (1928-2006) Homenagem a Amália Rodrigues Técnica mista sobre marouflé Assinado, 2001 Dim. aprox.: 102 x 67 cm.
Est: €7,000 - €14,000
ARMAN, Arman Pierre Fernandez (1928-2005) Homenagem a Amália Rodrigues Técnica mista sobre papel marouflé colado sobre tela Assinado Dim. aprox.: 102 x 67 cm. Dim. aprox. total: 115 x 78,5 x 6 cm Verso com etiquetas e carimbo da Galeria António Prates. Emoldurado em caixa de acrílico (algum desgaste) COA emitido pela Galeria António Prates.
Palácio do Correio Velho
Apr. 11, 2024
"ARMAN", ARMAND PIERRE FERNANDEZ (Nice, 1928 - New York, 2005). "Liberté", 1990. Multiple, copy E.A. 8 of 25. Signed and justified by hand.
Est: €3,500 - €4,000
"ARMAN", ARMAND PIERRE FERNANDEZ (Nice, 1928 - New York, 2005). "Liberté", 1990. Multiple, copy E.A. 8 of 25. Signed and justified by hand. Size: 17.5 x 53 x 70 cm. Considered as one of the most outstanding exponents of New Realism, a movement whose production focused on everyday objects and which signified the rebirth of the artistic language of the 1960s, Arman went down in the annals of art as the creator of "Accumulations" and "Encapsulations". As the name suggests, the technique consisted of the accumulation or encapsulation of objects as a critique of the consumer society, of buying for the sake of buying and of throwing away. These installations of the same object - cameras, cars, doorknobs, taps, gas masks or dollar notes, as in this case - saturate the space to the point of suffocation and question the place of the object in the society of consumption and industrial diffusion. Armand Pierre Fernández, better known as Arman, was an antique dealer and amateur painter, as well as a musician: he played the cello. He settled in Nice, where Arman was born and studied at the city's School of Decorative Arts. There he met the painter Yves Klein, a representative of abstraction and performance, as well as Mimmo Rotella and Christo, with whom he founded the New Realism group, which confronted the consumer society and industrial expansion by reaffirming humanistic ideals. He later trained at the Ecole du Louvre, where he remained in contact with artistic modernity. His great contribution to painting and graphic work is what is defined as "Accumulations", groupings of objects of the same type removed from their natural location and presented as a group that constitute a critique of consumer society. Now one of the most important living French artists of the moment, Arman's work is present in the streets of various cities - in Beirut he piled up tons of tanks in the Place des Martyrs, in Paris dozens of clocks in front of a train station, in Roanne hundreds of clocks in front of a train station, in Roanne hundreds of clocks in front of a train station, and in Paris dozens of clocks in front of a train station; In Roanne, hundreds of forks in front of a prestigious restaurant. He decorates the interiors of hotels and shops, and his actions - filling an art gallery with rubbish, hacking up the furniture of a bourgeois interior, systematically sawing violins and saxophones - have been reproduced in the press and on television. At the last contemporary art fair in Paris, a 1963 work of his - Birth Control, an accumulation of dolls inside a suitcase - sold for 250,000 euros. He is currently represented at the Museo Reina Sofía, the MET in New York, the Tate Modern in London, the Pompidou in Paris and the Walker Art Center.
Setdart Auction House
Mar. 26, 2024
Armand Pierre Arman (1928-2005), "What Happened to the Flowers? (Homage to Andy Warhol)," 1970, Paper collage and resin, Overall: 37" H x 37" W x 2" D
Est: $15,000 - $20,000
Armand Pierre Arman (1928-2005) "What Happened to the Flowers? (Homage to Andy Warhol)," 1970 Paper collage and resin Edition: From the edition of 50 (there were also 3 artist's proofs) Signed lower left: Arman, and just below, but more faintly, Andy Warhol; dated on a label affixed verso; Sonnabend Gallery, Paris, France, pub.
John Moran Auctioneers
Mar. 26, 2024
Armand Pierre Arman (1928-2005), Untitled, bells, 1964, Metal bells on resin on painted plywood, Overall: 18" H x 12.75" W x 4" D
Est: $2,500 - $3,500
Armand Pierre Arman (1928-2005) Untitled, bells, 1964 Brass bells set in resin on painted plywood With the incised signature and date on the painted plywood, at lower right: Arman
John Moran Auctioneers
Jan. 23, 2024
ARMAN, Arman Pierre Fernandez (1928-2005) Serigrafia sobre papel
Est: €240 - €400
ARMAN, Arman Pierre Fernandez (1928-2005) Serigrafia sobre papel Assinada, edição n.º 3/125 Dim. aprox.: 55 x 73 cm.; 60 x 80 cm. Não emoldurada. Em pasta original, edição COMPTA.
Palácio do Correio Velho
Jan. 21, 2024
Armand Pierre Arman (1928 - 2005) Serigraph
Est: $300 - $400
"Violins" Pencil signed, no. 25/150, pencil signed. Dimensions: 30" x 22", the frame 41" x 33" Provenance: From a local collection.
