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Ung kvinne på verandaen (Young Woman on the Veranda)
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About the object

In 1924, Munch was approached by Birgit Prestøe at Ekely, and painted her in Seated Model on the Couch (G. Woll, op. cit., no. 1500), now in the Munch-Museet. This is believed to be the first work in which Munch painted Birgit, who would become his most frequently used model until 1931, and whom he painted in a variety of settings, both clothed and in the nude. The present work is one of only two paintings featuring Birgit which remains in private hands. Other portraits of Birgit reside in the permanent collections of world-renowned institutions such as the Munch-Museet in Oslo and the Hirshhorn Museum and Sculpture Garden in Washington D.C.\n\nMunch 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.\n\nThe 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.\nSigned Edv. Munch and dated 1924 (upper right)
US
NY, US
US

medium

Oil on canvas

creator

Edvard Munch

dimensions

35 1/2 by 26 7/8 in.

exhibition

Hamburg, Galerie Commeter, 1924 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

literature

Franz Roh, 'Entartete' Kunst; Kunstbarbarei im Dritten Reich, Hannover, 1962, listed p. 237 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

provenance

Galerie Commeter, Hamburg 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

signedDate

Signed Edv. Munch and dated 1924 (upper right)

time_period

Painted in 1924.

time_range_end

1924

artist_range_end

1944

time_range_start

1924

artist_range_start

1863

consignmentDesignation

Property from the Olsen Collection

creator_nationality_dates

1863 - 1944


*Note that the price is not recalculated to the current value, but refers to the actual final price at the time the product was sold.

*Note that the price is not recalculated to the current value, but refers to the actual final price at the time the product was sold.


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