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A neo-classical style silver plated table lamp, having a Corinthian capital to a tapering column and convex square base, relief decorated with urns and flowers, h.55cm (including fittings)

An Ebonised and Gilt Harp, Early 19th Century, by Sebastian Erard, 18 Great Malborough Street, London, No. 1364, with fluted column, the capital with ram's heads, swags, figureheads, and leaf ornament, the base with palmettes, on paw feet, 67ins high

Fujita, Kyohei Große Deckeldose (Kazaribako) mit Dekor "Alte Stadt" in originaler Holzschatulle (Tokio 1921-2004 Chiba) Sechseckige Form. Farbloses, säuremattiertes Glas mit ein- und aufgeschmolzenen Kröseln in Purpurviolett, Außenwandung mit aufgeschmolzener, gerissener Gold- und Platinfolie. Am Boden sign. "Kyohei Fujita"; Deckel der Holzbox betitelt, innen sign. und gestempelt. 15 x 23 x 20 cm; Box mit Papierhaube und textilem Verschlussband ges. 19 x 27 x 28 cm. - Vgl. Kat. Kyohei Fujita Glass, 2000, Abb. 31, Dekor "Ancient Capital" aus dem Jahr 1993.Design, Galerie Waldrich München / Privatsammlung Christiane Waldrich, Glasdose, Himokake, Japan, Japanische Gesellschaft für Glaskunst, japanischer Glas-Kunsthandwerker, sanada-himo, Studioglas, Tomobako

Fujita, Kyohei Deckeldose (Kazaribako) mit Dekor "Alte Stadt" in originaler Holzschatulle (Tokio 1921-2004 Chiba) Sechseckige Form. Farbloses, säuremattiertes Glas mit ein- und aufgeschmolzenen Kröseln in Purpurviolett, Außenwandung mit aufgeschmolzener, gerissener Gold- und Platinfolie; Silbermontierung. Am Boden sign. "Kyohei Fujita"; Deckel der Holzbox betitelt, innen sign. und gestempelt. 10 x 11 x 10 cm; Box mit Papierhaube und textilem Verschlussband ges. 15,5 x 12,5 x 14 cm. - Vgl. Kat. Kyohei Fujita Glass, 2000, Abb. 31, Dekor "Ancient Capital" aus dem Jahr 1993.Design, Galerie Waldrich München / Privatsammlung Christiane Waldrich, Glasdose, Himokake, Japan, Japanische Gesellschaft für Glaskunst, japanischer Glas-Kunsthandwerker, sanada-himo, Studioglas, Tomobako

Medieval design ebonised corbel, the top section with a moulded scaly grotesque with mouth agape and pointed ears, the lower with concave arch surrounding an armoured knight in prayer, the sides of the corbel decorated with moulded flower heads and foliate patterns; Medieval design ebonised corbel, the cavetto top over a grotesque elf in medieval tunic with hood; Medieval design ebonised corbel, the capital moulded with arcade patterns, the scrolled body decorated with central repeating acanthus leaf design, terminating in a gryphon mask (3)Dimensions: Height: 50cm  Length/Width: 22cm  Depth/Diameter: 27cm

