Edvard Munch: The Complete Graphic Works by I.B.Tauris

GERD WOLL

EDVARD MUNCH — THE COMPLETE GRAPHIC WORKS

ORFEUS PUBLISHING | PHILIP WILSON PUBLISHERS

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ORFEUS | PWP 10.05.12 12:12

EDVARD MUNCH — THE COMPLETE GRAPHIC WORKS

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

GERD WOLL

PWP

© ORFEUS PUBLISHING AS 2012 ISBN: 978-82-93140-12-2 Philip Wilson Publishers ISBN: 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, Latvia Font: Tiempos Text Paper: 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, ﬁlming, microﬁlming, broadcasting, storage, and processing in electronic media. Infringements will be prosecuted. Published with generous support from Sparebankstiftelsen DNB NOR

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CONTENTS

PREFACE

FIFTY YEARS OF PRINTMAKING

EDVARD MUNCH 1863–1944

NOTE TO THE READER

THE CATALOGUE

457

APPENDIX

458

Pen drawings, 1882

460

Hectographs

474

Posthumous restrikes, plates and stones with identiﬁable 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 Schieﬂer

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

The Catalogue

39 I (194-36)

70 Edvard Munch – The Complete Graphic Works

40 (PRIVATE COLLECTION)

40 VAMPIRE I

41 VAMPIRE II

Vampyr I

Vampyr II

1895

1895/1902

Sch. 34a, MM G 567 Lithographic crayon 360–365 × 465–469 mm Printed by Liebmann (?) Printed in black ink.

This version is incorrectly recorded by Schieﬂer as being an early state of cat. no. 41. Schieﬂer 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 inscriptions on various impressions.

40 (567-27)

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.

Sch. 34, MM G 567 Lithographic crayon, tusche and scraper 380–387 × 550–560 mm Printed 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 mm The keystone for the print. On the other side is Madonna (cat. no. 39). Lithographic stone (MM P 219) 1010 × 785 × 65 mm A 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 mm Sawn into four pieces with a fretsaw, inked in green, blueish black and yellow. The most used of the colour blocks.

41 VI (THE DNB NOR SAVINGS BANK FOUNDATION)

Plywood block with oak veneer (MM P 315) 378 × 558 × 3 mm Sawn into four pieces with a fretsaw, with the division diﬀering 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.

Oak woodblock (MM P 317) 382 × 497 × 4 mm Divided 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 mm Includes the group with the woman and the man.

The 10 groups below can be defined according to the various combinations of stones and woodblocks used, but it must be emphasised that it has not been possible to establish a definite chronological order for the various combinations. According to Schiefler the lithographic stone and woodblock for the multicoloured prints were first made in 1902. On later impressions (and on the stone itself) a very thin curved line probably caused by a hair, which is absent in all

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 aufheben 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 impressions were probably printed in 1913. VII. Combination prints with an early lithograph printed in black on China paper, and the hair printed in red from a new woodblock, 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 paintings 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 versions 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.

The Catalogue

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

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

41 VII (567-31)

41 V (567-14)

41 VIII (567-2)

Edvard Munch â&#x20AC;&#x201C; The Complete Graphic Works

41 IV (567-82)

41 (MM P 314) 41 (MM P 315)

41 I (567-71)

The Catalogue

41 (MM P 317)

43 II (197-54)

Edvard Munch – The Complete Graphic Works

42 (196-4)

42 THE HANDS

43 THE ALLEY

Hendene Die Hände

Smuget Die Gasse The Street / Carmen

1895 Sch. 35, EM II 236, MM G 196 Lithographic crayon and tusche 480–485 × 290–296 mm Printed by Liebmann Printed 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, UD Chicago; 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).

1895 Sch. 36, EM II 15, MM G 197 Lithographic crayon and tusche 424–435 × 265–270 mm Printed by Liebmann Printed in black ink.

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).

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

44 TINGLETANGLE

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).

Tingeltangel Café Chantant / Academy of Music

1895 Sch. 37, MM G 198 Lithographic crayon, tusche and scraper Signed with scraper in the stone E Munch 410–418 × 630 mm Printed by Lassally Printed in black or brown ink.

Schieﬂer 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). Handcoloured 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 collection (Campbell Collection). Munch-museet (5), RES Berlin; Chicago; Oslo (NB); Washingtion DC (NGA) Schieﬂer 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).

