La Tentation de St. Antoine - 3me Série
Redon, Odilon
Paris. Published by the author. 1896
Sold
A very good copy of the 'Troisième Série' of Odilon Redon's 'La Tentation de St. Antoine'.
From the edition limited to 50 copies; this copy features the title signed 'Odilon Redon' in black ink and all 23 of the lithographs signed in pencil by Redon in capitals as usual.
This copy with a presentation to the title by the German artist Alfred Kubin: 'S[einem] verehrten Freund Alois Samhaber, / Pfarrer in Wernstein, zum / nachträglichen Besitz / und Erinnerung an / Alfred Kubin / Zwickledt / August 1954' (To his revered friend Alois Samhaber, pastor in Wernstein, Alfred Kubin presents [this portfolio] as a retrospective gift and in memory, Zwickeldt, August 1954).
Alfred Kubin presented the portoflio in memoriam (to be delivered after Kubin's death) to the pastor Alois Samhaber who was the priest in Wernstein, close to Kubin's home in Zwickledt. The two men were close friends until Kubin's death in 1959 and Samhaber's sister, Rosa Samhaber, inherited the portfolio. Kubin's artistic heroes and main influences - as he described them himself - were Odilon Redon, Max Klinger and Felicien Rops.
The complete album, comprising the title-page with the lithograph vignette printed in yellow on Japon, and the set of 23 lithographs to illustrate Flaubert's text, printed on chine applique, each signed individually in pencil with Redon's small capitals within the subject; the lithographs were printed by Clot and Blanchard, Paris.
Redon spent much of 1895 making La Tentation de St. Antoine. 3me. Serie - his first album of lithographs in five years - his third and most ambitious effort based on Flaubert's novel. He produced only one more album of lithographs, 'Apocalypse de St. Jean', in 1899.
'Flaubert's first magnum opus, retelling the temptations that afflicted Saint Anthony, was completed over twenty-five years before its publication in 1874. The mystical trials were compelling subjects for Redon, who made three sets of illustrations in which he tried to fathom their symbolic content. The last and largest series of lithographs on the temptations [this set] was commissioned by Vollard and issued in 1896, many decades before they were incorporated into book form after the artist's death.' (Castleman).
Plate 1. Title, printed in yellow on chine with Kubin's inscription.
Plate 2. 'Sainte Antoine: Au secours, mon Dieu!'. (Mellerio 135).
Plate 3. 'Et partout, ce sont des colonnes de basalte, ... La lumière tombe des voutes'. (M.136).
Plate 4. 'Mes baisers ont la goût d'un fruit qui se fondrait dans ton coeur! Tu me dédaignes! Adieu! (M. 137).
Plate 5. 'des fleurs tombent, et la tête d'un python parait'. (M. 138).
Plate 6. 'dans l'ombre, des gens pleurent et prient entourés d'autres qui les exhortent et les consolent'. (M.139).
Plate 7. ' ... et il distingue une plaine aride / et mamelonneuse'. Signed in pencil by Redon. (M. 140).
Plate 8. 'Elle tire de sa pointrine une éponge toute noir, la couvre de baisers'. (M. 141).
Plate 9. ' ... je me suis enfoncé dans la solitude. J'habitais l'arbre derrière moi'. (M. 142)
Plate 10. 'Hélène (Errnoia)'. Signed in pencil by Redon. (M. 143).
Plate 11. 'immédiatement surgissent trois déesses'. (M. 144).
Plate 12. 'l'intelligence fut à moi! Je devins le Buddha!. (M. 145).
Plate 13. ' ... et que des yeux sans tête flottaient comme des molusques'. (M. 146).
Plate 14. 'Oannes: Moi, la première conscience cu Chaos, j'ai surgi de l'abime / pour durcir la matière, pour régler les formes:'. (M. 147).
Plate 15. 'Voici le Bonne - Déesse, l'Idéenne des montagnes'. (M. 148).
Plate 16. 'Je suis toujours la grande Isis! nul encore n'a soulevé mon voile! Mon fruit est le soleil!' (M. 149).
Plate 17. 'Il tombe vers l'abime, la tête en bas'. (M. 150).
Plate 18. 'Antoine: Quel est le but de tout cela? Le Diable: Il n'y a pas de but!'. (M. 151).
Plate 19. 'La Vieille: Que crains-tu? Un large trou noir! Il est vide, peut-être?' (M. 152).
Plate 20. 'La mort: C'est moi qui te rends sérieuse; enlaçons-nous'. (M. 153).
Plate 21. ' ... J'ai quelquefois aperçu dans le ciel comme des formes d'esprits'. (M. 154).
Plate 22. ' ... les bêtes de la mer, rondes comme des outres'. Signed in pencil by Redon. (M. 155).
Plate 23. 'des peuples divers habitent les pays de l'Océan'. (M. 156).
Plate 24. 'Le jour enfin parait, et dans le disque même du soleil, rayonne la face de Jésus-Christ'.
[Mellerio 134 - 157; Manet to Hockney 13; Castleman 11; Logan 6].
From the edition limited to 50 copies; this copy features the title signed 'Odilon Redon' in black ink and all 23 of the lithographs signed in pencil by Redon in capitals as usual.
