Marie-Louise Von Motesiczky: Catalogue Raisonne of the Paintings - part2 by Richard Read

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Portrait Elias Canetti Porträt Elias Canetti 1992 Oil on canvas, 914 × 710 mm National Portrait Gallery, London (npg 6190, Elias Canetti)

Elias Canetti (1905–94), writer and Nobel Laureate for Literature in 1981, met Motesiczky at the beginning of the Second World War when they had both come to England as refugees. Their intimate and artistically fruitful friendship, which would become difficult at times, lasted until the end of their lives. This portrait mirrors a defining relationship and expresses Motesiczky’s admiration for Canetti, whose career she had faithfully accompanied and supported over decades. When Canetti, who was frequently asked by artists to sit for a portrait, commissioned Motesiczky to paint him in 1990, he wished to help her recover from a recent bout of illness and to honour an artist he regarded to be the very best living portrait painter and the person who knew him better than anyone else.1 Motesiczky had already executed several portraits of Canetti. An earlier portrait, dating from 1960 (no. 165), and Self-portrait with Canetti of the 1960s (no. 237) were both painted from life, but Canetti, who did not want to sit for his portrait, was living in Zürich at the time of this portrait and only rarely came to London. Motesiczky therefore decided to paint the sitter from memory using a press photograph as an aide-mémoire (fig. 249). Although already in his mid-eighties, Motesiczky presents the author as a still powerful character with a commanding physical presence. His massive, over life-size and slightly intimidating figure, emerging from a shadowy background, fills the entire canvas. Immaculately dressed and sporting a shock of salt-and-pepper hair, Canetti’s age seems indeterminable. His grim, curiously enquiring yet intensely sceptical look testifies to a ceaselessly active and inquisitive mind. From the wording of the commissioning letter it is unclear whether Canetti intended to acquire the work himself or saw his role as a mediator between the artist and an art institution that would eventually house the work. However, when the finished portrait was presented to the sitter, Canetti declined to 502

accept it for, allegedly, Motesiczky had used a photograph that he particularly disliked.2 The portrait was subsequently oﬀered to the National Portrait Gallery in London. The artist wished thus to express her thanks ‘to Britain for giving a home to my mother and me’.3 After an initial misunderstanding about whether the author was still living (the National Portrait Gallery takes only portraits done during the sitter’s lifetime), the gift was accepted. sources from the archive of the marie-louise von motesiczky charitable trust Elias Canetti to Marie-Louise von Motesiczky, 25 February 1990: ‘Ich glaube, Maler Mulo, was Sie unbedingt brauchen, ist ein Ziel in Ihrer Arbeit, etwas, das Sie sich fest vornehmen und woran Sie wirklich, sobald die Krankheit etwas besser geworden ist, tagtäglich arbeiten. Der allgemeine Wunsch oder Vorsatz zu arbeiten genügt nicht. Dieses Ziel soll nun eine Bestellung von mir sein. Ich werde immer wieder um ein Porträt gebeten, auch von nicht ganz schlechten Künstlern. Ich lehne immer ab, aus zwei Gründen, einmal weil ich an den allerbesten Porträtisten denke, der mich so gut kennt wie niemand anderer, aber dann auch, weil ich nicht sitzen kann. Ich gebe Ihnen also den Auftrag, aus der Erinnerung ein Porträt von E.C. zu malen. Ich glaube, das könnte besonders gut werden. Es würde die Dinge in Ihnen kristallisieren, statt dass sie sich zerfransen. Dein Honorar wäre gering, bloss £ 5000. Aber das wäre es bestimmt, und wenn eine Institution das Bild ankauft, was beinahe sicher ist, wäre es mehr und der Unterschied würde natürlich ganz Ihnen gehören. Lieber Maler Mulo, machen Sie das wirklich, fangen Sie gleich mit Zeichnungen an. Sie müssen sich rasch dazu entschliessen und dabei bleiben.’ Elias Canetti to Marie-Louise von Motesiczky, 24 June 1992: ‘Johanna hat mir alles über das Gespräch erzählt und schämt sich sehr. Sie ist sonst scheu und diskret, geradezu verschlossen, aber damals war sie in grosser Angst um mich und hat alles gesagt, worüber sie hätte schweigen müssen. Sie hätte nie etwas über das Porträt sagen dürfen, denn ich will Sie ja immer zum Malen ermuntern und nicht entmutigen. Aber da Sie es jetzt wissen, bleiben wir besser bei der Wahrheit. Ich will nie wieder über die Foto sprechen und auf keinen Fall eine Diskussion darüber führen. Aber es ist richtig, dass ich darüber erschrocken bin. Sie konnten nicht wissen, dass die Foto, die Sie als Vorbild benützt

