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MARY BROWN,MODERN STILL LIFE,oil, signed,39cm x 29cm,framed

CONTEMPORARY SCHOOL,STILL LIFE WITH FLOWERSoil on canvas, signed indistinctlyimage size 51cm x 61cm, overall size 60cm x 70cm Framed.

Sebastian Stosskopf (1597-1657)-manner, Memento Mori still life with insects, snail, coins and a tulip in vase , oil on wooden panel, framed. 27X34 cm

Czech Cubist mid 20th Century, Still life , oil on board, monogrammed bottom right, framed. 60X50 cm

Willem Claeszoon Heda (1594-1680) – follower , still life with glass fruits and plate on a stone plinth, oil and oak panel, 30 x 23 cm

Ambrosius Boschaert (1573-1621)-follower, Pair of still life paintings with flowers in glass vases in window with landscape views , surrounded by insects an snails , oil on canvas, framed , a pair . 55X38 cm

FRANK AUERBACH (B. 1931)Head of Catherine Lampert 1983-84 oil on canvas51.5 by 61.9 cm. 20 1/4 by 24 3/8 in.This work was executed in 1983-84.Footnotes:ProvenanceMarlborough Fine Art Ltd., London (no. 35121.6)Acquired directly from the above by the present owner in 1984LiteratureWilliam Feaver, Frank Auerbach, New York 2009, no. 510, p. 123, illustrated in colourFrank Auerbach is one of Britain's most distinctive and celebrated painters: an artist for whom the creation of a raw, living image made in response to the presence of a seated model has for over fifty years been a fundamental, ongoing preoccupation throughout his remarkable and lengthy oeuvre. Renowned especially for his heavy application of paint that masterfully fills his compositions, Auerbach is credited with making some of the most impressive, vibrant, and intuitive portraits of the post-war years. His first exhibition was held at London's Beaux Arts Gallery in 1956 and since then his paintings have become some of the most internationally collected of living artists. Born in Berlin in 1931, Auerbach came to England in 1939, a refugee from Nazi oppression which claimed both his parents. While still a student at St Martin's School of Art in the early 1950s, Auerbach attended night classes given by David Bomberg at Borough Polytechnic. This schooling would significantly shape the young artist's development. Bomberg emphasised the need to evoke the sensed experience of another human being – their weight, mass, position, and presence; above and beyond the necessity to describe a subject's literal appearance. Auerbach later went on to study at the Royal College of Art, ultimately developing his signature palette of bold colours and distinctive, thickly applied painting style. Throughout his career, Auerbach has focused on a small number of subjects, choosing to depict a select group of close friends and family members. He would paint the same model at regular intervals over long periods of time, thereby achieving an intimate knowledge of his sitters, and his depictions are not necessarily a recognisable likeness, but vital physical presences with their own sense of life. Conducted over many sittings, Auerbach continually works and reworks his canvases, resulting in his established technique of a dense accrual of brushstrokes interwoven with layers of rich and vibrant colour that bounce off his canvases. Painted in 1983-84 and stemming from a triumphant period in Auerbach's career, Head of Catherine Lampert is a vigorous, rich, and painterly portrait of one of the artist's most frequent and celebrated sitters. Lampert has consistently sat for Auerbach since 1978 when she worked on his Hayward Gallery retrospective. She habitually joined the artist in his studio on successive Monday evenings, then by appointment for a number of years, before settling on Friday evenings. Lampert worked at the Hayward Gallery before becoming Director of the Whitechapel Gallery in 1988 and would later go on to curate the artist's major retrospective exhibition at the Royal Academy in 2001. In this present work, Auerbach renders Catherine's head in a swirling sweep of brushstrokes and impastoed accumulation of pigment, projecting dynamically from the thinner areas of paint that articulate the background. He creates an almost sculptural construction of Lampert's head that reveals in its expressive rawness the tangible familiarity between artist and sitter, the boldly articulated brushstrokes enlivened by a sincere sense of emotional communion between the two. The numerous appointments acted as a chronicle to the events of their lives, passage of time and friendship they ultimately shared. As Lampert herself has explained, the moments spent with Auerbach felt as though time was suspended, 'that odd limbo, not an unpleasant state, of drifting from practical self-reminders into daydreams and unquantifiable desires'. (Catherine Lampert quoted in William Feaver, Frank Auerbach, New York 2009, p. 21).The intensity of Auerbach's response to his sitter and subject is magnificently brought to life through his dazzling handling of oil and his masterful treatment of paint application and structural composition. In the present work, the paint has been meticulously layered to create a textured landscape of pigment especially evident in the vibrant red impasto at the centre of his portrait that seemingly drips from the surface, enlivening the bold silhouette that emerges from the composition. Amid swathes of dramatic brushwork that layer and contribute to the sculptural surface, the teasingly tangible intensity of Auerbach's subject materialises. The familiarity and intimacy of their close friendship is evident in the thick layering of paint, and despite the artist's tendency towards abstraction, the head of Catherine Lampert is nonetheless made apparent through heavy brushstrokes amidst a plane of green, yellow, earthy, and grey tones. Through this obvious suggestion of the artist's hand, the present composition offers a vigorous sense of velocity and motion, and while Auerbach confidently conveys an accurate image of his sitter's psyche, the result is that his portraits are overwhelmingly physical whilst still exuding light and the warmth of Catherine's character. Their evident friendship radiates from the composition. As William Feaver once stated, 'Auerbach's heads are conceived not as busts or cameos but as presences' (William Feaver, Frank Auerbach, New York 2009, p. 20).Frank Auerbach is widely recognised as one of the most inventive, recognisable, and influential painters of the post-War period. In 1978, the artist was honoured with a retrospective at London's Hayward Gallery and in 2015, London's Tate Britain, in partnership with Kunstmuseum Bonn, mounted another major retrospective of his work. Today, his paintings reside in the prestigious permanent collections of the Tate Gallery and National Portrait Gallery in London; Museum of Modern Art and The Metropolitan Museum of Art, in New York; and the Museo Nacional Thyssen-Bornemisza in Madrid, among many others. Head of Catherine Lampert is a stunning and seminal example of Auerbach's thoroughly inimitable, intimate, and psychologically compelling portraiture of one of his most important and celebrated sitters.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

