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Marlene Dumas Auction Price Results

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Marlene Dumas, Purple Pose, 1999

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Description: Marlene Dumas, Purple Pose, 1999 Signed, dated, titled and numbered.Edition Marcel Kalksma, Amsterdam. Numbered 10/50. Original colour lithograph on card 122 x 67,5 cm 1999

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Marlene Dumas (Capetown 1953)

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Description: Being Held - Signed with initials, titled and dated '89 l.m. - Washed ink on paper, 29.8 x 20.9 cm - Provenance: - Willem Baars Art Consultancy, Amsterdam (inv. no. 6-88C) - Private collection, The Netherlands

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Jan Hoet in memoriam card by Marlene Dumas

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Description: DUMAS, Marlene (South African 1953) after -. Jan Hoet. In memoriam card, offset print after watercolour by Marlene Dumas with poem Museaal by Roland Jooris on verso, 2014, framed under passe-partout behind glass, image size 28 x 20 cm., frame size 47 x 38 cm. Very nice frame. Small unobtrusive crease in the upper centre, else very good. Limited edition.

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A long silence, lithograph by Marlene Dumas

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Description: DUMAS, Marlene (South African 1953). A long silence, 1989. Lithograph in beige and black, signed in pencil and dated 'M. Dumas 1989' (lower right under the image), published by Edition Griffelkunst, Hamburg, image size 25,8 x 25 cm., paper size 50.5 x 44.5 cm. Minor wear to the margins, else good.

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Monumental work by Marlene Dumas

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Description: DUMAS, Marlene (South African 1953). Ecco Pier Paolo Pasolini, 1988. Amsterdam, Maria Chailloux, 1988. 3 original lithographs illustrating the poem 'Le Ceneri di Gramsci' by Pier Paolo Pasolini. Set of 6 sheets with title (1), half title (2) and introduction (3) and 3 handcoloured lithographs, monotypes and woodcuts in colours, signed in pencil 'MD '88 and inscribed with title 'Ecco - Pier Paolo Pasolini', signed and dated 'M. Dumas 1988' and signed in initials, dated and numbered 'MD '88 26/40', on Rives, each framed behind perspex (Profilex), image size 122.5 x 81.5 cm., frame size 133 x 92 cm. 47 copies printed, 40 in Arabic numerals.

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Trust!, an original drawing by Marlene Dumas

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Description: DUMAS, Marlene (South African 1953). Trust!, 1986. Drawing in Indian Ink (probably from a sketchbook), signed and dated 'Marlene 1986' (lower right) in pencil and inscribed with title (lower right), framed behind glass, image size 21 x 28.5 cm., frame size 27.5 x 36.2 cm. Soft rippling, else good.

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A screenprinted porcelain cup and saucer, breakfast- and dinnerplate

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Description: A screenprinted porcelain cup and saucer, breakfast- and dinnerplate, Commissioned by Museum Fodor, Amsterdam, executed by Mosa, MaastrichtDinnerplate with screenprinted signatureDiam. 26.5 cm (dinnerplate), Dumas, Marlene

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Marike Oltheten, mixed media

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Description: Unicaat, signed and 2000

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Marlene Dumas,

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Description: Marlene Dumas, "The Luxury of Tenderness" gouache on board, 1986. Signed, titled and dated "the luxury of tenderness Marlene 86" on the frame mount. Board: 25.75''H x 21''W; Frame: 31.5''H x 27''W. Provenance: Galerie Paul Andriesse, Amsterdam (partial label on reverse); Christie's South Kensington, December 5 2005, Lot 251. Marlene Dumas (Dutch/American, 1953-1997) created works inspired by human relationships, religion, her native South Africa, etc. She is known for her portraits and figurative works that depict unnaturalistic and distorted subjects.

