Hany Armanious Sold at Auction Prices

b. 1962 -

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      • Hany Armanious (Australian, born 1962) Exordium, 2011
        May. 11, 2022

        Hany Armanious (Australian, born 1962) Exordium, 2011

        Est: $300 - $500

        Hany Armanious (Australian, born 1962) Exordium, 2011 signed, titled, editioned and dated on accompanying card pewter edition: 42/100 height: 9.0cm For further information on this lot please visit the Bonhams website

        Bonhams
      • HANY ARMANIOUS (born 1962) Untitled Hair Drawing #2 and #3 2003 pair of works human hair and acrylic binder on linen
        Jun. 28, 2021

        HANY ARMANIOUS (born 1962) Untitled Hair Drawing #2 and #3 2003 pair of works human hair and acrylic binder on linen

        Est: $2,500 - $3,000

        HANY ARMANIOUS (born 1962) Untitled Hair Drawing #2 and #3 2003 pair of works human hair and acrylic binder on linen i) 40.5 x 29.5cm ii) 33 x 24cm PROVENANCE: Roslyn Oxley9 Gallery, Sydney (labels verso) Private collection, Melbourne

        Leonard Joel
      • Hany Armanious (b. 1962)
        Sep. 19, 2017

        Hany Armanious (b. 1962)

        Est: $200 - $300

        Mitre 10 Catalogue, digital reproduction, 55 x 66 cm Provenance: Private Collection, Sydney

        Shapiro Auctioneers
      • Hany Armanious (b. 1962)
        May. 09, 2017

        Hany Armanious (b. 1962)

        Est: $2,000 - $3,000

        Hany Armanious (b. 1962) Purple A3, 1995 acrylic on fabric

        Shapiro Auctioneers
      • HANY ARMANIOUS born 1962, SPHINX, 2009, cast pigmented polyurethane resin, cast pewter
        Apr. 30, 2014

        HANY ARMANIOUS born 1962, SPHINX, 2009, cast pigmented polyurethane resin, cast pewter