Property from the Marie-Louise von Motesiczky Charitable Trust, London MARIE-LOUISE VON MOTESICZKY (1906-1996)Still-life, vase of flowersoil on canvas, unframed61 x 45.7 cmPainted in 1996LITERATURE:I. Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p. 520 no. 331.J. Lloyd, The Undiscovered Expressionist. A Life of Marie-Louise von Motesiczky, New Haven/London, 2007, p. 221.I. Schlenker, in Marie-Louise von Motesiczky 1906-2006, catalogue of the exhibition (2006), p. 16, illus. p. 18, p. 206, illus. p. 206.E. Lope Catayud, Marie Louise von Motesiczky. Technique and Materials (diploma thesis, Courtauld Institute of Art), London, 2005, p. 13. This is the last painting Marie-Louise von Motesiczky worked on. Possibly begun sometime in 1995, it was still standing on the easel in the artist’s studio at her death in June 1996. The still llife forms part of the large body of flower paintings to which the artist increasingly turned in the 1980s and 1990s. Among the flowers are white rhododendron, orange azalea, white and mauve lilac, all species that could be found in the artist’s own garden. The painting may be considered unfinished as, according to Schlenker, Motesiczky had expressed her intention to include also a lizard. 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, London MARIE-LOUISE VON MOTESICZKY (1906-1996)Still-life, yellow roses in white bowloil on canvas, unframed35.4 x 45.9 cmPainted c. 1950LITERATURE: I. Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p. 214 no. 104. 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, London MARIE-LOUISE VON MOTESICZKY (1906-1996)Haystackssigned M.L.M. (lower right)oil on canvas, unframed35.4 x 45.7 cmPainted c. 1958LITERATURE: I. Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p. 287 no. 156. 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, London MARIE-LOUISE VON MOTESICZKY (1906-1996)Still-life with fruit and rosesoil and pastel on canvas, unframed40.9 x 50.9 cmPainted in 1979LITERATURE: I. Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p. 400 no. 263. 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, London MARIE-LOUISE VON MOTESICZKY (1906-1996)France, soldier by the seaoil on canvas, unframed25.5 x 28 cmPainted in 1955LITERATURE: I. Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p. 262 no. 140. 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, London MARIE-LOUISE VON MOTESICZKY (1906-1996)Slideshow with Piero della Francescaoil on canvas, unframed40.4 x 50.8 cmPainted c. 1970LITERATURE: I. Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p. 406 no. 241. In the late 1960s, Motesiczky attended adult appreciation classes at Kynaston Technical School, in Swiss Cottage. This painting shows one of those lectures in full swing. The classes, specialising in Renaissance art, were given by Marina Hoffer, a Czech artist, author and book illustrator who shared with Motesiczky a short-lived friendship. In this painting Marina Hoffer, white haired and dressed in an elegant blue coat, is depicted wielding a pointer while explaining the slide projected on the screen. The image is Motesiczky’s adaptation of a fresco from Piero della Francesca’s Legend of the True Cross (in the Cappella Maggiore of the church of S. Francesco, Arezzo). The original scene depicts the Queen of Sheba who, on her journey to see King Solomon, is about to cross a stream via a bridge that that has been manufactured from the wood on which Jesus Christ will be crucified. When, by a miracle, she learns this, she kneels in adoration. In Motesiczky’s interpretation of this scene only two figures from the fresco are maintained, a horse and the Queen of Sheba, while all the other characters are omitted. In this resulting curious juxtaposition the Queen of Sheba seemingly adores the horse, probably a mischievous attempt by Motesiczky to spice up the lesson.* Note: Burgh House, supported by the Marie-Louise von Motesiczky Charitable Trust, is organising an exhibition of Motesiczky’s work (March-Dec 2024) and would be interested in loaning the work Slideshow with Piero della Francesca. Please contact us if you wish to know more about the loan process. 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, London MARIE-LOUISE VON MOTESICZKY (1906-1996)Couple promenading on the sea frontoil and charcoal on canvas, unframed40.7 x 50.9 cmPainted in 1967LITERATURE: I. Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p. 370 no. 214.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, London MARIE-LOUISE VON MOTESICZKY (1906-1996)Bowl of pansies, ashtray and cigarettedated 1944 (lower centre)oil on canvas, unframed25.6 x 35.5 cmLITERATURE:I. Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p. 168 n. 66. 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, London MARIE-LOUISE VON MOTESICZKY (1906-1996)Landscape, Sarkoil on canvas, framed71.5 x 91.8 cmPainted in 1962LITERATURE: I. Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p. 320 no. 182. This seascape was inspired by Motesiczky’s holiday in Guernsey in July 1961, from where she visited the neighbouring island of Sark. The work was painted back at home in London from a sketch she made on the spot. In this painting the sea takes up most of the space, with only a single sailing boat disturbing its calm surface. A diffuse light emanates from the grey sky. A large rock in the centre of the composition divides the blueish-grey mass of water. A single figure, possibly Motesiczky herself, sits amid the rocky outcrops and colourful vegetation in the foreground. The presence of the easel suggests she is an artist, probably depicting the spectacle in front of her. Yet, the almost transparent manner of the depiction makes the artist appear strangely out of place in this deserted landscape. 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, London MARIE-LOUISE VON MOTESICZKY (1906-1996)Lake sceneoil on canvas, unframed41 x 45.9 cmPainted in the 1980sLITERATURE: I. Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p. 484 no. 300.This rather unfinished landscape, painted in the 1908s, may have been inspired by Motesiczky’s frequent travels in native Austria, and possibly depicts one of the lakes in the Salzkammergut. The point of view is from an elevated balcony, the balustrade of which can be seen in the lower left corner. The calm lake is overshadowed by the silhouette of a mountain, the orange sun is setting in the background. It is sunset, and at this time of the day the lake is almost empty but for a sailing boat approaching the shore. The lake promenade is similarly deserted, with only a cyclist sketched in the foreground. 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, London MARIE-LOUISE VON MOTESICZKY (1906-1996)Sundial with birds and flowersoil, charcoal and pastel on canvas, unframed40.7 x 45.6 cmPainted c. 1993/94 LITERATURE: I. Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p. 514 no. 323. In this picture, as in many others, Motesiczky drew inspiration from her own garden in Hampstead. In a hasty yet vivid way she captures on of its prominent features, a sundial. The sundial stands in the middle of the lawn, surrounded by a small flowerbed. In the background, a dark wall delimits the garden space. In this painting Motesiczky has curiously transformed her well-kept garden into something different, almost a jungle, where coloured flowers and long grass thrive. Two large birds face each other on either side of the sundial, as if preparing for a fight, adding a further note of drama to the scene. 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, London MARIE-LOUISE VON MOTESICZKY (1906-1996)Still life with flowers and globeoil, pastel and charcoal on canvas, unframed and not attached to stretcher57 x 48.5 cm (painted area)LITERATURE: I. Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p. 488, no. 305. 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, pink roses and brushesoil and charcoal on canvas, unframed 50.7 x 76.1 cmPainted c. 1948LITERATURE: I. Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p. 190 no. 84.In this relatively large-scale still life, according to Schlenker painted around 1948, Motesiczky presents the objects very close to the picture plane, lending them an almost monumental quality. In the centre of the composition are two large oval objects: a plate holding a delicate pink rose and a flask decorated with an orange bird. This central arrangement is framed by two groups of tall brushes in glass containers, the left one so close to the viewer that only the tops are visible. Lush pink roses are scattered around the composition, with two more blue flowers providing a colourful highlight on the left-hand side. 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, London MARIE-LOUISE VON MOTESICZKY (1906-1996)Beach and rocksoil on canvas, framed40.8 x 61 cmPainted c. 1961LITERATURE: I. Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p. 317 no. 179. 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, London MARIE-LOUISE VON MOTESICZKY (1906-1996)Still-life, celery, wooden spoon and knifeoil and charcoal on canvas, unframed25.2 x 35.7 cmLITERATURE: I. Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p. 522 no. 334. 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.

Strawberry Hill Press.- Jones (William) The Muse Recalled, An Ode, Occasioned by the Nuptials of Lord Viscount Althorp and Miss Lavinia Bingham, [one of 250 copies], book-label of J.O. Edwards, small stab-holes to inner margin, a fine copy, modern calf, lightly rubbed, spine a touch sunned, [Hazen 28], Strawberry-Hill, Printed by Thomas Kirgate, 1781 § Poems Selected and Printed by a Small Party of English, Who made this amusement a substitute for Society, Which the disturbed situation of the country prevented their enjoying, half-title with small paper repair to head, just touching ink inscription "The gift of Sir John & Lady Legard June 1797", the odd patch of light soiling, some scattered foxing, heavier to peripheral ff., handsomely bound in contemporary tree calf, neatly rebacked and recornered in modern calf, spine with gilt floral motif and red morocco label, old covers a little rubbed with a few minor ink spots, Strasburg, in the month of February 1792; and others, 18th and 19th century poetry, attractively bound, 4to (5) ⁂ The second a scarce and anonymous work, printed shortly after Strasburg had been annexed by France. The city was reduced to the status of a French provincial capital and its German university suppressed. Many English nationals caught there during these troubles became de facto prisoners. The work contains pieces by Goldsmith, Gray, Lyttleton, Sheridan and Pope, among others.

Thomas Green, Bristol Hotwell, a George III bracket clock, ebonised chamfered case, caddy top with brass swing handle and urn finials, convex painted dial with Roman numerals, signed 'Thomas Green, Bristol Hotwell', fretwork side sound grilles, shaped gilt metal bracket feet, six pillar triple fusee movement, chiming phrases for the quarters on a graduated nest of eight-bells and completing `Queens` melody on the hour before striking hour on a larger bell, signed and dated 1789, 50cm high, 31cm wide, (key and pendulum), with a contemporary ogee front-sliding wall bracket, 17cm high, 37cm wide. Note: Thomas Green is recorded in Moore, A.J. The Clockmakers of Bristol 1650-1900 as apprenticed to Charles Horwood, watchmaker and goldsmith on the 27th July 1771. He married Horwood`s daughter before setting up business at Chapel Row, Dowry Square, Hotwells, Bristol in 1780 where he stayed until relocating to Portland Place, Clifton in 1815. Moore transcribes the advertisement for the 1824 retirement auction of his workshop and comprehensive stock in trade, which includes `a capital Regulator by George Graham of London, ditto duplex jewelled and six other clocks of superior manufacturers in handsome cases`. The current lot is illustrated by Moore on page195.