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Marlene Dumas

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Description: (Capetown 1953). Before & After (diptych). Both signed and dated 1993 l.r. Both titled l.m. and numbered 84/100 l.l. Both coulour lithograph, 65.6 x 51 cm. (2x)

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Beautiful blue lithograph by the artist of the year 2015, Marlene Dumas

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Description: DUMAS, Marlene (South African 1953). Agter die nag bedrieglik die dood, 1982. Lithograph in colours, inscribed and signed in white pencil 'Agter die nag bedrieglik die dood M. Dumas 16/60' (lower margin), framed behind glass, size 73.5 x 53.5 cm., mint condition.

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Marlene Dumas (Capetown 1953)

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Description: Before - Signed and dated 1993 l.r. - Titled l.m. and numbered 15/100 l.l. - Colour lithograph, 65.9 x 50.5 cm

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Marlene Dumas

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Description: (Capetown 1953) Ecco Pier Paolo Pasolini Maria Chailloux, Amsterdam, 1988 Set of three works (with title- and introduction page) All signed and dated, one titled and one numbered III/VII All lithographs, lino cuts and screenprint, all approx. 121 x 81 cm N.B.: Including the original invitation for the presentation of this work on 30 October 1988 in the Nederlands Filmmuseum in Amsterdam. (5x) (Three illustrated)

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Marlene Dumas (Capetown 1953)

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Description: Night creature - Signed and dated 1990 l.r. - Titled l.m. and numbered 18/40 l.l. - Lithograph, 35.4 x 38 cm

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Marlene Dumas (b.1953) - Alan Turing

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Description: piezographic print, 2015, signed and dated in pencil, numbered from the edition of 100, printed by Bernard Ruijgrok Piezografie, Amsterdam, with their blindstamp, on wove paper, with full margins, sheet 350 x 440 mm (13 3/4 x 17 1/4 in)

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Marlene Dumas (b.1953) - Faceless

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Description: Marlene Dumas (b.1953) - Faceless screenprint, 1993, signed and dated in pencil, numbered 71/200, published by ICA, London, on wove paper. the full sheet, sheet 290 x 205 mm (11 3/8 x 8 in) IMPORTANT: This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

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DUMAS, MARLÈNE. 1953 Kapstadt. Genussschein (Sonderausgabe für

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Description: DUMAS, MARLÈNE 1953 Kapstadt Genussschein (Sonderausgabe für Portikus, Frankfurt am Main). 2000. Bleistift und Tuschpinsel über Offsetlithographie auf Velin. 29,5 x 21cm. Signiert unten rechts: MDumas. Rahmen. Mit den Schriftzügen ''Genußschein 1000 DM'' und ''Portikus Frankfurt am Main 2000'' sowie dem Trockenstempel der Herausgebers. Ausgewiesen mit der Nr.: 0965/1000. Einer von zehn individuell gestalteten Genussscheinen.Dumas, Marlène 1953 Kapstadt Genussschein (Sonderausgabe für Portikus, Frankfurt am Main) 2000. Bleistift und Tuschpinsel über Offsetlithographie auf Velin. 29,5 x 21cm. Signiert unten rechts: MDumas. Rahmen. Mit den Schriftzügen "Genußschein 1000 DM" und "Portikus Frankfurt am Main 2000" sowie dem Trockenstempel der Herausgebers. Ausgewiesen mit der Nr.: 0965/1000. Einer von zehn individuell gestalteten Genussscheinen

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DUMAS, MARLENE(Kapstadt 1953 - lives and works in

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Description: DUMAS, MARLENE(Kapstadt 1953 - lives and works in Amsterdam)Artist loosing her head. 1986/87.Collage and mixed media on paper. Signed and dated lower right: marlene 1986/87.50 x 66 cm. Provenance:- Private collection Holland.DUMAS, MARLENE(Kapstadt 1953 - lebt und arbeitet in Amsterdam)Artist loosing her head. 1986/87.Collage und Mischtechnik auf Papier. Unten rechts signiert und datiert: marlene 1986/87.50 x 66 cm.Provenienz:- Privatsammlung Holland.

