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Los 9
Breast and Knee Armour, with flexible leg part,iron, canted and rounded shape with central line, turnable iron connections, riveted, with etched figural and ornamental decorations, in the centre portrait titled Francesco Erizzo -98th doge of Venice (1566-1646),,the sides with spiral bands, partly rusty, damages, 74 cm long, 55 cm wide
Los 51
JOSÉ NIN Y TUDÓ (El Vendrell, Tarragona, 1840 - Madrid, 1908)."Arab couple".Oil on canvas.Signed in the lower right corner.Measurements: 52 x 29 cm.; 63 x 39 cm. (frame).José Nin y Tudó worked with versatile sensitivity in different genres and themes, occasionally delving into the orientalist genre, of which this painting is a good example. After beginning his training at the Lonja in Barcelona, José Nin y Tudó settled in Madrid thanks to a pension granted to him by the Diputación Provincial de Barcelona. There he entered the San Fernando School of Fine Arts as a disciple of Carlos Luis de Ribera. He was an official portrait painter, and also dealt with history painting, specialising in mortuary themes. He also had a great reputation as a decorator of palaces and stately homes, such as the Anglada palace and the house of the Marquis of Larios. He took part assiduously in the National Fine Arts Exhibitions, where he won a third medal in 1871 and two second medals in 1876 and 1878. His portraits include those of Generals Prim and Espartero, and those of Eduardo Rosales, Emilio Castelar and León Gambetta, among others. Works by Nin y Tudó are kept in the Prado Museum, the City Hall, the Congress of Deputies and the Ministry of Justice in Madrid, the Municipal and History Museums of Madrid, the Fine Arts Museums of La Rioja and Girona.
Los 16
FRANCISCO PRADILLA (Villanueva de Gállego, Zaragoza, 1848 - Madrid, 1921)."Portrait of Consuelo Carrete".Oil on canvas.Painted with Muzzi colours, unalterable.Signed in the lower left corner. Signed and inscribed on the back.The period frame shows damage and xylophages. Small perforation on the canvas.Measurements: 44 x 58 cm; 59 x 72 cm (frame).Francisco Pradilla began his training as an apprentice of Mariano Pescador, a scenographer painter, and at the School of Fine Arts of San Luis in Saragossa. In 1868 he continued his studies at the San Fernando School of Fine Arts in Madrid, where he was a pupil of Federico de Madrazo, Carlos de Haes, Carlos Luis de Ribera and Ponciano Ponzano. He completed his training during these years by copying works by the great masters of the Prado Museum. In 1874 he won the Drawing Prize of the "Ilustración Española y Americana" and was awarded a scholarship to study in Rome, where he lived for twenty-three years until his appointment as director of the Prado in 1897. In 1878 he took part in the National Exhibition in Madrid and was awarded the Medal of Honour, the same distinction he won that same year at the Universal Exhibition in Paris. As a result of these successes he received numerous commissions not only from Spain and France, but also from America and other European countries. He travelled around Spain and became interested in depicting genre scenes full of grace and colour, always based on an exceptional mastery of drawing. Although he did not hold individual exhibitions, his works took part in exhibitions and competitions in cities all over the world, such as London, Paris, Berlin, São Paulo and Buenos Aires. He was director of the Spanish Academy in Rome, and a member of the Royal Academies of San Fernando and San Luis, the French Academy and the Hispanic Society of New York. Among other decorations, he was awarded the Cross of Isabella the Catholic and the Legion of Honour. Of the pictorial genres he cultivated, including graphic illustration for literary publications, history painting was the one that brought him most fame. As a portrait painter his activity was more limited and his results were uneven when he had to paint portraits of deceased sitters, but he achieved portraits of serene expressiveness and a studied, intoned execution in the presence of living models. He also devoted himself to genre painting, whether of Italian folk inspiration or subjects of customs in Madrid or Galicia, his wife's place of origin, where he used to spend periods of time. Both in his history paintings and in these, Pradilla showed a clear inclination for outdoor settings, organising his compositions in broad panoramic perspectives with a multitude of figures and motifs, rendered with a highly refined technique. However, the most outstanding feature of his language is his sense of light and atmosphere, under which the tight drawing is softened and blended with the luminous background by means of small brushstrokes of colour rich in nuances and paste. Francisco Pradilla's work can be found in the Museo del Prado, the Museo de Bellas Artes in Bilbao, Buenos Aires, Havana and São Paulo, the MACBA in Barcelona, the Christchurch Art Gallery in New Zealand and the Museo Romántico in Madrid.
Los 20
CÉCILE VILLENEUVE (France, 1824-1901) and anonymous author (19th century)."Portrait of A.Giroux" and "Portrait of a lady".Pair of miniatures. Gouache on ivory.One of them signed "Cécile Villeneuve".Measurements: 10,5 x 8 cm; 15 x 11,5 cm.(frame). and 10,5 x 7,5 cm.; 15,5 x 10,5 cm.(frame).Cécile Villeneuve was a Parisian painter, specialising in portraiture, who produced numerous miniatures (painting on ivory). Portraits of this type were in great demand among the gentry before domestic photography became popular. His works were included in exhibitions held in the 1920s at the Albertina Museum in Vienna (Internationale Miniaturen-Ausstellung 1924). Both portraits are rendered with the meticulous technique of a miniaturist, and are ideally captured psychologically.
Los 70
RAMON CASAS CARBÓ (Barcelona, 1866 - 1932)."Portrait of a lady.Mixed media on paper.Signed in the lower right corner.With "Pèl i Ploma" stamp in the lower right-hand corner.Size: 31 x 22 cm; 55 x 46,5 cm (frame).Drawing made by Ramon Casas for the artistic and literary magazine "Pèl i Ploma", of which 100 issues were published between 1899 and 1903. Casas himself financed its publication and was its artistic director and main illustrator, while Miquel Utrillo was in charge of the literary section and Emilio Galcerán was in charge of the administrative side. It was one of the most representative magazines of Catalan Modernisme, a driving force behind this movement and a platform for the dissemination of modern art. In this work Casas depicts an elegant lady dressed in the bourgeois fashion of the turn of the century, with a bright white collar. It is an image charged with instantaneity, typical of the female representations of the Catalan school of the late 19th century. It combines the formal sensuality of the sinuous and expressive line, typically modernist, with the great realism with which a strictly contemporary image has been captured. It is a work closely linked to the graphic design of the period; the expressive linearity, the sobriety of the colours and the attention to current themes coincide with the features of posters and illustrations for magazines.An outstanding painter and draughtsman, Casas began painting as a disciple of Joan Vicens. In 1881 he made his first trip to Paris, where he completed his training at the Carolus Duran and Gervex academies. The following year he took part for the first time in an exhibition at the Sala Parés in Barcelona, and in 1883 he presented a self-portrait at the Salon des Champs-Elysées in Paris, which earned him an invitation to become a member of the Salon de la Societé d'Artistes Françaises. He spent the following years travelling and painting between Paris, Barcelona, Madrid and Granada. In 1886, suffering from tuberculosis, he settled in Barcelona to recover. There he came into contact with Santiago Rusiñol, Eugène Carrière and Ignacio Zuloaga. After a trip to Catalonia with Rusiñol in 1889, Casas returned to Paris with his friend. The following year he took part in a group exhibition at the Sala Parés, together with Rusiñol and Clarasó, and in fact the three of them continued to hold joint exhibitions there until Rusiñol's death in 1931. His works of this period are halfway between academicism and French impressionism, in a sort of germ of what would later become Catalan modernism. His fame continued to spread throughout Europe, and he held successful exhibitions in Madrid and Berlin, as well as taking part in the Chicago World's Fair of 1893. Casas settled permanently in Barcelona, immersed in the modernist atmosphere, although he continued to travel to Paris for the annual salons. He financed the café Els Quatre Gats, which was to become a point of reference for the Modernists, and which opened in 1897. Two years later he organised his first solo exhibition at the Sala Parés. While his fame as a painter grew, Casas began to work as a graphic designer, adopting the Art Nouveau style that came to define Catalan Modernisme. In the following years his successes followed one after another: he presented two works at the Universal Exhibition in Paris in 1900, won a prize in Munich in 1901, several of his works were included in the permanent exhibition at the Circulo del Liceo, he held several international exhibitions and, in 1904, won first prize at the General Exhibition in Madrid. He was represented in the Prado Museum, the Museo Nacional de Arte de Cataluña, the Museo Nacional Reina Sofía, the Thyssen-Bornemisza, the Museo de Montserrat, the Cau Ferrat in Sitges, the Camón Aznar Museum in Zaragoza and the Museums of Contemporary Art in Barcelona and Seville, among many others.
