Yves Klein, ‘Victoire de Samothrace (S 9)’, Sotheby's: Contemporary Art Day Auction

Conceived in 1962 and cast in 1973, this work is number 68 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 date 62 on the right wing; numbered 68/175 on the back of the figure; numbered 68/175 on the underside

Kaarst-Düsseldorf, 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, illustrated in color (another example exhibited)
London, Galerie Gimpel, Yves Klein, June - September 1994 (another example exhibited)
Cologne, Museum Ludwig, Yves Klein, November 1994 - January 1995, cat. no. 112, p. 247, illustrated in color (another example exhibited)
Rome, Palazzo delle Esposizioni, Citta natura, Mostra internazionale di arte contemporanea, April 1997 (another example exhibited)
Vienna, Kunsthalle, Engel, Engel, Legenden der Gegenwart, June - September 1997, p. 221, illustrated in color (another example exhibited)
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, illustrated in color (another example exhibited)
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, illustrated in color (another example exhibited)
Museu de arte de Macau, Du Nouveau Réalisme à Supports Surfaces, July - August 2000, p. 89, illustrated in color (another example exhibited)
Pietrasanta, Flora Bigai, Nel blu dipinto di blu Yves Klein, July - September 2004, n.p., illustrated in color (another example exhibited)
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, illustrated in color (another example exhibited)
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, illustrated in color (another example exhibited)
Madrid, Circulo de Bellas Arte, Marie Raymond - Yves Klein Herencias, October 2009 - January 2010, p. 160, illlustrated in color (another example exhibited)
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)

Exh. Cat., New York, Jewish Museum, Yves Klein, 1967, p. 51, illustrated
Paul Wember, Yves Klein, Cologne, 1969, cat. no. S9
Exh. Cat., Paris, Musée National d'Art Moderne, Centre Georges Pompidou, Yves Klein, 1983, n.p., illustrated in color
Exh. Cat., Städtisches Museum Abteiberg Mönchengladbach, Katalog zur Ausstellung, 1984, p. 107, illustrated
Exh. Cat., Paris, Artcurial, Hommage au Président Georges Pompidou un homme de culture, 1987, p. 28, illustrated in color
Veronique Prat, Douze ans de l'histoire d'Artcurial, Paris, 1987, n.p., illustrated in color
Exh. Cat., Nice, Musée d'Art Moderne et Contemporain, Premier volet des collections, p. 11, illustrated in color
Claude Fournet, Musées de Nice - Musée d'Art Moderne et Contemporain, Paris, 1990, p. 31, illustrated in color
Claude Fournet and Jacqueline Péglion, eds., Chroniques niçoises - Genèse d'un Musée, Nice, 1991
Sidra Stich, Yves Klein, Ostfildern-Ruit, 1994, p. 247, illustrated in color
Gilles-François Picard, "Yves Klein ou la Révolution bleue," Paris, December 5, 1997, p. 104, illustrated
Exh. Cat., Los Angeles County Museum of Art, Love Forever: Yayoi Kusama, 1958-1968, 1998, n.p., illustrated in color
Houston, Rice University, Institute for the Arts, Yves Klein 1928-1962: A Retrospective, 1982, cat. no. 92, illustrated in color
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, illustrated in color
Marco Livingstone, Pop Art, Paris, 2000, p. 54, illustrated in color
Hannah Weitermeier, Yves Klein, 1928-1962: International Klein Blue, London, 2001, p. 2, illustrated in color
Janny Lumeau, Des mots bleus por "Klein le monochrome," France, 2003, illustrated in color on the cover
Véronique Prat, La Collection de Georges et Claude Pompidou, Paris, 2004, p. 81, illustrated in color
Léo Pajon, La Victoire de Samothrace, Paris, 2005, p. 118, illustrated in color
Sandrine Andrews, Yves Klein à la conquète de l'espace, Paris, 2006, p. 26, illustrated in color
Exh. Cat., Paris, Musée National d'Art Moderne, Centre Georges Pompidou, Le Nouveau Réalisme, 2007, p. 199, illustrated in color
Exh., Cat., Städtisches Museum Abteiberg Mönchengladbach, Kunst der Gegenwart/1960 bis 2007, 2007, n.p. illustrated in color
Exh. Cat., Zurich, Galerie Gmurzynska, Yves Klein - The Venus Project, 2014, p. 34, illustrated in color
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, illustrated in color

Galerie Karl Flinker, Paris
Galerie Bleue, Stockholm
Private Collection
Bukowskis, Stockholm, 11 November 2015, Lot 329
Acquired from the above by the present owner

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