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MASAAKI HASEGAWA (Tokyo, Japan, 1987)."13F19". Series A-B-S-S-T-R-A-C-T, 2019.Acrylic on canvas.Attached certificate issued by the artist.Signed in the lower right corner. Signed and dated on the back.Measurements: 101 x 120 cm.The artist's website dedicates these words to the work: "Pain is a simple word, but there are so many different types of pain. This artwork represents a memory with pain that is repressed and locked in a small box in the mind, so much so that you don't remember it every day. However, the memory itself remains in the mind for so long that it creates pain without you even realising it. The Abstract series to which this work belongs visualises human emotions that are not easily captured in words. It challenges the linguistic perception of oneself and is an attempt to label the phenomena of the human mind. Through the process of creation, it tries to reduce the amount of conscious intensity of the human attempt to make something perfect in order to extract the unconsciousness, which it can handle to gain more information and allows access to the essence of human experiences / Seeing humanity as a small part of the universe. partially experiencing universal phenomena the process of creation tries to incorporate the essence of nature/universe in an attempt to turn inorganic materials into organic beings.Linked to the world of sports, after winning the Japan Inter High School Taekwondo Championship, Masaaki Hasegawa began his career as a professional MMA fighter in Japan, while studying finance and earning a degree in International Business. He then began his career as an investment strategist at Daiwa Capital Markets. However, he changed his life to devote himself fully to art, focusing especially on conceptual art. In his artistic work he founded Creatvida in 2014, which is a platform that hosts different creative profiles worldwide. In 2015 he published his first book "Yes, you are creative" and, in 2016, the second book, "New paradigm of creativity", in addition he also leads the project "Connect People Thru Art Beyond Borders" and is an advisor to the Contemporary Museum of Calligraphy in Moscow. His work has been exhibited at the Bauhaus Center in Tel-Aviv, Paper Pavilion in Madrid, Urvanity Art and We Crave, and he has intervened in Google installations. Masaaki Hasegawa has also created the largest calligraphy work in Europe on the roof of the Zapadores Museum in Madrid.

HENRI GÖETZ (United States, 1909 - France, 1989)."Composition", 1980.Oil on canvas.Signed in the lower right corner. Signed and dated on the back.Size: 55 x 65 cm; 73 x 84 cm (frame).French-American painter and engraver, Henri Goetz is as well known for his work as for his invention of the carborundum engraving process, a process that uses carbon silicide as an abrasive. Born in New York, he began to draw as a child, although he was frustrated by the clumsiness of his drawings. He later began his training at the Grand Central School of Art in New York, and after completing his studies there, he went to Paris in 1930 to broaden his knowledge. In the French capital he attended courses at the Colarossi, Julian and Grande Chaumière academies, where he met his wife, the Dutch painter Christine Boumeester, who was born in Java. Around this time Goetz was already developing a personal surrealist style, which influenced his wife's work. In 1934, thanks to his friend Victor Bauer, an Austrian artist, Goetz held his first solo exhibition in London. It was also at this time that he met Hans Hartung, who introduced him to his circle of friends. Through him he came into contact with Fernand Léger and Wassily Kandinsky. In 1937 he held his first exhibition in Paris at the Bonaparte gallery. After the outbreak of the Second World War, Goetz and his wife collaborated with the French Resistance by printing pamphlets and posters, although their main occupation was to create identity cards. In 1939 Goetz, Christian Dotremont and Raoul Ubac created "La Main à Plume", the first surrealist publication under the occupation. After the war, Goetz spent every week visiting the studio of a different artist, meeting Picasso, Brancusi, Julio González, Picabia and Max Ernst. In 1947 he became the protagonist of Alain Resnais's short film "Portrait de Henri Goetz", made for the Musée National d'Art Moderne. Two years later, he began teaching, first independently and shortly afterwards at the Académie Ranson. Later he also taught at the Grande Chaumière, and finally founded his own academy, although he never charged for his lessons. In the meantime, he continued to exhibit his work in leading European galleries. In 1968 he accepted a teaching post at the École des Beaux-Arts in Paris, but when the school closed due to student strikes two weeks later he moved to Paris 8 University. After her death Goetz came across her diaries, which he published in a book with a foreword by himself. After being hospitalised for illness, the artist committed suicide by jumping from a window on the fifth floor of the hospital in Nice in 1989. He is currently represented in the Goetz-Boumeester Museum in Villefranche-sur-Mer on the Côte d'Azur, as well as in the Centre Georges Pompidou in Paris, the Miró Foundation in Barcelona, the San Francisco Museum of Art, the French State Museum, the Budapest Museum, the National Museum of Modern Art in Brussels and many others around the world.

DROVETTI BERNARDINO: (1776-1852) Italian-born French Diplomat, Politician, Archaeologist and antiquities collector. Drovetti is best-remembered for his acquisition of the Turin Royal Canon and for his Egyptian discoveries. He remains a controversial figure for his unscrupulous behaviour in his conduct towards his discoveries in Egypt. Rare and lengthy A.L.S., `Drovetti´, three pages, 4to, Alexandria, 24th May 1804, to Monsieur Pierre Balthalas in Marseille, in French. The letter bears the printed heading "B. Drovetti, Chief of squadron, vice-Commissar of the Commercial Relations at Alexandria in Egypt". Drovetti commences his letter saying that he has to send the same letter three times without the guarantee that it is delivered, and expects that one will reach his correspondent, and complains about the clothes purchase he did, stating `… Les pantalons et culottes dans la façon desquelles j´avais bien recommandé de ne pas suivre la mode ridicule de nos jours, sont tellement hauts, et si mal coupés sur le devant qu´il me serait imposible de satisfaire au besoin d´uriner sans me déshabiller completement…´ (" The trousers and pants, in the way that I had recommended not to follow the ridiculous fashion of our days, are so high, and so badly cut to the front that it would be impossible for me to satisfy the need to urinate without completely undressing") Drovetti further refers again to his multiple letters not reaching the addressees, and comments `I have received right now a letter of my brother from Livorno, who reports to me that the General Murat asked him and General Menou in Tunisia about me, when I have been writing regularly to this good General..´ Further again Drovetti makes a very interesting report on the political and military difficult situation they are living in Egypt, stating in part `… les mamelouks associés a des hordes nombreuses d´Arabes sont a peu de distance du Caire, et empechent qu´il n´y arrive aucune espece de comestibles…. Si cela continue ainsi, une famine sera inevitable, et cette malheureuse capitale será livrée a toutes les horreurs d´une guerre intestine, car il y a tout apparence que les Beys s´en empareront de Nouveau et y exerceront des vengeances… le pillage de la ville será accordé aux Arabes en récompense de leurs travaux militaires´ ("…the mamluks associated with numerous hordes of Arabs are at a short distance from Cairo, and prevent any kind of eatables from arriving there…. If it continues thus, a famine will be inevitable, and this unfortunate capital will be delivered to all the horrors of an internal war, because there is every likelihood that the Beys will seize it again and will exert revenges there... the plunder of the city will be granted to the Arabs as a reward for their military support..") Before concluding Drovetti reports on a Turkish naval squadron they are waiting for, which will defend their position at Cairo and states `On ne peut d´apres ce tableau faire que des présages tres funestes sur le sort de ce malheureux pays..´ ("Under these circumstances, we can only make very dire omens about the fate of this unfortunate country") A letter of very interesting content. Including full transcription. Paper with watermark. Small professional repair to the centre fold, otherwise G

HITLER ADOLF: (1889-1945) Fuhrer of the Third Reich 1933-45. A significant World War II date D.S., Adolf Hitler, three pages (separate leaves), 4to, Fuhrer Headquarters, 11th September 1941, to the Head of the High Command of the Wehrmacht [Wilhelm Keitel], marked Secret Command Document, in German. Hitler states, in part, 'The armaments industry is more than busy with orders. The implementation of the programmes I have determined is therefore only possible if the demands of the departments of the Wehrmacht are coordinated and brought into line with the capacities of the industry. The programmes I have determined therefore require the following measures: 1.) Concentration and limitation of all procurements of the departments of the Wehrmacht on their own armaments, 2.) Balancing within the entire Wehrmacht by the High Command of the Wehrmacht if deliveries of orders cannot be guaranteed…..3.) General adjustment and coordination of necessary procurements of the departments of the Wehrmacht considering the capacities of the industry. In order to carry out these measures, I command that the demands of the departments of the Wehrmacht regarding procurement and development be sent to the procurement offices via the Head of the High Command of the Wehrmacht. The latter, together with the Reich Minister for Armament and Ammunition, examines the capabilities of the armaments industry to meet the demands and decides on my behalf about the type and scope of the orders. I authorise the Head of the High Command of the Wehrmacht to make cuts in non-urgent production and to issue corresponding refusals…..If production should only be possible by restricting productions of priority programmes, I reserve the right to decide. The Head of the High Command of the Wehrmacht issues implementing regulations in agreement with the Reich Minister for Armament and Ammunition'. A typed notation at the conclusion indicates that copies of the document were also sent to the Commander-in-Chief of the Wehrmacht, the Commander-in-Chief of the Navy, the Commander-in-Chief of the Air Force, the Reich Minister for Armament and Ammunition and the Reichsfuhrer SS, along with the instruction 'Document to be destroyed!'. The verso of the final page features various typed details and indelible pencil annotations and initials regarding the distribution (and destruction) of copies of the Fuhrer's Secret Command Document. Two file holes to the left edge of each page, and with some slight tears and small areas of paper loss to the edges, none of which significantly affect the text, and none touching Hitler's signature, otherwise about VGWilhelm Keitel (1882-1946) German Field Marshal who held office as chief of the Oberkommando der Wehrmacht (OKW), the high command of Nazi Germany's armed forces, from 1938-45.Hitler's 'Secret Command Document' was issued just three days after the Fuhrer's Directive 35 in which he ordered the beginning of Operation Typhoon, the German strategic offensive which led to the Battle of Moscow, a military campaign lasting from 2nd October 1941 to 7th January 1942. The Battle of Moscow, one of the most important battles of World War II, is regarded by historians as the first critical turning point of the war. The Soviets were able to successfully prevent the most serious attempt to capture their capital and represented the first time since the Wehrmacht began its conquests in 1939 that it had been forced into a major retreat.

A pair of modern Irish silver three-light candelabra, by Royal Irish, Dublin 1973, lobed baluster stems, foliate scroll branches each supporting an urn capital, and with a central capital, on a raised lobed circular base, height 39.4cm, approx. weight 100oz. (2)

A set of four graduated electroplated wall sconces, maker's mark L.B.S.Co,Sheffield, two hexagonal scroll branches each with a capital, with detachable drip pans, issuing from a lion mask on a rectangular back plate with canted corners, converted for electricity, lengths 17.7cm, and 14.3cm. (4)

A George I silver chamber stick, by Pierre Platel, London 1718, circular form, plain capital, ring handle, heavily repaired, the underside with traces of a scratch weight, diameter 13.8cm, approx. weight 7.8oz.

A George III silver chamber stick, maker's mark partially worn, London 1796, circular form, reeded border, urn shaped capital, scroll handle, initialled, diameter 13.8cm, approx. weight 7oz.

A Queen Anne silver taper stick, probably by John Barnard, London 1713, knopped tapering octagonal stem, octagonal capital, on a raised octagonal base with faceted decoration, height 12cm, approx. weight 3.2oz. Provenance: A Private Collection.

A George I silver taper stick, by James Gould , London circa 1722, knopped tapering hexagonal stem, hexagonal capital, on a raised hexagonal base, height 11cm, approx. weight 2.9oz. Provenance: A Private Collection.Amendment: There is no apparent date letter on the taperstick. The maker’s mark was registered circa 1722

A George II silver taper stick, by James Gould, London 1735, knopped stem, spool-shaped capital, on a raised shaped square base, height 10.8cm, approx. weight 4oz. Provenance: A Private Collection.

A George II silver taper stick, by James Cafe, London 1754, knopped stem, shell shoulders, spool-shaped capital, rope-work borders, on a raised hexafoil base with shell motifs, height 13.3cm, approx. weight 5.8oz. Provenance: A Private Collection.

MONTBLANC FOUNTAIN PENS, LIMITED SERIES.Barrel made of resin and 18 Kts. yellow gold.Nib made of 18 Kts gold, tip M.Limited edition.No box.Thread of the pen "Peter I the great" broken.Dimensions: length 14.5 cm, diameter 15.5 mm.Montblanc pays tribute to the 300th anniversary of the creation of the city of St. Petersburg with a special set containing two fountain pens: "Peter I the great" and "Catherine II the great". The set is made in 2003 to commemorate the anniversary of the creation of the city of St. Petersburg. The city was founded by Peter the Great on 16 May 1703 with the intention of making it Russia's new window to Europe. Thereafter it became the capital of the Russian Empire for over 200 years until after the Russian Revolution the capital of the country returned to Moscow.The fountain pen "Peter I the great" is made of 18-karat gold on a dark green Montblanc precious resin base. Underneath the Montblanc star, emeralds are inlaid. The cap of the fountain pen is decorated with laurel leaf motifs. The nib is hand-crafted from 18-karat gold and is engraved with the double-headed eagle, a symbol of the splendid era of the tsars.The second pen, "Catherine II the great", is made of gold on an aubergine-coloured Montblanc precious resin base. Below the Montblanc star, rubies are inlaid. The cap of the fountain pen is decorated with wreaths of flowers. The nib, also hand-crafted, is made of 18-karat gold and is engraved with the double-headed eagle, a symbol of the splendid era of the tsars.

A carved stone architectural element in the form of part of an ionic capital from a column, 52cm wide, 33cm deep, 26cm highBadly damaged and weathered.

A GROUP OF WEDGWOOD AND COALPORT GIFTWARE, comprising a boxed Wedgwood Jasperware plate 'Australian Capital Cities', Wedgwood 'Clio' rectangle trinket dish, length 20cm x 16cm, a picture frame height 19cm x 14cm, and vase, height 20cm, six Wedgwood 'Country ware' dishes, a white, scalloped edged Wedgwood teapot, milk jug, sugar bowl, six various Coalport trinket dishes, five Coalport 'Hong Kong' pieces of giftware, eleven white rose Coalport table place card holders (boxed) etc, (28) (Condition report: one trinket dish has a chipped edge, signs of wear on Wedgwood teapot and five dessert dishes)

SPRINGBANK 1989 SINGLE CASK #102 FOR TOMINTOUL WHISKY CASTLE CENTENARYSingle malt.There are very few distilleries left in Scotland that have the capacity to carry out 100% of the whisky making process onsite, but Springbank can make that claim. Situated in Campbeltown (the former whisky capital of the world) the distillery produces three distinct styles of single malt: lightly peated Springbank, heavily peated Longrow, and triple distilled, unpeated Hazelburn.Despite being a relatively small distillery, Springbank has cultivated a global cult following, with older expressions such as their legendary Local Barley series commanding eye-watering sums at auction.Distilled: March 1989Bottled: March 2000Matured in cask number #10246% ABV / 70clGood fill level in mid neck.

SPRINGBANK 10 YEAR OLD 100° PROOFSingle malt.There are very few distilleries left in Scotland that have the capacity to carry out 100% of the whisky making process onsite, but Springbank can make that claim. Situated in Campbeltown (the former whisky capital of the world) the distillery produces three distinct styles of single malt: lightly peated Springbank, heavily peated Longrow, and triple distilled, unpeated Hazelburn.Despite being a relatively small distillery, Springbank has cultivated a global cult following, with older expressions such as their legendary Local Barley series commanding eye-watering sums at auction.This is a bottle of their, now discontinued, 100° Proof 10 Year Old.57% ABV / 70clFill level in mid neck. Minor wear to carton.

SPRINGBANK 1997 12 YEAR OLD PRIVATE CASK #315 "IAN'S ARTISAN DRAM"Single malt.There are very few distilleries left in Scotland that have the capacity to carry out 100% of the whisky making process onsite, but Springbank can make that claim. Situated in Campbeltown (the former whisky capital of the world) the distillery produces three distinct styles of single malt: lightly peated Springbank, heavily peated Longrow, and triple distilled, unpeated Hazelburn.Despite being a relatively small distillery, Springbank has cultivated a global cult following, with older expressions such as their legendary Local Barley series commanding eye-watering sums at auction.This is a private bottling drawn from a single cask (#315).Bottle Number: 78 / 23357.1% ABV / 70cl

SPRINGBANK 1965 CADENHEAD'S SINGLE CASK #2164Single malt.There are very few distilleries left in Scotland that have the capacity to carry out 100% of the whisky making process onsite, but Springbank can make that claim. Situated in Campbeltown (the former whisky capital of the world) the distillery produces three distinct styles of single malt: lightly peated Springbank, heavily peated Longrow, and triple distilled, unpeated Hazelburn.Despite being a relatively small distillery, Springbank has cultivated a global cult following, with older expressions such as their legendary Local Barley series commanding eye-watering sums at auction.This fantastic expression was distilled in 1965, and bottled by Cadenhead's in the mid 1990s.Bottle Number: 4454.5% ABV / 70clFill level in low neck.

