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Lot 9
Property from the Marie-Louise von Motesiczky Charitable Trust, London MARIE-LOUISE VON MOTESICZKY (1906-1996)Landscape, Sarkoil on canvas, framed71.5 x 91.8 cmPainted in 1962LITERATURE: I. Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p. 320 no. 182. This seascape was inspired by Motesiczky’s holiday in Guernsey in July 1961, from where she visited the neighbouring island of Sark. The work was painted back at home in London from a sketch she made on the spot. In this painting the sea takes up most of the space, with only a single sailing boat disturbing its calm surface. A diffuse light emanates from the grey sky. A large rock in the centre of the composition divides the blueish-grey mass of water. A single figure, possibly Motesiczky herself, sits amid the rocky outcrops and colourful vegetation in the foreground. The presence of the easel suggests she is an artist, probably depicting the spectacle in front of her. Yet, the almost transparent manner of the depiction makes the artist appear strangely out of place in this deserted landscape. Selected Works from the Marie-Louise von Motesiczky Charitable Trust Motesiczky’s expressive and very painterly style had been formed before the Second World War, in large part influenced and encouraged by Max Beckmann. On first being introduced to Beckmann in 1920 she recalled: ‘A winged creature from Mars could not have made a greater impact on me’. Once in Britain it was Oskar Kokoschka, a family friend from Vienna now similarly exiled, who helped champion her work. Thereafter, and very much on a personal level, it was the writer Elias Canetti (1905-1994) a fellow émigré who exercised a major influence over her artistic output. Marie-Louise von Motesiczky grew up with her parents and her brother Karl in central Vienna. Her mother Henriette came from an illustrious Viennese Jewish banking dynasty. Her maternal grandfather, Leopold von Lieben, was President of the Stock Exchange; her grandmother, Anna, one of Freud’s early patients. She counted the Todescos, and Ephrussis among her family circle, and she, her mother and her brother Karl spent their summers at Villa Todesco in Hinterbrühl, south west of the capital. But over time family tragedy, financial difficulties and the rise of Nazi Germany took their toll. Marie-Louise’s father died at the end of 1909 and after the First World War her mother’s considerable inheritance gradually diminished through high taxation, poor investments, and the financial crash of 1929. Then, with the rise of the Third Reich and the Anschluss in March 1938, when Austria was annexed by Germany, she and her mother fled Vienna for the Netherlands before emigrating to England in 1939. Further distress followed when her brother Karl, who had remained in Austria, was arrested and deported to Auschwitz, dying of typhus there on 25 June 1943. On Motesiczky’s arrival in London Kokoschka ensured her inclusion in a series of group exhibitions, and assisted her in the staging of a solo exhibition at the Czechoslovak Institute in the autumn of 1944. Further group shows followed, and in 1960 she had a second solo exhibition at the influential Beaux Arts Gallery off Bond Street. On the Continent she received acclaim for her work in exhibitions in Amsterdam and The Hague in 1952, one of her canvases being purchased by the Stedelijk Museum. The same decade she exhibited in Munich and Düsseldorf, and in the 1960s was the subject of shows in Germany and Austria, including a one-person exhibition at the Wiener Secession in 1966. In 1985, a full twenty-five years after her work had been shown at the Beaux Arts Gallery, she was the subject of another solo exhibition in London, at the Goethe-Institut, which was widely acclaimed in the press. In 1994 a major retrospective of her work was held in Vienna at the Österreichische Galerie, Oberes Belvedere and in Manchester at the City Art Gallery. In 2006-07 her work was celebrated in a centenary exhibition at Tate Liverpool, travelling to Frankfurt, Vienna, Passau and Southampton City Art Gallery. Also in 2007 Jill Lloyd’s biography of Marie-Louise appeared: The Undiscovered Expressionist. A Life of Marie-Louise von Motesiczky, followed in 2009 by the catalogue raisonné of her paintings by Ines Schlenker itemising over 350 works. Most recently in 2019-20, Tate Britain held an exhibition devoted to her to inaugurate the gallery named in perpetuity as the ‘Marie-Louise von Motesiczky Archive Gallery’ for all future displays of Tate’s archive holdings in general. The work of Marie-Louise von Motesiczky held in public collections Institutions in the UK holding works by the artist include: the Ben Uri Gallery and Museum, the British Museum, Burgh House, Hampstead, Freud Museum, Garden Museum, National Portrait Gallery and Tate in London (which also holds her archive); the Amersham Museum, Fitzwilliam Museum, Cambridge, New Walk Museum