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The striking shade of Yves Klein’s Timbre Bleu, more vibrant than any earthly postage, is I.K.B. itself – International Klein Blue, the legendary pigment Klein invented with the help of a chemist to create the purest form of blue possible. Klein first created these stamps in advance of his dual 1957 gallery shows in Milan and Paris, attaching them to exhibition invitations to be used in the place of official postage. Klein achieved this effect by persuading (and likely bribing) postal workers to authenticate the stamp with a cancellation mark, allowing his facsimiles to travel in the mail – and making unmarked examples such as these exceedingly rareⁱ. By using his artwork as stamps, Klein placed himself in a lineage of famous artists whose artwork has appeared on official government postage and secured at least the appearance of validation from the French government.
\n
\nKlein’s stamps combine a variety of Klein’s artistic impulses and bear an outsized importance in his oeuvre. Timbre Bleu communicates Klein’s engagement with the monochrome and the color blue, as well as his legendary skill for generating buzz. With the public appeal of Klein’s work was intimately tied with the fervor it generated, much of which Klein whipped up himself. Among the first truly social artists, Klein’s 1957 exhibition opening would also feature the headline-worthy release of 1,001 blue balloons and an audacious one-note soundtrack of Klein’s own creation. The stamps themselves functioned as daring advertising, enticing the public to come and investigate the cutting edge of modern art. As a promotional device, they were effective enough that Klein would continue to use them for future exhibition mailers, including for his scandalous exhibition Le Vide (The Void), which featured an entirely empty gallery, two French Republican Guards serving as bouncers, and the infamous Cointreau and methylene cocktail Klein served at the opening, which dyed the urine of unwitting visitors bright blue.
\n
\nThese stamps are from the collection of Claude Parent, the famed French architect and longtime collaborator of Klein’s. Together, they drew up atmospheric designs for architecture unbounded by convention or physics, formally embracing one of Klein’s favored concepts: the void. After Klein’s death in 1962, Parent was asked by the artist’s mother and wife to design the artist’s mausoleum – a yet-unbuilt structure in Saint-Paul-de-Vence that perfectly captures the formal experimentation the two brought out of each other.

\n\n

\n ⁱSidra Stich, Yves Klein, 1994, pg. 91

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MODERNISM celebrates editions and works on paper from a transformative period of time in which artists redefined the boundaries of visual expression. Featuring selections from Cubism, Dada, Surrealism, Orphism, Expressionism, Constructivism, and more, each piece in this session represents not just an aesthetic achievement, but a moment in time when artists pushed fine print and art making boundaries to the edge of possibility.
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\nIf you would like to bid in person, via absentee, or over the telephone, please reach out to bidsnewyork@phillips.com for registration assistance.
\n

\n\n

View Conditions of Sale >
\n
\nDiscover Editions & Works on Paper, taking place in New York 16-17 April. Browse the sale and register to bid now.

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PABLO PICASSO Jacqueline au chapeau de paille (Jacqueline with the Straw Hat), 1962

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EDWARD HOPPER Railroad Crossing, 1923

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M.C. ESCHER Other World, 1947

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GIORGIO MORANDI Il ponte sul Savena a Bologna (The Bridge Over the Savena in Bologna), 1912

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PABLO PICASSO Femme du barbu (Bearded Man's Wife) (A.R. 193), 1953

\n","1741110039",{"_102":2491,"_104":2492,"_106":2493,"_117":2494},"2025-04-09T04:00:00.000000Z","2025-04-15T04:00:00.000000Z",{"_108":237,"_110":238,"_112":239,"_114":57,"_115":240,"_241":242},[2495,2496],{"_120":121,"_122":123,"_124":125,"_126":127},{"_120":129,"_122":129,"_124":130,"_126":127},"articles",[2499,2522],{"_2500":2501,"_2502":74,"_2503":2504,"_503":2505,"_2506":2507,"_2508":2509,"_2510":2511,"_2512":1446,"_2513":470,"_2514":2515,"_462":470,"_2516":2517,"_2518":2519,"_2520":2521},"coverUrl","https://flockler.com/thumbs/sites/889/miro-lead-aeac30b9-5732-4c24-8442-18ef4a8ae197_s600x0.jpg","section","summary","History illuminates the present with a selection of our favorite works from Phillips’ upcoming MODERNISM 1880–1960: Editions & Works on Paper auction.","Why Modernism Is More Important Than Ever","body","

Joan Miró, Le Lézard aux plumes d'or (The Lizard with Golden Feathers), 1971. MODERNISM 1880–1960: Editions & Works on Paper.