Author William J. Duiker covers all aspects of The Boxer Rebellion, an attack on foreign diplomats and Christian missionaries in China in 1899-1900, centered on the capital of Peking. 226 pages devoted to describing the events with dozens of black/white photographs, illustrations, and maps.Issued: 1978Dimensions: 5.75"L x 1"W x 8.5"HCountry of Origin: United StatesCondition: Age related wear.

A brass Corinthian column adjustable standard lamp, with ornate capital, raised on a square base terminating in claw feet, 154cm overall, complete with a white silk tasselled shade 

Queen’s South Africa 1899-1902, 3 clasps, Cape Colony, Johannesburg, Diamond Hill (Major Aziz Bey.) officially engraved naming, toned, good very fine and rare £300-£400 --- Major Aziz Bey is confirmed on the roll of ‘Foreign Military Attachés’ as the military attaché for Turkey. The following extract is taken from ‘High Pressure, being some record of activities in the service of The Times newspaper’ by Colonel Lionel James, C.B.E., D.S.O.: ‘My great ally, however, was Aziz Bey, the Turk. Aziz was what the French term a type, and used to accompany me on the march and into battle with the expressed hope that I might introduce him into some entanglement in which he could slip the irksome rôle of a neutral and become a combatant. Many good stories are told of Aziz, but the two best are these. During a period of inaction he went to Capetown. At the hotel he, not unwillingly be it said, was induced to play baccarat. It was not long before there was more paper in the bank bearing the name Aziz than even the largesse from Yildiz would liquidate. Aziz was undaunted. He was in uniform, so he drew his sword, and in less time than it takes to tell the story, he had cleared the room, and was not only in possession of his own signed paper, but of the bank's specie capital as well. The other story has a less satisfactory ending for Aziz, as it cost him his job. After his campaign with us in the Transvaal, he was sent to Washington, as the Sultan's military representative. This, when the funds were forthcoming from the shores of the Bosphorus, suited his quaint temperament admirably. Opulence, however, was spasmodic. So Aziz took to the personal dunning of Abdul Hamid upon postcards with insulting epithets in Turkish script. One of these masterpieces, apparently, reached the august presence and Aziz was ordered home to face the bow string. Nevertheless he bobbed up again after the Revolution, and I last saw him in Constantinople as sub-chief of the Stambul police. In this capacity he was wearing civilian kit, and was a poor effigy compared to my pristine friend the popinjay sabreur of the Mount Nelson Hotel.’

Queen’s South Africa 1899-1902, no clasp (Sister Raphael) officially impressed naming, minor edge bruises, otherwise good very fine £300-£400 --- M.I.D. London Gazette 16 April 1901 (Lord Roberts’ despatch). Sister Raphael is confirmed on the roll of the Roman Catholic Convent, Bloemfontein. Bloemfontein, the capital of the Orange Free State, was captured by Lord Roberts on 13 March 1900. Occupied by his force of some 36,000, and without any proper sanitary provisions, it soon became engulfed by a raging typhoid epidemic. By mid-April there were 2000 men in hospital and the dead and dying overwhelmed Roberts’ inadequate medical arrangements, so much so that an urgent request for an extra 30 Doctors and 300 Orderlies was sent to London. The Mother Superior and Sisters of the Roman Catholic Convent (16 in total) and the Nursing Staff of St Michael’s Home (12 in total), at Bloemfontein, provided much needed beds and assistance during the epidemic. Sold with copied gazette notice and medal roll.

A Victorian table lamp with fourteen-sided tinted glass well and ten-sided bar shaped column with gilt metal capital and scroll shaped base, 48.25cm high overall CONDITION REPORT: one chip to the top rim next to metal collar. Gilt line detail to the edges is rubbed318 - Glass elements in good condition. The stem once had gilt lines up the ridges, these are almost all worn away. Converted from oil lamp. Gilt metal mounts have rubbing to gilt. If the intention is to use as an electric lamp then it needs re-wiring. No shade.

A Reconstituted Stone Mantle Clock of Architectural Form Together with a Pair of Slate Capital Mounts

Classical design cast stone female bust depicting Artemis, raised on fluted Corinthian column with acanthus leaf capital, stepped square base, looking right Dimensions: Height: 145cm  Length/Width: 30cm  Depth/Diameter: 27cm

Classical design cast stone female bust depicting Artemis, raised on fluted Corinthian column with acanthus leaf capital, stepped square base, looking right Dimensions: Height: 145cm  Length/Width: 30cm  Depth/Diameter: 27cm

A Pair of Edward VII Silver Candlesticks, by Henry Wigfull, Sheffield, 1908, each on shaped square base stamped with foliage, the stem stamped with ribbon-tied foliage and with a stylised Corinthian capital, with detachable gadrooned nozzles, filled, 15.5cm high (2)Each fully marked on base and further part marked on nozzle. There is some very minor wear to the marks but each is legible. There is some very minor surface scratching and wear, consistent with age and use. The wear is noticeable as a very minor softening to the high points.

Football Shirts - Notts County, Mitre home 'Harp Larger' logo size 34-36. Nottingham Forest Umbro yellow away ' Capital One' logo, Leicester City Le Coq Sportif grey away, 'Alliance Leicester' logo (3).

