Jim Dine

Sidney Janis Gallery, New York
Mr. and Mrs. Eugene M. Schwartz, New York (and sold: Christie's, New York, November 3, 1978, lot 32)
Acquired at the above sale by A. Alfred Taubman

Venice, XXXII Biennale International d'Arte, June - October 1964, no. 38, illustrated p. 278
Syracuse, Everson Museum & Albany, University Art Gallery, Contemporary American Painting and Sculpture from the Collection of Mr. and Mrs. Eugene M. Schwartz, July 1969 - January 1970, no. 5, illustrated
New York, Whitney Museum of American Art, Jim Dine, February - April 1970, no. 59, illustrated
Milwaukee Art Center, Contemporary American Painting and Sculpture: Selections from the Collection of Mr. and Mrs. Eugene M. Schwartz, January - February 1971, no. 5, illustrated
Detroit Institute of Arts, Pop Art: Thirty Years Later, July 1992 - August 1993 
New York, The Solomon R. Guggenheim Museum & Cincinnati Art Museum, Jim Dine: Walking Memory, 1959-1969, February 1999 - January 2000, illustrated in color pl. 112

David Shapiro, Jim Dine: Painting What One Is, New York, 1981, illustrated in color pl. 89
The Folding Image (exhibition catalogue), Yale University Art Gallery, New Haven, 1983
Jean E. Feinberg, Modern Masters: Jim Dine, New York, 1995, fig. 55, illustrated in color p. 63
Richard Whelan, The Book of Rainbows: Art, Literature, Science, & Mythology, Chesterfield, 1997, illustrated in color p. 146

This work is in very good condition overall. There is evidence of light wear and handling to the artist's frame. The colors are bright, fresh and clean. All of the found objects are stable and firmly adhered to the shelf, with the exception of a steel pick that is intentionally loose in the white-painted shot glass. A light dust has settled over the found objects. Framed in artist's frame. Light blue panel: There are several scattered light brown drip accretions in the lower third of the canvas, possibly varnish from the time of execution. Under Ultraviolet light inspection, some long vertical drip accretions, likely from the time of execution, fluoresce lightly in the lower half of the canvas but do not appear to be the result of restoration. Yellow painted panel: There are a few minor scattered areas of hairline craquelure, light abrasions and light drip accretions in the lower third of the canvas, only visible upon close inspection. Under Ultraviolet light inspection, there is no evidence of restoration. Green painted panel: There are very minor and barely noticeable areas of scattered hairline craquelure, only visible upon very close inspection, and a light dust has settled on top of the impasto. Also under close inspection, a pinpoint area of loss in the center of the canvas approximately one-third from the bottom of the canvas, a slightly larger than pinpoint area of loss in the center of the canvas approximately one-fifth from the bottom of the canvas and a pinpoint puncture to the canvas in the lower right corner are visible. Under Ultraviolet light inspection, there is no evidence of restoration. Black and white painted panel: A few scattered light white abrasions and some drip accretions, possibly varnish from the time of execution, are visible in the lower half of the panel. Under Ultraviolet light inspection, there is no evidence of restoration. Rainbow panel: There is a ¼-inch horizontal line of paint loss where cup meets canvas. Under Ultraviolet light inspection, some long vertical drip accretions, likely from the time of execution, fluoresce lightly in the lower half of the canvas but do not appear to be the result of restoration. Brown panel: There is a pinpoint area of loss at the lower right edge. Under Ultraviolet light inspection, there is no evidence of restoration.
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.

"Glasses, bottles, ashtrays, and coffee mugs – the objects that somehow always seem to accumulate on the work surfaces of an artist's studio – have here replaced the mower, that symbol of suburban living." (Jean E. Feinberg, Modern Masters: Jim Dine, 1995, p. 63)