Munch, Edvard

disussing arrangements for the 1893 Berlin exhibition at which The Scream was first exhibited, remarking that he has brought the [unidentified] painting in question to his studio and asking when he will be visiting ("Jeg har bragt det omtalte Billede op i mit atilier - og beder dem tilskrive mig når de kommer"), asking for the address of Dora Hitz as he would like to include her two rejected paintings in their exhibition, which he decided yesterday to hold, later stating that the exhibition has been fixed for December, although the day is not yet certain, requesting the names of journalists whom he might contact in connection with the exhibition, mentioning some pictures which are in Munich and which will be sent to Vienna, referring to a folder of lithographs and woodcuts, enquiring whether he can find some buyers for them, adding that he wants 120 Marks for each folder, although some he could part with for 100 Marks, mentioning the poet Jonas Lie and passing on thanks from him to Elias, sending Christmas greetings and discussing other matters

7 pages, various sizes, one on a blank visiting card, four on correspondence cards, autograph address panels to the correspondence cards, rue de la Santé 32, Paris, and Hotel Hippodrom, Berlin, where indicated, the correspondence cards stamped 1893, small tear with loss and damp-staining to one letter, creasing to edges of two correspondence cards



together with a collection of c.55 autograph letters and typed letters, and other documents, mostly to Elias, including by Sigurd Ibsen, Julie Pissarro, Lucien Pissarro, Ludovic-Rodo Pissarro, Marc Chagall (typed letter signed, 1 page, 13 August 1960), Jean Renoir, André Girodie, Paul Verrier, Louis Vauxcelles, Halvdan Koht, Helge Rode, over 80 pages, various sizes, Oslo, Munich, Copenhagen, Berlin, Paris, Vence, and elsewhere, c.1897-1975 

Condition is described in the main body of the cataloguing, where appropriate.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The dated letters in this remarkable collection were written in Berlin in 1893, the same year and location which saw the creation of a pastel version and a painted version of Munch's Der Schrei der Natur (The Scream of Nature), one of the great icons of world art. The work was first exhibited at Munch’s exhibition in Berlin in December 1893, the main theme of these letters. One of the letters is addressed from rue de la Santé 32 in Paris, where Munch kept a big studio for storing his canvases.

Munch's correspondent was the writer, critic and art historian Julius Elias (1861-1927), who pioneered the criticism of Impressionism in Germany.