Fig. 249 Elias Canetti, photograph, undated (Motesiczky archive)

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haben, die ist, über die ich mich immer am meisten geärgert habe. Ich hab sie nie leiden können. Das ist ein Pech, aber ich bin ganz sicher, dass das Bild schön gemalt ist. Das spürt man … Wenn Sie mir etwas Gutes tun wollen, malen Sie bitte. Ich weiss, was für ein Maler Sie sind, ich habe es immer gewusst, seit vielen, vielen Jahren.’

of Europe. We would very much like to keep the catalogue for our Library, if you do not want it back, and we could also keep the photograph in our Archive under the sitter’s name, if you were willing to let us do this. With renewed and warmest thanks for your generous oﬀer and my sincerest regrets that we are not empowered to accept the portrait.’

Diana Athill to Marie-Louise von Motesiczky, [August 1994]: ‘How very glad I am that he [Canetti] was in touch with you not long ago – and how thankful that you painted that wonderful portrait for us.’

Diana Athill to John Hayes, National Portrait Gallery, London, 12 August 1992: ‘I learnt yesterday from Marie Louise Motesiczky that the Gallery had declined her offer of her new portrait of Elias Canetti because its statutes forbid the acceptance of posthumous portraits. Although Mrs Motesiczky’s English is good, she lacks confidence when writing it, and therefore asked me – partly because we, as Canetti’s British publishers, are naturally much interested in the fate of this portrait – to write on her behalf in order to point out that Canetti is not dead. It is not surprising that many people think he is, because during the thirty-five years or so during which he lived in Hampstead the English – with very few exceptions – remained unaware of his stature; and since we began publishing his complete works, the considerable attention devoted to them has often (perhaps to compensate for earlier neglect) had the reverent tone of that given to great figures of the past. In fact he now lives in Switzerland, and although he must be nearly ninety he is still very much alive. The reason why the artist worked from memory is because she is not much younger than he is, so travelling between her home in London and his in Switzerland for sitting was out of the question. As he knew, when he asked her to make the painting, the closeness of their friendship for all the years he was in England, meant that she could get nearer to him even in these circumstances than any other painter. She, like him, suffered the eclipse of exile, and for a long time was recognized by very few as what she is: one of the most powerful and distinguished painters of the German expressionist school. The present portrait, when seen “in the flesh” so to speak, is absolutely extraordinary in its vitality and in the sense it conveys of that remarkable man’s presence. And that anyone standing in front of it could believe the age of the artist is most unlikely! Perhaps I should add that both the artist and her subject were granted British nationality after the 2nd World War – which was the reason for their presence here. She has, I think, only three paintings in British galleries – one in the Tate and two in the Fitzwilliam – but a good many more in Europe. Please forgive me for taking up so much of your time with this letter. As perhaps you will have gathered, it would give Canetti’s publishers so much pride and pleasure to see their great man’s portrait hanging in the National Portrait Gallery’

Elinor Tollinton to Marie-Louise von Motesiczky, [December 1995]: ‘The picture in the National Portrait Gallery is brilliant.’ Carole Angier to Marie-Louise von Motesiczky, 5 June 1996: ‘The other day I … went to the National Portrait Gallery and saw your Canetti. It is wonderful’ sources from the national portrait gallery, institutional archives, london, registered packet for npg 6190 Marie-Louise von Motesiczky to John Hayes, National Portrait Gallery, London, 28 July 1992: ‘My friend David Scrase from the Fitzwilliam Museum suggested that I should write to you because you might be interested in the portrait I painted reacently from memory and a photograph, of my old friend Canetti. I ﬁrst met Canetti in the late 1930s and painted him from life, in 1950 – This painting is now in The Museum der “Stadt Wien” As a Nobel prize Winner who lived for much of his life in Britain I thought it appropriate that the Portrait Gallery should have an image of him and if you wanted it I should be delighted to present it to the Gallery as a thanks giving to Britain for giving a home to my mother and me from 1938.’ John Hayes, National Portrait Gallery, London, to Marie-Louise von Motesiczky, 6 August 1992: ‘I was most grateful to receive your letter of 28 July, together with the catalogue of your exhibition at the Goethe Institute in 1985, and the photograph of the Nobel prize-winner, Canetti. It is extremely kind and generous of you to oﬀer us the portrait which you have just painted from memory, but I am very sorry indeed to have to say that my Trustees are precluded by their rules from accepting portraits painted posthumously. I am very sorry about this, because it was extremely kind of you to have thought of presenting this portrait to the Gallery, especially as a thank you to Britain for giving a home to your mother and yourself in those dark and dreadful years when Hitler was casting a shadow over the whole

