edvard munch: the complete graphic works (revised edition)

GERD WOLL

ORFEUS | PWPORFEUS PUBLISHING | PHILIP WILSON PUBLISHERS

EDVARD MUNCH

—THE

COMPLETE GRAPHIC

WORKS

GERD WOLL

PWP

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printing – the birth – has a father and a mother – The

artist is just the midwife – I do not count it as an

original print if it is sent away in this manner – It is

possible a couple of times but – not so many – There are

12 intaglio prints – It is somewhat diff erent with the

German artists – they can oversee the printing.

Here it was practice – and I together with other

artists made a declaration – in this same direction –

Impressions printed without the presence of the artist

are not original prints – Therefore – although I have

now allowed some to go to Germany (approximately

12 and a total of 50,000 impressions printed of these) I

cannot in all conscience continue with this.

I would like to have this stated – as I have had many

requests to send my copperplates – It must be under-

stood that it is not unwillingness to be of service but a

matter of principle – and I believe that on thinking the

matter over Schiefl er will understand this.83

Curt Glaser was also able to benefi t from original prints by Munch in a couple of his publications, and possibly also from Munch’s subsequent objections to this type of dissemination:

Ich sehe eine neue Aufgabe des Buches uber mich

erscheint – Ich möchte den die Radierung Frage

besprechen – Sie werden gewiss, lieber Herr Professor

verstehen dass wenn diese in Tausend – bis 5 Tausend

alz Originalradierungen gedruckt werden – Die

Auktionen und Laden sind voll damit alz viele dieser

Bucher nur um dadurch zu spekulieren kaufen.

Die alte Platte darf nicht so weiter gedruckt warden –

Ich bin aber bereit der Platte zu verstarken auf die

Bedingung dass die Platte mit Schrift eingraviert wird

nach meiner Vorschrift so alle verstehen konnen es sich

nicht um gewohnlich Druck handelt.84

Munch continued to produce prints steadily throughout the 1920s and ’30s. Many of the lith-ographs were drawn on paper, but around 1930 he drew several directly on the stone. He both cut and printed new woodcuts right up to the end. Much of his later work was only printed in a few proofs but some were also printed profes-sionally in large editions. Munch also found new ways of using prints. Partly encouraged by Rolf E. Stenersen, who built up a very large col-lection of Munch’s works in the 1920s and 1930s, he began to hand colour monochrome litho-graphs and woodcuts to a greater extent, both new impressions as well as old ones. This gave even fairly insignifi cant impressions printed in large editions an extra dimension, making them unique in a way which contradicts the very nature of the print.

When producing certain portraits Munch could use a print as a basis for a painting as in the portrait of Engeneer Frølich (cat. no. 725) or combine lithographs and drawings into a large-scale ‘collage’ as in the depiction of Professor Schreiner (cat. no. 687).

‘I ONLY FIND THAT I HAVE PRINTED TOO MUCH’

One problem which increasingly occupied Munch was the sheer number of impres-sions, both those he had sold and those he had at home. On several occasions he used as an argument against selling more than a few impressions of one print the fact that it would be unfair to those who had previously purchased the same print since too many impressions on the market would reduce its value. However, he was also aware of the danger of damaging his own reputation as an artist by distributing too many prints, particularly those that he himself also realised possibly did not meet the standards he had set for his work as a printmaker.

In many of Munch’s notes from the 1920s and ‘30s one can trace an increasing anxiety over what might happen to the enormous number of impressions after his death. For a long time he toyed with the idea that the majority should be burned to be entirely certain that neither the number of impressions nor the varying qual-ity of the many proofs and experiments he had lying around would weaken his reputation as a printmaker or destroy the value of the prints sold. With a certain justifi cation he estimated that if they were owned by the city – and preferably included in a special museum for his art – the prints would constitute an impor-tant study collection for the enjoyment of all who wanted to see them, and would prevent them being dispersed irrespective of quality or number.

We recently talked of whether the old prints could be

printed – I might possibly have several of the plates

and the stones in my possession. – But I think print-

ing more would be out of the question. – I only fi nd

that I have printed too much – instead I will do as

Rembrandt did (would that I resembled him in other

respects too). I shall soon make an auto-da-fe all my

prints. – I would like to distribute only a few impres-

sions of the prints of recent years – I do not fi nd them

graphic enough.85

It could possibly be organised such that I could let

you have some for sale each month – as things are at

the moment it could easily become commercial and I

might end up distributing works which could be seen

as kitsch – I have worked against that all my life.86

In a large ledger containing numerous notes, Munch attempted to summarise his graphic production:

My prints are not printed in a certain edition where they

are numbered and the stones and plates then ground

down. I have constantly worked further on my prints

and experimented with diff erent impressions – I often

use prints as a means of drawing and hand colouring.

A portfolio in an edition of 50 has been published

by Meier-Graefe. A fair number of impressions have

been printed of older prints such as Loving Woman,

Vampire, Self-portrait with the Hand, Strindberg.

When they were produced they were not valued very

highly and they were often ill treated and destroyed.

I can assume that approximately 250 impressions of

Loving Woman have been sold or given away. As 40

years have passed since its creation, many have prob-

ably been destroyed. Later some impressions of Loving

Woman were printed but I have changed the drawing

in order to distinguish these. This is similarly the case

with Self-portrait with the Hand – The hand has been

removed. Similarly a change has been made to Woman

with Yellow Hair and Green Eyes – also to Woman with

Long Hair and Brooch.

For around 14 years I have sold nothing of these and

several other older works. Nor will I sell large numbers

of these even if I posses certain impressions in both

states which I intend to sell when I have the opportu-

nity. This possibly concerns 10 or 15 items.

Approximately 100 impressions of the Sick Child

lithograph were printed and the stone was destroyed in

Paris in 1897 at the famous printer Clot’s. It is printed

in at least 7 diff erent colours and states. Death Strug-

gle was printed in an edition of 50 at the same place

and the stone destroyed.

The Portrait of Obstfelder was also printed in an

edition of approximately 50 at the same place and the

stone destroyed.

I have produced approximately 450 – 500 prints. Of

these over 50 were sold in large numbers – It is prints

from 40 years ago – At that time I was quite careless with

them so many were destroyed – I gave many away and

until around 1914 they were sold for 10 to 20 kroner each.

It is possible that 250 impressions were sold of Lov-

ing Woman which was sold in the largest number. It

is likely that many will have been destroyed. Of the

majority only a few have been sold, in particular very

few impressions have been sold of the prints of the last

20 years. It may be the case that around 30,000 impres-

sions were sold – A large number of stones and plates

have been destroyed and more have been changed in

terms of grinding down the fi rst state.

At the earliest opportunity I will examine my prints

and my stones and plates and put them into as much

order as possible in terms of the number of impressions

and destroyed stones and plates.87


EDVARD MUNCH

—THE

COMPLETEGRAPHIC

WORKS

1

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23

Fifty ye

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war but in 1917 he terminated the connection entirely. Five stones were then purchased and sent home, the others ground down.76 However, it is likely that impressions of all of them were made on transfer paper before they were ground down, and several were transferred to new stones in Norway and later printed by Nielsen.

The war and isolation from Germany and the continent were therefore not a catastro-phe for Munch. Before the outbreak of war he had gained a secure position in the Nordic countries and was not dependent on sales in Germany. The work on the University Festival Hall decorations also occupied him for most of this period, the dispute on who was to paint the decorations fi nally ending with a victory for Munch, and a not inconsiderable payment in 1916. However, it is beyond doubt that the war was much in Munch’s thoughts, and with his cosmopolitan associations he experienced it from a distance almost as a meaningless civil war. In this situation he re-read Ibsen’s The Pretenders and cut a number of powerful woodcuts depicting motifs from this bloody but important part of Norwegian history. In other prints too he commented on the war and the butchery, but also looked forward with hope of a better future for Europe.

Once Munch had completed the University Festival Hall decorations and was installed at Ekely he began to fl ourish as a printmaker again. In 1916–17 he reprinted a number of his old stones, plates and blocks, reworked them or experimented with colour and printing. Most of the lithographs from this period were drawn on paper and transferred by Nielsen but there are also examples of Munch working directly on the stone. The intaglio prints were printed by Scheel, or by Munch himself, and then often as quite extreme experiments, e.g. inking the metal plates with normal oil paints and printing them as a form of monoprint. Old woodblocks were printed in strong, bright colours in fl oating transitions rather than emphasising the strict divisions of the jigsaw puzzle technique. This led to presumably delib-erate experimentation with double contours where the colour plates were out of register. Not all these proofs and experiments were equally successful but they bear witness to an artist – now in his mid-’50s – who was still searching for new possibilities in his printmaking.

The focus on the domestic market led to Munch organising an extensive exhibition of prints at Blomqvist’s gallery in October 1917, where he presented a broad range of his graphic work. The exhibition also included his newest prints and he produced a detailed catalogue which for several years came to serve as a kind of ‘stock catalogue’ of Munch’s prints.

Once the war was over and the continent was again open for free travel and exchange of goods and services, requests soon began to come in from Germany for new prints by Munch. During the war years German art dealers and galleries had both exhibited and sold Munch’s prints but this was restricted to

those impressions which were in Germany when war broke out, either with art dealers or in public or private collections. The only German collector who had succeeded in obtaining some of Munch’s newer works was Heinrich Hudtwalcker, who through his links to Norway had managed to purchase a large number of prints directly from Munch during the war.77

During the 1920s several large retrospective exhibitions of Munch’s art were held at promi-nent museums and public art galleries. Most of these exhibitions also devoted a great deal of space to the prints. One of the largest and most important was put together by Wilhelm Wartmann, director of the Kunsthaus Zürich. In addition to Zürich it was also shown in Bern and Basel during the summer and autumn of 1922. A comprehensive catalogue was drawn up for this exhibition and for the catalogu-ing of the prints, largely from Hudtwalcker’s collection. Wartmann allied himself with Schiefl er, who for many years had hoped to be able to write a follow-up to his catalogue of Munch’s prints. Schiefl er was well underway with this when war made eff ective progress on the project impossible and he now saw the exhibition in Zurich as the ideal means of recommencing work. When it came to dating and other information on Munch’s more recent prints, Wartmann and Schiefl er relied on what they refer to as the ‘nordische Katalog’, which was largely retained in the second volume of Schiefl er’s work published in 1928.