King Michael of Romania singed Romania FDC. This lovely cover commemorates Romania during The Great War. Michael I (25 October 1921 - 5 December 2017) was the last King of Romania, reigning from 20 July 1927 to 8 June 1930 and again from 6 September 1940 until his forced abdication on 30 December 1947. This cover is post marked 6th December 1996. Limited edition number 43of 526 and postmarked separately on the reverse dating 25th April 1997 by RAF, Lyneham. It was flown by the No. 30 squadron from Lyneham to Turkey, overflying Romania and its capital Bucharest. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £9.99

A PAIR OF CONTEMPORARY CORINTHIAN CAPITAL LAMPS, of plaster construction on a heavy metal base and stem, with oblong shades, total height 93cm (2) *purchased by the current vendor from Augustus Brandt, Petworth

A PAIR OF RUSSIAN SILVER SABBATH CANDLESTICKSST. PETERSBURG 1893, 84 ZOLOTNIKIWith a shaped circular sconce and urn shaped capital, the baluster stem chased with grape vine decoration, the domed base chased with flowers and a grape vine border, on four pad feet40.5cm (16in) high1185g (38.1 oz)

A PAIR OF SILVER COLOURED CANDLESTICKSSTAMPED 925SWith a baluster capital and stem, a shaped square base, two oval vacant reserves and on four foliate scroll feet, pierced and chased with floral sprays and foliate swags overall43.5cm (17in) high3429g (110.25 oz)Condition Report: Stamped 925S onlyOne wobbles badly, the other slightlyNo engravingSome pittingLight scratches and wear commensurate with age and useCondition Report Disclaimer

Abraham a Santa Clara (d.i. U.Megerle).: Etwas für Alle, Das ist: Eine kurtze Beschreibung allerley Standes-, Ambts- und Gerwerbs-Persohnen... Mischaufl. 3 Bde. Würzburg, Hertz 1711-33. Front., 7 Bl., 530 (von 532) S., 5 (von 6) Bl., 100 Kupfertaf.; Front., 6 Bl., 793 S., 19 Bl. Reg., 77 Kupfertaf. Front., 7 Bl., 886 S., 1 Bl., S. 887-974, 15 Bl., 103 Kupfertaf. Ldrbde. d. Zt. mit Rverg. u. Rsch. Dünnhaupt 35.I.3 (mit abweich. Jahreszahl), 35.II.1 u. 35.III.2. Bertsche 38a, 3b, 56a, 2 u. 57a, 2. Goed. III, 240, 20 (II). Faber de Faur I, 1119 (II). Jantz I, 313 (I). - Tl. 1 in dritter, Tl. 2 in erster Ausgabe u. Tl. 3 in zweiter Ausgabe. - Die Tafeln mit einer Fülle von barocken Berufsdarstellungen, unten jeweils mit einem Sechszeiler erklärt. Dabei: Apotheker, Arzt, Buchbinder, Glockengießer, Kaufmann, Koch, Kupferstecher, Orgelmacher, Schreiber, Schriftgießer, Schuster, Tanzmeister, Weber, Zimmermann usw. - Taf. tls. etwas flau im Abdruck. In Tl. 1 fehlen die S. 287/288 (liegen in Photokopie bei) u. das letzte Reg.-Blatt. Tit. von Tl. 3 im Bug oben tief eingerissen. Taf. 29 in Tl. 2 mit kl. Loch in der Darst. Die S. 237/238 in Tl. 1 u. 737/738 in Bd. 2 seitl. mit kl. Ausriß mit etwas Textverlust. Drei Taf. u. drei Textbl. mit kl. Rand- oder Eckausrissen ohne Bild- oder Textverlust. Tls. leicht stockfl., meist gering gebräunt. Bd. 1 etwas fingerfl. Buchblock von Bd. 1 gestaucht u. gebrochen. Einbde. etwas beschabt, ob. Kapital von Bd. 1 mit kl. Einriß, die unteren Kapitale der Bde. 1 u. 3 etwas lädiert. - Leather bindings of the time with gilt and spine decoration - part 1 in the third, part 2 in the first and part 3 in the second edition. - Boards partly somewhat faded in impression. Part 1 lacks pp. 287/288 (photocopy enclosed) and the last index leaf. Title of part 3 deeply torn at upper bow. Plate 29 in part 2 with small hole in the illustration. P. 237/238 in part 1 and p. 737/738 in volume 2 with small tear at sides with some loss of text. Three plates and three text leaves with small marginal or corner tears without loss of image or text. Partly lightly foxed, mostly slightly browned. Volume 1 somewhat fingerstained. Book block of vol. 1 compressed and broken. Bindings somewhat scuffed, top capital of vol. 1 with small tear, lower capitals of vols. lower capitals of volumes 1 and 3 somewhat damaged.

Capital Empire column table with lion's feet. rosewood. Circa 1820. Dimensions: 73 x 120 cm. In good condition.

Capital 18th century Chinese porcelain Queng Lung vase with figures in landscape/floral decor. With fire-gilt bronze fittings. hairline. Otherwise in good condition. Dimensions: H 55 cm.

Capital Bohemian glass vase. Hand painted with floral and gold decor. Circa 1900. Dimensions: H 43 cm. In good condition.

Capital Chinese porcelain lidded vase with floral decor. Top edge restoration lid. Circa 17th century. Dimensions: H 67 cm. In decent shape.

Column in wood with capital H192

Fragment with Werner von Ellerbach, Deflorationes Sanctorum Patrum or Honorius Augustodunensis, Speculum Ecclesiae, in Latin, manuscript on parchment [Germany (probably south), probably first half of twelfth century] Rectangular cutting (cut laterally across a leaf), with remains of single column of 11 lines of a small and precise proto-gothic bookhand, using tall tongued 'e' as a capital and an extremely late use of the et-ligature as an integral part of '&iam' and '&enim' (this feature most probably locating this in the first half of the twelfth century when a handful of examples can still be found in German manuscripts, see the leaf in our rooms, 8 July 2020, lot 32, for discussion), recovered from reuse in a binding and hence with folds, small holes and stains, overall good condition and on good and heavy parchment, 63 by 175mm. From the collection of Roger Martin (1939-2020) of Grimsby. The identification of this cutting as one of two distinct texts requires some explanation. Werner von Ellerbach (d. 1126) was a Benedictine monk of St. Blasius in the Black Forest, and was among the brethren sent from there in 1093 to establish a daughter-house at Wiblingen, near Ulm in Baden-Württemberg, where he became its abbot. Honorius Augustodensis (c. 1080-1154) was most probably a German monk (not of Autun as his name suggests, but another similarly named site as yet to be conclusively identified), who seems to have travelled to Canterbury and met Anselm and by the end of his life lived among the Irish monks of the Regensberg Schottenkloster (see E.M. Sanford in Speculum, 23, 1948, pp. 397-425; he may well have been Irish himself). The distribution of the early manuscripts of his work, as well as its impact in other texts supports the link to Regensberg and its vicinity. These authors were, for a decade or two, contemporaries and close neighbours, and they may have even known each other. Certainly, Honorius knew of Werner's Deflorationes Sanctorum Patrum, as a large collection of preaching material (the part here Migne, Pat. Lat. 157, cols. 1019-20), and copied sections of it into his own preaching manual, the Speculum Ecclesiae (Pat. Lat. 172, cols.1043-44) so that the readings here agree almost perfectly with both (the only variation is that of the repetition of the last three words on the verso here, due to scribal eye-skip). It is hoped that another binding-fragment from the same parent codex can be traced and be used to make a conclusive identification, but even without that both authors occupy important places as among the earliest definitively German authors. They are preceded by Hrabanus Maurus (d. 856) of Mainz, and his pupils Walafrid Strabo and Gottschalk of Fulda, as well as Hrotsvit of Gandersheim (d. 973), and are immediate forerunners of Hildegard of Bingen (1098-1179). Moreover, whichever text this is, this cutting may well contain the earliest witness to it, perhaps standing closest to the author's own copy. Manuscripts of both works are of extreme rarity on the market, with Werner's Deflorationes Sanctorum Patrum traceable in the vast Schoenberg database in only one manuscript copy (a part of the text in a compendium of c. 1500 sold on behalf of J. Ritman in Sotheby's, 17 June 2003, lot 34), and to that should be added a copy of the second half of twelfth century, ex. Phillipps, sold Sotheby's, 15-18 June 1908, lot 42, and now Berlin, Staatsbibliothek, Preussicher kulturbesitz, MS. theol. lat. fol. 699. No witness of Honorius' Speculum Ecclesiae can be traced in sale records by us.

Sixteen cuttings from bifolia from a manuscript of a Latin wordlist based on Balbus' Catholicon, in Latin, on paper [Switzerland (probably north-west, perhaps Fribourg or Geneva), mid-fifteenth century (probably c. 1430-40)] Sixteen near-complete bifolia, trimmed at top and on one side and reused together to pack a series of book bindings or a padded object, each leaf with remains of double column of approximately 42 lines in a small and cramped Germanic bookhand, opening capital of each entry touched in red, each letter of alphabet opening with a large red initial (some with baubles and looping calligraphic letterforms that suggest a Swiss origin), watermark of bunch of grapes (with large grapes arranged around an undulating stem with a curled top similar to Briquet 12,991-13,006, these almost entirely recorded from 1420-60, focussed on Switzerland and to a lesser extent Germany, that here perhaps closest to 12,994: Geneva, 1433, and 12,995: Fribourg, 1445-46, among other places), some holes, scuffs, stains, discolouration through dirt and tears to edges, overall fair condition and on robust and heavy paper, each cutting approximately 210 by 340mm. Johannes Balbus was a Genoese Dominican who finished his Catholicon, a type of Latin dictionary, in 1286. It was widely disseminated and many versions and offshoots from it were produced throughout the later Middle Ages. That here is in a truncated form, and was most probably produced for a specific readership and function.

A COLLECTION OF TWENTY-TWO CHINESE ‘ORACLE’ BONES, SHANG DYNASTY, 13TH - 11TH CENTURY BC私人珍藏 商代 甲骨 一組 二十二件 公元前 13至11世紀 Short horn water buffalo and Chinese stripe-neck turtle, of various shapes and sizes, twenty-one inscribed with characters, some with cut hollows, burn marks and cracks (22)The largest: 8cmThe smallest: 1.5cmProvenance: The collection of Lt. Col. George Douglas Gray, OBE, MD RAMC (1872 - 1946), thence by family descent来源：乔治.道格拉斯.格雷大校（1872-1946）收藏，家族後人留存至今The oracle bone inscriptions (jiaguwen: ‘writings on shells and bones’) are the earliest surviving writing systems in China. They were discovered at Anyang, the last capital of the Shang dynasty (c.1300-1046, also known as Yinxu, ‘ruins of the Yin’) at the end of the 19th and early 20th century. One of Lt. Col. Gray’s fellow officers was Capt. James Mellon Menzies (1885-1957) who was originally a Chinese missionary and contributed to the study of the subject, the author of Oracle Records from the Waste of Yin (1919) who was responsible for the discovery that An-yang must be the site of the ancient seat of the Kingdom of Shang. It is conceivable that this group of oracle bones may have been a gift from Capt. Mellon Menzies to Lt. Col. G.D. Gray during their military service together甲骨文（又称契文、甲骨卜辭，為商朝晚期王室用於占卜記事而在龜甲或獸骨上契刻的文字）中國現存最早的文字系統。它們於 19 世紀末至20 世紀初在商朝最後一個都城安陽（约 为公元前1300-1046 年，又名殷墟）被發現。格雷大校的一位同事是詹姆斯·梅隆·孟席斯上尉（1885-1957），他最初是一名到中国的傳教士，并為該主题的研究做出了贡獻，他同時也是《殷墟中的甲骨文记錄》（1919）的作者，他是第一位推斷出安陽应该就是古代殷商王朝的都城所在地。這组甲骨有很大可能就是梅隆·孟席斯上尉在他们一起服兵役期间送给喬治.道格拉斯.格雷大校的禮物。Condition ReportThe fragments are in good condition with the exception of a repaired break across the lower section of one (2nd from left, top row, as illustrated in the catalogue), and minor age cracks to several.

Johnson (Samuel) Rasselas, Prince of Abissinia...Printed with Patent Types, in a manner never before attempted, Rusher's Edition, title with ink signatures at head and lightly soiled, original boards with title printed on upper cover and advertisement on lower (faint), uncut & unopened (one leaf torn where carelessly opened), rubbed, rebacked in vellum, Banbury, P.Rusher, 1804 § Boswell (James) The Life of Samuel Johnson, 4 vol., third edition, engraved portrait (offset), 2 folding engraved facsimiles, browned, ink inscriptions to front free endpaper of vol.1, contemporary tree calf, rebacked, worn, some covers detached, 1799; and 7 others by or on Johnson, 8vo et infra (12)⁂ The first is a peculiar and unique experiment in printing using a small capital in place of all descending letters which Bigmore & Wyman called, "about as ugly a specimen of typography as can be conceived".

A GEORGE II CAST TAPERSTICK on a domed square base with rounded corners, a knopped column and a spool-shaped capital, scratched underneath with the initials "BB to TM", by William Gould, London 1732; 4.25" (10.7cm) high; 3.9 oz

Sophus Jacobsen (1833-1912)Attributed to, harbor view in moonlight with fisherman in boat, in capital frame, canvas 84x106 cm, outer size 124.5x147 cm

TABLE LAMPS, a pair, Regency style toleware fluted column with silvered Corinthian capital and stepped bases, 63cm H. (2)

972 Ducati Mk 3 450 Desmo Silver Shotgun, 435cc. Registration number Q304 CVN. Frame number DM450 M3 *700890*, DGM8586-0M. Engine number DM450, 457710.A major factor in Ducati’s destiny had been the US Berliner Corporation, importers of the brand since 1959 and dictators to a large extent on company policy. It was at the behest of the Berliner brothers that the 1200 cc V-4 Ducati Apollo was conceived, two examples being constructed before the pin was unceremoniously pulled. The Apollo project soaked up an enormous amount of Ducati’s capital and development resources, but an even bigger blow was when Berliner cancelled an order for 3,500 motorcycles in early 1967, which were ready for dispatch from Bologna. The all-new 450 Desmo, made its European debut in 1968, and soon after, regular production of the desmodromic engines in 250, 350 and 450 form commenced. The new Desmo 450 featured a slightly garish silver metalflake paint scheme for the fibreglass fuel tank, front mudguard and side covers, leading to the nickname ‘Silver Shotgun’, which has stuck in more recent times. The styling was a café racer’s dream, with rear set footrests, a racing style hump-back seat, clip-on handlebars, Borrani 18-inch alloy rims and snazzy Grimeca double-sided single leading shoe front brake. Front forks were 35 mm Marzocchi, with a white-faced Veglia tachometer (red-lined at 8,500) mounted on top of the steering head. Rear shock absorbers were also Marzocchi, with unusual full-length springs with a wire loop pre-load adjuster. The swept-back exhaust finishes in a Silentium silencer with a chopped-off tail.The final version of the 450 Desmo appeared in 1974, now yellow in colour and with Ceriani forks and a disc front brake. The example offered is from the preferred early production in silver, made in 1971-72. It was made for the Australian market which is where our vendor found it when he was working at the Caiguna Roadhouse in Nullarbor Plain, Western Australia, a huge flat plain, in 1981. At this time it was painted blue and yellow but the silver paint was visible in places. He repainted it red and then had it shipped home to the UK in 1983. A replacement speedo was fitted and it was MOTed at 28 miles in July 1983, being registered Q304 CVN (at the time all imported vehicles were given a Q plate, it may be possible now to get an age related one). Ridden for another 760 odd miles it was then laid up and has remained in storage ever since.Sold with the V5C, V5, 1983 MOT, Australian Title, the machine has lost its head lamp and will require restoration, buyers should satisfy them as to the completeness of this rare project.

Collection of Scotch & Welsh whisky miniatures: Swn Y Mor, Welsh Whisky, 40%, 1 x 5cl The Appin Blend, 10 year old, 40%, 1 x 5cl Big “T”, Tomatin Distillers, 43%, 1 x 4.7cl Johnnie Walker Red Label, 40%, 1 x 5cl Golden Beneagles, 40%, 1 miniature (volume not stated) Scotland’s Capital Dram, 40%, 1 x 5cl The Buchanan Blend, 40%, 1 miniature (volume not stated) Grand Macnish, no strength stated, 1 x 3cl Old Inverness, 40%, 1 x 5cl Newton & Ridley, 8 year old, 40%, 1 x 5cl (10)

Andalusian school, late 19th century."Selling the turkey. After Juan Bautista Guzmán (Granada, c.1850 - Barcelona, 1898).Oil on panel.Signed "R. de Guzmán" and dated in the lower right corner.Measurements: 30 x 17 cm; 50,5 x 37 cm (frame).This Andalusian genre painting is based on a painting by the Granada painter Juan Bautista de Guzmán, entitled "El recovero" (1883), although it also appears under the title "Vendiendo el pavo" ("Selling the turkey"). If the signature of this new version is anything to go by, the author could be related to Bautista de Guzmán. Produced fifteen years later, it remains faithful to the original and is a tribute to his mentor. In a rustic corner of an Andalusian courtyard, under a staircase, a salesman displays the bird to a woman, who in turn adopts an amused and flirtatious attitude.Juan Bautista de Guzmán y Orantes (Granada, c 1850 - Barcelona, 1898) grew up in Malaga, where he began working as a printer's clerk and later as a civil servant in the city council. The Malaga painter Leoncio Talavera (1851-1878) passed on his love of painting to him. At first, without much knowledge, he produced his first painting, which was a copy of a painting by his friend Talavera, which he sold for 125 pesetas. After making rapid progress, the Malaga provincial council wanted to grant him a pension but was prevented from doing so as the painter was not a native of that province. He then decided to go to Granada, where he devoted himself entirely to painting. He won his first prize at his first exhibition in Granada in 1876. In 1879 he took part in the Cadiz Exhibition, winning a silver medal, and in 1881 he exhibited his works at the National Exhibition in Madrid. After settling in Barcelona, he took part with two paintings in the Fine Arts Exhibition of the Catalan capital in 1888 and 1891 with Garden, A Wrong Way (or the Open-Air Library), A Hungarian Family Begging for Charity, A Dead Donkey's Barley at the Tail and Sensibility, as well as in the 1896 edition. The subject matter of his paintings is reminiscent of the typical Andalusian style, taking place in taverns and courtyards of Granada, with peasants, bullfighters and manolas. When the critic García Llansó visited his studio in Barcelona's Calle Balmes in 1891, he noted that the artist was always in the habit of painting several at a time.

BENJAMÍN PALENCIA (Barrax, Albacete, 1894 - Madrid, 1980)."Águila" for "La vida es sueño" by Calderón de La Barca, 1945.For the theatre La Barraca by Federico García Lorca.Mixed media on paper.Signed and dated in lower left corner.A certificate made by Ramón Palencia can be issued at the request and expense of the buyer.Measurements: 47 x 32 cm; 70 x 56 cm. (frame).Benjamín Palencia and Federico García Lorca forged a long friendship since the mid 1920s, which would culminate on a creative level in the figurines and sets that the artist from Albacete would create for "La Barraca".After beginning his training as a self-taught artist, Palencia moved to Madrid at the age of fifteen. In the capital he entered the Julio Moisés Free Academy, where he coincided with other outstanding painters such as Salvador Dalí. In 1926 he travelled to Paris and met Picasso and Miró, and on his return to Madrid he made his individual debut at the Museum of Modern Art (1928). He then made various study trips to Italy, Berlin and New York. In 1941 he founded the Vallecas School, and in 1943 he was awarded the First Medal at the National Exhibition of Fine Arts. In 1974 he was appointed a member of the San Fernando Royal Academy of Fine Arts, and a few years later of the San Jorge Academy of Fine Arts in Barcelona. Benjamín Palencia's style, starting from surrealism, cubism and other avant-garde movements, finally evolved towards an austere realism. Gradually, his style became more intense and powerful, with the forms acquiring greater volume and, in painting, the painter's concern focusing on the luminous aspects. Focusing his work on landscape painting, he tried to restart a second Vallecas School together with Álvaro Delgado, Carlos Pascual de Lara, Gregorio del Olmo, Enrique Núñez Casteló and Francisco San José. His paintings and drawings would include images of the Castilian countryside and the figures to be found in it, peasants and animals, bulls, horses, goats, etc. His painting became a testimony of the rough, the uncouth and the rural, the sober Castilian and the Spanish. Palencia is represented in the Reina Sofía National Museum, in the Patio Herreriano in Valladolid and in the Fine Arts Museums of Valencia and Albacete, among many others.