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John Hayes, National Portrait Gallery, London, to Diana Athill, 27 August 1992: ‘Thank you very much indeed for your most helpful letter of 12 August about Marie Louise Motesiczky’s portrait of Elias Canetti. I was delighted to learn that Elias Canetti is very much alive. I am afraid I had jumped to the conclusion from Miss Motesiczky’s letter, and when she spoke of first having met Canetti in the late 1930s and painting him from life in 1950, and now doing a portrait from memory, that Canetti was deceased. The fact that Miss Motesiczky’s portrait is not a posthumous image puts a wholly different complexion on things. I liked the portrait very much and was very sorry to have had to write the letter I did. Now, however, I can submit it to the Trustees as a potential acquisition for the Gallery. I am writing to Miss Motesiczky today to tell her this.’ John Hayes, National Portrait Gallery, London, to MarieLouise von Motesiczky, 27 August 1992: ‘I hope that you will forgive me for having mistakenly assumed, from your kind letter of 28 July, that Elias Canetti was no longer alive and that your portrait of him was a posthumous one. Diana Athill, of Andre Deutsch, has written me a long and most helpful letter, and, now that I know that Mr Canetti is very much alive, and that your portrait is painted from long memories of him, but not from life, as he now lives in Switzerland, I can tell the Trustees and submit the portrait to them for consideration at their next meeting, which takes place on 12 November. I am truly delighted that I am now able to submit your fine portrait to the Trustees, as a most generous gift from yourself … With renewed thanks for your great kindness in offering this portrait to the Gallery, and renewed apologies for my original misunderstanding.’ Tim Moreton, National Portrait Gallery, London, to Marie-Louise von Motesiczky, 3 November 1992: ‘Thank you very much for allowing me to collect from you last week your splendid and thoughtful portrait of Elias Canetti. We shall be pleased to submit this to our Trustees at their next meeting on 12 November and shall let you know their decision shortly thereafter.’ Kai Kin Yung, National Portrait Gallery, London, to MarieLouise von Motesiczky, 16 November 1992: ‘Further to Dr Moreton’s letter of 3 November I am very pleased to let you know that our Trustees were delighted to see your portrait of Elias Canetti at their last meeting. They have unanimously agreed to accept your generous gift and have asked me to convey their very warm thanks to you. I am sure the copyright of this portrait belongs to you. Would you be willing to transfer copyright to our Gallery? If not, we should be grateful if we may reproduce your portrait in our publications, and to sell

