Odilon Redon

Mr & Mrs André Bonger, Almen, The Netherlands
Jacques Seligmann & Co., New York (acquired circa  1956)
Wildenstein Gallery, Paris & New York
Mrs Knight Wooley (acquired in 1963; sale: Sotheby's, New York, 14th November 1985, lot 106)
Galerie Schmit, Paris
Acquired by the present owner in 1993

New York, Jacques Seligmann & Co.; Cleveland, The Cleveland Museum of Art & Minneapolis, The Walker Art Center, Odilon Redon, 1840-1916, Pastels and Drawings, 1951-1952, no. 6
Raleigh, The North Carolina Museum of Art, French Painting of the Last Half of the XIXth Century, 1956
Paris, Galerie Schmit, Maîtres français, XIX^e and XX^e siècles, 1986, no. 106, illustrated in colour in the catalogue

Alec Wildenstein, Odilon Redon. Catalogue raisonné de l'œuvre peint et dessiné, Paris, 1996, vol. III, no. 1480, illustrated p. 90

Executed on a sheet of buff paper, not laid down. The sheet is slightly timestained and there are a few tiny nicks to the extreme edges of the sheet, not visible when framed. There is some very minor rubbing to the vase, probably inherent to the artist's process. Otherwise this work is in overall very good condition.
"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."

Pensées dans un vase  is an exquisite example of Redon’s enduring artistic exploration of flowers. After 1900, flowers became a recurring theme in his work. Their ambiguous symbolism, associations with memory and femininity, but also fluctuating character, ephemerality, and their ability to breathe and absorb water fascinated him. Moreover, flowers reminded Redon of his own self.  As he remarked, ‘the suggestion of a flower, one that it is almost animal - that’s me’ (quoted in Roseline Bacou, Odilon Redon. Pastels. London, 1987, p. 17).  Echoing the ambiguous character of flowers with the transient medium of pastel, he created palpitating fusions of dream and reality that never fail to captivate the viewer.

As a central motif stepping out from the uniform brown paper, the vase overflowing with flowers is here presented as a kind of icon to be venerated. Redon’s physical engagement with the paper is reflected in the sensual treatment of both the brown ceramic vase and the petals of the vibrant yellow and blue pansies. This is a bouquet that conflates reality with fantasy. Minimalist and yet full of surprises, it belongs to one of Redon’s most visually appealing series. As Redon himself remarked: ‘It is the triumph of light over darkness. It is the joy of full daylight opposed to the sadness of night and shadows, like the happiness of feeling better after great distress’ (ibid.).