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Last updated: 10-19-14
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Pop Art in the U.S. and Europe: Jim Dine (American, b. 1935): Original Prints


Josef Albers / Richard Anuszkiewicz / Charles Arnoldi / Leonard Baskin / Jack Beal / Ed Baynard / Norman Bluhm
Richard Bosman /James Brown / Alexander Calder / Warrington Colescott / Christo / George Cramer / Allan D'Arcangelo
Willem de Kooning / Richard Diebenkorn /Jim Dine / Sam Francis / Sam Gilliam / Adolph Gottlieb / Philip Guston
John Himmelfarb / / Robert Indiana / Paul Jenkins / Jasper Johns / Allen Jones / Lester Johnson / Alex Katz / R. B. Kitaj
Ellsworth Kelly/ Nicholas Krushenick / Jacob Lawrence / Roy Lichtenstein / Richard Lindner / Manel Llèdos
Robert Motherwell / Reuben Nakian / Barnet Newman / Claes Oldenberg / Jules Olitski / Philip Pearlstein / Mel Ramos
Robert Rauschenberg / Don Reitz / Larry Rivers / James Rosenquist / George Segal / Alan Shields / Steven Sorman / Robert Stackhouse
Frank Stella / Carol Summers / Wayne Taylor / William (Bill) Weege / John Wesley / Tom Wesselman
Jack Youngerman / Adja Yunkers

Valerio Adami, Joan Gardy Artigas, Enrico Baj, Elizabeth Blackadder / Allen Jones
For many, Dine is one of the first associations that springs to mind at the mention of POP Art. He was one of the first American artists to be involved in such precursors of POP as Happpenings (with Claes Oldenburg and Allan Kaprow) and Assemblages, mounting objects directly to his canvases (like Antoni Tapies, Jasper Johns and Robert Rauschenberg). He had his first one-man exhibition at the Reuben Gallery, New York add was invited in 1965 to take part in the three POP Art Print Portfolios (two of his three pieces will be included in our show, Awl and Calico). He was represented at the Venice Biennale in 1964, and at the Documenta "4" in Kassel in 1968. In his paintings, drawings, sculptures, graphics, collages and assemblages he combined different techniques with handwritten texts and words and set real everyday objects against undefined backgrounds. The objects were both commonplace and personal, both poetic and ironic, reflecting his own feelings about life. Over time, certain motifs have clearly become recognized as symbolic: in a show of his prints at the Museum of Modern Art in the mid 1970s, it was clear that the bathrobe figured as a kind of self-portrait, the heart as a symbol of his love for his wife, Nancy. Nonetheless, as the publishers of the books listed below suggest, Dine is truly an international figure, as sought after for shows in Germany, Italy, France, England, and Austria, as he is in the U.S.

Selected Public Collections: Metropolitan Museum of Modern Art, the Solomon R. Guggenheim Museum, the Whitney Museum of American Art, the Jewish Museum, NY; National Gallery, Washington DC; Boston Museum of Fine Art; Art Institute of Chicago; Los Angles County Museum; Art Museum, Princeton University; Fogg Art Museum, Harvard University; High Museum of Art, Atlanta; Cincinnati Art Museum, Akron Art Institute, Ohio; Dallas Museum of Art; New Orleans Museum of Art; Stedelijk Museum, Amsterdam, Netherlands; Tate Gallery, London, Tokyo Metropolitan Art Museum; Western Australian Museum, Perth; Israel Museum, Jerusalem; Art Gallery of Ontario, Toronto, Canada.

Selected Bibliography: Graham W. J. Beal, Jim Dine: Five Themes (NY: Abbeville Press, 1984); Jay Belloli, Jim Dine: The Summers Collection (La Jolla, CA: The Museum, 1974); Galerie Claude Bernard, Jim Dine. Oeuvres sur papier, 1978-1979 (Paris: Galerie Claude Bernard, 1979); Richard J. Boyle, Dine / Kitaj: A Two Man Exhibition (Cincinnati: Cincinnati Art Museum, 1973—features Dine commenting on Kitaj, Kitaj on Dine); Germano Celant, Clare Bell, Julia Blaut, Jim Dine : Walking Memory, 1959-1969 (NY: Harry N. Abrams / The Guggenheim Museum, 1999—catalogue for a major retrospective held at the Guggenheim Museum); Artilio Codognato, Jim Dine (Milan: Mazzotta, 1988); Jim Dine, Gedichte und Zeichnungen. Aus dem Amerikanischen von Heiner Bastian (Frankfurt: März, 1970); Jim Dine, Untersberg, 1993-1994 (Salzburg, Austria: Residenzgalerie, 1994); Jim Dine, Nancy Outside in July. Etchings by Jim Dine (West Islip, NY: ULAE, 1983); Jean E. Feinberg, Jim Dine. Modern Masters (NY: Abbeville, 1995); Ruth Fine, Jim Dine: Drawing From The Glyptothek (NY: H/H, 1993); Constance W. Glenn, Jim Dine: Drawings (NY: Abrams, 1985—the works that are shown in this volume date from the years between 1958 and 1984); John Gordon, Jim Dine (NY: Whitney Museum, 1970); Carlo Huber, Christopher Finch, and Jim Dine, Jim Dine, Gemälde, Aquarelle, Objekte, Graphik (Bern: Kunsthalle Bern, 1971); Sidney Janis Gallery, Jim Dine. New Paintings, Sculpture and Drawings (NY: Sidney Janis Gallery, 1966); Alain Jouffroy et al., Jim Dine (Paris: Ileana Sonnabend, 1963); Nereo Laroni, Attillo Codognato, David Shapiro, Jim Dine (Venezia, Galleria d'Arte Moderna Ca'Pesaro 1988); William S. Lieberman, ed, Jim Dine Designs for A Midsummer Night's Dream (NY: The Museum Of Modern Art, 1968); Marco Livingstone, Jim Dine : Flowers and Plants (NY: Abrams, 1994); Marco Livingstone & Jim Dine, Jim Dine: The Alchemy of Images (NY: Monacelli, 1998); Konrad Oberhuber, Jim Dine: Youth and the Maiden (Vienna: The Albertina Museum, 1989; David Shapiro, Jim Dine: Painting What One Is (NY: Abrams, 1981); David Shapiro, Jim Dine: An Exhibition of Recent Figure Drawings, 1978-1980 (Chicago: Richard Gray Gallery, 1981)

