Details
ODILON REDON (1840-1916)
Lutte de Cavaliers & Bataille ('Cavalry Fight' & 'Battle')
two etchings
1865
on cream Arches laid paper, one with a partial watermark
Lutte de Cavaliers (M. 4; H. 3)
a very good impression of the third, final state (with the right side of the plate cut off)
from the second edition of thirty, printed by Louis Fort, Paris, 1922, at the request of the artist's widow
(the first edition of thirty signed impressions was printed in Paris in 1886; Harrison records only one proof impression of the first state and two of the second)
Bataille (M. 5; H. 4)
a very good impression of the second, final state
from the second edition, printed by Louis Fort, Paris, 1922, at the request of the artist's widow
(the first edition of 25 impressions, presumably signed, was printed in Paris in 1865; Harrison records a single proof impression of the first state)
with wide margins, probably the full sheets
in very good condition
Plate 10 x 13,5 cm. (4 x 538 in.) (M. 4)
Plate 7,3 x 14,8 cm. (278 x 534 in.) (M. 5)
Sheets 25 x 32,5 cm. (978 x 1234 in.) (and similar)
Provenance
Mira Jacob Wolfovska (1912-2004), Paris (without her mark); her posthumous gallery sale, Sotheby's, Paris, Collection Mira Jacob - Galerie le Bateau-Lavoir, 23-24 September 2004, lots 160 & 161.
Acquired at the above sale; then by descent to the present owners.
Literature
A. Mellerio, Odilon Redon, Paris, 1913 [revised reprint, transl. into English, New York, 1968], nos. 4 & 5, pp. 86-87 (other impressions ill.).
S. Harrison, The Etchings of Odilon Redon - A Catalogue Raisonné, New York, 1986, nos. 3 & 4 (other impressions ill.).
Exhibited
Paris, Galerie Le Bateau-Lavoir, Odilon Redon, Dessins Eaux-fortes Lithographies, 1969, nos. 12 & 13 (ill.).
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Lot Essay

Odilon Redon created his early etchings while still working as an apprentice in the studio of Rodolphe Bresdin (see lots 327 & 347) and are closely related to his master's compositions of the period. Only about 15 years later Redon would create and publish his first lithographs, for which he became known for. The earliest impressions of his etchings were printed in tiny numbers, usually only a couple of trial proofs, and are practically unobtainable.
Bataille is probably based on a closely related drawing of the same year, 1865, in the Ian Woodner Family Collection, New York.

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