The Picture of Dorian Gray illustrated by Jim Dine.  A Working Script for the Stage from a Novel by Oscar Wilde.  Illustrated with 12 full-page colored lithographs, a full-page colored title, and hundreds of textual illustrations, notes and
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Jim Dine
"The Picture of Dorian Gray" Book Illustrated by Jim Dine

1968

About

The Picture of Dorian Gray illustrated by Jim Dine. A Working Script for the Stage from a Novel by Oscar Wilde. Illustrated with 12 full-page colored lithographs, a full-page colored title, and hundreds of textual illustrations, notes and marginalia by Dine throughout. PLUS: an additional suite of six lithographs and four etchings, all signed by Jim Dine. Folio, bound by Rudolph Rieser in deluxe red calf, screenprinted with snakeskin patterns on all surfaces, the suite of ten additional plates in a separate chemise, the whole enclosed in an elaborate velvet-lined box revealing a large sculpted-leather heart "dripping blood" (after a design by Dine), in a new red cloth box. London: Petersburgh Press, 1968. One of the few genuine "artist's books" completely designed and illustrated by Dine, and the first book issued by the Petersburg Press. Published in three limited editions: A (200 copies, with six lithographs), B (200 copies, with four etchings), and C (100 copies, with both the lithographs and the etchings). This copy belongs to Edition C, one of 100 copies "bound in leather" with the extra suite of 10 ten prints signed by Dine, six lithographs and four etchings. The text is a lithographic reproduction of a working typescript of Dine's stage version of Wilde's great novel; it contains numerous MS corrections, line drawings, and notes on the text by Dine. The play was never staged but Dine's drawings for the costumes and his typescript were preserved and used to create this compelling book published by the Petersburg Press. It is widely recognized that The Picture of Dorian Gray became the Bible of the aesthetic movement in the 1880s. Ellmann claims that: "In the eighties, aestheticism suffered for lack of example: Dorian Gray filled the need." The color lithographs and etchings were prepared on zinc and aluminium plates by the artist. They were subsequently printed by Atelier Desjobert & Atelier Leblanc, Paris. It represents one of Dine's most successful illustrated books. A Century of Artist's Books, p. 71. From Manet to Hockney 142. Author: Oscar Wilde

Details

  • Dimensions
    H 19.3 in. x W 13.98 in. x D 2.76 in.H 49 cm x W 35.5 cm x D 7 cm
  • Gallery Location
    New York, NY
  • Reference Number
    LU43831147663
  • Seller Reference Number
    154430
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About Jim Dine (Artist)

The Ohio-born artist Jim Dine brought his ever-shifting, multidisciplinary vision to New York in 1958, a time of transition in the American art world. Abstract Expressionism, which had dominated the scene for years, was on the wane, and a group of young artists, including Dine, Allan Kaprow, Jasper Johns and Robert Rauschenberg, was eager to replace it with a movement that flipped the traditional rules of art making on their head.


     Beyond dissolving the boundaries between mediums and genres, attaching found objects and detritus to their canvases, these revolutionaries began staging performative “happenings” in public spaces, redefining the very definition of a work of art. As Pop art took form, Dine used objects with personal significance, like his paintbrushes, to transform his paintings into two-dimensional sculptures. He was included in the Norton Simon Museum’s 1962 “New Painting of Objects,” often considered the first true Pop art exhibition in America, but he remained a chameleon, constantly changing his style, material and technique.


     More than his contemporaries, Dine has forged new paths in drawing, scrawling words and names across the canvas to create graphic, abstract landscapes. He is obsessed by certain motifs — such as hearts and his own bathrobe — which recur in various forms throughout his oeuvre. He has occasionally worked in classical genres, such as portraiture, as exemplified by the 1980 aquatint Nancy Outside in July. He has also co-opted the bold, graphic vocabulary of advertising and commercials, as in the sleek 2010 composition Gay Laughter at the Wake.

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