STIK (B. 1979)Children of Fire 2011 spray paint on steel garage door 211.3 by 211.2 cm.83 3/16 by 83 1/8 in. This work was executed in 2011. Footnotes:Provenance Private Collection, UKLamberty Art Gallery, LondonAcquired directly from the above by the present owner in 2013LiteratureJack Fogg Ed., STIK, London 2015, p. 114, 117, illustrated in colourInsightful and unwavering, Children of Fire is a masterful meditation on our political moment by the renowned street artist STIK, capturing a sense of community and the significance of togetherness in the face of political and social strife. Created in response to the infamous London Riots which took place across the capital in August 2011, Children of Fire documents the civil unrest, triggered in the wake of the death of 29-year-old British man Mark Duggan, who was fatally shot by police in north London. It is a work that distils an unnerving sense of despair and yet exudes an unshakeable hope. It is as invigorating as it is simple and reticent. In the nascent history of contemporary Street Art, few works embody the spirit of the street artist as a documenter; a phantom beyond reciprocity, creating artworks in the public sphere that stand to call attention to the architecture, the arbitrators, and headlines of our day. Children of Fire is such a work. A 'street' piece – such examples are rarely granted permission to be sold publicly – it is testament to its time and the importance of the movement over the last two decades. Lasting for five days, the London Riots in 2011 sparked outrage and shook London, with widespread violence, looting, arson and ultimately five fatalities. A chain reaction of unrest took hold of the nation as the violence spread across the country, raising fists and fire in protest against perceived injustice. Images of burning vehicles and damaged buildings are reminiscent of an apocalyptic scene from a movie rather than the streets of the country's capital. STIK experienced the riots first hand in his home borough of Hackney in East London. Taking to the streets, he was surely one of the only artists to have documented this historic event in the moment. Preparatory studies were drawn amid the riots, and the present mural was painted in the following days on the garage door of Pogo Café, a vegan café and anarchist information centre. Two years later, Pogo Café sold Children of Fire to fund proceeds for related social causes. In the present work, the artist sets the scene against a vibrant canary yellow backdrop. A bright flame rises from the bottom of the composition surrounding three children in a golden, fiery halo. With proportions that are distinctly childlike, the figures are depicted in STIK's iconic, rudimentary, and enigmatic style. An array of emotions are subtly implied. Bewildered, and imbued with a vulnerable innocence, the children glance at their surroundings in apparent dismay. There is a whisper of sadness emanating from the hunched figures, yet there is, nonetheless, a defiance and ambition that shines through. Like a phoenix rising from the ashes, those who have burnt the city to the ground are countenanced by those who would build it from its rubble. It illustrates a city and generation in flux. Many of the perpetrators of the London Riots were adolescents and young adults. The legacy of the events of August 2011 has undoubtedly been one of horror, of the brutality that gripped a country and the criminal opportunism that led to the snowballing of an initial spark. Yet the riots left the country with a deeper sense of obligation and community, and in Children of Fire this feels asserted in the most striking of images.STIK's dynamic six-line two dot figures have become superbly iconic, with their friendly figures appearing across buildings and walls across the globe. Like other acclaimed street artists such as Banksy and his emblematic Girl With Balloon or OSMGEMEOS' memorable cartoon-like characters, STIK's figures are much loved landmarks and members of the community in their own right. Despite their seemingly simplistic form, each figure possesses its own distinguishable character as the artist assembles them with idiosyncratic personalities. A tilt of the head, a slight curve in the back, a raised arm, or the positioning of their remarkably expressive eyes can communicate as much emotion as a fully painted portrait. It is testament to STIK's ability as an artist and his sensitivity to body language and sentiment. Executed in 2011, this impressive work by STIK is arguably the most significant piece to come to market. It is an artwork that establishes some wonderful dichotomies: undoubtedly one of the rarest and most monumental paintings by the artist, it is humbly executed on a commonplace garage door. Making it rarer still, additional elements including the backdrop with the burning flame are scarcely seen, the artist generally favouring a single or two-figure image set against a monochrome surround. The inclusion of a rare third character is a composition STIK only employed in a short period of his output. Furthermore, this particular garage door became a repeat canvas for STIK at the Pogo Café, where he would revisit and paint three separate works over three years. The first mural was to appear in 2008, Radical, a painting showing a defiant vegan holding an asparagus raised high and proudly above the figure's head. The second mural titled Woman featuring a lone figure on the garage door, and the third and final work Children of Fire were both executed sequentially in 2011. Originally found in the artist's neighbourhood in East London, STIK's connection to this object as a surface and message-board for his paintings makes it a piece that is utterly unique amongst comparable works to be offered. Signalling the importance of community, brotherhood, and political action, Children of Fire is unquestionably one of the great works by STIK and represents an opportunity to acquire a painting that is laden with history and lore by one of the definitive street artists of the last two decades.This lot is subject to the following lot symbols: AR TPAR Goods subject to Artists Resale Right Additional Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Property from the Marie-Louise von Motesiczky Charitable Trust, LondonMARIE-LOUISE VON MOTESICZKY (1906-1996)Still-life with globeoil on canvas, unframed 58.3 x 58.3 cm (23 x 23 in)Painted in 1953LITERATURE:I. Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p. 239, no. 124CONDITION REPORT:Oil on canvas, unframed. Not lined. On very close inspection there are very fine horizontal lines of craquelure running to the right of the stand of the globe and to the lower left corner of the globe. Examined under UV: there is evidence of a small area of retouching to the centre right of the globe, also visible in a raking light. Overall, it our opinion that the work is in good original condition. Selected Works from the Marie-Louise von Motesiczky Charitable Trust Motesiczky’s expressive and very painterly style had been formed before the Second World War, in large part influenced and encouraged by Max Beckmann. On first being introduced to Beckmann in 1920 she recalled: ‘A winged creature from Mars could not have made a greater impact on me’. Once in Britain it was Oskar Kokoschka, a family friend from Vienna now similarly exiled, who helped champion her work. Thereafter, and very much on a personal level, it was the writer Elias Canetti (1905-1994) a fellow émigré who exercised a major influence over her artistic output. Marie-Louise von Motesiczky grew up with her parents and her brother Karl in central Vienna. Her mother Henriette came from an illustrious Viennese Jewish banking dynasty. Her maternal grandfather, Leopold von Lieben, was President of the Stock Exchange; her grandmother, Anna, one of Freud’s early patients. She counted the Todescos, and Ephrussis among her family circle, and she, her mother and her brother Karl spent their summers at Villa Todesco in Hinterbrühl, south west of the capital. But over time family tragedy, financial difficulties and the rise of Nazi Germany took their toll. Marie-Louise’s father died at the end of 1909 and after the First World War her mother’s considerable inheritance gradually diminished through high taxation, poor investments, and the financial crash of 1929. Then, with the rise of the Third Reich and the Anschluss in March 1938, when Austria was annexed by Germany, she and her mother fled Vienna for the Netherlands before emigrating to England in 1939. Further distress followed when her brother Karl, who had remained in Austria, was arrested and deported to Auschwitz, dying of typhus there on 25 June 1943. On Motesiczky’s arrival in London Kokoschka ensured her inclusion in a series of group exhibitions, and assisted her in the staging of a solo exhibition at the Czechoslovak Institute in the autumn of 1944. Further group shows followed, and in 1960 she had a second solo exhibition at the influential Beaux Arts Gallery off Bond Street. On the Continent she received acclaim for her work in exhibitions in Amsterdam and The Hague in 1952, one of her canvases being purchased by the Stedelijk Museum. The same decade she exhibited in Munich and Düsseldorf, and in the 1960s was the subject of shows in Germany and Austria, including a one-person exhibition at the Wiener Secession in 1966. In 1985, a full twenty-five years after her work had been shown at the Beaux Arts Gallery, she was the subject of another solo exhibition in London, at the Goethe-Institut, which was widely acclaimed in the press. In 1994 a major retrospective of her work was held in Vienna at the Österreichische Galerie, Oberes Belvedere and in Manchester at the City Art Gallery. In 2006-07 her work was celebrated in a centenary exhibition at Tate Liverpool, travelling to Frankfurt, Vienna, Passau and Southampton City Art Gallery. Also in 2007 Jill Lloyd’s biography of Marie-Louise appeared: The Undiscovered Expressionist. A Life of Marie-Louise von Motesiczky, followed in 2009 by the catalogue raisonné of her paintings by Ines Schlenker itemising over 350 works. Most recently in 2019-20, Tate Britain held an exhibition devoted to her to inaugurate the gallery named in perpetuity as the ‘Marie-Louise von Motesiczky Archive Gallery’ for all future displays of Tate’s archive holdings in general. The work of Marie-Louise von Motesiczky held in public collections Institutions in the UK holding works by the artist include: the Ben Uri Gallery and Museum, the British Museum, Burgh House, Hampstead, Freud Museum, Garden Museum, National Portrait Gallery and Tate in London (which also holds her archive); the Amersham Museum, Fitzwilliam Museum, Cambridge, New Walk Museum and Art Gallery, Leicester, Manchester Art Gallery, National Galleries of Scotland, Edinburgh and the Hunterian Art Gallery, Glasgow. Elsewhere her work is in the National Gallery of Ireland, Dublin; the Stedelijk, Amsterdam; the Boijmans van Beuningen Museum, Rotterdam; the Städel Museum, Frankfurt; the German Literary Archive in Marbach; the Albertina, Österreichische Galerie Belvedere, the Leopold Museum and the Museum Wien in Vienna; the Lentos Kunstmuseum, Linz and the Stanley Museum, University of Iowa, USA. Please find a link to the Catalogue Raisonné for Marie-Louise von Motesiczky: https://www.motesiczky.org/publications/ Marie-Louise von Motesiczky 1906-1996. A Catalogue Raisonné of the Paintings by Ines Schlenker, Hudson Hills Press, New York, 2009. The Marie-Louise von Motesiczky Charitable Trust The Marie-Louise von Motesiczky Charitable Trust, is a company limited by guarantee registered in England and Wales (no. 7572024) and a registered charity (no. 1140890): www.motesiczky.org. The copyright for Marie-Louise von Motesiczky’s paintings, drawings and correspondence or other written work originating from her, her mother Henriette and brother Karl, lies with the Marie-Louise von Motesiczky Charitable Trust.

Property from the Marie-Louise von Motesiczky Charitable Trust, LondonMARIE-LOUISE VON MOTESICZKY (1906-1996)Eight figures in yellow hats in a landscape oil on canvas, unframed41 x 51 cm (16 1/8 x 20 1/8 in)Painted in 1959LITERATURE:I. Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p.288, no. 157CONDITION REPORT:Oil on canvas, unframed. Not lined. Examined under UV: there are no visible signs of fluorescing. Overall, it our opinion that the work is in very good original condition.The present lot was inspired by a holiday the artist took to the United States and Mexico in the Spring of 1956. Eight Mexican men in canary yellow sombreros walk in a sketchy barren landscape. The men march in a line under a green horizontal structure, possibly a railway bridge, and the painting is somewhat humerous due to the rigid postures and comical hats of the figures. Selected Works from the Marie-Louise von Motesiczky Charitable Trust Motesiczky’s expressive and very painterly style had been formed before the Second World War, in large part influenced and encouraged by Max Beckmann. On first being introduced to Beckmann in 1920 she recalled: ‘A winged creature from Mars could not have made a greater impact on me’. Once in Britain it was Oskar Kokoschka, a family friend from Vienna now similarly exiled, who helped champion her work. Thereafter, and very much on a personal level, it was the writer Elias Canetti (1905-1994) a fellow émigré who exercised a major influence over her artistic output. Marie-Louise von Motesiczky grew up with her parents and her brother Karl in central Vienna. Her mother Henriette came from an illustrious Viennese Jewish banking dynasty. Her maternal grandfather, Leopold von Lieben, was President of the Stock Exchange; her grandmother, Anna, one of Freud’s early patients. She counted the Todescos, and Ephrussis among her family circle, and she, her mother and her brother Karl spent their summers at Villa Todesco in Hinterbrühl, south west of the capital. But over time family tragedy, financial difficulties and the rise of Nazi Germany took their toll. Marie-Louise’s father died at the end of 1909 and after the First World War her mother’s considerable inheritance gradually diminished through high taxation, poor investments, and the financial crash of 1929. Then, with the rise of the Third Reich and the Anschluss in March 1938, when Austria was annexed by Germany, she and her mother fled Vienna for the Netherlands before emigrating to England in 1939. Further distress followed when her brother Karl, who had remained in Austria, was arrested and deported to Auschwitz, dying of typhus there on 25 June 1943. On Motesiczky’s arrival in London Kokoschka ensured her inclusion in a series of group exhibitions, and assisted her in the staging of a solo exhibition at the Czechoslovak Institute in the autumn of 1944. Further group shows followed, and in 1960 she had a second solo exhibition at the influential Beaux Arts Gallery off Bond Street. On the Continent she received acclaim for her work in exhibitions in Amsterdam and The Hague in 1952, one of her canvases being purchased by the Stedelijk Museum. The same decade she exhibited in Munich and Düsseldorf, and in the 1960s was the subject of shows in Germany and Austria, including a one-person exhibition at the Wiener Secession in 1966. In 1985, a full twenty-five years after her work had been shown at the Beaux Arts Gallery, she was the subject of another solo exhibition in London, at the Goethe-Institut, which was widely acclaimed in the press. In 1994 a major retrospective of her work was held in Vienna at the Österreichische Galerie, Oberes Belvedere and in Manchester at the City Art Gallery. In 2006-07 her work was celebrated in a centenary exhibition at Tate Liverpool, travelling to Frankfurt, Vienna, Passau and Southampton City Art Gallery. Also in 2007 Jill Lloyd’s biography of Marie-Louise appeared: The Undiscovered Expressionist. A Life of Marie-Louise von Motesiczky, followed in 2009 by the catalogue raisonné of her paintings by Ines Schlenker itemising over 350 works. Most recently in 2019-20, Tate Britain held an exhibition devoted to her to inaugurate the gallery named in perpetuity as the ‘Marie-Louise von Motesiczky Archive Gallery’ for all future displays of Tate’s archive holdings in general. The work of Marie-Louise von Motesiczky held in public collections Institutions in the UK holding works by the artist include: the Ben Uri Gallery and Museum, the British Museum, Burgh House, Hampstead, Freud Museum, Garden Museum, National Portrait Gallery and Tate in London (which also holds her archive); the Amersham Museum, Fitzwilliam Museum, Cambridge, New Walk Museum and Art Gallery, Leicester, Manchester Art Gallery, National Galleries of Scotland, Edinburgh and the Hunterian Art Gallery, Glasgow. Elsewhere her work is in the National Gallery of Ireland, Dublin; the Stedelijk, Amsterdam; the Boijmans van Beuningen Museum, Rotterdam; the Städel Museum, Frankfurt; the German Literary Archive in Marbach; the Albertina, Österreichische Galerie Belvedere, the Leopold Museum and the Museum Wien in Vienna; the Lentos Kunstmuseum, Linz and the Stanley Museum, University of Iowa, USA. Please find a link to the Catalogue Raisonné for Marie-Louise von Motesiczky: https://www.motesiczky.org/publications/ Marie-Louise von Motesiczky 1906-1996. A Catalogue Raisonné of the Paintings by Ines Schlenker, Hudson Hills Press, New York, 2009. The Marie-Louise von Motesiczky Charitable Trust The Marie-Louise von Motesiczky Charitable Trust, is a company limited by guarantee registered in England and Wales (no. 7572024) and a registered charity (no. 1140890): www.motesiczky.org. The copyright for Marie-Louise von Motesiczky’s paintings, drawings and correspondence or other written work originating from her, her mother Henriette and brother Karl, lies with the Marie-Louise von Motesiczky Charitable Trust.    

Property from the Marie-Louise von Motesiczky Charitable Trust, LondonMARIE-LOUISE VON MOTESICZKY (1906-1996)Snake charmer oil and pastel on canvas, unframed80.5 x 50.5 cm (31 3/4 x 19 7/8 in) Painted in 1964LITERATURE:I. Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p. 332, no. 191CONDITION REPORT:Oil and pastel on canvas, unframed. Not lined. Small hole to the canvas above the man's head. Examined under UV: there are no visible signs of fluorescing. Overall, it our opinion that the work is in good original condition.In May 1964 Motesiczky visited Tunisia where she may have come across groups of snake charmers. In the present work a bearded man in purple harem pants, draped with a large snake around his shoulders stands at the centre of the composition, whilst a mysterious yellow dressed figure plays the flute behind him, accompanying his performance. Selected Works from the Marie-Louise von Motesiczky Charitable Trust Motesiczky’s expressive and very painterly style had been formed before the Second World War, in large part influenced and encouraged by Max Beckmann. On first being introduced to Beckmann in 1920 she recalled: ‘A winged creature from Mars could not have made a greater impact on me’. Once in Britain it was Oskar Kokoschka, a family friend from Vienna now similarly exiled, who helped champion her work. Thereafter, and very much on a personal level, it was the writer Elias Canetti (1905-1994) a fellow émigré who exercised a major influence over her artistic output. Marie-Louise von Motesiczky grew up with her parents and her brother Karl in central Vienna. Her mother Henriette came from an illustrious Viennese Jewish banking dynasty. Her maternal grandfather, Leopold von Lieben, was President of the Stock Exchange; her grandmother, Anna, one of Freud’s early patients. She counted the Todescos, and Ephrussis among her family circle, and she, her mother and her brother Karl spent their summers at Villa Todesco in Hinterbrühl, south west of the capital. But over time family tragedy, financial difficulties and the rise of Nazi Germany took their toll. Marie-Louise’s father died at the end of 1909 and after the First World War her mother’s considerable inheritance gradually diminished through high taxation, poor investments, and the financial crash of 1929. Then, with the rise of the Third Reich and the Anschluss in March 1938, when Austria was annexed by Germany, she and her mother fled Vienna for the Netherlands before emigrating to England in 1939. Further distress followed when her brother Karl, who had remained in Austria, was arrested and deported to Auschwitz, dying of typhus there on 25 June 1943. On Motesiczky’s arrival in London Kokoschka ensured her inclusion in a series of group exhibitions, and assisted her in the staging of a solo exhibition at the Czechoslovak Institute in the autumn of 1944. Further group shows followed, and in 1960 she had a second solo exhibition at the influential Beaux Arts Gallery off Bond Street. On the Continent she received acclaim for her work in exhibitions in Amsterdam and The Hague in 1952, one of her canvases being purchased by the Stedelijk Museum. The same decade she exhibited in Munich and Düsseldorf, and in the 1960s was the subject of shows in Germany and Austria, including a one-person exhibition at the Wiener Secession in 1966. In 1985, a full twenty-five years after her work had been shown at the Beaux Arts Gallery, she was the subject of another solo exhibition in London, at the Goethe-Institut, which was widely acclaimed in the press. In 1994 a major retrospective of her work was held in Vienna at the Österreichische Galerie, Oberes Belvedere and in Manchester at the City Art Gallery. In 2006-07 her work was celebrated in a centenary exhibition at Tate Liverpool, travelling to Frankfurt, Vienna, Passau and Southampton City Art Gallery. Also in 2007 Jill Lloyd’s biography of Marie-Louise appeared: The Undiscovered Expressionist. A Life of Marie-Louise von Motesiczky, followed in 2009 by the catalogue raisonné of her paintings by Ines Schlenker itemising over 350 works. Most recently in 2019-20, Tate Britain held an exhibition devoted to her to inaugurate the gallery named in perpetuity as the ‘Marie-Louise von Motesiczky Archive Gallery’ for all future displays of Tate’s archive holdings in general. The work of Marie-Louise von Motesiczky held in public collections Institutions in the UK holding works by the artist include: the Ben Uri Gallery and Museum, the British Museum, Burgh House, Hampstead, Freud Museum, Garden Museum, National Portrait Gallery and Tate in London (which also holds her archive); the Amersham Museum, Fitzwilliam Museum, Cambridge, New Walk Museum and Art Gallery, Leicester, Manchester Art Gallery, National Galleries of Scotland, Edinburgh and the Hunterian Art Gallery, Glasgow. Elsewhere her work is in the National Gallery of Ireland, Dublin; the Stedelijk, Amsterdam; the Boijmans van Beuningen Museum, Rotterdam; the Städel Museum, Frankfurt; the German Literary Archive in Marbach; the Albertina, Österreichische Galerie Belvedere, the Leopold Museum and the Museum Wien in Vienna; the Lentos Kunstmuseum, Linz and the Stanley Museum, University of Iowa, USA. Please find a link to the Catalogue Raisonné for Marie-Louise von Motesiczky: https://www.motesiczky.org/publications/ Marie-Louise von Motesiczky 1906-1996. A Catalogue Raisonné of the Paintings by Ines Schlenker, Hudson Hills Press, New York, 2009. The Marie-Louise von Motesiczky Charitable Trust The Marie-Louise von Motesiczky Charitable Trust, is a company limited by guarantee registered in England and Wales (no. 7572024) and a registered charity (no. 1140890): www.motesiczky.org. The copyright for Marie-Louise von Motesiczky’s paintings, drawings and correspondence or other written work originating from her, her mother Henriette and brother Karl, lies with the Marie-Louise von Motesiczky Charitable Trust.

