LOT DETAILS

Materials:

acrylic on canvas

Measurements:

63.50 in. (161.30 cm.) (height) by 83.50 in. (212.10 cm.) (width)

Markings:

signed and dated ‘MALColm Morley 1966’ (on the reverse); signed ‘MORLEY’ (on the stretcher)

Exhibited:

New York, Kornblee Gallery, New Paintings by Malcolm Morley , 1967 (illustrated in color on announcement card). London, Hayward Gallery, Pop Art Redefined , 1969, p. 237 no. 94 (illustrated, pl. 122). New York, Sidney Janis Gallery, Sharp-Focus Realism , 1972, no. 24 (illustrated). Kassel, Documenta 5 , 1972. Basel, Kunsthalle, Malcolm Morley: Paintings 1965-1982 , 1983-1984, p. 68 (illustrated, p. 10; illustrated in color, p. 21). This exhibition later travelled to Rotterdam, Museum Boymans van Beuningen; London, Whitechapel Art Gallery; Washington, D.C., Corcoran Art Gallery; Chicago, Museum of Contemporary Art and Brooklyn, Brooklyn Museum. Edinburgh, Scottish Royal Academy, Art of Our Time: The Saatchi Collection , 1987 (illustrated in color, p. 49). Paris, Centre Pompidou, Musée National d’Art Moderne, Malcolm Morley: Rétrospective 1962-1973 , 1993. London, Hayward Gallery, Malcolm Morley in Full color , 2001, p. 143, no. 13 (illustrated in color, p. 45). Miami, Museum of Contemporary Art, Malcolm Morley: The Art of Painting , 2006 (illustrated in color, pl. 3)

Literature:

L. Alloway, ‘The Paintings of Malcolm Morley’, in Art and Artists , vol. 1, no. 11, February 1967 (illustrated in color, p. 19). L. Alloway, ‘Art as Likeness’, in Arts 41 , May 1967, (illustrated in color, p. 37). U. Kulterman, The New Painting , London 1969, pl. 269 (illustrated, p. 111). L. Chase, ‘Photo-Realism: Post Modernist Illusionism’, in Art International , no. 20, March/April1976 (illustrated, p. 26). E. Johnson, Modern Art and the Object , London 1976, p. 229, no. 31 (illustrated, p. 49). E. Lucie-Smith, Art Today , London 1977, p. 503, no. 368 (illustrated in color, pp. 460-461). R. Fuchs, H. Kramer and P. Schjeldahl, Art of Our Time: The Saatchi Collection , London 1984, vol. 3, p. 6, no. 50 (illustrated in color, p. 92) M. Villaepesa, ‘Malcolm Morley: Pintor en el viaje y en el silencio’, in Figura 4, 1985 (illustrated, p. 4). J. Paoletti, ‘Malcolm Morley and the Experience of Seeing’, in Arts in Virginia, vol. 26, no. 3, September 1986 (illustrated, p. 10). D. Britt, Modern Art: Impressionism to Post-Modernism , London 1989, p. 412 (illustrated in color, p. 384). A. Hicks, New British Art in the Saatchi Collection , London 1989, no. 76 (illustrated in color, p. 81). V. Goldberg, ‘Malcolm Morley Keeping Painting Alice’ in The New York Times , 14 March 1993 (illustrated p. H31). A. Schloen, ‘Malcolm Morley’ in Künstler, Kritisches Lexikon der Gegenwartskunst , edition 44, issue 29, Munich 1998, p. 4. Malcolm Morley: Dipinti/Acquarelli/Disegni/Sculture , exh. cat., Galleria d’Arte Contemporanea, Milan, 1998. B. Adams, ‘More than a Maverick’, Art in America , December 2001, (illustrated in color, p. 67). S. Whitfield, ‘Beauty is in the eye of the curator’, in Southbank , July/August 2001, (illustrated, p. 11). J-C. Lebensztejn, Itineraries , London 2001, fig. 24 (illustrated in color, p. 31). R. Enright and M. Morley, ‘Malcolm Morley: The Principal of Uncertainty’ in Border Crossings , vol. 25, no. 4, 2006 (illustrated in color, p. 26). E. Booth-Clibborn (ed.), The History of the Saatchi Gallery , London 2011 (illustrated in color, p. 109)

Provenance:

Kornblee Gallery, New York. Marc Moyens, Alexandria, Virginia. Saatchi Collection, London (acquired from the above in 1977). Anon. sale, Sotheby's New York, 17 November 1992, lot.44. Acquired at the above sale by the present owner