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For better or worse, change seems to come faster than ever these days. But take a break from it all to visit an art gallery, and you might find that the core themes surrounding Modern Art — from industrialization to cultural experimentation, new technologies, a focus on the individual, and the rejection of established norms — still define how we navigate the world today. We might give them new terms — last century’s urbanization becomes this century’s gentrification and so on — but the fact remains: it’s easy to argue that modernism never ended, maybe it just got faster.

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With this in mind, art lovers and collectors discover that today, Modern works can be seen with new, rich layers of meaning.

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This unique trial proof woodcut by Ernst Ludwig Kirchner offers a compelling lens through which to discover the hallmarks of German Expressionism. We’re now looking at works from just about a century ago and can feel the increased focus on the personal expressivity of psychological depth, here rendered through figural distortion, bold color, and stylized line.

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When looking at the six works together, we can almost hear the din of the impending swinging ‘60s. Sonia Delaunay’s style, along with her husband Robert’s and the artist František Kupta’s, was first described as “Orphism” by the French poet and art critic Guillaume Apollinaire in 1912, referencing the Greek bard. It grew out of Cubism, but focused on pure abstraction and bright colors, borrowing ideas from both Fauvism and the theoretical musings of Paul Signac. This complete set of six gouache pochoirs is uniquely striking. The details of the thickly brushed gouache paint are a joy to discover across the suite, each inspired and accompanied by a poem by the avant-garde poets Rimbaud, Mallarmé, Cendrars, Delteil, Soupault, and Tzara.

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International Surrealism Club

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Various Artists, Surrealism Between the Two Wars, from The Forerunners of the Avant Garde (Volume II), from International Anthology of Contemporary Engraving, 1966. MODERNISM 1880–1960: Editions & Works on Paper.

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Spanning iconic names such as Marcel Duchamp, René Magritte, and Man Ray, this set of 11 etchings, each mounted and bound as a deluxe collection, does just what it says on the tin. Also including works by Chilean artist Roberto Matta and the German Hans Bellmer, Surrealism Between the Two Wars is a museum in itself. It showcases the significance of each artist individually and together, illuminating how the interchange of ideas across borders was crucial to Surrealism’s artistic revolution.

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Learn More >

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Jean Dubuffet, or how to change the art world in four decades

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Jean Dubuffet, Epiphanor, from Présences fugaces (Epiphanor, from Fleeting Presences), 1973. MODERNISM 1880–1960: Editions & Works on Paper.

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The founding father of Art Brut, or outsider art, Jean Dubuffet looked beyond the traditional art world for inspiration. His love of Parisian street life, bustling with outcasts, led him to take influence from street art and those on the fringes of society. He pushed the limits of representation and the craft of painting itself, incorporating found materials and chemicals in his practice. This experimentation is also seen in his printmaking, where he explored many techniques throughout his career, in this case a screenprint with Pace Editions. His wide-reaching influence can be seen as far as in works by Jean-Michel Basquiat and Keith Haring to contemporary streetwear. In this sense, he bridged the gap from early Modernism to wherever we are now.

