Odilon Redon 1840 1916 Floral Boquet

Odilon Redon (1840–1916) evolved from the visionary darkness of his “noirs” to the luminous, otherworldly color that defines his late floral still lifes. Works titled generically as “Floral Bouquet” (often spelled variably by sellers as “Floral Boquet”) recur across his oeuvre in oil, pastel, and, less commonly, print. For appraisers and collectors, distinguishing authentic Redon florals, placing them in the correct period, and gauging condition-driven value are pivotal. This guide offers practical, research-based steps for identification, documentation, and valuation.

Why Redon’s Floral Bouquet Works Matter

• Place in the oeuvre: Redon’s bouquets crystallize his late-career turn to color, roughly from the early 1890s until his death in 1916. They are not conventional still lifes; they sit at the intersection of Symbolism and inward vision.
• Signature style: Ethereal, prismatic petals float in atmospheric fields. Vases are often simplified or even implied. Backgrounds lack detailed interiors; the “space” appears dreamlike, with softened transitions rather than crisp edges.
• Medium hierarchy: Pastels and oils are most typical for florals. Pastels frequently achieve jewel-like intensity and are highly sought after; oils command strong prices. Lithographic or other print interpretations exist but are far less central to the floral theme.
• Collecting and museums: Redon florals are core holdings in major museums and advanced private collections. Their steady institutional demand and the comparative scarcity of strong, large examples underpin long-term value.

Key takeaway: “Floral Bouquet” subject alone doesn’t prove Redon. The weight of evidence—medium, handling, support, signature conventions, provenance, and literature—must converge.

Identification Essentials: Medium, Support, Signature, Style

1. Medium and support

• Pastel: Redon’s florals are very often pastel on laid or Ingres-type papers, frequently mounted to a secondary support or board. Look for:
  • Paper tone: He commonly used toned papers that harmonize with the palette.
  • Surface: Velvety, layered pastel with soft transitions; some scumbling; edges can show skips where tooth was grabbed.
  • Mounting: Many are historically laid down; edges may be hidden by an old mat or frame.
• Oil: Oils on canvas or cardboard/panel occur, with relatively thin, matte to satin paint films. Impasto is usually restrained. Supports may be standard French sizes.
• Drawings/charcoal: Less common as pure “floral bouquet” but do exist—watch for residual charcoal underdrawing beneath color works.
• Lithograph/print: Redon’s printmaking is critical to his “noirs,” but florals as lithographs are rarer. Printed images will show the telltale dot/grain of the stone and, in hand-signed examples, a pencil signature in the margin. Edition, margins, and paper are crucial to value.

2. Handling traits to expect

• Petals: Radiant halos and soft contours; petals often glow against a neutral or color-shifting field.
• Vase and table: The vase may be a simple blue/green ceramic or glass form, sometimes barely indicated. Table lines may dissolve, enhancing the dreamlike quality.
• Color: Harmonies can be high-key or gently muted; unexpected juxtapositions (acidic greens, electric oranges, ultramarine grounds) are common.
• Composition: Bouquet mass often centralized, with surrounding atmosphere void of narrative props. Negative space is integral.

3. Signature and inscriptions

• Variants: “Odilon Redon,” “Od. Redon,” or “O. Redon,” typically lower right or lower left. Some examples are dated on the front; others are dated or inscribed on the reverse or on old labels.
• Pastel signatures: Usually in a compatible medium (graphite, charcoal, or pastel) and integrated with the work’s tonality.
• Oil signatures: Generally paint; placement often unobtrusive.
• Prints: May carry a signature in the stone (printed) and sometimes an additional hand-applied pencil signature in the lower margin. Pencil signature should sit on top of the paper fibers, with age-consistent graphite sheen and pressure.

4. Red flags

• Machine-bright, optical-brightener paper for “pastel” works purporting to be 1900s.
• A clumsy, heavy-handed “illustrative” handling rather than atmospheric modeling.
• A modern, uniformly glossy varnish over an “oil” with otherwise matte, delicate passages.
• Inconsistent signature form or placement compared with documented examples.

Dating, Provenance, and Cataloguing

1. Chronology and period clues

• Pre-1890s: Dominated by “noirs” (charcoal, lithograph) with visionary subjects; florals are less typical.
• 1890–1916: The principal period for floral bouquets in color. Many date from circa 1895–1914, coinciding with his most vibrant palette.
• Titles: Contemporary titles are often generic—“Fleurs,” “Bouquet de fleurs,” “Vase de fleurs.” Auction records may use descriptive or assigned titles; the absence of a specific historical title is not unusual.

2. Catalogues raisonnés and references

• Paintings and drawings: Standard references include the multi-volume catalogue raisonné on Redon’s painted and drawn work (commonly cited by specialists).
• Prints: Redon’s prints are conventionally catalogued using Mellerio numbers (Mellerio’s 1913 compendium remains a standard reference, often supplemented by later scholarship).
• Why it matters: Locating a work in the catalogue raisonné or confirming that it has been examined by recognized scholars/archives substantially strengthens authenticity, dating, and insurance value. For prints, matching the image, state, paper, and margins to a known catalogued example is essential.

3. Provenance patterns to look for

• Early dealers and exhibitions: Period dealers such as Durand-Ruel, Druet, and Bernheim-Jeune handled Redon’s work; labels and stock numbers from these firms add weight.
• Collector provenance: Named private collections, early 20th-century sales catalogues, and museum-loan labels bolster a chain of custody.
• Documentation quality: Original invoices, annotated gallery labels, and period photographs showing the work are highly persuasive. Vague, recent-only provenance is a caution flag.