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Dumas, Marlene: A long silence

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Description: Dumas, Marlene: A long silenceA long silence. Lithographie auf Zerkall-Velin. 25,8 x 25 cm (Darstellung); 50,9 x 45 cm (Blattgröße). Signiert und datiert. 1989.Prachtvoller Druck mit dem vollen Rand. Ganz geringe Gebrauchsspuren, sonst in sehr schöner Erhaltung.

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Dumas, Marlene: Faceless

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Description: Dumas, Marlene: FacelessFaceless. Lithographie auf leichtem Velinkarton. 26,7 x 19,3 cm (Darstellung); 29 x 20,5 cm (Blattgröße). Signiert und datiert. Auflage 200 num. Ex. 1993.Prachtvoller Druck mit Rand. In sehr schöner Erhaltung.

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Dumas, Marlene: Dornrosie

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Description: Dornrosie Zweifarbige Lithographie auf Zerkall-Velin. 1989. 33,7 x 43,2 cm (51 x 64,7 cm). Signiert "M Dumas" und datiert. Sehr schöner und kräftiger Druck mit breitem Rand.

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Dumas, Marlene: Lovesick artist

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Description: Lovesick artist Zweifarbige Lithographie auf Zerkall-Velin. 1989. 42,6 x 49,5 cm (50,7 x 65 cm). Signiert "M Dumas" und datiert. Prachtvoller Druck mit dem vollen Rand.

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Dumas, Marlene: Imitating the fathers

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Description: Imitating the fathers Zweifarbige Lithographie auf Zerkall-Velin. 1989. 37,2 x 43,8 cm (50,7 x 64,8 cm). Signiert "M Dumas" und datiert. Prachtvoller Druck mit dem vollen Rand.

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Dumas, Marlene: Dornrosie

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Description: Dornrosie Zweifarbige Lithographie auf Zerkall-Velin. 1989. 33,7 x 43,3 cm (50,8 x 64,7 cm). Signiert "M Dumas" und datiert. Prachtvoller Druck mit dem vollen Rand, links mit dem Schöpfrand.

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Description: Marlene Dumas (b. 1953) Wet Dreams titled 'wet dreams' (on the reverse), signed and dated 'M Dumas '87' (on the stretcher bar) oil on canvas 43.25 x 51.25 in. (110 x 130 cm.) Painted in 1987. Provenance Galerie Paul Andriesse, Amsterdam

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MARLENE DUMAS OVER LYKEN LOPEN 90 by 70cm. 35.5 by 27.5 in. signed and titled on the stretcher b. 1953 oil on canvas 1993.

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Description: MARLENE DUMAS OVER LYKEN LOPEN 90 by 70cm. 35.5 by 27.5 in. signed and titled on the stretcher b. 1953 oil on canvas 1993.

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Marlene Dumas (b. 1953)

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Description: Jule, die Vrouoil on canvas49 1/4 x 41 3/8 in. (125 x 105 cm.)Painted in 1985.

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Marlene Dumas (b. 1953)

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Description: The Broken Mirrorsigned, titled and dated 'The Broken Mirror M. Dumas (Marlene Dumas) 1988-89' (on a label affixed to a photograph of the painting, attached to the reverse)oil on canvas15 3/4 x 19 5/8in. (40 x 50cm.)Painted in 1988-1989

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Marlene Dumas (b. 1953)

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Description: The Teacher (sub a)signed, titled and dated 'The Teacher (Sub a) M DUMAS 1987' (on the reverse)oil on canvas63 x 78 3/4 in. (160 x 200cm.)Painted in 1987

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MARLENE DUMAS

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Description: MARLENE DUMAS DUTCH B. 1953 DISTRUST 1994 watercolour on paper 65.5 x 50.5 cm / 25.79 x 19.88"

