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.
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RICARDO BAROJA NESSI (Riotinto, Huelva, 1871 - Vera de Bidasoa, Navarre, 1953).Peones camineros" ("Road workers"), 1925-1928.Oil on cardboard.Signed with monogram and dated. Titled and dated on the back.Provenance: private collection of Doña Teresa Cañaréis de Marshall, heiress of Enrique Granados, a well-known Spanish musician who was a contemporary of Ricardo Baroja. Both people moved in the same artistic circle of the time, which establishes a solid historical traceability of the present work.Size: 56.5 x 37 cm; 64 x 45 cm (frame).Ricardo Baroja's passion for the landscapes of the inland villages of Spain, some of which were even lost, is demonstrated in the present work. At the beginning of the 20th century, the Huelva-born artist travelled the country from inn to inn, either for his work as a painter or for his hobby as a hiker. There he immortalised the inn maids and muleteers who transported him, the taverns where he was fed and the boarding houses where he stayed overnight. Through his particular technique, agile and swift, Baroja captured like no one else the popular life of the most inhospitable villages in Spain, and his unique and highly identifiable style.A painter, engraver and writer of the Generation of '98, and brother of Pío Baroja, he was self-taught. Developing a style contrary to the aesthetic taste of the artistic juries of the beginning of the century, Baroja took part in the Bilbao Modern Art Exhibition from 1900 onwards, and exhibited his work in different places, preferably San Sebastián and Madrid. Around 1900-1906 he devoted himself to etching, and came to be considered the best Spanish master in this field after Goya, standing out from the outset as a profound portraitist, the author of beautiful etchings and scenes of popular life, somewhere between Goyaesque and lyrical. He also devoted himself to writing at the same time. In 1903 he founded, in collaboration with Pablo Picasso and Francisco de Asís Soler, the "Arte Joven" group. In 1928 he was appointed professor at the National School of Graphic Arts. However, following a traffic accident, the artist lost an eye and was forced to give up painting, concentrating from then on on literature. Gradually he took up brushwork again, but he hardly ever painted from life. During the Civil War he lost contact with his brother, who fled to France, and he earned his living by painting. After the war he continued to paint, although only in summer, and to write. From 1940 onwards he again held exhibitions in the art galleries of San Sebastian, Bilbao and Madrid, obtaining great commercial success. In San Sebastián he founded, together with Martiarena, the Guipúzcoa Artistic Association. In 1952, a year before his death, his success was confirmed with the sale of all his paintings at an exhibition held in San Sebastian. Ricardo Baroja is represented in the Provincial Museum of Lugo, the Fine Arts Museums of Bilbao and Álava, and the San Telmo Museum in San Sebastián, among others.
JOSÉ ARPA PEREA (Carmona, 1858 - Seville, 1952)."Gitanas canasteras de Sevilla", 1894.Oil on canvas glued to panel.Signed, dated, dedicated and located (Seville).Size: 12 x 35,5 cm; 31 x 55,5 cm (frame).José Arpa Perea was a Spanish painter specialising in landscapes who developed much of his work in North America. He moved from Carmona to Seville at the age of ten, where he combined his work as a broad-brush painter with evening classes at the Santa Isabel de Hungría School of Fine Arts in Seville from 1876, where he met Eduardo Cano. Between 1883 and 1886 he lived in Rome, in great need owing to the meagre grant he was awarded by the Seville provincial council, where he painted historical canvases. On his return to Seville he set up his own studio and began to be recognised, winning commissions such as the decoration of the Círculo Mercantil and the city's Casino Militar. He further developed his orientalist facet on a trip to Morocco in 1895. He lived in Mexico between 1896 and 1910, later moving to San Antonio (Texas, United States) because of the Mexican Revolution, setting up a painting academy there and receiving commissions, enjoying an economic situation that enabled him to make frequent trips to Spain, with long stays in Seville and visits to the Cantabrian coast. He spent more than 30 years in this American city. Throughout his life he was in frequent contact with the landscape painters of the well-known Alcalá de Guadaira School.His work could be seen in numerous cities in all the countries where he lived (Seville...), and is preserved in important private collections all over the world and in prominent institutions such as the Museum of Fine Arts of Seville, the Cajasol Museum, the Museum of Huelva, the San Antonio Museum of Art (United States), the Museo Universitario Casa de los Muñecos (Puebla, Mexico), etc.
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.
