Edvard Munch Value: Top Prices Paid at Auction

Munch's current auction record was achieved by The Scream (1895) when it sold at Sotheby's New York in May 2012. This pastel on board version of his most famous image represents one of four main versions of The Scream, and is the only one remaining in private hands. This pastel version was part of Munch’s semi-autobiographical cycle Frieze of Life, which focused on themes of relationships, life, death, and dread; it is also widely agreed to be the most expressive version of The Scream, thanks to the layered contours made possible through the pastel medium. Its impressive auction result was driven not only by its rarity but also by its superior condition and prestigious provenance - it had been in the collection of Norwegian businessman Petter Olsen, whose father was a friend and patron of the artist. Olsen used the proceeds from the 2012 sale to establish an ecological and cultural retreat alongside the Kristiania Fjord (now Oslo Fjord) in Hvitsten, restoring Munch’s former summerhouse in the process. The work's iconic status as one of the most recognisable images in art history, combined with its vivid colours and remarkable freshness, contributed to its success in 2012. Significantly, it remains one of the highest prices ever paid for any work of art at auction.

Pikene På Broen (Girls on the Bridge) (1902) took second place when it sold at Sotheby's New York in November 2016. The painting represents one of Munch's most significant themes, which he revisited numerous times throughout his career, including in printed form - a group of women or girls huddled together on a bridge in a semi-natural semi-urban setting. The motif is generally believed to represent our journey into the unknown future. This particular painting is recognisably set in the Åsgårdstrand area in Norway, with the Kjøsterudgården house visible in the background. Its confirmed setting has added to its appeal for Munch collectors, situating the work even deeper in the Norwegian landscapes associated with the artist. It previously sold for £13.9M at Sotheby's New York in May 2008, and £4.2M in November 1996. These dramatic price increases over two decades demonstrate the sustained market appreciation for Munch's most iconic subjects.

Vampire (1894) set Munch’s auction record when it sold at Sotheby’s New York in November 2008, during a period of global uncertainty before the financial crisis itself began. It was, subsequently, one of the last major art sales in the pre-recession period. On the night, a printing error from Sotheby’s, claiming an irrevocable bid on the work, added intrigue and confusion to proceedings. Munch created several versions of Vampire, using slightly different colours and techniques, between the years of 1893 and 1895 - the central female character appears more vampiric in some versions than others. Although Munch himself maintained that the painting depicts a woman kissing a man on the neck, its controversial critical reception suggested that viewers believed it to depict something more sinister. As a result, Munch’s friend, critic Stanisław Przybyszewski, later dubbed it “Vampire.” The work's strong performance in 2008 was supported by its fresh-to-market status, having been in private hands for over 70 years.

This 1906-07 masterpiece achieved its top 10 result at Sotheby's London in March 2023, making it the most recent sale on this list. Dans På Stranden (Dance On The Beach) demonstrates Munch’s evolving style at the time of its creation, with a more controlled application of paint and a lighter palette than his earlier works. Notably, this painting was one of 12 parts of the original Reinhardt Frieze, commissioned by Max Reinhardt for his avant-garde theatre in Berlin. It was owned by art historian Curt Glaser during World War II, who hid it in a barn in a Norwegian forest to protect it from German soldiers. Glaser was, however, forced to sell it when fleeing the Nazis. It was acquired by Thomas Olsen, also the former owner of The Scream (1895), but upon its sale in 2023, the proceeds were split between the Olsen and Glaser families.

Summer Day (Embrace on the Beach) (1904) achieved this result at Sotheby's London in March 2021, marking a significant increase from its previous sale at £5.5M in February 2006 - an increase of almost 300% in 15 years. Created in 1904 as part of the Linde Freize, commissioned by Dr. Max Linde, the painting represents one of Munch's most compelling explorations of human relationships, specifically love. It was, however, ultimately rejected by Linde for being too overtly erotic for display in a children’s room; the embracing couple, which evoked this reaction, were added by Munch towards the end of the work’s creation to deepen the emotional intensity of the scene. The painting's composition and luminous coastal colour palette foreshadow his later mature period. Summer Day was, like Dans På Stranden (1906-07), protected by Curt Glaser during World War II before being sold to Thomas Olsen.