The work on Schiefl er’s new catalogue must have weighed upon Munch a great deal in the 1920s, as is shown by several letters to Schiefl er and others. However, it was hardly the case, as malicious rumour would have it, that Munch ceased producing prints so that Schiefl er would have a chance to complete the catalogue. Nonetheless, he produced few prints around the mid-1920s and appears to have resumed production with a steady fl ow of lithographs once more towards the end of the decade, some also drawn directly on the stone.

‘IMPRESSIONS PRINTED WITHOUT THE PRESENCE OF

THE ARTIST ARE NOT ORIGINAL PRINTS’

In 1919 the initiative was taken to establish an association for printmakers in Norway, the Norske Grafi kere, and Munch was one of the signatories to the invitation to set up this association.78 At their fi rst exhibition in the autumn of 1922, he showed four new transfer lithographs, which led to fairly critical obser-vations from Pola Gauguin in his review of the exhibition.79 Munch wrote several draft replies in this context to defend his use of transfer lithographs:

Here I wish to state that the lithograph or the

lithographic stamp as Gauguin rightly terms it – the

stone – can be carried out in diff erent ways – Working

directly on the stone off ers the richest opportunities –

Here one can use a brush – crayon and home – and

scrape – But the stone is heavy and cannot be carried

in one’s pocket – Therefore for many works – especially

if one wishes to work in an impressionist style directly

from nature – paper is to be preferred – One can obtain

paper which [is] prepared for this – grainy – and

primed with an albumen mixture – I used an excellent

paper with Clot, the famous printer in Paris – which

he primed himself using albumen – I fi nd the grainy

paper terribly dull – and found the paper prepared in

other ways easily became hard [?] on transferring the

drawing – Despite all the printers’ and chief printers’

objections I hit upon using ordinary paper in some

cases – preferably newsprint – I discovered that for the

right kind of thing it worked very well. It was always to

hand – it produced a more lively pattern and a softer

print – For things that did not require that the slightest

grain was processed – it was good.80

Pola Gauguin had played a major role in estab-lishing the Norske Grafi kere, and part of the intention was for such associations to lay down some requirements and standards for what should be termed original prints. The working of the plate by the artist’s own hands and the artist’s presence during printing were impor-tant criteria in this context, and in addition there were recommendations on number-ing prints and limited editions. Munch had not considered this to any great extent in his graphic work and nor had such requirements gained much ground before the 1900s.81 It is true that Munch had also previously demon-strated that he was aware of such problems; for example in 1902 he had emphasised to Linde (and Schiefl er) the importance of his being present during the printing of intaglio prints.82 However, he had almost systematically bro-ken this rule for many years after making this statement, and in other cases, too, practical and fi nancial considerations often won out over principles. But there is little doubt that Munch’s attitude to such questions gradually became more stringent and it is evident from many notes from the 1920s and 1930s that his previous practice now began to trouble him. To a certain extent he also felt himself under a certain obligation due to the part he had played in founding the Norske Grafi kere.

On several occasions he was strongly urged – e.g. by Schiefl er in conjunction with the pub-lication of his two catalogues – to contribute original prints to publications. This created a problem with the second volume of Schiefl er’s catalogue in terms of Munch’s opportunity to oversee the printing and in the following pas-sages he attempts to formulate his thoughts on this matter:

To me it is very troublesome to do this kind of thing –

I can therefore only promise to complete two more

vignettes and one intaglio print – The intaglio print will

be printed and set out in the same way as Liebermann’s –

and I would like the plate to be returned to me after the

printing of the fi rst edition – until the next edition.

I would like to explain to Schiefl er that in principle I

am quite against sending away the copperplate – The

artist thus has as little right to send it away as if it were

a child – The artist must continue the work during


Edvard Munch 75 years, in his Winter Studio at Ekely. Photo: Ragnvald Væring 1938.

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22

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Munch’s exhibition at Beyer und Sohn, Leipzig, 1903.


GERD WOLL

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21

Fifty ye

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‘I AM FREE OF BRUNO CASSIRER’

The contract with Cassirer was signed in July 1904 for a period up to April 1907. But when the contract expired, the account from Cassirer showed that Munch owed him 1,000 marks, something Munch found diffi cult to accept, despite having paid Commeter 500 marks without turning a hair a few months earlier to ensure that he was released from that contract. Cassirer obtained his 1,000 marks once Munch had sold a collection of prints to the banker and art collector Ernest Thiel in Stockholm, and Munch was released from the contract in early 1908. This gave Thiel, like Dr. Linde in Lübeck, an almost ‘complete’ collection of Munch’s prints for his private gallery. Shortly afterwards Munch also sold an equivalent selection to Rasmus Meyer in Bergen.67

For Munch, the termination of the Cassirer contract meant that he himself had to take responsibility for all his prints, and although he certainly greeted this with a sense of relief and freedom, it brought with it new problems. He was clearly not entirely averse to entering into similar contracts with others and wrote to several bodies in Germany, including Piper in Munich:

Ich möchte Ihnen anfragen ob Sie geneigt sind meine

Grafi sche Arbeiten in Vertrieb zu bringen. Ich bin los

von Bruno Cassirer – Ich habe neulich 3 Collectionen

(jeden Collection ungefähr 180–200 Gravuren) fertig

gedrückt – und zwar unter meine persönliche Aufsicht.

Sind Sie geneigt ein von diesen Collectionen zu

kaufen?-Oder währen Sie geneigt das Verkaufsrecht

für ganze Deutschland zu erwerben?68

Munch also wrote to Schiefl er and asked if he could help with exhibitions of a few paintings and of many prints. During 1908 several exhibi-tions were organised in Germany, none with any real success either in terms of press cover-age or sales.

In 1908 Munch’s mental condition was highly unstable and poor nerves and alcoholism led to him admitting himself to Dr. Jacobson’s clinic in Copenhagen. However, during the months he spent there – from October 1908 until April 1909 – his art achieved great recognition in the Nordic countries. Jens Thiis, who had recently become the director of the Nasjonalgalleriet in Kristiania, purchased several of Munch’s still controversial paintings from the 1890s; he was awarded the Royal Order of St Olav; exhibitions in Copenhagen and Helsinki were well-received by the press, and the art museums in these capitals purchased paintings by Munch. A comprehensive exhibition at Blomqvist’s gal-lery in Kristiania was a formidable success and a large collection of prints subsequently toured several towns in Norway. And fi nally, he also sold prints and paintings to two important pri-vate collectors, Ernest Thiel in Stockholm and Rasmus Meyer in Bergen. In other words, the Nordic countries were well worth focusing on and Munch now consciously directed his sales strategy towards the domestic market. On the

basis of the Blomqvist exhibition he allowed all the prints to be photographed and produced a numbered list of those which were for sale. In the winter of 1910 he held an exhibition at Dioramalokalet where a selection of prints were exhibited, an event which was repeated with very few changes in 1911.

In the present work the list used in these exhibitions is referred to as EM I. In 1913 a new list was drawn up for an exhibition in Stockholm, covering 188 prints plus the series ‘Alpha and Omega’ and ‘Animals and People’. A separate booklet with small reproductions was produced for this exhibition and around the same time an equivalent catalogue was produced in Norwegian. These lists, together with albums of photographs and hand-written lists as well as the thorough catalogue issued in conjunction with the Munch exhibition at Blomqvist’s gallery in 1917 are referred to as ‘EM II’. Together these catalogues constitute what Wartmann and Schiefl er refer to as the ‘nordis-che Katalog’.69

Munch’s time with Dr. Jacobson in Copenhagen was by no means unproductive. While he was there Munch produced several drypoints and a number of transfer lithographs, including the series ‘Alpha and Omega’.70 These were printed at Dansk Reproduktionsanstalt, probably entirely without Munch’s participation.

On leaving the clinic Munch returned to Norway and fi rst settled in Kragerø where he rented a large property, Skrubben. In 1911 he also purchased a house on the other side of the Kristiania fj ord, in Hvitsten, as it off ered better working conditions, and a couple of years later he rented a roomy house on Jeløya outside Moss. Skrubben in Kragerø was abandoned at about that time and in 1916 he purchased Ekely just outside Kristiania, the house which was to be his permanent residence for the rest of his life.

During the fi rst years of his return to Norway Munch was particularly occupied with the designs for the decorations of the University Festival Hall, and had little time or opportunity for printmaking. But in 1910 he printed a series of caricatures and it was likely that he then came into contact with the Danish lithogra-pher Anton Peder Nielsen, head printer at Halvorsen & Larsen. Nielsen, who many years later took the name Kildeborg, was to become an invaluable assistant in printing lithographs and woodcuts. In autumn 1912 Munch set up a lithographic press in his house at Hvitsten, and a little later he also acquired a large press for printing intaglio prints.71 He bought plates, Japan paper and other equipment from Germany and set up a complete printing works for his own use. Nielsen came down from Kristiania and helped with printing at Hvitsten and after 1916 was a frequent guest at Ekely, printing lithographs and woodcuts on Munch’s hand press.

The acquisition of presses and equip-ment resulted in Munch getting to grips with printmaking once more and he also took

the opportunity of drawing directly onto the lithographic stone. At around the same time an increasing interest in Munch’s art in Germany led to great demand for his prints. At the Sonderbund exhibition in Cologne 1912 Munch established himself as one of the great masters of modern art. Partly also as a result of this exhibition, new ‘helpers’ appeared in Germany, the most important of these undoubtedly being Curt Glaser. Besides building up a private collection of Munch’s art, particularly prints, in the years that followed he also wrote books and articles on Munch’s work. Over the next 20 years he also ensured that the Kupferstichkabinett in Berlin acquired one of the world’s fi nest and most comprehensive col-lections of Munch prints.72

Growing interest led to increased demand and a need for more impressions. During the period between 1908 and up to the outbreak of the First World War in 1914 Munch ordered a number of impressions from the printers in Germany. The metal plates were still with Felsing, while Lassally had his lithographic stones and woodblocks. To a large extent these impressions were printed without Munch being present, on the basis of approved ‘mas-terprints’. Surprisingly enough it appears that even many of the fi nest colour woodcuts were printed in this way. An examination of the types of paper used in Munch’s prints shows that the characteristic transparent woodcuts printed on fi ne, hand-made, absorbent Japan paper largely derive from this period. Large sheets of expensive Japan paper were a luxury he could previously ill aff ord.