Los 13
INVADER (B. 1969)Rubik Travis Bickle Mohican 2007 signed, titled and dated 007 on the reverseRubik's cubes on Perspex panel83.8 by 122.9 by 5.5 cm.33 by 48 3/8 by 2 3/16 in.Footnotes:ProvenanceLazarides Gallery, LondonAcquired directly from the above by the present owner in 2007ExhibitedLondon, Lazarides Gallery, London Invasion / Bad Men Part II, 2007, p. 34-35, illustrated in colourInvader is one of the world's most prolific and esteemed street artists. He has been one of the leading pioneers of the Street Art movement to have emerged in the last thirty years, standing alongside Banksy, STIK, and Shepard Fairey as a creator of some of the most iconic and beloved public works of art in the world. His style is utterly unique, and the present work, Rubik Travis Bickle Mohican, captures the punkish, analogue methods that typify his career. Growing up in the 1970's and 80's, Invader's work has drawn inspiration from the popular culture of this period. After graduating from the École des Beaux-Arts, Paris, he began the street art project that would launch him into the public eye in 1998, installing mosaic pieces that resembled the pixelated, '8-bit' style of Space Invader villains across his home city. He almost instantly became beloved by a global public for whom his works were an essential part of the urban landscape, 'invading' city spaces with iconic characters and emblems that were craftily installed often without notice. To this day, he has thousands of mosaics on view in the public spaces of world cities, beneath the surface of the Pacific Ocean, and even aboard the International Space Station. The impact of his career for Street Art and contemporary art at large is immeasurable, and such works as Rubik Travis Bickle Mohican represent the pinnacle of his artistic output. Using his original technique dubbed 'Rubikcubism', Invader takes this fascination with nostalgia and mainstream culture further by using the Rubik's Cube as a medium. The present work combines Invader's instantly recognisable pixelated, pointillist style with one of the most iconic antiheroes from 1970's American cinema - Travis Bickle from Martin Scorsese's 1976 drama Taxi Driver. Through the careful and masterfully obsessive manipulation of the 330 Rubik's Cubes, Invader forms the image of Bickle at the apex of his character arc.Invader's street art is composed of tile mosaics, and depict characters from wildly popular retro arcade games such as Space Invaders and Pac-Man. However, for Invader's studio works he expands the possibilities of pixelation by appropriating a popular image and converting small areas of the image from its native colours into exacting configurations of white, yellow, red, blue, orange, and green tiles on each corresponding Rubik's Cube. The finished artwork simultaneously alludes to the Pointillist principles of Georges Seurat, as well as Picasso and Braques' preoccupation with Cubism which occurred a century before this present work was created. Viewed up close, the present work appears as an abstract cacophony of colours; viewed from afar, however, the image of Bickle with his anarchic mohawk hairstyle materialises. The somewhat grainy and fragmented nature the individual tiles imbue the portrait with nostalgic memories of the filmmaking process. The speckles of white on the top left evoke flecks of overexposed 35mm film. The subject matter reveals not only Invader's interest in mainstream pop culture and nostalgia, but also hints at Invader's humorous, satirical, even philosophical perspectives. The innocence of an iconic game is juxtaposed with the complex and internally tormented nature of Travis Bickle. The nigh infinite number of algorithmic configurations of the Rubik's Cube mirrors the plurality of pop culture and its ubiquitous nature. In the late 2000's, Invader reflected on spirituality as a theme; amongst the same series as the present work, one finds Rubikcubist portraits of the 14th Dalai Lama and Jesus. Travis Bickle, and by extension Robert De Niro who portrays Bickle, are iconified via Invader's laborious yet reverent technique. Rubik Travis Bickle Mohican was exhibited at Invader's first London exhibition London Invasion / Bad Men Part II at Lazarides Gallery in 2007 and has remained in the same private collection ever since. In direct contrast to the serene portraits of religious leaders and famous musicians, or reimagining of iconic masterpieces from the Western canon, the works from the Bad Men Part II series showcase the brazen attitude, grit, and omnipotent hold over the public's attention of these antithetical characters. They point to Invader's quick-witted and humorous qualities as the artist himself has remained anonymous, evading the authorities and the public life throughout his career. Through this choice of subject matter, methods of abstraction and the integration of a cult classic game as a material, Invader's works are revolutionary and iconoclastic. Rubik Travis Bickle Mohican is an exceptional example of the street artist's seamless foray into a unique and technically sophisticated series of studio works which rarely come to market.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Los 15
STIK (B. 1979)Children of Fire 2011 spray paint on steel garage door 211.3 by 211.2 cm.83 3/16 by 83 1/8 in. This work was executed in 2011. Footnotes:Provenance Private Collection, UKLamberty Art Gallery, LondonAcquired directly from the above by the present owner in 2013LiteratureJack Fogg Ed., STIK, London 2015, p. 114, 117, illustrated in colourInsightful and unwavering, Children of Fire is a masterful meditation on our political moment by the renowned street artist STIK, capturing a sense of community and the significance of togetherness in the face of political and social strife. Created in response to the infamous London Riots which took place across the capital in August 2011, Children of Fire documents the civil unrest, triggered in the wake of the death of 29-year-old British man Mark Duggan, who was fatally shot by police in north London. It is a work that distils an unnerving sense of despair and yet exudes an unshakeable hope. It is as invigorating as it is simple and reticent. In the nascent history of contemporary Street Art, few works embody the spirit of the street artist as a documenter; a phantom beyond reciprocity, creating artworks in the public sphere that stand to call attention to the architecture, the arbitrators, and headlines of our day. Children of Fire is such a work. A 'street' piece – such examples are rarely granted permission to be sold publicly – it is testament to its time and the importance of the movement over the last two decades. Lasting for five days, the London Riots in 2011 sparked outrage and shook London, with widespread violence, looting, arson and ultimately five fatalities. A chain reaction of unrest took hold of the nation as the violence spread across the country, raising fists and fire in protest against perceived injustice. Images of burning vehicles and damaged buildings are reminiscent of an apocalyptic scene from a movie rather than the streets of the country's capital. STIK experienced the riots first hand in his home borough of Hackney in East London. Taking to the streets, he was surely one of the only artists to have documented this historic event in the moment. Preparatory studies were drawn amid the riots, and the present mural was painted in the following days on the garage door of Pogo Café, a vegan café and anarchist information centre. Two years later, Pogo Café sold Children of Fire to fund proceeds for related social causes. In the present work, the artist sets the scene against a vibrant canary yellow backdrop. A bright flame rises from the bottom of the composition surrounding three children in a golden, fiery halo. With proportions that are distinctly childlike, the figures are depicted in STIK's iconic, rudimentary, and enigmatic style. An array of emotions are subtly implied. Bewildered, and imbued with a vulnerable innocence, the children glance at their surroundings in apparent dismay. There is a whisper of sadness emanating from the hunched figures, yet there is, nonetheless, a defiance and ambition that shines through. Like a phoenix rising from the ashes, those who have burnt the city to the ground are countenanced by those who would build it from its rubble. It illustrates a city and generation in flux. Many of the perpetrators of the London Riots were adolescents and young adults. The legacy of the events of August 2011 has undoubtedly been one of horror, of the brutality that gripped a country and the criminal opportunism that led to the snowballing of an initial spark. Yet the riots left the country with a deeper sense of obligation and community, and in Children of Fire this feels asserted in the most striking of images.STIK's dynamic six-line two dot figures have become superbly iconic, with their friendly figures appearing across buildings and walls across the globe. Like other acclaimed street artists such as Banksy and his emblematic Girl With Balloon or OSMGEMEOS' memorable cartoon-like characters, STIK's figures are much loved landmarks and members of the community in their own right. Despite their seemingly simplistic form, each figure possesses its own distinguishable character as the artist assembles them with idiosyncratic personalities. A tilt of the head, a slight curve in the back, a raised arm, or the positioning of their remarkably expressive eyes can communicate as much emotion as a fully painted portrait. It is testament to STIK's ability as an artist and his sensitivity to body language and sentiment. Executed in 2011, this impressive work by STIK is arguably the most significant piece to come to market. It is an artwork that establishes some wonderful dichotomies: undoubtedly one of the rarest and most monumental paintings by the artist, it is humbly executed on a commonplace garage door. Making it rarer still, additional elements including the backdrop with the burning flame are scarcely seen, the artist generally favouring a single or two-figure image set against a monochrome surround. The inclusion of a rare third character is a composition STIK only employed in a short period of his output. Furthermore, this particular garage door became a repeat canvas for STIK at the Pogo Café, where he would revisit and paint three separate works over three years. The first mural was to appear in 2008, Radical, a painting showing a defiant vegan holding an asparagus raised high and proudly above the figure's head. The second mural titled Woman featuring a lone figure on the garage door, and the third and final work Children of Fire were both executed sequentially in 2011. Originally found in the artist's neighbourhood in East London, STIK's connection to this object as a surface and message-board for his paintings makes it a piece that is utterly unique amongst comparable works to be offered. Signalling the importance of community, brotherhood, and political action, Children of Fire is unquestionably one of the great works by STIK and represents an opportunity to acquire a painting that is laden with history and lore by one of the definitive street artists of the last two decades.This lot is subject to the following lot symbols: AR TPAR Goods subject to Artists Resale Right Additional Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Los 6