and Art Gallery, Leicester, Manchester Art Gallery, National Galleries of Scotland, Edinburgh and the Hunterian Art Gallery, Glasgow. Elsewhere her work is in the National Gallery of Ireland, Dublin; the Stedelijk, Amsterdam; the Boijmans van Beuningen Museum, Rotterdam; the Städel Museum, Frankfurt; the German Literary Archive in Marbach; the Albertina, Österreichische Galerie Belvedere, the Leopold Museum and the Museum Wien in Vienna; the Lentos Kunstmuseum, Linz and the Stanley Museum, University of Iowa, USA. Please find a link to the Catalogue Raisonné for Marie-Louise von Motesiczky: https://www.motesiczky.org/publications/ Marie-Louise von Motesiczky 1906-1996. A Catalogue Raisonné of the Paintings by Ines Schlenker, Hudson Hills Press, New York, 2009. The Marie-Louise von Motesiczky Charitable Trust The Marie-Louise von Motesiczky Charitable Trust, is a company limited by guarantee registered in England and Wales (no. 7572024) and a registered charity (no. 1140890): www.motesiczky.org. The copyright for Marie-Louise von Motesiczky’s paintings, drawings and correspondence or other written work originating from her, her mother Henriette and brother Karl, lies with the Marie-Louise von Motesiczky Charitable Trust.
Lot 32
Moorcroft small green ground globular orchid pattern vase, blue signature, impressed marks, a Royal Copenhagen blue and white baluster vase decorated with seagulls in seascape, printed green and blue marks, pattern no.1138/2289, a Gouda small spill vase, painted with stylised flowers, painted blue marks, a Wedgwood lustreware butterfly-pattern small faceted sugar bowl and a Quimper two handled bowl ( 5)
Lot 436
Harold Newton (American, 1934-1994). Oil on board seascape painting depicting waves crashing on the shore with a low sun. Incised signature "H, Newton" along the lower right corner. Newton was a founding member of the Florida Highwaymen, a group of fellow African American landscape artists. He was often inspired by the coastline of Florida and the present work is an excellent example of this.Sight; height: 23 1/2 in x width: 47 1/2 in. Framed; height: 26 in x width: 50 in.Condition: The colors are bold and bright. The surface is stable. No signs of restoration under UV light. There is light craquelure throughout. There are numerous accretions throughout including: a network of minute black spots along the center of the painting, a few yellow spots along the upper right, accretions visible under UV light along the lower edge. There are vertical streaks consistent with moisture exposure throughout the work. There are small holes/areas of loss along the extreme edges of the work, visible in the listing photos. There are light scratches to the paint layer throughout, some measuring approx.4 inches in length. Along the verso there is evidence of further moisture exposure including a tideline along the lower left (lower right of the recto) that is not readily apparent along the recto. There is a slight undulation to the board consistent with the area of water exposure. Numerous paint accretions along the verso, possibly original to the artistic production. The paper backing shows further evidence of water exposure in the form of vertical streaks. The paper backing of the frame has been cut along three edges to allow for inspection.
Lot 70
Willem van de Velde the Younger, Dutch 1633-1707- Two ships in a gale; black chalk, pen, and brown ink on paper, signed with initials 'W.V.V.f' (lower left), bears collector's stamp for Thomas Hudson [Lugt 2432] (lower right), 12.2 x 18.4 cm. Provenance: Thomas Hudson (1701-1779), London (Lugt 2432), his mount with inscription ‘Vandevelde’; Thomas Hudson's sale, Messrs. Langford, London, 17-18 March 1779, possibly part of lot 16, 46 or 51. Anon. sale; Christie’s South Kensington, 16 April 1997, lot 300. Anthony Powell (1935-2021), London; Thence by descent. Anon. sale, Christie's, London, 5 July 2022, lot 40. The estate of the late designer Anthony Powell (1935-2021), London. Note: Willem van de Velde was the leading Dutch marine painter of the 17th century. His later paintings shaped the development of seascape painting in England in the 18th century. The present work is full of movement and drama, with boats thrown about by the waves of the turbulent sea below.
Lot 1103
Donald Hamilton Fraser RA (1929-2009) Scottish “Seascape” (1982) Signed, oil on paper, 30.5cm by 20cm This is one of the preliminary studies for the issue of 4 postage stamps designed by the artist, produced by the Post Office to commemorate Commonwealth Day 14th March 1983. The other studies for these postage stamps are in the collection of the Public Records Office.Moderate time staining to mount which would logically follow to sheet although colour depth generally bright and fresh. Slight cockle. Cluster of tiny sized dark coloured marks possibly inherent to paint? Mostly above the central part of the purple coloured land. Not examined out of the frame.
