View full screen - View 1 of Lot 18. Le Saut dans le vide, 23 oct 1960.
18

Yves Klein (1928-1962) / Harry Shunk (1924-2006) & János Kender (1937-2009)

Le Saut dans le vide, 23 oct 1960

Yves Klein (1928-1962) / Harry Shunk (1924-2006) & János Kender (1937-2009)

Yves Klein (1928-1962) / Harry Shunk (1924-2006) & János Kender (1937-2009)

Le Saut dans le vide, 23 oct 1960

Le Saut dans le vide, 23 oct 1960

Yves Klein (1928-1962) / Harry Shunk (1924-2006) & János Kender (1937-2009)

Le Saut dans le vide, 23 oct 1960


unique gelatin silver print in large size showing the photomontage 

124 x 94 cm ; 48 13⁄16 x 37 in.

This is the unique "test print" large-size printed by Harry Shunk for the exhibition Klein / Shunk at the Kunsthalle of Basel in 1990.

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Yves Klein (1928-1962) / Harry Shunk (1924-2006) & János Kender (1937-2009)

Le Saut dans le vide, 23 oct 1960


tirage gélatino-argentique unique grand format montrant le photomontage

124 x 94 cm ; 48 13⁄16 x 37 in.

Il s'agit ici du "test print" grand format unique réalisé par Harry Shunk pour l'exposition Klein / Shunk à la Kunsthalle de Bâle en 1990.

A horizontal fold mark is visible in the lower part of the work. Small flattened creases are located along the edges. Under raking light inspection, a few other light flattened creases are visible throughout the surface. Artist pinholes are located along the four edges, only visible when unframed. A loss to the paper is located along the left edge towards the lower left corner and another one along the lower edge towards the lower right corner, both only visible when unframed. There are a few artist pinholes along the left edge towards the center, visible when framed. When unframed the sheet shows the original edges with the film negative, which have never been cropped. The work is in original condition.


"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."

Malle Collection, Paris (acquired directly from Harry Shunk)

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Collection Malle, Paris (acquis directement auprès d'Harry Shunk)


"Le Saut dans le Vide" is one of the icons of post-war art and probably Yves Klein's most famous performance. It sums up the artist's entire oeuvre in his quest for the Void and the Immaterial. It took photographers Shunk and Kender several shoots to realize this conceptual proposal, the secret of which was carefully guarded until long after the artist's death. This photographic proof shows, as he wrote, "the painter of space throwing himself into the void" and will serve as a theoretical manifesto entitled "The Theater of the Void" for his "Journal du Dimanche of October 27, 1960".

If 30 years ago the secret of the trick was revealed, its technical set-up remained unknown until the death of Harry Shunk in 2006. Unusual in the history of photographic manipulation, it is a photomontage of two negatives cut and installed in the enlarger.

This large-format print revealing the trickery is unique; only small-format prints exist, held both at the Roy Lichtenstein Foundation and the Getty Institute.

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Le « Saut dans le Vide » est l’une des icônes de l’art d’après-guerre et sans doute la performance la plus célèbre d’Yves Klein. Elle résume l’ensemble de l’œuvre de l’artiste dans sa quête pour le Vide et l’Immatérielle. Plusieurs séances de prises de vues ont été nécessaires aux photographes Shunk & Kender pour réaliser cette proposition conceptuelle dont le secret fut précieusement gardé jusque bien après la mort de l’artiste. Cette preuve photographique montre comme il l’écrit « le peintre de l’espace se jetant dans le vide » et lui servira de manifeste théorique titré « Le Théâtre du Vide » pour son « Journal du Dimanche du 27 octobre 1960 ».

S’il y a 30 ans le secret du trucage fut dévoilé, son montage technique est resté inconnu jusqu’à la mort de Harry Shunk en 2006. Fait inhabituel dans l’histoire de la manipulation photographique, il s’agit d’un photomontage de deux négatifs coupés et installés dans l’agrandisseur.

Ce tirage grand format dévoilant le trucage est unique ; seuls existent des petits formats conservés à la Roy Lichtenstein Foundation et au Getty Institute.