卡倫．比約斯塔，克里斯蒂那亞 (購自畫家本人)
英格．孟克，克里斯蒂那亞 (購自上述人士)
尼爾斯．于斯特韋，奧斯陸 (1950年由上述人士餽贈)
賣出：布羅姆奎斯特拍賣行，奧斯陸，1959年   
蘭德爾．斯科比夫人，德拉門 (1980年購入)
布考斯基，斯德哥爾摩，1991年
奧斯陸私人收藏 (1992年購入)
賣出：布羅姆奎斯特拍賣行，奧斯陸，1998年
現有藏家購自上述拍賣會

「夏天和愛德華．孟克與阿恩．科維」，莫杜姆，鈷礦工業博物館， 1999年，品號18，圖錄附彩色圖版
「孟克 1863-1944年」，羅馬，維托里安諾博物館， 2005年，品號6，圖錄附彩色圖版
「愛德華．孟克：現代藝術的標誌」，巴塞爾，貝耶勒和金策爾斯奥基金會，維特藝術館， 2007年，品號15，圖錄附彩色圖版
「細品孟克：藝術策略，1880-1892」，奧斯陸，孟克博物館， 2008-09年，品號161，圖錄附彩色圖版
「愛德華．孟克與丹麥，2009-10」，哥本哈根、奧德羅普格及奧斯陸，孟克博物館，品號13，圖錄附彩色圖版

格斯達．史雲勞斯，《孟克和斯特林堡，奎克伯恩插曲》，藝術和文化，第52冊，品號1，奧斯陸，1969年，第30頁
奧塞美術館，《孟克與法國(展覽會圖錄)》，巴黎，蒙克博物館，奧斯陸和席爾恩藝術館，法蘭克福，1989年，頁90提及
格爾德．霍爾，《愛德華．孟克，油畫作品大全》， 1880 - 1897年，第1冊，倫敦，2009年，品號287，圖版頁270

This work is in excellent condition. There is a mild crease in upper right corner as well as a few minor abrasions to the surface at the lower and upper left corners. Under UV light, no inpainting is apparent.
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.
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Natt i Saint-Cloud is a seminal work from a critical juncture in Munch's oeuvre. Munch first painted this motif in 1890, shortly after the dea🐓th of his father. The work became an intense emotional expression for 𝕴the artist, imbued with melancholy and foreboding. He executed the work in St. Cloud, a western suburb of Paris where the artist rented a room (fig. 2).

Removed from the bustle of the city, Munch spent many hours contemplating the recent tragedy of his father's death and deciding upon a new direction in his art. It was during these dark days that Munch decided to abandon the naturalism of his early career. He would emerge with the "St. Cloud Manifesto", a declaration of his artistic direction. He wrote, "There would be no more paintings of interiors. Paintings of people reading, and women knitting. There would be paintings of real people who breathed, felt, suffered and loved. I felt I had to do this -- that it would be easy. The flesh would have volume, the colours would be alive" (reprinted in Poul Erik Tøjner, Munch, In His Own Words, Munich, 2001, p. 93). This new vision will give rise to The Frieze of Life, in which Natt i Saint-Cloud will take its place alongside such as masterpieces as The Scream, Vampire, and Puberty.

Munch executed five versions of Natt i Saint-Cloud, clearly fixated on its subtle power. The present vꦡersion was executed in 1892 and subsequently given to his aunt, Karen Bjølstad, who had taken over his childhood home after his mother's untꦏimely death. The work then passed into the hands of the artist's sister, Inger Munch. Inger then inscribed a plate affixed to the back of the work when she gifted the work to Nils Ustvedt, a solicitor in Oslo.

Dieter Buchhart has written of this motif's significance in the scope of Munch's oeuvre: "In Night in St. Cloud of 1890 [fig. 1], Munch once again heightened the expression of melancholy into something between dejection, sorrow, and depressed disgruntlement. Although Danish poet Emmanuel Goldstein sat for the despondent figure at the window, the pictures seems to be much more about Munch's own state of mind after the death of this father. The window frame casts a double crucifix shadow on the floor of the empty room, while the man with the top hat seems to blend into the night. Emptiness, dissolution, darkness, and cross shapes allude to death, sorrow, and solitude, with the interior becoming the mirror of the soul and the window the interface between inner experience and external reality" (Dieter Buchhart, Edvard Munch: Signs of Modern Art (exhibition catalogue), op. cit., p. 43).