(b Nice, France, April 28, 1928; d Paris, June 6, 1962) French painter. Klein wanted the viewer to undergo both a revelation of the senses and the mind in front of the intense blue field of his paintings. He believed that through meditation of the material, he could release the individual from the confines of the worldly and into the realm of transcendent experience. Blue was for Klein the color of the infinite and of the void - a color "beyond dimensions." He even gave his extreme tone of blue a patented trademark - International Klein Blue (IKB) - mixing the pure ultramarine with a synthetic resin so that it retained its powdery consistency and true brilliance. Klein selected gold, red, and especially the IKB, as colors that came closest to his vision of the immaterial and the infinite. With his monochromatic language, Klein aimed to stimulate independent sensations in the viewer, emancipated from the anchor of depiction. In this he fused the dual meaning of 'painting' (the application of pigment as opposed to the depiction of something); paint became the painting's subject.* If all this sounds somewhat esoteric, then it will come as no surprise that Klein was well initiated in the philosophies of Zen Buddhism, and had in fact initially begun his career as a promising judo champion. It was while working in a frame shop in London at the age of 22 in 1949 however that he first discovered the possibilities of monochrome painting. "I have found it!" he proclaimed, showing off some small monochrome gouaches to his amused friends. At last here was, "a means of painting that was against painting, against all the anxieties of life, against everything. It was creation, and creation was health." This revelation would dictate the rest of Klein's short career.** (Credit: *Christie’s, New York, Post War and Contemporary Art Evening Sale, May 14, 2003, lot 39; **Christie’s, London, June 30, 1999, lot 552)
Yves Klein monographs, nineteen bound printed paper Provenance: Collection of Michael and Gabrielle Boyd Complete Lot Details Yves Klein: Embrasure Frederic Prot, 5 Continents, Milan, 2012. 239 pages. Includes bibliographical references and indexes. Postface translated from English into French. Yves Klein Pierre Restany, Chêne, Paris, 1982. 248 pages. Bibliography: p. 247-248. New ed., with illustrations and revised text, of: Yves Klein, le monochrome. 1974. Yves Klein: 3 mars-23 mai 1983, Centre Georges Pompidou, Musée national d'art moderne Yves Klein, Le Musée, [Paris], 1983. 424 pages. Bibliography: p. 402-424. Yves Klein Schirn Kunsthalle Frankfurt, Hatje Cantz, Ostfildern-Ruit, 2004. 237 pages, Hardcover with dustjacket. Catalog of an exhibition held at the Schirn Kunsthalle, Frankfurt am Main, September 17, 2004 - January 9, 2005, and at the Guggenheim Museum Bilbao, January 31 - May 2, 2005. Includes bibliographical references (ppg. 232-235). English edition. Tinguely's Favorites: Yves Klein, Museum Jean Tinguely Basel, Basel, Switzerland, 1999. 172 pages. "Yves Klein : English texts" (63 p.) inserted. Includes bibliographical references (p. 170-171). Catalog of an exhibition held at the Museum Jean Tinguely Basel, Basel, Switzerland, Dec. 1, 1999-April 9, 2000. Tinguely's Favorites: Yves Klein, Museum Jean Tinguely Basel, Basel, Switzerland, 1999. 172 pages. "Yves Klein : English texts" (63 p.) inserted. Includes bibliographical references (p. 170-171). Catalog of an exhibition held at the Museum Jean Tinguely Basel, Basel, Switzerland, December 1, 1999 - April 9, 2000. Yves Klein: A Career Survey, L&M Arts, New York, 2005. 102 pages, Hardcover. Published on the occasion of the L&M exhibition Colour After Klein: Rethinking Colour in Modern And Contemporary Art Jane Alison, Black Dog, London, 2005. 191 pages. Yves Klein 1928-1962: A Retrospective Institute for the Arts, Menil Foundation, June 1982. 350 pages. Yves Klein: Works, Writings, Interviews Yves Klein, Poligrafa, Ediciones, S. A., 2011. 160 pages. Yves Klein, 1928-1962: International Klein Blue Hannah Weitemeier, Benedikt Taschen, Köln, 1995. 95 pages. "Taschen 37"--Spine. Yves Klein Exhibition, The Museum of Modern Art, Seibu Takanawa, Japan, 1985. 149 pages, Softcover. Yves Klein 1928-1962: A Retrospective, Institute for the Arts, Rice University, Houston, TX, 1982. 27 pages, Staplebound. Yves Klein Exhibition at Sidney Janis, Sidney Janis Gallery , New York, 1986. Staplebound. Monochrome Paintings and Sponge Reliefs by Yves Klein Yves Klein Exhibition at Sidney Janis, Sidney Janis Gallery, New York, 1986. Staplebound. Monochrome Paintings and Sponge Reliefs by Yves Klein. Yves Klein, Stedelijk Museum Amsterdam, Amsterdam, 1965. 55 pages, Softcover. Catalogue no.385 Yves Klein: Air Architecture Francois Perrin, MAK Center for Art and Architecture, Hollywood, CA, 2004. Newsprint. 4 copies Yves Klein: Le monochrome Pierre Restany, Hachette, Paris, 1974. 186 pages. Bibliography: p. [181]-186. Yves Klein, Le feu au coeur du vide Pierre Restany, Difference, November 16, 2000. 165 pages. This work will ship from Chicago, Illinois.
