MALCOLM MORLEY | Camels and Goats

Xavier Fourcade Inc., New York
Private Collection, London
Sotheby's, New York, 13 November 1991, Lot 68
Acquired from the above by the present owner

New York, Xavier Fourcade, Inc., One Major New Work Each, November –December 1980 
London, Royal Academy of Art, A New Spirit in Painting, January – March 1981, n.p., no. 103, illustrated
Berlin, Martin-Gropius-Bau, Zeitgeist: International Art Exhibition, October 1982 – January 1983, p. 196, n.p., no. 167, illustrated 
Basel, Kunsthalle Basel; Rotterdam, Museum Boymans van Beuningen; London, Whitechapel Art Gallery; Washington, D.C., Corcoran Gallery of Art; Chicago, Museum of Contemporary Art; and New York, Brooklyn Museum, Malcolm Morley: Paintings 1965–82, January 1983 – April 1984, p. 16, illustrated and p. 57, illustrated in colour
Paris, Musée national d’arte modern, Centre Georges Pompidou, L’Époque, la Mode, la Morale, la Passion: Aspects de l’art d’aujourd’hui, 1977–1987, May – August 1987, p. 246, illustrated 
London, Royal College of Art, Exhibition Road: Painters at the Royal College of Art, 1988, p. 159, illustrated 
Madrid, Sala de Exposiciones de la Fundación “La Caixa” Madrid,and Oslo, Astrup Fearnley Museet for Moderne Kunst, Malcolm Morley 1965–1995, September 1995 - April 1996, n.p., no. 15, illustrated 
New Haven, Yale University School of Art Gallery, Malcolm Morley in a Nutshell: The Fine Art of Painting, January – March 2012

Harry Abrams, World Art Trends, New York 1982, illustrated
Rudi Fuchs, Peter Schjedahl and Hilton Kramer, Eds., Art of our Times: The Saatchi Collection, Volume 3, London 1984, n.p., no. 59, illustrated in colour
Jean-Claude Lebensztejn, Malcolm Morley: Itineraries, London 2001, pp. 115-17, illustrated

Colour: The colour in the catalogue illustration is fairly accurate, although the overall tonality is slightly lighter and brighter in the original. Condition: This work is in very good condition. Extremely close inspection reveals some very faint tension cracks in intermittent places along all overturn edges and some fine drying cracks in isolated places throughout. Further extremely close inspection of the upper left canvas reveals some extremely faint stretcher bar marks to all four edges, some of which have tiny associated hairline cracks in intermittent places. No restoration is apparent when examined 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."

“As with the great animal artists – cave painters, Assyrian sculptors, Tang ceramists, Pisanello, Stubbs, Rousseau, Géricault or Delacroix – Morley’s representation of animals has something telepathic in it, a kind of visionary exchange” (Jean-Claude Lebensztejn, Malcolm Morley: Itineraries, London 2001, p. 115).