Details
EDVARD MUNCH (1863-1944)
Jealousy II
lithograph
1896
on thin laid Japan paper
signed in pencil and titled Eifersucht 2 (partially erased)
a fine impression of the only state, probably printed by Lassally, Berlin, after 1906
mounted over a thin card backing sheet painted with watercolour in blue, dark pink and yellow-orange, presumably by another hand
the painted areas faintly showing through the primary sheet, lending colour to the image
with margins, probably the full sheet
in good condition
Image 46,8 x 57 cm. (1812 x 2212 in.)
Sheet 53,9 x 64,3 cm. (2118 x 2538 in.)
Provenance
Unidentified, an oval blindstamp recto (indistinct; possibly related to the below).
Kristian Emil Schreiner (1874-1957), Oslo (according to Kornfeld); presumably acquired directly from the artist around 1930 and then by descent.
Galerie Kornfeld, 23 June 1989, lot 91 (CHF 165,000).
Galerie Kornfeld, Bern, 20 June 1997, lot 91 (CHF 115,000).
Acquired at the above sale; then by descent to the present owners.
Literature
G. Schiefler, Verzeichnis des graphischen Werks Edvard Munchs bis 1906, published by the author, Berlin, 1907, no. 58, p. 62-63. (another impression ill.).
G. Woll, The Complete Graphic Works, Oslo and London, 2012, no. 69 b, pp. 66 (another impression ill.).
Exhibited
Hamburg, Hamburger Kunsthalle, Weibsbilder - Sammlung Hegewisch in der Hamburger Kunsthalle, September 2000 - July 2001. (no cat.)
Hamburg, Hamburger Kunsthalle, Edvard Munch: '... aus dem modernen Seelenleben', March - May 2006, no. 212, p. 180 (ill.; pl. 45) & 89.
Hamburg, Hamburger Kunsthalle, Obscur – Klaus Hegewisch zum 90. Geburtstag, October 2009 - January 2010, pp. 12-13 (ill.).
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Lot Essay

According to Kornfeld's catalogue of 1997, the print and the painted backboard come from the collection of Professor Kristian Schreiner, a famous anatomist and friend of Edvard Munch's in the later years. In 1928-29 Munch created several portrait prints of Schreiner, including two as Hamlet holding a skull (see Woll 687-690 & 692-3). Kornfeld furthermore stated that the work was consigned to them in a frame dating to circa 1930, which would coincide with the period when Munch and Schreiner were closest.
However, the lithograph and the hand-coloured backboard have repeatedly been presented to the Munchmuseet in Oslo, who could not establish the authorship of the hand-colouring. We are grateful the team of experts at the Munchmuseet for confirming their assessment on 3 September 2026.

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