Yves Klein (French, 1928-1962) International Klein Blue (IKB) pigment on stamp. Pigment from the artist's studio. Stamp measures approx 1 3/16 x 1 1/8". Display case measures 4" x 4" x 3/4".
Ohne Titel (aus: Les Nouveaux réalistes). 1973. Farbserigrafie auf Polyesterfolie, auf blauem Karton montiert, mit einem weiteren blauen Karton unter Glas gerahmt. Aus einer Auflage von 600 Exemplaren. Am unteren Blattrand typografisch bezeichnet: Yves Klein. Blattmaß Farbserigrafie: 50 x 49,8 cm. Rahmenausschnitt: 97,5 x 48,5 cm. Unter Glas gerahmt: 100,2 x 51,4 cm. Hrsg. von: Attilio Codognato, Ars Viva Edition N.R., Mailand 1973.
Yves Klein COS 3 Schwarze und blaue Pigmente auf Papier auf Leinwand / Black and blue pigments on paper on canvas 1960 49x64 cm / 49x64 cm Signatur / Signature Unten rechts vom Künstler datiert und signiert "23-3-60 Yves K[...]" Lower right dated and signed by the artist "23-3-60 Yves K[...]" Werkverzeichnis / Catalogue Raisonné Paul Wember, Yves Klein, Köln 1969, Abb. S. 119 DAs Werk ist im Yves Klein Estate unter der Nummer "COS 3" registriert Paul Wember, Yves Klein, Cologne 1969, fig. P. 119 The work is registered in the Yves Klein Estate under the number "COS 3" Provenienz / Provenance Nachlass des Künstlers, von dort an Galerie Gmurzynska, Zürich, rückseitig mit Etikett, von dort an Bedeutende Internationale Privatsammlung Estate of the artist, from there to Galerie Gmurzynska, Zurich, verso with label, from there to Important International Private Collection Literatur / Literature Pierre Restany, Yves Klein, Paris 1982, S. 131-137 Catherine Millet, Yves Klein, Paris 1983, S. 47 Anette Kuhn, Zero, Eine Avantgarde der sechziger Jahre, Frankfurt am Main 1991, Kat. Nr. 62 Nicolas Charlet, Yves Klein, Paris 2000, S. 184-185 Pierre Restany, Yves Klein, Paris 1982, p. 131-137 Catherine Millet, Yves Klein, Paris 1983, p. 47 Anette Kuhn, Zero, Eine Avantgarde der sechziger Jahre, Frankfurt am Main 1991, cat. no. 62 Nicolas Charlet, Yves Klein, Paris 2000, p. 184-185 Ausstellungen / Exhibitions Paris 1969, Union Centrale des Arts Décoratifs, Yves Klein 1928–1962 Cagnes-sur-Mer 1972, Château-Musée, Marie Raymond, Yves Klein, Kat. Nr. 22 Köln/Düsseldorf/London/Madrid 1994/1995, Museum Ludwig/Kunstsammlung Nordrhein-Westfalen, mit Etikett/Hayward Gallery, mit Etikett/Museo Nacional Centro de Arte Reina Sofía, Yves Klein, Der Sprung ins Leere, Leap into the Void, Salto en el Vacío, Kat. Nr. 134 Oslo/Tampere/Sydney 1997/1998, The National Museum of Contemporary Art/Sara Hildén Art Museum/Museum of Contemporary Art, Yves Klein, Kat. Nr. 54 Nizza/Prato 2000, Musée d'art moderne et d'art contemporain/Museo Pecci, Yves Klein, La vie, la vie elle-même qui est l'art absolu, S. 245 Köln 2002, Galerie Gmurzynska, Naturometries, S. 42–43, 89 Koblenz 2006, Ludwig Museum im Deutschherrenhaus, Yves Klein & Marie Raymond, ohne Kat. Nizza 2018, MAMAC Musée d'Art moderne et d'Art contemporain, Cosmogonies, au gré des éléments, S. 62, 172 Paris 1969, Union Centrale des Arts Décoratifs, Yves Klein 1928–1962 Cagnes-sur-Mer 1972, Château-Musée, Marie Raymond, Yves Klein, cat. no. 22 Cologne/Düsseldorf/London/Madrid 1994/1995, Museum Ludwig/Kunstsammlung Nordrhein-Westfalen, with label/Hayward Gallery, with label/Museo Nacional Centro de Arte Reina Sofía, Yves Klein, Der Sprung ins Leere, Leap into the Void, Salto en el Vacío, cat. no. 134 Oslo/Tampere/Sydney 1997/1998, The