Nikolai Astrup

Agnes Hiorth (Norwegian artist and royal portrait painter, 1899-1984; probably acquired by the mid-20th century)
Synnøve & Elias Fegersten (by 1980; acquired by descent from the above. The Fegerstens donated a group of German Expressionist works to the Nasjonalmuseet, Oslo); thence by descent to the present owner

Bergen, Bergens Kunstforening; Oslo, Kunstnernes Hus; Trondheim, Trondhjems Kunstforening: Nikolai Astrup, 1980, no. 110b

The sheet has been laid down, possibly by the artist himself, thus preventing inspection of the verso. There is a very fine Y-shaped repair in the foliage of the tree towards the upper right (likely inherent to the work, and possibly caused by accident during the woodblock printing process), a small c. 3cm tear in the treetrunk and fence (also likely inherent), and a very minor 1cm tear towards the top of the left edge, and a very light scuff in the sky in the upper-right, visible under raking light. This work is otherwise in good condition, and is ready to hang. Presented in a white mount, glazed, and in a simple gilt frame. The greens and pinks in the mountain are slightly more vibrant in reality than the catalogue illustration suggests.
"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 present work belongs one of Astrup's most successful woodblock series of circa 1909, based on the oil Light Night in June in Jølster of 1905. Astrup noted that most viewers of this series misunderstood the red colour on the mountain, taking it to be the last rays of a setting sun; instead his intention was to convey the distinctive colours visible around midnight in late June in Norway. As each version of Astrup's woodblock prints is unique, the somewhat subtler colouring in the present work is arguably part of a deliberate technique.

Thoroughly familiar with the traditional technique of the Japanese ukiyo-e woodblock print, Astrup developed a technique for woodcuts that was both highly accomplished and  original. To begin with he intended them for friends, often as gifts to thank them for services rendered. But as Astrup developed both his skill and his love of the medium they became highly prized, and much sought after. 

Once the blocks were carved, he would apply oil paint with a paint brush to the woodblock, inking each block individually for each impression, and use the 'Japanese method' of transferring the colour by laying the paper onto the woodblock. This involved rubbing the back of the paper either with his hands or with an implement of his devising, typically a piece of wood covered with rags. Between colours and printing from each block he would leave the impression to dry, sometimes hastening the process by drying it on his stove. Once he had printed all the different blocks, he invariably then touched up each completed impression by hand, painting in details or intensifying colours.