Various charcoals, with touches of black chalk, stumping, wiping, and erasing, on pale-pink wove paper with red and blue fibers altered to a golden tone
Signed lower left, in black chalk: "Od. R."
526 × 377 mm
David Adler Collection
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Sven Sandstrom, Le Monde imaginarie d’Olidon Redon (Lund, 1955), p. 16 (ill.).
Klaus Berger, Odilon Redon: Fantasy and Colour (New York, 1965) p. 224, no 573 (ill.).
Harold Joachim and Sandra Haller Olsen, French Drawings and Sketchbooks of the Nineteenth Century (Chicago, 1979) p. 76, no. 4C12.
Alec Wildenstein, Odilon Redon: Catalogue Raisonné de l’oeuvre peint et dessiné 1 (Paris, 1992), p. 93, no. 215 (ill.).
Michael Leja, Monet’s Modernity in New York in 1886 (Washington, D.C., 2000).
The Art Institute of Chicago, “Exhibition of 19 charcoals owned by Jean Goriany [or Henri Petiet] made for Flaubert’s The Temptation of Saint Anthony,” August 1941.
New York, The Museum of Modern Art, “Redon, Drawing, and Lithographs,” 1952, cat. 15.
Paris, Musée du Louvre, “Dessins français de l’Art Institute de Chicago de Watteau à Picasso,” October 15, 1976-January 17, 1977, n.p., cat. 65 (ill.).
Frankfurt am Main, Germany, Städtische Galerie im Städelschen Kunstinstitut, “Französische Zeichnungen aus dem Art Institute of Chicago,” February 10-April 10, 1977, pp. 138-139, cat. 66(ill.).
Tokyo, The Tokyo Shimbun, “Redon au Japon,” March 1-August 31, 1980, cat. 49; traveled to Tokyo, Musée d’Isetan, Sapporo, Musée d’Art Moderne D’Hokkaido, and the Musée de la Prefecture de Nagoya.
The Art Institute of Chicago, “Odilon Redon: Prince of Dreams,” June 9-September 18, 1994, cat. 87, cat. by Douglas Druick et al; traveled to Amsterdam, Van Gogh Museum, October 20, 1994-January 15, 1995; and London, Royal Academy of Arts, February 16-May 31, 1995.
Paris, Musée du Louvre, “La peinture comme crime ou la part maudite de la realité,” October 19, 2001-January 14, 2002.
Commissioned by Ambroise Vollard (1867-1939), Paris, February 10, 1899 [according to Chicago 1994]. Henri Petiet (1894-1980), Paris, by March 1940 [according to Wildenstein 1992]; sold to the Art Institute, 1950.
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