National Museum of Contemporary Art/Sara Hildén Art Museum/Museum of Contemporary Art, Yves Klein, cat. no. 54 Nice/Prato 2000, Musée d'art moderne et d'art contemporain/Museo Pecci, Yves Klein, La vie, la vie elle-même qui est l'art absolu, p. 245 Cologne 2002, Galerie Gmurzynska, Naturometries, p. 42–43, 89 Koblenz 2006, Ludwig Museum im Deutschherrenhaus, Yves Klein & Marie Raymond, without cat. Nice 2018, MAMAC Musée d'Art moderne et d'Art contemporain, Cosmogonies, au gré des éléments, p. 62, 172 Zustand / Condition Mit Atelierspuren der Herstellung, minim gebräunt, in ausgezeichneter Gesamterhaltung With studio traces, slightly browned, in excellent overall condition Erläuterungen / Comments Mit den "Cosmogonies" erreichte Yves Klein 1960 einen entscheidenden Wendepunkt seines Schaffens. Nachdem er den monochromen Bildraum als Träger schöpferischer Energie eingesetzt hatte, übertrug er den Entstehungsprozess nun auf die Natur selbst. Wind, Regen, Sonnenlicht und Pflanzen wurden zu eigentlichen Mitautoren des Werkes. Die Natur erscheint nicht länger als Motiv der Darstellung, sondern als unmittelbar wirkende schöpferische Kraft. In seiner programmatischen Schrift "Yves le monochrome 1960, le vrai devient réalité" schrieb der Künstler 1960: "Je bondis dehors et me voilà au bord de la rivière, dans les joncs et dans les roseaux. Je pulvérise de la couleur sur tout cela et le vent qui fait plier les fines tiges vient les appliquer avec précision et délicatesse sur ma toile que je présente ainsi à la nature frémissante: j'obtiens une marque végétale. Puis il se met à pleuvoir une pluie fine de printemps; j'expose ma toile à la pluie et le tour est joué. J'ai la marque de la pluie ! une marque d’événement atmosphérique." (Ich springe hinaus und stehe am Ufer des Flusses, zwischen Binsen und Schilf. Ich versprühe Farbe über all dies, und der Wind, der die feinen Halme biegt, legt sie mit Präzision und Zartheit auf meine Leinwand, die ich so der bebenden Natur darbiete: Ich erhalte eine pflanzliche Spur. Dann beginnt ein feiner Frühlingsregen zu fallen; ich setze meine Leinwand dem Regen aus - und das Werk ist vollbracht. Ich habe die Spur des Regens! Eine Spur eines atmosphärischen Ereignisses). Klein bezeichnete diese neue Werkgruppe als "Cosmogonies" - Bilder, in denen sich die elementaren Kräfte des Kosmos unmittelbar auf der Bildfläche einschreiben. "COS 3" gehört zu den frühesten Arbeiten dieser Serie und entstand 1960 in einer Phase intensiver künstlerischer Experimentierfreude. Man erkennt im vorliegenden Fall Kleeblätter und Schilfhalme, die den Bildraum rhythmisch befüllen. An die Stelle der traditionellen künstlerischen Handschrift tritt das unmittelbare Wirken von Wind und pflanzlichen Strukturen. Der Zufall ist dabei keineswegs Ausdruck eines Verzichts auf Gestaltung, sondern Teil eines bewusst gelenkten Prozesses. Klein verstand sich als Initiator eines Geschehens, in dem die Natur selbst zum eigentlichen Akteur wird. Laut Archiv steht auf der Rückseite des Blattes "Embouchure du Loup Cagnes s/Mer (23.3.60) / Feuilles, roseaux, feuilles de roseaux, plaquage à la surface de l'eau sur des roseaux flottants et peints en bleu au préalable" (Mündung des Loup, Cagnes-sur-Mer (23.3.60) / Blätter, Schilf, Schilfblätter, auf der Wasseroberfläche auf schwimmendem, zuvor blau bemaltem Schilf). Klein löst mit den "Cosmogonies" die traditionelle Trennung zwischen