Property from the Marie-Louise von Motesiczky Charitable Trust, LondonMARIE-LOUISE VON MOTESICZKY (1906-1996)Fiesta 2oil on canvas, unframed101.5 x 71 cm (40 x 28 in) Painted in 1967LITERATURE:I. Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p. 359, no. 208CONDITION REPORT:Oil on canvas, unframed. Not lined. Examined under UV: there are no visible signs of fluorescing. Overall, it our opinion that the work is in very good original condition.Fiesta 2 is one of two earlier and uncompleted paintings for the final Fiesta (sold by Chiswick Auctions for £3,250 inc. premium in June 2021). The present depiction of a larger than life androgynous dancer, surrounded by a rich cast of characters - young and old, small and large - is one of Motesiczky's most ambitious compositions. The painting draws first and foremost on the artist's memories of her trip to Spain in 1966. But the flamboyant subject matter and Marie-Louise's poetic license with proportions clearly reflects her years in Germany, the formative influence of Max Beckmann on her art, and exposure to the Expressionism of such painters as George Grosz and Otto Dix.The juxtaposition of the central dancer, the grouped figures to the left and the energised sketched brushstrokes elsewhere in the composition suggests that order has descended into chaos. As Schlenker comments, such a mix is 'At odds with the apparently joyous occasion... Although it is difficult to interpret and make sense of the individual scenes, the inherent danger, subtle threat and indefinable sinister undertones of the painting are inexplicably palpable' (Schlenker p. 358).Schlenker notes that Motesiczky recorded her struggle to complete the work in her diary: 'Today I want to finish the picture of the Spanish dancer. Will it really work - as Pio [Elias Canetti] thinks?' Schlenker added: 'Despite the artist's doubts, on completion, the painting was immediately included in her Munich exhibition that autumn.' Selected Works from the Marie-Louise von Motesiczky Charitable Trust Motesiczky’s expressive and very painterly style had been formed before the Second World War, in large part influenced and encouraged by Max Beckmann. On first being introduced to Beckmann in 1920 she recalled: ‘A winged creature from Mars could not have made a greater impact on me’. Once in Britain it was Oskar Kokoschka, a family friend from Vienna now similarly exiled, who helped champion her work. Thereafter, and very much on a personal level, it was the writer Elias Canetti (1905-1994) a fellow émigré who exercised a major influence over her artistic output. Marie-Louise von Motesiczky grew up with her parents and her brother Karl in central Vienna. Her mother Henriette came from an illustrious Viennese Jewish banking dynasty. Her maternal grandfather, Leopold von Lieben, was President of the Stock Exchange; her grandmother, Anna, one of Freud’s early patients. She counted the Todescos, and Ephrussis among her family circle, and she, her mother and her brother Karl spent their summers at Villa Todesco in Hinterbrühl, south west of the capital. But over time family tragedy, financial difficulties and the rise of Nazi Germany took their toll. Marie-Louise’s father died at the end of 1909 and after the First World War her mother’s considerable inheritance gradually diminished through high taxation, poor investments, and the financial crash of 1929. Then, with the rise of the Third Reich and the Anschluss in March 1938, when Austria was annexed by Germany, she and her mother fled Vienna for the Netherlands before emigrating to England in 1939. Further distress followed when her brother Karl, who had remained in Austria, was arrested and deported to Auschwitz, dying of typhus there on 25 June 1943. On Motesiczky’s arrival in London Kokoschka ensured her inclusion in a series of group exhibitions, and assisted her in the staging of a solo exhibition at the Czechoslovak Institute in the autumn of 1944. Further group shows followed, and in 1960 she had a second solo exhibition at the influential Beaux Arts Gallery off Bond Street. On the Continent she received acclaim for her work in exhibitions in Amsterdam and The Hague in 1952, one of her canvases being purchased by the Stedelijk Museum. The same decade she exhibited in Munich and Düsseldorf, and in the 1960s was the subject of shows in Germany and Austria, including a one-person exhibition at the Wiener Secession in 1966. In 1985, a full twenty-five years after her work had been shown at the Beaux Arts Gallery, she was the subject of another solo exhibition in London, at the Goethe-Institut, which was widely acclaimed in the press. In 1994 a major retrospective of her work was held in Vienna at the Österreichische Galerie, Oberes Belvedere and in Manchester at the City Art Gallery. In 2006-07 her work was celebrated in a centenary exhibition at Tate Liverpool, travelling to Frankfurt, Vienna, Passau and Southampton City Art Gallery. Also in 2007 Jill Lloyd’s biography of Marie-Louise appeared: The Undiscovered Expressionist. A Life of Marie-Louise von Motesiczky, followed in 2009 by the catalogue raisonné of her paintings by Ines Schlenker itemising over 350 works. Most recently in 2019-20, Tate Britain held an exhibition devoted to her to inaugurate the gallery named in perpetuity as the ‘Marie-Louise von Motesiczky Archive Gallery’ for all future displays of Tate’s archive holdings in general. The work of Marie-Louise von Motesiczky held in public collections Institutions in the UK holding works by the artist include: the Ben Uri Gallery and Museum, the British Museum, Burgh House, Hampstead, Freud Museum, Garden Museum, National Portrait Gallery and Tate in London (which also holds her archive); the Amersham Museum, Fitzwilliam Museum, Cambridge, New Walk Museum and Art Gallery, Leicester, Manchester Art Gallery, National Galleries of Scotland, Edinburgh and the Hunterian Art Gallery, Glasgow. Elsewhere her work is in the National Gallery of Ireland, Dublin; the Stedelijk, Amsterdam; the Boijmans van Beuningen Museum, Rotterdam; the Städel Museum, Frankfurt; the German Literary Archive in Marbach; the Albertina, Österreichische Galerie Belvedere, the Leopold Museum and the Museum Wien in Vienna; the Lentos Kunstmuseum, Linz and the Stanley Museum, University of Iowa, USA. Please find a link to the Catalogue Raisonné for Marie-Louise von Motesiczky: https://www.motesiczky.org/publications/ Marie-Louise von Motesiczky 1906-1996. A Catalogue Raisonné of the Paintings by Ines Schlenker, Hudson Hills Press, New York, 2009. The Marie-Louise von Motesiczky Charitable Trust The Marie-Louise von Motesiczky Charitable Trust, is a company limited by guarantee registered in England and Wales (no. 7572024) and a registered charity (no. 1140890): www.motesiczky.org. The copyright for Marie-Louise von Motesiczky’s paintings, drawings and correspondence or other written work originating from her, her mother Henriette and brother Karl, lies with the Marie-Louise von Motesiczky Charitable Trust.    

Property from the Marie-Louise von Motesiczky Charitable Trust, LondonMARIE-LOUISE VON MOTESICZKY (1906-1996)Lorette as paintersigned and dated M. Motesiczky 1968. (upper right)oil on canvassight-size: 69 x 53.7 cm (27 1/8 x 21 1/8 in)Painted in 1968Sold with a preparatory study: MARIE-LOUISE VON MOTESICZKY (1906-1996)Head of Lorettecharcoal sight-size: 39.2 x 35.7 cm (15 1/2 x 13 7/8 in)Executed in 1968 EXHIBITED:London, John Denham Gallery, Emigre Artists, 1987Dublin, Royal Hospital Kilmainham, Marie Louise von Motesiczky with 'Figurative Image', 1988, no.14LITERATURE:I. Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p.383, no. 220CONDITION REPORT:Oil on canvas, unframed. Not lined. Examined under UV: there are no visible signs of fluorescing. Overall, it our opinion that the work is in very good original condition. Painted and signed in 1968, Lorette as Painter depicts Lorette Lugten. Lugten was from Jakarta and living in London in the late 1960s when she met Motesicskzy. A fellow painter herself, Lugten was persuaded to sit for Motesicsky once a week. As well as being featured in the painting Lorette in the Studio (sold for £9,250 inc. Buyer's Premium by Chiswick Auctions in November 2021), Lugten features in several accomplished drawings. Here she is depicted in oil holding the tools of her trade, a palette and a brush, wearing a painter’s smock. She gazes outwards, intently studying her subject. Selected Works from the Marie-Louise von Motesiczky Charitable Trust Motesiczky’s expressive and very painterly style had been formed before the Second World War, in large part influenced and encouraged by Max Beckmann. On first being introduced to Beckmann in 1920 she recalled: ‘A winged creature from Mars could not have made a greater impact on me’. Once in Britain it was Oskar Kokoschka, a family friend from Vienna now similarly exiled, who helped champion her work. Thereafter, and very much on a personal level, it was the writer Elias Canetti (1905-1994) a fellow émigré who exercised a major influence over her artistic output. Marie-Louise von Motesiczky grew up with her parents and her brother Karl in central Vienna. Her mother Henriette came from an illustrious Viennese Jewish banking dynasty. Her maternal grandfather, Leopold von Lieben, was President of the Stock Exchange; her grandmother, Anna, one of Freud’s early patients. She counted the Todescos, and Ephrussis among her family circle, and she, her mother and her brother Karl spent their summers at Villa Todesco in Hinterbrühl, south west of the capital. But over time family tragedy, financial difficulties and the rise of Nazi Germany took their toll. Marie-Louise’s father died at the end of 1909 and after the First World War her mother’s considerable inheritance gradually diminished through high taxation, poor investments, and the financial crash of 1929. Then, with the rise of the Third Reich and the Anschluss in March 1938, when Austria was annexed by Germany, she and her mother fled Vienna for the Netherlands before emigrating to England in 1939. Further distress followed when her brother Karl, who had remained in Austria, was arrested and deported to Auschwitz, dying of typhus there on 25 June 1943. On Motesiczky’s arrival in London Kokoschka ensured her inclusion in a series of group exhibitions, and assisted her in the staging of a solo exhibition at the Czechoslovak Institute in the autumn of 1944. Further group shows followed, and in 1960 she had a second solo exhibition at the influential Beaux Arts Gallery off Bond Street. On the Continent she received acclaim for her work in exhibitions in Amsterdam and The Hague in 1952, one of her canvases being purchased by the Stedelijk Museum. The same decade she exhibited in Munich and Düsseldorf, and in the 1960s was the subject of shows in Germany and Austria, including a one-person exhibition at the Wiener Secession in 1966. In 1985, a full twenty-five years after her work had been shown at the Beaux Arts Gallery, she was the subject of another solo exhibition in London, at the Goethe-Institut, which was widely acclaimed in the press. In 1994 a major retrospective of her work was held in Vienna at the Österreichische Galerie, Oberes Belvedere and in Manchester at the City Art Gallery. In 2006-07 her work was celebrated in a centenary exhibition at Tate Liverpool, travelling to Frankfurt, Vienna, Passau and Southampton City Art Gallery. Also in 2007 Jill Lloyd’s biography of Marie-Louise appeared: The Undiscovered Expressionist. A Life of Marie-Louise von Motesiczky, followed in 2009 by the catalogue raisonné of her paintings by Ines Schlenker itemising over 350 works. Most recently in 2019-20, Tate Britain held an exhibition devoted to her to inaugurate the gallery named in perpetuity as the ‘Marie-Louise von Motesiczky Archive Gallery’ for all future displays of Tate’s archive holdings in general. The work of Marie-Louise von Motesiczky held in public collections Institutions in the UK holding works by the artist include: the Ben Uri Gallery and Museum, the British Museum, Burgh House, Hampstead, Freud Museum, Garden Museum, National Portrait Gallery and Tate in London (which also holds her archive); the Amersham Museum, Fitzwilliam Museum, Cambridge, New Walk Museum and Art Gallery, Leicester, Manchester Art Gallery, National Galleries of Scotland, Edinburgh and the Hunterian Art Gallery, Glasgow. Elsewhere her work is in the National Gallery of Ireland, Dublin; the Stedelijk, Amsterdam; the Boijmans van Beuningen Museum, Rotterdam; the Städel Museum, Frankfurt; the German Literary Archive in Marbach; the Albertina, Österreichische Galerie Belvedere, the Leopold Museum and the Museum Wien in Vienna; the Lentos Kunstmuseum, Linz and the Stanley Museum, University of Iowa, USA. Please find a link to the Catalogue Raisonné for Marie-Louise von Motesiczky: https://www.motesiczky.org/publications/ Marie-Louise von Motesiczky 1906-1996. A Catalogue Raisonné of the Paintings by Ines Schlenker, Hudson Hills Press, New York, 2009. The Marie-Louise von Motesiczky Charitable Trust The Marie-Louise von Motesiczky Charitable Trust, is a company limited by guarantee registered in England and Wales (no. 7572024) and a registered charity (no. 1140890): www.motesiczky.org. The copyright for Marie-Louise von Motesiczky’s paintings, drawings and correspondence or other written work originating from her, her mother Henriette and brother Karl, lies with the Marie-Louise von Motesiczky Charitable Trust.

Property from the Marie-Louise von Motesiczky Charitable Trust, LondonMARIE-LOUISE VON MOTESICZKY (1906-1996)Still life with bowl and daffodils oil on canvas, unframed61 x 51 cm (24 x 20 1/8 in)Painted in 1988LITERATURE:I. Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p.479, no. 295CONDITION REPORT:Oil on canvas, unframed. Not lined. Minor frame abrasions at the extreme edges in places. On very close inspection there is evidence of scattered fine lines of craquelure in places throughout. There is evidence of cupping towards the lower centre edge, to the right of the glass. Examined under UV: there are no visible signs of fluorescing. Overall, it our opinion that the work is in good original condition. Selected Works from the Marie-Louise von Motesiczky Charitable Trust Motesiczky’s expressive and very painterly style had been formed before the Second World War, in large part influenced and encouraged by Max Beckmann. On first being introduced to Beckmann in 1920 she recalled: ‘A winged creature from Mars could not have made a greater impact on me’. Once in Britain it was Oskar Kokoschka, a family friend from Vienna now similarly exiled, who helped champion her work. Thereafter, and very much on a personal level, it was the writer Elias Canetti (1905-1994) a fellow émigré who exercised a major influence over her artistic output. Marie-Louise von Motesiczky grew up with her parents and her brother Karl in central Vienna. Her mother Henriette came from an illustrious Viennese Jewish banking dynasty. Her maternal grandfather, Leopold von Lieben, was President of the Stock Exchange; her grandmother, Anna, one of Freud’s early patients. She counted the Todescos, and Ephrussis among her family circle, and she, her mother and her brother Karl spent their summers at Villa Todesco in Hinterbrühl, south west of the capital. But over time family tragedy, financial difficulties and the rise of Nazi Germany took their toll. Marie-Louise’s father died at the end of 1909 and after the First World War her mother’s considerable inheritance gradually diminished through high taxation, poor investments, and the financial crash of 1929. Then, with the rise of the Third Reich and the Anschluss in March 1938, when Austria was annexed by Germany, she and her mother fled Vienna for the Netherlands before emigrating to England in 1939. Further distress followed when her brother Karl, who had remained in Austria, was arrested and deported to Auschwitz, dying of typhus there on 25 June 1943. On Motesiczky’s arrival in London Kokoschka ensured her inclusion in a series of group exhibitions, and assisted her in the staging of a solo exhibition at the Czechoslovak Institute in the autumn of 1944. Further group shows followed, and in 1960 she had a second solo exhibition at the influential Beaux Arts Gallery off Bond Street. On the Continent she received acclaim for her work in exhibitions in Amsterdam and The Hague in 1952, one of her canvases being purchased by the Stedelijk Museum. The same decade she exhibited in Munich and Düsseldorf, and in the 1960s was the subject of shows in Germany and Austria, including a one-person exhibition at the Wiener Secession in 1966. In 1985, a full twenty-five years after her work had been shown at the Beaux Arts Gallery, she was the subject of another solo exhibition in London, at the Goethe-Institut, which was widely acclaimed in the press. In 1994 a major retrospective of her work was held in Vienna at the Österreichische Galerie, Oberes Belvedere and in Manchester at the City Art Gallery. In 2006-07 her work was celebrated in a centenary exhibition at Tate Liverpool, travelling to Frankfurt, Vienna, Passau and Southampton City Art Gallery. Also in 2007 Jill Lloyd’s biography of Marie-Louise appeared: The Undiscovered Expressionist. A Life of Marie-Louise von Motesiczky, followed in 2009 by the catalogue raisonné of her paintings by Ines Schlenker itemising over 350 works. Most recently in 2019-20, Tate Britain held an exhibition devoted to her to inaugurate the gallery named in perpetuity as the ‘Marie-Louise von Motesiczky Archive Gallery’ for all future displays of Tate’s archive holdings in general. The work of Marie-Louise von Motesiczky held in public collections Institutions in the UK holding works by the artist include: the Ben Uri Gallery and Museum, the British Museum, Burgh House, Hampstead, Freud Museum, Garden Museum, National Portrait Gallery and Tate in London (which also holds her archive); the Amersham Museum, Fitzwilliam Museum, Cambridge, New Walk Museum and Art Gallery, Leicester, Manchester Art Gallery, National Galleries of Scotland, Edinburgh and the Hunterian Art Gallery, Glasgow. Elsewhere her work is in the National Gallery of Ireland, Dublin; the Stedelijk, Amsterdam; the Boijmans van Beuningen Museum, Rotterdam; the Städel Museum, Frankfurt; the German Literary Archive in Marbach; the Albertina, Österreichische Galerie Belvedere, the Leopold Museum and the Museum Wien in Vienna; the Lentos Kunstmuseum, Linz and the Stanley Museum, University of Iowa, USA. Please find a link to the Catalogue Raisonné for Marie-Louise von Motesiczky: https://www.motesiczky.org/publications/ Marie-Louise von Motesiczky 1906-1996. A Catalogue Raisonné of the Paintings by Ines Schlenker, Hudson Hills Press, New York, 2009. The Marie-Louise von Motesiczky Charitable Trust The Marie-Louise von Motesiczky Charitable Trust, is a company limited by guarantee registered in England and Wales (no. 7572024) and a registered charity (no. 1140890): www.motesiczky.org. The copyright for Marie-Louise von Motesiczky’s paintings, drawings and correspondence or other written work originating from her, her mother Henriette and brother Karl, lies with the Marie-Louise von Motesiczky Charitable Trust.

