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Yves Klein: In/Out Studio

NO. B205

Matthias Koddenberg.

Preserved in our design reference library. Inquire to visit and use as a resource.

D.A.P./Verlag Kettler, 2016

With rare and unpublished color photographs, this is the new essential Yves Klein overview This major new Yves Klein overview shows how Klein transformed his life into a myth that blurred the boundary between art and biography. It includes around 300 unearthed archival photographs--many of which are published for the first time--of Klein, his works, and their production. Always an innovator, Klein spanned many mediums, boldly exploring musical composition, sculpture, performance, photography, theater, film and theoretical writing, in addition to the blue monochrome painting for which he is so famed. Reproductions of artworks are interspersed with photographs of and quotations by Klein, guiding readers through a personal history of key works such as “Leap into the Void” and the Monochrome and Feuer exhibition. Most importantly, this book offers a new look behind the scenes of his performances, uncovers the genesis of his famous Anthropometries and Fire Paintings and portrays Klein at work in his studio, in private settings and on his travels. There are also numerous contact prints with lesser-known photos and snapshots that are not among the more famous pictures released for publication. Unlike most of his contemporaries, Klein always viewed photography as a lens through which to dramatize his subjects, and chose carefully who could photograph him. The imagery in this monograph blurs the artist’s work and life in a way that both maintains and deconstructs the myth of Yves Klein.

"Josh has been able to dredge up some of the rarest and most beautiful carpets for our nerdy and stringent requirements. And we have had a grand time together assembling collections for clients."

— Ralph Harvard, Ralph Harvard Inc.

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Specifications:

Measurements: 0'8" x 0'11" ( 0.20 m x 0.28 m )
Categories: Art, Volumes
Classification: French, Modernist (20th Century)
SKU: B205

From The Journal

Stories from the Volumes Collection

Essays, artist dialogues, and provenance notes drawn from Rug & Kilim’s editorial desk.

September 11, 2026

The New Luxury Is Something You Can Feel: Texture in the Modern High-End Interior

As featured in NEPTUNE Papers 10, Rug & Kilim’s custom hand-knotted silk carpet appears within a private Manhattan penthouse designed by renowned French interior architect Jacques Grange.View More Press Articles>> For the better part of two decades, the language of luxury was spoken in color and pattern. A room announced itself through what could be seen from across it like the saturated wall, the bold motif, the statement made at a glance. That language has quietly changed. The most considered interiors of this moment no longer announce but invite. And the medium of that invitation is not color, nor pattern, but texture, the one quality of a room that cannot be photographed, cannot be reproduced on a screen, and cannot be fully understood until one is standing inside it.

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September 3, 2026

The Evolution of Floral Motifs in Antique Rugs and Kilims: Mapping the Pomegranate, Tulip, and Carnation

Antique 17th Century French Beauvais Tapestry with Floral Vase - Rug & Kilim, NO. 36829 We had a tapestry acquisition unfolding itself in the studio a while ago. Josh and the team just stood there, silently admiring the way the light caught the threads. This was the Antique French Beauvais Tapestry (SKU 36829). It was handwoven in wool, with natural silk accents, circa 1700. When you look at something like that, you do not just see fabric. What you see is the garden of wool and dreams. The precise interlacing of the wefts gives a picture of a gigantic floral vase placed atop an architectural entablature. The botanical imagery is absolutely mesmerizing. There is so much wealth and mystery to it all.

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August 19, 2026

Christian Bérard, Jean-Michel Frank, and the Making of Nelson Rockefeller’s Most Personal Room

In April 1939, the SS Normandie docked in New York Harbor carrying, somewhere in her hold, a rolled carpet. The Normandie was herself the most extravagant object afloat; an emblem of French luxury and design, her marble lounges dressed with Aubusson carpets, signed furniture, and exceptional lighting, a vessel so audaciously beautiful that the New York Times had described her maiden crossing as "the greatest mass of steel and machinery ever to sail the sea." She was also, in April 1939, five months from her last voyage. Germany would invade Poland in September. The Normandie would be seized by the United States Navy, catch fire during conversion to a troopship, and capsize into the Hudson River, taking with her the full weight of the civilization she had been built to represent.