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

Property from the Marie-Louise von Motesiczky Charitable Trust, LondonMARIE-LOUISE VON MOTESICZKY (1906-1996)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)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.

Tadeusz Was (Polish 1912-2005) Still life, signed in pencil in the margin, soot cut.23.5cm x 18.5cm (9.25in x 7.25in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The print is in good, original condition. There is some scuffing to the lower edge of the sheet. The print is framed and glazed.

Malcolm Croft (British 1964-) "Still Life with Cheese Grater" Signed, titled on verso, oil on canvas.68.5cm x 48.5cm (27in x 19.25in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with no obvious faults to report. The painting is ornately framed but not glazed.

Barbara Holder - Five watercolours - Still life studies of flowers, and two Glenys Rye watercolours, 56cm x 66cm and smaller, (7)

Early 20th Century oil on canvas - Still life with plate of oranges, vase, bottle, jug, etc, 49cm x 59cm, in gilt frame

George J.D. Bruce (b.1930) - Oil on canvas - 'Still-life with bread and lemon', signed lower left, 29.5cm x 39.5cm (framed)

MANNER OF OLIVER CLARE (1853-1927) A pair of still life studies of fruit in naturalistic woodland settings watercolours, each 22cm x 16cm

SHIRLEY HOWELLS (B. 1934) A pair of still life studies of fruit both signed, oils, each 20cm x 25cm Shirley Howells is a South African artist whose work features in private collections across the globe.

CHRISTOPHER RIISAGER (B. 1961) Still life study of mackerel and a jug signed lower right, further signed and dated 1998 verso, oil on panel, 35cm x 38cm

A STILL LIFE STUDY OF FLOWERS PAINTED ON FABRIC 44cm x 41cm Provenance: Part of the residual contents of Newton Surmaville

THOMAS COLLINS (Late 19th Century) British. Still life of flowers on a mossy bank, a pair of oil on canvas paintings. Each signed and dated 1893, each 7" x 9", (2).

M. MILLER. (20th Century) A still life of mixed flowers in a vase on a marble ledge, oil on panel, Signed, 10" x 8".

J. HOWARD. (20/21st Century) A pair of still life of fruit, including grapes, apples and pears, oils on board. Both signed and 8" x 10", (2).