Property from the Marie-Louise von Motesiczky Charitable Trust, LondonMARIE-LOUISE VON MOTESICZKY (1906-1996)Still-life christmas mail (recto); Flower still-life (verso) signed with the artist's initials and dated MM.1988 (lower right) oil and collage on canvas50.5 x 70 cm (19 7/8 x 27 1/2 in)Painted in 1988EXHIBITED:London, 14 Highbury Terrace, Islington, Modern and Contemporary works of art: paintings, drawings, prints and pots,1989, no.7LITERATURE:I. Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p.479, no. 294CONDITION REPORT:Oil on canvas, unframed. Not lined. Minor frame abrasions at the extreme edges in places. On very close inspection there is evidence of scattered fine lines of craquelure in places throughout. There is evidence of cupping towards the lower centre edge, to the right of the glass. Examined under UV: there are no visible signs of fluorescing. Overall, it our opinion that the work is in good original condition. Selected Works from the Marie-Louise von Motesiczky Charitable Trust Motesiczky’s expressive and very painterly style had been formed before the Second World War, in large part influenced and encouraged by Max Beckmann. On first being introduced to Beckmann in 1920 she recalled: ‘A winged creature from Mars could not have made a greater impact on me’. Once in Britain it was Oskar Kokoschka, a family friend from Vienna now similarly exiled, who helped champion her work. Thereafter, and very much on a personal level, it was the writer Elias Canetti (1905-1994) a fellow émigré who exercised a major influence over her artistic output. Marie-Louise von Motesiczky grew up with her parents and her brother Karl in central Vienna. Her mother Henriette came from an illustrious Viennese Jewish banking dynasty. Her maternal grandfather, Leopold von Lieben, was President of the Stock Exchange; her grandmother, Anna, one of Freud’s early patients. She counted the Todescos, and Ephrussis among her family circle, and she, her mother and her brother Karl spent their summers at Villa Todesco in Hinterbrühl, south west of the capital. But over time family tragedy, financial difficulties and the rise of Nazi Germany took their toll. Marie-Louise’s father died at the end of 1909 and after the First World War her mother’s considerable inheritance gradually diminished through high taxation, poor investments, and the financial crash of 1929. Then, with the rise of the Third Reich and the Anschluss in March 1938, when Austria was annexed by Germany, she and her mother fled Vienna for the Netherlands before emigrating to England in 1939. Further distress followed when her brother Karl, who had remained in Austria, was arrested and deported to Auschwitz, dying of typhus there on 25 June 1943. On Motesiczky’s arrival in London Kokoschka ensured her inclusion in a series of group exhibitions, and assisted her in the staging of a solo exhibition at the Czechoslovak Institute in the autumn of 1944. Further group shows followed, and in 1960 she had a second solo exhibition at the influential Beaux Arts Gallery off Bond Street. On the Continent she received acclaim for her work in exhibitions in Amsterdam and The Hague in 1952, one of her canvases being purchased by the Stedelijk Museum. The same decade she exhibited in Munich and Düsseldorf, and in the 1960s was the subject of shows in Germany and Austria, including a one-person exhibition at the Wiener Secession in 1966. In 1985, a full twenty-five years after her work had been shown at the Beaux Arts Gallery, she was the subject of another solo exhibition in London, at the Goethe-Institut, which was widely acclaimed in the press. In 1994 a major retrospective of her work was held in Vienna at the Österreichische Galerie, Oberes Belvedere and in Manchester at the City Art Gallery. In 2006-07 her work was celebrated in a centenary exhibition at Tate Liverpool, travelling to Frankfurt, Vienna, Passau and Southampton City Art Gallery. Also in 2007 Jill Lloyd’s biography of Marie-Louise appeared: The Undiscovered Expressionist. A Life of Marie-Louise von Motesiczky, followed in 2009 by the catalogue raisonné of her paintings by Ines Schlenker itemising over 350 works. Most recently in 2019-20, Tate Britain held an exhibition devoted to her to inaugurate the gallery named in perpetuity as the ‘Marie-Louise von Motesiczky Archive Gallery’ for all future displays of Tate’s archive holdings in general. The work of Marie-Louise von Motesiczky held in public collections Institutions in the UK holding works by the artist include: the Ben Uri Gallery and Museum, the British Museum, Burgh House, Hampstead, Freud Museum, Garden Museum, National Portrait Gallery and Tate in London (which also holds her archive); the Amersham Museum, Fitzwilliam Museum, Cambridge, New Walk Museum and Art Gallery, Leicester, Manchester Art Gallery, National Galleries of Scotland, Edinburgh and the Hunterian Art Gallery, Glasgow. Elsewhere her work is in the National Gallery of Ireland, Dublin; the Stedelijk, Amsterdam; the Boijmans van Beuningen Museum, Rotterdam; the Städel Museum, Frankfurt; the German Literary Archive in Marbach; the Albertina, Österreichische Galerie Belvedere, the Leopold Museum and the Museum Wien in Vienna; the Lentos Kunstmuseum, Linz and the Stanley Museum, University of Iowa, USA. Please find a link to the Catalogue Raisonné for Marie-Louise von Motesiczky: https://www.motesiczky.org/publications/ Marie-Louise von Motesiczky 1906-1996. A Catalogue Raisonné of the Paintings by Ines Schlenker, Hudson Hills Press, New York, 2009. The Marie-Louise von Motesiczky Charitable Trust The Marie-Louise von Motesiczky Charitable Trust, is a company limited by guarantee registered in England and Wales (no. 7572024) and a registered charity (no. 1140890): www.motesiczky.org. The copyright for Marie-Louise von Motesiczky’s paintings, drawings and correspondence or other written work originating from her, her mother Henriette and brother Karl, lies with the Marie-Louise von Motesiczky Charitable Trust.

Property from the Marie-Louise von Motesiczky Charitable Trust, LondonMARIE-LOUISE VON MOTESICZKY (1906-1996)Still-life, bowl of fruit with pomegranateoil on canvassight size: 34 x 44.5 cm (13 3/8 x 17 1/2 in)Painted in 1960EXHIBITED:Vienna, Wien Museum, Who is Marie-Louise von Motesiczky?, March-May 2007Passau, Museum Moderner Kunst, Marie-Louise von Motesiczky. Eine Retrospektive, 9 June-9 September 2007Southampton, Southhampton City Art Gallery, Marie-Louise von Motesiczky, 28 September-9 December 2007LITERATURE:I. Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p. 310, no. 172CONDITION REPORT:Framed. Not examined out of the frame. Oil on canvas. Not lined. On very close inspection there is evidence of some fine and stable lines of craquelure to the brown pigments towards the upper right corner. Examined under UV: there are no visible signs of fluorescing. Overall, it our opinion that the work is in very good original condition. Selected Works from the Marie-Louise von Motesiczky Charitable Trust Motesiczky’s expressive and very painterly style had been formed before the Second World War, in large part influenced and encouraged by Max Beckmann. On first being introduced to Beckmann in 1920 she recalled: ‘A winged creature from Mars could not have made a greater impact on me’. Once in Britain it was Oskar Kokoschka, a family friend from Vienna now similarly exiled, who helped champion her work. Thereafter, and very much on a personal level, it was the writer Elias Canetti (1905-1994) a fellow émigré who exercised a major influence over her artistic output. Marie-Louise von Motesiczky grew up with her parents and her brother Karl in central Vienna. Her mother Henriette came from an illustrious Viennese Jewish banking dynasty. Her maternal grandfather, Leopold von Lieben, was President of the Stock Exchange; her grandmother, Anna, one of Freud’s early patients. She counted the Todescos, and Ephrussis among her family circle, and she, her mother and her brother Karl spent their summers at Villa Todesco in Hinterbrühl, south west of the capital. But over time family tragedy, financial difficulties and the rise of Nazi Germany took their toll. Marie-Louise’s father died at the end of 1909 and after the First World War her mother’s considerable inheritance gradually diminished through high taxation, poor investments, and the financial crash of 1929. Then, with the rise of the Third Reich and the Anschluss in March 1938, when Austria was annexed by Germany, she and her mother fled Vienna for the Netherlands before emigrating to England in 1939. Further distress followed when her brother Karl, who had remained in Austria, was arrested and deported to Auschwitz, dying of typhus there on 25 June 1943. On Motesiczky’s arrival in London Kokoschka ensured her inclusion in a series of group exhibitions, and assisted her in the staging of a solo exhibition at the Czechoslovak Institute in the autumn of 1944. Further group shows followed, and in 1960 she had a second solo exhibition at the influential Beaux Arts Gallery off Bond Street. On the Continent she received acclaim for her work in exhibitions in Amsterdam and The Hague in 1952, one of her canvases being purchased by the Stedelijk Museum. The same decade she exhibited in Munich and Düsseldorf, and in the 1960s was the subject of shows in Germany and Austria, including a one-person exhibition at the Wiener Secession in 1966. In 1985, a full twenty-five years after her work had been shown at the Beaux Arts Gallery, she was the subject of another solo exhibition in London, at the Goethe-Institut, which was widely acclaimed in the press. In 1994 a major retrospective of her work was held in Vienna at the Österreichische Galerie, Oberes Belvedere and in Manchester at the City Art Gallery. In 2006-07 her work was celebrated in a centenary exhibition at Tate Liverpool, travelling to Frankfurt, Vienna, Passau and Southampton City Art Gallery. Also in 2007 Jill Lloyd’s biography of Marie-Louise appeared: The Undiscovered Expressionist. A Life of Marie-Louise von Motesiczky, followed in 2009 by the catalogue raisonné of her paintings by Ines Schlenker itemising over 350 works. Most recently in 2019-20, Tate Britain held an exhibition devoted to her to inaugurate the gallery named in perpetuity as the ‘Marie-Louise von Motesiczky Archive Gallery’ for all future displays of Tate’s archive holdings in general. The work of Marie-Louise von Motesiczky held in public collections Institutions in the UK holding works by the artist include: the Ben Uri Gallery and Museum, the British Museum, Burgh House, Hampstead, Freud Museum, Garden Museum, National Portrait Gallery and Tate in London (which also holds her archive); the Amersham Museum, Fitzwilliam Museum, Cambridge, New Walk Museum and Art Gallery, Leicester, Manchester Art Gallery, National Galleries of Scotland, Edinburgh and the Hunterian Art Gallery, Glasgow. Elsewhere her work is in the National Gallery of Ireland, Dublin; the Stedelijk, Amsterdam; the Boijmans van Beuningen Museum, Rotterdam; the Städel Museum, Frankfurt; the German Literary Archive in Marbach; the Albertina, Österreichische Galerie Belvedere, the Leopold Museum and the Museum Wien in Vienna; the Lentos Kunstmuseum, Linz and the Stanley Museum, University of Iowa, USA. Please find a link to the Catalogue Raisonné for Marie-Louise von Motesiczky: https://www.motesiczky.org/publications/ Marie-Louise von Motesiczky 1906-1996. A Catalogue Raisonné of the Paintings by Ines Schlenker, Hudson Hills Press, New York, 2009. The Marie-Louise von Motesiczky Charitable Trust The Marie-Louise von Motesiczky Charitable Trust, is a company limited by guarantee registered in England and Wales (no. 7572024) and a registered charity (no. 1140890): www.motesiczky.org. The copyright for Marie-Louise von Motesiczky’s paintings, drawings and correspondence or other written work originating from her, her mother Henriette and brother Karl, lies with the Marie-Louise von Motesiczky Charitable Trust.

Property from the Marie-Louise von Motesiczky Charitable Trust, LondonMARIE-LOUISE VON MOTESICZKY (1906-1996)Woman with umbrella (recto); Still-life with palette and flowers (verso)oil on canvas, unframed61.2 x 41 cm (24 1/8 x 16 1/8 in)Painted in the 1960sLITERATURE:I. Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p.390, no. 226CONDITION REPORT:Oil on canvas, unframed. Not lined. On close inspection there is evidence of fine lines of craquelure in the maroon pigment of the lady's headress. Examined under UV: there are no visible signs of fluorescing. Overall, it our opinion that the work is in very good original condition. Selected Works from the Marie-Louise von Motesiczky Charitable Trust Motesiczky’s expressive and very painterly style had been formed before the Second World War, in large part influenced and encouraged by Max Beckmann. On first being introduced to Beckmann in 1920 she recalled: ‘A winged creature from Mars could not have made a greater impact on me’. Once in Britain it was Oskar Kokoschka, a family friend from Vienna now similarly exiled, who helped champion her work. Thereafter, and very much on a personal level, it was the writer Elias Canetti (1905-1994) a fellow émigré who exercised a major influence over her artistic output. Marie-Louise von Motesiczky grew up with her parents and her brother Karl in central Vienna. Her mother Henriette came from an illustrious Viennese Jewish banking dynasty. Her maternal grandfather, Leopold von Lieben, was President of the Stock Exchange; her grandmother, Anna, one of Freud’s early patients. She counted the Todescos, and Ephrussis among her family circle, and she, her mother and her brother Karl spent their summers at Villa Todesco in Hinterbrühl, south west of the capital. But over time family tragedy, financial difficulties and the rise of Nazi Germany took their toll. Marie-Louise’s father died at the end of 1909 and after the First World War her mother’s considerable inheritance gradually diminished through high taxation, poor investments, and the financial crash of 1929. Then, with the rise of the Third Reich and the Anschluss in March 1938, when Austria was annexed by Germany, she and her mother fled Vienna for the Netherlands before emigrating to England in 1939. Further distress followed when her brother Karl, who had remained in Austria, was arrested and deported to Auschwitz, dying of typhus there on 25 June 1943. On Motesiczky’s arrival in London Kokoschka ensured her inclusion in a series of group exhibitions, and assisted her in the staging of a solo exhibition at the Czechoslovak Institute in the autumn of 1944. Further group shows followed, and in 1960 she had a second solo exhibition at the influential Beaux Arts Gallery off Bond Street. On the Continent she received acclaim for her work in exhibitions in Amsterdam and The Hague in 1952, one of her canvases being purchased by the Stedelijk Museum. The same decade she exhibited in Munich and Düsseldorf, and in the 1960s was the subject of shows in Germany and Austria, including a one-person exhibition at the Wiener Secession in 1966. In 1985, a full twenty-five years after her work had been shown at the Beaux Arts Gallery, she was the subject of another solo exhibition in London, at the Goethe-Institut, which was widely acclaimed in the press. In 1994 a major retrospective of her work was held in Vienna at the Österreichische Galerie, Oberes Belvedere and in Manchester at the City Art Gallery. In 2006-07 her work was celebrated in a centenary exhibition at Tate Liverpool, travelling to Frankfurt, Vienna, Passau and Southampton City Art Gallery. Also in 2007 Jill Lloyd’s biography of Marie-Louise appeared: The Undiscovered Expressionist. A Life of Marie-Louise von Motesiczky, followed in 2009 by the catalogue raisonné of her paintings by Ines Schlenker itemising over 350 works. Most recently in 2019-20, Tate Britain held an exhibition devoted to her to inaugurate the gallery named in perpetuity as the ‘Marie-Louise von Motesiczky Archive Gallery’ for all future displays of Tate’s archive holdings in general. The work of Marie-Louise von Motesiczky held in public collections Institutions in the UK holding works by the artist include: the Ben Uri Gallery and Museum, the British Museum, Burgh House, Hampstead, Freud Museum, Garden Museum, National Portrait Gallery and Tate in London (which also holds her archive); the Amersham Museum, Fitzwilliam Museum, Cambridge, New Walk Museum and Art Gallery, Leicester, Manchester Art Gallery, National Galleries of Scotland, Edinburgh and the Hunterian Art Gallery, Glasgow. Elsewhere her work is in the National Gallery of Ireland, Dublin; the Stedelijk, Amsterdam; the Boijmans van Beuningen Museum, Rotterdam; the Städel Museum, Frankfurt; the German Literary Archive in Marbach; the Albertina, Österreichische Galerie Belvedere, the Leopold Museum and the Museum Wien in Vienna; the Lentos Kunstmuseum, Linz and the Stanley Museum, University of Iowa, USA. Please find a link to the Catalogue Raisonné for Marie-Louise von Motesiczky: https://www.motesiczky.org/publications/ Marie-Louise von Motesiczky 1906-1996. A Catalogue Raisonné of the Paintings by Ines Schlenker, Hudson Hills Press, New York, 2009. The Marie-Louise von Motesiczky Charitable Trust The Marie-Louise von Motesiczky Charitable Trust, is a company limited by guarantee registered in England and Wales (no. 7572024) and a registered charity (no. 1140890): www.motesiczky.org. The copyright for Marie-Louise von Motesiczky’s paintings, drawings and correspondence or other written work originating from her, her mother Henriette and brother Karl, lies with the Marie-Louise von Motesiczky Charitable Trust.

