MARTIN MALONEY (B. 1961)
each: signed, titled consecutively and dated ' ''Calendar Boys - January [-December]'' Martin Maloney July 2000' (on the reverse)
paper collage and glue on paper, in twelve parts
each approximately: 11 ⅛ x 7 ¼in. (28.4 x 19cm.)
each: Executed in 2000
Xavier Hufkens, Brussels.
Acquired from the above by the present owner.
λSee terms & conditions for explanations of symbols
In Calendar Boys (2000) and Shag Pile (2004) Martin Maloney transfers the cartoonish vibrancy of his painting to vinyl and paper collage, producing bright, witty vignettes that reflect on modern life and modern sex. In some senses inheriting the mantle of the 1980s work of Kippenberger and Oehlen, Maloney’s style is defined by a deliberate formal crudity and cheerfully lurid colour; the artist’s compressed forms and fluorescent tones combine to produce an immediately recognisable figurative language. Within this idiosyncratic language, Maloney brings his figures to life with a remarkable articulacy; as Adrian Searle has said of Maloney, ‘The awkwardness begins to have a kind of emotional tenor and expressiveness. All the figures are painted as individuals; each one is a problem to be resolved. No one is a cipher, and Maloney tries to give his subjects a character, a singular demeanour and poise.’ (A. Searle, ‘Don’t talk Maloney’, The Guardian, Feb 1, 2000, https://www.theguardian.com/books/2000/feb/01/artsfeatures.art [accessed Mar 22, 2017]). This individuation and intelligent sensitivity is clear in both these works: Calendar Boys offers a series of bizarre pin-ups, with each model given their own surreal, misshapen identity, while Shag Pile laughingly juxtaposes the subversiveness of a sex game gone wrong with the overwhelming kitsch of the domestic, suburban room in which it takes place.
The condition of lots can vary widely and the nature of the lots sold means that they are unlikely to be in a perfect condition. Lots are sold in the condition they are in at the time of sale.
All collage elements appear to be present and adhere well to their underlying sheet. There are a spots of glue residue in places presumably due to the artist’s working method, as visible in the online illustration.
January: All four edges are deckled.
February: The left vertical edge is uneven, the other edges are deckled.
March: All four edges are deckled.
April: All four edges are deckled.
June: There are a few faint spots of rubbing to the lower right corner, presumably due to the artist’s working method.
July: All four edges are deckled. There is a pinpoint spot of foxing by the ‘J’ collaged element.
August: All four edges are deckled.
Sept: There are a few spots of rubbing in places to the upper right quadrant.
October: All four edges are deckled.
November: All four edges are deckled.
December: All four edges are deckled.
Iit is our view that the work appears to be in generally good condition.
For further images or more information of the present lot, please contact a member of the Post-War & Contemporary department. The condition of lots sold can vary widely due to factors such as age, previous damage, restoration, repair, and wear and tear. The nature of the lots sold means that they will rarely be in perfect condition. Lots are sold in the condition they are in at the time of sale.
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