The outbreak of the First World War in the late summer of 1914 put a stop to this trend. Munch was at home in neutral Norway, while his most important plates and stones were with the print-ers in Germany. One problem was that Munch was naturally anxious over what might happen to them in this situation; he was also worried that the printers would be unable to take com-missions from Munch under the prevailing circumstances.73 Therefore Munch arranged for all the copperplates – and probably also the woodblocks and some lithographic stones – to be sent home during September 1914.74 Regarding the copperplates and woodblocks, both legal and fi nancial aspects were fairly clear. They were Munch’s property and as art objects there was no diffi culty getting them out of Germany. The position with the lithographic stones was diff erent, as most of them belonged to Lassally. It is likely that the 10 stones origi-nating in Paris were also sent to Norway in the autumn of 1914, while the stones belonging to Lassally remained in Berlin. However, Munch ensured that Lassally sent him some impres-sions on transfer paper so that in early 1915 he transferred several lithographs to new stones in Norway, made the necessary changes and reprinted them. This was the case at least with prints such as Self-Portrait (cat. no. 37) and The Brooch. Eva Mudocci (cat. no. 244).75

It is possible that Munch also had some impressions printed by Lassally during the


© ORFEUS PUBLISHING AS 2012ISBN: 978-82-93140-12-2

Philip Wilson PublishersISBN: 9780856676994

1. Edition 2012

Edvard Munch’s works of art:© Munch Museum/Munch-Ellingsen Group/BONO, Oslo 2012

Cover and matter design: Laboremus Oslo AS, [João Doria & Rune Døli]Print and binding: Livonia Print SIA, 2012, LatviaFont: Tiempos TextPaper: GardaMatt Art

We are very grateful to Munch-museet and appreciate our longstanding cooperation for making this book possible.

We will thank: Munch-museet (photo: Svein Andersen, Halvor Bjørngaard, Sidsel de Jong, Jaroslav Hollan), Museum of Modern Art / New York, Staatsgalerie / Stuttgart, The Art Institute of Chicago, Kornfeldt Collection, Staatliche Museen zu Berlin, Epstein Family Collection, National Gallery of Art / Washington, Museum of Fine Arts / Boston, Nasjonalmuseet / Oslo, Thielska Galleriet / Stockholm.

This work is protected by copyright in whole and in part. The reproduction or communication of this work in any form or by any means without prior permission from the publisher is illegal and punishable. This applies to all acts of use, in particular such as the reproduction of texts and pictures, their performance and demonstration, translation, fi lming, microfi lming, broadcasting, storage, and processing in electronic media. Infringements will be prosecuted.

Published with generous support from Sparebankstiftelsen DNB NOR

www.orfeuspublishing.comwww.philip-wilson.co.uk

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his notable art collection, representing a very important turning point for Munch. Linde also ordered a portfolio of prints containing por-traits of his family, his house and his garden. He carefully supervised the designing and print-ing and came up with several proposals which, as far as can be judged, Munch followed. It is likely that it was also on his recommendation that Munch had his intaglio prints printed by Felsing. Linde wished to keep the portfolio pri-vate. It was therefore printed in a very limited edition and he was always very reluctant to permit it to be loaned to exhibitions or to have single prints reprinted.62

Interest in Munch’s graphic work was now growing and during 1903 this also resulted in increased sales. The publisher Bruno Cassirer, who until 1901 had been a partner in the art gal-lery run by his cousin Paul Cassirer, contacted Munch with a proposal on a contract which would give him exclusive rights to the sale of prints in Germany. Sales and exhibitions were threatening to become too much for Munch, and Linde was convinced that such an arrange-ment would be best for him, though not as Cassirer had fi rst conceived the contract. Both Kollmann and Schiefl er carefully examined the terms, as well as Linde, and it was not until Schiefl er had proposed a number of changes that Munch signed the contract.63 The next year he also entered into an agreement with

the German art dealer Commeter on the sale of paintings and it appeared as though Munch had achieved everything he set out to do on returning to Berlin in 1901.

The contract with Cassirer meant that he also had to receive impressions of all Munch’s previous prints. To be able to organise all these impressions Cassirer had to make out a list of the prints by Munch that he had for sale. Many of the early impressions have a number on the verso, written in pencil, prob-ably by Cassirer. For the most part it had been possible to reconstruct this fi rst inventory of Munch’s prints – set up before Schiefl er’s cata-logue was published in 1907.64 The numbers written on the verso can often be a good guide in distinguishing early impressions from later reprints.

It soon became evident that Munch was not particularly satisfi ed with the sales contracts he had entered into and he felt a sense of great relief when he was released from both of them and was once more able to deal with sales and exhibitions of his own work himself. Schiefl er’s catalogue of Munch’s prints also made it easier for art dealers and collectors to fi nd their way through the approximately 250 prints which constituted his graphic work at that time.

One of the most successful prints pro-duced after Munch’s return to Berlin in 1901 is Woman with Red Hair and Green Eyes. The

Sin (cat. no. 198) which was developed into a very interesting colour lithograph.65 Also there is every reason to believe that in 1902 he made the colour plates for famous and popu-lar lithographs such as Madonna (cat. no. 139) and Vampire (cat. no. 41). In 1903 he produced the magnifi cent portrait of The Brooch. Eva Mudocci (cat. no. 244), and the lithograph of her together with her accompanist Bella Edwards in The Violin Concert (cat. no. 243). Apart from some portraits of great accuracy, he produced practically no other signifi cant lithographs for many years.

There also appears to have been little inclina-tion towards ‘new production’ when it came to woodcuts until Munch once more returned to Norway and threw himself into printmaking with renewed interest after 1910. However, he did produce a couple of impressive woodcuts, such as Head by Head (cat. no. 268) in 1905. Lassally also printed an edition of the most popular colour woodcuts from previous years but in general these do not appear to have been printed until after 1906.66

After 1902 Munch often appears to have used copperplates as a kind of sketch pad, producing a number of fresh and immediate drawings using drypoint on small copperplates. Furthermore, he created several impressive zinc etchings; both in Germany and at home in Norway.

A Invoice adressed to Munch from Lassally, with the printer’s old letterhead, 1895. B Letter to Munch from Lassally, with the printer’s new letterhead, 1895.


7 PREFACE

8 FIFTY YEARS OF PRINT MAKING

29 EDVARD MUNCH 1863–1944

32 NOTE TO THE READER

37 THE CATALOGUE

457 APPENDIX 458 Pen drawings, 1882 460 Hectographs 474 Posthumous restrikes, plates and stones with identifi able subjects but no known prints 476 Facsimiles, reproductions, ‘afters’ and fakes 479 Publications with original prints by Edvard Munch 480 Museums and public collections holding prints by Edvard Munch, and referred to in the catalogue text 482 Prints listed according to Schiefl er 485 Cassirer list reconstructed 486 Important exhibitions, 1895–1944 489 Important exhibitions and catalogues, 1946–2011 496 Bibliography

506 VISUAL INDEX

524 ALPHABETICAL INDEX

527 ABOUT THE AUTHOR

CONTENTS

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19 III (16-3)


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19ATTRACTION I

Tiltrekning IAnziehung I

1895

Sch. 17, W. 16 (I–II), MM G 16Line etching, open bite, drypoint and burnisher on copperplate313–340 × 239–258 mm (Pl: 323 × 250 mm)Printed by SaboPrinted in black ink.

According to Schiefl er, Munch, who consid-ered it as a failure, destroyed the plate.

Printed on white or cream wove.

I. Planets in the sky and refl ections in the water; several blotches caused by uncon-trolled biting. An impression where the upper part has just been partly inked (16–4); an impression corrected in black and grey watercolour (16–1).II. Burnisher has been used on a horizontal area across the sky, and to some extent in the faces. Signed impression (private col-lection, Basel 2007), an impression hand coloured in light blue and reddish watercol-our (16–2).III. The blotches have been removed with a burnisher, used in large parts of the sky and the sea, and in the two faces. New lines in drypoint have been drawn in the sky over the promontory and along the man’s cheekbones (16–3).

Munch-museet (4)Cf. cat. no. 20 and cat. nos. 75 and 76 (lithographs).

20ATTRACTION II

Tiltrekning IIAnziehung II

Two Lovers on the Beach / Man and Woman in the Moonlight / Two Heads

1895

Sch. 18, W. 17 (I–IV), MM G 17Line etching, open bite, drypoint and burnisher on copperplateI–III: 215–218 × 313–319 mm, IV–V: 248–267 × 315–337 mmPrinted by Angerer, Felsing, the artist, Scheel (?)Printed in black or brown ink. There are also multicoloured impressions printed from one plate.

Copperplate (MM P 16)269 × 339 mm.

a) Early impressions printed by Angerer in black or multicoloured impressions from one plate (I–II).b) Impressions by Felsing printed in greyish black or brown (II).c) Later impressions by the artist or Scheel, in black or greenish black on heavy white wove or van Gelder (II–IV)

I. The etched areas very prominent. The back of the man’s head, jacket and large areas of the ground without hatching. An impression dated E Munch 1895 (17–8); signed impression on heavy white paper (private collection, Germany). Schiefl er, who does not specify states, lists an impres-sion printed in blueish grey, brown and yellow in A. von Franquet’s collection inscribed l Abdruck des l. Zust. (New York: MoMA). No other impressions printed in colour are known.

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40VAMPIRE I

Vampyr I

1895

Sch. 34a, MM G 567Lithographic crayon360–365 × 465–469 mmPrinted by Liebmann (?)Printed in black ink.

This version is incorrectly recorded by Schiefl er as being an early state of cat. no. 41. Schiefl er further states that the early proofs were printed by Clot, and the later ones by Lassally. It is more likely that this version was printed by Liebmann in Berlin, a theory that is supported by inscrip-tions on various impressions.

Printed in black on white or cream wove. Impression with the following dedication: An Herrn Liebmann / freundlich Edv Munch (567–72), and a hand-coloured impression with a similar dedication, and inscribed in another hand Munch Berlin 1894/5. Orig.Lith. gedruckt bei A. Liebmann (Chr December 1996). Impression on grey paper corrected with white gouache (567–24); impression dated Edv Munch 1895 (private collection, Germany).

Munch-museet (3)

Cf. cat. no. 41.

41VAMPIRE II

Vampyr II

1895/1902

Sch. 34, MM G 567Lithographic crayon, tusche and scraper380–387 × 550–560 mmPrinted by Lassally, Nielsen (?)Printed as a lithograph in black or black and red.Multicoloured impressions printed in a combination of one or two lithographic stones; woodblock sawn into pieces and possibly a stencil.

