- 款識：畫家簽名Edv. Munch並紀年1924（右上）
Neue Pinakothek, Munich (acquired from the above in 1925 and deaccessioned as degenerate art in 1937, inventory number 15453)
Harald Holst Halvorsens Kunsthandel, Oslo (acquired from the above in 1939 for RM 350 and sold: Harald Holst Halvorsens Kunsthandel, Oslo, 1939, lot 35)
Thomas Olsen, Oslo (acquired at the above sale)
Thence by descent to the present owner
Oslo, Harold Holst Halvorsen, Edvard Munch, 1950, n.n., illustrated in the catalogue
Olso, Kunstnerforbundet, Munch-bilder I private eie, 1958, no. 39, illustrated in the catalogue
Kunstmuseum Bern, Edvard Munch 1863-1944, 1958, no. 81
Vienna, Akademie der Bildende Künste, Edvard Munch 1863-1944, Wiener Festwochen, 1959, no. 59
Kiel, Germany, Kunsthalle zu Kiel der Christian-Albrechts-Universität, Edvard Munch, Gemälde und Zeichnungen aus einer norwegischen Privatsammlung, 1979, no. 27, illustrated in color in the catalogue
Ulrich Bischoff, "Die Rolle Edvard Munchs beim Einzug der Moderne in die deutschen Museen – Anmerkungen zu acht Bildern au seiner norwegischen Privatsammlung" in Bruckmanns Pantheon, Munich, 1985, illustrated p. 129
Peter-Klaus Schuster, ed., Die 'Kunstadt' München 1937, Nationalsozialismus und 'Entartete Kunst,' Munich, 1988, illustrated on exhibition at the Neue Pinakothek, Munich, p. 290
Ulrich Bischoff, Edvard Munch, Cologne, 1993, illustrated p. 82
Ulrich Bischoff, "Munchs Einzug in die deutschen Museen bis 1937" in Munch und Deutschland (exhibition catalogue), Hypo-Kulturstiftung, Munich; Hamburger Kunthalle, Hamburg & Nationalgalerie, Berlin, 1994-95, p. 114
Edvard Munch, Og Hans Modeller, 1912-1943 (exhibition catalogue), Munch-Museet, Oslo, 1988-89, no. 350, illustrated p. 145
Gerd Woll, Edvard Munch, Complete Paintings, Catalogue Raisonné, 1921-1944, London, 2009, vol. IV, no. 1506, illustrated in color p. 1380
Munch himself considered the 1920s as some of the most productive years of his career. His emphasis during this period was on interior scenes with a narrative that embraced a new sense of abstraction and liberated color. This focus however did not signify a departure from his earlier obsession with tormented, angst-ridden individuals. Instead, the emotional and mental instability of his earlier years gave the artist the insight to produce such expressive compositions as the present work, in which he reached a certain level of abstraction, expressing the joys and anxieties of the human condition through the pictorial elements of color and form.
The present work has exceptional early provenance. The first private owner of Ung kvinne på verandaen was Thomas Olsen, scion of the great ship-owning dynasty and arguably Munch’s most important patron. Olsen and the artist were neighbors at Hvitsten in Norway, where the young businessman's role grew from friend to patron and eventually to protector of Munch's works. In 1933, Hitler commissioned the German Art report and Munch was one of 112 artists whose work fell into the category of Entartete Kunst (degenerate art). Over 16,000 works were confiscated from public collections in Germany, 82 of them by Munch.
The present work was deaccessioned as degenerate art in 1937 from the Neue Pinakothek, Munich. Desperate to save his pictures, Munch consulted Thomas Olsen whose role as patron and neighbor in Hvitsten was now extended to help in financing the homecoming of many of the deaccessioned pictures. Thomas Olsen purchased the present work at auction from Harald Holst Halvorsens Kunsthandel in 1939 thus safeguarding its place in history. Soon after Thomas purchased the present work at auction, Norway was invaded by the Axis powers in April 1940. Olsen rapidly transported his Munch paintings to safety at Sandbu, the family mountain farm, near the village of Vaagaa. Among these paintings were Munch’s iconic masterpiece The Scream which made history at Sotheby’s in May 2012 when it sold for $119,922,500 marking a new world record for any work of art at auction.