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Edvard Munch

Norway (Løten 1863 -  Oslo 1944 ) Wikipedia® : Edvard Munch
MUNCH Edvard Loslösung Ii (separation Ii)

Lempertz
May 31, 2019
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Artworks in Arcadja
1476

Some works of Edvard Munch

Extracted between 1,476 works in the catalog of Arcadja
Edvard Munch -  The Woman And The Bear

Edvard Munch - The Woman And The Bear

Original 1908-09
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Lot number: 365
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Description:
Edvard Munch, The Woman and the Bear (Woll 362; Shiefler 332), lithograph on Japan wove paper, 1908-09, signed in pencil, from the edition of 15, with margins, some repaired tears to sheet edges, 200mm x 210mm, sheet 325mm x 250mm. Footnote: Provenance: Acquired Christie's South Kensington, Prints & Multiples, 20th September 2012, lot 51.
Edvard Munch - Der Urmensch

Edvard Munch - Der Urmensch

Original 1905
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Lot number: 1219
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Edvard Munch (Løiten 1863 – 1944 Ekely bei Oslo) „Der Urmensch\“. 1905 Holzschnitt auf Papier. 68,4 × 45,7 cm (77,2 × 54,4 cm) ( 26 ⅞ × 18 in. (30 ⅜ × 21 ⅜ in.)). Woll 274 b (von d).– [3100] HINWEIS: Telefonische Gebote sind für dieses Los nicht möglich. Edvard Munch (Løiten 1863 – 1944 Ekely near Oslo) „Der Urmensch\“. 1905 Woodcut on paper. 68,4 × 45,7 cm (77,2 × 54,4 cm) ( 26 ⅞ × 18 in. (30 ⅜ × 21 ⅜ in.)). Woll 274 b (of d).– [3100] PLEASE NOTE: Bidding by telephone is not possible for this lot.
Edvard Munch - Loslösung Ii (separation Ii)

Edvard Munch - Loslösung Ii (separation Ii)