Two lithographic stones, four woodblocks and one stencil in the Munch-museet:Lithographic stone (MM P 155)650 × 490 × 85 mmThe keystone for the print. On the other side is Madonna (cat. no. 39).

Lithographic stone (MM P 219)1010 × 785 × 65 mmA drawing of the woman’s hair has been transferred to this stone. Cat. nos. 575 and 576 executed in 1916 have been transferred to the same side of the stone.

Aspen woodblock (MM P 314)361 × 560 × 16 mmSawn into four pieces with a fretsaw, inked in green, blueish black and yellow. The most used of the colour blocks.

40 (PRIVATE COLLECTION) 18 III (13-22)

18 V (13-27)

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avant-lettre (13–27); Edv Munch // Berlin 1908–11 (private collection).VI. Tentative new outlines on the promon-tory point, on the upper right of the large rock and on the fi gures of the women. On the woman to the left the lines of a crotch have been incised. The legs of the woman to the right are indicated under the cloth she is holding by a line drawn down the middle. Impression probably printed by the artist, hand coloured in watercolour (13–10).VII. New lines on the promontory; dry-point work in the hair and shadows of the women; the woman on the left has a dark shadow between her ankles. Impression inscribed E Munch 1914 // (S) Prøve 3de Tilstand (13–12).VIII. The crack in the stone on the left has been divided in two, and on top of the stone a new curved line has been drawn on the right. Impressions inscribed E Munch // 3de Zustand Probedruck eigene Presse (13–4); E Munch // Prøve 3 Tilstand (13–3); (S)E Munch 1914 // 3 Tilstand (13–5); E Munch 1914 // Forsøgstryk til 4de Tilstand (S) (13–31); E Munch 1914 // (S) Prøve 3 Tilstand (private collection).IX. Many new lines and heavy vertical hatching on the right side of the large rock. Short light diagonal lines from left down to right across the top of the image; small, short lines near the bottom indicate more stones and grass. New horizontal line faintly incised. Impression inscribed E Munch 1915 / Forsøgstryk til 5te Tilstand (S) (13–2).X. Strong new lines moving up from the promontory; light, horizontal striations at the top of the large rock. The small centre stone now has a large crack in the middle; the large stone on the left has new outlines, and new lines indicate waves in the water (13–1).XI. Heavy diagonal hatching in the lower-right corner, new outline around the stones (13–7).

XII. Horizontal lines at the top of the sky and along the horizon; the top of the large rock is now separated by a new line; many short lines and hatching on the ground and on the women’s bodies (13–6).XIII. The heavy hatching in the lower-right corner has probably been slightly reduced with a burnisher; more horizontal lines in the sky and light hatching around the feet of the woman on the right and upwards towards the right (13–33).XIV. Vertical lines in the water right below the women give the impression of refl ection in the water (13–8).XV. New, heavy diagonal hatching in the lower-right corner; diagonal lines from left down to right across the stone in the middle (13–19). Impressions on chine collé probably printed by Scheel (private collec-tion); hand-coloured impression inscribed Handkolerert 1935 (RES).

Munch-museet (41), RES (2), UDBergen (RMS); Berlin (2); Chemnitz; Chicago; Dresden; Essen; Frankfurt a.M.; Gothenburg; New York (MoMA); Oslo (NM2, NB); Stockholm (TG); Sydney; Tel Aviv; Vienna; Washington DC (NGA)

There is a similar subject in a pastel of 1894 (private collection, Woll 356). The print is a reversed version of the pastel.


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Plywood block with oak veneer (MM P 315)378 × 558 × 3 mmSawn into four pieces with a fretsaw, with the division diff ering somewhat from that of P 314 and P 315, inked in blueish black, green, yellow and red. However, there is no known impression for which these have been used, but the red colour can be recognized as a counterproof on the cardboard stencil P 318 and must have been used for at least one impression.

Plywood block with oak veneer (MM P 316)385 × 553 × 6 mmSawn into four with a fretsaw, inked in blue, green and yellow ochre.

Oak woodblock (MM P 317)382 × 497 × 4 mmDivided in two with a fretsaw. Several smaller pieces have broken off and are missing today. Only the piece with the woman’s hair has been inked (red).

Cardboard stencil (MM P 318)300 × 380 mmIncludes the group with the woman and the man.

The 10 groups below can be defi ned according to the various combinations of stones and woodblocks used, but it must be emphasised that it has not been possible to establish a defi nite chronological order for the various combinations. According to Schiefl er the lithographic stone and wood-block for the multicoloured prints were fi rst made in 1902. On later impressions (and on the stone itself) a very thin curved line prob-ably caused by a hair, which is absent in all

earlier impressions, can be distinguished on her arm. In about 1916 Munch had new col-our plates printed on top of some of his early, monochrome impressions on greyish white China paper. The groups are as follows:

I. Monochrome lithographs, printed in black on various types of paper. Edition on heavy cream wove, numbered to at least No 22 (567–60); and on heavy greyish brown paper, numbered to at least No 27 (567–65); some impressions signed and dated, e.g. E Munch 95 (567–66). Impression on greyish blue paper hand coloured in watercolour, signed and dated in a brush E Munch 95 (K&K June 1973); hand-coloured impression inscribed Handkoloreret 1931 // Lashally (567–25). Edition on China paper, some hand coloured (567–23); some mounted on grey cardboard (567–41).II. Combination prints in four colours, from the keystone (P 155), printed in black, and a woodblock printed in blue and green, and a stencil in yellow. Impression on China paper (567–30).III. Combination prints in four colours from the keystone printed in black and a woodblock (P 314), printed in blue, yellow and green. Impression on greyish brown cardboard (567–1).IV. Lithograph printed from two stones, the keystone, and an unknown stone for the hair. Impression printed in black and pink on grey paper (567–82).V. Combination prints in greyish ink from the keystone, red hair from another stone, and blue, green and yellow from a divided

woodblock (P 314). Impression on China paper (567–16); on grey cardboard inscribed Munch Ganz genau Probedruck Bitte der Probedruck sehr gut aufh eben und schonen (567–20); Edv Munch // Probe No 1 (Chr NY November 1979). On all the examined impressions in this group, the registration of the red stone during printing was poor, and it appears slightly to the left in relation to the main design.VI. Combination prints with the keystone printed in black or grey. On her arm there is a thin curved line, probably caused by a hair. The stone with the red hair is worked on further, and new tusche strokes have been added and a lock of hair is hanging over one eye. The sawn woodblock (P 314), is printed in blue, green and yellow. Impression with keystone printed in black on thin Japan paper, with the following inscription on the verso: Edvard Munch adr. Hvidsten Norwege // Wampyr 200 Dollars // Litho et Bois en 4 Couleurs (567–79). Impressions with keystone printed in grey, and the other colours as above, printed on varying types of paper. Impression on greyish paper (567–12); heavy, white paper (567–9). These impres-sions were probably printed in 1913.VII. Combination prints with an early litho-graph printed in black on China paper, and the hair printed in red from a new wood-block, P 317, on top of the old lithograph (567–31). This new printing was probably done by Nielsen. Hand coloured impression inscribed Handkolorert af mig / Edv Munch (Washington DC: NGA).VIII. Combination prints with an early

lithograph printed in black on China paper, the hair printed in red from a stone produced in 1916 (P 219); and in blue, green and yellow from a new divided woodblock (P 316) (567–33).IX. Combination prints with an early lithograph printed in black, and in blue, green and reddish yellow from a divided woodblock (P 316) (Bridgestone 1989).X. Combination prints with an early lithograph printed in black on China paper, red hair from a divided woodblock (P 315), and in blue, green and yellow from another woodblock (P 316) (567–80).

Munch-museet (72), RES, UD (3)Baltimore; Berlin; Bremen; Cambridge MA; Chemnitz; Chicago; Des Moines; Essen; Frankfurt a.M.; Gifu; Gothenburg; Hamburg; Kurashiki; London (BM); Madison; Melbourne; New York (SRG, MoMA 2); Oslo (NM 2, NB); Salzburg; Shizuoka; Stockholm (MM 2, TG 2, W); Stuttgart; Tel Aviv (2); Toronto; Washington DC (NGA 2); Wuppertal

The same subject appears in several paint-ings of 1893–95 (MM M 122A, Woll 331; M 292, Woll 335; M 679, Woll 377; Göteborgs Konstmuseum, Gothenburg, Woll 334; private collection, Woll 349). Later ver-sions from 1916–18 (Sammlung Würth, Künzelsau, Woll 1176; MM M 703, MM M 445, MM M 169, MM M 533, Woll 1172–1175). The printed versions are reversed. The same subject can also be found in a drawing dated to 1895 (MM T 379). Cf. cat. nos. 4 and 40.

41 VI (THE DNB NOR SAVINGS BANK FOUNDATION)

17 III (12-7)


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17MOONLIGHT.

NIGHT IN SAINT-CLOUD

Måneskinn. Natt i Saint-CloudMondschein. Nacht in Saint-Cloud

1895

Sch. 13 (I–III), W. 12 (I–IV), EM II 147, MM G 12Drypoint, open bite and burnisher on copperplate309–316 × 251–257 mmPrinted by Angerer, FelsingPrinted in black or brown ink.

Steel-faced copperplate (MM P 12)360 × 270 mm.

Schiefl er records the fi rst two states as being without aquatint. Willoch disputes this, and the plate was probably given a light etched tone in the fi rst state. However, this was most likely done in open bite, not aquatint.

a) Early impressions in black printed by Angerer (I–IV).b) The Meier-Graefe portfolio printed in 1895 by Angerer. The deluxe edition printed in 10 impressions on Japan paper before steel facing, all numbered and signed by the artist. The plate was then steel faced and printed in 55 impressions on heavy beige wove for the ordinary edition of the portfo-lio. These were not signed (III).c) Later impressions by Felsing printed in black or brownish ink on cream or beige wove, Japan paper and laid paper with watermark Holland (IV).