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reproductions of it to all those [who] are interested in your work or in Canetti himself.’ Honor Clerk, National Portrait Gallery, London, to Marie-Louise von Motesiczky, 7 September 1994: ‘I thought you might be interested to know that we are intending to hang the painting of Elias Canetti which you so generously gave us in a small 20th Century recent acquisitions display from Saturday 17 September. It will be in the “Porter” Gallery, the small room at the end of the main post-war galleries on the ground floor.’ notes 1 Elias Canetti to Marie-Louise von Motesiczky, 25 February 1990: Motesiczky archive. 2 Elias Canetti to Marie-Louise von Motesiczky, 24 June 1992: Motesiczky archive. 3 Marie-Louise von Motesiczky to John Hayes, National Portrait Gallery, Institutional Archives, London, Registered Packet for npg 6190, 28 July 1992: archive of the National Portrait Gallery, London. provenance Artist; National Portrait Gallery (presented by the artist in 1992). exhibitions Vienna 1994, no. 50, illus. (col.); Liverpool 2006, no. 88, illus. p. 249 (col.); Frankfurt am Main 2006, no. 88, illus. p. 249 (col.); Vienna 2007, no. 88, illus. p. 249 (col.); Passau 2007, no. 88, illus. p. 249 (col.); Southampton 2007, no. 88, illus. p. 249 (col.). bibliography Anonymous 1994d, illus. n.p.; Cohen 1994, p. 94; G.F. 1994, n.p.; K.S. [Kristian Sotriffer] 1994, n.p.; Koch 1994, p. 100 (dated 1960); Kruntorad 1994, n.p., illus. n.p. (detail); Kulturjournal, Radio Bremen 2, 21 February 1994, transcript p. 3; Melchart 1994, n.p.; Schmidt 1994a, illus. p. 6; Anonymous 1996a, n.p.; Anonymous 1996b, n.p.; Anonymous [Jeremy Adler] 1996, n.p.; best 1996, n.p.; Black 1996, n.p. (dated 1993); Cohen 1996a, n.p.; Schmidt 1996, n.p.; Black 1997, pp. 992 f. (Elias Canetti); Dollen 1997, p. 1595; Smithson 1999, n.p.; Vorderwülbecke 1999, pp. 46, 48, 54 f.n., illus. p. 106; Dollen 2000, p. 237; Phillips 2001, p. 32; Schlenker 2001, p. 1; Anonymous 2002, illus. p. 16 (detail); Snowman 2002, illus. after p. 360; Michel 2003, p. 75, illus. Abb. 119 (col.); Schlenker 2003, p. 116; Foster 2004, p. 143; Saywell/Simon 2004, p. 100, illus. p. 100; Schlenker 2005, pp. 134, 136, illus. p. 137; Black 2006, p. 57; Held 2006, n.p.; Marie-Louise von Motesiczky, exh. booklet 2006, n.p.; Schlenker 2006b, pp. 200 f.; Schlenker 2006c, p. 248; Schlenker 2006d, p. 261; Stadler 2006, n.p.; Lloyd 2007, pp. 213–16, illus. fig. 34 (col.) (Elias Canetti); Weinzierl 2007, n.p.

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Portrait ‘Au pair’ Barbara 1992 Oil on canvas, 458 × 406 mm Signed (top right): M.M 92. Marie-Louise von Motesiczky Charitable Trust, London

A young model called Barbara Valentina Berner (born in 1972) is the subject of this portrait. Originally from Vienna, she lived with Motesiczky for a few months in the early 1990s, helping the artist with the housework and keeping her company. She is seated in a highbacked chair, examining herself closely in an oval hand-held mirror. Her eyes are invisible behind the thick lenses of black-rimmed glasses, emerging from her short wavy brown hair, thus making it diﬃcult to read her expression. The portrait is executed in a vague, sketchy manner. Shapes are often only hinted at, as for example the white ﬂowers behind the sitter’s left shoulder that seem to emerge from a bouquet next to the chair.

Fig. 250 Marie-Louise von Motesiczky, sketch, c. 1992, charcoal on paper, 510 × 410 mm (Marie-Louise von Motesiczky Charitable Trust, London)

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Still-life with Dahlias Stilleben mit Dahlien 1992 Oil and charcoal on canvas, 620 × 480 mm Marie-Louise von Motesiczky Charitable Trust, London

On a table in front of a window, partly obscured by a closed shutter and half-drawn curtains, a white vase, showing a running black dog, holds a colourful bunch of flowers which presumably came from the artist’s garden. Red-white and orange-pink dahlias, yellow rudbeckia and white stock provide a bright, almost glowing contrast to the dark night sky beyond the window. The floral arrangement seems to be slightly tilting to the left as if about to fall, counterbalanced, however, by the presence of another, empty, brown vase, decorated with a standing man, that lends a certain stability to the composition. As in several other still-lifes, Motesiczky here employs a favourite compositional device in placing the central bouquet just slightly off-centre, thus avoiding symmetry in the composition. exhibition Manchester 1994, no. 35, dated 1993.

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Orchid with Bowl and Mirror 1992 Oil on canvas, 458 × 308 mm Marie-Louise von Motesiczky Charitable Trust, London

This still-life combines everyday objects in Motesiczky’s possession with the floral gift which a recent visitor, Stephan Connery, had presented to the artist. The small mirror with its curved and intricately carved wooden frame fills a major portion of the background, reflecting the thin yellow crescent of the moon. In front of the mirror stands a wooden bowl from Sulawesi (Celebes) in Indonesia, which, a few years previously, Motesiczky had used in another still-life (Still-life with Bowl and Daffodils, 1988, no. 295). Its elegant, long stand is slightly foreshortened by the raised viewpoint. The bowl is filled with fruit of which the orange that floats on a bed of green grapes can be clearly made out. Its pip is perfectly aligned

with the centre of the mirror and the middle axis of the bowl. The branch of pink orchids in a plain glass vase is seemingly squeezed into the remaining space and throws the composition oﬀ-centre. Motesiczky arranged this still-life on a large table that stood in front of the window in her studio. It was covered with painting paraphernalia, including brushes, quills, chalks and watercolour boxes. Several photographs in the artist’s estate, taken in connection with Jeremy Adler’s sitting for his portrait that year (Jeremy Adler, 1992/4, no. 319), show the bowl and the orchid side by side on the table, while the mirror rests on top of a bedside table against the wall (ﬁg. 251). 507