Künstler, Werk und Natur auf und entwickelt eine Bildauffassung, die den schöpferischen Prozess selbst zum eigentlichen Gegenstand erhebt. Innerhalb des schmalen Œuvres Yves Kleins nehmen die "Cosmogonies" eine Schlüsselstellung ein. Sie verbinden die radikale Reduktion der monochromen Werke mit dem performativen Charakter der "Anthropométries", bei denen schliesslich Menschen zu den Malmitteln wurden. Das Werk ist weniger als Bild im traditionellen Sinn zu verstehen denn als Spur eines einmaligen Ereignisses - als materieller Niederschlag eines Augenblicks, in dem sich Natur, Zeit und künstlerische Idee zu einer untrennbaren Einheit verbinden. Klein behielt das vorliegende Werk bis zu seinem Tod in seinem Besitz. With the "Cosmogonies", Yves Klein reached a decisive turning point in his work in 1960. After having used the monochrome pictorial space as a carrier of creative energy, he now transferred the process of creation to nature itself. Wind, rain, sunlight, and plants became actual co-authors of the work. Nature no longer appears as a motif of representation, but as an immediately acting creative force. In his programmatic text "Yves le monochrome 1960, le vrai devient réalité", the artist wrote in 1960: "Je bondis dehors et me voilà au bord de la rivière, dans les joncs et dans les roseaux. Je pulvérise de la couleur sur tout cela et le vent qui fait plier les fines tiges vient les appliquer avec précision et délicatesse sur ma toile que je présente ainsi à la nature frémissante: j'obtiens une marque végétale. Puis il se met à pleuvoir une pluie fine de printemps; j'expose ma toile à la pluie et le tour est joué. J'ai la marque de la pluie ! une marque d’événement atmosphérique." (I leap outside and stand on the riverbank, among rushes and reeds. I spray color over all this, and the wind, which bends the fine stalks, lays them with precision and delicacy onto my canvas, which I thus offer to the trembling nature: I obtain a vegetal trace. Then a fine spring rain begins to fall; I expose my canvas to the rain—and the work is done. I have the trace of the rain! A trace of an atmospheric event). Klein referred to this new group of works as "Cosmogonies"—pictures in which the elemental forces of the cosmos inscribe themselves directly onto the pictorial surface. "COS 3" is among the earliest works of this series and was created in 1960 during a phase of intense artistic experimentation. In the present case, one can recognize clover leaves and reed stalks rhythmically filling the pictorial space. The immediate effect of wind and plant structures replaces the traditional artistic hand. Chance here is by no means an expression of a renunciation of design, but part of a consciously directed process. Klein saw himself as the initiator of an event in which nature itself becomes the true actor. According to the archive, the reverse of the sheet reads "Embouchure du Loup Cagnes s/Mer (23.3.60) / Feuilles, roseaux, feuilles de roseaux, plaquage à la surface de l'eau sur des roseaux flottants et peints en bleu au préalable" (Mouth of the Loup, Cagnes-sur-Mer (23.3.60) / Leaves, reeds, reed leaves, on the water surface on floating, previously blue-painted reeds). With the "Cosmogonies", Klein dissolves the traditional separation between artist, work, and nature and develops a pictorial concept that elevates the creative process itself to the actual subject. Within Yves