I. (not in Sch.) Tablecloth and portière less detailed than in later states; vigorous

crosswise lines in the curtain on the left. Some refl ections have been burnished out (12–6).II. (= Sch. I) Tablecloth and portière more detailed; crosswise lines on the left less prominent. Burnisher used on a larger area of the moonlight on the fl oor (12–34). Schiefl er refers to an impression owned by Graf Kessler, inscribed E Munch 1 Abz l Z 1895.III. (= Sch. II) Moonlight on the fl oor softened even more with burnisher. Series of new lines on the bench from the right down towards the left, and long, diagonal lines to the right on the wall. Impression inscribed Edv Munch // Probedruck (12–7). Schiefl er mentions an impression owned by Dr. Seidel, inscribed E Munch 1895 I Abz II Z (Wittrock 1977).IV. (= Sch. III) Long horizontal lines along the left curtain. Schiefl er assumes that the aquatint has been applied to the shadow area for the fi rst time in this state. Willoch indicates that it has been redone. The darker areas are more likely a result of the inking. An early impression inscribed Edv Munch // 2 Dr. Probedruck (Mannheim). Impression by Felsing inscribed Aus der letzen 50 Expl. whelche gedruckt werden konnen // E Munch (12–3).

Munch-museet (31), RES, UD (5)Amsterdam; Berlin; Bremen; Chemnitz; Chicago; Copenhagen; Dresden; Frankfurt a.M.; Hamburg; Hannover; Los Angeles (LACMA); Lübeck; Mannheim; New York (MoMA, NYPL); Oslo (NB); Philadelphia; Saarbrücken; Sapporo; Stockholm (MM, TG, W); Tel Aviv; Vienna; Washington DC (NGA); Winterthur (ORM)

The man in the top hat is prob-ably the Danish poet Emanuel Goldstein (cf. cat. no. 305), who was a close friend of Munch during his Saint-Cloud period

around 1890. Munch has written the fol-lowing dedication on an impression of this print [in translation]: To E. Goldstein in remembrance of our companionship St. Cloud1889–90 Edv. Munch Copenhagen 1909 (private collection).

The print is a reversed version of a subject also found in two paintings: from 1890 (Nasjonalmuseet, Oslo, Woll 192), and 1893 (private collection, Woll 302) The subject also occurs in two pastels and an oil on paper from 1892–93 (private collections, Woll 285, 286 and 287), and in several drawings, including one in a sketchbook (MM T 126–29).

18WOMEN BATHING

Badende kvinnerBadende Frauen

1895

Sch. 14 (I–III), W. 13 (I–X), EM I 137, EM II 187, MM G 13Open bite, drypoint and burnisher on copperplate210–220 × 312–325 mmPrinted by Sabo, Angerer, Felsing, the artist, Scheel (?)Printed in black or brownish ink.

Steel-faced copperplate (MM P 13)223 × 325 mm.

This print exists in a large number of states, some with very small diff erences, and there may be more states than the ones listed here.

a) Early impressions in black printed by Sabo or Angerer, according to Schiefl er (I–IV).

b) Later impressions by Felsing printed in greyish brown or brownish black (V).c) Printed by the artist and probably Scheel, following the return of all the plates from Germany in the autumn of 1914 (VI–XV).

I. Image solely in open bite with light drypoint outlines. Two large stones at bot-tom right are lightly delineated. A few lines in the large rock in the background to the right. Impressions inscribed E Munch 1895 I Tryk (13–42); E Munch Akva tinta / avant let-tre (13–40). Schiefl er refers to an impression in his collection inscribed E Munch 1 Druck (K&K May 1964); in Dr. Seidel’s collection E Munch 3. Abz. l Z 1895 (SK November 1949); and in A. von Franquet’s collection E Munch // 2er Abz 1e Z 1895 (Berlin).II. A new stone has been drawn in on the right above the two large stones bottom right; the stones are more strongly empha-sised, and the crack in the middle of the stone to the left is longer. Several new lines have been drawn into the large rock and one continuous line marks the shoreline. There are circles in the water around the woman swimming, and faint lines indicate the waves rolling in towards land. Impression on Japan paper (Berlin); with tusche correc-tions (13–13).III. (Not in Sch. or W.) A prominent short line and some longer and narrower lines have been added on top of the rock. Impression inscribed E Munch le Abz – 2te Z 1895 (13–22).IV. (Not in Sch. or W.) One small and one larger oval shadow have been drawn in on the stone to the right. Impression inscribed Probedruck 2. Zustand (Chicago); on Arches paper inscribed E. Munch 95 (Oslo: NM); dedicated to the former owner Til L.R. fra E Munch (private collection).V. (= Sch. III, W. III) New etching of the bot-tom area and the women’s hair. Impressions by Felsing inscribed Edv Munch //


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41 (MM P 314)

41 (MM P 315)

41 IV (567-82) 41 VII (567-31)

41 V (567-14) 41 VIII (567-2)


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16KRISTIANIA

BOHEMIANS IIKristiania-Boheme II

1895

Sch. 11 (I–III), W. 10 (I–V), EM I 85, EM II 26, MM G 10Line etching, open bite and drypoint on copperplate268–280 × 356–377 mmPrinted by Sabo, Angerer, FelsingPrinted in black or brown ink.

Copperplate (MM P 10)298 × 398 mm.

a) Early impressions in black printed by Sabo or Angerer, according to Schiefl er (I–IV).b) Later impressions by Felsing printed in brownish black or brown (IV).

I. (Not in Sch.) Lightly drawn line etching, without tobacco smoke (10–6).II. (= Sch. I) Large parts of the plate given a darker tone with open bite. The etching has caused some rather disfi guring spots along the edges, especially to the left where the image is slightly extended as the head in profi le has been enlarged. Contours around

the clouds of smoke added in drypoint. Schiefl er refers to an impression owned by the artist (10–13).III. (Not in Sch.) The fi gures have been fur-ther elaborated in drypoint. Thicker layer of vertical lines, e.g. in the lower corners, on the bearded male head and around the woman. The shadow behind the man on the right is higher and heavier (10–5).IV. (= Sch. II) The window and the woman in the background more clearly defi ned by means of vertical lines; a shadow has been drawn in on the wall to the left above the heads, and the shadow area in the lower-left corner darkened by crosshatch-ing, almost covering up the disfi guring spots. Diagonal lines have been added to the cheek of the head in profi le. A shadow is casted by the bottle and the glass on the table, and there is a darkened area behind the man to the right. The etched areas appear quite worn, and the plate is often printed with a light surface tone, as in an early impression (10–11). A great many of the later impressions of this state have been printed with a dark brown surface tone over the entire plate except for the shirt front, the smoke and a couple of the faces. Schiefl er and Willoch record that aquatint was used in an earlier state, and assume that there has been a new aquatint etching, listing this as the fi nal state (Sch. III, W. V). It is, however, diffi cult to prove that the darker tone is not simply caused by the inking.

Munch-museet (17), RES, UD (2)Berlin; Cambridge MA (2); Frankfurt a.M.; Hamburg; Saarbrücken; Stockholm (MM); Takasaki; Tel Aviv

The fi gures in the print are Edvard Munch, Christian Krohg, Jappe Nilssen, Hans Jæger, Gunnar Heiberg, Jørgen Engelhardt and in the centre Oda Krohg (nee Lasson), who was fi rst married to Engelhardt and then married Krohg in 1888. The other men, except Munch perhaps, were all in love with her. The same subject appears in a drawing (MM T 2383). Cf. cat. no. 15.

5


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67 III (205-33)

68 (MM P 156)


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67THE URN

UrnenDie Urne

1896

Sch. 63 (I–II), EM I 79, EM II 11, MM G 205Lithographic tusche, crayon and scraper460 × 265 mmPrinted by Clot, LassallyPrinted in black ink.

Lithographic stone (MM P 156)647 × 483 × 93 mmJealousy I (cat. no. 68) is on the same side, and Strindberg (cat. no. 66) is on the other side of the stone. Some impressions are printed on the same sheet with no. 68.

a) Early impressions by Clot (I–III).b) Later impressions by Lassally on cream wove and Japan paper. Schiefl er does not mention impressions by Lassally, indicat-ing that they were not printed until after 1906 (III).

I. Grinning, mask-like face on the urn; the woman’s face above the urn turned towards the right; fi gures beneath roughly indicated, the head of the middle fi gure in profi le, fi gure on the right vaguely indicated without facial features. Impression on cream wove (205–12); impression where the mask on the urn has been painted over with tusche (205–9).II. The face on the urn has been covered with tusche; face above the urn turned towards the left. Figures below also changed; middle fi gure’s head turned three quarters frontally and strands of hair are painted on the shoulders; the fi gure on the right stands out more; more distinct facial features and her right hand around her right leg. Impression on cream wove (205–7).III. (not in Sch.) Figures at the foot of the

urn worked over with tusche and scraper. The faces of the two on the right now have dark eyes, and some changes have been made to the body on the left. The lower part of the face above the urn is now more clearly defi ned. Impression printed on grey paper turned to green, inscribed E Munch 96 (private collection, Germany); mounted on greyish cardboard inscribed Edv Munch // Eine Urne Fruhdruck 1898–1900 (S) (205–6); E Munch // Berlin circa 1897 (Chr July 1994); and another with the artist’s handwriting on the verso Urnen 1898/8 Litho (205–23). Signed impression inscribed Trauermarsch // Die Urne (KuF June 1994). Edition by Lassally on heavy white paper printed ca. 1913 (205–11).

Munch-museet (33), RES, UD (2)Cambridge MA; Frankfurt a.M.; Hamburg; Kurashiki; New York (MoMA); Oslo (NM, NB); Stockholm (TG); Stuttgart; Tel Aviv; Washington DC (NGA/Epstein)

Similar subjects in drawings (MM T 332 and T 371). Cf. also related subjects in cat. no. 119 and later renditions such as cat. nos. 582, 583 and 584.

68JEALOUSY I

Sjalusi IEifersucht I

1896

Sch. 57, EM I 51, EM II 96, MM G 201Lithographic crayon, tusche and scraper330 × 460 mmPrinted by Clot, LassallyPrinted in black ink. According to Schiefl er impressions printed in grey.

41 (MM P 317)

41 I (567-71)


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66 III (219-72)


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43 II (197-54)42 (196-4)


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42THE HANDS

HendeneDie Hände

1895

Sch. 35, EM II 236, MM G 196Lithographic crayon and tusche480–485 × 290–296 mmPrinted by LiebmannPrinted in black ink.

Exh. cat. 1917 Blomqvist states that few impressions of the lithograph were printed and that the stone no longer exists. Impressions on white paper inscribed E Munch // Hænder (NB); E Munch 1895 (196–1); Edv Munch No 20 (Oslo: NM). Hand-coloured impression on heavy beige wove, inscribed E Munch 1895 (GWPA November 2007), on white wove (RES), and one inscribed E Munch // No 4 1895 (196–5). Some impressions printed on bright red paper (196–16).