Original
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Lot number: 251
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Edvard Munch Loslösung II (Separation II) Original-Lithographie auf feinem Japanbütten. 41,4 x 64,2 cm (48 x 66 cm). Unter Glas gerahmt. Unten rechts mit Bleistift signiert 'E Munch'. - Das ungeschnittene Blatt vor allem zu den Rändern minimal gebräunt. Eine punktuelle bräunliche Verfleckung am Unterrand sowie einzelne nach vorn durchschlagende Spuren alter Montierung am Oberrand. Woll 78 I; Schiefler 68 a Wir danken Ute Kuhlemann Falck, Munch Museum Oslo, für wissenschaftliche Beratung. Provenienz Privatbesitz Rheinland In seiner Malerei befasst sich Edvard Munch bereits seit den frühen 1890er Jahren mit den existentiellen Fragen menschlichen Daseins, etwa jener Serie von Gemälden, die unter dem von Munch gewählten Titel „Lebensfries\“ besondere Berühmtheit erlangen sollte. Das motivisch eng mit unserer Lithographie verwandte, ebenfalls 1896 entstandene Gemälde „Loslösung", heute im Munch Museum Oslo (vgl. Woll Gemälde 393, siehe Vergleichsabb.), zählt zu dieser Werkgruppe. Mit „Loslösung II" fängt Munch in eindringlicher Weise den Moment der Trennung eines Liebespaares ein: Eine hell gekleidete Frau blickt vom Strand auf die offene See und wendet sich dabei von einem zu Boden blickenden, dunkel gekleideten Mann ab. Zentrale Bedeutung kommt dabei den langen Haaren der Frau zu, die als verbindendes Element den letzten Kontakt zu ihrem männlichen Begleiter verkörpern. In seinen Werken griff Munch auf diese poetische und zugleich sehr persönliche Abschiedsmetapher mehrfach zurück: „Ich fühlte als ob sich unsichtbare Fäden zwischen uns befanden - ich fühlte wie unsichtbare Fäden ihres Haares mich immer noch umspannen - und so als sie dann über die See hinaus ganz verschwand - fühlte ich immer noch, es schmerzte dort, wo mein Herz blutete - weil sich die Fäden nicht abreißen ließen.\“ (Zit. nach: Edvard Munch. Liebe, Angst, Tod, Ausst. Kat. Bielefeld/Krefeld/Kaiserslautern 1980/1981, S. 91). Unser großformatiges Werk gehört zu einer Reihe von Graphiken, die Munch während seines Aufenthalts in Paris 1896-1897 schafft. Wie in seinen Gemälden, so setzt sich der Künstler auch in der Druckgraphik intensiv mit grundlegenden Aspekten des Lebens auseinander: mit der Angst, dem Tod, dem Werden und Vergehen und nicht zuletzt der Liebe. Neben „Loslösung II\“ entstanden die Lithographien „Anziehung I und II", „Die Blume der Liebe", „Meer der Liebe"‚ „Eifersucht I und II" und „Loslösung I" (Woll 75, 76, 80, 81, 68, 69 und 77). Neben dem dramatischen Hell-Dunkel-Kontrast ist es bei unserem Blatt vor allem das tiefdunkle Blau des Drucks, welches der tragischen Melancholie des Trennungsmotivs eindrucksvoll zur Geltung verhilft. Edvard Munch Loslösung II (Separation II) Lithograph on fine Japan laid paper. 41.4 x 64.2 cm (48 x 66 cm). Framed under glass. Signed 'E Munch' in pencil lower right. - The uncut sheet minimally browned especially towards the margins. A singular brownish stain in the lower margin and isolated traces of former mounting in the upper margin pushing through to recto. Woll 78 I; Schiefler 68 a We would like to thank Ute Kuhlemann Falck, Munch Museum Oslo, for scientific advice. Provenance Private possession, Rhineland In his painting, Edvard Munch had been occupying himself with the fundamental questions of human existence since the early 1890s, for example, in the series of works which would achieve particular fame under the title chosen by Munch, the \“Frieze of Life\”. The painting \“Separation\”, which is closely related to our lithograph in terms of its motif, was also created in 1896 and belongs to this group of works: this painting is now in Oslo's Munch Museum (cf. Woll Paintings 393, see comparative illus.). With \“Separation II\”, Munch evocatively captures the moment of a pair of lovers' parting: a woman dressed in light-coloured clothes looks out at the open sea from the beach and, in doing so, turns away from a darkly dressed man who looks down at the ground. In this context the woman's long hair takes on central significance as a connecting element embodying her last contact with her male companion. Munch took up this poetic and simultaneously very personal metaphor of parting multiple times in his work: \“I felt as though there were invisible threads between us - I felt how invisible threads of her hair were still wrapped around me - and thus when she completely disappeared across the sea - I still felt them, it hurt in the place where my heart was bleeding - because the threads could not be broken.\” (cited in: Edvard Munch: Liebe, Angst, Tod, exhib. cat. Bielefeld/Krefeld/Kaiserslautern 1980/1981, p. 91). Our large-format work is one of a number of prints that Munch created during his stay in Paris from 1896 to 1897. As in his paintings, the artist also became intensely engaged with fundamental aspects of life in his prints: with fear, death, becoming and decline and not least with love. Along with \“Separation II\” he created the lithographs \“Attraction I and II\”, \“The Flower of Love\”, \“Sea of Love\”, \“Jealousy I and II\” and \“Separation I\” (Woll 75, 76, 80, 81, 68, 69 and 77). In addition to the dramatic chiaroscuro, it is primarily the deeply dark blue of our sheet's printing which helps the tragic melancholy of the motif of separation achieve its impressive power.
Edvard Munch -  Sketch For The United States Of Europe Iii

Edvard Munch - Sketch For The United States Of Europe Iii

Original 1916
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Lot number: 6402A
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Edvard Munch (Norwegian, 1863-1944), Sketch for The United States of Europe III, circa 1916, graphite, crayon, and lithograph on collaged paper, hand-written note with stamp from the National Gallery, Oslo, Norway, dated 1948, on sheet verso, with Museum of Modern Art Loan, EL 70.726, tag affixed verso, image: 15"h x 9"w, overall (with frame): 22"h x 16"w
Edvard Munch - Kystlandskap

Edvard Munch - Kystlandskap

Original 1904
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Lot number: 444
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Edvard Munch (1863-1944) Kystlandskap signed \‘E. Munch\’ (lower left) oil on canvas 26 ½ x 37 ½ in. (67.3 x 95.4 cm.) Painted in 1904 Provenance Mr. and Mrs. Sverre Prydz, Lysaker (by 1927). Frithjof Tenvig, Holmestrand (circa 1930-1940 and until at least 1969). Cecil "Titi" Blaffer von Fürstenberg, Houston (by 1976). By descent from the above to the present owners.
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