44 (198-1)

The Catalogue

44 (198-5)

76 Edvard Munch – The Complete Graphic Works

45 I (231-3)

45 STANISLAW PRZYBYSZEWSKI

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).

1895 (?) Sch. 105, EM I 8, EM II 84, MM G 231 Lithographic crayon, tusche and scraper 540–545 × 440–443 mm Printed by Lassally, Nielsen Printed in black or green ink. Lithographic stone (MM P 164) 652 × 488 × 76 mm The stone is annotated by the printer den 22/4 1917 5 tryk.

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

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 impressions 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

46 (29-1)

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 greyish 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 studies. Przybszewski edited a Polish socialist newspaper, which was published in Berlin

and had ties with the Scandinavian bohemian 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 ﬁrst 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.

77 47 (PRIVATE COLLECTION)

Stående kvinneakt Stehender weiblicher Akt

1896 Sch. 39, W. 31, EM II 148, MM G 29 Mezzotint and drypoint on sandblasted zinc plate 145–150 × 127–130 mm Printed in Paris, probably by Porcaboeuf, Felsing Printed in monochrome grey or brown ink. Multicoloured impressions printed from one plate. Zinc plate (MM P 26) 150 × 131 mm The 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 impressions (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 mentioned by Schieﬂer and probably printed after 1906 (29–9).

Sch. 40, W. 32, EM II 132, MM G 30 Mezzotint and drypoint on sandblasted zinc plate 146–150 × 128–130 mm Printed in Paris, probably by Porcaboeuf, Felsing Printed in monochrome grey or brown ink. Multicoloured impressions printed from one plate.

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

Zinc plate (MM P 27) 150 × 131 mm The corners have been trimmed.

47 NUDE STANDING IN AN INTERIOR Stående kvinneakt i interior Stehender Akt im Innenraum

1896

a) Early monochrome impressions produced in Paris, probably printed

by Porcaboeuf. Impression on Arches paper (30–2). b) Coloured impressions in tones of yellow, red and green, probably printed by Porcaboeuf. Impressions inscribed E Munch No 1/8 (Tel Aviv); E Munch 96 (private collection, 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 Schieﬂer and probably printed after 1906 (30–7). Munch-museet (11), RES Berlin; Tel Aviv; Washington DC (NGA/ Epstein)

The Catalogue

46 STANDING NUDE

Edvard Munch – The Complete Graphic Works

48 (31-7)

48 RECLINING NUDE Liggende kvinneakt Liegender weiblicher Akt

1896 Sch. 41, W. 33, EM II 151, MM G 31 Mezzotint on sandblasted zinc plate 216–220 × 287–290 mm Printed in Paris, probably by Porcaboeuf, Felsing, the artist (?) Printed in monochrome grey or brown ink. Multicoloured impressions printed from one plate. Zinc plate (MM P 28) 221 × 292 mm The corners have been trimmed.

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 yellowish 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); impression 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 mentioned by Schieﬂer and probably printed after 1906. d) Later monochrome impressions probably printed around 1914–15 by the artist on heavy white wove (31–4). Munch-museet (14), RES Oslo (NB); Stockholm (TG)

48 (31-1)

The Catalogue

48 (31-2)

49 V (BLITZ COLLECTION)

49 IV (STAATLICHE MUSEEN ZU BERLIN)

49 VII (EPSTEIN COLLECTION)

49 I (ART INSTITUTE OF CHICAGO)

49 II (KORNFELD COLLECTION)

Edvard Munch – The Complete Graphic Works

49 YOUNG WOMAN ON THE BEACH Ung kvinne på stranden Junge Frau am Strand The Lonely One

Schiefler nor Willoch specify states, and it is difficult to determine whether the many differences 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. Shiefler records Lemercier as the printer, but all the impressions were probably printed by Porcaboeuf. Seven groups can be distinguished:

1896 Sch. 42, W. 34, MM G 816 Mezzotint and drypoint on sandblasted zinc plate 285–288 × 216–219 mm Printed in Paris, probably by Porcaboeuf According to Schieﬂer there were monochrome trial proofs, but the plate was printed mainly in various colour combinations.

49 III (STAATLICHE MUSEEN ZU BERLIN)

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

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, vertical 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 blueish 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 diﬀerent in

the stones and the coastline, described as signed and dated, and printed in light violet, 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 // Zinkkoloriert (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.

The Catalogue

49 IV (816-1)