Munch-museet (16), RES, UDChicago; Hamburg; Oslo (NM, NB 2); Stockholm (TG)

There is a similar image in a painting of 1893–94 (MM M 646, Woll 336), and in several drawings (MM T 2292, T 2442 and T 1380).

43THE ALLEY

SmugetDie Gasse

The Street / Carmen

1895

Sch. 36, EM II 15, MM G 197Lithographic crayon and tusche424–435 × 265–270 mmPrinted by LiebmannPrinted in black ink.

Exh. cat. 1917 Blomqvist states that there are about 100 impressions of the lithograph and that the stone was destroyed.

I. The design is completed, but the men’s clothes are unevenly and sketchily realised in tusche. Trial proof on yellowish paper (197–8).II. The men’s clothes are gone over in tusche.1) Impressions where all the details come out clearly. An edition on heavy white wove, or on greyish paper that yellows easily to a greenish tone, numbered by the printer 1/30–30/30. Some impressions dated and inscribed No 12/30 // Edv Munch 95 (197–2); No. 8/30 // En Gate [A Street](Oslo: NB). Early impressions also on greyish white China paper, some inscribed Trykt 1897 // Edv Munch (K&K June 1977); trykt 1898–99 (197–73), trykt omkring 1899 (197–42).

2) Impressions where many of the details have become muddled. On the man to the left, hair and beard now have a grey tone. Printed on white and cream paper of various kinds (197–6).

Munch-museet (77), RES, UD (4)Boston (MFA); Dresden; Frankfurt a.M.; Oberlin; Oslo (NB); Stockholm (TG); Stuttgart; Tel Aviv; Vienna

The same subject appears in several sketches (MM T 1398, T 490 and T 1377). Cf. etched version (cat. no. 167).

44TINGLETANGLE

TingeltangelCafé Chantant / Academy of Music

1895

Sch. 37, MM G 198Lithographic crayon, tusche and scraperSigned with scraper in the stone E Munch410–418 × 630 mmPrinted by LassallyPrinted in black or brown ink.

Schiefl er mentions only impressions in black, but brown impressions also exist (Washington DC: NGA). Printed on cream,

beige or grey, heavy wove. Impression printed in black on grey cardboard which yellows easily to a greenish tone, inscribed E Munch 97 // An music Hall (Berlin). Hand-coloured black impressions dated Edv Munch 96 (Chicago); E Munch 1896 (private collection); impression signed without date (Arneberg Collection); impression inscribed Handkoloriert-Academy of Music (198–1). Hand-coloured brown impressions on cream wove, formerly in H. Stinnes’s collec-tion (Campbell Collection).

Munch-museet (5), RESBerlin; Chicago; Oslo (NB); Washingtion DC (NGA)

Schiefl er gives the following additional information about the localities: ‘Academy of Music, Berlin, Friedrichstrasse’. According to a contemporary guidebook, there was a music hall called Moore’s Academy of Music in Friedrichstrasse. The same subject appears in sketches (MM T 491, T 490, T 132–2,–3).


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STRINDBERG1896

Sch. 77 (I–III), EM I 37, EM II 98, MM G 219Lithographic crayon, tusche and scraperII: Signed in the stone E MunchI–II–III A: 605–610 × 460 mm; III B: 442 × 317 mm; IV: 505 × 378 mm; V: 510 × 367 mmPrinted by Clot, LassallyPrinted in monochrome black or greyish green ink. Two-coloured impressions printed in dark brown and greyish brown or black and blue.

Lithographic stone (MM P 156)647 × 483 × 93 mmCat. nos. 68, Jealousy I and 67, The Urn, are on the other side of the same stone.

The chronology of this lithograph is not easy to establish. Judging by letters to Munch, Schiefl er also had problems with this.

a) Early impressions printed by Clot (I–IV)b) Later impressions by Lassally. Schiefl er

does not mention impressions by Lassally, indicating that they were not printed until after 1906 (V)

I. (=Sch. II) Around the portrait is an orna-mental border with zigzag and wavy lines which turn into the slim, nude fi gure of a woman on the right side. At the bottom left, the name ‘A. Stindberg’ is incorrectly spelt. Monochrome impressions on cream, greyish white or blueish grey paper. Impression in greyish green on thin, cream paper (Zürich: ETH); in black on blueish grey paper (219–6). Impression on cream wove, where the border has been folded in and the face toned down with black lithographic crayon (219–1); impression where the border is trimmed off , corrections in charcoal and tusche, and with a heavy vertical scratching of the back-ground (219–57); signed impression trimmed even closer to the portrait (219–56).II. (= Sch. IIIa) ‘Stindberg’ is changed to ‘Strindberg’; the woman’s fi gure in the orna-mental border is substituted by continuous wavy lines. Signed with scraper in the stone at bottom left E Munch. Monochrome impressions in black. Impression mounted on cardboard, with information on the back plate about it having been framed in Kristiania on 14 September 1897. (WM June 1967).

III. Two-coloured impressions printed from two stones.A) (=Sch. IIIb) Impressions of the full image, with ornamental border as described under II. Impression in black and blue on greyish white China paper (219–3); in black and yellowish brown on heavy beige paper, dated E Munch 97 (219–2).B) (=Sch. I) Impressions without the border. Since the border has been omit-ted, it is impossible to ascertain whether the keystone was in state I or II, but the presence of the same colour stone as in III A) makes it most likely that this group belongs here. A number of impressions printed in a similar way to chine collé, on thin China paper, trimmed so that the border is omitted, and mounted on heavier cream wove. Impression in dark brown and greyish brown inscribed Edvard Munch 1896 // No 2 af 75 // Portræt Strindberg Litho (219–16); E Munch 1896 // No 12 af 75 (Berlin); impression in black and grey, inscribed E Munch 1896 // No 8 af 75 (219–73). Although the numbering indicates a planned edition of 75, there is little reason to believe that so many impressions of this state actually exist.IV. (not in Sch.) Monochrome impres-sions in black without the border (image: 505 × 378). A presumably accidental spot

in the right corner of his mouth. Printed by Clot, e.g. on greyish white China paper. Signed impression inscribed on the verso Strindberg Litho Imprimé de Clot Paris (219–64).V. The black spot in the corner of his mouth has been scraped away, and the masking out of the border has made the outer edge of the image somewhat diff erent from IV (image: 510 × 367 mm). Printed by Lassally on thin, cream Japan paper, or on various types of wove. Impression on thin smooth paper (219–13).

Munch-museet (74), RES, UDBerlin (2); Braunschweig; Bremen; Budapest; Cambridge MA (2); Chicago; Cologne (WRM); Essen; Frankfurt a.M.; Gothenburg; Hamburg; Hannover; Kurashiki; Lübeck; New York (MoMA); Oslo (NM 2, NB 2); Paris; Philadelphia; Rostock; Stockholm (MM, TG); Vienna; Washington DC (NGA 2); Zürich (ETH, K)

August Strindberg (1849–1912) was a Swedish poet and writer, and a close friend of Munch during his early years in Berlin and in Paris 1896. Munch painted a portrait of him in 1892 (Moderna Museet, Stockholm, Woll 301).

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45STANISLAW

PRZYBYSZEWSKI1895 (?)

Sch. 105, EM I 8, EM II 84, MM G 231Lithographic crayon, tusche and scraper540–545 × 440–443 mmPrinted by Lassally, NielsenPrinted in black or green ink.

Lithographic stone (MM P 164)652 × 488 × 76 mmThe stone is annotated by the printer den 22/4 1917 5 tryk.

Schiefl er records only one state, and dates the lithograph to 1898. It diff ers greatly, however, from the other lithographs Munch produced that year, and the subject suggests

1895 as an equally likely date, which is also supported by an inscription. States II and III presumably date from many years later, possibly not before 1916–17.

a) Early impressions by Lassally (I).b) Later impressions by Nielsen (II–III).

I. Head fully realised in lithographic crayon and tusche, shoulders and collar outlined, the sitter with a receding hairline. Impressions in this state are very similar to a pastel of 1895 (MM M 134). Printed in green or black. On the verso of one of the impres-sions in black Munch wrote Stanislaus Przybyszewski 1895 / Polnische Schriftsteller (231–3). Another impression is inscribed 1909–11 Lashally (231–6). Signed impression in green on a heavy beige paper (231–7).II. Head reworked with crayon, so that dark hair covers the recesses of the hairline. All of the impressions seem duller and with fewer nuances than in I, which may be due to the lithograph having been transferred

to a duplicate stone. Probably printed by Nielsen in 1916–17 (231–8).III. Jacket and background treated with the broad side of the crayon to give them a grey-ish tone; a few strong lines have also been added. Head reworked with scraper and crayon, making the receding hair visible again; lighter areas are scratched in the hair, around the eyes and mouth. Impressions numbered by the printer 1b (231–5); 2b (231–10). Impression hand coloured in gouache (231–9).

Munch-museet (45), RES, UD (2)Basel (KM); Bergen (RMS); Bremen; Frankfurt a.M. (2); Hamburg; Hannover; Oslo (NM, NB); Stockholm (TG); Vienna; Wiesbaden

Stanislaw Przybyszewski (1868–1927) was a Polish writer. He initially studied medicine in Berlin, but never completed these stud-ies. Przybszewski edited a Polish socialist newspaper, which was published in Berlin

and had ties with the Scandinavian bohe-mian milieu, where he became close friends with, among others, Ola Hansson, August Strindberg and Edvard Munch. He married a Norwegian, Dagny Juel, who studied music in Berlin, and wrote one of the fi rst articles about Munch’s art, published in Das Werk Edvard Munchs in 1895. Munch painted his portrait in 18 94 (MM M 618, Woll 354) and 1895 (MM M 134, Woll 383). The lithograph is not reversed.

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65DEATH IN THE SICKROOM

Døden i sykeværelsetDer Tod im Krankenzimmer

Death / Death Chamber / Death Scene

1896

Sch. 73, EM I 71, EM II 1, MM G 215Lithographic crayon and tusche400 × 550 mmPrinted by Clot, Lassally, NielsenPrinted in black ink.