Lot 74
Hannah Ludnow Seascape Series (1), 2023 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About The coastline of Cornwall is usually Hannah Ludnow's starting point, a place etched into the artist's memory having grown up near Falmouth Cornwall before moving to London to study art at University. Inspired by the amazing light, wide ever changing skies and beautiful dramatic coastlines, Hannah has always greatly admired the Cornish abstract expressionists Peter Lanyon, Patrick Heron and Ben Nicholson, whose work draws directly from experiences of nature's tempestuous or calm. Recently the artist has found herself looking at the work of Turner, influenced by his astute use of light. Hannah is inspired by the patterns nature creates: the force of the elements against the landscape, and the erosion against rock, sands, and man made objects as art form in itself. Hannah's work is very rarely an actual place, instead she starts with remembering a moment, and how that moment felt. Ludnow hopes to build an atmosphere in a painting, to draw you in, to imagine yourself there stood on a cliff, a beach or behind the dunes, exposed to the elements and the unpredictability of nature. the artist strives to capture a recollection of somewhere the viewer knows or remembers wherever in the world this may be. Her paintings are primarily about the light and the feelings a place can evoke in the viewer, the emotions that a memory of a place and time can stir within. A memory of thoughts and feelings within a landscape, often a special and private moment, where the vastness and beauty of the landscape around you brings a sense of perspective, clarity and calm . You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Lot 75
Hannah Ludnow Seascape Series (2), 2023 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About The coastline of Cornwall is usually Hannah Ludnow's starting point, a place etched into the artist's memory having grown up near Falmouth Cornwall before moving to London to study art at University. Inspired by the amazing light, wide ever changing skies and beautiful dramatic coastlines, Hannah has always greatly admired the Cornish abstract expressionists Peter Lanyon, Patrick Heron and Ben Nicholson, whose work draws directly from experiences of nature's tempestuous or calm. Recently the artist has found herself looking at the work of Turner, influenced by his astute use of light. Hannah is inspired by the patterns nature creates: the force of the elements against the landscape, and the erosion against rock, sands, and man made objects as art form in itself. Hannah's work is very rarely an actual place, instead she starts with remembering a moment, and how that moment felt. Ludnow hopes to build an atmosphere in a painting, to draw you in, to imagine yourself there stood on a cliff, a beach or behind the dunes, exposed to the elements and the unpredictability of nature. the artist strives to capture a recollection of somewhere the viewer knows or remembers wherever in the world this may be. Her paintings are primarily about the light and the feelings a place can evoke in the viewer, the emotions that a memory of a place and time can stir within. A memory of thoughts and feelings within a landscape, often a special and private moment, where the vastness and beauty of the landscape around you brings a sense of perspective, clarity and calm . You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Lot 120
* BILL WRIGHT RSW RGI DA (SCOTTISH 1931 - 2016), SCUDDING WAVE mixed media on paper, signed, titled label versomounted, framed and under glassimage size 50cm x 62cm, overall size 71cm x 82cm Label verso: The Glasgow Art ClubNote: Bill Wright's talent first became evident when he was a boy, drawing endlessly for amusement while bedbound with illness. He went on to study painting at Glasgow School of Art and became an award-winning watercolourist, constantly inspired by was seascape and ever-changing sky on the Kintyre peninsula where he had a second home. Glasgow-born Wright, the son of a shipyard plater, was brought up in Partick and started his schooling at the city’s Dowanhill Primary before being evacuated to Dunoon during the Second World War. After returning home he attended Hyndland Senior Secondary and despite being discouraged by his parents, who would have preferred him to have a “proper job”, in 1949 he began his studies at Glasgow School of Art. They were interrupted by national service – a duty he felt hindered the progression of his art career. He served at Catterick army garrison but was a pacifist who abhorred war and dismissed the opportunity to be promoted to Sergeant as an army career held no interest. His first teaching post was at East Park School in Glasgow’s Maryhill. He then moved in 1965 to St Patrick’s High School in Dumbarton where he spent two years before becoming art adviser for the area at the age of 36. Over the next two decades he fostered the idea of instilling a cultural interest in art among pupils. He formed working groups to reform teaching of first and second-year students, encouraged forward-looking principal teachers and recruited many young teachers. His ethos was that teachers were not just there to create artists but to give all children a good art experience. He also