Klein's concise oeuvre, the "Cosmogonies" occupy a key position. They combine the radical reduction of the monochrome works with the performative character of the "Anthropométries", in which, ultimately, people became the painting tools. The work is to be understood less as a picture in the traditional sense than as a trace of a unique event—as the material residue of a moment in which nature, time, and artistic idea merge into an inseparable unity. Klein kept the present work in his possession until his death. MWST / VAT Mehrwertsteuer auf dem Zuschlagspreis plus Aufgeld / VAT on hammer price plus buyer's premium Erwartete Ausrufzeit / Estimated Auction Time of Lot (+/- 30min) 11.09.2026; 16:45 h (MEST / CET) For further information visit our website (www.kornfeld.ch) Versandkosten / Shipping cost Auf Anfrage / On request
Yves Klein Table Bleue France, 1961-63 / c. 2010 International Klein Blue pigment, glass, Plexiglas, chrome-plated steel 15 h x 49.25 w x 39.5 d in (38 x 125 x 100 cm) This work is from the edition started in 1963 published by Rotraut Klein-Moquay based on a 1961 design by Yves Klein. Applied plaque to underside 'This table conforms to Yves Klein's patent Serial Number: ES-GERE R. KL. Moquay'. Provenance: Private Collection This work will ship from Lambertville, New Jersey.
Yves Klein (French, 1928-1962) International Klein Blue (IKB) pigment on stamp. Pigment from the artist's studio. Stamp measures approx 1 3/16 x 1 1/8". Display case measures 4" x 4" x 3/4".
YVES KLEIN (1928-1962) Table Monopink, 1961-1963 Verre, plexiglas, pigments roses et piétement en métal chromé Édition initiée en 1963 sous la supervision de Rotraut Klein-Moquay, d’après un modèle d'Yves Klein de 1961 36 x 125 x 100 cm Glass, plexiglass, chrome-plated metal, dry pigment 14 1/8 x 49 1/4 x 39 3/8 in. Provenance Collection particulière Bibliographie Jean-Paul Ledeur, Yves Klein, Catalogue raisonné des éditions et sculptures éditées, Knokke, 2000, page 53
YVES KLEIN (1928-1962) Catalogue raisonné des éditions et sculptures, coffret objet, 2000 Coffret-objet en plexiglas avec pigments IKB et roses et inclusions de feuilles d'or Édition de luxe à tirage limité du Catalogue Raisonné par Jean-Paul Ledeur Ouvrage de Jean-Paul Ledeur et coffret d'archives Numérotés numérotés IV / C 33 x 19,5 x 26,5 cm Plexiglas case with gold leaf inclusion, IKB and pink pigments Book of Jean-Paul Ledeur and archives case Numbered IV / C 13 x 7 5/8 x 10 3/8 in Provenance Collection particulière
YVES KLEIN (1928-1962) Table Bleue, 1961-1963 Verre, plexiglass, chrome, bois et pigment IKB®, numérotée et signée Rotraut Klein-Moquay sur un cartel au revers du plateau. Édition initiée en 1963 sous la supervision de Rotraut Klein-Moquay, basée sur un modèle d'Yves Klein de 1961 36 x 124,8 x 100 cm - 14 1/8 x 49 x 39 1/3 in. Bibliographie: Jean-Paul Ledeur, Yves Klein, Catalogue raisonné des éditions et sculptures éditées, Knokke, 2000, page 53.
Rotterdam, The Archives, 1991. Offset on newspaper sheet, 56 x 38 cm, printed both sides. Front with exquisite design: blue text printed over a reproduction of Yves Klein's 1960 'Dimanche' newspaper, containing his Manifesto and several b/w pictures by Harry Shunk, including the iconic image of Klein leaping into the void. (Le peintre de l'espace se jette dans le vide!). Rear with exhibition information. Machine-folded, mild spotting on rear; overall fine copy.
YVES KLEIN (1928-1962) Victoire de Samothrace Sculpture en cristal bleuté de la Maison Lalique, conforme à l'œuvre la "Victoire de Samothrace" à la cire perdue par Yves Klein, elle repose par une tige en métal sur une base rocheuse en pierre. Cachet de l'artiste YK 62 et justification du tirage 25/83. Présentée dans son coffret et son emballage d'origine et accompagnée d'un certificat signé par Rotraut Klein-Moquay, Archives Yves Klein, et Silvio Denz, Président-Directeur Général de Lalique SA et d'un CD dans son étui. Excellent état. Dimensions ca. : 49,5 x 22 x 24,5 cm Conçue en 1962 et réalisée en 1973, cette œuvre est le numéro 25 d'une édition de 83 exemplaires. Provenance : Collection privée, Monte-Carlo
YVES KLEIN (1928-1962) La Vénus d'Alexandrie (Vénus Bleue, S 41) 1967 estampillée du nom de l'artiste, du titre et du numéro « VENUS BLEUE de Yves KLEIN HC XVI/L » au dessous pigment IKB et résine synthétique sur plâtre stamped with the artist's name, titled and numbered 'VENUS BLEUE de Yves KLEIN HC XVI/L' underneath IKB pigment and synthetic resin on plaster 68 x 25 x 18 cm. 26 3/4 x 9 13/16 x 7 1/16 in. Conçue en 1962 et réalisée en 1982 (édition multiple posthume), cette œuvre est le numéro HC XVI d'une édition de 300 exemplaires + 50 HC et 3 exemplaires en résine avec le monogramme de l'artiste.
Yves Klein 1928 - 1962 Monochrome bleu sans titre (IKB 323) dry pigment and synthetic resin on cartoline Executed in 1959 This work is registered in the Archives Yves Klein, Paris. cm 21,7x18; inches 8.54 by 7.09 Framed: cm 44,2x37,5x6,1; inches 17.40 by 14.76 by 2.40
Artist/Designer/Manufacturer: Yves Klein (French, 1928-1962) for Artware Editions (France) Marking(s); notes: signed, plaque; c. 2010 Materials: gold leaf, glass, Plexiglas, chrome-plated steel Dimensions (H, W, D): 14.5"h, 49.25"w, 39.5"d Additional Information: The table was produced under the supervision of Rotraut Klein-Moquay and is serial no. 10 IN-ONM.
Yves Klein (1928-1962) Two prints from "The Inner and the Outer Space." Color screenprint and gold foil, 1965. Produced as part of the exhibition catalog for Den inre och den yttre rymden. En utställning rörande en universell konst (The Inner and the Outer Space. An Exhibition on Universal Art, 1965–66) held at the Moderna Museet Stockholm. With the offset lithograph three-screw bound catalog and original printed cardboard box.
Yves Klein (French, 1928-1962) "Table d'Or", originally designed 1961, 22K gold leaf encased in Plexiglas below glass top above chrome-plated frame, artist's label with Rotraut Klein-Moquay's signature to underside reading "This table conforms to Yves Klein's patent / Serial number: GTG-RTKJ / R. Klein-Moquay". 14.75" H x 49" W x 39.5" D. Provenance: From a One Central Park West Estate. Keywords: Designer, Art Furniture, Modern Furniture, Coffee table, Low table, Interior design, Mid-Century Modern Design, MCM, Decorative Arts
Yves Klein (French, 1928-1962) "Table Rose", originally designed 1961, pink pigment encased in Plexiglas below glass top above chrome-plated frame, artist's label with Rotraut Klein-Moquay's signature to underside reading "This table conforms to Yves Klein's patent / Serial number: DED-MLOP / R. Klein-Moquay". 14.75" H x 49.5" W x 39.5" D. Provenance: From a One Central Park West Estate. Keywords: Designer, Art Furniture, Modern Furniture, Coffee table, Low table, Interior design, Mid-Century Modern Design, MCM, Decorative Arts
Yves. Propositions Monochromes (Einladungskarte). 1957. Farbserigrafie auf Papier. Blattmaß: 10,4 x 29,3 cm. Auf Unterlagekarton montiert und unter Museumsglas gerahmt: 13,9 x 32,8 cm. Ausstellung: YVES KLEIN. The Infinite Space, Museum Jorn, Silkeborg, Dänemark 2023.
