MARLENE DUMAS, Strips – No interviews please, 1987

MARLENE DUMAS, Strips – No interviews please, 1987
31 x 23 cm
artist’s book, offset, spiral binding, 40 pp.
limited and small edition
published by Stichting één op één, Amsterdam
condition: good, although light foxing at top part of cover
€ 375,- plus € 18,- registered mail
inv.MDum 861

History of prices:
Antiuariaat Digitalis, Amsterdam November 2022 € 485,-
Walgenbach, Rotterdam 16 September 2021 € 385,-
Flatland Gallery, Amsterdam, 3 November 2019 € 2.500,-
Catawiki-DavidCZ, 6 January 2016 € 748,- (hammer price)

MARLENE DUMAS, Collective Guilt, 1988 [porcelain cup and saucer, …]

MARLENE DUMAS, Collective Guilt, 1988
diameter dinner plate: 26,5 cm
screen print on porcelain cup, saucer, breakfast and dinner plate
edition 250 + 5 AP (numbered from I-V) + 10 HC (numbered from VI-XV)
signed underneath in print, also hand signed and numbered on certificate
published by Kamer van Koophandel / Museum Fodor, Amsterdam
€ 1.450,- plus Track & Trace EU registered mail


This item is part of the collection of the Stedelijk Museum in Amsterdam, Netherlands

MARLENE DUMAS, ‘For Whom the Bell Tolls’, 2015 [scarf in box]


MARLENE DUMAS, ‘For Whom the Bell Tolls’, 2015
101 x 101 cm
Habotai silk scarf, original linen bound box, card
edition 500
published by Tate Modern, London, England
inv.MDum 000-pr

MARLENE DUMAS, For Whom the Bell Tolls, 2008. In this painting – here in print – Marlene Dumas shows interest in emotional expressions that are often represented in cinema, and rarely in contemporary painting. For this she applied a variety of watery drip painting techniques and used a film still (from ‘For Whom the Bell Tolls’, 1943) of Ingrid Bergman experiencing sorrow and mourning. Two seemingly emblematic black bird images in the eyes add an extra eery and dramatic touch to it all.

‘In 2007 my mother died at noon at the age of 86.
For Whom the Bell Tolls was about loss and departure, but also about transformation and freedom. A spirit set free, my grief and her relief. So I made the [film] stars [Ingrid Bergman. a.o.] and the gods weep for her.
Marlene Dumas

This item is wrapped in a linen box with a loose piece of paper with instructions for cleaning.

Additional information
Marlene Dumas’s painting For Whom te Bell Tolls was used for the reproduction of her Tate Modern scarf and the painting from 2008 itself is based on a film still. Appropriation is of all times, also e.g. Victor Young’s vinyl “For whom the bell tolls” (2019) features the same image.


History of price:
ArtWise, Brooklyn, New York, USA US$ 125.- August 2021
Tate Modern, London, England GBP 85.- February 2015 (since May 2017 not available anymore)
Tate Modern, London, UK       silk scarf Marlene Dumas

MARLENE DUMAS, Frau und Hund, 2010 [print]

MARLENE DUMAS, Frau ind Hund, 2010
51 x 72 cm
signed, dated, numbered
edition 40 + 10 AP
published by Haus der Kunst, Munich, Germany

out of stock


Marlene Dumas uses often aqueous techniques with paint on paper to express intangable notions like Love, Birth, Suffering and Death. In ‘Frau und Hund’ the notion loyalty seems to be the main theme, since this reproduced aquarelle in print alludes with a story about Hitler who after his defeat of Stalingrad would have said that only two friends still stayed with him: Eva Braun and his dog Blondi.

History of prices:
Haus der Kunst, Munich, Germany € 4.000,- September 2013

MARLENE DUMAS, In God we trust (paying the ferry man), 2008 [11 prints in large folder]

MARLENE DUMAS, In God we trust (paying the ferry man), 2008
84 x 59,5 cm
offset on thin paper, cardboard folder (87 x 64 cm)
edition 50, of which only 38 are produced
numbered, unsigned
part of a set of 11 posters in original folder of various artists: Mark Manders, Marc Nagtzaam, Kees Goudzwaard, Wouter van Riessen, Marlene Dumas a.o.
inv.MDum 000-pr
€ 400,- plus € 24,- Track & Trace registered EU mail

A series of posters – In God we trust is part of this – was printed in the same print run of eleven A4 invitations for an artists run space called Artis in Den Bosch during 2008 and 2009. A limited amount of these eleven print runs was saved uncut. Only 38 out of 50 clean sets could be saved for distribution, hence a limited edition. Comes with a copy of a press release about this ‘Postproductie / Roma Publications 101 A-Z’.