JOSEP LLIMONA BRUGUERA (Barcelona, 1864 - 1934)."Modèstia", 1891.Sculpture in polychrome stucco.Signed.With Esteva & Cia. stamp.Work catalogued in "Una passejada per l'obra de Josep Llimona, 150 anys", MEAM, 2015, Barcelona, p. 104.Size: 42 x 36 x 22 cm.The sculpture "Modèstia" is evidence of Josep Llimona's most personal characteristics: naturalistic idealism, an inclination towards the gentle side of reality and, above all, a great delicacy and beauty in his female figures, always slender and innocent, enveloped in a veil of mystery.Josep Limona is remembered as the most important Catalan sculptor of Modernisme. Trained at the Escola de la Llotja in Barcelona, he obtained a pension to go to Rome in 1880. During his stay in Italy he was influenced by Florentine Renaissance sculpture. With the works he sent from there he already won prizes (gold medal at the Universal Exhibition in Barcelona in 1888), as well as a great reputation. With his brother Joan he founded the Círculo Artístico de Sant Lluc, a Catalan artistic association of a religious nature (the two brothers were deep believers). By the mid-1990s his style was already drifting towards full modernism. He received the prize of honour at the International Exhibition of Fine Arts held in 1907 in Barcelona. From 1900 onwards he concentrated on his famous female nudes, and in 1914 he created, in collaboration with Gaudí, his impressive "Risen Christ". His artistic genius also manifested itself in large public monuments such as the equestrian statue of Saint George in Montjuic Park in Barcelona, as well as in works of funerary imagery, such as the pantheons he created for various cemeteries. In addition to exhibiting in Barcelona and other Catalan cities, he exhibited his work in Madrid, Brussels, Paris, Buenos Aires and Rosario (Argentina). He was president of the Barcelona Museum Board from 1918 to 1924, and again from 1931 until his death in 1934. Throughout his life he received numerous decorations, including those awarded by the French and Italian governments. He was also awarded the Gold Medal of the City of Barcelona in 1932, in recognition of his extraordinary work in the development of museum activity. Llimona's work can be found in the Monastery of Montserrat, the National Art Museum of Catalonia and the Reina Sofia Museum, among others.
Modern silver box, of circular form, the cover mounted with an an Arts & Crafts enamel panel of a fruiting vine by H G Murphy, circa 1920, hallmarked Jon Braganza, London 2018, H4.5cm D8cm, approximate gross weight 7.84 ozt (244 grams)Henry George Murphy was a silversmith and jeweller known for his work in the Arts & Crafts and Art Deco styles. This enamel panel was acquired in the dispersal sale of Murphy's Falcon Studios at 58 Weymouth St, Marylebone, and is also featured in Paul Atterbury and John Benjamin's book Arts and Crafts to Art Deco The Jewellery and Silver of H G Murphy (page 29). Condition Report:General light wear, predominantly in the form of surface scratches and nicks.Hallmarks clear and legible.
Pair of early 20th century Art Nouveau silver mounted hair brushes, decorated in relief with irises and foliate tendrils, hallmarked Samuel M Levi, Birmingham 1911Condition Report:General wear commensurate with age and use, including surface scratches and nicks.A few holes to high points of decoration.Makers marks worn, but otherwise hallmarks clear and legible.
SALMAN TOOR (born 1983)Alexandra, the Boys, City Lights 2006 signed, dated '06 and inscribed DONE AT A HIGHLY FORMATIVE TIME IN NYC. THIS IS MY WEST VILLAGE APARTMENT on the reverseoil on canvas60.5 by 75.8 cm.23 13/16 by 29 13/16 in. Footnotes:ProvenancePrivate Collection, Pakistan (acquired directly from the artist in 2012)Coming to auction for the first time after remaining in the same private collection for a decade, Alexandra, The Boys, City Lights from 2012 captures an interior scene that is strung with deeper hidden meanings and tensions between its three subjects. Hailed as a rising star of figurative painting, Salman Toor grew up as a queer youth in Lahore, Pakistan, and settled in New York after a brief stint studying art at the Ohio Wesleyan University. From early on in his studies, Toor has shown a predilection for the past, concentrating on the techniques and compositions of the Old Masters with a particular focus on artists such as Caravaggio, Van Dyck, Peter Paul Rubens, and the refined Rococo canvases of Jean-Antoine Watteau. 'Instead of moving with the times, I wanted an academic education in painting,' he explained. 'I wanted to be as good as the white old masters. In fact, I was happy only when I could pretend that I was a 17th or 18th century painter living in Madrid, Venice or Holland' (the artist in: Ayla Angelos, ''I wanted to be as good as the white old masters': meet painter Salman Toor' www.itsnicethat.com, 7 November 2019). Toor depicts his apparently casual but meticulously staged protagonists in imagined surroundings, drawn from his own life and experience as a queer Pakistani man living in America. His works are imbued with an air of the past mixed with modern life. Classically inspired compositions are broken up by the inclusion of a hand clutching a phone, a car, or the view onto the lights of a metropolis in the background. His imagery is not based on concrete events but drawn from memory and feelings. His protagonists draw parallels to the artist himself, people that have been marginalized within the Western canon: 'I like for the characters in my painting to move between vulnerability and empowerment. I like foolish, marionette-like figures that evoke empathy as immigrants crossing borders, but they also have agency and dignity: things that have not been traditionally associated with our faces and bodies in painting' (the artist in: Nidhi Gupta, 'Pakistani-origin, New York-based artist Salman Toor wants to paint a world where the East and West harmonise', GQ India, 12 March 2020). Whilst Alexandra, The Boys, City Lights depicts a quintessentially modern scene – three people painted in an earthy palette inhabit a dimly lit room – the artist's penchant for the classical tradition is palpable. The room and its furnishings are only hinted at with the composition focusing fully and dramatically on its inhabitants. We are drawn straight into the room, Alexandra sits on the corner of what appears to be a bed, she is in the foreground of the composition and her upper body takes up as much space as the two men to the right. Her eyes are lowered, her expression is difficult to read but she seems to be reacting directly to what is happening behind her, a fleeting, indistinct but intimate encounter between two lithe young men. The work shows the artist's ability to create atmospheric and enigmatic narratives, human emotion is perfectly captured in every face, and we cannot help but be drawn into the scene and wonder what is going on. The artist himself has elevated the painting by inscribing the reverse: 'Done at a highly formative time in NYC - This is my West Village apartment'. Following his critically acclaimed institutional debut How Will I Know, at the Whitney Museum of American Art in New York in 2020–21, Toor has recently completed a residency at the Frick Madison, New York, as part of its Living Histories: Queer Views and Old Masters programme. His work Museum Boys is currently displayed there in a wonderful juxtaposition with Johannes Vermeer's Officer and Laughing Girl (circa 1657) and Mistress and Maid (circa 1666-7) from the Frick collection. The Whitney also recently acquired three of Toor's paintings for its permanent collection, a sure testament to the quality and promise of Toor's oeuvre in the increasingly diverse contemporary art scene.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