TWO VINTAGE COLOUR PRINTS A FLORAL STILL LIFE AND CHILDREN AT THE BEACH

A 20th C. STILL LIFE OF LILIES, PASTEL. TOGETHER WITH A ETHNOGRAPHIC PICTURE (2)

NINE 20th C. STILL LIFE WATERCOLOURS AND OIL PAINTINGS BY DIFFERENT HANDS. SIZES VARY (9)

A GROUP OF 19th CENTURY AND LATER OIL PAINTINGS, TO INCLUDE LANDSCAPES, STILL LIFE ETC. SIZES VARY

George Clare (1830-1900) - still life of flowers in a basket consisting of primroses, blossom and other blooms with fruit in the foreground, also a companion a still life of grapes in a basket with plums, apples and raspberries in the foreground, both signed, oil on canvas each 24" x 20" (a pair) 

C. WILLIS (XIX). Still life study of apples and daffodils, signed lower left but indistinct, gilt framed, 30 x 40 cm

CAMILLE MATISSE (XIX-XX). A still life study of flowers in a vase, oil on canvas, gilt framed, 49 x 39 cm

(XX). British school, still life study of various items on a table with reflection in a mirror of a lady playing a piano, indistinctly signed and dated upper left, oil on canvas, framed, 50 x 60 cm

J. FRIEDLINGER (XX). Continental school, still life study of numerous items on a table, signed lower right, oil on canvas, framed, 57 x 88 cm

CONTINENTAL SCHOOL (XIX). Floral still life study, signed lower right but indistinct, oil on canvas, framed, 27.5 x 35 cm, together with a smaller floral sill life by E. WIGLEY (2)

R H Austin Still life with vase of flowers and fruit to the foregroundwatercolour, 27.5 x 20cm signed lower right 

John Porter Wale (1860-1920)Still life vase of Anemoneswatercolour, 26 x 18.5cm signed lower right 

John Porter Wale (1860-1920)Still life vase of Wallflowerswatercolour, 25 x 16cm signed lower right 

John Porter Wale (1860-1920)Still life of Chrysanthemums in a glass jarwatercolour, 38 x 28cm signed lower right 

20th century Middle Eastern school, still life study, oil on canvas, monogram to lower edge, 123 cm x 112 cm in a gilt frame.

Proferio Grossi (1923-2000) Italian, a still life study of vases and a cow skull, oil on board, signed and dated 1960, 56 cm x 96 cm framed and glazed.

20th century British school, abstract still life study of items on a table, oil on canvas, indistinctly signed, 45 cm x 60 cm in a contemporaneous frame.

John Hutton (1906-1978) New Zealand, a group of four assorted works, to include an abstract military trench landscape, watercolour, 29.5 cm x 37.5 cm, a river landscape, watercolour (dated 1952), a pencil portrait of a woman, 36.5 cm x 26 cm and a small pen and ink still life of flowers, 1968, written 'For Eric, 10/68', all reanded and glazed.Qty: 4Private collection, deceased estate. The still life was a gift from the artist to Sir Eric Walter White (former Director of the Arts Council). Retained in the family by descent.

Gladys Maccabe MBE ROI (1918-2018) Northern Irish, a still life study of flowers in a vase, oil on board, signed to lower left corner, 49 cm x 36 cm in a wooden frame.Private collection

Gerald Norden (1912-2000), 'Grapes and Plums', still life oil on board, signed and dated 1983, 22.5 cm x 29.5 cm in a walnut frame.

Israel Zohar (b.1945) Israeli / Russian, a still life study of artist's equipment, oil on panel, signed and dated 2009, 28 cm x 29.5 cm in a gilt frame.Private collection, deceased estate

Israel Zohar (b.1945) Israeli / Russian, two pairs of still life fruit studies, unframed oils on board, each signed, the largest 28 cm x 22.5 cm.Qty: 4

Gerald Norden (1912-2000), 'Cherries in a Worcester Bowl', still life oil on board, signed and dated '86, 14.5 cm x 17 cm in a walnut frame.Newburgh Street Gallery label versoGood, clean condition with no damage or repair

Israel Zohar (b.1945) Israeli / Russian, 'Eight Roses', still life, oil on canvas, signed to top right corner, 45 cm x 37 cm in a gilt frame.Private collection, deceased estate

S.J. Kiff (20th century), a still life study, oil on canvas (laid on board), signed and dated '51, 28 cm x 21.5 cm.