FRANK AUERBACH (B. 1931)Head of Catherine Lampert 1983-84 oil on canvas51.5 by 61.9 cm. 20 1/4 by 24 3/8 in.This work was executed in 1983-84.Footnotes:ProvenanceMarlborough Fine Art Ltd., London (no. 35121.6)Acquired directly from the above by the present owner in 1984LiteratureWilliam Feaver, Frank Auerbach, New York 2009, no. 510, p. 123, illustrated in colourFrank Auerbach is one of Britain's most distinctive and celebrated painters: an artist for whom the creation of a raw, living image made in response to the presence of a seated model has for over fifty years been a fundamental, ongoing preoccupation throughout his remarkable and lengthy oeuvre. Renowned especially for his heavy application of paint that masterfully fills his compositions, Auerbach is credited with making some of the most impressive, vibrant, and intuitive portraits of the post-war years. His first exhibition was held at London's Beaux Arts Gallery in 1956 and since then his paintings have become some of the most internationally collected of living artists. Born in Berlin in 1931, Auerbach came to England in 1939, a refugee from Nazi oppression which claimed both his parents. While still a student at St Martin's School of Art in the early 1950s, Auerbach attended night classes given by David Bomberg at Borough Polytechnic. This schooling would significantly shape the young artist's development. Bomberg emphasised the need to evoke the sensed experience of another human being – their weight, mass, position, and presence; above and beyond the necessity to describe a subject's literal appearance. Auerbach later went on to study at the Royal College of Art, ultimately developing his signature palette of bold colours and distinctive, thickly applied painting style. Throughout his career, Auerbach has focused on a small number of subjects, choosing to depict a select group of close friends and family members. He would paint the same model at regular intervals over long periods of time, thereby achieving an intimate knowledge of his sitters, and his depictions are not necessarily a recognisable likeness, but vital physical presences with their own sense of life. Conducted over many sittings, Auerbach continually works and reworks his canvases, resulting in his established technique of a dense accrual of brushstrokes interwoven with layers of rich and vibrant colour that bounce off his canvases. Painted in 1983-84 and stemming from a triumphant period in Auerbach's career, Head of Catherine Lampert is a vigorous, rich, and painterly portrait of one of the artist's most frequent and celebrated sitters. Lampert has consistently sat for Auerbach since 1978 when she worked on his Hayward Gallery retrospective. She habitually joined the artist in his studio on successive Monday evenings, then by appointment for a number of years, before settling on Friday evenings. Lampert worked at the Hayward Gallery before becoming Director of the Whitechapel Gallery in 1988 and would later go on to curate the artist's major retrospective exhibition at the Royal Academy in 2001. In this present work, Auerbach renders Catherine's head in a swirling sweep of brushstrokes and impastoed accumulation of pigment, projecting dynamically from the thinner areas of paint that articulate the background. He creates an almost sculptural construction of Lampert's head that reveals in its expressive rawness the tangible familiarity between artist and sitter, the boldly articulated brushstrokes enlivened by a sincere sense of emotional communion between the two. The numerous appointments acted as a chronicle to the events of their lives, passage of time and friendship they ultimately shared. As Lampert herself has explained, the moments spent with Auerbach felt as though time was suspended, 'that odd limbo, not an unpleasant state, of drifting from practical self-reminders into daydreams and unquantifiable desires'. (Catherine Lampert quoted in William Feaver, Frank Auerbach, New York 2009, p. 21).The intensity of Auerbach's response to his sitter and subject is magnificently brought to life through his dazzling handling of oil and his masterful treatment of paint application and structural composition. In the present work, the paint has been meticulously layered to create a textured landscape of pigment especially evident in the vibrant red impasto at the centre of his portrait that seemingly drips from the surface, enlivening the bold silhouette that emerges from the composition. Amid swathes of dramatic brushwork that layer and contribute to the sculptural surface, the teasingly tangible intensity of Auerbach's subject materialises. The familiarity and intimacy of their close friendship is evident in the thick layering of paint, and despite the artist's tendency towards abstraction, the head of Catherine Lampert is nonetheless made apparent through heavy brushstrokes amidst a plane of green, yellow, earthy, and grey tones. Through this obvious suggestion of the artist's hand, the present composition offers a vigorous sense of velocity and motion, and while Auerbach confidently conveys an accurate image of his sitter's psyche, the result is that his portraits are overwhelmingly physical whilst still exuding light and the warmth of Catherine's character. Their evident friendship radiates from the composition. As William Feaver once stated, 'Auerbach's heads are conceived not as busts or cameos but as presences' (William Feaver, Frank Auerbach, New York 2009, p. 20).Frank Auerbach is widely recognised as one of the most inventive, recognisable, and influential painters of the post-War period. In 1978, the artist was honoured with a retrospective at London's Hayward Gallery and in 2015, London's Tate Britain, in partnership with Kunstmuseum Bonn, mounted another major retrospective of his work. Today, his paintings reside in the prestigious permanent collections of the Tate Gallery and National Portrait Gallery in London; Museum of Modern Art and The Metropolitan Museum of Art, in New York; and the Museo Nacional Thyssen-Bornemisza in Madrid, among many others. Head of Catherine Lampert is a stunning and seminal example of Auerbach's thoroughly inimitable, intimate, and psychologically compelling portraiture of one of his most important and celebrated sitters.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Los 1
Property from the Marie-Louise von Motesiczky Charitable Trust, LondonMARIE-LOUISE VON MOTESICZKY (1906-1996)Still-life with globeoil on canvas, unframed 58.3 x 58.3 cm (23 x 23 in)Painted in 1953LITERATURE:I. Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p. 239, no. 124CONDITION REPORT:Oil on canvas, unframed. Not lined. On very close inspection there are very fine horizontal lines of craquelure running to the right of the stand of the globe and to the lower left corner of the globe. Examined under UV: there is evidence of a small area of retouching to the centre right of the globe, also visible in a raking light. Overall, it our opinion that the work is in good original condition. Selected Works from the Marie-Louise von Motesiczky Charitable Trust Motesiczky’s expressive and very painterly style had been formed before the Second World War, in large part influenced and encouraged by Max Beckmann. On first being introduced to Beckmann in 1920 she recalled: ‘A winged creature from Mars could not have made a greater impact on me’. Once in Britain it was Oskar Kokoschka, a family friend from Vienna now similarly exiled, who helped champion her work. Thereafter, and very much on a personal level, it was the writer Elias Canetti (1905-1994) a fellow émigré who exercised a major influence over her artistic output. Marie-Louise von Motesiczky grew up with her parents and her brother Karl in central Vienna. Her mother Henriette came from an illustrious Viennese Jewish banking dynasty. Her maternal grandfather, Leopold von Lieben, was President of the Stock Exchange; her grandmother, Anna, one of Freud’s early patients. She counted the Todescos, and Ephrussis among her family circle, and she, her mother and her brother Karl spent their summers at Villa Todesco in Hinterbrühl, south west of the capital. But over time family tragedy, financial difficulties and the rise of Nazi Germany took their toll. Marie-Louise’s father died at the end of 1909 and after the First World War her mother’s considerable inheritance gradually diminished through high taxation, poor investments, and the financial crash of 1929. Then, with the rise of the Third Reich and the Anschluss in March 1938, when Austria was annexed by Germany, she and her mother fled Vienna for the Netherlands before emigrating to England in 1939. Further distress followed when her brother Karl, who had remained in Austria, was arrested and deported to Auschwitz, dying of typhus there on 25 June 1943. On Motesiczky’s arrival in London Kokoschka ensured her inclusion in a series of group exhibitions, and assisted her in the staging of a solo exhibition at the Czechoslovak Institute in the autumn of 1944. Further group shows followed, and in 1960 she had a second solo exhibition at the influential Beaux Arts Gallery off Bond Street. On the Continent she received acclaim for her work in exhibitions in Amsterdam and The Hague in 1952, one of her canvases being purchased by the Stedelijk Museum. The same decade she exhibited in Munich and Düsseldorf, and in the 1960s was the subject of shows in Germany and Austria, including a one-person exhibition at the Wiener Secession in 1966. In 1985, a full twenty-five years after her work had been shown at the Beaux Arts Gallery, she was the subject of another solo exhibition in London, at the Goethe-Institut, which was widely acclaimed in the press. In 1994 a major retrospective of her work was held in Vienna at the Österreichische Galerie, Oberes Belvedere and in Manchester at the City Art Gallery. In 2006-07 her work was celebrated in a centenary exhibition at Tate Liverpool, travelling to Frankfurt, Vienna, Passau and Southampton City Art Gallery. Also in 2007 Jill Lloyd’s biography of Marie-Louise appeared: The Undiscovered Expressionist. A Life of Marie-Louise von Motesiczky, followed in 2009 by the catalogue raisonné of her paintings by Ines Schlenker itemising over 350 works. Most recently in 2019-20, Tate Britain held an exhibition devoted to her to inaugurate the gallery named in perpetuity as the ‘Marie-Louise von Motesiczky Archive Gallery’ for all future displays of Tate’s archive holdings in general. The work of Marie-Louise von Motesiczky held in public collections Institutions in the UK holding works by the artist include: the Ben Uri Gallery and Museum, the British Museum, Burgh House, Hampstead, Freud Museum, Garden Museum, National Portrait Gallery and Tate in London (which also holds her archive); the Amersham Museum, Fitzwilliam Museum, Cambridge, New Walk Museum and Art Gallery, Leicester, Manchester Art Gallery, National Galleries of Scotland, Edinburgh and the Hunterian Art Gallery, Glasgow. Elsewhere her work is in the National Gallery of Ireland, Dublin; the Stedelijk, Amsterdam; the Boijmans van Beuningen Museum, Rotterdam; the Städel Museum, Frankfurt; the German Literary Archive in Marbach; the Albertina, Österreichische Galerie Belvedere, the Leopold Museum and the Museum Wien in Vienna; the Lentos Kunstmuseum, Linz and the Stanley Museum, University of Iowa, USA. Please find a link to the Catalogue Raisonné for Marie-Louise von Motesiczky: https://www.motesiczky.org/publications/ Marie-Louise von Motesiczky 1906-1996. A Catalogue Raisonné of the Paintings by Ines Schlenker, Hudson Hills Press, New York, 2009. The Marie-Louise von Motesiczky Charitable Trust The Marie-Louise von Motesiczky Charitable Trust, is a company limited by guarantee registered in England and Wales (no. 7572024) and a registered charity (no. 1140890): www.motesiczky.org. The copyright for Marie-Louise von Motesiczky’s paintings, drawings and correspondence or other written work originating from her, her mother Henriette and brother Karl, lies with the Marie-Louise von Motesiczky Charitable Trust.
