Wildenstein & Cie., Paris
(possibly) E. J. van Wisselingh, Amsterdam
Knoedler & Co., New York
R. Thomas McDermott, Houston (by circa 1960)
Private Collection, Texas (by circa 1977)

Haarlem, The Netherlands, J. H. de Bois, Moderne Schilderijen, 19 en 20 eeuw, 1941, no. 21
Tokyo, Wildenstein & Co., La Joie de vivre au tournant du siècle, 1991, no. 9, illustrated in colour in the catalogue  

Michael-Francis Gibson, Odilon Redon 1840-1916, Le Prince des rêves, Cologne, 1995, illustrated in colour p. 90
Alec Wildenstein, Odilon Redon - Catalogue raisonné de l'œuvre peint et dessiné, Paris, 1996, vol. III, no. 1461, illustrated p. 79

Executed on cream wove paper, laid down on board. There is a 0.5cm. wide band of medium rubbing running round the edge of the sheet caused by the overmount. Apart from some areas of paper skinning in the areas of heavily worked pastel surrounding the vase, probably intrinsic to the artist's process, this work is in good condition. Colours: Overall fairly acurate, although deeper and warmer in the original.
"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."

Redon's exquisite floral still-lifes are central to the artist's œuvre, and the most successful and appealing of these compositions were those executed in pastel.  The velvety texture of this medium adds a sensual dimension to the subject, giving a tactile dimension to the rendering of each petal and leaf. Redon's skill for eliciting sensations that could not otherwise be captured in a picture set him apart from his colleagues, and his floral pastels ultimately came to define his artistic identity.

Redon's first still-lifes date from the 1860s, but he did not focus on the theme in earnest until around 1900. In the years that preceded his production of colorful floral pastels Redon devoted his production to the Symbolist movement and the depiction of obscure or supernatural themes. It was during this period in the 1880s and 1890s that he became well known for his 'noir' series-drawings.  These drawings were rendered with charcoal or dark crayon, and their ethereal, atmospheric quality directly influenced Redon's 20th century still-lifes.  

Redon'ꦯs floral still-lifes were received with great enthusiasm when they were first exhibited at Galerie Durand-Ruel at the turn of the century.   These pictures were more approachable than his earlier, more obscure Symbolist compositions, and the pastel still-lifes in particul🐓ar were instrumental in raising Redon's profile and introducing his work to a wider audience.