Luis Meléndez, 1716 Neapel – 1780 MadridSTILLLEBEN MIT KIRSCHEN, APRIKOSEN UND EINEM HONIGTOPF Öl auf Leinwand. Doubliert. 34 x 47,5 cm.Dem Gemälde ist ein ausführliches Gutachten der Prado-Expertin Carmen Garrido, o.J. beigegeben, mit der schlussfolgernden Datierung des Bildes in das Jahr 1771. Des Weiteren ein technischer Untersuchungsbericht mit Radiographie etc. „I & R“, Rafael Romero Asenjo und Adelina Illán Gutiérrez, Madrid, August 2018. In betontem Breitformat hat der Maler die Früchte dargestellt – auf einer hölzernen Tischplatte nebeneinander ausgebreitet. Lichteinfall von links. Die Komposition zeigt überlegte Positionierung, indem die goldleuchtenden Aprikosen das Bildzentrum zwischen den beiderseits dichtliegenden Kirschen beherrschen. Der intensiven Rotfarbe wirkt das Grün der Blätter eines Fruchtzweiges farbkomplementär gegenüber. Nur leicht aus der Mitte nach rechts verschoben, hebt sich der Melero, ein durch Tuch und Schnur verschlossener, glasierter schlanker Honigtopf in Talavera-Keramik, vor dem dunklen Hintergrund ab. Denselben Topf hat Meléndez auch ins Zentrum seines Stilllebens mit „Orangen, Konfektschachteln und Wassermelonen“ gesetzt (Prado Madrid, Garido und Cherry, 2004, Nr. 4, S. 117). Wie viele weitere Künstler spanischer Herkunft begab auch Meléndez sich zum Studium und Wirken nach Italien. Als Schüler des hervorragenden französischen Portraitisten und Hofmalers Louis-Michel van Loo (1707-1771) gelangte er bald zu hohem Ansehen und erhielt auch Aufträge vom Hof. So portraitierte er u.a. etwa Ferdinand VI von Spanien und Philipp V (1683-1743). Rest. A.R.Provenienz: Privatbesitz. Anmerkung: Schon vor Bemalung durch Nahtverbindung oben angesetzt, wie dies auch bei anderen Bildern seiner Hand zu beobachten ist (siehe Garrido & Cherry, 2004, Nr. 24, S. 117 und 246). Literatur: Carmen Garrido, Peter Cherry: Luis Meléndez. La serie de bodegas para el Principe de Asturias, 2004. (1321681) (10)Luis Meléndez,1716 Naples – 1780 MadridSTILL LIFE WITH CHERRIES, APRICOTS AND HONEY POT Oil on canvas. Relined.34 x 47.5 cm.Accompanied by a detailed expert’s report by the Prado expert Carmen Garrido, n.d., with conclusive dating of the painting to 1771. Furthermore, a technical report with radiography etc. by “I & R”, Rafael Romero Asenjo and Adelina Illàn Gutièrrez, Madrid, August 2018.Provenance: Private property.Literature: Carmen Garrido, Peter Cherry: Luis Meléndez. La serie de bodegas para el Principe de Asturias, 2004.