Los 10
Property from the Marie-Louise von Motesiczky Charitable Trust, LondonMARIE-LOUISE VON MOTESICZKY (1906-1996)Eight figures in yellow hats in a landscape oil on canvas, unframed41 x 51 cm (16 1/8 x 20 1/8 in)Painted in 1959LITERATURE:I. Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p.288, no. 157CONDITION REPORT:Oil on canvas, unframed. Not lined. Examined under UV: there are no visible signs of fluorescing. Overall, it our opinion that the work is in very good original condition.The present lot was inspired by a holiday the artist took to the United States and Mexico in the Spring of 1956. Eight Mexican men in canary yellow sombreros walk in a sketchy barren landscape. The men march in a line under a green horizontal structure, possibly a railway bridge, and the painting is somewhat humerous due to the rigid postures and comical hats of the figures. Selected Works from the Marie-Louise von Motesiczky Charitable Trust Motesiczky’s expressive and very painterly style had been formed before the Second World War, in large part influenced and encouraged by Max Beckmann. On first being introduced to Beckmann in 1920 she recalled: ‘A winged creature from Mars could not have made a greater impact on me’. Once in Britain it was Oskar Kokoschka, a family friend from Vienna now similarly exiled, who helped champion her work. Thereafter, and very much on a personal level, it was the writer Elias Canetti (1905-1994) a fellow émigré who exercised a major influence over her artistic output. Marie-Louise von Motesiczky grew up with her parents and her brother Karl in central Vienna. Her mother Henriette came from an illustrious Viennese Jewish banking dynasty. Her maternal grandfather, Leopold von Lieben, was President of the Stock Exchange; her grandmother, Anna, one of Freud’s early patients. She counted the Todescos, and Ephrussis among her family circle, and she, her mother and her brother Karl spent their summers at Villa Todesco in Hinterbrühl, south west of the capital. But over time family tragedy, financial difficulties and the rise of Nazi Germany took their toll. Marie-Louise’s father died at the end of 1909 and after the First World War her mother’s considerable inheritance gradually diminished through high taxation, poor investments, and the financial crash of 1929. Then, with the rise of the Third Reich and the Anschluss in March 1938, when Austria was annexed by Germany, she and her mother fled Vienna for the Netherlands before emigrating to England in 1939. Further distress followed when her brother Karl, who had remained in Austria, was arrested and deported to Auschwitz, dying of typhus there on 25 June 1943. On Motesiczky’s arrival in London Kokoschka ensured her inclusion in a series of group exhibitions, and assisted her in the staging of a solo exhibition at the Czechoslovak Institute in the autumn of 1944. Further group shows followed, and in 1960 she had a second solo exhibition at the influential Beaux Arts Gallery off Bond Street. On the Continent she received acclaim for her work in exhibitions in Amsterdam and The Hague in 1952, one of her canvases being purchased by the Stedelijk Museum. The same decade she exhibited in Munich and Düsseldorf, and in the 1960s was the subject of shows in Germany and Austria, including a one-person exhibition at the Wiener Secession in 1966. In 1985, a full twenty-five years after her work had been shown at the Beaux Arts Gallery, she was the subject of another solo exhibition in London, at the Goethe-Institut, which was widely acclaimed in the press. In 1994 a major retrospective of her work was held in Vienna at the Österreichische Galerie, Oberes Belvedere and in Manchester at the City Art Gallery. In 2006-07 her work was celebrated in a centenary exhibition at Tate Liverpool, travelling to Frankfurt, Vienna, Passau and Southampton City Art Gallery. Also in 2007 Jill Lloyd’s biography of Marie-Louise appeared: The Undiscovered Expressionist. A Life of Marie-Louise von Motesiczky, followed in 2009 by the catalogue raisonné of her paintings by Ines Schlenker itemising over 350 works. Most recently in 2019-20, Tate Britain held an exhibition devoted to her to inaugurate the gallery named in perpetuity as the ‘Marie-Louise von Motesiczky Archive Gallery’ for all future displays of Tate’s archive holdings in general. The work of Marie-Louise von Motesiczky held in public collections Institutions in the UK holding works by the artist include: the Ben Uri Gallery and Museum, the British Museum, Burgh House, Hampstead, Freud Museum, Garden Museum, National Portrait Gallery and Tate in London (which also holds her archive); the Amersham Museum, Fitzwilliam Museum, Cambridge, New Walk Museum and Art Gallery, Leicester, Manchester Art Gallery, National Galleries of Scotland, Edinburgh and the Hunterian Art Gallery, Glasgow. Elsewhere her work is in the National Gallery of Ireland, Dublin; the Stedelijk, Amsterdam; the Boijmans van Beuningen Museum, Rotterdam; the Städel Museum, Frankfurt; the German Literary Archive in Marbach; the Albertina, Österreichische Galerie Belvedere, the Leopold Museum and the Museum Wien in Vienna; the Lentos Kunstmuseum, Linz and the Stanley Museum, University of Iowa, USA. Please find a link to the Catalogue Raisonné for Marie-Louise von Motesiczky: https://www.motesiczky.org/publications/ Marie-Louise von Motesiczky 1906-1996. A Catalogue Raisonné of the Paintings by Ines Schlenker, Hudson Hills Press, New York, 2009. The Marie-Louise von Motesiczky Charitable Trust The Marie-Louise von Motesiczky Charitable Trust, is a company limited by guarantee registered in England and Wales (no. 7572024) and a registered charity (no. 1140890): www.motesiczky.org. The copyright for Marie-Louise von Motesiczky’s paintings, drawings and correspondence or other written work originating from her, her mother Henriette and brother Karl, lies with the Marie-Louise von Motesiczky Charitable Trust.
Los 11
Property from the Marie-Louise von Motesiczky Charitable Trust, LondonMARIE-LOUISE VON MOTESICZKY (1906-1996)Snake charmer oil and pastel on canvas, unframed80.5 x 50.5 cm (31 3/4 x 19 7/8 in) Painted in 1964LITERATURE:I. Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p. 332, no. 191CONDITION REPORT:Oil and pastel on canvas, unframed. Not lined. Small hole to the canvas above the man's head. Examined under UV: there are no visible signs of fluorescing. Overall, it our opinion that the work is in good original condition.In May 1964 Motesiczky visited Tunisia where she may have come across groups of snake charmers. In the present work a bearded man in purple harem pants, draped with a large snake around his shoulders stands at the centre of the composition, whilst a mysterious yellow dressed figure plays the flute behind him, accompanying his performance. Selected Works from the Marie-Louise von Motesiczky Charitable Trust Motesiczky’s expressive and very painterly style had been formed before the Second World War, in large part influenced and encouraged by Max Beckmann. On first being introduced to Beckmann in 1920 she recalled: ‘A winged creature from Mars could not have made a greater impact on me’. Once in Britain it was Oskar Kokoschka, a family friend from Vienna now similarly exiled, who helped champion her work. Thereafter, and very much on a personal level, it was the writer Elias Canetti (1905-1994) a fellow émigré who exercised a major influence over her artistic output. Marie-Louise von Motesiczky grew up with her parents and her brother Karl in central Vienna. Her mother Henriette came from an illustrious Viennese Jewish banking dynasty. Her maternal grandfather, Leopold von Lieben, was President of the Stock Exchange; her grandmother, Anna, one of Freud’s early patients. She counted the Todescos, and Ephrussis among her family circle, and she, her mother and her brother Karl spent their summers at Villa Todesco in Hinterbrühl, south west of the capital. But over time family tragedy, financial difficulties and the rise of Nazi Germany took their toll. Marie-Louise’s father died at the end of 1909 and after the First World War her mother’s considerable inheritance gradually diminished through high taxation, poor investments, and the financial crash of 1929. Then, with the rise of the Third Reich and the Anschluss in March 1938, when Austria was annexed by Germany, she and her mother fled Vienna for the Netherlands before emigrating to England in 1939. Further distress followed when her brother Karl, who had remained in Austria, was arrested and deported to Auschwitz, dying of typhus there on 25 June 1943. On Motesiczky’s arrival in London Kokoschka ensured her inclusion in a series of group exhibitions, and assisted her in the staging of a solo exhibition at the Czechoslovak Institute in the autumn of 1944. Further group shows followed, and in 1960 she had a second solo exhibition at the influential Beaux Arts Gallery off Bond Street. On the Continent she received acclaim for her work in exhibitions in Amsterdam and The Hague in 1952, one of her canvases being purchased by the Stedelijk Museum. The same decade she exhibited in Munich and Düsseldorf, and in the 1960s was the subject of shows in Germany and Austria, including a one-person exhibition at the Wiener Secession in 1966. In 1985, a full twenty-five years after her work had been shown at the Beaux Arts Gallery, she was the subject of another solo exhibition in London, at the Goethe-Institut, which was widely acclaimed in the press. In 1994 a major retrospective of her work was held in Vienna at the Österreichische Galerie, Oberes Belvedere and in Manchester at the City Art Gallery. In 2006-07 her work was celebrated in a centenary exhibition at Tate Liverpool, travelling to Frankfurt, Vienna, Passau and Southampton City Art Gallery. Also in 2007 Jill Lloyd’s biography of Marie-Louise appeared: The Undiscovered Expressionist. A Life of Marie-Louise von Motesiczky, followed in 2009 by the catalogue raisonné of her paintings by Ines Schlenker itemising over 350 works. Most recently in 2019-20, Tate Britain held an exhibition devoted to her to inaugurate the gallery named in perpetuity as the ‘Marie-Louise von Motesiczky Archive Gallery’ for all future displays of Tate’s archive holdings in general. The work of Marie-Louise von Motesiczky held in public collections Institutions in the UK holding works by the artist include: the Ben Uri Gallery and Museum, the British Museum, Burgh House, Hampstead, Freud Museum, Garden Museum, National Portrait Gallery and Tate in London (which also holds her archive); the Amersham Museum, Fitzwilliam Museum, Cambridge, New Walk Museum and Art Gallery, Leicester, Manchester Art Gallery, National Galleries of Scotland, Edinburgh and the Hunterian Art Gallery, Glasgow. Elsewhere her work is in the National Gallery of Ireland, Dublin; the Stedelijk, Amsterdam; the Boijmans van Beuningen Museum, Rotterdam; the Städel Museum, Frankfurt; the German Literary Archive in Marbach; the Albertina, Österreichische Galerie Belvedere, the Leopold Museum and the Museum Wien in Vienna; the Lentos Kunstmuseum, Linz and the Stanley Museum, University of Iowa, USA. Please find a link to the Catalogue Raisonné for Marie-Louise von Motesiczky: https://www.motesiczky.org/publications/ Marie-Louise von Motesiczky 1906-1996. A Catalogue Raisonné of the Paintings by Ines Schlenker, Hudson Hills Press, New York, 2009. The Marie-Louise von Motesiczky Charitable Trust The Marie-Louise von Motesiczky Charitable Trust, is a company limited by guarantee registered in England and Wales (no. 7572024) and a registered charity (no. 1140890): www.motesiczky.org. The copyright for Marie-Louise von Motesiczky’s paintings, drawings and correspondence or other written work originating from her, her mother Henriette and brother Karl, lies with the Marie-Louise von Motesiczky Charitable Trust.
