Malcolm Morley

Dr. and Mrs. Leonard Kornblee, New York
Louis K. Meisel Gallery, New York
Acquired directly from the above by the present owner in 1973

Champaign, Illinois, Krannert Art Museum, University of Illinois, extended loan, 1969
Basel, Kunsthalle; Rotterdam, Museum Boymans van Beuningen; London, Whitechapel Art Gallery; Washington, D.C., Corcoran Gallery of Art; Chicago, Museum of Contemporary Art; New York, Brooklyn Museum of Art, Malcolm Morley: Paintings 1965-1982, 1983-84, p. 19, illustrated in colour
Paris, Musée National d'Art Moderne, Centre Georges Pompidou; Labège-Toulouse, Centre Régional d'Art Contemporain Midi-Pyrénées, Malcolm Morley, 1993, p. 90, illustrated in colour and p. 151, illustrated

Louis K. Meisel, Photorealism, New York 1972, p. 476, no. 1086, illustrated in colour
Jean-Claude Lebenszteijn, Malcolm Morley: Itineraries, London 2001, p. 29, no. 22, illustrated in colour

Colour: The catalogue illustration is reversed. The colours in the catalogue illustration are fairly accurate although the sky has various gradations in blue tones and tends towards true sky blue and the sea has slightly more green tones in the original. Condition: This work is in very good condition. There is a small sigmoid crack in the lower right corner and a faint handling mark along the lower left edge. No restoration is apparent under ultra-violet light.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

"I don't think of the [photographic] source of a painting as second-hand [information]. For me it is first-hand. I am relating to the print of the image. I am not relating to where the image came from. The relationship I have to it has to be on a one-to-one basis. It is the image I am looking at. Not only that, but to reinforce this idea I can look at a photograph but I couldn't paint a photograph because the surface is invisible. It coalesces, so to speak, whereas printed ink on top of paper is more of a physical entity that I can feel as paint. The greatest difference between the Pop artists and me is that they wanted to get rid of touch and a sense of the hand-made. I make a hand-made painting from a ready-made."

The artist cited in: Exhibition Catalogue, London, Hayward Gallery, The Painting of Modern Life: 1960s to Now, 2007, p. 81