Odilon Redon (1840-1916) Apocalypse of Saint John. 1899. Lithograph. Album size: 440 x 630. Mellerio 173 to 185; Johnson 104. Complete suite of 12 plates. Very fine, fresh proofs on chine applied to strong white vellum. Full margins. Lithographed cover on the edition's strong beige japon, signed with the initials in blue pencil on the 2nd plate at the foot, slightly faded (a few broken folds, light soiling and foxing, heavy dusting at the edges). Edition of 100 proofs. A. Vollard publisher. Detail of plates: - And he had in his right hand seven stars... (Mellerio 174). Some foxing on the support. - Then I saw in the right hand of him who sat on the throne... (Mellerio 175). Some foxing. Dusting to edges of folio. - And he who sat on it was called Death (Mellerio 176). Some foxing. Dust at edges. - Then the angel took the censer (Mellerio 177). Slight dusting to edges of folio. - and a great star fell from heaven, burning like a torch (Mellerio 178). Slight foxing. Lower left corner of folio slightly corroded and rubbed. - ... a woman clothed in the Sun, (Mellerio 179). Slight dusting and trace of oxidation at the edges of the folio. Two tiny foreign bodies on the surface of the left and lower margins. - And another angel came out of the temple which is in heaven. (Mellerio 180). Slight dusting to edges of folio. - After this, I saw an angel descend from heaven... (Mellerio 181). Some light foxing. Fine band of dust at right edge of folio. - ... and bound it for a thousand years (Mellerio 182). Tiny white dot at bottom left (inking defect). Slight dusting at edges of folio. - And the devil who seduced them was thrown into the lake of fire and brimstone... (Mellerio 183). Light foxing and marked dusting at edges. - And I John saw the holy city... (Mellerio 184). Light foxing and slight oxidation at edges. - It is I, John, who have seen and heard these things (Mellerio 185). Light foxing and a thin band of dust at the edges of the folio. "Redon's Apocalypse de saint Jean album differs from those of the Nabis in that it rejects the color advocated by Vollard. As the saint's revelations unfold, the master of black takes up the theme of the spirit's journey, dear to symbolism. From print to print, the art lover is invited to join in this mystical adventure, in the intimacy of his study. He is guided by the captions on the lithographs, which quote the last book of the New Testament and introduce a new relationship to the text in the Vollard editions." (Clara Roca, insert for the exhibition "Édition limitée, Vollard, Petiet et l'estampe de maîtres", exhibition at the Petit Palais, Paris, May 19-August 29, 2021).