* Attributed to William Atkinson (1774/5–1839). North Elevation of a Design for alterations and additions to Stock Place [Buckinghamshire], in plan marked A, Capt. Howard Vyse, Jan 1814, pen, ink and watercolour on wove, initials and date lower right, 31.5 x 41.5 cm (12 1/4 x 16 1/4 ins), mounted, burr veneered frame (46.7 x 57.5 cm)QTY: (1)NOTE:George Howard (1718-1796) acquired the 18 acre property Stoke Park from Hannah Sedgly for £4,300 in September 1764. The property included the ‘Capital messuage built by Patrick Lambe’. Howard immediately began a major campaign of improvement to his new property. Initially, he employed Lancelot ‘Capability’ Brown (1716?1783), to lay out an informal lake and pleasure ground near the house. George Howard died in 1796. His deceased daughter Anne’s son and heir Richard William Howard Howard?Vyse (1784–1853) inherited Stoke Place. A lifelong soldier, in 1810 Richard William married Frances Hesketh of Newton, Cheshire. Stoke Place was his residence for nearly 60 years and he developed the landscaping begun by his grandfather in the 1810s?20s. Having moved Grays Road some distance further west of the house in 1813, in 1814 he obtained designs from one ‘WA’ (possibly the architect William Atkinson who was then working at nearby Ditton Park) for works to the house, including colonnades on the north, entrance front, and for a layout for the forecourt and flower and kitchen gardens to the west. It would appear that the alterations in the above design were not undertaken. This scheme was superseded after in 1817 he was able to move the road still further west to its present course which enabled him to create the present kitchen gardens around the forecourt and pleasure ground.The architect William Atkinson (1774/5–1839) was best known for his designs for country houses in the Gothic style. He undertook almost fifty commissions, broadly distributed in the north of England and the Scottish lowlands, London and the surrounding counties, with occasional excursions to Herefordshire, Staffordshire, and Ireland. Projects included Chiddingstone Castle in Kent (1800), Chequers, Buckinghamshire (1823), and Lismore Castle, Co. Waterford, Ireland., as well as his Gothic reconstruction of Scone Palace (1803–12), and Abbotsford (1816–23) for Sir Walter Scott, etc.

A CHINESE BLACK GLAZED HARE'S FUR POTTERY TEA BOWL, SONG DYNASTY. Deep rounded sides on a short foot covered in a black lustrous glazed with silvery brown streaks pooling around the foot. Song dynasty (960-1279). 12.5cm diam. Provenance: Purchased from Capital Gallery, Hong Kong in 1991. With original purchase invoice.Good overall condition with no signs of damage or repair. Only a 2cm hairline in the glaze near foot.

A collection of mixed ceramics to include; An early Crown derby purple mark sugar bowl and cover (cracked and chipped), numbered 500, six Imari patterned cups and saucers with matching side plates, all bearing crossed 'X' mark and capital H to reverse, a pair of small modern Royal Worcester bone china simple white fish in shell centrepieces. Along with a Doulton Chantilly dish, an Old Trentham Sprays dish, a Spode coffee cup, Crown Ducal bowl, a Royal Winton jug, a Czechoslovakian tea bowl (cracked), a small gilt Chinese style bowl marked Empire, a Limoges style three stemmed vase and Limoges style patch/trinket box/pot, and two small base metal cased pieces -  one an Icon style with mother and baby ceramic tile to centre and transfer printed Tahj Mahal to centre of other.

Group of three antiphonary manuscript pages on vellum with Latin text and illuminated capital letters.Unframed; height ranges from 17 in to 21 1/4 in; width ranges from 13 1/2 in to 14 1/2 in. Framed; height ranges from 20 3/4 in to 30 1/4 in; width ranges from 16 3/4 in to 23 3/4 in.Condition: Wrinkles, creases, small tears and losses throughout. Some fading to the ink and color. The vellum is somewhat toned. Wear as expected from age and use.

An assortment of items to include a fob seal and a combination pencil/ dip pen comprising a 19th century gilt metal oval fob set with carnelian intaglio seal, a Victorian gilt combination propelling pencil / dip pen with foliate engraved decoration and shield shaped agate set capital terminal, a silver-gilt hinged cuff bangle, a keyless gold plated open faced pocket watch attached a rolled gold articulated snake link watch chain, together with gentleman's accessories to include gilt blue stone set knot stick pin, a pair 9ct back and front engine turned cufflinks, set of three silver and mother of pearl dress buttons, a gilt napkin clip with central glazed compartment with woven hair etc., (qty)various Condition: Watch winds ticks and runs however no guarantee can be offered as to the full working order, area of hairline damage to dial at 10 o'clock Some rubbing to case notably suspension ring. Other items in good condition commensurate with age one dress button lacking paste stone

A Quartz EBF Maiden Fillies Stakes desk clock, awarded to Frankie Dettori, the clock face enclosed in a metal case engraved 'Presented to / Frankie Dettori / The Rock Capital Gruop / EBF Maiden Fillies Stakes / Newbury Races / 1st August 2004'14cm high Provenance:Frankie Dettori

Hiroshi Yoshida (Japanese, 1876-1950). Japanese shin-hang woodblock print titled "Approach to Agra No. 3" depicting a crowd moving towards Agra, a city on the banks of the Yamuna river in the Indian state of Uttar Pradesh, southeast of the capital New Delhi, 1932. The Taj Mahal in the background shines brightly. Jizuri seal along the upper left margin. Pencil signed along the lower right; titled along the lower left; marked with Yoshida's seal in plate along the lower left; further inscribed in Japanese along the left margin. The jizuri "self-printed" seal indicates that the printing process was directly supervised by him and that he played an active role in the creation of this print. These seals were typically reserved for only the highest quality impressions as decided by Yoshida.One of the leading figures in the Japanese Shin-hanga movement, Hiroshi Yoshida was born in Fukuoka in 1876. In 1893, he moved to Kyoto and studied yoga and nihonga styles of painting and watercolors. It came only in middle age he started collaborating with the shin-hanga publisher Watanabe Shozaburo. Despite his late debut as a shin-hanga printmaker, he successfully put himself on the map as the greatest artist of the shin-hanga style and is especially noted for his excellent landscape prints. His prints are highly recognized in both Japan and overseas.Height: 11 in x width: 15 3/4 in.Condition: No visible tears, losses, or signs of restoration under UV light. The sheet is toned and has very light wear along the upper and right margins, original to the artistic practice. The color is bold and bright. Very light creases along the margins, which do not affect the center image. Along the verso, the paper is toned and has a light foxing began to form to the center of the sheet.

UNITED KINGDOM. Elizabeth II, 1952-2022. 1 Pound Capital Cities of the UK lot of 3 boxes, 2010, 2011. Royal Mint. Cardiff £1 Gold Proof Box, Edinburgh £1 Gold Proof Box, . Total gross weight: 15.00 g. Composition: 1 Pound Capital Cities of the UK.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. Additional 6% fee charged on the Saleroom. Delivery cost will be added to your order.

