Beschreibung:

Lot DetailsAuthenticity guaranteedAuthenticity guaranteedProperty from the Collection of Catherine Woodard and Nelson Blitz, Jr.Edvard Munch1863 - 1944
Young Woman on the Beachsigned in pencil and inscribed '3te Druck', inked à la poupée by the artist, the hair golden yellow, highlighted with sienna, the sea a luminous green-blue, the shoreline emphasised in black, a unique impression of one of Munch's most important and rare subjects, cited by Woll, one of only 12 unique variants, all now in distinguished collectionsmezzotint and drypoint with burnishing printed in colours on Arches laid paperplate: 28.9 by 21.9 cm., 11⅜ by 8⅝ in.sheet: 39 by 29.8 cm., 15⅜ by 11¾ in.Executed in 1896, this impression is of Woll's fifth variant (of seven), probably printed by A. Porcaboeuf at Atelier A. Salmon, Paris.
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凱瑟琳・伍達德與小尼爾森・布利茲伉儷收藏愛德華・孟克1863 - 1944年
《海灘上的年輕女子》款識：藝術家以鉛筆簽名並標記 3te Druck，以墨水題款 à la poupée（畫中女子金黃色的長髮以赭色打亮，海面散發藍綠色柔光，海岸以黑色渲染：這是孟克最重要及最罕見的人物風景版畫之一，收錄於沃爾編纂的孟克作品全集中；是12個獨一無二的版本之一，其餘11幅屬於各地知名收藏）美柔汀及直刻法磨光銅版畫，彩色印刷於Arches直紋紙上畫心：28.9 x 21.9 公分；11⅜ x 8⅝ 英寸畫托：39 x 29.8 公分；15⅜ x 11¾ 英寸1896年作，為沃爾收錄第7版中的第5版，可能由巴黎 A. Salmon 工作室的 A. Porcaboeuf 印製
Condition reportTo request a Condition Report, please contact Yessica.Marks@sothebys.com
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.ProvenanceAcquired by the present owners in 1987LiteratureG. Schiefler, Edvard Munch – Das graphische Werk 1906-1926, Berlin, 1974, no. 42, another example illustrated
G. Woll, Edvard Munch – The Complete Graphic Works, London, 2012, no. 49, this impression illustratedExhibitedAtlanta, High Museum of Art, Art in Berlin 1815-1989, 1990
New York, National Academy of Design, Edvard Munch and Harald Sohlberg: Landscapes of the Mind, 1995-96
Greenwich, Bruce Museum, Love, Isolation and Darkness: The Art of Edvard Munch 1996-97
Vienna, Albertina, Edvard Munch Theme and Variation, 2003
Basel, Fondation Beyeler; Schwäbisch Hall, Kunsthalle Würth, Edvard Munch Signs of Modern Art, 2007
National Gallery of Art, Washington, D.C., Edvard Munch Master Prints, 2010Catalogue note“…The sea – it is as incomprehensible as existence – it is incomprehensible as death – as eternal as longing.” - Edvard Munch cited in S. Prideaux, Edvard Munch Behind “The Scream”, New Haven, 2005, p. 79
Edvard Munch’s ethereal and enigmatic Young Woman on the Beach has captivated audiences for over a century. Along with The Scream, it remains one of his most recognisable and desirable prints, rife with symbolism and Munchian angst. This saturated mezzotint and drypoint is one of his most stylistically and technically accomplished interpretations of a pensive woman by the sea. The fair figure draped in pure white appears throughout his early oeuvre of the 1880s and 90s, perhaps most notably in a long-lost painting known as The Lonely Ones (1891-92). Obsessed with the mysterious maiden by the jagged shoreline, Munch continued to portray her on canvas and paper repeatedly.
A prolific period for Munch as a painter-printmaker, the 1890s saw the creation of Young Woman on the Beach, along with his renowned woodcut Two Human Beings (The Lonely Ones). As in the 1891-92 painting, the woman in Two Human Beings stands at a distance from a man in black, facing an endless body of water, the space between them heightening the sense of tension and isolation. By contrast, Young Woman on the Beach is a softer portrayal of isolation and longing. Standing alone, she has only the ebbing and flowing tide to commune with. Rather than contemplate her human relationships, viewers are thus invited to contemplate her - and by extension their - relationship with the natural world. This dialogue between the physical world and the human psyche permeates Munch’s work. The expansive seascape, a symbol of yearning, is not merely decorative, but reflects the Young Woman’s inner desires. The question is, does she seek companionship? Or is she yearning for freedom and independence? With his use of the Rückenfigur technique, the artist invites viewers to empathise with and puzzle over his contemplative golden-haired subject. Championed by 19th Century Romantic painter Caspar David Friedrich and Munch’s fellow countryman Johan Christian Dahl, the Rückenfigur, or “figure from the back” is a compositional device which lures the beholder into embodying the Young Woman and adopting her perspective. This painterly print, inked à la poupée, is an especially impactful example of this rare and important subject. One of just twelve existing impressions, it is the only known example of the fifth variant (of seven) identified by Gerd Woll. Each impression is printed in slightly different tones, with alterations to the shoreline. Using a poupée, or a “doll-shaped” bundle of fabric, Munch carefully added highlights to this fifth variant, giving her golden-red locks that stand in stark contrast against the jewel-toned waters. Layered with pigments, and layered in meaning, this mixed-media print best demonstrates the inventiveness and creative expression that made Edvard Munch a leader in Modernism.