Jacob Rotius, 1644 Hoorn – 1681/82 ebendaFRÜCHTESTILLLEBEN MIT VOGEL UND SCHMETTERLINGEN Öl auf Leinwand. Doubliert. 61 x 50 cm. Rechts auf Säulensockel signiert und datiert „JRotius f. 1681“, verso Etikett mit Inventarnummer „537“. In dekorativem Rahmen.Beigeben eine Korrespondenz mit Fred Meijer vom RKD, Den Haag, vom 03. Juli 2014, der darin berichtet, dass ihnen das vorliegende Gemälde bereits bekannt ist durch eine Ausstellung im Palais des Beaux-Arts, Brüssel vom 25. Februar 1969. Er verweist auf Gemälde des Künstlers im RKD. Auf den rot bezogenen Stufen vor einer Säule und Ruinen im linken Hintergrund mit Blick auf den grau-blauen Himmel hat der Künstler, der laut Houbraken ein Schüler von Jan Davidsz de Heems (1606-1683) war, ein Früchtestillleben mit dreierlei Weintrauben, zwei samtigen Pfirsichen, Aprikosen, Mispeln, Granatapfel und Himbeeren drapiert. Zwischen diesem sommerlichen und saftig-frischen Obst tummeln sich vier Schmetterlinge, ein Vogel, wohl ein Gimpel, und eine kleine Schnecke. Qualitätvolle Malerei bei der durch die Farbgebung die Früchte besonders hervorgehoben werden. Das Gemälde entstand im letzten Lebensjahr des jung verstorbenen Künstlers, was durch die Datierung am rechten Bildrand bestätigt wird. Die Kombination aus Früchten und Architektur findet sich auch in einem anderen, dem Künstler zugeschriebenen Gemälde (RKD Image Archiv Nr. 0000048445). Teils Retuschen. Provenienz: Van Herck, Antwerpen, 14. und 15. Mai 1934 (Hofstede de Groot fiche Nr. 1444343). Versteigerung Christie´s, London, 19. März 1954, Nr. 37 (irrtümlich als Jan Albertsz. Rotius) Versteigerung Palais des Beaux-Arts, Brüssel, 25.-27. Januar 1969, Nr. 20 mit Abb. (in Kopie vorliegend). Privatsammlung, Europa. Versteigerung Christie´s, London, 19. März 1954, Nr. 37. Anmerkung: Laut Fred Meijer war Rotius‘ Themenwahl vielfältig, und es sind nur wenige Stillleben mit einer solchen Komposition von ihm bekannt. Ein ähnliches, aber größeres Gemälde, signiert und datiert „1674“, wurde am 26.9.1980 in München (Weinmüller) versteigert, Kat.Nr. 261. Ähnliche Motive finden sich auch in anderen Stillleben von seiner Hand. Literatur: Vgl. Hendrik Fredrik Wynman, De stillevenschilder Jacob Rotius, in: Oud Holland, Nr. 47, 1930, S. 60-67 (in Kopie vorliegend). Vgl. Invar Bergström, Dutch Still-Life Painting in the Seventeenth Century, London 1956, S. 220. Vgl. Laurens J. Bol, Holländische Maler des 17. Jahrhunderts nahe den großen Meistern. Landschaften und Stilleben, München 1982, S. 301. Vgl. Peter Mitchell, European Flower Painters, London 1973, S. 2, 18, 19. Vgl. Walther Bernd, Die Niederländischen Maler des 17. Jahrhunderts, München 1969-1970. Vgl. Erika Gemar-Koeltzsch, Holländische Stillebenmaler im 17. Jahrhundert, Lingen 1995, Bd. III, S. 831f. Vgl. Adriaan van der Willigen, Fred G. Meijer, A Dictionary of Dutsch and Flemish Still-Life Painters Working in Oils. 1525-1725, Leiden 2003, S. 171. (1320571) (1) (18)Jacob Rotius,1644 Hoorn – 1681/82 ibid.FRUIT STILL LIFE WITH BIRD AND BUTTERFLIES Oil on canvas. Relined.61 x 50 cm.Signed and dated „JRotius f. 1681“ on column base on the right, verso label with inventory no. “537”.Accompanied by correspondence by Fred Meijer from the RKD, The Hague, dated 3 July 2014, who reports that he is already familiar with the present painting from an exhibition at the Palais des Beaux-Arts, Brussels from 25 February 1969. He references paintings by the artist at the RKD. The painting was created in the last year of the artist‘s life, which is confirmed by the date on the right edge of painting. The combination of fruit and architecture can also be found in another painting attributed to the artist (RKD Image Archive no. 0000048445).Provenance:Van Herck, Antwerp, 14 and 15 May 1934 (Hofstede de Groot fiche no. 1444343).Auction Christie‘s London, 19 March 1954, no. 37 (erroneously described as Jan Albertsz. Rotius)Auction Palais des Beaux-Arts, Brussels, 25 - 27 January 1969, no. 20 with ill. (copy enclosed).Private collection, Europe.Auction Christie‘s London, 19 March 1954, no. 37.Literature:cf. Hendrik Fredrik Wynman, De stillevenschilder Jacob Rotius, in: Oud Holland, no. 47, 1930, p. 60-67 (copy available).cf. Invar Bergström, Dutch Still-Life Painting in the Seventeenth Century, London 1956, p. 220.cf. Laurens J. Bol, Holländische Maler des 17. Jahrhunderts nahe den großen Meistern. Landschaften und Stilleben, Munich 1982, p. 301.cf. Peter Mitchell, European Flower Painters, London 1973, p. 2, 18, 19.cf. Walther Bernd, Die Niederländischen Maler des 17. Jahrhunderts, Munich 1969-1970.cf. Erika Gemar-Koeltzsch, Holländische Stillebenmaler im 17. Jahrhundert, Lingen 1995, vol. III, p. 831f.cf. Adriaan van der Willigen, Fred G. Meijer, A Dictionary of Dutsch and Flemish Still-Life Painters Working in Oils. 1525-1725, Leiden 2003, p. 171.