established a residential art course for school children, at the Pirniehall residential educational facility at Croftamie in Dunbartonshire, where youngsters from different backgrounds could investigate the idea of furthering an art career through experiencing a range of different mediums in an art camp environment. And he is said to have been instrumental in encouraging the implementation of Scotland’s Standard Grade art and design qualification. However, he suffered from the chronic arthritic condition ankylosing spondylitis which, by the age of 55, forced him to take early retirement from his post in the education department of Strathclyde Regional Council. Meanwhile, as he had strived to enthuse youngsters with his own passion for art, he had been elected, in 1977, to the Royal Scottish Society of Painters in Watercolour. A member of the Glasgow Arts Club for many years, he was also an elected member of the Glasgow Institute of Fine Arts and Paisley Art Institute, served as president of the Scottish Artists’ Benevolent Association for 14 years and was a Scottish Arts Council lecturer, touring the country discussing art. But perhaps his own greatest inspiration was the view from a cottage he stumbled upon half a century ago, seven miles from Campbeltown on the Mull of Kintyre. He rented the property at Bellochantuy and set up a studio there where he drew on the vistas stretching 180 degrees, encompassing sea, beach, rocks and sky. He was utterly smitten by the area and was ultimately bequeathed the cottage by the owner who had become a close family friend. Over the years he came to know the area intimately and was fascinated by the constantly changing moods of the sea and light of the sky which formed the majority of his output. One large body of work, "Towards Islay", focused on the view from the back of the cottage. He captured the patterns and waves of the sea, sometimes adding a bird, limpit, mermaid’s purse, rock lines or some seaweed. But at times his works were very abstract and symbolic, concentrating on themes of nature and transience. He was hung in all the major shows in Scotland and in galleries across the country from Aberdeenshire to Edinburgh, Glasgow and south of the border. His work also features in public collections of Stirling and Strathclyde Universities, HRH The Duke of Edinburgh and the Educational Institute of Scotland. And he was recognised with The Laing Prize for Landscape and Seascape and the RSW’s Sir William Gillies Award.
Lot 5
* PAM CARTER DA PAI (SCOTTISH 1952 - 2022), HAMLET, BALEPHUIL oil on canvas, signed, titled label verso framed and under glassimage size 46cm x 102cm, overall size 62cm x 118cmLabel verso: Walker Galleries Contemporary Art, Harrogate.Note 1: It was with great sadness that we learnt of the passing of Pam Carter in May last year after an illness which she wrote about to her database of buyers on 24th June 2021: "I feel at last I am retiring somewhat due to ill health. I am not painting very much these days as I am struggling with the daily regime of chemo tablets; it’s hard getting the balance of effective medication and quality of life".Note 2: Pam Carter was born in Tanganyika, East Africa to an Austrian mother and Scottish father. At the age of thirteen, she came to Scotland where she schooled at Bearsden Academy. She graduated from Glasgow School of Art in the seventies. "My main inspiration as an artist is in the Scottish landscape and seascape. I enjoy using colour to define contours, structure and changing light sequences. I search out specific viewpoints. I am equally inspired by the rugged isolation of the Western Isles and the dramatic viewpoints of the Eastern coastline. I work predominantly in oil". Pam Carter was unquestionably one of Scotland's most popular and successful contemporary artists. She won numerous awards and prizes, always received significant media attention, has been the subject of many magazine features and had several tv appearances. Her work was widely exhibited but rarely appears at auction. Comment: Pam was a special artist and one who enjoyed wide popularity and substantial commercial success. In all our dealings with Pam over the years, she was always generous with her time and quick to provide the background to paintings we had received from private consignors and filling in gaps about locations, dates etc. Pam's work is instantly recognisable and she had that rare gift, even among the best artists, of being able to use the minimum of brushwork to create the maximum visual effect. Her "lines" were those of the natural environment but she knew exactly how to "see" them and portray them on canvas. Despite her commercial success, or perhaps even because of it, Pam's work probably hasn't yet reached the full audience that it so richly deserves. She exhibited frequently at numerous galleries in Scotland and gallery owners were inevitably in a queue to secure her work. Typically, Pam showed loyalty to those who were the first to support her when she was a relative unknown. Talented artists always wish to be remembered by their work and Pam Carter can be certain of that, but she'll also be remembered with great affection by all those who had the good fortune to meet her or know her.
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