Yves Klein 1928-1962 (French) Table d'Or gold leaf, plexiglas, wood and chrome-plated metal table h:37 w: 125 d:100 cm. signed and numbered '07-A1-E-34 R.Klein-Moquay' on a plaque affixed to the underside Provenance: Private collection, New York. Sale: Christie's, New York, December 12, 2016, lot 238. Private collection, acquired at the above sale. Other Notes: This work is from an edition begun in 1963, under the supervision of Rotraut Klein-Moquay based on a model by Yves Klein. Items marked **with a lot number indicate they have been imported into Israel. These items are subject to Israeli tax laws, including a 18% value-added tax (VAT) on the purchase price and the buyer's commission ONLY WHEN RELEASED IN ISRAEL. Location: Israel. For estimated delivery time please contact us. Condition report available upon request.
23W x 17.5H In good condition with wear commensurate with age. From the estate collection of Alexander Goykhman. Striking monochromatic composition rendered in a vivid blue hue, featuring heavily textured application with dynamic, radiating forms and expressive surface buildup. The work emphasizes movement and material presence through thick pigment and gestural spread across the canvas. Signed lower right. Measures 23W x 17.5H. In good condition with wear commensurate with age. From the estate collection of Alexander Goykhman. Yves Klein (1928–1962) was a French artist and a leading figure in postwar European art, associated with Nouveau Réalisme. He is best known for his development of International Klein Blue (IKB) and his exploration of color as a conceptual and experiential element. Klein’s work often focused on immateriality, texture, and the expressive potential of pure pigment, leaving a lasting impact on modern and contemporary art.
YVES KLEIN (Nice, 1928-Paris, 1962). "Petite Venus", 1956-1957. Brass brooch, international Klein blue pigment, gold leaf and acrylic. Methacrylate urn. Exemplary 185/500. Work published in "Art To Wear, Jewellery by Post-War Painters and Sculptors", Martine Newby Haspeslagh, p. 47. Measurements: 13 x 8,9 x 8,9 cm (with plexiglass). Yves Klein's "Petite Vénus" is an emblematic sculpture representing a small Venus. Made of brass, it has been polychromed with the characteristic patented ultramarine blue pigment "International Klein Blue", created by Yves Klein in 1955-1960 after a long research: "I was looking for a fixing medium capable of fixing each pigment grain to each other and then to the support, without any of them being altered or deprived of their autonomous possibilities of irradiation, while uniting with the others and with the support, thus creating the colored mass, the pictorial surface". A key artist of the neo-Dadaist movement, Yves Klein was born into a family of artists, although he began his career as a judoka. Deeply attracted by the philosophy and practice of judo, he studied at the Kodokan Institute in Tokyo, whose judo school is strongly influenced by Zen philosophy. Also from a very young age Klein became interested in the Christian religiosity of the Rosicrucian Order, combining the search for a state of emptiness and total harmony of Zen with the ritual and immateriality of the Rosicrucians. These aspects will remain in his personality for the rest of his life, and will have their expression in his art. Klein began painting in the 1950s, and presented himself as a visual artist at the 1955 Salon des Réalités Nouvelles in Paris, with the monochrome "Expression of the Universe in the Color Mino Orange". However, the Salon rejected his work, arguing that a single color was not enough to create a painting. In this first stage Klein will make monochrome works, using a roller and not a brush to eliminate any trace of the artist's hand. Color becomes the protagonist, as materialized sensibility, as sensory perception. In particular, the most important color for him will be blue, to which the artist attributes the most abstract motifs of tangible nature, such as the sky and the sea. In this context, Klein searched for a long time for a blue that would preserve the original luminosity of the pigment, until he came up with IKB (International Klein Blue). This is a deep ultramarine blue that the artist himself developed and patented. Throughout his career he showed his work in exhibitions held in cities such as Milan, Paris, Dusseldorf and London, gaining rapid international recognition. He also explored beyond painting, proposing a personal architectural idea that replaces walls with air currents, or with exhibitions such as "Le Vide" (Paris, 1958), in which he presented a completely empty room, painted by him in white. He has also produced outstanding series such as "Anthropometries", body prints in blue, pink or gold, and "Cosmogonies", where Klein captures the traces of wind and rain. Works by Yves Klein are currently on view in major museums around the world, including MoMA, the Guggenheim and Metropolitan Museums in New York, the Centre Pompidou in Paris, the Tate Gallery in London, the MUMOK in Vienna, the Guggenheim in Bilbao, the MNCARS in Madrid, the Galleria Nazionale d'Arte Moderna e Contemporanea in Rome and other public and private collections.