Italienischer Maler des 18./ 19. JahrhundertsPRUNKSTILLLEBEN MIT GRANATÄPFELN UND KRUSTENTIEREN Öl auf Leinwand. Doubliert. 110 x 135 cm. In breitem vergoldetem Rahmen.In einem Innenraum vor fast schwarzem Hintergrund mit zur rechten Seite gerafft hängenden rotem Vorhang das üppige Prunkstillleben auf einer Platte. Im Zentrum eine Schale gefüllt mit saftig orange-rot leuchtenden Pfirsichen, Äpfeln und mehreren Traubenrispen, rechts daneben eine silberne, glänzende Tazza mit roten Trauben und Zitronen, linksseitig ein mit Randnieten verzierter dunkler Kasten, auf dem ein großer Weinrebenzweig mit Blättern liegt, ein gefülltes Weinglas mit Noppen mit Spiegelungen eines Fensters, und davor stehend eine silberne Platte mit einem leuchtend rotem Hummer. Weitere Früchte wie Birne und Granatäpfel sind am vorderen Rand auf der Tischplatte erkennbar, die auch Spiegelungen aufweist. Malerei mit reicher Wiedergabe der Früchte bei starker Hell-Dunkel-Differenzierung. (1321321) (3) (13)Italian School, 18th/ 19th centuryMAGNIFICENT STILL LIFE WITH POMEGRANATE AND CRUSTACEANS Oil on canvas. Relined.110 x 135 cm.

Flämischer Maler, Anfang des 17. JahrhundertsBLUMENSTILLLEBEN MIT SCHMETTERLINGÖl auf Holz. 55,5 x 43 cm.Vor beige-braunem Hintergrund eine beige bauchige Vase mit Relief auf einer Platte stehend, darin sorgsam gestaltet das prachtvolle farbenfrohe Blumenarrangement. Dieses besteht aus: roten Rosen, Tulpen, weißen und gelben Narzissen, Anemonen, Kornblumen, einer Iris und diversen Kleinblütlern zwischen grünen Blattzweigen. Auf der Platte selbst weitere Blüten und Blütenblätter sowie eine weiße Rose, auf deren Zweig ein Pfauenauge sitzt. Malerei in der typischen Manier der bekannten Malerin mit kräftigen leuchtenden Blüten, die sich besonders gegenüber dem grünen und braunen Hintergrund abheben. Rest.Provenienz: Privatsammlung Gent. (1321601) (18)Flemish School,beginning of the 17th centuryFLOWER STILL LIFE WITH BUTTERFLYOil on panel.55.5 x 43 cm.Provenance:Private collection, Ghent.