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c - MARLENE DUMAS

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Description: B. 1953THE PASSIONmeasurements61 by 49cm.alternate measurements24 by 19 1/4 in.signed, titled and dated 1994 watercolour and ink on paperPROVENANCEGalerie Paul Andriesse, AmsterdamEXHIBITEDCologne, Kunst Sankt Peter, Männeransichten, 1994NOTE"Is the information necessary in a work contained in the work itself? I say it isn't. It is mostly contained outside the work. One can [I do] and must, at times, put words in the mouth of the work and/or take them away again. Our eyes are close to our ears" (the artist cited in Marlene Dumas: Suspect, Milan 2003 p. 17). Executed in extremely diluted watercolour, The Passion represents one of Dumas' most intense and profound works on paper. Depicting two watery faces pressed together in an intimate moment, the dark ink outlines bleed into the surrounding watercolour, blurring their features. The most prominent face is upside-down, disengaged from the body and painted an oxygen-deprived blue-grey. The accompanying face is composed in warmer red tones, and together the faces fill the frame, with no other visual context. The only information Dumas deemed relevant for the background is the title, found in her fragile script in the upper left corner: The Passion. Familiarity with Western Tradition and Dumas' oeuvre leads the viewer to Christ's final hours on earth. The same year she painted The Passion, Dumas painted a collection of twenty-one portraits of Jesus. With this knowledge, the pallid face of The Passion becomes that of the lifeless Christ. 1994 also saw Dumas paint what are arguably her most renowned works, the Models series and the Rejects series. These ink washes depict famous models, and their anonymous, ugly opposites, respectively. The separate series, when considered together, form dyads that focus on attraction and repulsion, inclusion and exclusion, and the politics of group dynamics—prominent themes in Dumas' work that are often linked to her upbringing in Apartheid-torn South Africa.

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MARLENE DUMAS

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Description: signed, titled and dated 1994 on the reverseoil on canvas

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PROPERTY OF A PRIVATE EUROPEAN COLLECTOR MARLENE DUMAS B. 1953 THE MESSENGERS

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Description: signed and dated 1992 on the reverse of the far right panel; signed, titled and dated 1992 on the stretcher of the far right paneloil on canvas in four partsPROVENANCEProduzentengalerie, HamburgAcquired by the present owner from the above in 1993EXHIBITEDHamburg, Produzentengalerie, Land of Milk and Honey, April - May 1993, illustrated in colorBonn, Kunstverein, Survive, December 1993 - February 1994, p. 73, illustrated in colorLITERATURE AND REFERENCESAnna Tilroe, "The Unfulfillment and the Surfeit", Parkett, vol. 38, 1993, p. 95, illustrated (installation in Hamburg, 1993)Dominic van den Boogerd, Barbara Bloom and Mariuccia Casadio, Marlene Dumas, London 1999, p. 26, illustrated in color (installation in Hamburg, 1993)CATALOGUE NOTEMarlene Dumas' The Messengers is an outstanding polyptych, executed in 1993, which powerfully displays the artist's extraordinary talents as a painter, reflecting her unique ability to arrest powerful emotions within her viewer from the nexus between her subject matter and her dazzling technical prowess. Four separate canvases come together to narrate a tale of 'The Messengers'. There is no fixed meaning here; the painting's genesis does not come from a specific text. Dumas' presentation revels in the loose, elastic fluidity of meanings provided to us by the generic faerie tale, whilst remaining firstly, and finally, framed as visual references. As Matthias Winzen has suggested, Dumas' paintings blossom where language ceases to provide adequate means of understanding or interpreting feelings. Dumas' Messengers encircle the same subtexts one finds in the Brothers Grimm's works, for example, or Nordic folktales. Explicit of nothing, yet implicit of a wide range of meanings, three dark skeletons, framed against narrow portals lit with an eerie incandescence, bring a small, ambiguously described gift for a three-year old girl, who stridently confronts the viewer with the same stature, size and mien as the skeletal Messengers.Anathema to Dumas' painted universe, yet central to the structure of most faerie tales, is the concept of innocence and, in most cases, its loss felt by a young individual. As Anna Tilroe writes, "Innocence does not seem to exist in her world view... Even the babies she draws and paints fail to evoke the least impression of innocence". (Anna Tilroe, "The Unfulfillment and the Surfeit", Parkett, vol. 38, Zurich 1993, p. 94). The young child, the recipient of the gifts from the ethereal skeletons, does not display any 'immaculate purity' that Tilroe associates with innocence. Rather, this infant exhibits a certain level of experience, which one reads physically on the child: her confrontational mien; the fact she stands nearly six feet tall, mirroring the size of the skeletons; the fact her body, executed by bold, loose, economic strokes of the brush, embraces the fragmentary, the imperfect, all layer this figure with an experiential dynamic. Tilroe notes that, rather than vehicles for interpretations of innocence, Dumas' children become paragons of "... ignorance, nakedness and vulnerability [that] are primarily a body. A body that in its terrifyingly tender youth leaves no illusion about its end." (Ibid., p. 97)Although not produced by single gestures, Dumas' painting here seems to arrive at its Image as though color, pigment and medium have landed all at once and then coalesced together into unexpected configurations. Thus, an immediacy of feeling exists: the skeletons, especially, betray sharp bodily utterances such as gasps, exclamations or shudders. As Johanna Burton notes, "Dumas asks us to re-see her subjects by magnifying them and abstracting them, by disregarding natural proportions and discarding the comforts of context. As she literally zooms in on her subjects, she makes manifest a perversion or twisting of received social knowledge, a tactical corruption or misinterpretation of meaning." (See www.newmuseum.org/more_exh_m_dumas.php). Some passages of paint here, however, are surprisingly thick; the skeletons' heads, for example, have a heavy, greasy delineation, which distinguishes them from the dryer passages of looser paint forming, for example, the cluster of young girls one finds at the second skeleton's legs. This locks their Image onto the canvas, making these dark sentinels and harbingers from 'the other realm' from whence they came just that little bit darker.Dumas' form of expressionism seems to continue the concept of painting begun by Edvard Munch and furthered by Francis Bacon. An array of strange, unearthly colors makes up the artist's palette here, engendering the frightening aura of the skeletons and heightening her enquiry into the human body. This also lends her work an innate violence, as was certainly the case with Munch's and Bacon's terse aesthetic, and which fuels her passionate take on the praxis and lexis of painting. As Marina Warner notes, "... the daubs and streaks of the paint, the irresolution of color in the skin tones seem to struggle to put some distance of abhorrence between herself and the livid flesh." (Marina Warner, "Marlene Dumas: In The Charnel House of Love", Ibid., p. 76).