Property from the Marie-Louise von Motesiczky Charitable Trust, LondonMARIE-LOUISE VON MOTESICZKY (1906-1996)Flavia Grassi oil, pastel and charcoal on canvas, unframed101.7 x 61.4 cm (40 x 24 1/4 in)Painted in 1983LITERATURE:I. Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p.457, no. 279CONDITION REPORT:Oil on canvas, unframed. Not lined. On close inspection there is evidence of fine lines of craquelure in the maroon pigment of the lady's headress. Examined under UV: there are no visible signs of fluorescing. Overall, it our opinion that the work is in very good original condition.Flavia Grassi was a young relative of Marie-Louise, from the Dutch side of her family. During the 1980s the pair saw eachother regularly, whilst Flavia was studying anthropology in London, and in 1988 Flavia lived with Marie-Louise for two months. Flavia's friendship clearly meant alot to Marie-Louise, numerous photographs of Flavia Grassi have survived in the artist's estate, some even stained with paint from when Motesiczky used them as a reference for the present portrait. References for the final painting can be seen in the photographs, such as Flavia's red wool sweater and floral patterned skirt. In this portrait Flavia stares directly out at the viewer, with her dark eyebrows and partially open mouth, seated in a chair with her legs crossed. The globe which she holds was likely a later addition by the artist and according to Flavia Grassi has no known links with her. Selected Works from the Marie-Louise von Motesiczky Charitable Trust Motesiczky’s expressive and very painterly style had been formed before the Second World War, in large part influenced and encouraged by Max Beckmann. On first being introduced to Beckmann in 1920 she recalled: ‘A winged creature from Mars could not have made a greater impact on me’. Once in Britain it was Oskar Kokoschka, a family friend from Vienna now similarly exiled, who helped champion her work. Thereafter, and very much on a personal level, it was the writer Elias Canetti (1905-1994) a fellow émigré who exercised a major influence over her artistic output. Marie-Louise von Motesiczky grew up with her parents and her brother Karl in central Vienna. Her mother Henriette came from an illustrious Viennese Jewish banking dynasty. Her maternal grandfather, Leopold von Lieben, was President of the Stock Exchange; her grandmother, Anna, one of Freud’s early patients. She counted the Todescos, and Ephrussis among her family circle, and she, her mother and her brother Karl spent their summers at Villa Todesco in Hinterbrühl, south west of the capital. But over time family tragedy, financial difficulties and the rise of Nazi Germany took their toll. Marie-Louise’s father died at the end of 1909 and after the First World War her mother’s considerable inheritance gradually diminished through high taxation, poor investments, and the financial crash of 1929. Then, with the rise of the Third Reich and the Anschluss in March 1938, when Austria was annexed by Germany, she and her mother fled Vienna for the Netherlands before emigrating to England in 1939. Further distress followed when her brother Karl, who had remained in Austria, was arrested and deported to Auschwitz, dying of typhus there on 25 June 1943. On Motesiczky’s arrival in London Kokoschka ensured her inclusion in a series of group exhibitions, and assisted her in the staging of a solo exhibition at the Czechoslovak Institute in the autumn of 1944. Further group shows followed, and in 1960 she had a second solo exhibition at the influential Beaux Arts Gallery off Bond Street. On the Continent she received acclaim for her work in exhibitions in Amsterdam and The Hague in 1952, one of her canvases being purchased by the Stedelijk Museum. The same decade she exhibited in Munich and Düsseldorf, and in the 1960s was the subject of shows in Germany and Austria, including a one-person exhibition at the Wiener Secession in 1966. In 1985, a full twenty-five years after her work had been shown at the Beaux Arts Gallery, she was the subject of another solo exhibition in London, at the Goethe-Institut, which was widely acclaimed in the press. In 1994 a major retrospective of her work was held in Vienna at the Österreichische Galerie, Oberes Belvedere and in Manchester at the City Art Gallery. In 2006-07 her work was celebrated in a centenary exhibition at Tate Liverpool, travelling to Frankfurt, Vienna, Passau and Southampton City Art Gallery. Also in 2007 Jill Lloyd’s biography of Marie-Louise appeared: The Undiscovered Expressionist. A Life of Marie-Louise von Motesiczky, followed in 2009 by the catalogue raisonné of her paintings by Ines Schlenker itemising over 350 works. Most recently in 2019-20, Tate Britain held an exhibition devoted to her to inaugurate the gallery named in perpetuity as the ‘Marie-Louise von Motesiczky Archive Gallery’ for all future displays of Tate’s archive holdings in general. The work of Marie-Louise von Motesiczky held in public collections Institutions in the UK holding works by the artist include: the Ben Uri Gallery and Museum, the British Museum, Burgh House, Hampstead, Freud Museum, Garden Museum, National Portrait Gallery and Tate in London (which also holds her archive); the Amersham Museum, Fitzwilliam Museum, Cambridge, New Walk Museum and Art Gallery, Leicester, Manchester Art Gallery, National Galleries of Scotland, Edinburgh and the Hunterian Art Gallery, Glasgow. Elsewhere her work is in the National Gallery of Ireland, Dublin; the Stedelijk, Amsterdam; the Boijmans van Beuningen Museum, Rotterdam; the Städel Museum, Frankfurt; the German Literary Archive in Marbach; the Albertina, Österreichische Galerie Belvedere, the Leopold Museum and the Museum Wien in Vienna; the Lentos Kunstmuseum, Linz and the Stanley Museum, University of Iowa, USA. Please find a link to the Catalogue Raisonné for Marie-Louise von Motesiczky: https://www.motesiczky.org/publications/ Marie-Louise von Motesiczky 1906-1996. A Catalogue Raisonné of the Paintings by Ines Schlenker, Hudson Hills Press, New York, 2009. The Marie-Louise von Motesiczky Charitable Trust The Marie-Louise von Motesiczky Charitable Trust, is a company limited by guarantee registered in England and Wales (no. 7572024) and a registered charity (no. 1140890): www.motesiczky.org. The copyright for Marie-Louise von Motesiczky’s paintings, drawings and correspondence or other written work originating from her, her mother Henriette and brother Karl, lies with the Marie-Louise von Motesiczky Charitable Trust.        

Property from the Marie-Louise von Motesiczky Charitable Trust, LondonMARIE-LOUISE VON MOTESICZKY (1906-1996)Model with dog oil and charcoal on canvas, unframed101 x 81 cm (39 3/4 x 31 7/8 in)Painted in the early 1980sLITERATURE:I. Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p.462, no. 282CONDITION REPORT:Oil and charcoal on canvas, unframed. Not lined. There are three horizontal stretcher marks visible towards the lower edge. Examined under UV: there are no visible signs of retouching. Overall, it is our opinion that the work is in very good original condition. Selected Works from the Marie-Louise von Motesiczky Charitable Trust Motesiczky’s expressive and very painterly style had been formed before the Second World War, in large part influenced and encouraged by Max Beckmann. On first being introduced to Beckmann in 1920 she recalled: ‘A winged creature from Mars could not have made a greater impact on me’. Once in Britain it was Oskar Kokoschka, a family friend from Vienna now similarly exiled, who helped champion her work. Thereafter, and very much on a personal level, it was the writer Elias Canetti (1905-1994) a fellow émigré who exercised a major influence over her artistic output. Marie-Louise von Motesiczky grew up with her parents and her brother Karl in central Vienna. Her mother Henriette came from an illustrious Viennese Jewish banking dynasty. Her maternal grandfather, Leopold von Lieben, was President of the Stock Exchange; her grandmother, Anna, one of Freud’s early patients. She counted the Todescos, and Ephrussis among her family circle, and she, her mother and her brother Karl spent their summers at Villa Todesco in Hinterbrühl, south west of the capital. But over time family tragedy, financial difficulties and the rise of Nazi Germany took their toll. Marie-Louise’s father died at the end of 1909 and after the First World War her mother’s considerable inheritance gradually diminished through high taxation, poor investments, and the financial crash of 1929. Then, with the rise of the Third Reich and the Anschluss in March 1938, when Austria was annexed by Germany, she and her mother fled Vienna for the Netherlands before emigrating to England in 1939. Further distress followed when her brother Karl, who had remained in Austria, was arrested and deported to Auschwitz, dying of typhus there on 25 June 1943. On Motesiczky’s arrival in London Kokoschka ensured her inclusion in a series of group exhibitions, and assisted her in the staging of a solo exhibition at the Czechoslovak Institute in the autumn of 1944. Further group shows followed, and in 1960 she had a second solo exhibition at the influential Beaux Arts Gallery off Bond Street. On the Continent she received acclaim for her work in exhibitions in Amsterdam and The Hague in 1952, one of her canvases being purchased by the Stedelijk Museum. The same decade she exhibited in Munich and Düsseldorf, and in the 1960s was the subject of shows in Germany and Austria, including a one-person exhibition at the Wiener Secession in 1966. In 1985, a full twenty-five years after her work had been shown at the Beaux Arts Gallery, she was the subject of another solo exhibition in London, at the Goethe-Institut, which was widely acclaimed in the press. In 1994 a major retrospective of her work was held in Vienna at the Österreichische Galerie, Oberes Belvedere and in Manchester at the City Art Gallery. In 2006-07 her work was celebrated in a centenary exhibition at Tate Liverpool, travelling to Frankfurt, Vienna, Passau and Southampton City Art Gallery. Also in 2007 Jill Lloyd’s biography of Marie-Louise appeared: The Undiscovered Expressionist. A Life of Marie-Louise von Motesiczky, followed in 2009 by the catalogue raisonné of her paintings by Ines Schlenker itemising over 350 works. Most recently in 2019-20, Tate Britain held an exhibition devoted to her to inaugurate the gallery named in perpetuity as the ‘Marie-Louise von Motesiczky Archive Gallery’ for all future displays of Tate’s archive holdings in general. The work of Marie-Louise von Motesiczky held in public collections Institutions in the UK holding works by the artist include: the Ben Uri Gallery and Museum, the British Museum, Burgh House, Hampstead, Freud Museum, Garden Museum, National Portrait Gallery and Tate in London (which also holds her archive); the Amersham Museum, Fitzwilliam Museum, Cambridge, New Walk Museum and Art Gallery, Leicester, Manchester Art Gallery, National Galleries of Scotland, Edinburgh and the Hunterian Art Gallery, Glasgow. Elsewhere her work is in the National Gallery of Ireland, Dublin; the Stedelijk, Amsterdam; the Boijmans van Beuningen Museum, Rotterdam; the Städel Museum, Frankfurt; the German Literary Archive in Marbach; the Albertina, Österreichische Galerie Belvedere, the Leopold Museum and the Museum Wien in Vienna; the Lentos Kunstmuseum, Linz and the Stanley Museum, University of Iowa, USA. Please find a link to the Catalogue Raisonné for Marie-Louise von Motesiczky: https://www.motesiczky.org/publications/ Marie-Louise von Motesiczky 1906-1996. A Catalogue Raisonné of the Paintings by Ines Schlenker, Hudson Hills Press, New York, 2009. The Marie-Louise von Motesiczky Charitable Trust The Marie-Louise von Motesiczky Charitable Trust, is a company limited by guarantee registered in England and Wales (no. 7572024) and a registered charity (no. 1140890): www.motesiczky.org. The copyright for Marie-Louise von Motesiczky’s paintings, drawings and correspondence or other written work originating from her, her mother Henriette and brother Karl, lies with the Marie-Louise von Motesiczky Charitable Trust.      

Property from the Marie-Louise von Motesiczky Charitable Trust, LondonMARIE-LOUISE VON MOTESICZKY (1906-1996)Two women on a shipoil on canvassight-size: 40 x 29.2 cm (15 3/4 x 11 1/2 in)Painted in the early 1960sSold with a preparatory study: MARIE-LOUISE VON MOTESICZKY (1906-1996)A study for Two women on a ship charcoal and pastel sight-size: 21 x 18 cm (8 1/4 x 7 1/8 in)Executed in the early 1960sLITERATURE:I. Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p. 342, no. 198E. Michel, Marie-Louise von Motesiczky 1906-1996, 2003, p. 82(2)Doubtless inspired by a ferry crossing to the continent taken some time in 1963, in the present work Motesiczky portrays two women seated in high-backed red armchairs deep in conversation. The two travelling companions are strikingly different in their appearance; one blonde, blue eyed wearing light clothes of orange and yellow, whilst the other, who dominates the foreground, wears a deep blue robe with shiny dark hair.The pair are framed by a large porthole, indicating that the setting is on board a ship. In the background is the calm, light blue sea set against the setting sunset. Their surroundings are made clearer in the accompanying drawing, most likely executed on board the ship, that is included in this lot. In the sketch some details are more defined such as the fruit on the table, whilst other details are omitted in the final painting, including the light blue shawl of the brunette. Although the exact date of the painting is unknown, according to Schlenker, several facts attribute it to the early 1960s, including the contemporary hairstyles of the ladies. Writing to Elias Canetti, her lover of many years, Marie-Louise wrote of this boat journey that she 'saw wonderful things on deck… there the people really look the way I would love to have them in a portrait.' (J. Lloyd, The Undiscovered Expressionist, London, 2007, p. 181). Indeed, the soft-featured face of the blonde woman shares striking similarities with Iris Murdoch, an author and lifelong friend whose portrait Motesiczky would complete the following year. Selected Works from the Marie-Louise von Motesiczky Charitable Trust Motesiczky’s expressive and very painterly style had been formed before the Second World War, in large part influenced and encouraged by Max Beckmann. On first being introduced to Beckmann in 1920 she recalled: ‘A winged creature from Mars could not have made a greater impact on me’. Once in Britain it was Oskar Kokoschka, a family friend from Vienna now similarly exiled, who helped champion her work. Thereafter, and very much on a personal level, it was the writer Elias Canetti (1905-1994) a fellow émigré who exercised a major influence over her artistic output. Marie-Louise von Motesiczky grew up with her parents and her brother Karl in central Vienna. Her mother Henriette came from an illustrious Viennese Jewish banking dynasty. Her maternal grandfather, Leopold von Lieben, was President of the Stock Exchange; her grandmother, Anna, one of Freud’s early patients. She counted the Todescos, and Ephrussis among her family circle, and she, her mother and her brother Karl spent their summers at Villa Todesco in Hinterbrühl, south west of the capital. But over time family tragedy, financial difficulties and the rise of Nazi Germany took their toll. Marie-Louise’s father died at the end of 1909 and after the First World War her mother’s considerable inheritance gradually diminished through high taxation, poor investments, and the financial crash of 1929. Then, with the rise of the Third Reich and the Anschluss in March 1938, when Austria was annexed by Germany, she and her mother fled Vienna for the Netherlands before emigrating to England in 1939. Further distress followed when her brother Karl, who had remained in Austria, was arrested and deported to Auschwitz, dying of typhus there on 25 June 1943. On Motesiczky’s arrival in London Kokoschka ensured her inclusion in a series of group exhibitions, and assisted her in the staging of a solo exhibition at the Czechoslovak Institute in the autumn of 1944. Further group shows followed, and in 1960 she had a second solo exhibition at the influential Beaux Arts Gallery off Bond Street. On the Continent she received acclaim for her work in exhibitions in Amsterdam and The Hague in 1952, one of her canvases being purchased by the Stedelijk Museum. The same decade she exhibited in Munich and Düsseldorf, and in the 1960s was the subject of shows in Germany and Austria, including a one-person exhibition at the Wiener Secession in 1966. In 1985, a full twenty-five years after her work had been shown at the Beaux Arts Gallery, she was the subject of another solo exhibition in London, at the Goethe-Institut, which was widely acclaimed in the press. In 1994 a major retrospective of her work was held in Vienna at the Österreichische Galerie, Oberes Belvedere and in Manchester at the City Art Gallery. In 2006-07 her work was celebrated in a centenary exhibition at Tate Liverpool, travelling to Frankfurt, Vienna, Passau and Southampton City Art Gallery. Also in 2007 Jill Lloyd’s biography of Marie-Louise appeared: The Undiscovered Expressionist. A Life of Marie-Louise von Motesiczky, followed in 2009 by the catalogue raisonné of her paintings by Ines Schlenker itemising over 350 works. Most recently in 2019-20, Tate Britain held an exhibition devoted to her to inaugurate the gallery named in perpetuity as the ‘Marie-Louise von Motesiczky Archive Gallery’ for all future displays of Tate’s archive holdings in general. The work of Marie-Louise von Motesiczky held in public collections Institutions in the UK holding works by the artist include: the Ben Uri Gallery and Museum, the British Museum, Burgh House, Hampstead, Freud Museum, Garden Museum, National Portrait Gallery and Tate in London (which also holds her archive); the Amersham Museum, Fitzwilliam Museum, Cambridge, New Walk Museum and Art Gallery, Leicester, Manchester Art Gallery, National Galleries of Scotland, Edinburgh and the Hunterian Art Gallery, Glasgow. Elsewhere her work is in the National Gallery of Ireland, Dublin; the Stedelijk, Amsterdam; the Boijmans van Beuningen Museum, Rotterdam; the Städel Museum, Frankfurt; the German Literary Archive in Marbach; the Albertina, Österreichische Galerie Belvedere, the Leopold Museum and the Museum Wien in Vienna; the Lentos Kunstmuseum, Linz and the Stanley Museum, University of Iowa, USA. Please find a link to the Catalogue Raisonné for Marie-Louise von Motesiczky: https://www.motesiczky.org/publications/ Marie-Louise von Motesiczky 1906-1996. A Catalogue Raisonné of the Paintings by Ines Schlenker, Hudson Hills Press, New York, 2009. The Marie-Louise von Motesiczky Charitable Trust The Marie-Louise von Motesiczky Charitable Trust, is a company limited by guarantee registered in England and Wales (no. 7572024) and a registered charity (no. 1140890): www.motesiczky.org. The copyright for Marie-Louise von Motesiczky’s paintings, drawings and correspondence or other written work originating from her, her mother Henriette and brother Karl, lies with the Marie-Louise von Motesiczky Charitable Trust.