Sommernatt (Summer Night) (1902) has been exclusively held in private collections since its creation, with only one brief public display in 2013 at the Nasjonalmuseet, Oslo, in 2013. As a result, it is not one of Munch’s more well-known works. Its impressive sale at Sotheby's New York in May 2018, however, was significant enough to make it into this top 10 list. This atmospheric nocturnal view from outside Munch’s house in Åsgårdstrand is perhaps the best example of Munch’s unique ability to capture the distinctive glowing light of Norwegian summer nights. Its success at auction also reflects growing collector interest in Munch's pure landscapes, which, while less overtly dramatic than his figurative works, carry the same emotional intensity through their handling of light and space - a phenomenon described at “stemningsmaleri” in Norway. 1902 was a dramatic year for Munch, marking the end of his relationship with Tulla Larsen and a self-inflicted gunshot wound to the middle finger, which perhaps added to the depth of emotional charge in works from this time.

This 1905 canvas sold at Christie's London in February 2002 for over four times its high estimate, a record at the time. The painting depicts the artist's summer house in Åsgårdstrand, a location that features prominently in many of his most important works. The house, which Munch purchased in 1898, became a crucial symbol for refuge and isolation. Åsgårdstrand, with its shoreline and blue skies, became a haven for Munch, providing the backdrop for his iconic Frieze of Life, and instigating a change in colour palette for the artist. Works produced in Åsgårdstrand are typically brighter and more colourful than Munch’s earlier landscapes. The painting’s success at auction in 2002, therefore, proves the enduring popularity of works that provide insight into Munch's personal world.

When Self-Portrait with Palette (1926) appeared at auction at Christie’s London in March 2021, it was a significant moment for Munch collectors. A self-portrait by the artist had not appeared for sale for a very long time. The work shows the artist at his studio at Ekely, where he lived and worked in relative isolation from 1916 until his death. Like many Munch paintings, this piece was hidden from view for a number of years during World War II, before moving between private collections in the late-20th century. The popularity of this piece, however, comes not just from its depiction of the artist himself, but also its neat cohesion with all of Munch’s previous works. It demonstrates the expressive style that is consistent throughout Munch’s career, his particular ability to blend contrasting colours to achieve light and shadow, his preoccupation with the bright colours of nature, and the emotional intensity of his darker, figurative works. The controlled brushwork and more naturalistic palette reveal an artist who had found peace while maintaining his penetrating psychological insight.

View From Nordstrand (1900-01) sold at Sotheby’s London in February 2007 for more than double its high estimate, demonstrating the growing appreciation on the market for Munch’s pure landscape works at the beginning of the 21st century. This panoramic view of the Kristiania Fjord captures the distinctive atmosphere of the Norwegian coast, with two recognisable islands on the horizon. As with much of his work, Munch did not strive for realistic representation, instead aiming to capture the emotional experience of the landscape, resulting in simplified shapes, layered contrasting colours, and an exaggerated glow on the water’s surface. It demonstrates Munch’s transition from Impressionist influences towards the short, sharp, expressive brushstrokes of his later career, during a period of intense productivity at the turn of the century.

Soloppgang I Åsgårdstrand (Sunrise in Åsgårdstrand) (1893-94) achieved this result at auction at Sotheby’s New York in November 2021. This atmospheric landscape captures the distinctive light of a Norwegian sunrise over Åsgårdstrand, a coastal town that would appear in many of Munch’s paintings over the next 10 years. But more than that, it captures Munch’s own personal reaction to Åsgårdstrand. His exploration of his own psychological state and memories was encouraged by nihilist Han Jaeger, resulting in emotionally charged paintings like this one. The bright sky and dark foreground manifest the sense of peace that Munch had associated with the town since his first visit in 1885.