Woodcut printed in blue, red, orange and yellow, the third (final) state, 1918, signed in pencil, printed by Nielsen, on cream wove paper

With wide margins, in good condition apart from a skilfully repaired tear in lower left image (circa 1cm), a short tear at upper left corner of image (circa 5mm), pale light-staining, a pale water-stain at lower right image extending into the margin, the signature slightly rubbed at right, occasional pale stains in image and margins, skinning in two places along upper edge of sheet verso with associated staining, uneven pale paper discoloration verso, framed.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The motif of Edvard Munch's Girls on the Bridge has been widely recognised as one of his most celebrated and popular. As was often the case with the artist's successful works, he continued to revisit the composition throughout his career, producing a total of twelve known oil paintings between 1901 and 1935, as well as the woodcut offered here and a number of variations in lithograph, etching and another woodcut. 
The influence of Munch's pictorial motifs can be seen in the views depicted on Norwegian postcards issued at the time. The postcard from Munch to Gustav Schiefler, illustrated below, shows a pier in Asgårdstrand, reflecting the same composition as Girls on the Bridge. The perspective of the pier is similar to the woodcut, although Munch adds three young girls leaning over the rail as the main focus of the work. This postcard was published after the artist's pictures were internationally known, showing how his motifs were integrated into popular culture.