4. Editions and states (for prints)

• Edition size and state affect value materially. Early pulls on quality wove or laid papers with full margins and clean condition are preferred.
• Pencil-signed impressions generally bring premiums over impressions signed only in the stone.

Condition, Conservation, and Market Impact

1. Pastels: risks and remedies

• Friability: Pastel is an unfixed powder layer; vibration and mishandling cause loss. Original or early mounts reduce risk; never touch the surface.
• Light sensitivity: Pastel pigments and toned papers are light sensitive. Overexposure causes fading and paper embrittlement.
• Fixatives: Historical fixative can darken or shift color; heavy fixative is a value detractor.
• Best practice: Glaze with UV-filtering glazing and ensure sealed, archival framing with a proper spacer. Avoid cleaning the interior glass without removing the frame safely.

2. Oils: typical condition points

• Surface: Often semi-matte; non-original glossy varnish can misrepresent the intended tonality.
• Aging: Craquelure is possible but typically fine; any cupping, flaking, or past restorations need professional assessment.
• Supports: Board-mounted works can warp; canvases may have been lined. Overcleaning that “burns” dark passages or mutes glazes hurts value.

3. Prints: condition parameters that move the price

• Paper: Look for full or wide margins, deckled edges, and period papers. Watch for trimming, foxing, stains, light strike, and backing sheets.
• Inks: Even, rich blacks for lithographs; avoid scuffing and offset.
• Notations: Collector stamps and early inscriptions can help, but modern dealer pencil notations are not a substitute for proper documentation.

4. Conservation impact on valuation

• Pastel: Surface disturbances, heavy fixative, severe fading, and paper acidity can reduce value drastically.
• Oil: Sensitive cleaning and sympathetic varnish removal may restore value; overpaint and invasive fills are penalties.
• Print: Professional washing/deacidification can help; bleaching that leaves a “washed out” sheet is a negative.

5. Market ranges and comparables (indicative, condition-dependent)

• Pastels (floral bouquets): From low six figures for modest, condition-compromised or small examples to seven figures for major, well-provenanced works with strong color.
• Oils (floral bouquets): Mid-six to high-six figures commonly; exceptional size, color, and provenance can reach into seven figures.
• Prints: Generally four to low five figures; rare, hand-signed, early impressions and especially poetic subjects push higher. Note: Use multiple, recent comparables and normalize for size, medium, condition, and provenance. One headline result does not define the curve.

Quick Appraisal Checklist

• Confirm medium and support: pastel on laid/Ingres-type paper laid down; oil on canvas or board; lithograph with correct paper and margins.
• Study handling: atmospheric petals, simplified vase, minimal interior detail, cohesive, glowing palette.
• Inspect signature: “Odilon Redon,” “Od. Redon,” or “O. Redon,” consistent with period forms and placement; pencil signatures on prints in lower margin when present.
• Date plausibility: Florals are mainly 1890–1916; earlier dates merit extra scrutiny.
• Trace provenance: Seek early dealer labels (e.g., Durand-Ruel, Druet, Bernheim-Jeune), period collection histories, invoices, and exhibition records.
• Cross-check literature: Look for inclusion in the catalogue raisonné (paintings/drawings) or correct Mellerio reference (prints); request scholarly opinions when needed.
• Assess condition: For pastels, check for smudging, fading, mount acidity. For oils, note varnish, overcleaning, structural issues. For prints, watch margins, stains, and trimming.
• Compare the market: Assemble at least 5–10 closely matched comparables; adjust for size, medium, color strength, provenance, and condition.
• Plan conservation/framing: Use UV glazing, acid-free materials, and qualified conservators. Avoid DIY interventions.

FAQ

Q: My work is titled “Floral Boquet” on the frame label. Does the spelling affect authenticity? A: Not necessarily. Titles are often dealer- or owner-supplied and may contain spelling variants. Authenticity depends on the artwork’s medium, handling, signature, provenance, and literature, not the exact title spelling.

Q: Did Redon usually sign and date his floral pastels? A: He signed many but not all, and dates are inconsistent. Some dates appear on the reverse or on labels. Lack of a visible date is not disqualifying, but a period-consistent signature and provenance are important.

Q: How can I tell a pastel from a chalk drawing or a print at a glance? A: Under magnification, pastel shows particulate pigment sitting in the paper’s tooth with velvety transitions; charcoal/chalk is typically more linear and matte black/gray. Lithographs show a characteristic grain and uniform printed tonality; margins and plate marks (or lack thereof) also inform.

Q: Are posthumous prints an issue with Redon florals? A: Most valued impressions are lifetime prints. Posthumous or later impressions, if they exist for a given image, generally carry lower values. Confirm edition, paper, and whether there was a lifetime signature.

Q: What kind of conservation can increase value? A: Sensitive, reversible treatments by a qualified conservator—such as deacidifying a mount for a pastel, reducing a discolored varnish on an oil, or carefully washing a stained print—can stabilize and sometimes enhance marketability. Over-restoration or invasive fixes usually decrease value.

Final note: For significant candidates, engage a recognized Redon specialist or the holders of the relevant catalogue raisonné, commission technical imaging where appropriate, and document every stage. Redon’s florals reward careful connoisseurship—the right evidence transforms a “pretty bouquet” into an art-historical cornerstone.