Lot 449
  • 449

Marlene Dumas

Estimate
120,000 - 180,000 USD
Log in to view results
bidding is closed

Description

  • Marlene Dumas
  • Introduction
  • signed, titled and dated 1999
  • ink and acrylic on paper
  • 49 by 27 1/2 in. 124.5 by 69.8 cm.

Provenance

Galerie Paul Andriesse, Amsterdam
Acquired from the above by the present owner in January 2001

Exhibited

Paris, Musée National d'Art Moderne, Centre Georges Pompidou; New York, New Museum of Contemporary Art, Marlene Dumas: Name No Names, October 2001- June 2002
Amsterdam, Stedelijk Museum; London, Tate Modern; Basel, Fondation Beyeler, Marlene Dumas: The Image as Burden, September 2014 - September 2015, p. 97, illustrated in color

Condition

This work is in very good condition overall. The sheet is hinged verso to the backing board in multiple locations. There are artist's pinholes in the top two corners and at the top center of the sheet. There is evidence of some light wear and handling and there is evidence of a soft undulation throughout. Upon close inspection there is evidence of soft creases to the sheet, most noticeably along the left edge and at the bottom right edge of the sheet. Framed under glass.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Catalogue Note

"All these works are more than the stereotypes of pornography; they make us uncomfortable because they represent the visual compromise of how we negotiate ourselves as sexual animals and intellectual human beings...This interest in the way in which the model metaphorically seduces the camera is why Dumas has chosen to depict individuals alone, displaying their sexual attributes, rather than sexual encounters." Ilaria Bonacossa, "Further than 'I' can see," in Marlene Dumas, London 2009, p. 169