Gallery 98

ART EPHEMERA 1960s – 1990s

Gallery 98 is for collectors and researchers. We specialize in announcement cards, posters, publications and other art ephemera from the 1960s - 1990s. For all inquiries: 98bowery@gmail.com | Sign up for our Newsletter    

Marlene Dumas: Fifty Years of Art Ephemera

Marlene Dumas finishing a portrait of a museum guard based on a polaroid for her series “Rejects,” NGBK in Berlin, March 1996. Photo credit: Paul Andriesse

When “open-end,” a large solo exhibition at the Palazzo Grassi opens in Venice (March 2, 2022 – January 8, 2023), the painter Marlene Dumas will be adding to her remarkable forty-year career that includes scores of exhibitions at top galleries and museums throughout Europe and the U.S.  A valuable byproduct of this exhibition history is a large cache of gallery cards, brochures, posters and other promotional materials that along with some photographs provide the content for this online exhibition at Gallery 98, a specialist in the growing field of art ephemera.

Marlene Dumas was born in Cape Town, South Africa in 1953, and moved at the age of twenty-three to the Netherlands where she still lives and works today.  Photographs from 1974 by Michael Oblowitz, who shared a studio with Dumas at the University of Cape Town, capture the young art student’s playful creativity.  Dumas’ art developed quickly after her attendance at Ateliers ’63, an art school in Haarlem, and after a short stint at the University of Amsterdam where she studied psychology and art therapy. As early as 1978 she sold one of her works to Amsterdam’s prestigious Stedelijk Museum.

Much of Dumas’ career has been linked to the Amsterdam gallerist Paul Andriesse, the brother of her Ateliers ’63 classmate Erik Andriesse (1957-1993), who was also the cousin of her future husband Jan Andriesse (1950-2021). In addition to being a gallerist, Paul Andriesse is also a talented photographer who has been taking pictures of Dumas throughout her career. A photograph of her on the night train heading to an exhibition in Basel, Switzerland records the frantic pace of her career after 1988. Dumas humorously alluded to her international success with an oversized calling card that along with her Amsterdam address included the words “I Am Not In The Country.”

Dumas’ primarily paints people, a subject with infinite possibilities that she explores from multiple perspectives depending on her mood. Most often starting with photographs clipped from magazines and newspapers, Dumas translates the images either into paintings in oil on canvas, or ink drawings on paper. Her impulse for accurate representation is combined with tendencies towards abstraction that are rooted in pictorial effects inherent in her materials, but that are also affected by her mood and emotions. As she noted in an essay about her art, “I am an artist who uses second-hand images and first-hand emotions.”

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For her first solo shows Dumas and her gallerist Andriesse designed announcement cards that expressed the theme of the exhibition with a prominent title, and an evocative found image. For example, The Eyes of the Night Creatures (1985) that featured a photo of wide-eyed raccoons was created for an exhibition of portraits by Dumas that emphasized her subjects’ eyes. Later in her career, galleries almost always used Dumas’ paintings as illustrations for their announcement cards and promotional materials.

A wordsmith as well as a painter, Dumas gives great thought to the titles of her paintings, to the themes of her exhibitions, and to her short essays about her art. Listing some titles gives a sense of her wide-ranging interests: Naked BodiesThe Origin of the SpeciesThe Blonde, The Brunette and The Black Woman, Pretty Boys, The Private Versus The Public, Death as Model, Osama Bin Laden, Rejects, Pornographic Tendency, Man Kind, The Semite, and Magdalena.

Dumas often gravitates towards disgruntled, anguished and threatening subjects. She is fascinated by taboos, and likes to push boundaries. The vaguely obscene collage-postcard she sent to her friend Oblowitz in 1977 includes a quotation from Lenny Bruce, “The same dirty type that pisses in the ocean.” Sexuality, and the relationship of the sexes are also frequent Dumas subjects. A limited edition set of playing cards that she designed in 1998 is titled Dangerous Women Defeated Men.

The collection of ephemera in this online exhibition provides a condensed survey of Dumas’ art and career. It includes images of some of her most popular paintings: Waiting (for meaning) (1988), which shows a nude woman reclining on a coffin-like bed; The Painter (1994), featuring Dumas’ five-year-old daughter Helena with her hands covered with paint; and works from the Magdalena Series which often feature black female nudes.