NEO RAUCH (B. 1960)Ohne Titel 2007 signed and dated 07; inscribed W1 07/020 on the reverseoil and ink on paper20.9 by 29.6 cm8 3/16 by 11 5/8 in. Footnotes:ProvenanceGalerie Eigen + Art, BerlinAcquired directly from the above by the present owner in 2008ExhibitedBerlin, Galerie Eigen + Art, Sommer bei Eigen + Art, 2008LiteratureWolfgang Büscher, Schilfland: Neo Rauch - Works on Paper, Munich 2009, p. 241, illustrated in colourThis 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
EMIL SCHUMACHER (1912-1999)Rotes Bild 1967 signed and dated 67mixed media on canvas100 by 80 cm.39 3/8 by 31 1/2 in.Footnotes:ProvenanceGalleria Henze, Campione d'ItaliaIBM Collection, Stuttgart Sale: Sotheby's, London, Contemporary Art Day Auction, 2017, Lot 181Acquired directly from the above by the present ownerExhibitedNew York, The I.B.M. Gallery of Science and Art, 50 Years of Collecting: Art at I.B.M., 1989Emil Schumacher has gained international acclaim for his championing of Abstract Expressionism in post-war Germany. Born in Hagen in 1912, Schumacher is widely recognised for his large-scale canvases loaded with swathes of bold primary colours intersected by sculpted black lines. In this sense, his body of work is comparable to Franz Kline's iconic abstractions. Indeed, Schumacher strove to denote a sense of pictorial representation within an abstract space. Together with Heinrich Siepmann, Ernst Hermanns and Gustav Deppe, Schumacher founded the artist's association Junger Westen in 1947. Their intention was to restore the connections to modern art that were lost in Germany during the National Socialist era and to find their own forms of artistic expression rooted in the industrially shaped region of the Ruhr and Rhein. Like the other artists of Junger Westen, Schumacher made a new start after World War II, seeking out a new style in his work. He found it in the non-objective paintings of Art Informel and Tachisme, which had their origins in France and in American Action Painting. Schumacher embraced the change to abstract painting, in which colour emancipated itself as the object of painting. His liberation of colour from form, of lines from motif, the spontaneity of the act of painting, the prepared canvases, the penetration of painting into the third dimension and the application of additional materials such as sand, tin, tar and hair all came to define his artistic practice. He gained notoriety as one of the first German artists to pioneer this style.Schumacher's life and career was long and prolific, with inclusion in prominent exhibitions such as the 1953 Venice Biennale, the 1963 São Paulo Art Biennial, and documenta III in 1963. He received a 1987 Order of Merit of North Rhine-Westphalia, and in 1998, the German government commissioned him for a mural in the renovated Reichstag building in Berlin. The Emil Schumacher Museum, dedicated to his life and work, was opened in the Kunstquartier complex of Hagen in 2009. Today his paintings remain highly sought-after by international collectors, solidifying his position among the most celebrated protagonists of post-war abstraction.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
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
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
THANKYOUXStarting Somewhere 2022 signed; signed, titled and dated '22 on the reverseacrylic, oil, enamel, gold foil on panel with digital screen152.4 by 122.3 cm. 60 by 48 1/8 in.This work was executed in 2022 and is accompanied by an NFT. NON-FUNGIBLE TOKENStarting SomewhereToken minted on OpenSea, 15 June 2022Smart Contract Address: 0xD8Ff23D27Fe7b4382Dc8953D7F685E269Ea22687Token ID: 9Token Standard: ERC-721Metadata: MP4View on OpenSea (for viewing purposes only, bidding on this item can only be done through the Bonhams website): https://opensea.io/assets/ethereum/0xd8ff23d27fe7b4382dc8953d7f685e269ea22687/9Footnotes:ProvenanceCollection of the artist, LAThroughout ThankYouX's distinguished career, the artist has paid homage to his inspirators, the Los Angeles native spending his formative years surrounded by the street art of Invader and Shepard Fairey. Before his international recognition as a pioneering NFT visual artist, ThankYouX's stencilled public pieces from the late 2000s drew inspiration from the works of Andy Warhol, nodding to the Pop Art luminary's technique of photographic silkscreen printing. Themes of Americana and pop culture permeate the present two works, Starting Somewhere and Purpose. Like Warhol, himself a champion of integrating new technologies including computers into his art, ThankYouX's artworks challenge the binary nature of the traditional art versus digital art debate. The present works attest to ThankYouX's dexterity as an artist; they embrace materiality, the theme of constant change, and technological innovation. Amongst the artist's studio works, his canvases with an embedded digital screen have elicited excitement both with online crypto art communities and the wider contemporary art audience. ThankYouX has honed this technique in recent years to express multiple layers of a story, and to allow the audience to switch between a microcosmic and macrocosmic perspective. Whilst the canvas provides a commentary on how an individual's choices can lead to new frontiers in life, the NFT display extrapolates this idea further by inviting the viewer into a new visual plane and, metaphorically, a new dimension. In the artist's words, 'Starting Somewhere expresses being unafraid to venture into new unknowns. Not letting obstacles hold you back from new ideas. To get to where you want to be, you must start somewhere.' This committed and passionate attitude reverberates throughout ThankYouX's technical approach in the present work. The atmospheric swathes of white, grey and black are disrupted by thick flashes of