Locati LLC
Jan. 10, 2024
§ ARMAN (ARMAN PIERRE FERNANDEZ) (FRENCH 1928-2005) UNTITLED (PAINT TUBES)
Est: £400 - £600
ARMAN (FERNANDEZ) UNTITLED (PAINT TUBES) Screenprint with embossing on vellum paper, 76/99, signed and numbered in pencil to margin Collection of the Late Dr. Tom Scott, sold to benefit the National Trust for Scotland. 74cm x 54.5cm (29in x 21.5in)
Lyon & Turnbull
Dec. 14, 2023
Arman Hand-Stenciled Screenprint "Boom Boom" (1965)
Est: $800 - $1,200
Pierre Fernandez Arman (French, 1928-2005). "Boom Boom" screenprint in colors with additions in pencil. Edition 78 of 225. Printed by Chiron Press in 1965 and published in the New York City International Portfolio in 1966. Chiron Press blindstamp at lower left. Signed in pencil at lower right. A hand-signed and numbered screenprint with a unique pencil variation by Arman from the New York International portfolio which also included works by Robert Motherwell, Ad Reinhardt, James Rosenquist, Willi (Mary) Baumeister, Oyvind Fahlstrom, John Goodyear, Allen Jones, Charles Hinman, and Saul Steinberg. This silkscreen and stencil print comes from a limited edition of 225. What's more, each print is unique, because Arman placed the hand-stenciled gun differently in each image. Size (sheet): 17" L x 22" W (43.2 cm x 55.9 cm) Size (frame): 19.75" L x 24.4" W (50.2 cm x 62 cm) An excerpt from the New York City International Portfolio introduction by Herny Geldzahler accompanies the piece and reads as follows: "Arman: The artist drew guns on the silkscreen from which the prints were made. Each has an additional hand-stenciled gun for uniqueness and variety.The many revolvers, in accumulation, become so many horse heads. They gambol like the hills of the palm. Claes Oldenburg's ray guns of 1959 are evoked, as are Arman's own accumulations of spectacles ans high heeled shoes. Silver and gold guns - aluminum and brass - take the light differently from the black and single red. Black silhouette, simple outline, 'arbitrary' smudge and continuous hatching are ways in which the gun is drawn. The effect is lively, not death-dealing." (source: New York City International Portfolio introduction by Henry Geldzahler, 1966) The following excerpt was published in the MOMA catalogue that featured this print: "Accumulation and repetition are the hallmarks of the work of Nouveau Realiste artist Arman. In common with the art of other members of this loosely defined Paris-based group, Arman's work signaled the return of interest in the industrialized urban environment after the predominance of abstract painting. His inventive constructions incorporate numerous manufactured goods, such as shoes, car parts, violins and paint tubes. Eschewing the personal artistic mark, Arman began making rubber stampings in 1955, which, by the end of the decade, evolved into his tracings - impressions on canvas made by objects dipped in paint. Revolvers have been a constant motif in Arman's work, beginning with the accumulation Boom!Boom! of 1960 and appearing as recently as 1979 in Tools of Persuasion. Other objects of violence, including sabers and gas masks, also appeared in the early 1960s work. During this period, Arman began his aggressive actions titled Coleres or Tantrums, which included dynamiting a car and smashing a cello on stage. This period of violent motifs, reflects in part, Arman's wartime experiences and coincides with the increased tension in Paris over the Algerian war. (1956-1962). Arman was inspired by the prints of Jasper Johns that he saw on his first trip to New York in 1961. Among Arman's earliest prints are several lithographs and monotypes composed of repeated renderings or imprints of an object. In 1966, Rosa Esman of Tanglewood Press invited him to participate in her portfolio New York International. After the success of her first publishing venture, New York 10, Esman chose to work with an international roster of artists, many of whom had successful exhibitions in New York that season. More established artists, such as Robert Motherwell and Ad Reinhardt, were also included. Arman's approach to printmaking paralleled that of his sculptural accumulations: for this print he made a template of a revolver and drew repeatedly with it on the screen, sometimes outlining and at other times filling in the entire stencil using opaque and metallic inks. To individualize the prints in the edition, Arman layered additional revolvers by hand, so each one remains different. Like John's art, Arman's compositions combine expressive draftsmanship with repeated images of commercially produced, highly charged, everyday objects. " Provenance: private Santa Fe, New Mexico, USA collection All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #181870
Artemis Gallery
Dec. 06, 2023
Armand Pierre Fernandez, noto come Arman (Nizza 1928 – New York 2005), “Tea for two”.
Est: €1,500 - €3,000
Armand Pierre Fernandez, noto come Arman (Nizza 1928 - New York 2005), “Tea for two”. Scultura in bronzo poggiante su base in marmo, presenta targhetta con firma dell’artista e numerazione 39/100, H tot cm 33x34x13
Gregory's Casa d'Aste
Nov. 09, 2023
Arman Silkscreen & Hand Stenciled Print "Boom Boom"
Est: $1,000 - $1,500
Pierre Fernandez Arman (French, 1928-2005). "Boom Boom" screenprint in colors with additions in pencil. Edition 78 of 225. Printed by Chiron Press in 1965 and published in the New York City International Portfolio in 1966. Chiron Press blindstamp at lower left. Signed in pencil at lower right. A hand-signed and numbered screenprint with a unique pencil variation by Arman from the New York International portfolio which also included works by Robert Motherwell, Ad Reinhardt, James Rosenquist, Willi (Mary) Baumeister, Oyvind Fahlstrom, John Goodyear, Allen Jones, Charles Hinman, and Saul Steinberg. This silkscreen and stencil print comes from a limited edition of 225. What's more, each print is unique, because Arman placed the hand-stenciled gun differently in each image. Size (sheet): 17" L x 22" W (43.2 cm x 55.9 cm) Size (frame): 19.75" L x 24.4" W (50.2 cm x 62 cm) An excerpt from the New York City International Portfolio introduction by Herny Geldzahler accompanies the piece and reads as follows: "Arman: The artist drew guns on the silkscreen from which the prints were made. Each has an additional hand-stenciled gun for uniqueness and variety.The many revolvers, in accumulation, become so many horse heads. They gambol like the hills of the palm. Claes Oldenburg's ray guns of 1959 are evoked, as are Arman's own accumulations of spectacles ans high heeled shoes. Silver and gold guns - aluminum and brass - take the light differently from the black and single red. Black silhouette, simple outline, 'arbitrary' smudge and continuous hatching are ways in which the gun is drawn. The effect is lively, not death-dealing." (source: New York City International Portfolio introduction by Henry Geldzahler, 1966) The following excerpt was published in the MOMA catalogue that featured this print: "Accumulation and repetition are the hallmarks of the work of Nouveau Realiste artist Arman. In common with the art of other members of this loosely defined Paris-based group, Arman's work signaled the return of interest in the industrialized urban environment after the predominance of abstract painting. His inventive constructions incorporate numerous manufactured goods, such as shoes, car parts, violins and paint tubes. Eschewing the personal artistic mark, Arman began making rubber stampings in 1955, which, by the end of the decade, evolved into his tracings - impressions on canvas made by objects dipped in paint. Revolvers have been a constant motif in Arman's work, beginning with the accumulation Boom!Boom! of 1960 and appearing as recently as 1979 in Tools of Persuasion. Other objects of violence, including sabers and gas masks, also appeared in the early 1960s work. During this period, Arman began his aggressive actions titled Coleres or Tantrums, which included dynamiting a car and smashing a cello on stage. This period of violent motifs, reflects in part, Arman's wartime experiences and coincides with the increased tension in Paris over the Algerian war. (1956-1962). Arman was inspired by the prints of Jasper Johns that he saw on his first trip to New York in 1961. Among Arman's earliest prints are several lithographs and monotypes composed of repeated renderings or imprints of an object. In 1966, Rosa Esman of Tanglewood Press invited him to participate in her portfolio New York International. After the success of her first publishing venture, New York 10, Esman chose to work with an international roster of artists, many of whom had successful exhibitions in New York that season. More established artists, such as Robert Motherwell and Ad Reinhardt, were also included. Arman's approach to printmaking paralleled that of his sculptural accumulations: for this print he made a template of a revolver and drew repeatedly with it on the screen, sometimes outlining and at other times filling in the entire stencil using opaque and metallic inks. To individualize the prints in the edition, Arman layered additional revolvers by hand, so each one remains different. Like John's art, Arman's compositions combine expressive draftsmanship with repeated images of commercially produced, highly charged, everyday objects. " Provenance: private Santa Fe, New Mexico, USA collection All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #181870
Artemis Gallery
Nov. 04, 2023
Armand Pierre Arman (1928-2005) French/USA, Litho
Est: $100 - $200
Armand Pierre Arman (1928-2005) French / American, Offset Lithographs. Titled 'Tortured Color'. An assembly of offset lithographs and a paint tube from the S.M.S. Portfolio, 1968, The Letter Edged in Black Press. A paint tube trapped in plexiglass with washers and wingnuts along with instructions from the artist. Armand Arman is known for Happenings, assemblage, abstraction. Armand Pierre Arman, whose birth name was Armand Fernandez, and who goes by the single name of Arman, was born in Nice, France in 1928. His father, an antique dealer and weekend painter, had moved the family from Algeria to southern France. Best known for his 'assemblages' created from found objects, Arman divided his time between France and the United States. His first exposure to painting was through his father, who gave him art lessons. In 1946, he began his painting study at the Ecole Nationale d'Art Decoratif in Nice, where he also earned degrees in mathematics and philosophy. There he met artists Claude Pascal and Yves Klein, and together they hitchhiked across Europe. He completed his studies in Nice in 1949, and went on to the Ecole du Louvre, studying oriental art and archaeology. Overall Size: 10 3/4 x 24 3/4 in. Sight Size: 9 1/2 x 23 1/2 in. #5193 Location K
Sarasota Estate Auction