拍品 52
  • 52

愛德華∙孟克

估價
1,500,000 - 2,000,000 USD
招標截止

描述

  • 愛德華·孟克
  • 《維斯滕海岸》
  • 款識:畫家簽名 E. Munch 並紀年22(左下)
  • 油彩畫布
  • 29 1/8 x 39 1/2英寸
  • 74 x 100公分

來源

Galerie Thannhauser, Berlin (on consigment from the artist)

Galerie Van Dieman, Berlin (on consignment from the artist, 1925)

Alfred Flechtheim, Berlin (on consigment from the artist, 1929)

Private Collection, Berlin (by 1929)

Thomas Olsen, Oslo (by 1958)

Mikael Solberg, Karlstad (1989)

Galerie Thomas, Munich (1994)

Michel Cohen, Malibu

MK Fine Art, New York (acquired from the above circa 1998)

Acquired by the present owner in 1998-99

展覽

Vienna, Neue Galerie, Edvard Munch, 1924

Kunsthaus, Zurich, Internationale Kunstausstellung, 1925, no. 322 (titled Klippenlandschaft)

Chemnitz, Kunsthütte zu Chemnitz, Ausstellung Edvard Munch, 1929, no. 51

Leipzig, Leipziger Kunstverein, Edvard Munch, 1929-30, no. 43

Bern, Kunstmuseum, Die Uberwindung der Lebensangst in Werk von E. Munch, 1958, no. 84 (titled Kunstland bei Vidsten, Sommer and as dating from 1927)

Kiel, Kunsthalle zu Kiel der Christian-Albrechts-Universitat, 1979, no. 25, illustrated in the catalogue (titled Landschaft mit rotem Haus)

New York, National Academy of Design, Edvard Munch, Landscapes of the Mind, 1995-96, no. 34, illustrated in color in the catalogue (titled Coastal Landscape and catalogued with incorrect measurements)

出版

Edvard Munch in Chemnitz  (exhibition catalogue), Kunstsammlungen Chemnitz, 1999-2000, no. 51, illustrated p. 244

Gerd Woll, Edvard Munch, Complete Paintings, Catalogue raisonné, vol. IV, 1921-1944, London and New York, 2008, no. 1430, illustrated in color p. 1321

Condition

The canvas is unlined and there is no evidence of retouching under UV light. Apart from a spot of paint loss in the blue pigment in the upper right (visible in the catalogue illustration), this work is in excellent original condition.
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.

拍品資料及來源

Kystlandskap fra Hvitsten epitomises Munch's life-long fascination with Fjords, which was one of the central subjects and key symbols of his art. Just like the German Expressionist artists who often ventured away from the city to the Baltic coast, Munch painted many of his major works, including his pivotal Frieze of Life, on the coast at Åsgårdstrand and Hvitsten. While his early landscapes mirror the artist's mood, often with sombre or mystical undertones, his later treatment of this genre is a celebration of nature and its forces. In Kystlandskap fra Hvitsten the regular undulations of the rocky shore harmonize with the ebb and flow of the tides, while the bright palette reveals Munch's admiration for the art of Van Gogh.

Munch's reliance upon the poetic drama of the sea-as-metaphor never failed to elicit universal images of the relentless cycle of life and death.   Writing about another depiction of the beach, his 1892 Melancholy (fig. 2) from the Frieze of Life, his description of the setting is equally applicable to the present work, created thirty years later:  "The rocks rose above the water as mystically as sea beings. There were large white heads that grinned and laughed. Some were up on the beach, others down there in the water.  The dark blue violet sea rose and fell.  Singing in between - the stones.  One evening I walked alone along the seashore.  It singed and sucked around the stones.  Long grey clouds streaked the horizon.  It looked as if everything was dead - as in another world" (quoted in Poul Erik Tojner, Munch In His Own Words, New York, 2001, p. 94)

The present painting once belonged to Munch's Norwegian collector and friend Thomas Olsen, one of his most celebrated patrons who owned The Scream which sold at Sotheby's in 2012.  The two pictures hung in Olsen's collection in Oslo for nearly half a century.