Guilliam Gabron, 1619 Antwerpen – 1678 ebendaSTILLLEBEN MIT FRUCHTGIRLANDE Öl auf Holz. Parkettiert. 48 x 64 cm. Links unten signiert. In ebonisiertem, durch Goldleiste akzentuiertem Rahmen.Beigegeben eine schriftliche Stellungnahme von Dr. Fred Meijer, in Kopie, der die Autorschaft des vorliegenden Gemäldes bestätigt. Vor unbestimmtem Grund eine zu den Seiten nach oben gebundene Fruchtgirlande, innerhalb welcher Äpfel, Trauben, Pflaumen, Kirschen und Beeren prangen, die durch fein aufgefasstes Weinlaub begleitet werden. Vergleichbare Gemälde werden beim RKD in Den Haag dokumentiert unter der Inv.Nr. 16391 und 20805.Provenienz: Auktion, Kettner, Berlin, 12. September 1962, Lot 473. Auktion, Leo Spik, Berlin, 27./ 29. Juni 2002, Lot 324. (1290278) (13)Guilliam Gabron,1619 Antwerp – 1678 ibid.STILL LIFE WITH FRUIT GARLANDOil on panel. Parquetted.48 x 64 cm.Signed lower left.Accompanied by a statement in writing by Dr Fred Meijer, who confirms Gabron as the creator of the present painting.Comparable paintings are listed at the RKD in The Hague with numbers 16391 and 20805.Provenance:Auction, Kettner, Berlin, 12 September 1962, lot 473.Auction, Leo Spik, Berlin, 27/ 29 June 2002, lot 324.

Andrea Scacciati,1642 Florenz – 1710 ebendaSTILLLEBEN: BLUMENBOUQUET IN EINER KRATERVASE Öl auf Leinwand. 57 x 39,5 cm.Beigegeben eine Expertise von Prof. Giancarlo Sestieri, Rom, Oktober 2012. Das Blumenarrangement mit Rosen, Iris, Rittersporn und weißen Strauchblüten hoch drapiert, in einer hellen Vase mit Rundfuß, Akanthusblattdekor und antikisierendem Relief, das einen Putto zeigt, von einem Satyr verfolgt. Die Blüten delikat und locker angeordnet, heben sich vom dunkelbraunen Hintergrund wirkungsvoll ab. Scacciati war Schüler des Mario Balassi (1604-1667) und Lorenzo Lippi (1606-1665), von denen er allerdings wenig in seine Gemäldesujets übernahm. Dagegen dürfte die Zusammenarbeit mit Bartolomeo Bimbi (1648-1729) wesentlich mehr Einfluss gehabt haben, da beide für die Großherzogin der Toskana, Vittoria della Rovere gemeinsam Aufträge unter den Medicis übernommen haben. So gelangten mehrere seiner Werke in den Besitz von Cosimo III de Medici, für denauch Scacciati in dessen Villa wirkte. Letztlich entwickelte sich Scacciati zum Spezialisten für Blumenstillleben. 1988/89 präsentierte die Ausstellung „Floralia“ im Palazzo Pitti seine Werke, mit gleichzeitig erschienenem Katalog. Kurz danach wurde eine Auswahl seiner Werke in einer wichtigen Publikation (siehe Literatur) besprochen und mit Abbildungen veröffentlicht. Darauf folgten weitere Publikationen. A.R.Literatur: Kat. Palazzo Pitti, „Floralia“1988-89, Hrsg. M. Mosco und M. Rizzotto. S. 84-890. F. Zeri, La natura morta in Italia, Mailand 1989, II. S. 588ff. G. und U. Bocchi, Nuovi contributi alla natura morta in Italia settentrionale e Toscana tra XVII e XVIII secolo. Galleria d´Orlane Ed., Casalmaggiore 1998, S. 498ff. Nrn. 626-635. (13207824) (2) (11)Andrea Scacciati,1642 Florence – 1740 ibid.STILL LIFE: FLOWER BOUQUET IN A CRATER VASEOil on canvas.57 x 39.5 cm.Accompanied by an expert’s report by Prof Giancarlo Sestieri, Rome, October 2012.

