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Dimensions: measurements 114 by 147.8cm. alternate measurements 45 1/2 by 58 3/4 in.
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Provenance: Dr. and Mrs. Leonard Kornblee, New York
Louis K. Meisel Gallery, New York
Acquired directly from the above by the present owner in 1973
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Exhibited: 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
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Literature: 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
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Notes: PROPERTY FROM A DISTINGUISHED COLLECTION
"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
