Tully said he hasn't seen anything like this since the London gallery White Cube's promotion of the Damien Hirst diamond-encrusted-skull, “For the Love of God,” when hundreds lined up to see the work. “I think maybe Sotheby's took something from that sale for its marketing machine.”
Tully added that it was particularly hard to estimate the value of this work in advance because it doesn't fit familiar blue-chip criteria. “It's an Expressionist work and it's colorful, and those are two things that are very desirable in the current trophy market. But it's the oddest trophy -- not that big, and it's a pastel.”
“A purist of sorts would say that it can't be that valuable: You can't call it an oil on canvas, because it's not either,” he added.
Shaw, on the other hand, stressed that crayon was a perfect choice for the work. “The artist designed "The Scream" to be a new sort of history painting for the godless age: It's a radically new subject matter for which Munch sought a radically new technique, one with every stroke visible, with no deception, no artifice and total authenticity.”