Yves Klein (1928 - 1962) Petite Vénus Bleue, 1956 - 1957 Broche en bronze peint avec la couleur IKB®, présentée dans son écrin en Perspex décoré de feuilles d’or, gravée de l’étoile de l’artiste et numéroté 351/500 au revers de la broche 12 x 7,5 x 8,5 cm Information Expertise: Un certificat rédigé par Madame Rotraut Klein-Moquay sera remis à l’acquéreur
Yves Klein (1928 - 1962) Table Rose, 1961 - 1963 Verre, plexiglass, chrome, bois et pigments roses numérotée 98 - A11 - 6 et signée Rotraut Klein-Moquay sur un cartel au revers du plateau. Édition initiée en 1963 sous la supervision de Rotraut Klein-Moquay, basée sur un modèle d'Yves Klein de 1961 36 x 124.8 x 100 cm Provenance: Collection privée, Neuilly-sur-Seine Bibliographie: Jean-Paul Ledeur ; Yves Klein, Catalogue raisonné des éditions et sculptures éditées ; Knokke, 2000 ; page 53. Informations supplémentaires: (Table jamais montée, dans sa caisse d'origine)
YVES KLEIN (1928-1962) Dimanche : Le Journal d'un Seul Jour, 1960 Typographie sur papier journal, faux journal en quatre pages, réalisé par l'artiste le 27 novembre 1960 à l'occasion du Festival d'Art d'Avant-garde, Paris Feuille complète pliée (tel que publié) 55,6 x 38 cm (plié) Letterpress on newsprint, a four-page faux newspaper, produced by the artist on 27 November 1960 on the occasion of the Festival d'Art d'Avant-garde, Paris, the full sheet folded (as issued)
YVES KLEIN (1928-1962). Victoire de Samothrace (Victory of Samothrace). dry pigment and synthetic resin on plaster, with metal and stone base21 x 10 x 9 7/8in. (53.5 x 25.5 x 25cm.).
Yves Klein 1928 - 1962 Monochrome IKB pigment and resin on card 21.5 by 18.8 cm. 8½ by 7 in. framed: 36.6 by 32.6 cm. 14⅜ by 12⅞ in. Executed in 1959, this work is one of 60 unique examples created for the deluxe edition of Yves Klein's manifesto Le depassement de la problematique de l’art, published by Editions de Montbliart.
Property from a Prominent New York Collection Yves Klein 1928 - 1962 La Vénus d’Alexandrie (Vénus bleue), (S 41) numbered 239/300 (on the underside) IKB dry pigment and synthetic resin on plaster 26 ¾ by 11 ⅝ by 11 ½ in. 67.9 by 29.5 by 29.2 cm. Conceived in 1962 and executed in 1982, this work is number 239 from an edition of 300, plus 50 hors-commerce proofs and 3 artist's proofs.
Yves Klein Table Bleue France, 1961-63 International Klein Blue pigment, glass, Plexiglas, chrome-plated steel 15 h x 49.5 w x 39.5 d in (38 x 126 x 100 cm) This work is from the edition started in 1963 published by Rotraut Klein-Moquay based on a 1961 design by Yves Klein. Sold with manufacturer's plaque 'This table conforms to Yves Klein's patent Serial Number: 07-A11-E-10 R. KL. Moquay'. Provenance: Artware Editions, New York | Private Collection This work will ship from Lambertville, New Jersey.
