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Arman Cello Chair

Arman "Cello" Chair, circa 1990, France
By Arman, Hugues Chevalier
Located in Girona, Spain
Arman "Cello" Chair, circa 1990, France. Arman "Cello" chair editions Hugues Chevalier n°9/50
Category

1990s French Modern Side Chairs

Materials

Beech

Cello Chair
By Arman
Located in PARIS, FR
Bronze, leather upholstery Fonderie d’art Bocquel, numbered.
Category

1990s French Chairs

Materials

Bronze

Cello Chair
Cello Chair
H 33.08 in W 17.72 in D 15.75 in

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Pair of Armchairs, Signed Arman
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Recent Sales

Arman Cello Chair, Circa 1990
By Arman
Located in PARIS, FR
Arman Cello chair circa 1990 Éditions Huge Chevalier Excellent condition Arman ( 1928
Category

1990s French Mid-Century Modern Chairs

Materials

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Arman Cello Chair, Circa 1990
Arman Cello Chair, Circa 1990
H 33.86 in W 14.57 in D 15.75 in
Cello Chair
By Arman
Located in PARIS, FR
Bronze, leather upholstery Fonderie d’art Bocquel, numbered.
Category

1990s French Chairs

Materials

Bronze

Cello Chair
Cello Chair
H 33.08 in W 17.72 in D 15.75 in
Arman Pair of Cello Chairs in Bronze Antique Green Patina and Green Leather Seat
By Arman
Located in Paris, FR
xx/1800. Bocquel Foundry. Recorded at the Arman Studio in New York under number: APA # 7030.93.414
Category

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Arman Pair of Cello Armchairs in Bronze Antique Green Patina 1993
By Arman
Located in Paris, FR
Model created in 1993. Bronze cello shaped chairs with scroll-shaped arms and legs. Antic Green
Category

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Unique Creation of Arman, 'CELLO' Chair, Editions Hugues Chevalier
By Arman
Located in Beirut, LB
Cello chair by Arman Hugues Chevalier editions n ° 2/50. Wood (sycamore and beech), France
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Cello Chair by Arman, Number 4/50, Wood, France
By Arman
Located in Paris, FR
Cello chair by Arman editions Hugues Chevalier n°4/50. Wood (sycamore and beech), France. Signed
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Cello Chair by Arman, Number 4/50, Wood, France
Cello Chair by Arman, Number 4/50, Wood, France
H 33.67 in W 16.34 in D 16.15 in
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Arman for sale on 1stDibs

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.