A number of Edvard Munch (1863-1944) prints at the latest specialist prints sales in London showed how much buyers are in tune with the artist’s ‘personal touch’.
This was particularly true of the copy
ofYoung Woman on the Beach, which sold at
Christie's in King Street on March 20 and set a new high for a
print by the artist.
The theme of the isolated figure on the
shoreline can be traced back to a passage in one of Munch's
journals from the early 1890s, when he wrote of a woman in a white
dress placed "against the blue of the booming sea - with the
sinuous snake-like curves of the shoreline". He also painted a work
entitled Two Human Beings: The Lonely Ones in 1891-92
(now lost but known through later woodcuts and lithographs), which
had marked similarities to this image.
The 11½ x 8½in (29 x 22cm) work at
Christie's was a fine and delicate impression of this important
An innovative printmaker, Munch produced
this aquatint and drypoint in a particularly unusual way.
Using zinc plates prepared earlier with
aquatint, the artist inked each print individually by hand in
different colour combinations, before scraping into the image with
a burnisher to delicately modulate the effects in a manner not
dissimilar to mezzotint techniques.
The result was that these images varied
greatly in mood and character. Each one was effectively unique and
the differences between them was brought about entirely by the
artist's direct involvement.
Munch's aquatints are much rarer than his
other prints because he only produced them over a very short period
between 1896 and 1897 while in Paris.
Only 11 impressions of Young Girl on
the Beach are known (with seven types of colour variants,
according to Gerd Woll who complied Munch's catalogue raisonée). In
some examples the girl is bathed in the light of the setting sun,
giving the print a euphoric sense, but here the mix of pale blue,
brown, grey and pink gave a more sombre mood, with the figure
appearing to flicker like a flame in the twilight.
This impression was therefore arguably the
subtlest in terms of its nuances and effects.
Its provenance was also interesting.
It had been in collection of the art
historian Curt Glaser, who was director of the Kupferstichkabinett
(the Print Room of the State Museums in Berlin) during the 1920s
and was one of the artist's first great supporters.
Dismissed from his position by the Nazis
in 1933, he was forced to sell his art collection to finance his
emigration, and this print, among others, was bought by the
Kupferstichkabinett where it remained until last year, when it was
restituted to Glaser's heirs.
With seemingly no copy having emerged at
auction for at least a generation, the print drew bidding from the
key players in the Munch market. Estimated at £500,000-700,000, it
sold at £1.85m to Oslo's Galleri K, who were bidding for a private
The price was significantly above the
previous highs for a Munch print - the £1.1m seen for both a copy
of his Madonna
lithograph at Bonhams in London in July 2010 and Vampire
II, which sold at Oslo saleroom Grev Wedels Plass Auksjoner in
November 2007 for NKr11.8m.
In terms of the all-time record auction
prices for any individual print, it stands only behind these
results achieved by a number of Andy Warhol silkscreens and the
copy of Pablo Picasso's La femme qui pleure, I from 1937
that took $4.5m (£2.95m) hammer at Christie's New York in November
While big-spending collectors of Munch
prints tend to come from America as well as Scandinavia, demand
from new markets might also have been a factor here. Certainly this
was the case with another lot from the Glaser collection at
Christie's - the copy of Munch's 1902 woodcutOld man
prayingestimated at £30,000-50,000. Thought to depict the artist's
father, it sold to an Asian private buyer at £65,000.
Meanwhile, over at
Sotheby's on March 19, a European dealer purchased a copy of
Munch's above-mentioned woodcut Two Human Beings: The Lonely
Dating to 1899, it appeared to feature the
same female figure on the shoreline as the slightly earlier
Young Woman on the Beach at Christie's, but this time she
was accompanied by a man in dark clothing.
Again there was a tangible sense here of
Munch's own direct involvement - he had carved his own blocks and
cut them into shapes which he reassembled like a jigsaw. As well as
the pale blue, black and green colours, this impression displayed a
striking use of a rich red and brown, which gave the woman an
elusive and captivating presence not unlike the print at
Estimated at £250,000-350,000, it sold at
£820,000. This was the highest price for a copy of this print at
auction, although ultimately it was never likely to reach the level
of Young Woman on the Beach as it was not as rare - indeed
another copy of Two Human Beings: The Lonely Ones with
less attractive colours appeared in the same Sotheby's sale and
sold below estimate at 'only' £85,000.
Both Sotheby's and Christie's also had a
range of prints by German Expressionists - a movement for which
Munch is often credited with preparing the ground - but here
reaction was more mixed, again because more are available.
Sotheby's offered Kühe im
Frühling, a rare woodcut from 1933 by Ernst Ludwig
Kirchner (1893-1959), for which the artist used three
blocks that, like Munch, he had cut apart, inked and then
reassembled for the printing process. With seven different colours,
this copy was billed by the auctioneers as a 'tour-de-force' in
modern printmaking, using techniques that the artist had spent many
Estimated at £80,000-120,000, it sold
below estimate to a European private buyer at £70,000.
Christie's meanwhile had a series of
prints by Emil Nolde (1867-1956), including a copy
of the woodcut Fischdampfer from 1910. Depicting a
trawler, it was also produced by cutting the image into woodblocks.
Estimated at £15,000-25,000, it sold at £26,000.
Making a higher sum but drawing less
bidding was Max Beckmann's (1884-1950)
Selbstbildnis mit steifem Hut (Self-Portrait with Bowler
Hat), a heavily worked self-portrait from 1921. The drypoint
impression was made by scratching the image directly onto a metal
plate but then radically revised by adding and burnishing out
entire elements of the composition.
Examples from the first edition of around
50 copies come up occasionally at auction and this one had
previously been sold at Christie's New York in November 1988 as
part of the Neuerburg collection (which featured perhaps the best
group of German Expressionist prints ever offered at auction).
Back then it fetched $88,000 (£43,000) but
here it took a low-estimate £70,000 from a UK dealer.
The buyer's premium at Sotheby's and Christie's was