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The Astra Tool
1985
Original lithograph in colors on wove paper
Signed in pencil, dated and numbered
35 x 25 in. (89 x 63.5 cm), unframed
Edition of 400
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The Colorful Venus
1985
Original lithograph in colors on wove paper
Signed by the artist in pencil, dated and numbered
34 3/4 x 24 3/4 in. (88.3 x 63 cm.)
Edition of 400
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The Little Heart in the Landscape *
1991
Drypoint and etching printed in red and black
Signed by the artist in pencil, dated and annotated “AP”
15 ¾ x 16 5/8 in. (40 x 42.2 cm), unframed
Edition of 100 + 25 AP
(annotated in artist’s handwriting at bottom,
Happy B Day, Claire. Love from Nancy and Me.
June 29, 1994.)
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The Mighty Robe *
1985
Original lithograph in colors on wove paper
Signed by the artist in pencil, dated and numbered
34 3/4 x 24 3/4 in. (88.3 x 63 cm)
Edition of 400
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The New Year's Tree
1985
Original lithograph in colors on wove paper
Signed in pencil, dated and numbered
35 x 25 in. (89 x 63.5 cm), unframed
Edition of 400
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The Philadelphia Heart *
1984
Soft-ground etching, drypoint and aquatint
Hand-signed by the artist in pencil, dated and numbered
12 x 11 inches (30.5 x 27.9 cm), image
26 ¼ x 19 ⅞ inches (66.7 x 50.5 cm), sheet
Edition of 35
Printed by Aldo Crommelnyck at Atelier Crommelnyck, Paris
Published by Friends of the Philadelphia Museum of Art
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Untitled *
1979
Etching and aquatint with unique hand coloring on two sheets (diptych)
Signed by the artist in white pencil, dated and numbered
41 x 58 1/2 in. (104 x 149 cm.)
Edition of 16
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Using White over Black *
2017
Woodcut and copperplate etching on Hahnemuhle warm white paper
Signed by the artist, dated and numbered in pencil
50 ¼ x 42 in. (127.6 x 106.7 cm.) unframed
Edition of 10
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Viennese Heart IV *
(From the Viennese Hearts suite)
1990
Screenprint in color with soft-ground etching, aquatint and hand-coloring on Arches paper
Signed by the artist in pencil, dated and numbered
47 x 36 ¼ inches (119.4 x 92.1 cm)
Edition of 40 + 10 AP
(C. 34.4)
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Viennese Hearts VII *
(From the Viennese Hearts suite)
1990
Screenprint in color with soft-ground etching, aquatint and hand-coloring on Arches paper
Signed by the artist in pencil, dated and numbered
47 x 36 ¼ inches (119.4 x 92.1 cm)
Edition of 40 + 10 AP
(C. 34.7)
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Pinocchio Coming from the Green *
2011
Original lithograph in colors
Signed by the artist in pencil and numbered
30 x 22 inches (76.2 x 55.9 cm)
Edition of 75
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The Sky and Lilies
1998
Intaglio and screenprint with hand-coloring
Signed by the artist in pencil and numbered
30 x 41 inches (77 x 104 cm)
Edition of 25
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Red Ochre Flowers *
1978
Etching and aquatint with drypoint and engraving on Fabriano Classico paper
Hand-signed by the artist in pencil, dated and numbered
39 ¼ x 27 ½ inches (99.7 x 69.8 cm)
Edition of 45
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Pinocchio *
2008
Screenprint and woodcut in colors
Signed in pencil and numbered
37 x 27 inches (94 x 68.6 cm)
Edition of 118
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Woodcut Heart
1993
Original color woodcut
Signed by the artist in pencil and numbered
23 x 18 inches (58.4 x 45.7 cm)
Edition of 500
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Louisiana Hearts *
1982
Lithograph
Signed in pencil, numbered and dated
17 ¾ x 17 ½ inches (45.1 x 44.5 cm)
Edition of 100
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A Heart on the Rue de Grenelle *
1981
Soft-ground etching and aquatint
Signed and numbered
50 x 29 ½ in
Edition of 36
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Aldo at Père Lachaise *
2010
Soft ground etching with drypoint on one sheet made of three joined pieces of paper
Signed by the artist in pencil, numbered
28 1/8 x 63 1/8 inches (71.5 x 160.5 cm)
Edition of 15
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Big Red Wrench in Landscape *
1973
Lithograph in colors
Signed and numbered
30 x 21 in
Edition of 90
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Black Ink Robe *
2005
Lithograph
Signed and numbered
25 ½ x 19 ¼ in
Edition of 200
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The Blue Heart *
2005
Lithograph in seven colors
Signed by the artist in pencil and numbered
25 ½ x 19 ¼ inches (64.8 x 48.9 cm)
Edition of 200
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Dartmouth Still Life *
1974-76
Etching
Signed and numbered
42 x 30
Edition of 30
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Double Dose of Color (diptych) *
2009
38-color lithograph on two panels
Signed and numbered
47 x 35 ¼ in (each)
Edition of 16
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Double Red Venus *
2002
Etching and lithograph
Signed and numbered
39 ¼ x 27 ¾ in
Edition of 22
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Five Shells *
1982
Hand-colored etching and aquatint
Signed and numbered
29 5/8 x 36 ½ in
Edition of 50
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Glyptotek *
1987-88
Portfolio with 40 original intaglio prints from copper plates
Signed by the artist and numbered on the exemplaire page
28 x 22 in
Edition of 90
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Untitled
1996
Six-color woodcut
Signed in pencil and numbered
26 ⅛ x 19 ½ in. (66.4 x 49.5 cm.)