Lithographic stone (MM P 162)437 × 597 × 74 mm

On the paper covering the stone, the printer has written in pencil (Nielsen) ‘Døden trykt 10 tryk 6/6 1915 // 22/3 1915 / 28/10 1916 / 4/11 1916 / 6/6 1915 / 1/6 1917 / 24/8 1922’. [Death 10

impressions printed 6/6 1915 …]. The follow-ing information about these late reprints is given in a notebook, not written by Munch (MM T 2748): ‘Dødscenen 18 tryk den 4/11 1916 // Dødscenen 3 tryk den 22/4 1917 // Dødscenen 5 tryk den 4/6 1917’.

a) Early impressions by Clot on greyish white China paper, heavier cream wove, medium, cream or blueish grey paper with MBM watermark. Edition of 30 numbered by the printer, e.g. No 16/30 and signed E Munch 1896 (215–16); E Munch // Clot 1896 and numbered No 21/30 (215–9); E Munch 96 // Sterbezimmer (215–3). Impression trimmed and mounted on cardboard, inscribed Tod // Litho (215–11); several hand-coloured impressions (215–7,-8).b) Impressions printed by Lassally on Japan paper (215–18); on heavier cream wove; impression inscribed Lashally (215–12). Schiefl er did not record impressions by Lassally, and these were probably printed after 1906.c) Later impressions by Nielsen on Japan

paper or heavier cream wove; impression dated by the printer Ekely den 28/10 1916 (private collection); impression inscribed Edv Munch // Tod im Zimmer, numbered and dated by the printer No 3. Ekely den 4/11 1916 (215–10); impression numbered No. 8. den 1/6 1917 (215–17). On some of the later impressions the height of the image has been reduced by several mm (215–21).

Munch-museet (29), RESBasel (KM); Bergen (RMS); Berlin; Boston (MFA); Cambridge MA (2); Chicago; Dresden; Frankfurt a.M.; Gothenburg; Grand Rapids; Hamburg; Ito; Leipzig; Minneapolis; New York (MoMA); Oslo (NM, NB); Princeton; Reykjavik; Saarbrücken; Salzburg; San Francisco; Stockholm (MM); Tel Aviv; Toledo; Wiesbaden; Zürich (K, ETH)

The same subject appears in several paintings of ca. 1893 (MM M 214, Woll 328; MM M 418, Woll 330; Nasjonalmuseet, Oslo, Woll 329). It also appears in drawings (MMT 2380, T 297, T 294, T 126–45, T 132–23 verso).


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46STANDING NUDE

Stående kvinneaktStehender weiblicher Akt

1896

Sch. 39, W. 31, EM II 148, MM G 29Mezzotint and drypoint on sandblasted zinc plate145–150 × 127–130 mmPrinted in Paris, probably by Porcaboeuf, FelsingPrinted in monochrome grey or brown ink.Multicoloured impressions printed from one plate.

Zinc plate (MM P 26)150 × 131 mmThe corners have been trimmed.

a) Early monochrome impressions produced in Paris, probably printed by Porcaboeuf. Impression on Arches paper, dated E Munch 1896 (Bremen); unsigned impression (Berlin).

b) Coloured impressions in tones of yellow, red, green and blue, probably printed by Porcaboeuf. Impression inscribed E Munch 1896 // 2 Druck (Hamburg); E Munch 96 (K&K June 1976); impression with tusche drawing of Inheritance on the verso (29–1); impression with pencil sketch with parade of skeletons carrying banner on the verso, very similar to a pencil sketch mentioned under cat. no. 48 (29–15); two signed impres-sions (Berlin; S June 1985); three unsigned impressions (29–1,-3; Washington DC: NGA/Epstein).c) Later monochrome impressions by Felsing in greyish brown or brown, not men-tioned by Schiefl er and probably printed after 1906 (29–9).

Munch-museet (15), RESBerlin (2); Bremen; Hamburg; Washington DC (NGA/Epstein)

47NUDE STANDING IN AN INTERIOR

Stående kvinneakt i interiorStehender Akt im Innenraum

1896

Sch. 40, W. 32, EM II 132, MM G 30Mezzotint and drypoint on sandblasted zinc plate146–150 × 128–130 mmPrinted in Paris, probably by Porcaboeuf, FelsingPrinted in monochrome grey or brown ink. Multicoloured impressions printed from one plate.


a) Early monochrome impressions produced in Paris, probably printed

by Porcaboeuf. Impression on Arches paper (30–2).b) Coloured impressions in tones of yel-low, red and green, probably printed by Porcaboeuf. Impressions inscribed E Munch No 1/8 (Tel Aviv); E Munch 96 (private collec-tion, Switzerland); E Munch 1896 (private collection); E Munch Zinktryk coloriert (Washington DC: NGA/Epstein); E Munch Zink-koloriert (private collection); E Munch 4te Druck (private collection, Basel 1985); signed impression inscribed on the verso Badende Mädchen 225 Mark // (Zink gefärbt) (GK June 1996). Impression on Arches paper with the hair and towel printed in strong red (private collection, Germany).c) Later monochrome impressions by Felsing in black or brown, not mentioned by Schiefl er and probably printed after 1906 (30–7).

Munch-museet (11), RESBerlin; Tel Aviv; Washington DC (NGA/Epstein)

47 (PRIVATE COLLECTION)

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64 IV (214-10)


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63ANGST

1896

Sch. 61 (I–II), MM G 204Lithographic crayon, tusche and scraper420 × 385 mmPrinted by ClotPrinted in monochrome black ink. Coloured impressions printed in black and red from one stone.

I. Clothing on the fi gures sketchily drawn in with broad brushstrokes (204–3). Impression where the clothes have been hand coloured in black with tusche; on the other side of the sheet is a watercolour of a female nude surrounded by snakes (204–5, the watercolour registered as MM T 489).II. More tusche; clothing now totally black, with a few white lines scratched in with a scraper.1) Monochrome impressions in black. Impression inscribed E Munch sjelden [sjelden = rare] (204–4).2) Impressions printed in black and red from one stone inked in two colours (204–1);

hand coloured in watercolour and gouache (204–2).3) Edition of 100 signed and numbered impressions for Vollard’s portfolio Album des Peintres Graveurs, published in 1896.

Munch-museet (5), RESAthens; Copenhagen; Crakow; Dresden; Hamburg; New York (MoMA); Rostock; Tel Aviv; Vienna; Williamstown; Zürich (ETH)

The lithograph is a reversed image of the same subject as the painting of 1894 (MM M 515, Woll 363). This subject is also portrayed in a drawing (MM T 259) and in a woodcut (cat. no. 93).

64BY THE DEATHBED

Ved dødssengenAm Totenbett

Struggling with Death / Death Scene

1896

Sch. 72, EM II 270, MM G 214Lithographic crayon, tusche and scraper

395–400 × 500–510 mmPrinted by ClotPrinted in black ink.

I. The woman’s facial features only drawn in crayon; some use of tusche on the bed in the foreground. Impressions on heavy white paper (214–2).II. Some parts painted over with tusche, e.g. the woman’s features, hair and clothing. Fine lines incised with scraper around the woman’s hands and head. Impression on heavy white paper (214–19); impression hand coloured in watercolour and with several sketches in pencil and watercolour on the verso (214–8).III. Woman’s clothing painted over with tusche. Impressions on heavy white paper (214–9).IV. Several areas heavily reworked; lines to the right on the bed removed so that the woman’s hands come in closer contact with the bed; lower part of the image reduced by about 13 mm; head of the woman in the foreground completely reworked and made appreciably larger; dark tone in the faces of the old man and the young woman in the middle; fore-ground covered over with tusche and now nearly totally black. Edition of 30

impressions printed on medium-weight, cream or blueish grey paper, with water-mark MBM. Those in blueish grey paper have usually yellowed to a green tone. Impression on cream paper, numbered by the printer No 26/30 (214–1); on blueish grey paper No 8/30 (214–16). Impression mounted on cardboard, inscribed E Munch // 30 Expl. Todeskampf // 600 kr. and by the printer No 12/30 (214–20). Impression inscribed E Munch // Paris Clot // 1896 and by the printer No 5/30 (Chr 1983). Several hand-coloured impressions, among them one dated Edv Munch 1896 (214–7).

Munch-museet (20), RES, UDBudapest; Chemnitz; Dresden; Essen; Hamburg; Hannover; Jyväskylä; Lübeck; Oslo (NB); Tel Aviv; Vienna

The same subject is portrayed in a pastel of 1893 (MM M 121, Woll 327); in a paint-ing of 1895 (Bergen Kunstmuseum (RMS), Woll 376) and in later paintings of 1915 (MM M 2, Woll 1131; Statens Museum for Kunst, Copenhagen, Woll 1130). There are several drawings (MM T 295, T 296 and T 2366), and a number of related sketches and studies (MM T 286, T 385 verso, T 289, T 2381, T 2470).

48 (31-7)


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48RECLINING NUDE

Liggende kvinneaktLiegender weiblicher Akt

1896

Sch. 41, W. 33, EM II 151, MM G 31Mezzotint on sandblasted zinc plate216–220 × 287–290 mmPrinted in Paris, probably by Porcaboeuf, Felsing, the artist (?)Printed in monochrome grey or brown ink. Multicoloured impressions printed from one plate.


a) Early monochrome impressions from Paris, probably printed by Porcaboeuf. Impressions inscribed E Munch 96 // Kvindelig akt [… Female nude] (Oslo: NB); E Munch // zinkdruck (31–5); Á mon ami M.G. // E Munch 15/5 96 Paris

(private collection). Impression printed in brownish on Arches paper inscribed E Munch 1896 // No 1 (avant lettre) (private collection, Germany).b) Coloured impressions, e.g. with yellow-ish brown body and reddish hair against a green background, probably printed by Porcaboeuf. On the verso of an impression is a pencil drawing of a parade of skeletons with waving banners similar to the drawing on the verso of no. 47 (31–1). Impression with a greyish brown body lying on a grey piece of cloth against a red background in the upper part of the print (31–7); impres-sion in a greyish tone with red upper part and purplish grey below, signed E Munch (private collection).c) Later monochrome impressions by Felsing in black or brownish ink, not men-tioned by Schiefl er and probably printed after 1906.d) Later monochrome impressions prob-ably printed around 1914–15 by the artist on heavy white wove (31–4).

