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Lot 183
  • 183

Odilon Redon

Estimate
40,000 - 60,000 USD
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Description

  • Odilon Redon
  • Poissons
  • Signed Od. R. (lower left)
  • Watercolor on paper
  • 10 5/8 by 8 1/4 in.
  • 27 by 20.9 cm

Provenance

Marius Leblond, Paris (a gift from the artist)
Mme Marius Leblond, Paris (by descent from the above)
John Rewald, New York (and sold: Sotheby's, New York, July 7, 1960, lot 98)
Wildenstein & Co., New York (acquired at the above sale)
Acquired from the above in 1960

Exhibited

Paris, Musée du Petit Palais, Odilon Redon, 1934, no. 115
Paris, Orangerie des Tuileries, Odilon Redon, 1956-57, no. 199 (with incorrect dimensions)
New York, The New Gallery, Odilon Redon, 1958, no. 33, illustrated in the catalogue
Los Angeles, Los Angeles Municipal Art Gallery, The Collection of Mr. and Mrs. John Rewald, 1959, no. 112
New York, Museum of Modern Art & Chicago, The Art Institute of Chicago, Odilon Redon, Gustave Moreau, Rodolphe Bresdin, 1961-62, no. 74, illustrated in color in the catalogue 

Literature

Klaus Berger, Odilon Redon, Phantasie und Farbe, Cologne, 1964, no. 547, n.p.
John Rewald, Studies in Post-Impressionism, London, 1986, illustrated pl. 57
Alec Wildenstein, Odilon Redon, Catalogue raisonné de l'oeuvre peint et dessiné. Mythes et légendes, vol. II, Paris, 1994, no. 1307, illustrated p. 303

Condition

Overall this watercolor on paper is in very good condition and shows no sign of tears, paper losses, or planar distortions. Visually, the paper is clean and exhibits only minor disturbances; slight adhesive staining along the verso top edge and very slight discoloration at the extreme edges. Otherwise the medium is very well preserved and quite vivid and fresh in appearance. The above condition report has been provided by Antonio Alvarez of Alvarez Fine Art Services, Inc. 26 West 36th St. New York, NY 212-244-5255, info@alvarezfas.com, an independent restorer who is not an employee of Sotheby's.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Catalogue Note

The progression of Redon’s oeuvre from his early noirs to his brilliant pastels of the 1890s onward was further enhanced late in his life when he began to use watercolor. The present work is a stunning and delicate example of the possibilities of this medium. John Rewald describes this aspect of Redon’s last years, prefacing with the fact that in 1910 Redon inherited a country house not far from Paris: “He went to live there each year as soon as the days grew longer. Madame Redon planted flowers of all varieties in their garden and arranged them for him in different vases... At about the same time Redon discovered yet another medium, watercolor, which he now used frequently to represent, on white pages which enhance the delicacy of their hues, imaginary or real blossoms, butterflies, fish, all the quiet marvels of nature he never ceased to observe and admire” (John Rewald, Odilon Redon, Gustave Moreau, Rodolphe Bresdin (exhibition catalogue), Museum of Modern Art, New York & The Art Institute of Chicago, Chicago, 1962, p. 44).

Color has come to define many of the most recognized works by Redon. Other artists who would themselves be defined by their use of color looked to Redon as an inspiration: “André Masson has called Redon ‘perhaps the first really free colorist,’ crediting him with the demonstration of ‘the endless possibilities of lyrical chromatics.’ According to Masson, Redon invented ‘colors as metamorphosis,’ and used his ‘tight-rope hues to the limits of the possible.’ Indeed, the figures and the faces, the aquatic fauna and the butterflies…which Redon brought into existence make no pretense at representing natural truth. They are, more often than not, prolongations of dreams, happy dreams vying with the splendors of the rainbow” (ibid., p. 40).

The present work is a souveni🤪r of Redon♌’s visit to the Aquarium of Arcachon in 1912.