A Regency ormolu mounted rosewood and parcel gilt breakfront low cabinet attributed to Marsh and TathamCirca 1810The superstructure with a breakfront upper tier, on four gilt bronze octagonal ring turned baluster shaped front columns, with a triple moulded panelled back comprised of one long central and two short end panels, each inset with intersecting waved grills and later pleated silk material, the top above an ovolo moulded cornice, over a frieze mounted with four ribbon wrapped and ribbon tied ivy wreath angles, with one large central panelled door inset with waved grills and later pleated silk, flanked by two smaller conforming doors, two of the doors enclosing one long fixed shelf and two short adjustable shelves, one end door enclosing six graduated solid mahogany drawers each with inset brass handles, interspersed with four panel mounted pilasters each headed by a lotus-leaf capital mount, terminating in a plinth base, with a triple chamfered panelled back, approximately: 153cm wide x 56cm deep x 119cm high, (60in wide x 22in deep x 46 1/2in high)Footnotes:A related pair of low bookcases attributed to Marsh and Tatham sold Christie's, London, 14 June 2001, Important English Furniture, lot 174. They have essentially identical laurel wreath and lotus-leaf paired ormolu mounts to those on the offered lot. All three of these cabinets, despite being of English origin, are clearly examples of the ancient Grecian inspired French Neoclassicism which was first promulgated in France during the 1790s. This style was then subsequently promoted in England, at the very beginning of the 1800s, by the then Prince of Wales (later to be George IV) in tandem with the renowned collector and connoisseur, Thomas Hope (d. 1831).The present cabinet, along with the aforementioned models, are each mounted with wreath ornamentation typically representing Apollo, the ancient Greek god of poetry, music and the arts. However, the pairing of pilasters headed by palm-flowered or lotus-leaf ormolu work with these distinctive wreath mounts is most likely a reference to the grecian choragic monument of Thrasyllus, which appears illustrated in J. Stuart and N. Revett, The Antiquities of Athens, 1762. Importantly, almost identical gilt bronze adorned pilasters are a prominent element on a satinwood desk provided in 1811 for Carlton House in London, upon behalf of the Prince of Wales. This was executed by the renowned cabinet making partnership of William Marsh and Thomas Tatham, see W.H. Pyne, Carlton House, 1817 and J. O'Brien & D. Guinness, Great Irish Houses and Castles, 1992, London, p. 161.The particularly well defined and highly detailed mounts on the offered model were almost certainly produced by Alexis Decaix (d.1811), who was a French bronze-founder based on Old Bond Street. Decaix supplied ormolu upon behalf of the then Prince of Wales (later George IV) and in turn gained recognition in large part due to the hugely influential collector and designer, Thomas Hope, via the latter's 1807 publication, Household Furniture and Interior Decoration.Similar gilt bronze wreath mounts also feature on a desk provided for Hothfield Place in Kent, which was home to the 9th Earl of Thanet. This desk sold Christie's, 27 November 1969, lot 142. Closely related palms or lotus leaves, as appear on the above, are among the ormolu mounts adorning the yew wood bookcases made in 1806 by the firm of Marsh and Tatham for the Prince of Wales. One of these bookcases sold Christie's, 3 July 1997, lot 70. Such Grecian ornament, which was often favoured by Marsh and Tatham, drew its more recent inspiration from the Neoclassical furniture housed at the Duchess Street property belonging to Thomas Hope, as well as from the latter's designs. Another rosewood bookcase, made in 1806 by Marsh and Tatham, which has similar ormolu mounts to both the present and aforementioned examples, is one forming part of the Royal Collection, Buckingham Palace. This appears illustrated in M. Jourdain, Regency Furniture, 1795-1820, 1948, Glasgow, fig. 11, p. 64.This lot is subject to the following lot symbols: TP YTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots 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.Y Subject to CITES regulations when exporting items outside of the UK, see clause 13.For further information on this lot please visit Bonhams.com

A pair of French late 19th/early 20th century ormolu mounted mahogany, marble and polished steel gueridons1885-1900, after the model by Adam WeisweilerEach with a circular marble top mounted with a moulded engine turned edge, on three floral and foliate entwined twinned columnar supports each headed by a lotus-leaf capital, with a concave tripartite undertier, terminating in three elongated hairy cloven hoof sabots, diameter of the top: 33cm; approximately 74cm high. (2)Footnotes:A pair of essentially identical gueridons sold Christie's, London, 14 March 2013, The Opulent Eye, lot 27.The design for the present table relates to the guéridon doubles colonnettes, an innovation of the celebrated Parisian ébéniste, Adam Weisweiler (maître 1778). With the common feature being its twin 'bamboo' supports, Weisweiler produced several variations of the table, some having a porcelain or Wedgwood inset top, others inset with marble, lapis lazuli or even lacquer. Examples are known to have been supplied to Madame du Barry and the Comte Skavronsky.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots 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

‘I hear the well worthy and faithful Admiral Nelson happily arrived….’             1149    FERDINAND I: (1751-1825) King of the Two Sicilies 1816-25 (upon his restoration following victory in the Napoleonic Wars) and previously, as Ferdinand IV, King of Naples 1759-99, 1799-1806, 1815-16 and, as Ferdinand III, King of Sicily 1759-1816. A fine A.L.S., Ferdinand D[e] B[ourbon], one page, 4to, Palermo, 27th June 1799, to an unidentified correspondent [Sir John Acton?], in Italian. The King informs his correspondent that a frigate has arrived from Naples with an 'inexpressible consolation', continuing 'I hear the well worthy and faithful Admiral Nelson happily arrived with his crew. I have read the statement that he sent you in the form of observations, which could not be more wise, reasoned and adapted to effect and truly evangelical. I have no doubt that you will have immediately complied with it, otherwise it would have been the same as declaring yourself a rebel too, which is never possible after so many reproaches in the past given me of fidelity and attachment'. With blank integral leaf. A letter of good content for its reference to Lord Nelson. VG Sir John Acton (1736-1811) French-born English Admiral who served as Prime Minister of the Kingdom of Naples under Ferdinand IV during the turbulent times when French Revolutionary fervour under Napoleon was sweeping across Europe and threatening to extinguish the monarchy he served.  Horatio Nelson (1758-1805) British Vice-Admiral who achieved a number of decisive naval victories during the French Revolutionary and Napoleonic Wars.  Nelson's victory at the Battle of the Nile in August 1798 had extinguished French naval power in the Mediterranean, thereby saving the Kingdom of Naples from naval conquest by Revolutionary France. However, this did not prevent the French armies entering the north of Italy and achieving some successes. In response, and on the orders of Nelson, in December 1798 King Ferdinand, Queen Maria Carolina, Sir John Acton, Sir William Hamilton (and his wife, Emma Hamilton, Nelson's mistress) were evacuated from Naples and taken on board HMS Vanguard to the Sicilian capital of Palermo. Freed of the royal presence, during the first months of 1799, the Neapolitan citizens and aristocracy sympathetic to the ideals of the French Revolution promptly established the short-lived Parthenopean Republic with the help of the French and an uprising of the classes who had supported King Ferdinand was violently suppressed. Nevertheless the monarchy was restored in Naples five months later when Cardinal Fabrizio Ruffo, with the King's permission and support of Nelson, led the 20,000 strong Calabrian army ('Sanfedisti') against the French occupation. Acton re-established order in Naples with the creation of the Junta of State, a reign of terror during which many prominent citizens were imprisoned or executed. King Ferdinand rewarded Nelson's services by granting him a title of Sicilian nobility, Duke of Bronte, which he accepted without his own King's approval.  