Los 12
Property from the Marie-Louise von Motesiczky Charitable Trust, LondonMARIE-LOUISE VON MOTESICZKY (1906-1996)Fiesta 2oil on canvas, unframed101.5 x 71 cm (40 x 28 in) Painted in 1967LITERATURE:I. Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p. 359, no. 208CONDITION REPORT:Oil on canvas, unframed. Not lined. Examined under UV: there are no visible signs of fluorescing. Overall, it our opinion that the work is in very good original condition.Fiesta 2 is one of two earlier and uncompleted paintings for the final Fiesta (sold by Chiswick Auctions for £3,250 inc. premium in June 2021). The present depiction of a larger than life androgynous dancer, surrounded by a rich cast of characters - young and old, small and large - is one of Motesiczky's most ambitious compositions. The painting draws first and foremost on the artist's memories of her trip to Spain in 1966. But the flamboyant subject matter and Marie-Louise's poetic license with proportions clearly reflects her years in Germany, the formative influence of Max Beckmann on her art, and exposure to the Expressionism of such painters as George Grosz and Otto Dix.The juxtaposition of the central dancer, the grouped figures to the left and the energised sketched brushstrokes elsewhere in the composition suggests that order has descended into chaos. As Schlenker comments, such a mix is 'At odds with the apparently joyous occasion... Although it is difficult to interpret and make sense of the individual scenes, the inherent danger, subtle threat and indefinable sinister undertones of the painting are inexplicably palpable' (Schlenker p. 358).Schlenker notes that Motesiczky recorded her struggle to complete the work in her diary: 'Today I want to finish the picture of the Spanish dancer. Will it really work - as Pio [Elias Canetti] thinks?' Schlenker added: 'Despite the artist's doubts, on completion, the painting was immediately included in her Munich exhibition that autumn.' Selected Works from the Marie-Louise von Motesiczky Charitable Trust Motesiczky’s expressive and very painterly style had been formed before the Second World War, in large part influenced and encouraged by Max Beckmann. On first being introduced to Beckmann in 1920 she recalled: ‘A winged creature from Mars could not have made a greater impact on me’. Once in Britain it was Oskar Kokoschka, a family friend from Vienna now similarly exiled, who helped champion her work. Thereafter, and very much on a personal level, it was the writer Elias Canetti (1905-1994) a fellow émigré who exercised a major influence over her artistic output. Marie-Louise von Motesiczky grew up with her parents and her brother Karl in central Vienna. Her mother Henriette came from an illustrious Viennese Jewish banking dynasty. Her maternal grandfather, Leopold von Lieben, was President of the Stock Exchange; her grandmother, Anna, one of Freud’s early patients. She counted the Todescos, and Ephrussis among her family circle, and she, her mother and her brother Karl spent their summers at Villa Todesco in Hinterbrühl, south west of the capital. But over time family tragedy, financial difficulties and the rise of Nazi Germany took their toll. Marie-Louise’s father died at the end of 1909 and after the First World War her mother’s considerable inheritance gradually diminished through high taxation, poor investments, and the financial crash of 1929. Then, with the rise of the Third Reich and the Anschluss in March 1938, when Austria was annexed by Germany, she and her mother fled Vienna for the Netherlands before emigrating to England in 1939. Further distress followed when her brother Karl, who had remained in Austria, was arrested and deported to Auschwitz, dying of typhus there on 25 June 1943. On Motesiczky’s arrival in London Kokoschka ensured her inclusion in a series of group exhibitions, and assisted her in the staging of a solo exhibition at the Czechoslovak Institute in the autumn of 1944. Further group shows followed, and in 1960 she had a second solo exhibition at the influential Beaux Arts Gallery off Bond Street. On the Continent she received acclaim for her work in exhibitions in Amsterdam and The Hague in 1952, one of her canvases being purchased by the Stedelijk Museum. The same decade she exhibited in Munich and Düsseldorf, and in the 1960s was the subject of shows in Germany and Austria, including a one-person exhibition at the Wiener Secession in 1966. In 1985, a full twenty-five years after her work had been shown at the Beaux Arts Gallery, she was the subject of another solo exhibition in London, at the Goethe-Institut, which was widely acclaimed in the press. In 1994 a major retrospective of her work was held in Vienna at the Österreichische Galerie, Oberes Belvedere and in Manchester at the City Art Gallery. In 2006-07 her work was celebrated in a centenary exhibition at Tate Liverpool, travelling to Frankfurt, Vienna, Passau and Southampton City Art Gallery. Also in 2007 Jill Lloyd’s biography of Marie-Louise appeared: The Undiscovered Expressionist. A Life of Marie-Louise von Motesiczky, followed in 2009 by the catalogue raisonné of her paintings by Ines Schlenker itemising over 350 works. Most recently in 2019-20, Tate Britain held an exhibition devoted to her to inaugurate the gallery named in perpetuity as the ‘Marie-Louise von Motesiczky Archive Gallery’ for all future displays of Tate’s archive holdings in general. The work of Marie-Louise von Motesiczky held in public collections Institutions in the UK holding works by the artist include: the Ben Uri Gallery and Museum, the British Museum, Burgh House, Hampstead, Freud Museum, Garden Museum, National Portrait Gallery and Tate in London (which also holds her archive); the Amersham Museum, Fitzwilliam Museum, Cambridge, New Walk Museum and Art Gallery, Leicester, Manchester Art Gallery, National Galleries of Scotland, Edinburgh and the Hunterian Art Gallery, Glasgow. Elsewhere her work is in the National Gallery of Ireland, Dublin; the Stedelijk, Amsterdam; the Boijmans van Beuningen Museum, Rotterdam; the Städel Museum, Frankfurt; the German Literary Archive in Marbach; the Albertina, Österreichische Galerie Belvedere, the Leopold Museum and the Museum Wien in Vienna; the Lentos Kunstmuseum, Linz and the Stanley Museum, University of Iowa, USA. Please find a link to the Catalogue Raisonné for Marie-Louise von Motesiczky: https://www.motesiczky.org/publications/ Marie-Louise von Motesiczky 1906-1996. A Catalogue Raisonné of the Paintings by Ines Schlenker, Hudson Hills Press, New York, 2009. The Marie-Louise von Motesiczky Charitable Trust The Marie-Louise von Motesiczky Charitable Trust, is a company limited by guarantee registered in England and Wales (no. 7572024) and a registered charity (no. 1140890): www.motesiczky.org. The copyright for Marie-Louise von Motesiczky’s paintings, drawings and correspondence or other written work originating from her, her mother Henriette and brother Karl, lies with the Marie-Louise von Motesiczky Charitable Trust.