Property from the Marie-Louise von Motesiczky Charitable Trust, LondonMARIE-LOUISE VON MOTESICZKY (1906-1996)Still life with lily of the valley and pansy oil on canvas, unframed40.5 x 31 cm (15 7/8 x 12 1/4 in)Painted in 1972LITERATURE:I. Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p.409, no. 243CONDITION REPORT:Oil on canvas, unframed. Not lined. On very close inspection there is a tiny pinpoint paint loss to the lower left edge of the vase. Examined under UV: there are no visible signs of fluorescing. Overall, it is our opinion that the work is in very good original condition. Selected Works from the Marie-Louise von Motesiczky Charitable Trust Motesiczky’s expressive and very painterly style had been formed before the Second World War, in large part influenced and encouraged by Max Beckmann. On first being introduced to Beckmann in 1920 she recalled: ‘A winged creature from Mars could not have made a greater impact on me’. Once in Britain it was Oskar Kokoschka, a family friend from Vienna now similarly exiled, who helped champion her work. Thereafter, and very much on a personal level, it was the writer Elias Canetti (1905-1994) a fellow émigré who exercised a major influence over her artistic output. Marie-Louise von Motesiczky grew up with her parents and her brother Karl in central Vienna. Her mother Henriette came from an illustrious Viennese Jewish banking dynasty. Her maternal grandfather, Leopold von Lieben, was President of the Stock Exchange; her grandmother, Anna, one of Freud’s early patients. She counted the Todescos, and Ephrussis among her family circle, and she, her mother and her brother Karl spent their summers at Villa Todesco in Hinterbrühl, south west of the capital. But over time family tragedy, financial difficulties and the rise of Nazi Germany took their toll. Marie-Louise’s father died at the end of 1909 and after the First World War her mother’s considerable inheritance gradually diminished through high taxation, poor investments, and the financial crash of 1929. Then, with the rise of the Third Reich and the Anschluss in March 1938, when Austria was annexed by Germany, she and her mother fled Vienna for the Netherlands before emigrating to England in 1939. Further distress followed when her brother Karl, who had remained in Austria, was arrested and deported to Auschwitz, dying of typhus there on 25 June 1943. On Motesiczky’s arrival in London Kokoschka ensured her inclusion in a series of group exhibitions, and assisted her in the staging of a solo exhibition at the Czechoslovak Institute in the autumn of 1944. Further group shows followed, and in 1960 she had a second solo exhibition at the influential Beaux Arts Gallery off Bond Street. On the Continent she received acclaim for her work in exhibitions in Amsterdam and The Hague in 1952, one of her canvases being purchased by the Stedelijk Museum. The same decade she exhibited in Munich and Düsseldorf, and in the 1960s was the subject of shows in Germany and Austria, including a one-person exhibition at the Wiener Secession in 1966. In 1985, a full twenty-five years after her work had been shown at the Beaux Arts Gallery, she was the subject of another solo exhibition in London, at the Goethe-Institut, which was widely acclaimed in the press. In 1994 a major retrospective of her work was held in Vienna at the Österreichische Galerie, Oberes Belvedere and in Manchester at the City Art Gallery. In 2006-07 her work was celebrated in a centenary exhibition at Tate Liverpool, travelling to Frankfurt, Vienna, Passau and Southampton City Art Gallery. Also in 2007 Jill Lloyd’s biography of Marie-Louise appeared: The Undiscovered Expressionist. A Life of Marie-Louise von Motesiczky, followed in 2009 by the catalogue raisonné of her paintings by Ines Schlenker itemising over 350 works. Most recently in 2019-20, Tate Britain held an exhibition devoted to her to inaugurate the gallery named in perpetuity as the ‘Marie-Louise von Motesiczky Archive Gallery’ for all future displays of Tate’s archive holdings in general. The work of Marie-Louise von Motesiczky held in public collections Institutions in the UK holding works by the artist include: the Ben Uri Gallery and Museum, the British Museum, Burgh House, Hampstead, Freud Museum, Garden Museum, National Portrait Gallery and Tate in London (which also holds her archive); the Amersham Museum, Fitzwilliam Museum, Cambridge, New Walk Museum and Art Gallery, Leicester, Manchester Art Gallery, National Galleries of Scotland, Edinburgh and the Hunterian Art Gallery, Glasgow. Elsewhere her work is in the National Gallery of Ireland, Dublin; the Stedelijk, Amsterdam; the Boijmans van Beuningen Museum, Rotterdam; the Städel Museum, Frankfurt; the German Literary Archive in Marbach; the Albertina, Österreichische Galerie Belvedere, the Leopold Museum and the Museum Wien in Vienna; the Lentos Kunstmuseum, Linz and the Stanley Museum, University of Iowa, USA. Please find a link to the Catalogue Raisonné for Marie-Louise von Motesiczky: https://www.motesiczky.org/publications/ Marie-Louise von Motesiczky 1906-1996. A Catalogue Raisonné of the Paintings by Ines Schlenker, Hudson Hills Press, New York, 2009. The Marie-Louise von Motesiczky Charitable Trust The Marie-Louise von Motesiczky Charitable Trust, is a company limited by guarantee registered in England and Wales (no. 7572024) and a registered charity (no. 1140890): www.motesiczky.org. The copyright for Marie-Louise von Motesiczky’s paintings, drawings and correspondence or other written work originating from her, her mother Henriette and brother Karl, lies with the Marie-Louise von Motesiczky Charitable Trust.

Property from the Marie-Louise von Motesiczky Charitable Trust, LondonMARIE-LOUISE VON MOTESICZKY (1906-1996)The two friendsoil and charcoal on canvas, no stretcher 88 x 111.5 cm (34 5/8 x 43 7/8 in)Painted in the 1950sLITERATURE:I. Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p. 301, no. 163CONDITION REPORT:Oil and charcoal on canvas, no stretcher. The edges of the canvas with artist's pinholes. There are creases to the canvas throughout. Vertical lines to the canvas in places corresponding with when the canvas has previously been rolled; this has resulted in associated pigment losses. The canvas is uneven throughout, due to the nature of the work not being stretched onto a supporting stretcher. Examined under UV: there appear to be no visible signs of fluorescence.Painted sometime in the 1950s, this unstretched canvas is a much-enlarged version of the 1955 painting Girlfriends (Schlenker, no.138, sold for £1,875 inc. Buyer's Premium in November 2021). According to Schlenker, this is the only known instance of Motesiczky duplicating her own works. Differing in only a few details, this version depicts two friends who, cup of tea in hand, sit on a chaise longue enraptured by each other’s conversation. While the identity of both women is unknown, Schlenker speculates that it may be the artist herself and friend and flatmate Julia Altschulova. The two lived together at 14 Compayne Gardens in West Hampstead for ten years.Selected Works from the Marie-Louise von Motesiczky Charitable Trust Motesiczky’s expressive and very painterly style had been formed before the Second World War, in large part influenced and encouraged by Max Beckmann. On first being introduced to Beckmann in 1920 she recalled: ‘A winged creature from Mars could not have made a greater impact on me’. Once in Britain it was Oskar Kokoschka, a family friend from Vienna now similarly exiled, who helped champion her work. Thereafter, and very much on a personal level, it was the writer Elias Canetti (1905-1994) a fellow émigré who exercised a major influence over her artistic output. Marie-Louise von Motesiczky grew up with her parents and her brother Karl in central Vienna. Her mother Henriette came from an illustrious Viennese Jewish banking dynasty. Her maternal grandfather, Leopold von Lieben, was President of the Stock Exchange; her grandmother, Anna, one of Freud’s early patients. She counted the Todescos, and Ephrussis among her family circle, and she, her mother and her brother Karl spent their summers at Villa Todesco in Hinterbrühl, south west of the capital. But over time family tragedy, financial difficulties and the rise of Nazi Germany took their toll. Marie-Louise’s father died at the end of 1909 and after the First World War her mother’s considerable inheritance gradually diminished through high taxation, poor investments, and the financial crash of 1929. Then, with the rise of the Third Reich and the Anschluss in March 1938, when Austria was annexed by Germany, she and her mother fled Vienna for the Netherlands before emigrating to England in 1939. Further distress followed when her brother Karl, who had remained in Austria, was arrested and deported to Auschwitz, dying of typhus there on 25 June 1943. On Motesiczky’s arrival in London Kokoschka ensured her inclusion in a series of group exhibitions, and assisted her in the staging of a solo exhibition at the Czechoslovak Institute in the autumn of 1944. Further group shows followed, and in 1960 she had a second solo exhibition at the influential Beaux Arts Gallery off Bond Street. On the Continent she received acclaim for her work in exhibitions in Amsterdam and The Hague in 1952, one of her canvases being purchased by the Stedelijk Museum. The same decade she exhibited in Munich and Düsseldorf, and in the 1960s was the subject of shows in Germany and Austria, including a one-person exhibition at the Wiener Secession in 1966. In 1985, a full twenty-five years after her work had been shown at the Beaux Arts Gallery, she was the subject of another solo exhibition in London, at the Goethe-Institut, which was widely acclaimed in the press. In 1994 a major retrospective of her work was held in Vienna at the Österreichische Galerie, Oberes Belvedere and in Manchester at the City Art Gallery. In 2006-07 her work was celebrated in a centenary exhibition at Tate Liverpool, travelling to Frankfurt, Vienna, Passau and Southampton City Art Gallery. Also in 2007 Jill Lloyd’s biography of Marie-Louise appeared: The Undiscovered Expressionist. A Life of Marie-Louise von Motesiczky, followed in 2009 by the catalogue raisonné of her paintings by Ines Schlenker itemising over 350 works. Most recently in 2019-20, Tate Britain held an exhibition devoted to her to inaugurate the gallery named in perpetuity as the ‘Marie-Louise von Motesiczky Archive Gallery’ for all future displays of Tate’s archive holdings in general. The work of Marie-Louise von Motesiczky held in public collections Institutions in the UK holding works by the artist include: the Ben Uri Gallery and Museum, the British Museum, Burgh House, Hampstead, Freud Museum, Garden Museum, National Portrait Gallery and Tate in London (which also holds her archive); the Amersham Museum, Fitzwilliam Museum, Cambridge, New Walk Museum and Art Gallery, Leicester, Manchester Art Gallery, National Galleries of Scotland, Edinburgh and the Hunterian Art Gallery, Glasgow. Elsewhere her work is in the National Gallery of Ireland, Dublin; the Stedelijk, Amsterdam; the Boijmans van Beuningen Museum, Rotterdam; the Städel Museum, Frankfurt; the German Literary Archive in Marbach; the Albertina, Österreichische Galerie Belvedere, the Leopold Museum and the Museum Wien in Vienna; the Lentos Kunstmuseum, Linz and the Stanley Museum, University of Iowa, USA. Please find a link to the Catalogue Raisonné for Marie-Louise von Motesiczky: https://www.motesiczky.org/publications/ Marie-Louise von Motesiczky 1906-1996. A Catalogue Raisonné of the Paintings by Ines Schlenker, Hudson Hills Press, New York, 2009. The Marie-Louise von Motesiczky Charitable Trust The Marie-Louise von Motesiczky Charitable Trust, is a company limited by guarantee registered in England and Wales (no. 7572024) and a registered charity (no. 1140890): www.motesiczky.org. The copyright for Marie-Louise von Motesiczky’s paintings, drawings and correspondence or other written work originating from her, her mother Henriette and brother Karl, lies with the Marie-Louise von Motesiczky Charitable Trust.    

Property from the Marie-Louise von Motesiczky Charitable Trust, LondonMARIE-LOUISE VON MOTESICZKY (1906-1996)Self-portrait in mirror looking leftoil on canvas, unframed61 x 51 cm (24 x 20 1/8 in) Painted in the circa 1940sLITERATURE:I. Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p. 198. no. 91E. Michel, Marie-Louise von Motesiczky 1906-1996, 2003, p. 60CONDITION REPORT:Oil on canvas, unframed. Not lined. Examined under UV: there are no visible signs of fluorescing. Overall, it our opinion that the work is in very good original condition.In the present work Motesiczky has unusually painted herself in full profile facing left, and not looking directly into the mirror as one might expect. As in many of her other self-portraits Motesiczky has incorporated a mirror, as a literal and physical means of self-examination and reflection. She uses the mirror to full effect, with the edges of the rounded mirror pushing to the extremities of the composition. Motesiczky's dark blonde hair is held back by a pointed hat, rounded off by a delicate orange ribbon. Disconcertingly, her usual dark brown eyes have been painted a piercing yellow, rendering herself almost unrecognisable. The painting remains undated, however, owing to the similarities of other works of the period, and the age in which the artist appears to be, Schlenker has suggested that the painting dates from the 1940s. Indeed, Motesiczky’s style changed in the early 1940s, moving away from the harder edged objective realism that was indebted to her Beckmann education, choosing instead a looser composition with sketchy flourishes. Whilst the brushwork is soft, this by no means sacrifices the intensification of her expression. Jill Lloyd describes that even as Marie-Louise ventured into the realms of symbolism and allegory, her paintings always relate to “her private universe”, in the present work this seems particularly poignant. Selected Works from the Marie-Louise von Motesiczky Charitable Trust Motesiczky’s expressive and very painterly style had been formed before the Second World War, in large part influenced and encouraged by Max Beckmann. On first being introduced to Beckmann in 1920 she recalled: ‘A winged creature from Mars could not have made a greater impact on me’. Once in Britain it was Oskar Kokoschka, a family friend from Vienna now similarly exiled, who helped champion her work. Thereafter, and very much on a personal level, it was the writer Elias Canetti (1905-1994) a fellow émigré who exercised a major influence over her artistic output. Marie-Louise von Motesiczky grew up with her parents and her brother Karl in central Vienna. Her mother Henriette came from an illustrious Viennese Jewish banking dynasty. Her maternal grandfather, Leopold von Lieben, was President of the Stock Exchange; her grandmother, Anna, one of Freud’s early patients. She counted the Todescos, and Ephrussis among her family circle, and she, her mother and her brother Karl spent their summers at Villa Todesco in Hinterbrühl, south west of the capital. But over time family tragedy, financial difficulties and the rise of Nazi Germany took their toll. Marie-Louise’s father died at the end of 1909 and after the First World War her mother’s considerable inheritance gradually diminished through high taxation, poor investments, and the financial crash of 1929. Then, with the rise of the Third Reich and the Anschluss in March 1938, when Austria was annexed by Germany, she and her mother fled Vienna for the Netherlands before emigrating to England in 1939. Further distress followed when her brother Karl, who had remained in Austria, was arrested and deported to Auschwitz, dying of typhus there on 25 June 1943. On Motesiczky’s arrival in London Kokoschka ensured her inclusion in a series of group exhibitions, and assisted her in the staging of a solo exhibition at the Czechoslovak Institute in the autumn of 1944. Further group shows followed, and in 1960 she had a second solo exhibition at the influential Beaux Arts Gallery off Bond Street. On the Continent she received acclaim for her work in exhibitions in Amsterdam and The Hague in 1952, one of her canvases being purchased by the Stedelijk Museum. The same decade she exhibited in Munich and Düsseldorf, and in the 1960s was the subject of shows in Germany and Austria, including a one-person exhibition at the Wiener Secession in 1966. In 1985, a full twenty-five years after her work had been shown at the Beaux Arts Gallery, she was the subject of another solo exhibition in London, at the Goethe-Institut, which was widely acclaimed in the press. In 1994 a major retrospective of her work was held in Vienna at the Österreichische Galerie, Oberes Belvedere and in Manchester at the City Art Gallery. In 2006-07 her work was celebrated in a centenary exhibition at Tate Liverpool, travelling to Frankfurt, Vienna, Passau and Southampton City Art Gallery. Also in 2007 Jill Lloyd’s biography of Marie-Louise appeared: The Undiscovered Expressionist. A Life of Marie-Louise von Motesiczky, followed in 2009 by the catalogue raisonné of her paintings by Ines Schlenker itemising over 350 works. Most recently in 2019-20, Tate Britain held an exhibition devoted to her to inaugurate the gallery named in perpetuity as the ‘Marie-Louise von Motesiczky Archive Gallery’ for all future displays of Tate’s archive holdings in general. The work of Marie-Louise von Motesiczky held in public collections Institutions in the UK holding works by the artist include: the Ben Uri Gallery and Museum, the British Museum, Burgh House, Hampstead, Freud Museum, Garden Museum, National Portrait Gallery and Tate in London (which also holds her archive); the Amersham Museum, Fitzwilliam Museum, Cambridge, New Walk Museum and Art Gallery, Leicester, Manchester Art Gallery, National Galleries of Scotland, Edinburgh and the Hunterian Art Gallery, Glasgow. Elsewhere her work is in the National Gallery of Ireland, Dublin; the Stedelijk, Amsterdam; the Boijmans van Beuningen Museum, Rotterdam; the Städel Museum, Frankfurt; the German Literary Archive in Marbach; the Albertina, Österreichische Galerie Belvedere, the Leopold Museum and the Museum Wien in Vienna; the Lentos Kunstmuseum, Linz and the Stanley Museum, University of Iowa, USA. Please find a link to the Catalogue Raisonné for Marie-Louise von Motesiczky: https://www.motesiczky.org/publications/ Marie-Louise von Motesiczky 1906-1996. A Catalogue Raisonné of the Paintings by Ines Schlenker, Hudson Hills Press, New York, 2009. The Marie-Louise von Motesiczky Charitable Trust The Marie-Louise von Motesiczky Charitable Trust, is a company limited by guarantee registered in England and Wales (no. 7572024) and a registered charity (no. 1140890): www.motesiczky.org. The copyright for Marie-Louise von Motesiczky’s paintings, drawings and correspondence or other written work originating from her, her mother Henriette and brother Karl, lies with the Marie-Louise von Motesiczky Charitable Trust.

Property from the Marie-Louise von Motesiczky Charitable Trust, LondonMARIE-LOUISE VON MOTESICZKY (1906-1996)Figures walking to churchoil on canvas, unframed45.3 x 35.3 cm (17 7/8 x 13 7/8 in)Painted in the 1930sLITERATURE:I. Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p. 144, no. 49CONDITION REPORT:Oil on canvas, unframed. Not lined. Examined under UV: there are no visible signs of fluorescing. Overall, it our opinion that the work is in very good original condition. Selected Works from the Marie-Louise von Motesiczky Charitable Trust Motesiczky’s expressive and very painterly style had been formed before the Second World War, in large part influenced and encouraged by Max Beckmann. On first being introduced to Beckmann in 1920 she recalled: ‘A winged creature from Mars could not have made a greater impact on me’. Once in Britain it was Oskar Kokoschka, a family friend from Vienna now similarly exiled, who helped champion her work. Thereafter, and very much on a personal level, it was the writer Elias Canetti (1905-1994) a fellow émigré who exercised a major influence over her artistic output. Marie-Louise von Motesiczky grew up with her parents and her brother Karl in central Vienna. Her mother Henriette came from an illustrious Viennese Jewish banking dynasty. Her maternal grandfather, Leopold von Lieben, was President of the Stock Exchange; her grandmother, Anna, one of Freud’s early patients. She counted the Todescos, and Ephrussis among her family circle, and she, her mother and her brother Karl spent their summers at Villa Todesco in Hinterbrühl, south west of the capital. But over time family tragedy, financial difficulties and the rise of Nazi Germany took their toll. Marie-Louise’s father died at the end of 1909 and after the First World War her mother’s considerable inheritance gradually diminished through high taxation, poor investments, and the financial crash of 1929. Then, with the rise of the Third Reich and the Anschluss in March 1938, when Austria was annexed by Germany, she and her mother fled Vienna for the Netherlands before emigrating to England in 1939. Further distress followed when her brother Karl, who had remained in Austria, was arrested and deported to Auschwitz, dying of typhus there on 25 June 1943. On Motesiczky’s arrival in London Kokoschka ensured her inclusion in a series of group exhibitions, and assisted her in the staging of a solo exhibition at the Czechoslovak Institute in the autumn of 1944. Further group shows followed, and in 1960 she had a second solo exhibition at the influential Beaux Arts Gallery off Bond Street. On the Continent she received acclaim for her work in exhibitions in Amsterdam and The Hague in 1952, one of her canvases being purchased by the Stedelijk Museum. The same decade she exhibited in Munich and Düsseldorf, and in the 1960s was the subject of shows in Germany and Austria, including a one-person exhibition at the Wiener Secession in 1966. In 1985, a full twenty-five years after her work had been shown at the Beaux Arts Gallery, she was the subject of another solo exhibition in London, at the Goethe-Institut, which was widely acclaimed in the press. In 1994 a major retrospective of her work was held in Vienna at the Österreichische Galerie, Oberes Belvedere and in Manchester at the City Art Gallery. In 2006-07 her work was celebrated in a centenary exhibition at Tate Liverpool, travelling to Frankfurt, Vienna, Passau and Southampton City Art Gallery. Also in 2007 Jill Lloyd’s biography of Marie-Louise appeared: The Undiscovered Expressionist. A Life of Marie-Louise von Motesiczky, followed in 2009 by the catalogue raisonné of her paintings by Ines Schlenker itemising over 350 works. Most recently in 2019-20, Tate Britain held an exhibition devoted to her to inaugurate the gallery named in perpetuity as the ‘Marie-Louise von Motesiczky Archive Gallery’ for all future displays of Tate’s archive holdings in general. The work of Marie-Louise von Motesiczky held in public collections Institutions in the UK holding works by the artist include: the Ben Uri Gallery and Museum, the British Museum, Burgh House, Hampstead, Freud Museum, Garden Museum, National Portrait Gallery and Tate in London (which also holds her archive); the Amersham Museum, Fitzwilliam Museum, Cambridge, New Walk Museum and Art Gallery, Leicester, Manchester Art Gallery, National Galleries of Scotland, Edinburgh and the Hunterian Art Gallery, Glasgow. Elsewhere her work is in the National Gallery of Ireland, Dublin; the Stedelijk, Amsterdam; the Boijmans van Beuningen Museum, Rotterdam; the Städel Museum, Frankfurt; the German Literary Archive in Marbach; the Albertina, Österreichische Galerie Belvedere, the Leopold Museum and the Museum Wien in Vienna; the Lentos Kunstmuseum, Linz and the Stanley Museum, University of Iowa, USA. Please find a link to the Catalogue Raisonné for Marie-Louise von Motesiczky: https://www.motesiczky.org/publications/ Marie-Louise von Motesiczky 1906-1996. A Catalogue Raisonné of the Paintings by Ines Schlenker, Hudson Hills Press, New York, 2009. The Marie-Louise von Motesiczky Charitable Trust The Marie-Louise von Motesiczky Charitable Trust, is a company limited by guarantee registered in England and Wales (no. 7572024) and a registered charity (no. 1140890): www.motesiczky.org. The copyright for Marie-Louise von Motesiczky’s paintings, drawings and correspondence or other written work originating from her, her mother Henriette and brother Karl, lies with the Marie-Louise von Motesiczky Charitable Trust.