        Est: $30,000 - $40,000

        HANY ARMANIOUS born 1962, SPHINX, 2009, cast pigmented polyurethane resin, cast pewter DIMENSIONS: 150.0 x 107.0 x 47.0 cm EXHIBITED: Uncanny Valley, Roslyn Oxley9 Gallery, Sydney, 26 March 2009 Australia Council for the Arts, Sydney, 4 June - 24 November 2011 PROVENANCE: Roslyn Oxley9 Gallery, Sydney Private collection, Sydney ESSAY: With his enduring interest in the readymade and figurative traditions of sculpture, as well as the real and illusory potential of art, Hany Armanious is internationally renowned as the author of mysterious, beguiling works that seek to confound and provoke through their exploration of the energy embedded within inanimate objects. Embracing forms, processes and materials from a myriad of traditions - ancient, non-Western idolatry to cosmology, magic and mysticism, and twentieth-century modernism as espoused by figures including Duchamp, Brancusi and Giacometti - for over two decades, his poetic invocations have encouraged reconsideration of the way in which sculpture is fundamentally defined and understood. Simultaneously archaic and modern, formal and informal, uncanny and concrete, indeed his metaphysical enquiries into the nature of objects and our relationship to them are distinguished by an unmistakable universality notwithstanding their ostensible 'ordinariness'; as Doug Hall suggests, the art of Armanious is 'panoramic ... sorting through the detritus of cultural memory.'1 Long fascinated by the transformative powers of the shaman, Armanious employs a highly original technique which constantly surprises through the deft making, unmaking and recreating of everyday objects and materials in oddly lyrical ways. In this manner, the antipodean artist 'shares much with Beuys and Barney: the alchemy idea, conspiracies of art and occult knowledge, fantasies about the artist as the centre of the universe, and a passion for casting ...'2 Yet, as Robert Leonard observes, while Armanious engages the viewer in the seductive idea of art as a transformative or transcendental project, 'the deeper we get into it the more we become mired in mixed metaphors and conceits ... His work is psychological and phenomological rather than cosmological or religious. He sponsors metaphysical inquiry and then pulls the rug out from under it.'3 Redolent with allusion and metaphor, the present Sphinx, 2009 - one of several incarnations by Armanious evoking the mythical figure from ancient civilizations - encapsulates well his artistic intentions. Challenging our acumen in the same vein as its fabled predecessor, it poses the riddle 'What am I?' Quite literally, the sculpture is paradoxically an 'original copy' - an assemblage of casts moulded from polyurethane resin which possess an disorienting degree of verisimilitude. Symbolically however, this new 'reality' whereby objects of incidental value have been transmuted into the precious realm of art through their own faithful remaking is endless in its resonance, continuing to intrigue and bemuse long after Armanious has cast his magic. Born in Egypt in 1962, and migrating with his family to Australia six years later, Sydney-based Armanious represented Australia at the 54th Venice Biennale in 2011 with his exhibition The Golden Thread, curated by Anne Ellegood of the UCLA Hammer Museum, Los Angeles. Subsequently toured to Monash Museum of Art, Melbourne (2012), the exhibition features among his most celebrated recent achievements, together with Fountain (2012) commissioned for the Museum of Contemporary Art, Sydney, and solo exhibitions such as The Oracle (2008) at the Contemporary Art Museum, St Louis, and Morphic Resonance (2006-07) at the Institute of Modern Art, Brisbane and City Gallery, Wellington. The recipient of the prestigious Moet & Chandon Fellowship in 1998, Armanious has also exhibited widely at several biennales, including the Adelaide Biennale (2010); the Busan Biennale (2006); the Johannsburg Biennale (1995); the Sydney Biennale (1992), and in 1993, was selected to exhibit in the Aperto section of the Venice Biennale. His work is held in many important private and public collections internationally, including most major museums within Australia and New Zealand, as well as the Museum of Contemporary Art, San Diego, United States of America; the UCLA Hammer Museum, Los Angeles; and the Dakis Joannou Foundation, Athens. 1. Hall, D., cited in Delany, M., 'The Uncanny Logic of Hany Armanious', Artery, 1 November 2011 2. Leonard, R., 'Catalogue of Errors' in Morphic Resonance - Hany Armanious, Institute of Modern Art, Brisbane, 2007, pp. 20-30 3. ibid. VERONICA ANGELATOS

        Deutscher and Hackett
      • Hany Armanious (b. 1962), Untitled, polyvinyl
        Aug. 07, 2013

        Hany Armanious (b. 1962), Untitled, polyvinyl

        Est: $1,000 - $1,500

        Hany Armanious (b. 1962), Untitled, polyvinyl chloride (PVC) pipe various sizes, longest length: 130 cm and smaller, Represented by Roslyn Oxley9 Gallery, Sydney

        Shapiro Auctioneers
      • HANY ARMANIOUS (born 1962) - Rabbit mixed media on paper
        Aug. 11, 2011

        HANY ARMANIOUS (born 1962) - Rabbit mixed media on paper

        Est: $800 - $1,200

        HANY ARMANIOUS (born 1962) Rabbit mixed media on paper 20.5 x 26.0 cm label attached verso bearing artist's name and title of the work

        Lawsons
      • Hany Armanious Muffin 410 x500 x 520mm
        Nov. 25, 2010

        Hany Armanious Muffin 410 x500 x 520mm

        Est: $2,500 - $4,000

        Hany Armanious Muffin 410 x500 x 520mm

        ART+OBJECT
      • - Hany Armanious , Australian 1962 - SCARING AWAY THE HUMAN FORM (DEATH AS ADVISOR) Black peppercorns, polyurethane on form-ply steel
        Aug. 25, 2009

        - Hany Armanious , Australian 1962 - SCARING AWAY THE HUMAN FORM (DEATH AS ADVISOR) Black peppercorns, polyurethane on form-ply steel

        Est: $5,000 - $7,000

        Bears artist's name, title and date on gallery label on reverse Black peppercorns, polyurethane on form-ply steel

        Sotheby's
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