Prints: Galerie Mikro, Jim Dine: Complete Graphics (Berlin: Galerie Mikro, 1970); Thoms Krens, Jim Dine, Riva Castleman, et al. Jim Dine, Prints: 1970-1977 (NY: Harper & Row, 1977—a catalogue raisonne of Jim Dine's prints from 1970 to 1977, including notes from an interview with the artist; it accompanied an exhibition that was circulated by Williams College to four other venues); Ellen G. D'Oench & Jean E. Feinberg, Jim Dine Prints 1977-1985 (NY: Harper & Row, 1986);Elizabeth Carpenter and John Ruzicka, Jim Dine Prints 1985-2000: A Catalogue Raisonne (Minneapolis: Minneapolis Institute of Arts, 2002).
Awl (Mikro 37). Original color serigraph, 1965. 200 signed & numbered impressions + 50 H.C. for contributors (numbered I/L-L/L) for the portfolio, 11 Pop Artists I. One of Dine's earliest POP art prints; it is also one of Dine's signature prints and one of the classic POP prints. Included in Judith Goldman, The Pop Image: Prints & Multiples (NY: Marlborough Graphics, 1994). Image size: 607x504mm. Price: $5500.

The red in the cigaretto box is actually much brighter than in our photo.
Calico (Micro 37).Original color serigraph, 1965. 200 signed & numbered impressions + 50 H.C. for contributors (numbered I/L-L/L) for the portfolio, 11 Pop Artists III (our impression is n. 142/200). Several restored scratches; the green area has experienced some lightening. One of Dine's earliest and most interesting Pop prints. Included in Judith Goldman, The Pop Image: Prints & Multiples (NY: Marlborough Graphics, 1994). Image size: 1020x770mm. Mat size: 48x36. Price: $4250.
Vegetables VI (Mikro 66f). Original color lithograph and collage, 1969. 96 signed & numbered impressions for the Vegetables portfolio. Included in Judith Goldman, The Pop Image: Prints & Multiples (NY: Marlborough Graphics, 1994). Image size: 455x410mm. Price: $1875.
Whitney Museum Poster (Mikro 73). Original color lithograph, 1969. 350 signed & numbered impressions + 1000 unsigned impressions. A very fresh example of this important work (signed impressions sell for up to $12,000), here used as a kind of trademark impression for this major retrospective. In Dine's work, the heart refers to his wife, Nancy. Image size: 755x551mm. Price: $950.
Self-Portrait in a Convex Mirror (D&F 179). Original woodcut, 1984. 175 signed & numbered impressions of which twenty five were reserved for contributors to a deluxe edition of John Ashbery's Self-Portrait in a Convex Mirror. Dine's woodcut is based upon Parmigianino's famous self- portrait. Image size: 387mm in diameter. Price: $4250.
Self-Portrait. Original etching, 1987. 120 impressions signed on the support sheet for "Diary of a Non-Deflector," a volume of Dine's poetry published by the Arion Press (book included with print). A rich impression is fine condition. Image size: 90x59mm. Price: $2500.
Jim Dine (American, b, 1935), Olympic Bathrobe. Original color lithograph, 1988. Executed for the 1988 Seoul Olympic Portfolio but not actually released to the public because the publisher went bankrupt. The edition was supposed to be 300 signed & numbered impressions plus 30 artists proofs. There was also printed a Roman-numeraled edition of 300 that was supposed to be for the members of the International Olympic Committee but, so far as we know, that too was never released to the members (we have had several of the roman-numeraled impressions, all acquired from one of the people who bought up the bankruptcy paper). We have been told by one of the creditors that while the prints were in storage under the supervision of the Bankruptcy Court, many impressions were water damaged, but we have not actually seen any of these damaged pieces. Several impressions of this work were sold at auction between 1990 and 1993, averaging nearly $7000. Image size: 890x685mm. Mat size:  (44x36 inches inches). Price: $6500.
Woodcut Heart. Original color woodcut, 1993. 500 signed & numbered impressions. The heart is one of the most important symbols in Dine's work. As the image of the bathrobe always refers to the artist's image of himself, so the heart refers to his wife, Nancy. Image size: 585x445mm. Price: SOLD

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