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                                          Marlene Dumas (b. 1953)

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Description: Marlene Dumas (b. 1953) Bloodshot signed and dated 'M Dumas 1994' (lower right); titled 'Bloodshot' (lower left)watercolour, wax crayons and collage on paper 65.5 x 50 cm. Executed in 1994

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                                        Marlene Dumas (b. 1953)

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Description: Marlene Dumas (b. 1953) Lovers signed and dated 'Marlene 1984' (lower right); titled 'Lovers' (lower left)ink, black chalk, pastel and wax crayons on paper 48.5 x 35.5 cm.

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The Dance

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Description: Marlene Dumas (b. 1953) The Dance signed, titled and dated 'M. Dumas 'The Dance' 1992' (on the stretcher) oil on canvas 35½ x 70¾in. (90 x 180.8cm.) Painted in 1992

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Description: MARLENE DUMAS Wrong Title, 2002 Oil on cotton. 15in. x 15 in. (40.3 x 40 . Signed, titled and dated "Marlene Dumas

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                                          Marlene Dumas (b. 1953)

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Description: Marlene Dumas (b. 1953) Aurora signed, titled and dated 'M DUMAS Aurora 2001' (on the reverse) oil on canvas 90½ x 23¾in. (229.9 x 60.3cm.) Painted in 2001

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MARLENE DUMAS Re-lation-ship, 2004 Diptych:

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Description: MARLENE DUMAS Re-lation-ship, 2004 Diptych: watercolor on paper. 26 x 19 3/4 in. (65.5 x 50.1 cm) each; 26 x 39 1/2 in.(65.5 x 100.3 cm) overall. Signed and dated "Marlene Dumas 2004" on the lower right corner; titled "Re-lation-ship" central lower edge.