Los 13
Property from the Marie-Louise von Motesiczky Charitable Trust, LondonMARIE-LOUISE VON MOTESICZKY (1906-1996)Lorette as paintersigned and dated M. Motesiczky 1968. (upper right)oil on canvassight-size: 69 x 53.7 cm (27 1/8 x 21 1/8 in)Painted in 1968Sold with a preparatory study: MARIE-LOUISE VON MOTESICZKY (1906-1996)Head of Lorettecharcoal sight-size: 39.2 x 35.7 cm (15 1/2 x 13 7/8 in)Executed in 1968 EXHIBITED:London, John Denham Gallery, Emigre Artists, 1987Dublin, Royal Hospital Kilmainham, Marie Louise von Motesiczky with 'Figurative Image', 1988, no.14LITERATURE:I. Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p.383, no. 220CONDITION REPORT:Oil on canvas, unframed. Not lined. Examined under UV: there are no visible signs of fluorescing. Overall, it our opinion that the work is in very good original condition. Painted and signed in 1968, Lorette as Painter depicts Lorette Lugten. Lugten was from Jakarta and living in London in the late 1960s when she met Motesicskzy. A fellow painter herself, Lugten was persuaded to sit for Motesicsky once a week. As well as being featured in the painting Lorette in the Studio (sold for £9,250 inc. Buyer's Premium by Chiswick Auctions in November 2021), Lugten features in several accomplished drawings. Here she is depicted in oil holding the tools of her trade, a palette and a brush, wearing a painter’s smock. She gazes outwards, intently studying her subject. Selected Works from the Marie-Louise von Motesiczky Charitable Trust Motesiczky’s expressive and very painterly style had been formed before the Second World War, in large part influenced and encouraged by Max Beckmann. On first being introduced to Beckmann in 1920 she recalled: ‘A winged creature from Mars could not have made a greater impact on me’. Once in Britain it was Oskar Kokoschka, a family friend from Vienna now similarly exiled, who helped champion her work. Thereafter, and very much on a personal level, it was the writer Elias Canetti (1905-1994) a fellow émigré who exercised a major influence over her artistic output. Marie-Louise von Motesiczky grew up with her parents and her brother Karl in central Vienna. Her mother Henriette came from an illustrious Viennese Jewish banking dynasty. Her maternal grandfather, Leopold von Lieben, was President of the Stock Exchange; her grandmother, Anna, one of Freud’s early patients. She counted the Todescos, and Ephrussis among her family circle, and she, her mother and her brother Karl spent their summers at Villa Todesco in Hinterbrühl, south west of the capital. But over time family tragedy, financial difficulties and the rise of Nazi Germany took their toll. Marie-Louise’s father died at the end of 1909 and after the First World War her mother’s considerable inheritance gradually diminished through high taxation, poor investments, and the financial crash of 1929. Then, with the rise of the Third Reich and the Anschluss in March 1938, when Austria was annexed by Germany, she and her mother fled Vienna for the Netherlands before emigrating to England in 1939. Further distress followed when her brother Karl, who had remained in Austria, was arrested and deported to Auschwitz, dying of typhus there on 25 June 1943. On Motesiczky’s arrival in London Kokoschka ensured her inclusion in a series of group exhibitions, and assisted her in the staging of a solo exhibition at the Czechoslovak Institute in the autumn of 1944. Further group shows followed, and in 1960 she had a second solo exhibition at the influential Beaux Arts Gallery off Bond Street. On the Continent she received acclaim for her work in exhibitions in Amsterdam and The Hague in 1952, one of her canvases being purchased by the Stedelijk Museum. The same decade she exhibited in Munich and Düsseldorf, and in the 1960s was the subject of shows in Germany and Austria, including a one-person exhibition at the Wiener Secession in 1966. In 1985, a full twenty-five years after her work had been shown at the Beaux Arts Gallery, she was the subject of another solo exhibition in London, at the Goethe-Institut, which was widely acclaimed in the press. In 1994 a major retrospective of her work was held in Vienna at the Österreichische Galerie, Oberes Belvedere and in Manchester at the City Art Gallery. In 2006-07 her work was celebrated in a centenary exhibition at Tate Liverpool, travelling to Frankfurt, Vienna, Passau and Southampton City Art Gallery. Also in 2007 Jill Lloyd’s biography of Marie-Louise appeared: The Undiscovered Expressionist. A Life of Marie-Louise von Motesiczky, followed in 2009 by the catalogue raisonné of her paintings by Ines Schlenker itemising over 350 works. Most recently in 2019-20, Tate Britain held an exhibition devoted to her to inaugurate the gallery named in perpetuity as the ‘Marie-Louise von Motesiczky Archive Gallery’ for all future displays of Tate’s archive holdings in general. The work of Marie-Louise von Motesiczky held in public collections Institutions in the UK holding works by the artist include: the Ben Uri Gallery and Museum, the British Museum, Burgh House, Hampstead, Freud Museum, Garden Museum, National Portrait Gallery and Tate in London (which also holds her archive); the Amersham Museum, Fitzwilliam Museum, Cambridge, New Walk Museum and Art Gallery, Leicester, Manchester Art Gallery, National Galleries of Scotland, Edinburgh and the Hunterian Art Gallery, Glasgow. Elsewhere her work is in the National Gallery of Ireland, Dublin; the Stedelijk, Amsterdam; the Boijmans van Beuningen Museum, Rotterdam; the Städel Museum, Frankfurt; the German Literary Archive in Marbach; the Albertina, Österreichische Galerie Belvedere, the Leopold Museum and the Museum Wien in Vienna; the Lentos Kunstmuseum, Linz and the Stanley Museum, University of Iowa, USA. Please find a link to the Catalogue Raisonné for Marie-Louise von Motesiczky: https://www.motesiczky.org/publications/ Marie-Louise von Motesiczky 1906-1996. A Catalogue Raisonné of the Paintings by Ines Schlenker, Hudson Hills Press, New York, 2009. The Marie-Louise von Motesiczky Charitable Trust The Marie-Louise von Motesiczky Charitable Trust, is a company limited by guarantee registered in England and Wales (no. 7572024) and a registered charity (no. 1140890): www.motesiczky.org. The copyright for Marie-Louise von Motesiczky’s paintings, drawings and correspondence or other written work originating from her, her mother Henriette and brother Karl, lies with the Marie-Louise von Motesiczky Charitable Trust.
Los 14
Property from the Marie-Louise von Motesiczky Charitable Trust, LondonMARIE-LOUISE VON MOTESICZKY (1906-1996)Still life with bowl and daffodils oil on canvas, unframed61 x 51 cm (24 x 20 1/8 in)Painted in 1988LITERATURE:I. Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p.479, no. 295CONDITION REPORT:Oil on canvas, unframed. Not lined. Minor frame abrasions at the extreme edges in places. On very close inspection there is evidence of scattered fine lines of craquelure in places throughout. There is evidence of cupping towards the lower centre edge, to the right of the glass. Examined under UV: there are no visible signs of fluorescing. Overall, it our opinion that the work is in good original condition. Selected Works from the Marie-Louise von Motesiczky Charitable Trust Motesiczky’s expressive and very painterly style had been formed before the Second World War, in large part influenced and encouraged by Max Beckmann. On first being introduced to Beckmann in 1920 she recalled: ‘A winged creature from Mars could not have made a greater impact on me’. Once in Britain it was Oskar Kokoschka, a family friend from Vienna now similarly exiled, who helped champion her work. Thereafter, and very much on a personal level, it was the writer Elias Canetti (1905-1994) a fellow émigré who exercised a major influence over her artistic output. Marie-Louise von Motesiczky grew up with her parents and her brother Karl in central Vienna. Her mother Henriette came from an illustrious Viennese Jewish banking dynasty. Her maternal grandfather, Leopold von Lieben, was President of the Stock Exchange; her grandmother, Anna, one of Freud’s early patients. She counted the Todescos, and Ephrussis among her family circle, and she, her mother and her brother Karl spent their summers at Villa Todesco in Hinterbrühl, south west of the capital. But over time family tragedy, financial difficulties and the rise of Nazi Germany took their toll. Marie-Louise’s father died at the end of 1909 and after the First World War her mother’s considerable inheritance gradually diminished through high taxation, poor investments, and the financial crash of 1929. Then, with the rise of the Third Reich and the Anschluss in March 1938, when Austria was annexed by Germany, she and her mother fled Vienna for the Netherlands before emigrating to England in 1939. Further distress followed when her brother Karl, who had remained in Austria, was arrested and deported to Auschwitz, dying of typhus there on 25 June 1943. On Motesiczky’s arrival in London Kokoschka ensured her inclusion in a series of group exhibitions, and assisted her in the staging of a solo exhibition at the Czechoslovak Institute in the autumn of 1944. Further group shows followed, and in 1960 she had a second solo exhibition at the influential Beaux Arts Gallery off Bond Street. On the Continent she received acclaim for her work in exhibitions in Amsterdam and The Hague in 1952, one of her canvases being purchased by the Stedelijk Museum. The same decade she exhibited in Munich and Düsseldorf, and in the 1960s was the subject of shows in Germany and Austria, including a one-person exhibition at the Wiener Secession in 1966. In 1985, a full twenty-five years after her work had been shown at the Beaux Arts Gallery, she was the subject of another solo exhibition in London, at the Goethe-Institut, which was widely acclaimed in the press. In 1994 a major retrospective of her work was held in Vienna at the Österreichische Galerie, Oberes Belvedere and in Manchester at the City Art Gallery. In 2006-07 her work was celebrated in a centenary exhibition at Tate Liverpool, travelling to Frankfurt, Vienna, Passau and Southampton City Art Gallery. Also in 2007 Jill Lloyd’s biography of Marie-Louise appeared: The Undiscovered Expressionist. A Life of Marie-Louise von Motesiczky, followed in 2009 by the catalogue raisonné of her paintings by Ines Schlenker itemising over 350 works. Most recently in 2019-20, Tate Britain held an exhibition devoted to her to inaugurate the gallery named in perpetuity as the ‘Marie-Louise von Motesiczky Archive Gallery’ for all future displays of Tate’s archive holdings in general. The work of Marie-Louise von Motesiczky held in public collections Institutions in the UK holding works by the artist include: the Ben Uri Gallery and Museum, the British Museum, Burgh House, Hampstead, Freud Museum, Garden Museum, National Portrait Gallery and Tate in London (which also holds her archive); the Amersham Museum, Fitzwilliam Museum, Cambridge, New Walk Museum and Art Gallery, Leicester, Manchester Art Gallery, National Galleries of Scotland, Edinburgh and the Hunterian Art Gallery, Glasgow. Elsewhere her work is in the National Gallery of Ireland, Dublin; the Stedelijk, Amsterdam; the Boijmans van Beuningen Museum, Rotterdam; the Städel Museum, Frankfurt; the German Literary Archive in Marbach; the Albertina, Österreichische Galerie Belvedere, the Leopold Museum and the Museum Wien in Vienna; the Lentos Kunstmuseum, Linz and the Stanley Museum, University of Iowa, USA. Please find a link to the Catalogue Raisonné for Marie-Louise von Motesiczky: https://www.motesiczky.org/publications/ Marie-Louise von Motesiczky 1906-1996. A Catalogue Raisonné of the Paintings by Ines Schlenker, Hudson Hills Press, New York, 2009. The Marie-Louise von Motesiczky Charitable Trust The Marie-Louise von Motesiczky Charitable Trust, is a company limited by guarantee registered in England and Wales (no. 7572024) and a registered charity (no. 1140890): www.motesiczky.org. The copyright for Marie-Louise von Motesiczky’s paintings, drawings and correspondence or other written work originating from her, her mother Henriette and brother Karl, lies with the Marie-Louise von Motesiczky Charitable Trust.