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Learn More >

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Discover More from Editions >

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Recommended

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Browse & Bid: Editions & Works on Paper New York Auction >

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Read: Unexpected Pairings: Editions New York >

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\n","publishDate","2025-04-02T19:52:55.000000Z","authorCredit","Jesse Limbacher","coverPosX","coverPosY","articleUrl","https://www.phillips.com/article/156933747/why-modernism-is-more-important-than-ever-new-york-art-auction","auctionEditorialID",2417,"editorialID",4876,"flocklerID",156933747,{"_2500":2523,"_2502":74,"_2503":2524,"_503":2525,"_2506":2526,"_2508":2527,"_2510":2511,"_2512":1446,"_2513":470,"_2514":2528,"_462":229,"_2516":2529,"_2518":2530,"_2520":2531},"https://flockler.com/thumbs/sites/889/lead-juliette-nichols-woman-and-child-by-the-water-5d4da7c3-fd78-4044-ad0e-38d3b4bcd699_s600x0.jpg","A large group of rare works by this fascinating artist come to auction for the first time.","Modernism on the Shore: Juliette Nichols in Provincetown","

Juliette Nichols, [Woman and Child by the Water], circa 1915. MODERNISM 1880–1960: Editions & Works on Paper.

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All the way back in 1870, a unique and under-sung voice in American art was born on the banks of the Ohio River, just across from the West Virginia line. At the time, the US was in the midst of Reconstruction, and the Midwestern region was undergoing a wave of modernization that saw the construction of factories and the laying of rail lines, creating and connecting hubs throughout the area. It was against this cultural backdrop that Juliette Nichols was born in Marietta, Ohio, finding herself in France by the early 1900s. Studying in Paris, she learned Japanese woodcut techniques from Edna Boies Hopkins and exhibited her work at the American Women’s Art Association alongside a few other artists who would eventually form the group known as the Provincetown Printers.

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Following our October 2023 offering of a single owner collection of works by the Provincetown Printers, Phillips is continuing the journey with a revelatory discovery of this remarkable artist, about whom not much is known. This season in our MODERNISM 1880–1960: Editions & Works on Paper auction, we present the largest group of Nichols’ works to ever come to auction, spanning 33 total impressions of 15 woodcuts and white-line woodcuts, along with two works on paper.

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It's also striking that throughout these works, it’s primarily the manner of depiction that feels modern rather than what is depicted itself. We don’t really see any visible signs of modernization encroaching upon this quaint town, the notable exception being the woodcuts of utility lines on the shore. Given that the impressions are dated circa 1915, these must have been some of the first utility lines to be installed in the region. Nichols’ depiction of them on an otherwise unadulterated shoreline calls to mind power lines as visual motifs in the work of lyric American photographers like Walker Evans or William Eggleston or even of those unforgettable scenes from Alfred Hitchcock’s The Birds. Indeed, Nichols’ works here show us that before anyone even noticed, she and her community were forming much of the visual language that would go on to define American art in the 20th century.

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The Quiet New England Inventor

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Juliette Nichols (Attributed To), [Figure Laying Under Trees], circa 1915. MODERNISM 1880–1960: Editions & Works on Paper.

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As we uncover more about the Provincetown Printers and their contribution to American art, we’re reminded of how frequently creators in New England have charted a radical course before their discovery by wider culture. One thinks of the composer Charles Ives working in Connecticut, whose 1908 work The Unanswered Question quietly changed the course of classical music even though it wasn’t performed until 1946. Or think of Emily Dickinson, that most notable Amherst reclusive modernist, whose works also didn’t fully emerge until much later. Looking at these works by Juliette Nichols today, by their experimental nature, their varied impressions of the same composition, their use of collage and hand-coloring, and a palette that rivals that of Matisse and the Fauvists, we can see just how forward-thinking she was. And just as we’ve seen before with defining creative moments from this region of the country, perhaps now is the time that Juliette Nichols gets her due.

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Juliette Nichols, [Au Bal (At the Ball)], 1916. MODERNISM 1880–1960: Editions & Works on Paper.

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Discover More from MODERNISM 1880–1960: Editions & Works on Paper >

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Recommended

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Browse & Bid: Editions & Works on Paper >

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Read: Why Modernism Is More Important Than Ever >

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46

Yves Klein

Timbre Bleu

Further Details

Full-Cataloguing

Yves Klein