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 Marlene Dumas , b. 1953 The Visitor oil on canvas

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Description: signed and dated 1995 on the overlap; signed on a label affixed to the reverse oil on canvas

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Marlene Dumas , In the Beginning

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Description: signed with initials and dated 91 on the reverse oil on canvas

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PROPERTY FROM A PRIVATE NEW YORK COLLECTOR MARLENE DUMAS (b. 1953) YOUNG BOYS signed, titled and dated

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Description: PROPERTY FROM A PRIVATE NEW YORK COLLECTOR MARLENE DUMAS (b. 1953) YOUNG BOYS signed, titled and dated "M Dumas 1993 Young Boys" on the reverse oil on canvas 39.5 x 118 in. (100.3 x 300 cm) executed in 1993 PROVENANCE Jack Tilton Gallery, NEW YORK EXHIBITED MINNEAPOLIS, Walker Art Center, PAINTING AT THE EDGE OF THE WORLD, February 10-May 6, 2001 LITERATURE U. Bischoff, 4x1 IM ALBERTINUM: MARLENE DUMAS, GšNTER FRUHTRUNK, LOUISE LAWLER, MARCEL ODENBACH, DRESDEN, 1994, n.p. (illustrated) M. Bloemheuvel, J. Mot and I. Gianelli, eds., MARLENE DUMAS, FRANCIS BACON, MILAN, 1995, p. 141 (illustrated) P. Briggs, "Painting at the Edge of the World: Walker Art Center," ARTFORUM, Summer 2001, p. 188 B. Bloom, M. Casadio and D. van den Boogerd, MARLENE DUMAS, LONDON, 2001, p. 115 (illustrated) D. Fogel, ed., PAINTING AT THE EDGE OF THE WORLD, OSTFILDERN-RUIT, 2001, pp. 255-256 (illustrated)

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PROPERTY FROM A PRIVATE NEW YORK COLLECTOR...

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Description: PROPERTY FROM A PRIVATE NEW YORK COLLECTORMARLENE DUMAS(b. 1953)YOUNG BOYSsigned, titled and dated "M Dumas 1993 Young Boys" on the reverseoil on canvas39 1/2 x 118 in. (100.3 x 300 cm)executed in 1993

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Description: Marlene Dumas dutch/south african 1953- The Fog of War (Portfolio of Four with Index) The portfolio, 2006 with table of content, justification and a set of four digital prints in colour, signed, dated 2006, numbered 45/80 and inscribed with the titles in pencil in the margin digital colour prints each: 45 by 35 cm (4)

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Description: Marlene Dumas dutch/south african 1953- Waterende Vrou signed, dated 1996, numbered 80/100 and inscribed with the title in pencil in the margin lithograph 66 by 50,5 cm

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                                        Marlene Dumas (b. 1953)

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Description: Marlene Dumas (b. 1953) My moeder voor sy my moeder was (My mother before she became my mother) signed, titled and dated 'My moeder voor sy my moeder was 2010 M Dumas (My mother before she became my mother)' (on the reverse)oil on canvas 78¾ x 39 3/8 in. (200 x 100 cm.) Painted in 2010.

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Description: Marlene Dumas dutch/south african 1953- Die Muze Is Moe signed, dated 1994, numbered 62/100 in pencil in the margin, inscribed with the title in the plate lithograph in colours 89,5 by 62,6 cm

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MARLENE DUMAS

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Description: Evil Eye Signed, titled and dated “Evil Eye. M Dumas. 1995/97” on the reverse.

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                                          Marlene Dumas (b. 1953)

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Description: Marlene Dumas (b. 1953) Wet Dreams signed and dated 'M Dumas '87' (on the stretcher); titled 'wet dreams' (on the reverse)oil on canvas 43¼ x 51¼in. (110 x 130cm.) Painted in 1987

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MARLENE DUMAS

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Description: MARLENE DUMAS "Adult Entertainment, 2000 Oil on canvas. 51 x 43.5 in 129.5 x 110.5 cm). "Signed, titled and dated ""M. Dumas 2000..."

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