Los 15
Property from the Marie-Louise von Motesiczky Charitable Trust, LondonMARIE-LOUISE VON MOTESICZKY (1906-1996)Still-life christmas mail (recto); Flower still-life (verso) signed with the artist's initials and dated MM.1988 (lower right) oil and collage on canvas50.5 x 70 cm (19 7/8 x 27 1/2 in)Painted in 1988EXHIBITED:London, 14 Highbury Terrace, Islington, Modern and Contemporary works of art: paintings, drawings, prints and pots,1989, no.7LITERATURE:I. Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p.479, no. 294CONDITION REPORT:Oil on canvas, unframed. Not lined. Minor frame abrasions at the extreme edges in places. On very close inspection there is evidence of scattered fine lines of craquelure in places throughout. There is evidence of cupping towards the lower centre edge, to the right of the glass. Examined under UV: there are no visible signs of fluorescing. Overall, it our opinion that the work is in good original condition. Selected Works from the Marie-Louise von Motesiczky Charitable Trust Motesiczky’s expressive and very painterly style had been formed before the Second World War, in large part influenced and encouraged by Max Beckmann. On first being introduced to Beckmann in 1920 she recalled: ‘A winged creature from Mars could not have made a greater impact on me’. Once in Britain it was Oskar Kokoschka, a family friend from Vienna now similarly exiled, who helped champion her work. Thereafter, and very much on a personal level, it was the writer Elias Canetti (1905-1994) a fellow émigré who exercised a major influence over her artistic output. Marie-Louise von Motesiczky grew up with her parents and her brother Karl in central Vienna. Her mother Henriette came from an illustrious Viennese Jewish banking dynasty. Her maternal grandfather, Leopold von Lieben, was President of the Stock Exchange; her grandmother, Anna, one of Freud’s early patients. She counted the Todescos, and Ephrussis among her family circle, and she, her mother and her brother Karl spent their summers at Villa Todesco in Hinterbrühl, south west of the capital. But over time family tragedy, financial difficulties and the rise of Nazi Germany took their toll. Marie-Louise’s father died at the end of 1909 and after the First World War her mother’s considerable inheritance gradually diminished through high taxation, poor investments, and the financial crash of 1929. Then, with the rise of the Third Reich and the Anschluss in March 1938, when Austria was annexed by Germany, she and her mother fled Vienna for the Netherlands before emigrating to England in 1939. Further distress followed when her brother Karl, who had remained in Austria, was arrested and deported to Auschwitz, dying of typhus there on 25 June 1943. On Motesiczky’s arrival in London Kokoschka ensured her inclusion in a series of group exhibitions, and assisted her in the staging of a solo exhibition at the Czechoslovak Institute in the autumn of 1944. Further group shows followed, and in 1960 she had a second solo exhibition at the influential Beaux Arts Gallery off Bond Street. On the Continent she received acclaim for her work in exhibitions in Amsterdam and The Hague in 1952, one of her canvases being purchased by the Stedelijk Museum. The same decade she exhibited in Munich and Düsseldorf, and in the 1960s was the subject of shows in Germany and Austria, including a one-person exhibition at the Wiener Secession in 1966. In 1985, a full twenty-five years after her work had been shown at the Beaux Arts Gallery, she was the subject of another solo exhibition in London, at the Goethe-Institut, which was widely acclaimed in the press. In 1994 a major retrospective of her work was held in Vienna at the Österreichische Galerie, Oberes Belvedere and in Manchester at the City Art Gallery. In 2006-07 her work was celebrated in a centenary exhibition at Tate Liverpool, travelling to Frankfurt, Vienna, Passau and Southampton City Art Gallery. Also in 2007 Jill Lloyd’s biography of Marie-Louise appeared: The Undiscovered Expressionist. A Life of Marie-Louise von Motesiczky, followed in 2009 by the catalogue raisonné of her paintings by Ines Schlenker itemising over 350 works. Most recently in 2019-20, Tate Britain held an exhibition devoted to her to inaugurate the gallery named in perpetuity as the ‘Marie-Louise von Motesiczky Archive Gallery’ for all future displays of Tate’s archive holdings in general. The work of Marie-Louise von Motesiczky held in public collections Institutions in the UK holding works by the artist include: the Ben Uri Gallery and Museum, the British Museum, Burgh House, Hampstead, Freud Museum, Garden Museum, National Portrait Gallery and Tate in London (which also holds her archive); the Amersham Museum, Fitzwilliam Museum, Cambridge, New Walk Museum and Art Gallery, Leicester, Manchester Art Gallery, National Galleries of Scotland, Edinburgh and the Hunterian Art Gallery, Glasgow. Elsewhere her work is in the National Gallery of Ireland, Dublin; the Stedelijk, Amsterdam; the Boijmans van Beuningen Museum, Rotterdam; the Städel Museum, Frankfurt; the German Literary Archive in Marbach; the Albertina, Österreichische Galerie Belvedere, the Leopold Museum and the Museum Wien in Vienna; the Lentos Kunstmuseum, Linz and the Stanley Museum, University of Iowa, USA. Please find a link to the Catalogue Raisonné for Marie-Louise von Motesiczky: https://www.motesiczky.org/publications/ Marie-Louise von Motesiczky 1906-1996. A Catalogue Raisonné of the Paintings by Ines Schlenker, Hudson Hills Press, New York, 2009. The Marie-Louise von Motesiczky Charitable Trust The Marie-Louise von Motesiczky Charitable Trust, is a company limited by guarantee registered in England and Wales (no. 7572024) and a registered charity (no. 1140890): www.motesiczky.org. The copyright for Marie-Louise von Motesiczky’s paintings, drawings and correspondence or other written work originating from her, her mother Henriette and brother Karl, lies with the Marie-Louise von Motesiczky Charitable Trust.
