Marlene Dumas Auction Price Results

Lot 3: 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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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

Lot 4: 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.

Lot 4: 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.

Lot 5: 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

Lot 5: 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

Lot 6: MARLENE DUMAS

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

Lot 6: 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).

Lot 6: 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.

Lot 6: 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"

Lot 7: 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.

Lot 7: 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

Lot 8: 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

Lot 9: 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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Description: MARLENE DUMAS Wrong Title, 2002 Oil on cotton. 15in. x 15 in. (40.3 x 40 . Signed, titled and dated "Marlene Dumas

Lot 10: 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

Lot 11: 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.

Lot 12: Marlene Dumas , In the Beginning

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

Lot 12: 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

Lot 14: 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

Lot 14: 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

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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)

Lot 14: Marlene Dumas dutch/south african 1953- The Fog of

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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)

Lot 15: Marlene Dumas dutch/south african 1953- Waterende

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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

Lot 16: Marlene Dumas dutch/south african 1953- Die Muze

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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

Lot 16: 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.

Lot 18: MARLENE DUMAS

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

Lot 19: 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

Lot 20: 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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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..."

Lot 21: DUMAS, Marlene (1953-, Dutch)

Description: Holbeins Christus, s.d.1994 mixed media Works on paper (20x26in).

Lot 21: DUMAS, Marlene (1953-, Dutch)

Description: Holbeins Christus, s.d.1994 mixed media Works on paper (20x26in).

Lot 21: DUMAS, Marlene (1953-, Dutch)

Description: Holbeins Christus, s.d.1994 mixed media Works on paper (20x26in).

Lot 21: DUMAS, Marlene (1953-, Dutch)

Description: Holbeins Christus, s.d.1994 mixed media Works on paper (20x26in).

Lot 22: Fear

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Description: Marlene Dumas (b. 1953) Fear signed, titled and dated 'FEAR M.DUMAS 1998' (lower right) wax crayon on paper 14 1/8 x 19 5/8 in. (35.8 x 49.8 cm.) Drawn in 1998.

Lot 23: Dumas Marlene 1953 ZA Leda Don't Like Swans Ink,

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Description: Dumas Marlene 1953 ZA Leda Don't Like Swans Ink, watercolor and colored pencil on paper. H 300 mm W 240 mm. (Frame). Titled.

Lot 24: Dumas Marlene 1953 ZA Untitled, 1985 Watercolor. H

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Description: Dumas Marlene 1953 ZA Untitled, 1985 Watercolor. H 240 mm W 340 mm.

Lot 25: Dumas Marlene 1953 ZA Forced to Smile - Smile,

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Description: Dumas Marlene 1953 ZA Forced to Smile - Smile, 1987 Ink and wax crayon on paper, H 295 mm W 210 mm.

Lot 27: Marlene Dumas (B. 1953)

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Description: Feathered Stolasigned, titled and dated 'M Dumas Feathered Stola 2000' (on the reverse)oil on canvas39 3/8 x 22 in. (100 x 56 cm.)Painted in 2000.

Lot 27: Marlene Dumas

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Description: PROPERTY FROM THE VALENCIA CONTEMPORARY ART COLLECTION Equality Signed, titled and dated 'Marlene Dumas Equality 1993' on the reverse.

Lot 29: Marlene Dumas (b. 1953)

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Description: The Cover Upsigned, titled and dated 'M Dumas 1994 The Cover Up' (on the reverse)oil on canvas78 3/4 x 39 1/2 in. (200.1 x 100.3cm.)Painted in 1994

Lot 30: Marlene Dumas (Dutch 1953- ) PRE-LANGUAGE PRETENCE signed with the initials, dated 2001 and inscribed with the title ink and crayon on paper 26 by 16cm Donated by the artist. Born in Cape Town. Resided in Amsterdam since 1972. One of South Africa's

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Description: Marlene Dumas (Dutch 1953- ) PRE-LANGUAGE PRETENCE signed with the initials, dated 2001 and inscribed with the title ink and crayon on paper 26 by 16cm Donated by the artist. Born in Cape Town. Resided in Amsterdam since 1972. One of South Africa's most acclaimed visual artists. Exhibitions: solo and group exhibitions in Holland, Switzerland, the USA, Canada, Belgium, Ireland, Germany, Italy, the United Kingdom, Japan, Portugal, Norway, Australia, Argentina, France Spain, South Africa and Sweden including Museum of Modern Art, New York and New Tate Gallery, London.

Lot 30: Marlene Dumas (b. 1953)

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Description: Marlene Dumas (b. 1953) The White Disease signed, titled and dated 'The White disease Marlene Dumas 1985' (on the reverse)oil on canvas 51 3/8 x 43½ in. (130.5 x 110.5 cm.) Painted in 1985.

