Charcoal with black chalk, stumping, scraping and erasing, on pale pink wove paper with red/pink and blue fibers, discolored to buff
Signed lower right, in black crayon (pastel): "ODILON REDON"
484 × 363 mm
David Adler Collection
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Klaus Berger, translated by Michael Bullock, Odilon Redon: Fantasy and Colour (New York, 1965), p. 224, no. 580.
Harold Joachim and Sandra Haller Olsen, French Drawings and Sketchbooks of the Nineteenth Century (Chicago, 1979) p. 79, no. 4D10.
Alec Wildenstein, Odilon Redon: Catalogue Raisonné de l’Oeuvre Peint et Dessiné 2 (Paris, 1994), p. 207, no. 1145 (ill.).
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.
Paris, Musée de l’Orangerie, “Odilon Redon,” October 1956-January 1957, cat. 18, as La coupe.
The Hague, Gemeentemuseum, “Odilon Redon,” May 3-June 23, 1957, cat. 5, as La coupe.
Gifu, Japan, The Museum of Fine Arts, “Odilon Redon-Le souci de l’absolu (Search for the Absolute),” October 8, 2002-December 8, 2002, cat. 52; traveled to Shimane, Japan, Shimane Art Museum, August 2, 2002-September 23, 2002.
Ambroise Vollard (1867-1939), Paris. Henri Petiet (1894-1980), Paris, 1940 [according to Wildenstein 1992]; sold to the Art Institute, 1950.
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