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Lot 2532
Group of silver, comprising two Victorian silver handled button hooks, hallmarked Birmingham 1900, and an Edwardian example, hallmarked Birmingham 1904, various makers marks, five further silver handled tools of similar date, an Edwardian silver mounted buffer, a Victorian foliate pierced sleeve, hallmarked Henry Matthews, Birmingham 1900, and pair of 1930's cruets, hallmarked Barker Brothers Silver Ltd, Birmingham 1935, approximate weighable silver 3.50 ozt (109 grams)Condition Report:All with fairly significant signs of use and wear commensurate with age, including surface scratches, nicks, indentations and knocks.Hallmarks with varying degrees of wear.
Lot 13
Property from the Marie-Louise von Motesiczky Charitable Trust, LondonMARIE-LOUISE VON MOTESICZKY (1906-1996)Lorette as paintersigned and dated M. Motesiczky 1968. (upper right)oil on canvassight-size: 69 x 53.7 cm (27 1/8 x 21 1/8 in)Painted in 1968Sold with a preparatory study: MARIE-LOUISE VON MOTESICZKY (1906-1996)Head of Lorettecharcoal sight-size: 39.2 x 35.7 cm (15 1/2 x 13 7/8 in)Executed in 1968 EXHIBITED:London, John Denham Gallery, Emigre Artists, 1987Dublin, Royal Hospital Kilmainham, Marie Louise von Motesiczky with 'Figurative Image', 1988, no.14LITERATURE:I. Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p.383, no. 220CONDITION REPORT:Oil on canvas, unframed. Not lined. Examined under UV: there are no visible signs of fluorescing. Overall, it our opinion that the work is in very good original condition. Painted and signed in 1968, Lorette as Painter depicts Lorette Lugten. Lugten was from Jakarta and living in London in the late 1960s when she met Motesicskzy. A fellow painter herself, Lugten was persuaded to sit for Motesicsky once a week. As well as being featured in the painting Lorette in the Studio (sold for £9,250 inc. Buyer's Premium by Chiswick Auctions in November 2021), Lugten features in several accomplished drawings. Here she is depicted in oil holding the tools of her trade, a palette and a brush, wearing a painter’s smock. She gazes outwards, intently studying her subject. Selected Works from the Marie-Louise von Motesiczky Charitable Trust Motesiczky’s expressive and very painterly style had been formed before the Second World War, in large part influenced and encouraged by Max Beckmann. On first being introduced to Beckmann in 1920 she recalled: ‘A winged creature from Mars could not have made a greater impact on me’. Once in Britain it was Oskar Kokoschka, a family friend from Vienna now similarly exiled, who helped champion her work. Thereafter, and very much on a personal level, it was the writer Elias Canetti (1905-1994) a fellow émigré who exercised a major influence over her artistic output. Marie-Louise von Motesiczky grew up with her parents and her brother Karl in central Vienna. Her mother Henriette came from an illustrious Viennese Jewish banking dynasty. Her maternal grandfather, Leopold von Lieben, was President of the Stock Exchange; her grandmother, Anna, one of Freud’s early patients. She counted the Todescos, and Ephrussis among her family circle, and she, her mother and her brother Karl spent their summers at Villa Todesco in Hinterbrühl, south west of the capital. But over time family tragedy, financial difficulties and the rise of Nazi Germany took their toll. Marie-Louise’s father died at the end of 1909 and after the First World War her mother’s considerable inheritance gradually diminished through high taxation, poor investments, and the financial crash of 1929. Then, with the rise of the Third Reich and the Anschluss in March 1938, when Austria was annexed by Germany, she and her mother fled Vienna for the Netherlands before emigrating to England in 1939. Further distress followed when her brother Karl, who had remained in Austria, was arrested and deported to Auschwitz, dying of typhus there on 25 June 1943. On Motesiczky’s arrival in London Kokoschka ensured her inclusion in a series of group exhibitions, and assisted her in the staging of a solo exhibition at the Czechoslovak Institute in the autumn of 1944. Further group shows followed, and in 1960 she had a second solo exhibition at the influential Beaux Arts Gallery off Bond Street. On the Continent she received acclaim for her work in exhibitions in Amsterdam and The Hague in 1952, one of her canvases being purchased by the Stedelijk Museum. The same decade she exhibited in Munich and Düsseldorf, and in the 1960s was the subject of shows in Germany and Austria, including a one-person exhibition at the Wiener Secession in 1966. In 1985, a full twenty-five years after her work had been shown at the Beaux Arts Gallery, she was the subject of another solo exhibition in London, at the Goethe-Institut, which was widely acclaimed in the press. In 1994 a major retrospective of her work was held in Vienna at the Österreichische Galerie, Oberes Belvedere and in Manchester at the City Art Gallery. In 2006-07 her work was celebrated in a centenary exhibition at Tate Liverpool, travelling to Frankfurt, Vienna, Passau and Southampton City Art Gallery. Also in 2007 Jill Lloyd’s biography of Marie-Louise appeared: The Undiscovered Expressionist. A Life of Marie-Louise von Motesiczky, followed in 2009 by the catalogue raisonné of her paintings by Ines Schlenker itemising over 350 works. Most recently in 2019-20, Tate Britain held an exhibition devoted to her to inaugurate the gallery named in perpetuity as the ‘Marie-Louise von Motesiczky Archive Gallery’ for all future displays of Tate’s archive holdings in general. The work of Marie-Louise von Motesiczky held in public collections Institutions in the UK holding works by the artist include: the Ben Uri Gallery and Museum, the British Museum, Burgh House, Hampstead, Freud Museum, Garden Museum, National Portrait Gallery and Tate in London (which also holds her archive); the Amersham Museum, Fitzwilliam Museum, Cambridge, New Walk Museum and Art Gallery, Leicester, Manchester Art Gallery, National Galleries of Scotland, Edinburgh and the Hunterian Art Gallery, Glasgow. Elsewhere her work is in the National Gallery of Ireland, Dublin; the Stedelijk, Amsterdam; the Boijmans van Beuningen Museum, Rotterdam; the Städel Museum, Frankfurt; the German Literary Archive in Marbach; the Albertina, Österreichische Galerie Belvedere, the Leopold Museum and the Museum Wien in Vienna; the Lentos Kunstmuseum, Linz and the Stanley Museum, University of Iowa, USA. Please find a link to the Catalogue Raisonné for Marie-Louise von Motesiczky: https://www.motesiczky.org/publications/ Marie-Louise von Motesiczky 1906-1996. A Catalogue Raisonné of the Paintings by Ines Schlenker, Hudson Hills Press, New York, 2009. The Marie-Louise von Motesiczky Charitable Trust The Marie-Louise von Motesiczky Charitable Trust, is a company limited by guarantee registered in England and Wales (no. 7572024) and a registered charity (no. 1140890): www.motesiczky.org. The copyright for Marie-Louise von Motesiczky’s paintings, drawings and correspondence or other written work originating from her, her mother Henriette and brother Karl, lies with the Marie-Louise von Motesiczky Charitable Trust.
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