‘It can’t be that my life’s work is destroyed by the French’ RIEFENSTAHL LENI: (1902-2003) German film director. A significant and interesting correspondence collection comprising two A.Ls.S. and nine T.Ls.S. (several with holograph additions), Leni Riefenstahl, sixteen pages (total), 4to, various places (Munich etc.), January 1952 - December 1958, the majority to Christian Bourcier de Carbon (and, indirectly, Henri Langlois), in German. Riefenstahl writes on a variety of subjects, including her work and the efforts she made to recover her films reels, which had been confiscated by the French government at the end of World War II and retained at the Cinematheque Française, thanking De Carbon for supporting her in the return of her films, explaining that she intends to go to Paris personally 'as soon as possible to bring about the handover there and I would be happy if I could ask for your help. In order to obtain my French entry permit, it is necessary for me to receive an official invitation….from you as soon as possible (by express) so that I can receive my entry visa from the French consulate in Munich in a few days' (26th January 1952), further stating, in part, 'Many weeks have now passed since my stay in Paris and unfortunately the return of my material to the Austrian Embassy has still not become a fact…..If all these efforts are unsuccessful, then the last resort I see is either a civil suit against Monsieur Petitjean, a French film officer who at the time brought the material to France without permission and without a mandate from the French military government, or that I have to file a complaint with the International Court of Justice in The Hague' (19th March 1952), 'On 4th April I finally have my world premiere of 'Blauen Licht' in Munich….I wanted to go to Kitzbuhel over Easter and from there to Breuil to test the ski area there for my film 'Die roten Teufel'' (1st April 1952), 'Unfortunately I haven't received any sign of life from you since we were last together in Munich and wonder whether you are in Paris and whether you are aware of the outrageous article about me in the magazine 'Samedi Soir' of 10th May 1952. This article took over the pictures of the Munich 'Revue', made the same claims and published more fictional and forged Streicher letters. As a result, the already officially confirmed transfer of my films to the Austrian Embassy was thwarted at the very last hour…..I ask you to treat the contents of this letter as confidential. It is only intended to show you the base means by which my enemies in France are trying to prevent the return of my property. This new setback has made my current situation even more difficult, but I hope to be able to resolve the matter through a lawsuit. For this process I now need an absolutely flawless translation of the article from 'Samedi Soir' and I would be particularly grateful if you would have the same made, as I have no money to pay for the translation…..I will give you back your expenses after the case has been won…..My lawyer will ask the newspaper 'Samedi Soir' to bring a correction. If the newspaper does not do this, I will be forced to sue 'Samedi Soir' and again I would like your advice on which French lawyer I should hire?' (1st June 1952), 'Above all, I would like to tell you that your faith and the trust you have placed in me have given me a lot of strength. On the day of your visit in Munich I was really completely devastated by the mean slanders of the 'Revue'. Your encouragement helped me a lot. The next day I flew to Berlin and had the strength to face a big public hearing in Berlin to refute all allegations against me, although the chairman of the court was a Jew, he possessed the necessary objectivity to conduct the proceedings fairly, I was acquitted on all counts and fully rehabilitated. This was a great victory and will also help me to fend off further attacks. For your information I am enclosing a newspaper report from which you can see the means by which an attempt was made to destroy me. I am also enclosing the copy of the Berlin verdict, which is of particular value because the most severe verdicts are pronounced in Berlin. As a result of this Berlin verdict, I am now in a position to sue the illustrated magazine 'Revue' for defamation and professional damage. So I will once again have to endure a lawsuit, but I am convinced that I will win it and then the way for my future work will be free….I wrote to Mr. Borst today to find out how far my 'Tiefland' affair has progressed…..I cannot understand why the handover has still not taken place. If you are still in Paris, I would be indebted to you if you would ask Mr. Borst, or even better, Mr. Langlois directly, when the handover will take place, It can't be that my life's work is destroyed by the French' (5th June 1952), 'It has been a long time since we last spoke. In the meantime my 'Tiefland' film has begun in Germany and Austria with a very strong response from the press and so far I am very satisfied with the artistic success. If you don't have the opportunity to see it in a cinema somewhere, it will be my great pleasure to show you the film on your next visit to Munich. Only now can I fully immerse myself in the realisation of my ski film 'Die roten Teufel'…..I would now be interested, dear Mr. de Carbon, whether you are still interested in any way in co-financing the film…..I think it's going to be big business and it's worth investing capital in, It would also make the work easier because, if francs are available to me, I could finance French skiers and workers and possibly also some outdoor shots in French territory' (9th June 1954), the later letter of 1958 regarding a proposed ballet based on Das blaue Licht (1932, 'The Blue Light') in which Riefenstahl had appeared as an actress in the role of Junta, with Rosella Hightower suggested for the same role, Riefenstahl asking 'Is this prima ballerina a household name?'. Together with a few associated carbon copies of letters, two original envelopes, a small series of handwritten notes by Riefenstahl, and several French newspaper articles relating to the director. Some light overall age wear and a few letters with small tears and creasing to the edges, G to generally VG, Sml. Qty.Christian Bourcier de Carbon (1912-?) French civil and industrial engineer who invented the de Carbon hydraulic shock absorber in 1953, also establishing the De Carbon Company in the same year.Henri Langlois (1914-1977) French film archivist and cinephile, a pioneer of film preservation and co-founder of the Cinematheque Française.Towards the end of World War II the French government confiscated all of Riefenstahl's editing equipment, along with the production reels of Tiefland. After years of legal wrangling, these were returned to her, but the French government had reportedly damaged some of the film stock whilst trying to develop and edit it, with a few key scenes missing. Riefenstahl edited and dubbed the remaining material and Tiefland premiered in Stuttgart in 1954, however it was denied entry into the Cannes Film Festival. In the 1950s and 1960s the director attempted to make many other films, but was continually met with resistance, public protests and sharp criticism. Although both film professionals and investors were willing to support her work, most of the projects she attempted were stopped owing to ever-renewed and highly negative publicity about her past work in Germany, and Tiefland would subsequently remain as her last feature film.