energetic cerulean and crimson. The dramatic impasto imbues the canvas with an instinctive character, and the cube motifs allude to the artist's digital NFT artworks as well as his larger murals painted on the streets of Los Angeles. True to his curiosity and innovative nature, ThankYouX includes unconventional materials in his works – a practice which echoes the masters of Neo-Dadaism such as John Chamberlain, César, and Christo and Jeanne-Claude. In Starting Somewhere, ThankYouX uses a unique, gold-coloured material called aluminised polyimide which was gifted to him by NASA. This material is typically used to protect satellites from the Sun as they orbit the Earth. In combining the realms of technology and painting, ThankYouX's works amplify the interdependency of mankind. Pioneering a hybrid of physical art and digital art, he juxtaposes blockchain based technology and digital displays with canvases and paint. The two works on offer effectively convey the tension and liminal feelings one encounters when pursuing a life-changing objective.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
TOM SACHS (b. 1966)Untitled (HK MP5) 1998 ink, glue, card and foamboard 25.4 by 49 by 6 cm.10 by 19 5/16 by 2 3/8 in.This work was executed in 1998.Footnotes:ProvenanceMorris Healy, New YorkPrivate Collection, USSale: Sotheby's, New York, Contemporary Art Day Sale, 16 May 2007, Lot 414Acquired directly from the above by the present ownerThis lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
ANDRÉ BUTZER (B. 1973)Untitled (Monochromes Bild) 2007 signed and dated '07 on the reverseoil on canvas340.6 by 260.2 cm.134 1/8 by 102 7/16 in.Footnotes:This work will be included in the forthcoming catalogue raisonné being prepared by the André Butzer Archive, California and Rangsdorf, Germany.ProvenanceAlison Jacques Gallery, LondonSaatchi Collection, LondonSale: Christie's, London, Post-War & Contemporary Art Day Auction, 17 October 2015, Lot 355Acquired directly from the above by the present ownerExhibitedLondon, Alison Jacques Gallery, André Butzer, 2007London, Saatchi Gallery, Gestamtkunstwerk: New Art from Germany, 2011-2012, p. 27, illustrated in colourLiteratureJonathan Cape Ed., GERMANIA, London 2008, p. 235, illustrated in colourThis lot is subject to the following lot symbols: * AR TP* 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.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
THEODOROS STAMOS (1922-1997)Infinity Field, Jerusalem Series 1984 signed, titled and dated 1984 on the reverseacrylic on paper77.3 by 56.5 cm.30 7/16 by 22 1/4 in.Footnotes:ProvenanceGalerie Knoedler, ZurichPrivate CollectionSale: Kunsthaus Lempertz, Contemporary Art, 1 December 2012, Lot 753Acquired from the above by the present ownerExhibitedZurich, Galerie Knoedler, Theodoros Stamos: Arbeiten von 1945 bis 1984, p. 281, no. 118, illustrated in colourThis 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
SOL LEWITT (1928-2007)R706 Map of London with the area between the underground stations at Marble Arch, St. James Park, Leicester Square, Waterloo Station, Pimlico, Sloane Sq., Knightsbridge, Bayswater, Edgeware Road and Bond St., removed 1977 signed, titled and dated 1977cut paper map57.2 by 88.7 cm. 22 1/2 by 34 15/16 in.Footnotes:ProvenanceLisson Gallery, LondonAcquired directly from the above by the present owner in 1978LiteraturePeter Schjeldahl, Art of our Time: The Saatchi Collection 1, London 1984, n.p., no. 47, illustrated in colourFor further information on this lot please visit Bonhams.com
RASHID JOHNSON (B. 1977)Carver 2012 signed on the reverseburned red oak flooring, black soap, wax and spray enamel in artist's frame184.2 by 125.7 cm.72 1/2 by 49 1/2 in.This work was executed in 2012.Footnotes:ProvenanceHauser & Wirth, New YorkPrivate Collection, US Sale: Sotheby's, New York, Contemporary Curated, 24 September 2014, Lot 230Acquired directly from the above by the present ownerSince the turn of the millennium, there are but a handful of artists that have captured the spirit, the tumult, and the ideas of an unravelling twenty-first century, those who occupy a rarefied place in the nascent contemporary canon. Rashid Johnson is unquestionably an artist of this calibre. His practice has delivered some of the most compelling visions of human experience that relate directly to black history and the history of the United States, and as such have been powerful images amidst the social unrest and political evolution of the last twenty years. His is lauded and highly sought-after by institutions and private collectors alike, and the present work, Carver from 2012, is definitive of Johnson's career as a voice in the broader artistic and cultural discourse. With typical verve and vigour, the work lays bare an intensely layered and worked surface of black wax and soap over a burned wooden support. It is pure materiality and conjures not only the splashy expressive canvases of Abstract Expressionism or the reserved palette and fabric of Minimalism, but an organic reality that speaks to the spectator through the painting's almost rudimentary construction. Born in Chicago in 1977, Johnson studied photography at the School of the Art Institute, graduating in 2005. His early work showed a deep engagement with the photographic medium as documentary form and conceptual linchpin, consistently citing broader influences and inspirators from art and history through portraiture. His multi-disciplinary practice took shape rapidly, however, underpinned by these questions of identity as he developed a relationship with his materials that was personal and alchemical. 'The materials I've used over the last five to 10 years were things that were close to me, that reminded me of certain aspects of my experience growing up', Johnson has stated; 'for example, the relationship I had to Afrocentrism through my parents in the late '70s and early '80s. My mother would always have shea butter around, and she wore dashikis. I was celebrating Kwanzaa, hearing this unfamiliar language, Swahili, and seeing black soap and chew sticks around the house, things that were about applying an Africanness to one's self. [...] I was forced to negotiate what that period and those objects meant for me. I saw these things, as I got older, in Harlem, in Brooklyn, being sold on the street. I always thought to myself: What is the goal now with these materials? What are people trying to get from them?' (the artist interviewed by Christopher Stackhouse, ArtNews, 3 April 2012, online).Whilst Johnson's work relates closely to the plurality of black experience, his aesthetic concerns have remained frontal in his work. In the vein of Jannis Kounellis and Joseph Beuys, the nature of objecthood and materiality confronts the formality of abstract painting. Perhaps most akin to his contemporary Mark