Lot 33: MARLENE DUMAS (B. 1953)

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Description: MARLENE DUMAS (B. 1953) Dancer signed, titled and dated 'Dancer M Dumas 1999' (on the reverse) oil on canvas 21½ x 15 7/8in. (54.6 x 40cm.) Painted in 1999

Lot 35: Marlene Dumas (b. 1953)

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Description: Marlene Dumas (b. 1953) The Schoolboys signed, titled and dated 'M Dumas The Schoolboys 1986/7' (on the reverse)oil on canvas 63 x 78¾in. (160 x 200cm.) Painted in 1986-87

Lot 37: MARLENE DUMAS CLEANING THE POLE signed on the reverse oil on canvas 90 x 23 in. (230 x 60 cm) executed in 2000

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Description: MARLENE DUMAS CLEANING THE POLE signed on the reverse oil on canvas 90 x 23 in. (230 x 60 cm) executed in 2000

Lot 38: Marlene Dumas (b. 1953)

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Description: Marlene Dumas (b. 1953) Dreamwoman signed and dated 'Marlene 1985' (lower left) gouache, chalk, pin and paper collage on paper 12 x 8½ in. (30.4 x 21.5 cm.) Executed in 1985.

Lot 38: MARLENE DUMAS CRACKING THE WHIP signed on the reverse oil on canvas 90.5 x 23.625 in. (230 x 60 cm) executed in 2000

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Description: MARLENE DUMAS CRACKING THE WHIP signed on the reverse oil on canvas 90.5 x 23.625 in. (230 x 60 cm) executed in 2000

Lot 39: Marlene Dumas (South African, born 1953) The Blonde

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Description: The Blonde signed and inscribed 'The Blonde/M Dumas (lower right) and dated '1993' (lower left)watercolour and pencil on paper31 x 31cm (12 3/16 x 12 3/16in).

Lot 40: Marlene Dumas (b. 1953)

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Description: Marlene Dumas (b. 1953) Judas signed and dated 'M Dumas 1994' (lower left); titled 'JUDAS' (upper left)ink on paper 26 x 19¾in. (67 x 50.2cm.) Executed in 1994

Lot 41: [ Subject to VAT ] Marlene Dumas (b. 1953) Feathered Stola signed, titles and dated 'M Dumas Feathered Stola 2000' on the reverse oil on canvas 39.375 x 22in. 100 x 56cm. Painted in 2000 E65000-85000 Provenance: Galerie Stampa, Basle. Acquired from

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Description: [ Subject to VAT ] Marlene Dumas (b. 1953) Feathered Stola signed, titles and dated 'M Dumas Feathered Stola 2000' on the reverse oil on canvas 39.375 x 22in. 100 x 56cm. Painted in 2000 E65000-85000 Provenance: Galerie Stampa, Basle. Acquired from the above by the present owner.

Lot 41: Dumas, Marlène 1953 Cape Town and they tried to

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Description: Dumas, Marlène 1953 Cape Town and they tried to become one.1993. 5 works: gouache and India ink on paper mounted on card. Dimensions: a.)24,8 x 19 cm, b.)26 x 24,5 cm, c.)24,5 x 19,6 cm, d.)24,4 x 24,5 cm, e.)24,5 x 23 cm. Signed, dated and titled on lower right of the last work: and they tried to become one. Framed. Provenance: Gallery Zeno X, Antwerp. Marlène Dumas's oeuvre is characterized by constant and clear main subjects: "the sensualisation of the image's surface, the interplay of black and white on the drawing paper versus black and white as a race issue, the search for whether or how the nudity of the human body exploited/abused by the media, pornographisized by means of photography could be re-conquered for eroticism and aura by means of drawing, the deliberate confusion created through seemingly clear text inserts into the image that then can be interpreted in yet a completely different way, the subtly organized transgression between what was wanted and what just happened when drawing, between intention and coincidence appearing as coherent, intellectual reflection and the meticulous plan, which in the image appear as seemingly spontaneous, as carelessly or even incorrectly applied, the burden of art history with its old and new masters as a welcome topic to chafe at for Dumas to find a position of her own, the delight taken in paradoxes. (Matthias Winzen, in: Marlene Dumas - Female, Cologne, 2005, p. 27).

Lot 43: Marlene Dumas (b. 1953)

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Description: Male Stripper signed, titled and dated 'Male Stripper M Dumas 1999' (on the reverse) oil on canvas 23 1/2 x 19 1/2 in. (60 x 50cm.) Painted in 1999

Lot 43: Modern Print by: Marlene Dumas *

Description: Modern Print by: Marlene Dumas *

Lot 43: Marlene Dumas (b. 1953)

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Description: Marlene Dumas (b. 1953) Second thoughts signed, titled and dated 'mdumas 94 second thoughts' (lower right) watercolour, wax crayons, black chalk and decollage on paper 65 x 50 cm. Executed in 1994

Lot 44: Marlene Dumas (b. 1953)

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Description: The Show Must Go ontitled 'THE SHOW MUST GO ON' (lower centre), signed with initials and dated 'MD 88-91' (on the reverse), signed and titled again 'Marlene DUMAS The Show Must go on' (on the stretcher).oil on canvas70 3/4 x 35 1/2 in. (179.2 x 90.2cm.)Painted in 1988-91