Photo: K. van Gelder, Amsterdam

Lucy, 2005
edition 25
signed, dated + catalogue signed by both artists
Luciaaaa!, 2005
lithograph, gold leaf
edition 25
signed, dated + catalogue signed by both artists
published by Walther Koenig Buchhandlung, Cologne, Germany
rare, pristine


Photo: K. van Gelder, Amsterdam

linen covered cardboard triptych box
edition number 1/25

Caravaggio’s painting Sepulture of Santa Lucia, which hangs in the Regional Museum of Palazzo Bellomo in Syracuse, prompted Marlene Dumas and Marijke van Warmerdam to make works on the legend of martyr Santa Lucia. Both ‘Lucia’ of Dumas and ‘Luciaaaa!’ of Van Warmerdam is a reproduction in high quality print of one of the works they made for their duo exhibition ‘Con vista al celestiale’ in Syracuse.
Marijke van Warmerdam thought that Lucia’s calling to God and God’s calling to Lucia could best be expressed with the aid of a Jacob’s ladder. She says: ‘A Jacob’s ladder descends from heaven and God calls: “Luciaaaa!” I placed her name in gold letters upside-down on the print, actually as seen through the eyes of God.’

Photo: K. van Gelder, Amsterdam

History of prices:
Sotheby’s, Amsterdam € 5.040,- / $ 6,795.- (incl. premium) 23 May 2007
Phillips, New York $ 3,750.-  1 December 2007


MARLENE DUMAS, My Daughter, 2003 [DVD]

MARLENE DUMAS, My Daughter, 2003
DVD, original film, music by Ryuitchi Sakamoto, stapled booklet 16 pp.
limited edition 800
menu for both loop and single play
rare, very few copies left
€ 320,- plus € 15,- for Track & Trace registered EU mail

Each DVD of this “Loud & Clear Too” series is provided with a menu for single play and loop play. Therefore the film can also be played as a genuine piece of art on its own. The jewell box contains a booklet of 16 pages with a English text by Dirk van Weelden.

‘My Daughter’ is the very first film made by Marlene Dumas, commissioned by and specifically made for the Bifrons Foundation (director Thora K. Johansen). Well-known for her paintings and drawings about ‘Helena’ the artist has made a touching vanitas art piece about her daughter innocently sleeping while the eye of the camera moves around in the sleeping room passing a skull on a table as a momento mori suggesting an unknown future. The dramatic slurring music of Ryuitchi Sakamoto gives the work an important second layer to the apparently motherly worries. This is one of the best films in this genre I have ever seen, “comparable” to films like ‘Phat Free’ (1995-1997) of David Hammons and ‘Wave’ (2006) of Marijke van Warmerdam. KvG

This DVD is an unique combination of art and contemporary music.

‘For Marlene Dumas and Erik Kessels it was a challenge to work together with such a well-known (film) composer as Ryuichi Sakamoto. He is used to taking account of the images for his compositions, and in this case he has allowed himself to be inspired by both of them. Dumas and Kessels have been working closely since the start and have based themselves on a common concept.
For ‘My Daughter’ Dumas filmed the sleeping body of her child. It is her first video work and the slightly slowed-down shots and the blurred use of colour make it seem as though she is painting with the camera. The camera glides over her daughter’s body, zooming in onto her hand, her buttocks, her loose hair… We as viewers soon feel like voyeurs as the camera records more than a sleeping girl alone. Willingly or not, something of a Lolita effect crept into the innocent image. As both mother and artist, it seems as though Dumas is aware of this and wanted to show how the erotic slowly but surely takes possession of someone (perhaps this is why there is that one shot of a skull placed somewhere in the room).

Erik Kessels’ contribution is called ‘My sister’ and seems at first sight also an ordinary home movie. Brother and sister are playing table tennis in the garden, with the mother intervening now and then. Styled in the warm brown and orange tones of the Seventies, Kessels has adapted their movements to the whipped up, repetitive rhythms of Sakamoto’s music. Nothing seems able to disturb the idyll – only the music suggests something ominous – until suddenly we are told that Kessels’ sister was killed in an accident twenty-five years ago. This unexpected information causes a shiver to run down your spine and makes the sounds, which are like children’s voices, in Sakamoto’s composition extra cruel. Dumas’s ode to her daughter would seem to imply a sequel, while with Kessels the message is implacable. His sister only still exists by the grace of memory.’ Bifrons Foundation, Amsterdam 2003

MARIEN SCHOUTEN, untitled 1986 -1990 [dinner-service Fodor Museum]

MARIEN SCHOUTEN, untitled 1986
diameter dinner plate: 26,5 cm, hand painted on porcelain cup, saucer, breakfast and dinner plate
edition 250 + 10 AP + 5 HC, here number 242
signed in print underneath dinner plate, hand signed on certificate
published by Kamer van Koophandel / Museum Fodor, Amsterdam
mint condition
€ 360,- plus € 32,- Track & Trace registered mail


inv.MSch 1000_1005



Also available:

Dinner-service, 1986-1990
Erik Andriesse, Rob Birza, Marlene Dumas, Kees de Goede, Rob van Koningsbruggen, Marien Schouten, Han Schuil, Jan Sierhuis, Peter Struycken, Toon Verhoef, Co Westerik and Lawrence Weiner.
size dinner plates: 26,5 cm diameter
set of 12 transfer printed and glazed ceramics
all dinner plates signed underneath, each ceramic set comes with signed and numbered certificate
edition of 250 + 15 AP
published by Fodor Museum, Amsterdam and produced by Royal Mosa, Maastricht, Netherlands
mint condition
complete set € 2.800,- + FedEx courier costs