Fernandez Arman

Lot Description Arman (1928-2005) Exploded Cello burnt cello, bow and Plexiglas 64 x 48 in. (162.5 x 121.9 cm.) Executed in 1972. This work is unique. Provenance Anon. sale; Sotheby's, New York, 5 May 1985, 179 Pascal de Sarthe Gallery, Los Angeles Acquired from the above by the present owner 1988 Pre-Lot Text Property from an Important West Coast Collection View Lot Notes > This work is recorded in the Arman Studio Archives New York under number: APA# 8208.72.089.

Arman * (Nice 1928–2005 New York) Guitare brulée et polie, polished cast bronze guitar surrounded by black and brown patinated cast of burned guitar incorporated on square base, signed Arman, number 4 from an edition of 8 + 4 AP, with founder’’’’s mark Bocquel, height 83 x 39 x 13 cm, (PP) This work is recorded in the Arman Studio Archives NY under the number: APA#8306.04.006. Provenance: Private Collection, Italy

LOT 229 SOLD TO BENEFIT THE ROBERT RAUSCHENBERG FOUNDATION AND ITS PHILANTHROPIC ENDEAVORS ARMAN 1928 - 2005 DUAL incised with the artist's signature and date 64 accumulation of silver-sprayed cog wheels embedded in polyester 10 3/4 by 9 by 1 7/8 in. 27.3 by 22.9 by 4.8 cm. Executed in 1964, this work is recorded in the Arman Studio Archives, New York, under number APA# 8003.64.052.

ARMAN (1928-2005) Mambila Figure (Cameroun) , 1997 signed 'Arman' (lower right) ink and gouache on paper 38 x 24in. (96.5 x 60.9cm) This work is recorded in the Arman Studio Archives New York under number APA# 8026.97.068N . PROVENANCE: Estate of Irwin Smiley, New York (acquired directly from the Arman Studio). Bonhams is delighted to present a selection of works by the late great French artist Arman from various American collections. Including works on paper, paintings and sculptures—the works on offer represent a survey of the artist's works from the 1980s through to the end of his career. From the smaller work on paper to large scale sculptures, each category of his works are represented. Arman (born Armand Pierre Fernandez in 1928) was the son of an antiques dealer, amateur artist, photographer and cellist. Growing up in Nice, France with his multitalented father, Arman learned classical oil painting and photography techniques. Early on he became fascinated by and well known for his accumulation works where he begin combining multiple objects together—either encased in vitrines and resin or by welding them together. In this early period in his career, Arman cited Kurt Schwitters as a major influence due do his creation of assemblage technique. In 1960, Arman helped to found the Noveau réalisme group with artists Yves Klein, Raymond Hains, Martial Raysse, Daniel Spoerri and others. The group defined themselves as bearing in common their new perspective approaches of reality—specifically examining art and objects in the new consumer driven society. Shortly after, Arman moved to New York City in 1961 and immersed himself in the art scene and pulled boundless subject matter from the flourishing economy and society. In New York, he expanded upon his previous work and began utilizing musical instruments as integral parts of his assemblages, accumulations and decoupés. Simultaneously, Arman realized that utilizing elements of everyday life in his works, such as the saw blades in Tranches de vie , 1994 or the bicycles in Ton Sur Ton , 1988 and Untitled , 1991 added to the social commentary that he and the other Nouveau realist artists were focused on. These works, in addition to his pieces focusing on violins and cellos (which were very close to his heart) along with other art historical influences have become his most sought after pieces today.

Lot 191 Arman American/French, 1928-2005 Untitled, Cello Table , 1988 Signed Arman Cast and welded bronze with green/brown patina Unique 27 1/2 x 19 7/10 x 17 7/10 inches (69.9 x 50.5 x 45 cm) Provenance: Galerie Ferrero, Nice, France Purchased from the above by the present owner, Jul. 29, 1989 C Estimate $30,000-50,000 The outer framework has scratches and wear to the patina all around, and areas of green oxidation. The interior object have scratches at the top of the curved form. At the bottom edges of the forms, there is residue and soiling. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.