JIM DINE (B. 1935) | Heart Drawing I, 1970

graphite, gouache and sand paper collage on vellum; signed and dated '1970'

Equinox Gallery, Vancouver
Private Collection, Canada (acquired from the above 'circa' 1975)
Thence by descent to the present owner

This work is in very good condition overall. The sheet is hinged intermittently along the reverse of the upper edge to the backing board. There is undulation to the sheet, inherent to the nature of the artist's chosen medium. There are artist's pinholes in the corners of the sheet. There is scattered stray media, inherent to the artist's working method. There is a slight discoloration to the upper right corner due to hinging, visible upon close inspection. There is foxing to the green heart on the lower right corner. There is stable lifting to the edges of the sandpaper element, which may be inherent. Framed under Plexiglas.
The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot provided by Sotheby's. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colours and shades which are different to the lot's actual colour and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation because Sotheby's is not a professional conservator or restorer but rather the condition report is a statement of opinion genuinely held by Sotheby's. For that reason, Sotheby's condition report is not an alternative to taking your own professional advice regarding the condition of the lot.

American conceptual artist Jim Dine was deeply inspired by objects of his childhood, such as hearts, robes, and tools. Dine’s work is a conversation on the ability of everyday visuals to be simultaneously ordinary as well as transcendent symbols. By both placing his work in a gallery and the use of repetition in the work itself, Dine builds a glorification and new relevance onto what he calls visual symbols. Dine has been compared to Pop artists for his use of common images such as hearts, but Dine compares his work to that of the Neo-dada movement, which questions rather than celebrates symbols.