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June 29, 2026

Vintage Andean Frazada Kilim and the Three Thousand Years of Living Memory Held in Its Weave

The most sophisticated rooms in America are being furnished, increasingly, with an object its makers never intended to sell. The Andean frazada, a handwoven kilim produced for centuries in the high villages of Peru and Bolivia for one reason only, to survive the cold, has become one of the most quietly coveted textiles in contemporary design. Collectors who could specify anything are choosing these. The reason has nothing to do with trend, and everything to do with what a frazada actually is. To understand a frazada, you must first understand the altitude. Above four thousand meters in the Andes, higher than any peak in the contiguous United States, in air so thin that newcomers move slowly and sleep poorly for days, the cold is not a season. It is a constant. It arrives every night, regardless of the calendar, and it has arrived every night for as long as people have lived in these mountains. The frazada was the answer to that cold: a thick, dense, hand-woven wool blanket, made not for sale, not for export, not for the floors of distant apartments, but for survival. For warmth. For the bed of a family that would not otherwise make it through the dark.

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June 8, 2026

Rug & Kilim’s Tapestry Artists’ Series: In Dialogue with Elizabeth Chester

There is a particular kind of looking that a great tapestry demands, slower than painting, more physical than sculpture, closer to reading than to seeing. The eye must travel. It must follow the thread, understand the structure, and then, having understood it, surrender to the illusion that the structure has been designed to create. The greatest European tapestries have always operated this way: technically transparent to the scholar and visually overwhelming to everyone else simultaneously. It is the most demanding of the textile arts, and the one that rewards sustained attention most completely.

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May 29, 2026

Of Royal Culture and Inheritance: The Silk Heriz Triclinium Carpet of 1868, Perhaps the Finest Surviving Example in the World

Our founder and principal Jahanshah Josh Nazmiyal has been in the carpet industry long enough to have learned that the great pieces announce themselves before one has understood what one is looking at. The light catches the silk a particular way. Some quiet, almost biological recognition runs through the room, the way a wine of consequence stills the table before anyone has spoken its vintage. One has the sense of having interrupted a conversation already in progress. The carpet was here first; one is being received by it. The team welcomed this silk Heriz, the way Jahanshah had unrolled perhaps forty thousand carpets across the better part of his life, and we will tell you honestly that we sat down beside it for a long time before any of us said anything. There is a particular gold in the mian farsh; the great central field, that we all have seen perhaps rarely before in a quarter-century of looking. It is the gold of late-October sun on the dome of the Shah Mosque in Isfahan, the gold the Safavid silk weavers of the seventeenth century pursued and very nearly lost, the gold that the Heriz workshops of the 1860s recovered for a brief generation of patrons before the world turned and they were forgotten. To kneel beside it is to be quiet in the presence of something that does not require your understanding to be what it is.

Read the Feature

Yves Klein: In/Out Studio

NO. B205

Matthias Koddenberg.

Preserved in our design reference library. Inquire to visit and use as a resource.

D.A.P./Verlag Kettler, 2016

"It's rare to find a rug company that offers unique antiques, curated with a historical eye. And the best quality customization for anything you might need. All while being treated like family - love those guys."

— Andre Mellone, Studio Mellone

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View Similar

Specifications:

Measurements: 0'8" x 0'11" ( 0.20 m x 0.28 m )
Categories: Art, Volumes
Classification: French, Modernist (20th Century)
SKU: B205

Inquire About this Volume

Yves Klein: In/Out Studio

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Specifications:

Stories from the Volumes Collection

The New Luxury Is Something You Can Feel: Texture in the Modern High-End Interior

The Evolution of Floral Motifs in Antique Rugs and Kilims: Mapping the Pomegranate, Tulip, and Carnation

Christian Bérard, Jean-Michel Frank, and the Making of Nelson Rockefeller’s Most Personal Room

Vintage Andean Frazada Kilim and the Three Thousand Years of Living Memory Held in Its Weave

Rug & Kilim’s Tapestry Artists’ Series: In Dialogue with Elizabeth Chester

Of Royal Culture and Inheritance: The Silk Heriz Triclinium Carpet of 1868, Perhaps the Finest Surviving Example in the World

Yves Klein: In/Out Studio

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