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Lot 16
Property from the Marie-Louise von Motesiczky Charitable Trust, London MARIE-LOUISE VON MOTESICZKY (1906-1996)Sundial with birds and flowersoil, charcoal and pastel on canvas, unframed40.7 x 45.6 cmPainted c. 1993/94 LITERATURE: I. Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p. 514 no. 323. In this picture, as in many others, Motesiczky drew inspiration from her own garden in Hampstead. In a hasty yet vivid way she captures on of its prominent features, a sundial. The sundial stands in the middle of the lawn, surrounded by a small flowerbed. In the background, a dark wall delimits the garden space. In this painting Motesiczky has curiously transformed her well-kept garden into something different, almost a jungle, where coloured flowers and long grass thrive. Two large birds face each other on either side of the sundial, as if preparing for a fight, adding a further note of drama to the scene. Selected Works from the Marie-Louise von Motesiczky Charitable Trust Motesiczky’s expressive and very painterly style had been formed before the Second World War, in large part influenced and encouraged by Max Beckmann. On first being introduced to Beckmann in 1920 she recalled: ‘A winged creature from Mars could not have made a greater impact on me’. Once in Britain it was Oskar Kokoschka, a family friend from Vienna now similarly exiled, who helped champion her work. Thereafter, and very much on a personal level, it was the writer Elias Canetti (1905-1994) a fellow émigré who exercised a major influence over her artistic output. Marie-Louise von Motesiczky grew up with her parents and her brother Karl in central Vienna. Her mother Henriette came from an illustrious Viennese Jewish banking dynasty. Her maternal grandfather, Leopold von Lieben, was President of the Stock Exchange; her grandmother, Anna, one of Freud’s early patients. She counted the Todescos, and Ephrussis among her family circle, and she, her mother and her brother Karl spent their summers at Villa Todesco in Hinterbrühl, south west of the capital. But over time family tragedy, financial difficulties and the rise of Nazi Germany took their toll. Marie-Louise’s father died at the end of 1909 and after the First World War her mother’s considerable inheritance gradually diminished through high taxation, poor investments, and the financial crash of 1929. Then, with the rise of the Third Reich and the Anschluss in March 1938, when Austria was annexed by Germany, she and her mother fled Vienna for the Netherlands before emigrating to England in 1939. Further distress followed when her brother Karl, who had remained in Austria, was arrested and deported to Auschwitz, dying of typhus there on 25 June 1943. On Motesiczky’s arrival in London Kokoschka ensured her inclusion in a series of group exhibitions, and assisted her in the staging of a solo exhibition at the Czechoslovak Institute in the autumn of 1944. Further group shows followed, and in 1960 she had a second solo exhibition at the influential Beaux Arts Gallery off Bond Street. On the Continent she received acclaim for her work in exhibitions in Amsterdam and The Hague in 1952, one of her canvases being purchased by the Stedelijk Museum. The same decade she exhibited in Munich and Düsseldorf, and in the 1960s was the subject of shows in Germany and Austria, including a one-person exhibition at the Wiener Secession in 1966. In 1985, a full twenty-five years after her work had been shown at the Beaux Arts Gallery, she was the subject of another solo exhibition in London, at the Goethe-Institut, which was widely acclaimed in the press. In 1994 a major retrospective of her work was held in Vienna at the Österreichische Galerie, Oberes Belvedere and in Manchester at the City Art Gallery. In 2006-07 her work was celebrated in a centenary exhibition at Tate Liverpool, travelling to Frankfurt, Vienna, Passau and Southampton City Art Gallery. Also in 2007 Jill Lloyd’s biography of Marie-Louise appeared: The Undiscovered Expressionist. A Life of Marie-Louise von Motesiczky, followed in 2009 by the catalogue raisonné of her paintings by Ines Schlenker itemising over 350 works. Most recently in 2019-20, Tate Britain held an exhibition devoted to her to inaugurate the gallery named in perpetuity as the ‘Marie-Louise von Motesiczky Archive Gallery’ for all future displays of Tate’s archive holdings in general. The work of Marie-Louise von Motesiczky held in public collections Institutions in the UK holding works by the artist include: the Ben Uri Gallery and Museum, the British Museum, Burgh House, Hampstead, Freud Museum, Garden Museum, National Portrait Gallery and Tate in London (which also holds her archive); the Amersham Museum, Fitzwilliam Museum, Cambridge, New Walk Museum and Art Gallery, Leicester, Manchester Art Gallery, National Galleries of Scotland, Edinburgh and the Hunterian Art Gallery, Glasgow. Elsewhere her work is in the National Gallery of Ireland, Dublin; the Stedelijk, Amsterdam; the Boijmans van Beuningen Museum, Rotterdam; the Städel Museum, Frankfurt; the German Literary Archive in Marbach; the Albertina, Österreichische Galerie Belvedere, the Leopold Museum and the Museum Wien in Vienna; the Lentos Kunstmuseum, Linz and the Stanley Museum, University of Iowa, USA. Please find a link to the Catalogue Raisonné for Marie-Louise von Motesiczky: https://www.motesiczky.org/publications/ Marie-Louise von Motesiczky 1906-1996. A Catalogue Raisonné of the Paintings by Ines Schlenker, Hudson Hills Press, New York, 2009. The Marie-Louise von Motesiczky Charitable Trust The Marie-Louise von Motesiczky Charitable Trust, is a company limited by guarantee registered in England and Wales (no. 7572024) and a registered charity (no. 1140890): www.motesiczky.org. The copyright for Marie-Louise von Motesiczky’s paintings, drawings and correspondence or other written work originating from her, her mother Henriette and brother Karl, lies with the Marie-Louise von Motesiczky Charitable Trust.
Lot 450
Includes Sundial Bunnykins DB213, Dodgem Bunnykins DB249, Sands of the Times Bunnykins DB229, and Little Bo Peep DB220. Glossy finish modeled as various bunnykins characters. Royal Doulton backstamp. Tallest bunnykins measures: 2.5"L x 3"W x 5.25"H. Issued: 1999-2001Manufacturer: Royal DoultonCountry of Origin: EnglandCondition: Age related wear.
Lot 711
An early 19th century treen pocket compass /sundialprinted card dial signed "S Porter Fecit Feb 16 1824" and "Entered at Stationers Hall" to the bottom, under domed glass cover in a turned sycamore casediameter 5.4cm.Condition: Lid has been broken in two. Varnish rubbed worn / blistered. Card dial smiling slightly
Lot 743
A lot of mainly pre WW2 lead farm related items by Britains and Pixyland Kew including Hill girl for see saw, John Hill Blacksmith with forge, miller, well and flour bin, straw hat, Pixyland beer quaffer (loose arm), gardener pushing wheelbarrow, sundial, Britains cats (2), chicks (6), telegraph poles (2), various cows and horses (total 15), chickens, sheep, dogs, etc, hurdles, pre WW2 roller, people, various troughs, table, Hill pond (glass base cracked), wooden chicken run and fences by unknown maker, card farm scene in poor condition, etc. generally G, perhaps 10 lead items P, (90+, not including fence / hurdles),
Lot 1202
A cast reconstituted stone sundial or birdbath with armillary dial to the central birdbath and with support of a boy holding a cornucopia together with a two-tier white painted wirework plant standthe sundial 106cm high, the plant stand 100cm wide x 54cm highQty: 2The sundial in weathered condition. The plant stand with losses to the metal work and rusted overall.
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