Gallery 98 is grateful to Paul Andriesse and Michael Oblowitz for their help with this exhibition.

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Please click on the individual thumbnails for larger pictures and additional information.

Marlene Dumas at University of Cape Town (South Africa), Photo by Michael Oblowitz, 1972

Marlene Dumas in her Studio at University of Cape Town (South Africa), Photo by Michael Oblowitz, 1974

Marlene Dumas, “The same dirty type that pisses in the ocean – Lenny Bruce,” Mixed Media Mail Art (to Michael Oblowitz), 1977

Marlene Dumas’ collage “Three Ladies and I,” 1982, invitation card for the group exhibition “The Personal = Political” at Gemeentemuseum Arnhem, NL, 1984.

Paravents (artist screens) commissioned by the collector Jule Werner, (with Dumas, Polke, Richter, Kiefer, others), card for the group exhibition at Schloss Lorsfeld, GER, 1984.

“Paravent” (screen) (1984), Dumas’ screen from the exhibition “Paravent,” postcard, Art Unlimited Amsterdam, NL., 1985

Paul Andriesse surrounded by the initials of gallery artists: Marlene Dumas (M.D.), Erik Andriesse (E.A.), Rene Daniels (R.D.), Albert Oehlen (A.O.), Werner Büttner (W.B.), card for group exhibition, Paul Andriesse Gallery, Amsterdam, NL, 1986.

Marlene Dumas and gallerist Paul Andriesse, 1980, photo by Ton van Summeren, promotional card, Paul Andriesse Gallery, Amsterdam, NL, 2014.

“Unsatisfied Desire,” card for a solo exhibition by Dumas, Paul Andriesse Gallery, Amsterdam, NL, 1983.

“The Eyes Of The Night Creatures,” card for a solo exhibition by Dumas, Paul Andriesse Gallery, Amsterdam, NL, 1985.

“The Private Versus The Public,” card for a solo exhibition by Dumas, Paul Andriesse Gallery, Amsterdam, NL, 1987.

Marlene Dumas, “Martha — Sigmund’s Wife” (1984), painting from “The Eyes of the Night Creatures,” postcard, Art Unlimited Amsterdam, NL, 1985.

“SnowWhite And The Next Generation” (1988), card for Dumas’ solo exhibition “Waiting For Meaning,” Paul Andriesse Gallery, NL, 1988.

“Waiting (for meaning),” 1988, card for Dumas’ solo exhibition, Kunsthalle zu Kiel, GER, 1988.

“I Am Not In The Country,” Dumas’ ironic calling card following her international success, 1988.

Marlene Dumas and Helena, 1989, photo by Paul Andriesse, card, Art Unlimited Amsterdam, NL, 1989.

“The Foetus Tree” (1987-1991), card from Dumas’ solo exhibition at AXENEO-7, Canada, 1992.

“The Painter” (Dumas’ daughter Helena at age five), card from Dumas’ solo exhibition “Not From Here,” Jack Tilton Gallery, NY, 1994.

Marlene Dumas, “Happily Married to Art” (1990), promotional card, Paul Andriesse Gallery, NL, 2014.

Marlene Dumas, exhibition announcement card, Kunst-Station Sankt Peter Koln, GER, 1994.

“Marlene Dumas – Female,” seven-page overprint from “The 21st Century,” catalogue, Kunsthalle Basel, Switz., 1993.

“Couples,” card for Dumas’ solo exhibition, Overholland Museum, Amsterdam, NL, 1990.

“Rejects” (left) and “Models” (right), folded card for Dumas’ two gallery exhibition, Galerie Haus am Kleistpark & New Society for Visual Arts, Berlin, GER, 1996.

“Things Men Do; A Beauty; Crotch; A Cigarette Before and After” (2001) card, Edition 5, Düsseldorf, GER, 2001.

“Man Kind,” announcement card for Dumas’ solo exhibition, Paul Andriesse Gallery, NL, 2006.

Marlene Dumas, “The Jewish Nose Doesn’t Exist/The Black Man Is Tired” (1990), card for group exhibition, Paul Andriesse Gallery at Art Basel 30, 1999.

Marlene Dumas, “The Neighbour” (2005) and “The Semite” (2006), from the 35-page exhibition catalogue “Man Kind,” Paul Andriesse Gallery, NL, 2006.

