Edvard Munch

Woodcut, 1900, Woll's first state of two, an extremely rare impression printed twice by the artist and extensively handcoloured in greens, browns, pinks and yellow, signed in pencil and inscribed Selv håndkoloret træsnit eget tryk (Handcoloured by myself woodcut printed by me), on sturdy wove paper, with margins (possibly slightly reduced), in good condition apart from slight paper discoloration recto, backboard-staining to the reverse

Private Collection, Norway (acquired circa 1950)

By descent to the current owner.

In overall good condition. The upper and lower edges of sheet appear to have been very slightly unevenly clipped.The mentioned backboard-staining is strong on the reverse, other very slight defects at extreme edges of sheet.
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The subject of the present lot is closely related to the painting of the same subject. Recent scholarship has shown that the woodcut and the painting were executed at the same date, demonstrating the importance Munch attached to the graphic medium for working out key themes. In 1900 Munch was concluding a decade that is identified with the group of related subjects that collectively make up The Frieze of Life. The title and the subject matter of the present lot though are a revelation  though, and can be read as a stepping stone towards the Aula murals whilst also forming an important marker in the cycle of the Frieze of Life.

The subject of the present lot is characterised by its bucolic atmosphere. The spectre of confrontation between man and woman  gives way to gentleness; whilst the oppressive atmosphere, so often central to Munch's depiction of the relationship between the sexes is replaced by tenderness. Although divided by the tree and therefore occupying separate spheres the couple appear at one with each other and their surroundings. The pregnant figure of the woman is echoed in the heavily laden basket of fruit she carries and offers to the kneeling figure of the man, encouraging the viewer to believe that a happy ending is in prospect.

This impression printed by Munch and extensively handcoloured in a multi-coloured palette of vivid greens, pink and yellow is of the utmost rarity with only three or four comparable impressions believed to exist. The present work is a superb example of Munch's habit of experimenting with different impressions of a subject, very often printing them himself, as here, and adding colour to create changes in mood and atmosphere.