Bradford, the work's associations with blackness are at once profoundly material and peripheral. In the present work, like much of Johnson's practice, the title lends a contextual opening to the piece – Carver. This can be read in so many ways: primarily, as a nod to George Washington Carver, one of the most eminent agricultural scientists of the twentieth century who revolutionised the agricultural economy of the south. Carver was born into slavery before abolition in 1865, at which time he sought an education, receiving a Master of Science at Iowa State University. He identified peanuts, soy and sweet potatoes as alternative crops to cotton that had been over-farmed and depleted the soil across southern farmland. Johnson has consistently nodded to the writers and intellectuals that have been massively inspirational to him, citing James Baldwin, Henry Miller, James Joyce, Richard Wright, Ralph Ellison, Zora Neale Hurston, and Alice Walker as various touchstones. Yet, the title can also be read as pure gesture – a possible nod to the action painting of Kazuo Shiraga or Jackson Pollock. In the surface of the painting, the motion of 'carving' comes vividly to life, and Johnson the named 'carver' of the present work. In the physical and passionate surface of Carver there is a beauty and violence. The piece impresses upon the spectator an emphatic presence, as a silhouette against the burnt wood support and that of the artist himself throwing molten wax and black soap across the surface of the piece. The soap offers up a material that is meant to cleanse the body. Yet, as a work of art, it becomes an element that may cleanse the mind or soul, or yet an aesthetic question – to alleviate the work of an accrued intellectual bearing. Such examples as this, of Johnson's large-scale paintings, tackle questions of formality and painterly resolve as a method of highlighting a conceptual and cultural thread. Carver is undoubtedly one of the most refined of these works, its composition wonderfully balanced and materials sumptuously dense. It is through this social and art-historical matrix that the artist gives rise to a novel type of abstraction – one borne of a materiality and formality that places a cultural lens over the work whilst serving to embolden the visceral experience of the painting. A contemporary artist whose work has been at the forefront of contemporary practice for nearly two decades as one of the most significant voices of his generation, Rashid Johnson's Carver is a painting that benefits from a strong associative title and magnificent scale. Having been selected for inclusions in global Biennales, his work resides in institutional collections that include the Whitney Museum of American Art, New York; Guggenheim Museum, New York; Los Angeles County Museum of Art; and the Museum of Contemporary Art, Chicago. The present work is an impeccable example of his practice, displaying Johnson's masterful, effortless hand with his quintessential materials, and encapsulates the indelible impact and legacy that he has already established as one of the key names of the twenty-first century.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's 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
Tony Cragg (B. 1949)Pair 2018 incised with the artist's signature and stamped with the foundry mark SCHMAKE DUSSELDORFbronze100 by 50.4 by 24.5 cm. 39 3/8 by 19 13/16 by 9 5/8 in. This work was executed in 2018, and is from an edition of 6. Footnotes:ProvenanceGalleri Andersson/Sandström, Stockholm (#7924)Acquired directly from the above by the present ownerTony Cragg is one of Britain's greatest living artists. His pieces are transcendent and beautiful. They capture radical bodies that are at once both mathematic and corporeal. These jettisoned figures are precise and defy the human hand yet remain some of the most compelling abstract sculptures to have ever been produced. Pair, presented here, from 2018, is an elegant example of the British artist's work. Impressive in its scale and wonderfully finished in a rich brown patina that gives incredible depth to the bronze surface, it is a remarkable example of Cragg's Rational Beings series that has become so beloved by collectors around the world. There is an intriguing dialecticism in Cragg's practice. Dealing with organic forms, and often being inspired by the human body in flux, facial expressions and raw emotion, the artist has been a pioneer of sculptural techniques and technologies that isolate, manipulate, and render impossible objects in breath-taking exactitude. Like the pair of towering forms presented here, the artist is consistently placing meaning in dialogue with process – colliding and balancing these two key tenets to his practice. Cragg is one of those rare artists for whom the immaculate finish and refinery of his work only stands to heighten the power of its impression upon a spectator. 'There is this idea that sculpture is static, or maybe even dead, but I feel absolutely contrary to that,' Cragg has stated in a 2007 interview. 'I'm not a religious person – I'm an absolute materialist – and for me material is exciting and ultimately sublime. When I'm involved in making sculpture, I'm looking for a system of belief or ethics in the material. I want that material to have a dynamic, to push and move and grow,' (the artist in: Robert Ayers, 'The AI Interview: Tony Cragg', Art Info, 10 May 2007, online).Cragg has been one of the world's foremost sculptors for more than three decades, bursting to prominence in 1988, the year in which he won both the Turner Prize and was selected to represent the UK at the Venice Biennale. Not only has his work helped to define the plastic arts in museums and within the art market for the past quarter century, but his profound engagement with sculpture has also served to influence subsequent generations of artists as a result of his roles as Professor at Ecole Nationale Superieure des Beaux Arts, Paris, France (1999-2009) and Professor at Kunstakademie, Dusseldorf, Germany (2009 to present). He has shown in many of the world's most prestigious and important museums and his works are in many of the world's major collections including the Tate London, MoMA New York, the Centre Georges Pompidou, Paris and many more. The present work, Pair, is a bronze that is uniquely liveable as an indoor sculpture. It demonstrates the perfectionism and incomparable achievements of Cragg's sculptural output, producing works that are completely singular in their approach to humanity and technology. It is an exceptional example, finished in a rarely seen patina, and a centrepiece for any discerning collector.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
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
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.