This copy with a presentation to the title by the German artist Alfred Kubin: 'S[einem] verehrten Freund Alois Samhaber, / Pfarrer in Wernstein, zum / nachträglichen Besitz / und Erinnerung an / Alfred Kubin / Zwickledt / August 1954' (To his revered friend Alois Samhaber, pastor in Wernstein, Alfred Kubin presents [this portfolio] as a retrospective gift and in memory, Zwickeldt, August 1954).
Alfred Kubin presented the portoflio in memoriam (to be delivered after Kubin's death) to the pastor Alois Samhaber who was the priest in Wernstein, close to Kubin's home in Zwickledt. The two men were close friends until Kubin's death in 1959 and Samhaber's sister, Rosa Samhaber, inherited the portfolio. Kubin's artistic heroes and main influences - as he described them himself - were Odilon Redon, Max Klinger and Felicien Rops.
The complete album, comprising the title-page with the lithograph vignette printed in yellow on Japon, and the set of 23 lithographs to illustrate Flaubert's text, printed on chine applique, each signed individually in pencil with Redon's small capitals within the subject; the lithographs were printed by Clot and Blanchard, Paris.
Redon spent much of 1895 making La Tentation de St. Antoine. 3me. Serie - his first album of lithographs in five years - his third and most ambitious effort based on Flaubert's novel. He produced only one more album of lithographs, 'Apocalypse de St. Jean', in 1899.
'Flaubert's first magnum opus, retelling the temptations that afflicted Saint Anthony, was completed over twenty-five years before its publication in 1874. The mystical trials were compelling subjects for Redon, who made three sets of illustrations in which he tried to fathom their symbolic content. The last and largest series of lithographs on the temptations [this set] was commissioned by Vollard and issued in 1896, many decades before they were incorporated into book form after the artist's death.' (Castleman).
Plate 1. Title, printed in yellow on chine with Kubin's inscription.
Plate 2. 'Sainte Antoine: Au secours, mon Dieu!'. (Mellerio 135).
Plate 3. 'Et partout, ce sont des colonnes de basalte, ... La lumière tombe des voutes'. (M.136).
Plate 4. 'Mes baisers ont la goût d'un fruit qui se fondrait dans ton coeur! Tu me dédaignes! Adieu! (M. 137).
Plate 5. 'des fleurs tombent, et la tête d'un python parait'. (M. 138).
Plate 6. 'dans l'ombre, des gens pleurent et prient entourés d'autres qui les exhortent et les consolent'. (M.139).
Plate 7. ' ... et il distingue une plaine aride / et mamelonneuse'. Signed in pencil by Redon. (M. 140).
Plate 8. 'Elle tire de sa pointrine une éponge toute noir, la couvre de baisers'. (M. 141).
Plate 9. ' ... je me suis enfoncé dans la solitude. J'habitais l'arbre derrière moi'. (M. 142)
Plate 10. 'Hélène (Errnoia)'. Signed in pencil by Redon. (M. 143).
Plate 11. 'immédiatement surgissent trois déesses'. (M. 144).
Plate 12. 'l'intelligence fut à moi! Je devins le Buddha!. (M. 145).
Plate 13. ' ... et que des yeux sans tête flottaient comme des molusques'. (M. 146).
Plate 14. 'Oannes: Moi, la première conscience cu Chaos, j'ai surgi de l'abime / pour durcir la matière, pour régler les formes:'. (M. 147).
Plate 15. 'Voici le Bonne - Déesse, l'Idéenne des montagnes'. (M. 148).
Plate 16. 'Je suis toujours la grande Isis! nul encore n'a soulevé mon voile! Mon fruit est le soleil!' (M. 149).
Plate 17. 'Il tombe vers l'abime, la tête en bas'. (M. 150).
Plate 18. 'Antoine: Quel est le but de tout cela? Le Diable: Il n'y a pas de but!'. (M. 151).
Plate 19. 'La Vieille: Que crains-tu? Un large trou noir! Il est vide, peut-être?' (M. 152).
Plate 20. 'La mort: C'est moi qui te rends sérieuse; enlaçons-nous'. (M. 153).
Plate 21. ' ... J'ai quelquefois aperçu dans le ciel comme des formes d'esprits'. (M. 154).
Plate 22. ' ... les bêtes de la mer, rondes comme des outres'. Signed in pencil by Redon. (M. 155).
Plate 23. 'des peuples divers habitent les pays de l'Océan'. (M. 156).
Plate 24. 'Le jour enfin parait, et dans le disque même du soleil, rayonne la face de Jésus-Christ'.
[Mellerio 134 - 157; Manet to Hockney 13; Castleman 11; Logan 6].
[24 leaves]. Folio. (586 x 410 mm). Leaf with lithograph title and vignette signed in ink by Redon and with Kubin's inscription (see below) and 23 original lithographs on chine appliqué by Redon mounted to larger sheets of stiff card, each with printed title beneath and signed on the lithograph by Redon in pencil. Loose as issued in original publisher's wrapper with lithograph vignette and text and original burgundy portfolio with gilt titles to front cover.
#46262