Munch-museet (14), RESOslo (NB); Stockholm (TG)

3112-15331-016121-ENG_Orfeus-EdwardsMunch-ENG - Back - FB 007 - LowRes_PDF - 6/26/2012 08:35:16 - Black 3112-15331-016121-ENG_Orfeus-EdwardsMunch-ENG - Back - FB 007 - LowRes_PDF - 6/26/2012 08:35:16 - Cyan 3112-15331-016121-ENG_Orfeus-EdwardsMunch-ENG - Back - FB 007 - LowRes_PDF - 6/26/2012 08:35:16 - Magenta 3112-15331-016121-ENG_Orfeus-EdwardsMunch-ENG - Back - FB 007 - LowRes_PDF - 6/26/2012 08:35:16 - Yellow 3112-15331-016121-ENG_Orfeus-EdwardsMunch-ENG - Back - FB 007 - LowRes_PDF - 6/26/2012 08:35:16 - Pantone Tekst12345

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62HELGE RODE

1896–97

Sch. 103 (I–IV), W. 55 (I–IV), EM I 94, EM II 18, MM G 50Drypoint and burnisher on copperplate257–266 × 191–198 mmPrinted by NGO, Angerer or Sabo (?), FelsingPrinted in black or brownish ink.

Steel-faced copperplate (MM P 45)278 × 208 mm

Schiefl er and Willoch date the print to 1898, but it was exhibited in the Dioramalokalet in the autumn of 1897, and an inscription on one impression indicates an even earlier dating.

a) According to Schiefl er, early impression by NGO.b) Impressions on Arches paper also indi-cate that Angerer or Sabo may have printed this drypoint (I–IV).c) Later impressions by Felsing in black or brownish ink (V).

I. (not in Sch. or W.) Head fully drawn; a few heavy lines around the eyes. Body sketchily drawn. Impression hand painted in blue watercolour (RES); another impression with an accidental line in the same blue colour (50–8).II. (=Sch. I, W.I) The heavy lines around the eyes softened with burnisher, which has probably also been used on the back

of his head. The head itself has been made narrower with new crosshatching at the right temple, and a certain lengthening of the beard (50–2). Impression painted over with black tusche, with a sketchy drawing painted in blue and black on the verso of people gathered around a bed (50–7).III. (=Sch. II, W.II) Right part of the jacket more detailed, left sleeve is still light; verti-cal lines in the background. Impression inscribed 2den av 4 Tilstander and on the verso Doublet af Tilstanden (50–26).IV. (=Sch. III, W. III) Vigorous lines over the entire jacket. Impression with a pronounced burr (50–4); impression inscribed Prøvetryk 2den Tilstand 2 Doubletter (50–25); impres-sion signed and dated E Munch 96, with the digit 6 overwritten a 5 (Oslo: NM). Schiefl er records an impression owned by the artist inscribed Edv Munch // Portrait af Helge Rode // avant lettre (SK May 1958).V. (=Sch. IV, W. IV) Jacket worked over with drypoint, so that it has now become quite dark. Impression by Felsing inscribed Edv Munch // avant lettre (50–12).

Munch-museet (25), RES, UDBergen (RMS); Berlin (2); Hamburg (2); Oslo (NM, NB); Stockholm (TG); Tel Aviv; Washington DC (NGA)

Helge Rode (1870–1937) was a Danish poet, and the son of Margrethe Rode (née Lehmann), who later married the Norwegian journalist Erik Vullum. She brought her two sons Ove Rode (later editor of the Danish newspaper Politiken) and Helge Rode to Norway. For a later lithograph of him, see cat. no. 310.

49 I (ART INSTITUTE OF CHICAGO)

49 III (STAATLICHE MUSEEN ZU BERLIN) 49 IV (STAATLICHE MUSEEN ZU BERLIN)


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49YOUNG WOMAN

ON THE BEACHUng kvinne på strandenJunge Frau am Strand

The Lonely One

1896

Sch. 42, W. 34, MM G 816Mezzotint and drypoint on sandblasted zinc plate285–288 × 216–219 mmPrinted in Paris, probably by PorcaboeufAccording to Schiefl er there were monochrome trial proofs, but the plate was printed mainly in various colour combinations.

The material that was examined contains no monochrome impressions, but a total of 12 impressions printed in various shades and colours have been located. Neither

Schiefl er nor Willoch specify states, and it is diffi cult to determine whether the many diff erences between the impressions are due to changes in the plate itself or whether they are a result of the inking, which must have been done individually for each print. Shiefl er records Lemercier as the printer, but all the impressions were probably printed by Porcaboeuf. Seven groups can be distinguished:

I. The hair falls to about the middle of the woman’s back. The dress is nearly the same tone as the background, but is emphasised by means of lighter outlines and light, verti-cal pleats in the skirt. Impression in greyish violet tones and yellow (Chicago).II. The hair is longer, nearly to her waist, the entire skirt is light. Impression in blue-ish tones, yellow and light pink (Kornfeld Collection 1976).III. The hair falls below the waist, the entire dress is light, with a blueish shading over the left half of the skirt. The transition from

land to sea is drawn in clearly as a winding coastline with a strong contrast between the light blue sea and the dark land. Impression in blueish tones, yellow and some pink (Berlin).IV. The beach area is divided into a dark strip at the edge of the shore and a lighter area further inland; the coastline itself now has a new curve on the left side; the large stone on the beach is more prominent; new stones have been added in the lower part of the picture. Impression in blueish tones, with shiny yellow for the woman’s hair, inscribed 2te Druck (816–1).V. Similar to IV, but the stones on the beach are even more clearly emphasised; more curves in the left coastline. Impression in colours very similar to IV, inscribed E Munch 3te Druck (Blitz Collection).VI. Very munch like V, but there are even more curves in the coastline. Impression formerly in the Graf Kessler collection, printed in greyish, violet tones and yellow (Berlin). Impression slightly diff erent in

the stones and the coastline, described as signed and dated, and printed in light vio-let, yellow and green tones (SK May 1958).VII. The newly added stones are made more distinct; stronger contrast between the dark and light beach areas. Several impressions with only very slight variations in colour and execution. Printed in blue, brown, yellow and orange. Impressions inscribed E Munch 1896 No 5 (Straus Collection); E Munch // A madam Maus Noel 1896 (private collection); Edv Munch // Zink-koloriert (private collection, Germany); No 7/9 (K&K June 1971); E Munch 97 No 5 (Epstein Collection).

Munch-museet (1)Berlin (2); Chicago

The subject was worked out in sketches of ca. 1891–92 (MM T 129–20,–21,–22). It was later repeated in a woodcut (cat. no. 419). Cat. nos. 13 and 157 are related.

49 V (BLITZ COLLECTION)

49 VII (EPSTEIN COLLECTION) 49 II (KORNFELD COLLECTION)


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60YOUNG WOMAN

AND PORTRAIT OF THE ARTIST

Ung kvinne og kunstnerens portrettJunge Frau und das Porträt des Künstlers

Kora / Reclining Woman / Studio study

1896

Sch. 87, W. 52, EM I 95, EM II 16, MM G 47Etching on copperplate226–229 × 148–150 mmPrinted in Paris, probably by Porcaboeuf, NGO, Felsing, the artist, ScheelPrinted in black or brown ink.

Steel-faced copperplate (MM P 42)240 × 160 mmWith an embossed mark from Bridault, Paris, on the verso.

Schiefl er and Willoch date this etching to 1897, but the woman, Tupsy Jebe, who prob-ably also drew the male portrait in the print, left Paris in autumn 1896.

a) According to Schiefl er, early impres-sions in greyish black ink on white paper by Lemercier, but the printer was probably Porcaboeuf.b) Impression printed in greyish black on the back of a Norwegian chart indicates that early trial proofs were also printed by NGO (private collection).

c) Felsing impressions in brownish ink on heavy cream wove. According to Schiefl er, the earliest Felsing impressions show the entire image, while the later ones (these must also have been printed before 1907, since they are mentioned in the fi rst volume of Schiefl er’s catalogue) lack the male por-trait in the lower part. The reduced image measures ca. 112–125 × 150 mm. Signed impression with the male head, inscribed on the verso Liggende dame (Kora) [Woman Reclining (Kora)] (47–10); signed impression without male head, inscribed Atelierstudie (47–8); Edv Munch // avant lettre (Berlin).d) Later trial proofs by the artist in black on heavy white paper, probably printed after 1914. Impression with the lower section only partly inked (47–17).e) Later impressions by Scheel in grey-ish black or greenish black on heavy white paper or cream Van Gelder paper. Impression in greyish black from the entire plate (47–19). On the back of the cardboard used in framing one impression was written the following by a previous owner [in trans-lation]: ‘Edv Munch // portrait of Tupsy Jebe / the fi gure at the bottom is drawn by her and depicts Munch (bad) / (From Clement, Copenhagen)’ (private collection).

Munch-museet (22), RESBergen (RMS); Berlin; Essen; Oslo (NM); Stockholm (MM, TG); Tel Aviv

The woman depicted in this print is Tupsy (Margrethe Caroline) Jebe Clement, b. 1871, and the male portrait below is said to be of Edvard Munch, and to be by her. Tupsy Jebe studied painting in Kristiania and

abroad. In 1896 she spent time with Munch in Paris, until she left for Munich in October. In a letter to Munch dated 23 October 1896, she refers to a small etching she had done of him (original in the Munch-museet). She later married the Danish painter Fredrik Clement.

61BOYS BATHING

Badende gutterBadende Knaben

At the Baths

1896

Sch. 85, W. 50, EM II 107, MM G 45Mezzotint on sandblasted zinc plate298–300 × 238–240 mmPrinted in Paris, probably by Porcaboeuf, FelsingPrinted in monochrome grey or brown ink. Multicoloured impressions printed from one plate.


Schiefl er and Willoch date this print to 1897. I. Langaard (Langaard 1960) dates it to 1896; a dating that is supported by inscriptions on various impressions.

a) A few early, faint impressions in grey, printed by Lemercier according to Schiefl er, but they were probably printed by Porcaboeuf.

b) Multicoloured impressions in various tones of blue and green, with touches of black, yellow, brown and reddish ink, probably printed by Porcaboeuf. According to an inscription, there are probably eight such impressions. Impressions on Arches paper, inscribed E Munch // 8 Druck (45–13); E Munch 1896 (private collection, Germany); E Munch 96 (Chicago); E Munch 1896 // Zinkætsung and on the verso Garcons qui prens du bain (Straus Collection); signed impression inscribed on the verso Unverkaufl ich (45–5); signed impression in relatively light tones (Hamburg); unsigned impression (Oslo: NB).c) Later monochrome impressions by Felsing in black or greyish brown (45–1). Schiefl er does not record impressions by Felsing, which indicates that they were not printed until after 1906.

Munch-museet (13)Chicago; Hamburg; Oslo (NB)

49 IV (816-1)


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edvard munch: the complete graphic works (revised edition)

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