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.
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.
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.
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.
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.
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.
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.
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.
Property from the Marie-Louise von Motesiczky Charitable Trust, LondonMARIE-LOUISE VON MOTESICZKY (1906-1996)Flavia Grassi oil, pastel and charcoal on canvas, unframed101.7 x 61.4 cm (40 x 24 1/4 in)Painted in 1983LITERATURE:I. Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p.457, no. 279CONDITION 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.Flavia Grassi was a young relative of Marie-Louise, from the Dutch side of her family. During the 1980s the pair saw eachother regularly, whilst Flavia was studying anthropology in London, and in 1988 Flavia lived with Marie-Louise for two months. Flavia's friendship clearly meant alot to Marie-Louise, numerous photographs of Flavia Grassi have survived in the artist's estate, some even stained with paint from when Motesiczky used them as a reference for the present portrait. References for the final painting can be seen in the photographs, such as Flavia's red wool sweater and floral patterned skirt. In this portrait Flavia stares directly out at the viewer, with her dark eyebrows and partially open mouth, seated in a chair with her legs crossed. The globe which she holds was likely a later addition by the artist and according to Flavia Grassi has no known links with her. 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.
Property from the Marie-Louise von Motesiczky Charitable Trust, LondonMARIE-LOUISE VON MOTESICZKY (1906-1996)Model with dog oil and charcoal on canvas, unframed101 x 81 cm (39 3/4 x 31 7/8 in)Painted in the early 1980sLITERATURE:I. Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p.462, no. 282CONDITION REPORT:Oil and charcoal on canvas, unframed. Not lined. There are three horizontal stretcher marks visible towards the lower edge. Examined under UV: there are no visible signs of retouching. Overall, it is 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.
Property from the Marie-Louise von Motesiczky Charitable Trust, LondonMARIE-LOUISE VON MOTESICZKY (1906-1996)Two women on a shipoil on canvassight-size: 40 x 29.2 cm (15 3/4 x 11 1/2 in)Painted in the early 1960sSold with a preparatory study: MARIE-LOUISE VON MOTESICZKY (1906-1996)A study for Two women on a ship charcoal and pastel sight-size: 21 x 18 cm (8 1/4 x 7 1/8 in)Executed in the early 1960sLITERATURE:I. Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p. 342, no. 198E. Michel, Marie-Louise von Motesiczky 1906-1996, 2003, p. 82(2)Doubtless inspired by a ferry crossing to the continent taken some time in 1963, in the present work Motesiczky portrays two women seated in high-backed red armchairs deep in conversation. The two travelling companions are strikingly different in their appearance; one blonde, blue eyed wearing light clothes of orange and yellow, whilst the other, who dominates the foreground, wears a deep blue robe with shiny dark hair.The pair are framed by a large porthole, indicating that the setting is on board a ship. In the background is the calm, light blue sea set against the setting sunset. Their surroundings are made clearer in the accompanying drawing, most likely executed on board the ship, that is included in this lot. In the sketch some details are more defined such as the fruit on the table, whilst other details are omitted in the final painting, including the light blue shawl of the brunette. Although the exact date of the painting is unknown, according to Schlenker, several facts attribute it to the early 1960s, including the contemporary hairstyles of the ladies. Writing to Elias Canetti, her lover of many years, Marie-Louise wrote of this boat journey that she 'saw wonderful things on deck… there the people really look the way I would love to have them in a portrait.' (J. Lloyd, The Undiscovered Expressionist, London, 2007, p. 181). Indeed, the soft-featured face of the blonde woman shares striking similarities with Iris Murdoch, an author and lifelong friend whose portrait Motesiczky would complete the following year. 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.
Property from the Marie-Louise von Motesiczky Charitable Trust, LondonMARIE-LOUISE VON MOTESICZKY (1906-1996)Still life with lily of the valley and pansy oil on canvas, unframed40.5 x 31 cm (15 7/8 x 12 1/4 in)Painted in 1972LITERATURE:I. Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p.409, no. 243CONDITION REPORT:Oil on canvas, unframed. Not lined. On very close inspection there is a tiny pinpoint paint loss to the lower left edge of the vase. Examined under UV: there are no visible signs of fluorescing. Overall, it is 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.
