Edvard Munch

Lithograph printed in colors, 1895-1902, fourth state (of seven), signed in pencil, on japon pelure paper, printed by Lassally, with wide margins, in good condition apart from two skillfully repaired tears at right, extending just into the image, a small repaired tear at the upper right sheet edge with associated discoloration

The print is in good condition as catalogued. The two tears at right extend just into the image and are very skillfully repaired. The one at top extends horizontally from the right sheet edge, measures 3 inches and is circa 9 inches from the lower sheet edge. The tear below is semi-circular in shape, measuring 2 inches. There is a very small circular filled-in loss in the extreme lower left corner of the image. The tear at the upper right sheet edge measures c 1 inch and the repair has slighly discolored the paper. There are a few handling creases throughout the sheet as well as a very soft diagonal crease at right extending just under the figure's chin, none sharp or obtrusive, and some tiny thin spots in the image, inherent in the paper. A very pale fox mark is visible at the center of the figure's chest. The margins have pale mat stain and slight discoloration.
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.

Beginning with paintings and drawings executed as early as 1893, Munch's images of Madonna are haunting portraits often understood to illustrate a woman as she appears to her lover when conception occurs, revealing the very moment life begins. When the artist began developing the image in graphic form in 1895 he added a border evoking the contrasting elements of procreation and death shown as a trail of sperm leading to a ghostly and skeletal fetus at lower left. Variations evolved through numerous states and in some later examples, the present one included, the central figure is enlarged, omitting the border and leaving connotations of the subject's mysterious expression to the viewer's imagination.