Edition of 100
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Jerusalem Plant #5
1982
Lithograph
Signed and numbered
41 x 27 1/2 in
Edition of 25
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Jerusalem Plant #7 *
1983
Lithograph, dry point, electric tools, gravure
Signed and numbered
40 x 53 in
Edition of 11
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Olympic Robe *
1988
Lithograph in colors
Signed and numbered
35 x 27 in
Edition of 300
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Red and Blue Robe
1999
Etching and aquatint
Signed and numbered
32 x 47 ½ in
Edition of 21
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Red Beard *
1973
Etching in red on J. Green mould made paper
Signed, dated and numbered
41 3/8 x 30 7/8 in
Edition of 50
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Red Pants II
1999
Hand-colored etching on handmade paper
Signed and numbered
55 ¾ x 34 ¾ in
Edition of 20
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Red Stamp *
2010
Collograph and intaglio
Signed and numbered
30 1/4 x 24 3/4 in
Edition of 35
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Scissors and Rainbow
1969
Lithograph
Signed and numbered
39 1/4 x 27 1/2 in
Edition of 75
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Winter on the Cruise (diptych) *
2005
Lithograph and woodcut with hand-painting on two panels
Signed by the artist in pencil and numbered
30 1/4 x 44 1/2 inches (76.8 x 113 cm) overall
Edition of 12
Jim Dine was born in 1935 in Cincinnati, Ohio. He studied at night at the Art Academy of Cincinnati during his senior year of high school and then attended the University of Cincinnati, the School of the Museum of Fine Arts, Boston, and Ohio University, Athens, from which he received his BFA in 1957. Dine moved to New York in 1959 and soon became a pioneer of the Happenings movement together with Allan Kaprow, Claes Oldenburg, and Robert Whitman.
Dine is closely associated with the development of Pop art in the early 1960s. Frequently he affixed everyday objects, such as tools, rope, shoes, articles of clothing, and even a bathroom sink, to his canvases. Characteristically, these objects were Dine’s personal possessions. This autobiographical content was evident in Dine’s early Crash series of 1959–60 and appeared as well in subsequent recurrent themes and images, such as the Palettes, Hearts, and bathrobe Self-Portraits. He later added gates, trees, and Venus to his repertoire of recurring motifs. Dine has also made a number of three-dimensional works and environments, and is well known for his drawings and prints. He has written and illustrated several books of poetry.
In 1965, Dine was a guest lecturer at Yale University, New Haven, and artist-in-residence at Oberlin College, Oberlin, Ohio. He was a visiting critic at Cornell University, Ithaca, New York, in 1966. Dine has been given solo shows in museums in Europe and the United States. In 1970, the Whitney Museum of American Art, New York, organized a major retrospective of his work, and in 1978 the Museum of Modern Art, New York, presented a retrospective of his etchings. Since then, Dine has been the subject of major retrospectives at the Walker Art Center in Minneapolis (1984–85), Solomon R. Guggenheim Museum in New York (1999), and National Gallery of Art in Washington, D.C. (2004).
Dine, Jim
Dine is closely associated with the development of Pop art in the early 1960s. Frequently he affixed everyday objects, such as tools, rope, shoes, articles of clothing, and even a bathroom sink, to his canvases. Characteristically, these objects were Dine’s personal possessions. This autobiographical content was evident in Dine’s early Crash series of 1959–60 and appeared as well in subsequent recurrent themes and images, such as the Palettes, Hearts, and bathrobe Self-Portraits. He later added gates, trees, and Venus to his repertoire of recurring motifs. Dine has also made a number of three-dimensional works and environments, and is well known for his drawings and prints. He has written and illustrated several books of poetry.
In 1965, Dine was a guest lecturer at Yale University, New Haven, and artist-in-residence at Oberlin College, Oberlin, Ohio. He was a visiting critic at Cornell University, Ithaca, New York, in 1966. Dine has been given solo shows in museums in Europe and the United States. In 1970, the Whitney Museum of American Art, New York, organized a major retrospective of his work, and in 1978 the Museum of Modern Art, New York, presented a retrospective of his etchings. Since then, Dine has been the subject of major retrospectives at the Walker Art Center in Minneapolis (1984–85), Solomon R. Guggenheim Museum in New York (1999), and National Gallery of Art in Washington, D.C. (2004).