BAYER HERBERT: (1900-1985) Austrian-American graphic designer, painter, photographer, sculptor and architect. T.L.S., herbert bayer, one page, 4to, Montecito, California, 21st April 1980, to Erich Vala. Bayer's letter makes only two uses of a capital letter and states, in part, 'I have heard from dr. klihm that you have bought “ice mountain”, 1944/15 for 3.200 d.m.; and that you have intentions to acquire “winter afternoon”, 1953/10 for 2.500 d.m. and “knots”. oil, 1931/3 for 5.200 d.m. I am glad that you are interested in these works and beg you to understand that all my prices in the u.s. have been raised as they are considered to be too low in view of inflation and devaluation of the dollar. the fact that your payments are spread over a long period of time contributes to further devaluation.' VG 

[JOYCE JAMES]: (1882-1941) Irish novelist and poet. An unusual partially printed document, completed and signed on behalf of Joyce in the hand of an administrative agent, four pages, 4to, Paris, 21st April 1939, in French. The official Reseau Telephonique de Paris (Paris Telephone Network) document is Joyce's contract to have a telephone line installed at 34 rue des Vignes in Paris for an annual fee of six hundred and sixty francs, the head of the first page stamped Transfert ('Transfer') and a further stamp with manuscript insertions to the third page confirming that the document replaces an earlier commitment to have a telephone line at 7 rue Edmond Valentin and that the minimum duration of the subscription is still in place. The foot of the third page is signed on behalf of Joyce with the observation 'Lu et accepté' (Translation: 'Read and accepted'). A moving document relating to Joyce's last private residence in Paris. Some very light, extremely minor age wear, VGJames Joyce first came to Paris in July 1920 and would reside in the French capital for almost two decades, although the writer never bought a home of his own. Joyce's health problems afflicted him throughout his Paris years and despite over a dozen eye operations his vision severely declined and by the 1930s he was practically blind, making the telephone an important method of communication and explaining why he was unable to sign the present document.Joyce lived in an elegant apartment at 7 rue Edmond Valentin, close to the River Seine and Eiffel Tower, for five years from February 1935 until April 1939 before moving into a smaller apartment (although blessed with a lot of natural light) at 34 rue des Vignes on 15th April 1939. Finnegans Wake was published whilst Joyce was living in the apartment, which he would leave after six months in mid-October 1939. Following the fall of France in 1940 Joyce and his family travelled to Zurich to flee the Nazi occupation. On 11th January 1941 Joyce underwent surgery and fell into a coma the next day, awaking briefly at 2 am on 13th January before dying fifteen minutes later.

LANNES JEAN: (1769-1809) Marshal of France. Duc de Montebello. One of Napoleon's most daring and talented generals and personal friend of the Emperor. Rare A.L.S., `Lannes´, two pages, 4to, Lisbon, 19th July 1803, to Citizen Guéhéneuc, his father-in-law, General Administrator of the Forests, in Paris, in French. Lannes regrets that his previous letter reached his correspondent so late, stating in part `…que vous n´ayez reçu que bien tard les lettres de change, ma lettre et le paquet étaient dans un adréssé au Ministre des Relations… je suis impatient d´avoir une réponse de vous à cet égard…´ (Translation: "…that you have only received very late the letters of exchange, my letter and parcel were addressed to the Minister… I am impatient of receiving a response regarding this matter…") Lannes further refers to his pregnant wife, saying `…nous n´avons pas reçu de lettre de vous ni de Madame Guéhéneuc par ce courier…. Louise est prête à accoucher, je cherche une campagne aux environs de Lisbonne, à cause de la chaleur excessive de la capitale…´ (Translation: "…we have not received any letter from you nor from Madame Guéhéneuc… Louis is about to give birth, and I look for a countryside place in the surroundings of Lisbonne, because of the excessive heat at the capital…") With address leaf, bearing remnants of former seals. Overall creasing with small area of paper loss to the address leaf as a result of the letter opening. G François Scholastique (1759-1840) Count of Guéhéneuc. He was Lannes´ father-in-law.Louise Guéheneuc (1782-1856) Duchess of Montebello. Second wife of Marshal Lannes. On 20th July 1803, the day after the present letter was written, the Duchess gave birth in Lisbonne to their third son, Ernest (1803-1882) 

A finished as Sienna marble pedestal with foliate capital and fluted column, on shaped base, 31" high

A carved stone floral pedestal with capital, 26" high

A Sheraton Revival satinwood banded mahogany hanging press cupboard, formerly a linen press, pagoda cornice with meandrous capital above a pair of panel doors enclosing a hanging rail and hooks, the base with four short drawers, skirted base, bracket feet, 193.5cm high, 125.5cm wide, 62cm deep

OGDENS, Guinea Gold, Cricketers Base M, captions in capital letters, creased (1), rest FR to near G, 8