Giorgio de Chirico, 1888 Volos – 1978 RomFRÜCHTESTILLLEBEN „FRUTTA“Öl auf Leinwand. 40 x 50 cm. Links unten signiert. Verso auf der Leinwand weitere Signatur von der Hand des Künstlers mit Titelbezeichnung „Frutta“ „Giorgio de Chirico“.Ferner: 9-zeilige handschriftliche Echtheitsbestätigung mit Rundstempel und Datierung Rom, 24. Juli 1962. Ferner Klebeetikett „S:P:Q:R: IV Rassegna di Arti Figurative di Roma e del Lazio“. Mit handschriftlichen Künstler- und Titelbezeichnungen „Vita silente di frutta“ – sowie „Piazza Spagna 31“ (ehem. Wohnhaus, dann Museum De Chirico). Auf einer Tischplatte artifizielle aufgetürmte grüne, rote und gesprenkelte Äpfel, dazwischen eingefügt blaue und grüne Trauben. Der Aufbau des Stilllebens übernimmt nur scheinbar die alte Bildtradition. Tatsächlich ist hier das Zufällige weitgehend vermieden, denn wie ein festes Gefüge zeigt sich der Aufbau der Früchte. Der Stil, dem der Maler sich zuwandte, zeigt eine Abkehr von seiner einstigen „pittura metafisica“, hatte er sich doch nun wieder einem betont barocken und pathetischen Malstil verschrieben. Tatsächlich hatte ihm dies eine breitere Themenwahl geboten als die surrealistischen Stadtlandschaften. Dennoch herrscht auch hier ein nahezu architektonischer Bildaufbau vor. In diesen Jahren entstanden neben Stillleben auch Pferdebilder, meist in Auffassung von Bühnenszenen. A.R. (†) (13013112) (11)Giorgio de Chirico,1888 Volos – 1978 RomeFRUIT STILL LIFE “FRUTTA”Oil on canvas.40 x 50 cm.Signed lower left. Another signature by the hand of the artist and title on the reverse “Frutta” “Giorgio de Chirico”.Furthermore, 9-line handwritten certificate of authenticity with round stamp and dated Rome, 24 July 1962 as well as an adhesive label “S:P:Q:R: IV Rassegna di Arti Figurative di Roma e del Lazio”. With hand-written artist name and title “Vita silente di frutta” and “Piazza Spagna 31” (formerly residential property, then Museum De Chirico). (†)

Jan van Os, 1744 Middelharnis – 1808 Den HaagGROßES STILLLEBEN MIT BLUMEN, FRÜCHTEN UND EINEM VOGELNEST Öl auf Leinwand. Doubliert.84,1 x 65,3 cm. Links unten signiert „J. van. Os. fecit“. In dekorativem Rahmen.Vor landschaftlichem grünem Hintergrund, der rechtsseitig den Blick auf den hohen Himmel frei gibt, eine beige Vase mit ovalem Medaillon, auf einer Platte aus Marmor stehend. Darin ein prachtvolles Gebinde aus Blumen und Obst, dazu gehören rosafarbene und gelbe Rosen, gelb-rote Narzissen, leuchtend roter Klatschmohn sowie eine dunkelrote Stockrose, ein kleiner Zweig mit Pflaumen sowie ein Ast mit dunklen Weintraubenrispen. Rechts der Vase stehend ein Korb mit Früchten, darunter Weintrauben, Pfirsiche, Äpfel und eine Feige. Links vor der Vase liegend helle Weintraubenrispen, ein Maiskolben, zwei rötliche Pflaumen, eine nach rechts ragende Ananas und schließlich ein kleines gefülltes Vogelnest. Rechtsseitig im Korb zudem ein großer Kürbis. Belebt wird das Bild zusätzlich durch eine große Fliege, die auf dem Vasenkorpus sitzt, sowie eine kleine weitere auf einem orange leuchtenden Pfirsich im daneben stehenden geflochtenen Korb. Qualitätvolle feine Malerei in harmonischer Farbgebung. Vereinzelt Retuschen.Provenienz: Privatsammlung Belgien. Anmerkung: Der niederländische Maler wurde durch seine Stillleben mit Blumen und Früchten im Stil von Jan van Huysum (1682-1749) bekannt, mit denen er sich international einen Namen machte. Auf diesen Werken finden sich mehrfach auch eine liegende Ananas und ein Vogelnest wieder. (1321459) (18)Jan van Os,1744 Middelharnis – 1808 The HagueLARGE STILL LIFE WITH FLOWERS, FRUIT, AND BIRD’S NESTOil on canvas. Relined.84.1 x 65.3 cm.Signed “J. van. Os. Fecit” lower left.Provenance: Private collection Belgium.

James T. Clapham- A gilt framed and glazed watercolour on paper, still life fruit. Signed by artist. H.32 W.44cm.

Karmen - a still life of flowers, oil on canvas, framed, a floral handmade rug in pastel coloursLocation: