Puisque les murs n'arrêtent pas les oiseaux construisons des perchoirs plutôt que des cachots, 2019
Print : lithography · 68 x 54 cm 26.8 x 21.3 inch
CHF 429
429 CHF
Shipping & delivery
Shipped from: France
Delivery to: Switzerland , CHF 29
Estimated delivery: Less than one week
Free returns within 14 days, full refund
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Sold with certificate of Authenticity from Editions Atelier Clot
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Verified Reviews : 9.6/10
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About the artwork
Type
Print : numbered and limited to 75 copies
1 copy available
Condition
Artwork sold in perfect condition, not framed
Authenticity
Sold with certificate of Authenticity from Editions Atelier Clot
Invoice from the gallery
Signature
Hand-signed by artist
Technique & Support
Dimensions ( cm • inch )
68 x 54 cm 26.8 x 21.3 inch Height x Width x Depth
Sold by
Art gallery
Credentials
Vetted seller since 2021 • Top Seller
Discount
This seller offers discount when you purchase multiple artworks.
Description
Editions Atelier Clot
Clot, Bramsen & Georges printing.
Hand signed and numbered by the artist.
Publisher's dry stamp (Atelier Clot)
Original lithograph
The Clot workshop is one of the oldest and most famous lithography workshops in the world. Since 1896, his name has been associated with that of the greatest painters from the end of the 19th century to the present day. Lautrec, Degas, Renoir, Rodin, Monet, Munch .... or more recently Foujita, Matisse, Calder, Soulages have printed their works there.
Clot, Bramsen & Georges printing.
Hand signed and numbered by the artist.
Publisher's dry stamp (Atelier Clot)
Original lithograph
The Clot workshop is one of the oldest and most famous lithography workshops in the world. Since 1896, his name has been associated with that of the greatest painters from the end of the 19th century to the present day. Lautrec, Degas, Renoir, Rodin, Monet, Munch .... or more recently Foujita, Matisse, Calder, Soulages have printed their works there.
Presentation
For four years now, Madame has been working and reworking old documents and old photographs from the last century up to the 50s / 60s, to make new, more contemporary images. These original visuals have the particularity of being always articulated in the following way: an image and a punch line which dialogue without illustrating each other. Once these small-format collages are finalized, they are scanned to be printed in a very large format and affixed in the street, in order to offer passers-by an open door to an offbeat and playful imagination. It is a question here of proposing to the “spectator” an image with multiple interpretation, an open door towards an elsewhere.
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