ATTRIBUTED TO WILLIAM MOUAT LOUDAN (BRITISH 1868-1925)PORTRAIT OF KATE CHRISTINE KNOWLES Oil on canvasInscribed as titled (upper centre)40 x 25.5cm (15½ x 10 in.)Painted circa 1899.Provenance:Whitford and Hughes, LondonPrivate Collection, acquired from the above by the present ownerThe present study shows Kate Christine Knowles (11 March 1890-5 May 1965) as a young girl dressed in a white smock dress, tights and ballet pumps holding her wide brim sunhat in her right hand. Bold capital lettering spelling out the sitter's name runs along the top edge of the work in yellow which sits atop a pale green background constructed of fast-moving brushstrokes that swirl around the young girl, possibly depicting a curtain or studio backdrop. Kate Christine Knowles lived her adult life in Staplehurst, Kent and was a respected member of the community having set up the 'Forget me not' league during the war which arranged for useful parcels of toiletries and essentials to be sent to captured allied servicemen. A street named Knowles Walk in Staplehurst was named after her. The present lot is believed to be a study for William Mouat Loudan's Royal Academy exhibit which was presented in 1900 as 'Miss Kitty Knowles (no. 1087).' The work was described in the St. James' Gazette on the 21st May 1900 as a 'portrait of a little girl in white, standing hat in hand against a green damask curtain.' Mouat Loudan is known to have exhibited a painting of Kate Christine Knowles, as a baby at the Annual Exhibition of the New English Art Club in April 1892. In a review published in the Northern Whig on 13 April 1892 the critic commented 'Kate Christine Knowles by Monat [sic] Loudan appears to be enveloped in clouds of cotton wool.' This specific work was referred to in Kate Christine Knowles' last will and testament and gifted 'to such member of my family as my executors shall choose.' The will goes on to describe a full length portrait 'of myself aged nine' by William Mouat Loudan mostly likely referring to the 1900 RA exhibit for which the current lot is likely to be a study. The Will also bequeaths a portrait of Miss Kate Christine Knowles painted by William Nicholson showing her in a green riding habit. It is interesting to compare the work with Loudan's head study of Miss Mary Duthy which was exhibited at Abbott & Holder in November 2019 as it was inscribed with the sitter's name along the upper edge in a very similar fashion. Kate Christine Knowles was the daughter of Charles Julius Kino (Knowles) (c. 1841-1900) and Louisa Knowles (née Essinger) (1850-?). Charles Julius Kino Knowles was born in Russia and believed to have moved to London in the early 1870s. By 1874 Charles and Louisa were married in Hampstead and they went on to have five children, according to the 1891 census. By this time Charles had dropped his original surname and was referred to as Charles Julius Knowles. Knowles was a tailor and merchant outfitter but by the 1890s he had turned his attention to property development in London which provided hugely successful. On his death in 1900 he is recorded as leaving £1.2 million to his son Hugh C. Knowles and £400,000 to his son Guy John Fenton Knowles. The family were based in London but just before Charles' death he purchased Likenholt Manor including the village, based in Hampshire, not too far from Newbury. The family were close friends of French born artist Alphonse Legros. His son Guy John Fenton Knowles started a motor vehicle company with Alphonse's son Lucien. Charles and Louisa Knowles went on to form friendships with both James Abbott McNeill Whistler and Auguste Rodin. Their son Guy as a young boy would play in Rodin's studio messing around with the clay. In March 1903, Louisa commissioned a cast of Rodin's 'Brother and Sister' which she gifted to her son Guy. The work was later bequeathed to the Fitzwilliam Museum and is held in their collection. These close friendships ignited Charles' passion for art collecting. It is also believed that they knew Charles Freer, the American industrialist and art collector who donated his collection to the Smithsonian Institution in 1906. The family's close knit circle of artist friends encouraged commissions during their lifetime including a known sketch of Louisa by John Singer Sargent, as referenced in Miss Kate Christine Knowles' last will and testament and portraits of both Louisa and Charles by George Percy Jacomb-Hood according to Margaret, Kate's sister's last will and testament. In the 1950s Guy John Fenton Knowles, donated a small selection of work from his father's collection to the British Museum including a group of original drawings and etchings by Alphonse Legros. Having been inspired by his father and the artistic circles in which he grew up, Guy had developed his own interest in art and added to his father's collection throughout his lifetime. Guy's collection was bequeathed to the Fitzwilliam Museum in 1959 including a large collection of Whistler etchings and drawings, original drawings by Jean Auguste Dominique Ingres (which had been gifted to Charles by Legros), Giovanni Battista Tiepolo, Augustus John, a painting by Walter Sickert titled, The Lion of St. Mark and casts by Edgar Degas and Auguste Rodin. Condition Report: Craquelure throughout. Some minor losses to the extreme corners. There is a vertical line of craquelure running down the right hand edge, in line with the stretcher verso. Inspection under UV reveals a thick green varnish and some light infilling. Condition Report Disclaimer

Matchbox Super Kings K15 Daimler Fleetline Londoner Bus Factory Colour Trial "Capital Radio 194" - LHD Berlin Bus body casting with red lower deck, white upper deck with factory hand punched rivets, Route 56 to Bus Station destination labels, lemon yellow interior, Lesney England base, 4-Spoke wheels - Good Plus unboxed with considerable paint loss & ink transfer to roof, in Good Berlin Bus Window Box. Consigned for sale by Ex-Lesney Employee.

A pair of Austrian silver five-light candelabra,maker's mark JK, circa 1900-1920,tapering circular stems, on raised circular bases with chased foliate decoration, the detachable branches with four bifurcated scroll arms with a ball motif, each supporting a capital, and with a central urn capital, chased decoration, height 50.3cm, total approx. weight of branches 50oz. (2)

A small mixed lot of silver items,comprising: a Victorian travelling chamberstick, by Wright & Davies, London 1874, oval form, hinged scroll thumbpiece and urn-shaped capital, the thumbpiece with the retailer's mark for Leuchars, length 9cm, a Victorian vesta, maker's mark G&W, Birmingham 1881, rectangular form, applied gold heart decoration, with a ring attachment to the hinged cover, length 3.7cm, and a modern spirit measure, by Charles Horner Ltd, Chester 1948, modelled as a thimble, engraved 'JUST A THIMBLEFUL', height 5.1cm, total approx. weight 4.5oz. (3)

A late-Victorian silver candlestick, by Hawksworth, Eyre & Co Ltd, Sheffield 1896, Corinthian column form, pierced capital, removable square drip-pan with a gadroon border, on a square raised filled base with fluting and foliate shoulders between gadroon borders, height 32cm, and a pair of Edwardian dwarf candlesticks, by William Hutton & Sons Ltd, London 1903, column stems, fluted tapering capitals, removable circular drip-pans with beaded borders, on square raised filled bases with fluted demilune decoration and beaded borders, height 14cm. (3)

A George II silver taperstick,by John Cafe, London, 1754,knopped and baluster stem, spool-shaped capital, detachable drip pan, height 11.3cm, approx. weight 3.8oz.

A pair of electroplated wall sconces,unmarked,in the 17th century manner, pierced and decorated with a central urn with two putti, eagle's heads and foliate scroll decoration, the centres with crests, with two scroll arms each supporting an urn capital, length of back plate 25.2cm.

A William IV miniature silver chamberstick,by Ledsam, Vale & Wheeler, Birmingham 1829,modelled as a butterfly, cylindrical capital with chased foliate scroll decoration, the base and thumb rest modelled as a butterfly, the pull-off conical snuffer with chased foliate and shell scrolls, length 6cm, approx. weight 0.8oz.Provenance: A Private Collection.

Original vintage travel poster for Lucerne in Switzerland. Image of a butterly in the sky and lake and city in the background. Lucerne is a city in central Switzerland, in the German-speaking portion of the country. Lucerne is the capital of the canton of Lucerne and part of the district of the same name. With a population of approximately 82,000 people, Lucerne is the most populous town in Central Switzerland, and a nexus of economics, transportation, culture, and media in the region. The city's urban area consists of 19 municipalities and towns with an overall population of about 220,000 people. Owing to its location on the shores of Lake Lucerne (German: Vierwaldstattersee) and its outflow, the river Reuss, within sight of the mounts Pilatus and Rigi in the Swiss Alps, Lucerne has long been a destination for tourists. One of the city's famous landmarks is the Chapel Bridge (German: Kapellbrucke), a wooden bridge first erected in the 14th century. The official language of Lucerne is (the Swiss variety of Standard) German, but the main spoken language is the local variant of the Alemannic Swiss German dialect. Good condition, restored paper losses, restored tears, backed on linen. Country of issue: Switzerland, designer: Schmidlin & Magoni, size (cm): 103x65, year of printing: 1956.