Yves Klein

Gallerie Bleue, Stockholm
Acquired directly from the above by the present owner in the 1960s

Exhibition Catalogue, New York, Jewish Museum, Yves Klein, 1967, p. 51, another example illustrated
Paul Wember, Yves Klein, Cologne 1969, p. 97, no. S9, another example illustrated
Exhibition Catalogue, Bern, Kunsthalle Bern, Yves Klein, 1971, n.p., another example illustrated
Exhibition Catalogue, Zurich, Gimpel & Hanover Galerie, Yves Klein, 1973, n.p., installation image of another example in colour
Exhibition Catalogue, Houston, Rice University, Institute for the Arts; Chicago, Museum of Contemporary Art; New York, The Solomon R. Guggenheim Museum, Paris, Musée National d'Art Moderne, Centre Georges Pompidou, Yves Klein 1928-1962: A Retrospective, 1982-83, no. 92, another example illustrated in colour
Exhibition Catalogue, Mönchengladbach, Städtisches Museum Abteiberg, Katalog zur Ausstellung, 1984, p. 107, another example illustrated in colour
Exhibition Catalogue, Parma, Galleria d'Arte Niccoli, Une probabile umore dell'idea, 1989, p. 33, another example illustrated in colour
Exhibition Catalogue, Nice, Musée d'Art Moderne et Contemporain, Premier volet des collections, p. 11, another example illustrated in colour
Claude Fournet, Musées de Nice - Musée d'Art Moderne et Contemporain, Paris 1990, p. 31, another example illustrated in colour
Claude Fournet and Jacqueline Péglion, eds., Chroniques niçoises - Genèse d'un Musée, Nice 1991, n.p., another example illustrated in colour
Exhibition Catalogue, Cologne, Museum Ludwig; Dusseldorf, Kunstsammlung Nordrhein-Westfalen; London, Hayward Gallery; Madrid, Museo Nacional de Arte Reina Sofia, Yves Klein, 1994-95, p. 247, no. 112, another example illustrated in colour
Exhibition Catalogue, Vienna, Kunsthalle Wien, Engel, Engel, Legenden der Gegenwart, 1997, p. 221, another example illustrated in colour
Exhibition Catalogue, Oslo, National Museum of Contemporary Art; Tampere, Sara Hildén Art Museum; Sydney, Museum of Contemporary Art, Yves Klein, 1997-98, p. 75, no. 62, another example illustrated in colour
Exhibition Catalogue, Los Angeles, Los Angeles County Museum of Art, Love Forever: Yayoi Kusama, 1958-1968, 1998, n.p., illustrated in colour
Jean-Paul Ledeur, Yves Klein: Catalogue raisonné des éditions, et sculptures éditées, Knokke-Le-Zoute 2000, cat. no. S9
Nicholas Charlet, Yves Klein, Paris 2000, p. 231, another example illustrated in colour
Exhibition Catalogue, Hong  Kong, Hong Kong Museum of Art, Nice Movements - Contemporary French Art,  2000, p. 64, another example illustrated in colour
Nicholas Charlet, Yves Klein, Paris 2000, n.p., another example illustrated in colour
Marco Livingstone, Pop Art, Paris 2000, p. 54, another example illustrated in colour
Exhibition Catalogue, Musée d'Art Moderne et d'Art Contemporain de Nice; Prato, Centro per l'arte contemporanea Luigi Pecci, Yves Klein, La Vie, la vie elle-même qui est l'art absolu, 2000-01, p. 182, another example illustrated in colour
Exhibition Catalogue, Macau, Museu de Arte de Macau, Du Nouveau Réalisme à Supports Surfaces, 2000, p. 89, another example illustrated in colour
Janny Lumeau, Des mots bleus pour "Klein le monochrome"  France 2003, another example illustrated in colour on the cover
Exhibition Catalogue, Pietrasanta, Flora Bigai, Nel blu dipinto di blu Yves Klein, 2004, n.p., another example illustrated in colour
Véronique Prat, La Collection de Georges et Claude Pompidou, Paris 2004, p. 81, another example illustrated in colour
Exhibition Catalogue, Angers, Musée des Beaux Arts; Roanne, Musée Joseph Dechelette; Carcassonne, Musée des Beaux-Arts; Coblence, Museum Ludwig; LAAC Dunkerque, Marie Raymond - Yves Klein, 2004-07, p. 175, another example illustrated in colour
Léo Pajon, La Victoire de Samothrace, Paris 2005, p. 118, another example illustrated in colour
Sandrine Andrews, Yves Klein à la conquète de l'espace, Paris 2006, p. 26, another example illustrated in colour
Exhibition Catalogue, Paris, Musée National d'Art Moderne, Centre Georges Pompidou, Le Nouveau Réalisme, 2007, p. 199, another example illustrated in colour
Exhibition Catalogue, Mönchengladbach, Städtisches Museum Abteiberg Mönchengladbach, Kunst der Gegenwart/1960 bis 2007, 2007, n.p. another example illustrated in colour
Exhibition Catalogue, Lugano, Museo d'Arte & Sculture in Città, Yves Klein & Rotraut, 2009, pp. 178-179, another example illustrated in colour
Exhibition Catalogue, Madrid, Circulo de Bellas Arte, Marie Raymond - Yves Klein Herencias, 2009-10, p. 160, another example illustrated in colour
Exhibition Catalogue, Zurich, Galerie Gmurzynska, Yves Klein - The Venus Project, 2014, p. 34, another example illustrated in colour
Giovanni Lista, "Les sculptures d’Yves Klein et le spatialisme de Lucio Fontana," Ligeia dossiers sur l'art, Paris, Vol. XXVII, No. 129-132, January - July 2014, p. 25, another example illustrated in colour

Colour: The colours in the catalogue illustration are fairly accurate, although the blue is brighter and more vibrant in the original. Condition: This work is in very good condition. Close inspection reveals some minor burnishing to the folds on the figure's right side and in isolated places on the protruding elements. Three small areas of the work have been infilled with IKB pigment.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

"In working on my pictures in my studio, I sometimes used sponges. They became blue very quickly, obviously! One day I noticed the beauty of the blue in the sponge; at once this working tool became raw material for me. It is that extraordinary faculty of the sponge to become impregnated with whatever may be fluid that seduced me. Thanks to the sponges – raw living matter – I was going to be able to make portraits of the observers of my monochromes, who, after having seen, after having voyaged in the blue of my pictures, return totally impregnated in sensibility, as are the sponges."

YVES KLEIN
quoted in: Exhibition Catalogue, Houston, Institute for the Arts, Rice University, Yves Klein 1928-1962: A Retrospective, 1982, p. 111