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Property from the Marie-Louise von Motesiczky Charitable Trust, LondonMARIE-LOUISE VON MOTESICZKY (1906-1996)Still-life, bowl of fruit with pomegranateoil on canvassight size: 34 x 44.5 cm (13 3/8 x 17 1/2 in)Painted in 1960EXHIBITED:Vienna, Wien Museum, Who is Marie-Louise von Motesiczky?, March-May 2007Passau, Museum Moderner Kunst, Marie-Louise von Motesiczky. Eine Retrospektive, 9 June-9 September 2007Southampton, Southhampton City Art Gallery, Marie-Louise von Motesiczky, 28 September-9 December 2007LITERATURE:I. Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p. 310, no. 172CONDITION REPORT:Framed. Not examined out of the frame. Oil on canvas. Not lined. On very close inspection there is evidence of some fine and stable lines of craquelure to the brown pigments towards the upper right corner. Examined under UV: there are no visible signs of fluorescing. Overall, it our opinion that the work is in very good original condition. Selected Works from the Marie-Louise von Motesiczky Charitable Trust Motesiczky’s expressive and very painterly style had been formed before the Second World War, in large part influenced and encouraged by Max Beckmann. On first being introduced to Beckmann in 1920 she recalled: ‘A winged creature from Mars could not have made a greater impact on me’. Once in Britain it was Oskar Kokoschka, a family friend from Vienna now similarly exiled, who helped champion her work. Thereafter, and very much on a personal level, it was the writer Elias Canetti (1905-1994) a fellow émigré who exercised a major influence over her artistic output. Marie-Louise von Motesiczky grew up with her parents and her brother Karl in central Vienna. Her mother Henriette came from an illustrious Viennese Jewish banking dynasty. Her maternal grandfather, Leopold von Lieben, was President of the Stock Exchange; her grandmother, Anna, one of Freud’s early patients. She counted the Todescos, and Ephrussis among her family circle, and she, her mother and her brother Karl spent their summers at Villa Todesco in Hinterbrühl, south west of the capital. But over time family tragedy, financial difficulties and the rise of Nazi Germany took their toll. Marie-Louise’s father died at the end of 1909 and after the First World War her mother’s considerable inheritance gradually diminished through high taxation, poor investments, and the financial crash of 1929. Then, with the rise of the Third Reich and the Anschluss in March 1938, when Austria was annexed by Germany, she and her mother fled Vienna for the Netherlands before emigrating to England in 1939. Further distress followed when her brother Karl, who had remained in Austria, was arrested and deported to Auschwitz, dying of typhus there on 25 June 1943. On Motesiczky’s arrival in London Kokoschka ensured her inclusion in a series of group exhibitions, and assisted her in the staging of a solo exhibition at the Czechoslovak Institute in the autumn of 1944. Further group shows followed, and in 1960 she had a second solo exhibition at the influential Beaux Arts Gallery off Bond Street. On the Continent she received acclaim for her work in exhibitions in Amsterdam and The Hague in 1952, one of her canvases being purchased by the Stedelijk Museum. The same decade she exhibited in Munich and Düsseldorf, and in the 1960s was the subject of shows in Germany and Austria, including a one-person exhibition at the Wiener Secession in 1966. In 1985, a full twenty-five years after her work had been shown at the Beaux Arts Gallery, she was the subject of another solo exhibition in London, at the Goethe-Institut, which was widely acclaimed in the press. In 1994 a major retrospective of her work was held in Vienna at the Österreichische Galerie, Oberes Belvedere and in Manchester at the City Art Gallery. In 2006-07 her work was celebrated in a centenary exhibition at Tate Liverpool, travelling to Frankfurt, Vienna, Passau and Southampton City Art Gallery. Also in 2007 Jill Lloyd’s biography of Marie-Louise appeared: The Undiscovered Expressionist. A Life of Marie-Louise von Motesiczky, followed in 2009 by the catalogue raisonné of her paintings by Ines Schlenker itemising over 350 works. Most recently in 2019-20, Tate Britain held an exhibition devoted to her to inaugurate the gallery named in perpetuity as the ‘Marie-Louise von Motesiczky Archive Gallery’ for all future displays of Tate’s archive holdings in general. The work of Marie-Louise von Motesiczky held in public collections Institutions in the UK holding works by the artist include: the Ben Uri Gallery and Museum, the British Museum, Burgh House, Hampstead, Freud Museum, Garden Museum, National Portrait Gallery and Tate in London (which also holds her archive); the Amersham Museum, Fitzwilliam Museum, Cambridge, New Walk Museum and Art Gallery, Leicester, Manchester Art Gallery, National Galleries of Scotland, Edinburgh and the Hunterian Art Gallery, Glasgow. Elsewhere her work is in the National Gallery of Ireland, Dublin; the Stedelijk, Amsterdam; the Boijmans van Beuningen Museum, Rotterdam; the Städel Museum, Frankfurt; the German Literary Archive in Marbach; the Albertina, Österreichische Galerie Belvedere, the Leopold Museum and the Museum Wien in Vienna; the Lentos Kunstmuseum, Linz and the Stanley Museum, University of Iowa, USA. Please find a link to the Catalogue Raisonné for Marie-Louise von Motesiczky: https://www.motesiczky.org/publications/ Marie-Louise von Motesiczky 1906-1996. A Catalogue Raisonné of the Paintings by Ines Schlenker, Hudson Hills Press, New York, 2009. The Marie-Louise von Motesiczky Charitable Trust The Marie-Louise von Motesiczky Charitable Trust, is a company limited by guarantee registered in England and Wales (no. 7572024) and a registered charity (no. 1140890): www.motesiczky.org. The copyright for Marie-Louise von Motesiczky’s paintings, drawings and correspondence or other written work originating from her, her mother Henriette and brother Karl, lies with the Marie-Louise von Motesiczky Charitable Trust.
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Property from the Marie-Louise von Motesiczky Charitable Trust, LondonMARIE-LOUISE VON MOTESICZKY (1906-1996)Woman with umbrella (recto); Still-life with palette and flowers (verso)oil on canvas, unframed61.2 x 41 cm (24 1/8 x 16 1/8 in)Painted in the 1960sLITERATURE:I. Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p.390, no. 226CONDITION REPORT:Oil on canvas, unframed. Not lined. On close inspection there is evidence of fine lines of craquelure in the maroon pigment of the lady's headress. Examined under UV: there are no visible signs of fluorescing. Overall, it our opinion that the work is in very good original condition. Selected Works from the Marie-Louise von Motesiczky Charitable Trust Motesiczky’s expressive and very painterly style had been formed before the Second World War, in large part influenced and encouraged by Max Beckmann. On first being introduced to Beckmann in 1920 she recalled: ‘A winged creature from Mars could not have made a greater impact on me’. Once in Britain it was Oskar Kokoschka, a family friend from Vienna now similarly exiled, who helped champion her work. Thereafter, and very much on a personal level, it was the writer Elias Canetti (1905-1994) a fellow émigré who exercised a major influence over her artistic output. Marie-Louise von Motesiczky grew up with her parents and her brother Karl in central Vienna. Her mother Henriette came from an illustrious Viennese Jewish banking dynasty. Her maternal grandfather, Leopold von Lieben, was President of the Stock Exchange; her grandmother, Anna, one of Freud’s early patients. She counted the Todescos, and Ephrussis among her family circle, and she, her mother and her brother Karl spent their summers at Villa Todesco in Hinterbrühl, south west of the capital. But over time family tragedy, financial difficulties and the rise of Nazi Germany took their toll. Marie-Louise’s father died at the end of 1909 and after the First World War her mother’s considerable inheritance gradually diminished through high taxation, poor investments, and the financial crash of 1929. Then, with the rise of the Third Reich and the Anschluss in March 1938, when Austria was annexed by Germany, she and her mother fled Vienna for the Netherlands before emigrating to England in 1939. Further distress followed when her brother Karl, who had remained in Austria, was arrested and deported to Auschwitz, dying of typhus there on 25 June 1943. On Motesiczky’s arrival in London Kokoschka ensured her inclusion in a series of group exhibitions, and assisted her in the staging of a solo exhibition at the Czechoslovak Institute in the autumn of 1944. Further group shows followed, and in 1960 she had a second solo exhibition at the influential Beaux Arts Gallery off Bond Street. On the Continent she received acclaim for her work in exhibitions in Amsterdam and The Hague in 1952, one of her canvases being purchased by the Stedelijk Museum. The same decade she exhibited in Munich and Düsseldorf, and in the 1960s was the subject of shows in Germany and Austria, including a one-person exhibition at the Wiener Secession in 1966. In 1985, a full twenty-five years after her work had been shown at the Beaux Arts Gallery, she was the subject of another solo exhibition in London, at the Goethe-Institut, which was widely acclaimed in the press. In 1994 a major retrospective of her work was held in Vienna at the Österreichische Galerie, Oberes Belvedere and in Manchester at the City Art Gallery. In 2006-07 her work was celebrated in a centenary exhibition at Tate Liverpool, travelling to Frankfurt, Vienna, Passau and Southampton City Art Gallery. Also in 2007 Jill Lloyd’s biography of Marie-Louise appeared: The Undiscovered Expressionist. A Life of Marie-Louise von Motesiczky, followed in 2009 by the catalogue raisonné of her paintings by Ines Schlenker itemising over 350 works. Most recently in 2019-20, Tate Britain held an exhibition devoted to her to inaugurate the gallery named in perpetuity as the ‘Marie-Louise von Motesiczky Archive Gallery’ for all future displays of Tate’s archive holdings in general. The work of Marie-Louise von Motesiczky held in public collections Institutions in the UK holding works by the artist include: the Ben Uri Gallery and Museum, the British Museum, Burgh House, Hampstead, Freud Museum, Garden Museum, National Portrait Gallery and Tate in London (which also holds her archive); the Amersham Museum, Fitzwilliam Museum, Cambridge, New Walk Museum and Art Gallery, Leicester, Manchester Art Gallery, National Galleries of Scotland, Edinburgh and the Hunterian Art Gallery, Glasgow. Elsewhere her work is in the National Gallery of Ireland, Dublin; the Stedelijk, Amsterdam; the Boijmans van Beuningen Museum, Rotterdam; the Städel Museum, Frankfurt; the German Literary Archive in Marbach; the Albertina, Österreichische Galerie Belvedere, the Leopold Museum and the Museum Wien in Vienna; the Lentos Kunstmuseum, Linz and the Stanley Museum, University of Iowa, USA. Please find a link to the Catalogue Raisonné for Marie-Louise von Motesiczky: https://www.motesiczky.org/publications/ Marie-Louise von Motesiczky 1906-1996. A Catalogue Raisonné of the Paintings by Ines Schlenker, Hudson Hills Press, New York, 2009. The Marie-Louise von Motesiczky Charitable Trust The Marie-Louise von Motesiczky Charitable Trust, is a company limited by guarantee registered in England and Wales (no. 7572024) and a registered charity (no. 1140890): www.motesiczky.org. The copyright for Marie-Louise von Motesiczky’s paintings, drawings and correspondence or other written work originating from her, her mother Henriette and brother Karl, lies with the Marie-Louise von Motesiczky Charitable Trust.
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