Property from the Marie-Louise von Motesiczky Charitable Trust, LondonMARIE-LOUISE VON MOTESICZKY (1906-1996)The two friendsoil and charcoal on canvas, no stretcher 88 x 111.5 cm (34 5/8 x 43 7/8 in)Painted in the 1950sLITERATURE:I. Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p. 301, no. 163CONDITION REPORT:Oil and charcoal on canvas, no stretcher. The edges of the canvas with artist's pinholes. There are creases to the canvas throughout. Vertical lines to the canvas in places corresponding with when the canvas has previously been rolled; this has resulted in associated pigment losses. The canvas is uneven throughout, due to the nature of the work not being stretched onto a supporting stretcher. Examined under UV: there appear to be no visible signs of fluorescence.Painted sometime in the 1950s, this unstretched canvas is a much-enlarged version of the 1955 painting Girlfriends (Schlenker, no.138, sold for £1,875 inc. Buyer's Premium in November 2021). According to Schlenker, this is the only known instance of Motesiczky duplicating her own works. Differing in only a few details, this version depicts two friends who, cup of tea in hand, sit on a chaise longue enraptured by each other’s conversation. While the identity of both women is unknown, Schlenker speculates that it may be the artist herself and friend and flatmate Julia Altschulova. The two lived together at 14 Compayne Gardens in West Hampstead for ten years.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.
Property from the Marie-Louise von Motesiczky Charitable Trust, LondonMARIE-LOUISE VON MOTESICZKY (1906-1996)Self-portrait in mirror looking leftoil on canvas, unframed61 x 51 cm (24 x 20 1/8 in) Painted in the circa 1940sLITERATURE:I. Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p. 198. no. 91E. Michel, Marie-Louise von Motesiczky 1906-1996, 2003, p. 60CONDITION 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.In the present work Motesiczky has unusually painted herself in full profile facing left, and not looking directly into the mirror as one might expect. As in many of her other self-portraits Motesiczky has incorporated a mirror, as a literal and physical means of self-examination and reflection. She uses the mirror to full effect, with the edges of the rounded mirror pushing to the extremities of the composition. Motesiczky's dark blonde hair is held back by a pointed hat, rounded off by a delicate orange ribbon. Disconcertingly, her usual dark brown eyes have been painted a piercing yellow, rendering herself almost unrecognisable. The painting remains undated, however, owing to the similarities of other works of the period, and the age in which the artist appears to be, Schlenker has suggested that the painting dates from the 1940s. Indeed, Motesiczky’s style changed in the early 1940s, moving away from the harder edged objective realism that was indebted to her Beckmann education, choosing instead a looser composition with sketchy flourishes. Whilst the brushwork is soft, this by no means sacrifices the intensification of her expression. Jill Lloyd describes that even as Marie-Louise ventured into the realms of symbolism and allegory, her paintings always relate to “her private universe”, in the present work this seems particularly poignant. 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.
Property from the Marie-Louise von Motesiczky Charitable Trust, LondonMARIE-LOUISE VON MOTESICZKY (1906-1996)Figures walking to churchoil on canvas, unframed45.3 x 35.3 cm (17 7/8 x 13 7/8 in)Painted in the 1930sLITERATURE:I. Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p. 144, no. 49CONDITION 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. 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.
Property from the Marie-Louise von Motesiczky Charitable Trust, LondonMARIE-LOUISE VON MOTESICZKY (1906-1996)Family portrait in the garden oil on canvas, no stretcher, unframed53 x 72.5 cm (20 7/8 x 28 1/2 in)Painted in the 1940sLITERATURE:I. Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p. 204, no. 97CONDITION REPORT:Oil on canvas, no stretcher, unframed. The extreme edges of the canvas with the artist's pinholes. The lower left edge with a vertical tear measuring approx. 7cm. The lower right corner with a tear measuring approx. 8cm. The upper right corner with a tear measuring approx. 7.5cm. There are minor surface scratches, abrasions and pigment losses in places. Examined under UV: there are no visible signs of fluorescing. 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.
Property from the Marie-Louise von Motesiczky Charitable Trust, LondonMARIE-LOUISE VON MOTESICZKY (1906-1996)The two lakes oil and charcoal on canvas, unframed60.8 x 53.3 cm (23 7/8 x 21 in)Painted in 1988LITERATURE:I. Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p.480, no. 296 CONDITION REPORT:Oil on canvas, unframed. Not lined. On very close inspection there is a tiny paint loss towards the lower right edge. Examined under UV: there are no visible signs of fluorescing. Overall, it our opinion that the work is in very good original condition.Motesiczky travelled to Austria for a fortnight in the late Summer of 1988, likely to Altaussee in the Salzkammergut. During this visit she would have probably come across this captivating lake scenery, which she took several photographs of. Indeed, one photograph in particular (from the artist's estate) corresponds closely to the composition of the present lot. In the present lake view, Motesiczky paints two lakes, one in the background and the other in the foreground. The lakes are separated by a stretch of marshland and connected by a narrow stream. The two lakes appear to mirror eachother, with the pale setting sun echoed by the small central island. The result is a tranquil perfectly balanced composition.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.