Marlene Dumas, “Barbie (With Pearl Necklace)” (1997), card, Marcel Kalksma Handmade Prints, Amsterdam, NL, 1997.

“Magdalena 2” (1996), a Tate Gallery purchase, postcard, Tate Gallery, London, GB, 1996.

“Chlorosis” (1994), announcement card for Dumas’ solo exhibition, Douglas Hyde Gallery, Dublin, IRL, 1994.

“Reinhardt’s Daughter” (1994), card for a solo exhibition by Dumas, Zwirner & Wirth Gallery, NY, 2005

“Magdalena” (1995), card for Dumas’ exhibition “Models,” Portikus, Frankfurt, GER, 1995 – 1996.

“Miss Interpreted (Marlene Dumas),” promotional card for a film by Rudolf Evenhuis and Joost Verhey, MM Produkties, 1997.

“Marlene Dumas (on the night train to Basel),” photograph by Paul Andriesse, 1995.

“In Praise of Being Drunk (poem by Baudelaire),” drink coaster by Dumas, Cafe Schiller Amsterdam, NL, 1992.

Marlene Dumas, Andries Botha, card for the two person exhibition “Ladies Choice,” Kasseler Kunstverein, Kassel, GER, 1998

“Dangerous Women Defeated Men,” Marlene Dumas with “Jokers” by Andries Botha, set of playing cards, a multiple of 300, produced by Berliner Spielkarten, Darmstadt, GER, 1998.

“Marlene Dumas in Conversation with Barbara Bloom,” on the occasion of Dumas’ new Phaidon book, invitation card from Art Book, Amsterdam, NL, 1999.

Marlene Dumas, “An African Mickey Mouse” (1991), card, Edition 5, Düsseldorf, GER, 2001.

Marlene Dumas, “Primitive Art” (1987), card, Edition 5, Düsseldorf, GER, 2001.

“Miss World” (a drawing done by Dumas at age ten, 1963), invitation card for a solo exhibition, Paul Andriesse Gallery, Amsterdam, NL, 1998.

Marlene Dumas, “Miss January” (1998), and Rei Kawakubo, “Woman Suit for Comme des Garcons” (1997), pamphlet for the exhibition “Toile: Body Representations,” Museum Boijmans Van Beuningen, Rotterdam, NL, 1998.

“Stripping Girls,” card for exhibition by Dumas and Anton Corbijn, Theatermuseum, Amsterdam, NL, 2000

“Age Indefinite” (2003), folded card for the exhibition “a Big Dream in a Harsh Reality,” AMC Brummelkamp Gallery, Amsterdam, NL, 2004

“Kiss” (2003), foldout brochure, The Armory Show, New York, sponsored by the artist’s galleries in Amsterdam, London, Antwerp, and New York, 2004.

“Death of the Author” (2003), folded card for the exhibition “Marlene Dumas: Measuring Your Own Grave,” The Menil Collection, Houston, Texas, 2009.

“Maria (Ingrid Bergman),” card for the exhibition “For Whom The Bell Tolls,” Zeno X Gallery, Antwerp, BEL, 2008.

“Tronies: Marlene Dumas and the Old Masters,” Michael Sweerts “Head of a Woman” (1654) and Dumas’ “Delacroix, Woman” (1984), two cards, Haus der Kunst, Munich, GER, 2010

Paul Andriesse, Marlene Dumas installing her exhibition “Broken White” in Tokyo, Tritone Offset Photograph, 2007

“Broken White,” flyer for a solo exhibition by Dumas, Museum of Contemporary Art Tokyo, 2007

“The Painter” (1994), cover of foldout brochure for the exhibition “Marlene Dumas – The Image As Burden,” Stedelijk Museum, Amsterdam, NL., 2014.

“Broken White” (2006), poster from the foldout brochure for the exhibition “Marlene Dumas – The Image As Burden,” Foundation Beyeler, Basel, Switz., 2015.

“A Happy Ending Dulls the Viewer” (Fassbinder) / “The Mission of Art Is to Create Joy” (Brancusi), 1987 drawing, postcard on occasion of Dumas’ Johannes Vermeer prize, Paul Andriesse Gallery, Amsterdam, NL., 2012.