Yves Klein, ‘La Victoire de Samothrace (S 9)’, Conceived in 1962 and cast posthumously in 1973, Phillips
Yves Klein, ‘La Victoire de Samothrace (S 9)’, Conceived in 1962 and cast posthumously in 1973, Phillips
Yves Klein, ‘La Victoire de Samothrace (S 9)’, Conceived in 1962 and cast posthumously in 1973, Phillips

Property Subject to VAT Section 4, 5%; Property Subject to Artist's Resale Right (see Conditions of Sale for further information)

This work is number 115 from an edition of 175 plus 25 hors commerce
25 épreuves d'artiste and 3 copies with specific identifications.

Signature: incised with the artist's initials and dated 'YK 62' on the right wing; further numbered '115/175' on reverse of the figure; further numbered '115/175' on the underside of the base

Kaarst, Gallery 44, Yves Klein und seine Freunde, October 1986 - January 1987 (another example exhibited)
Parma, Galleria d'Arte Niccoli, Une probabile umore dell'idea, April - May 1989, p. 33 (another example exhibited and illustrated)
London, Galerie Gimpel, Yves Klein, June - September 1994 (another example exhibited)
Cologne, Museum Ludwig; London, Hayward Gallery; Madrid, Museo Nacional Centro de Arte Reina Sofía, Yves Klein, 8 November 1994 - 29 August 1995, no. 112, p. 247 (another example exhibited and illustrated)
Rome, Palazzo delle Esposizioni, Citta natura, Mostra internazionale di arte contemporanea, April 1997 (another example exhibited)
Vienna, Kunsthalle, Engel, Legenden der Gegenwart, June - September 1997, p. 221 (another example exhibited and illustrated)
Le Bourget, Musée de l'air et de l'espace, L'art, l'air et l'espace, October 1999 (another example exhibited)
Hong Kong Museum of Art, Nice Movements - Contemporary French Art, April - June 2000, p. 64 (another example exhibited and illustrated)
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, April 2000 - January 2001, p. 182 (another example exhibited and illustrated)
Museu de arte de Macau, Du Nouveau Réalisme à Supports Surfaces, July - August 2000, p. 89 (another example exhibited and illustrated)
Pietrasanta, Flora Bigai, Nel blu dipinto di blu Yves Klein, July - September 2004, n.p. (another example exhibited and illustrated)
Angers, Musée des Beaux Arts; Roanne, Musée Joseph Dechelette; Carcassonne, Musée des Beaux-Arts; Coblence, Museum Ludwig; LAAC Dunkerque, Marie Raymond - Yves Klein, November 2004 - June 2007, p. 175 (another example exhibited and illustrated)
Bilbao, Guggenheim Museum, Yves Klein, January - May 2005 (another example exhibited)
Paris, Galerie Rive Gauche, Yves Klein et Niki de Saint Phalle, February - March 2005 (another example exhibited)
Paris, Galeries Nationales du Grand Palais; Hannover, Sprengel Museum, Nouveau Réalisme: Revolution des Alltäglichen, March 2007 - January 2008 (another example exhibited)
Lugano, Museo d'Arte & Sculture in Città, Yves Klein & Rotraut, May - September 2009, pp. 178-179 (another example exhibited and illustrated)
Madrid, Circulo de Bellas Arte, Marie Raymond - Yves Klein Herencias, October 2009 - January 2010, p. 160 (another example exhibited and illustrated)
Venice, Ca' Corner della Regina, The Small Utopia, Ars Multiplicata, Summer 2012 (another example exhibited)
Isle-sur-la-Sorgue, Villa Datris, Sculpture du Sud, May - November 2014 (another example exhibited)
Zurich, Hotel Baur au Lac, Art in the Park, June - July 2014 (another example exhibited)

Yves Klein, exh. cat., Jewish Museum, New York, 1967, p. 51 (another example illustrated)
Paul Wember, Yves Klein, Cologne, 1969, no. S9, p. 97 (another example illustrated)
Premier volet des collections, exh. cat., Musée d'Art Moderne et Contemporain, Nice, 1990, p. 11 (another example illustrated)
Claude Fournet, Musées de Nice - Musée d'Art Moderne et Contemporain, Paris, 1990, p. 31 (another example illustrated)
Marco Livingstone, Pop Art, A Continuing History, Paris, 1990, no. 67, p. 54 (another example illustrated)
Claude Fournet and Jacqueline Péglion, eds., Chroniques niçoises - Genèse d'un Musée, Nice, 1991, n.p.
Sidra Stich, Yves Klein, Ostfildern-Ruit, 1994, p. 247 (another example illustrated)
Gilles-François Picard, Yves Klein ou la Révolution bleue, Paris, 1997, p. 104 (another example illustrated)
Jean-Paul Ledeur, Yves Klein: Catalogue raisonné des éditions, et sculptures éditées, Knokke-Le-Zoute, 2000, no. S9
Nicholas Charlet, Yves Klein, Paris, 2000, p. 231 (another example illustrated)
Hannah Weitermeier, Yves Klein, 1928-1962: International Klein Blue, London, 2001, p. 2 (another example illustrated)
Janny Lumeau, Des mots bleus por "Klein le monochrome", France, 2003 (another example illustrated, cover)
Véronique Prat, La Collection de Georges et Claude Pompidou, Paris, 2004, p. 81 (another example illustrated)
Léo Pajon, La Victoire de Samothrace, Paris, 2005, p. 118 (another example illustrated)
Sandrine Andrews, Yves Klein à la conquète de l'espace, Paris, 2006, p. 26 (another example illustrated)
Le Nouveau Réalisme, exh. cat., Musée National d'Art Moderne and Centre Georges Pompidou, Paris, 2007, p. 199 (another example illustrated)
Kunst der Gegenwart/1960 bis 2007, exh. cat., Städtisches Museum Abteiberg Mönchengladbach, 2007, p. 207 (another example illustrated)
Yves Klein - The Venus Project, exh. cat., Zurich, Galerie Gmurzynska, 2014, p. 34 (another example illustrated)
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)

Galerie Micheline Szwajcer, Antwerp
Private Collection, Belgium
Gifted by the above to the present owner in the 1980s

About Yves Klein

Yves Klein is best known for his trademark ultramarine pigment, which he patented as International Klein Blue in 1961. “Blue…is beyond dimensions, whereas the other colors are not,” he said. “All colors arouse specific ideas, while blue suggests at most the sea and the sky; and they, after all, are in actual, visible nature what is most abstract.” Starting in the mid-1950s, Klein made retinal blue monochromes (which would prove cornerstones of Minimalism) and the pigment would also feature prominently in his Anthropometry paintings, for which Klein smeared nude women with blue pigment and used them as human brushes on canvas, sometimes in elaborate public performances. Klein's work anticipated Conceptual art, Performance art, and environmental art, as in his selling of portions of empty space to collectors. For The Void (1958), he presented an empty gallery as an artwork, wearing a white tie and tails to show visitors around the blank walls.

French, 1928-1962, Nice, France, based in Paris, France