Property from the Marie-Louise von Motesiczky Charitable Trust, LondonMARIE-LOUISE VON MOTESICZKY (1906-1996)Cars beneath a palm tree by a lake oil on canvas, unframed41 x 51 cm (16 1/8 x 20 1/8 in) Painted in 1960LITERATURE:I. Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p. 309, no. 170CONDITION REPORT:Oil on canvas, unframed. Not lined. A few small paint losses at the upper corners. A small paint loss at the upper centre edge. Minor frame abrasions at the extreme edges in places. On very close inspection, one or two tiny pinpoint paint losses to the canvas elsewhere. 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.
Property from the Marie-Louise von Motesiczky Charitable Trust, LondonMARIE-LOUISE VON MOTESICZKY (1906-1996)Yucatan, Mexico oil on canvas, unframed50.9 x 61.2 cm (20 x 24 1/8 in) Painted in 1956LITERATURE:I. Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p. 269, no. 145E. Michel, Marie-Louise von Motesiczky 1906-1996, 2003, p. 45CONDITION 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. In Spring 1956 Motesiczky travelled to the American continent for three months. After visiting New York, Washington and Chicago, she joined her friend Renée Cushman in Arizona and the pair travelled to Mexico to visit some of the most famous archaeological sites on the Yucatan peninsula.In the present work, Motesicsky depicts the now world-famous archeological site Chichen Itza (once the capital of the Yucatan Maya, on the southern peninsula of Yucatan). Clearly struck by the site and its vivid colourings, a large number of photographs and postcards of its buildings have survived in her estate.In Yucatan, Mexico Motesiczky interestingly does not focus on the site's most famous structure, the huge pyramid of the sun, but instead depicts two Western women strolling across the courtyard known as ‘Cuadrangulo de las Monjas’. The warm evening light of the sunset filters through the open doors and windows of the ruins contrasting against the milky lilac sky above. Two huge, carved serpent heads, representative of the Mesoamerican serpent deity Kukulkán, loom in the foreground, which Motesiczky has relocated from other parts of the grounds. 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.
Art Deco platinum diamond, emerald and pearl brooch, the single stone pearl surrounded by old cut diamonds and calibre cut emeralds in an openwork settingCondition Report:Approx 7.7gm, setting tested as platinum, back bar tested as 9ct gold, size = 46mm x 18mm, two largest diamonds approx 3mm diameter, overall well presented, couple of calibre cut emeralds missing and a couple cracked, other stones appear to be secure in setting
Art Deco silver frosted rock crystal and marcasite circular brooch, pair of silver smoky quartz and marcasite screw back pendant earrings, silver marcasite flower brooch, single 18ct gold stone set clip on earring, pair of silver and rose quartz cufflinks, three stone rings etcCondition Report:18ct stone set gold approx 4gm
Eszeha Art Deco platinum milgrain set diamond manual wind lever wristwatch, stamped PT 950, No. 91982, the two largest diamonds of approx 0.22 carat each, on rope bracelet with 14ct white gold clasp stamped 585, retailed by Gebr.Somme Nachf Hof-Juweliere Sr. Maj.d Kaisers Breslau in original box (ESZEHA is the German name for Karl Scheufele the great grandfather and founder of Chopard in 1904 in Germany)Condition Report:14.35gm excluding movement, movement not currently working overwound,
Trevor Grimshaw (British 1947-2001) "Three Monoliths", signed and dated '76, titled on gallery label - 'Collect Art, Lymm' verso, graphite.18.5cm x 11.5cm (7.25in x 4.5in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The drawing is in very good, original condition with no obvious faults to report. The drawing is ornately framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
Bertram Nicholls (British 1883-1974) "Ripon", signed and dated 1953, titled on gallery label - 'The Fine Art Society Ltd., London' verso, oil on canvas.49.5cm x 75cm (19.5in x 29.5in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in good, original condition. The surfaces of both the painting and frame are stained by nicotine and would certainly benefit from a light clean. There is a small scratch to the surface of the painting in the lower right-hand corner of the canvas. The painting is ornately framed but not glazed. The original frame has some knocks and losses.
L.S. Lowry R.A. (British 1887-1976) "Britain at Play", signed in pencil in the margin, with Fine Art Trade Guild blind stamp, published by Mainstone Publications, Norwich, printed by Beric Press, London, limited edition colour print.image size 45cm x 60cm (17.75in x 23.75in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The print is in good, original condition. The colours have faded across the print. The print is framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
L.S. Lowry R.A. (British 1887-1976) "Three Men and a Cat", signed in blue biro in the margin, with Fine Art Trade Guild blind stamp, limited edition colour print.image size 24.5cm x 16.5cm (9.75in x 6.5in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The print is in very good, original condition with strong colours. There are some very minor spots of foxing in the lower margin. The print is framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
L.S. Lowry R.A. (British 1887-1976) "The Cart", signed in pencil in the margin, with Fine Art Trade Guild blind stamp, from an edition of 850, printed by Max Jaffé, Vienna, published by Adam Collection Ltd., limited edition colour print.image size 49.5cm x 40cm (19.5in x 15.75in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The print is in very good, original condition with strong colours. There is some very light time staining and browning of the paper in the margins near the mount board. The print is unframed.
Malcolm Croft (British 1964-) "Dufton Pike", signed, titled on gallery label - 'Collect Art' verso, oil on canvas.49cm x 98.5cm (19.25in x 38.75in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with no obvious faults to report. The painting is ornately framed but not glazed.
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