Property from the Marie-Louise von Motesiczky Charitable Trust, LondonMARIE-LOUISE VON MOTESICZKY (1906-1996)Family portrait in the garden oil on canvas, no stretcher, unframed53 x 72.5 cm (20 7/8 x 28 1/2 in)Painted in the 1940sLITERATURE:I. Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p. 204, no. 97CONDITION REPORT:Oil on canvas, no stretcher, unframed. The extreme edges of the canvas with the artist's pinholes. The lower left edge with a vertical tear measuring approx. 7cm. The lower right corner with a tear measuring approx. 8cm. The upper right corner with a tear measuring approx. 7.5cm. There are minor surface scratches, abrasions and pigment losses in places. Examined under UV: there are no visible signs of fluorescing. Selected Works from the Marie-Louise von Motesiczky Charitable Trust Motesiczky’s expressive and very painterly style had been formed before the Second World War, in large part influenced and encouraged by Max Beckmann. On first being introduced to Beckmann in 1920 she recalled: ‘A winged creature from Mars could not have made a greater impact on me’. Once in Britain it was Oskar Kokoschka, a family friend from Vienna now similarly exiled, who helped champion her work. Thereafter, and very much on a personal level, it was the writer Elias Canetti (1905-1994) a fellow émigré who exercised a major influence over her artistic output. Marie-Louise von Motesiczky grew up with her parents and her brother Karl in central Vienna. Her mother Henriette came from an illustrious Viennese Jewish banking dynasty. Her maternal grandfather, Leopold von Lieben, was President of the Stock Exchange; her grandmother, Anna, one of Freud’s early patients. She counted the Todescos, and Ephrussis among her family circle, and she, her mother and her brother Karl spent their summers at Villa Todesco in Hinterbrühl, south west of the capital. But over time family tragedy, financial difficulties and the rise of Nazi Germany took their toll. Marie-Louise’s father died at the end of 1909 and after the First World War her mother’s considerable inheritance gradually diminished through high taxation, poor investments, and the financial crash of 1929. Then, with the rise of the Third Reich and the Anschluss in March 1938, when Austria was annexed by Germany, she and her mother fled Vienna for the Netherlands before emigrating to England in 1939. Further distress followed when her brother Karl, who had remained in Austria, was arrested and deported to Auschwitz, dying of typhus there on 25 June 1943. On Motesiczky’s arrival in London Kokoschka ensured her inclusion in a series of group exhibitions, and assisted her in the staging of a solo exhibition at the Czechoslovak Institute in the autumn of 1944. Further group shows followed, and in 1960 she had a second solo exhibition at the influential Beaux Arts Gallery off Bond Street. On the Continent she received acclaim for her work in exhibitions in Amsterdam and The Hague in 1952, one of her canvases being purchased by the Stedelijk Museum. The same decade she exhibited in Munich and Düsseldorf, and in the 1960s was the subject of shows in Germany and Austria, including a one-person exhibition at the Wiener Secession in 1966. In 1985, a full twenty-five years after her work had been shown at the Beaux Arts Gallery, she was the subject of another solo exhibition in London, at the Goethe-Institut, which was widely acclaimed in the press. In 1994 a major retrospective of her work was held in Vienna at the Österreichische Galerie, Oberes Belvedere and in Manchester at the City Art Gallery. In 2006-07 her work was celebrated in a centenary exhibition at Tate Liverpool, travelling to Frankfurt, Vienna, Passau and Southampton City Art Gallery. Also in 2007 Jill Lloyd’s biography of Marie-Louise appeared: The Undiscovered Expressionist. A Life of Marie-Louise von Motesiczky, followed in 2009 by the catalogue raisonné of her paintings by Ines Schlenker itemising over 350 works. Most recently in 2019-20, Tate Britain held an exhibition devoted to her to inaugurate the gallery named in perpetuity as the ‘Marie-Louise von Motesiczky Archive Gallery’ for all future displays of Tate’s archive holdings in general. The work of Marie-Louise von Motesiczky held in public collections Institutions in the UK holding works by the artist include: the Ben Uri Gallery and Museum, the British Museum, Burgh House, Hampstead, Freud Museum, Garden Museum, National Portrait Gallery and Tate in London (which also holds her archive); the Amersham Museum, Fitzwilliam Museum, Cambridge, New Walk Museum and Art Gallery, Leicester, Manchester Art Gallery, National Galleries of Scotland, Edinburgh and the Hunterian Art Gallery, Glasgow. Elsewhere her work is in the National Gallery of Ireland, Dublin; the Stedelijk, Amsterdam; the Boijmans van Beuningen Museum, Rotterdam; the Städel Museum, Frankfurt; the German Literary Archive in Marbach; the Albertina, Österreichische Galerie Belvedere, the Leopold Museum and the Museum Wien in Vienna; the Lentos Kunstmuseum, Linz and the Stanley Museum, University of Iowa, USA. Please find a link to the Catalogue Raisonné for Marie-Louise von Motesiczky: https://www.motesiczky.org/publications/ Marie-Louise von Motesiczky 1906-1996. A Catalogue Raisonné of the Paintings by Ines Schlenker, Hudson Hills Press, New York, 2009. The Marie-Louise von Motesiczky Charitable Trust The Marie-Louise von Motesiczky Charitable Trust, is a company limited by guarantee registered in England and Wales (no. 7572024) and a registered charity (no. 1140890): www.motesiczky.org. The copyright for Marie-Louise von Motesiczky’s paintings, drawings and correspondence or other written work originating from her, her mother Henriette and brother Karl, lies with the Marie-Louise von Motesiczky Charitable Trust.

Property from the Marie-Louise von Motesiczky Charitable Trust, LondonMARIE-LOUISE VON MOTESICZKY (1906-1996)The two lakes oil and charcoal on canvas, unframed60.8 x 53.3 cm (23 7/8 x 21 in)Painted in 1988LITERATURE:I. Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p.480, no. 296 CONDITION REPORT:Oil on canvas, unframed. Not lined. On very close inspection there is a tiny paint loss towards the lower right edge. Examined under UV: there are no visible signs of fluorescing. Overall, it our opinion that the work is in very good original condition.Motesiczky travelled to Austria for a fortnight in the late Summer of 1988, likely to Altaussee in the Salzkammergut. During this visit she would have probably come across this captivating lake scenery, which she took several photographs of. Indeed, one photograph in particular (from the artist's estate) corresponds closely to the composition of the present lot. In the present lake view, Motesiczky paints two lakes, one in the background and the other in the foreground. The lakes are separated by a stretch of marshland and connected by a narrow stream. The two lakes appear to mirror eachother, with the pale setting sun echoed by the small central island. The result is a tranquil perfectly balanced composition.Selected Works from the Marie-Louise von Motesiczky Charitable Trust Motesiczky’s expressive and very painterly style had been formed before the Second World War, in large part influenced and encouraged by Max Beckmann. On first being introduced to Beckmann in 1920 she recalled: ‘A winged creature from Mars could not have made a greater impact on me’. Once in Britain it was Oskar Kokoschka, a family friend from Vienna now similarly exiled, who helped champion her work. Thereafter, and very much on a personal level, it was the writer Elias Canetti (1905-1994) a fellow émigré who exercised a major influence over her artistic output. Marie-Louise von Motesiczky grew up with her parents and her brother Karl in central Vienna. Her mother Henriette came from an illustrious Viennese Jewish banking dynasty. Her maternal grandfather, Leopold von Lieben, was President of the Stock Exchange; her grandmother, Anna, one of Freud’s early patients. She counted the Todescos, and Ephrussis among her family circle, and she, her mother and her brother Karl spent their summers at Villa Todesco in Hinterbrühl, south west of the capital. But over time family tragedy, financial difficulties and the rise of Nazi Germany took their toll. Marie-Louise’s father died at the end of 1909 and after the First World War her mother’s considerable inheritance gradually diminished through high taxation, poor investments, and the financial crash of 1929. Then, with the rise of the Third Reich and the Anschluss in March 1938, when Austria was annexed by Germany, she and her mother fled Vienna for the Netherlands before emigrating to England in 1939. Further distress followed when her brother Karl, who had remained in Austria, was arrested and deported to Auschwitz, dying of typhus there on 25 June 1943. On Motesiczky’s arrival in London Kokoschka ensured her inclusion in a series of group exhibitions, and assisted her in the staging of a solo exhibition at the Czechoslovak Institute in the autumn of 1944. Further group shows followed, and in 1960 she had a second solo exhibition at the influential Beaux Arts Gallery off Bond Street. On the Continent she received acclaim for her work in exhibitions in Amsterdam and The Hague in 1952, one of her canvases being purchased by the Stedelijk Museum. The same decade she exhibited in Munich and Düsseldorf, and in the 1960s was the subject of shows in Germany and Austria, including a one-person exhibition at the Wiener Secession in 1966. In 1985, a full twenty-five years after her work had been shown at the Beaux Arts Gallery, she was the subject of another solo exhibition in London, at the Goethe-Institut, which was widely acclaimed in the press. In 1994 a major retrospective of her work was held in Vienna at the Österreichische Galerie, Oberes Belvedere and in Manchester at the City Art Gallery. In 2006-07 her work was celebrated in a centenary exhibition at Tate Liverpool, travelling to Frankfurt, Vienna, Passau and Southampton City Art Gallery. Also in 2007 Jill Lloyd’s biography of Marie-Louise appeared: The Undiscovered Expressionist. A Life of Marie-Louise von Motesiczky, followed in 2009 by the catalogue raisonné of her paintings by Ines Schlenker itemising over 350 works. Most recently in 2019-20, Tate Britain held an exhibition devoted to her to inaugurate the gallery named in perpetuity as the ‘Marie-Louise von Motesiczky Archive Gallery’ for all future displays of Tate’s archive holdings in general. The work of Marie-Louise von Motesiczky held in public collections Institutions in the UK holding works by the artist include: the Ben Uri Gallery and Museum, the British Museum, Burgh House, Hampstead, Freud Museum, Garden Museum, National Portrait Gallery and Tate in London (which also holds her archive); the Amersham Museum, Fitzwilliam Museum, Cambridge, New Walk Museum and Art Gallery, Leicester, Manchester Art Gallery, National Galleries of Scotland, Edinburgh and the Hunterian Art Gallery, Glasgow. Elsewhere her work is in the National Gallery of Ireland, Dublin; the Stedelijk, Amsterdam; the Boijmans van Beuningen Museum, Rotterdam; the Städel Museum, Frankfurt; the German Literary Archive in Marbach; the Albertina, Österreichische Galerie Belvedere, the Leopold Museum and the Museum Wien in Vienna; the Lentos Kunstmuseum, Linz and the Stanley Museum, University of Iowa, USA. Please find a link to the Catalogue Raisonné for Marie-Louise von Motesiczky: https://www.motesiczky.org/publications/ Marie-Louise von Motesiczky 1906-1996. A Catalogue Raisonné of the Paintings by Ines Schlenker, Hudson Hills Press, New York, 2009. The Marie-Louise von Motesiczky Charitable Trust The Marie-Louise von Motesiczky Charitable Trust, is a company limited by guarantee registered in England and Wales (no. 7572024) and a registered charity (no. 1140890): www.motesiczky.org. The copyright for Marie-Louise von Motesiczky’s paintings, drawings and correspondence or other written work originating from her, her mother Henriette and brother Karl, lies with the Marie-Louise von Motesiczky Charitable Trust.    

Property from the Marie-Louise von Motesiczky Charitable Trust, LondonMARIE-LOUISE VON MOTESICZKY (1906-1996)Cars beneath a palm tree by a lake oil on canvas, unframed41 x 51 cm (16 1/8 x 20 1/8 in) Painted in 1960LITERATURE:I. Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p. 309, no. 170CONDITION REPORT:Oil on canvas, unframed. Not lined. A few small paint losses at the upper corners. A small paint loss at the upper centre edge. Minor frame abrasions at the extreme edges in places. On very close inspection, one or two tiny pinpoint paint losses to the canvas elsewhere. Examined under UV: there are no visible signs of fluorescing. Overall, it our opinion that the work is in good original condition. Selected Works from the Marie-Louise von Motesiczky Charitable Trust Motesiczky’s expressive and very painterly style had been formed before the Second World War, in large part influenced and encouraged by Max Beckmann. On first being introduced to Beckmann in 1920 she recalled: ‘A winged creature from Mars could not have made a greater impact on me’. Once in Britain it was Oskar Kokoschka, a family friend from Vienna now similarly exiled, who helped champion her work. Thereafter, and very much on a personal level, it was the writer Elias Canetti (1905-1994) a fellow émigré who exercised a major influence over her artistic output. Marie-Louise von Motesiczky grew up with her parents and her brother Karl in central Vienna. Her mother Henriette came from an illustrious Viennese Jewish banking dynasty. Her maternal grandfather, Leopold von Lieben, was President of the Stock Exchange; her grandmother, Anna, one of Freud’s early patients. She counted the Todescos, and Ephrussis among her family circle, and she, her mother and her brother Karl spent their summers at Villa Todesco in Hinterbrühl, south west of the capital. But over time family tragedy, financial difficulties and the rise of Nazi Germany took their toll. Marie-Louise’s father died at the end of 1909 and after the First World War her mother’s considerable inheritance gradually diminished through high taxation, poor investments, and the financial crash of 1929. Then, with the rise of the Third Reich and the Anschluss in March 1938, when Austria was annexed by Germany, she and her mother fled Vienna for the Netherlands before emigrating to England in 1939. Further distress followed when her brother Karl, who had remained in Austria, was arrested and deported to Auschwitz, dying of typhus there on 25 June 1943. On Motesiczky’s arrival in London Kokoschka ensured her inclusion in a series of group exhibitions, and assisted her in the staging of a solo exhibition at the Czechoslovak Institute in the autumn of 1944. Further group shows followed, and in 1960 she had a second solo exhibition at the influential Beaux Arts Gallery off Bond Street. On the Continent she received acclaim for her work in exhibitions in Amsterdam and The Hague in 1952, one of her canvases being purchased by the Stedelijk Museum. The same decade she exhibited in Munich and Düsseldorf, and in the 1960s was the subject of shows in Germany and Austria, including a one-person exhibition at the Wiener Secession in 1966. In 1985, a full twenty-five years after her work had been shown at the Beaux Arts Gallery, she was the subject of another solo exhibition in London, at the Goethe-Institut, which was widely acclaimed in the press. In 1994 a major retrospective of her work was held in Vienna at the Österreichische Galerie, Oberes Belvedere and in Manchester at the City Art Gallery. In 2006-07 her work was celebrated in a centenary exhibition at Tate Liverpool, travelling to Frankfurt, Vienna, Passau and Southampton City Art Gallery. Also in 2007 Jill Lloyd’s biography of Marie-Louise appeared: The Undiscovered Expressionist. A Life of Marie-Louise von Motesiczky, followed in 2009 by the catalogue raisonné of her paintings by Ines Schlenker itemising over 350 works. Most recently in 2019-20, Tate Britain held an exhibition devoted to her to inaugurate the gallery named in perpetuity as the ‘Marie-Louise von Motesiczky Archive Gallery’ for all future displays of Tate’s archive holdings in general. The work of Marie-Louise von Motesiczky held in public collections Institutions in the UK holding works by the artist include: the Ben Uri Gallery and Museum, the British Museum, Burgh House, Hampstead, Freud Museum, Garden Museum, National Portrait Gallery and Tate in London (which also holds her archive); the Amersham Museum, Fitzwilliam Museum, Cambridge, New Walk Museum and Art Gallery, Leicester, Manchester Art Gallery, National Galleries of Scotland, Edinburgh and the Hunterian Art Gallery, Glasgow. Elsewhere her work is in the National Gallery of Ireland, Dublin; the Stedelijk, Amsterdam; the Boijmans van Beuningen Museum, Rotterdam; the Städel Museum, Frankfurt; the German Literary Archive in Marbach; the Albertina, Österreichische Galerie Belvedere, the Leopold Museum and the Museum Wien in Vienna; the Lentos Kunstmuseum, Linz and the Stanley Museum, University of Iowa, USA. Please find a link to the Catalogue Raisonné for Marie-Louise von Motesiczky: https://www.motesiczky.org/publications/ Marie-Louise von Motesiczky 1906-1996. A Catalogue Raisonné of the Paintings by Ines Schlenker, Hudson Hills Press, New York, 2009. The Marie-Louise von Motesiczky Charitable Trust The Marie-Louise von Motesiczky Charitable Trust, is a company limited by guarantee registered in England and Wales (no. 7572024) and a registered charity (no. 1140890): www.motesiczky.org. The copyright for Marie-Louise von Motesiczky’s paintings, drawings and correspondence or other written work originating from her, her mother Henriette and brother Karl, lies with the Marie-Louise von Motesiczky Charitable Trust.