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Jeremy Adler 1992/4 Oil and charcoal on canvas, 966 × 562 mm Marie-Louise von Motesiczky Charitable Trust, London

This portrait shows a friend of the artist, the germanist, translator and author Jeremy Adler (born in 1947), professor of German first at Queen Mary and Westfield College (from 1991) and, from 1994, at King’s College, University of London. The son of the author H. G. Adler, Adler was one of the artist’s executors and became a trustee of the Marie-Louise von Motesiczky Charitable Trust after the artist’s death. The history of the portrait, which was a long time in the making, began in the summer of 1969, when, as the sitter recalls, the artist had organized a ‘big salon’ at her home in Hampstead. The guests included Elias Canetti, Milein Cosman and Hans Keller. On this occasion she first voiced her intention to paint Jeremy Adler, yet failed to ask him directly to sit. Nothing happened for several years, and the idea was apparently abandoned. When, in 1981, Adler bought a fashionable white suit, the artist again expressed her wish to paint him; yet again, no actions followed. After several more years, Adler, now living close by in Cricklewood from where he could easily have come over for sittings, started to become insistent. Eventually, probably in 1992, Adler started to sit for Motesiczky. The resulting, unfinished, portrait, probably worked on over the next couple of years, was based on actual sittings in the artist’s studio, drawings made on these occasions and photographs. These were taken in substantial numbers by the artist and the sitter’s wife, intent on capturing a particular look. They show the sitter in the artist’s studio in various poses and clothes. The series of photographs, some of which might date back to the 1980s, has survived in the artist’s estate (fig. 251). Paint smears on the back of several photographs testify to the repeated usage by the artist in the absence of the sitter.

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Fig. 251 Jeremy Adler in Motesiczky’s studio, photograph, 1992 (Motesiczky archive)

Jeremy Adler is seated in front of a uniform green background, roughly painted in broad brushstrokes. Only a few black lines suggest the surroundings. A board above the sitter’s head, running along the wall, holds small objects such as vases, jugs, lamps, postcards, prints, ﬁgurines, an Indonesian shadow puppet, letter scales as well as Motesiczky’s painting utensils. On the right the corner of the room and the edge of a sink are visible. While the sitter’s clothes are only vaguely sketched in with a few strokes of the brush and coloured charcoal lines – his maroon-coloured silk scarf, wound around his neck, being the most noticeable part of his clothing – the most ﬁnished part of the portrait is the head. With its long oval shape, dense black hair, aquiline nose and straight, regular features it is the artist’s memory of the young Jeremy Adler.

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Florist ( Japanese Girl) 1993 Oil on canvas, 765 × 559 mm Marie-Louise von Motesiczky Charitable Trust, London

The identity of this young Japanese model is unknown. Dressed in dark clothes, she seems to be emerging from a background filled with flowers. As if the portrait was indeed set in a florist’s shop, she is holding a bouquet of white lilies wrapped in paper. Her long black hair is held back by two white hair slides, thus offering an unhindered view of her pale oval face. In a delicate gesture her raised left hand lightly touches her cheek, lending the portrait a mournful and almost theatrical look.

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Still-life, Apples and Flowers in Blue Vase Stilleben, Äpfel und Blumen in blauer Vase 1993 Oil on canvas, 510 × 381 mm Marie-Louise von Motesiczky Charitable Trust, London

Using the same basic objects that already featured in Two Apples with Chrysanthemums, 1988 (no. 293), apples and flowers, Motesiczky here created a very balanced composition. In an almost symmetrical arrangement the table displays a blue-patterned vase with a colourful bunch of flowers whose colours echo those of the other objects in the still-life: blue, red, yellow and white. One apple lies on either side of the vase, showing different angles of the fruit, a third is only partly visible in the centre of the lower edge. As if to prevent the composition from being too symmetrical, behind the vase a pair of cherries on the right is mirrored by a single, half hidden cherry on the left. The undefined, bare background does not distract from the still-life.

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Last Self-portrait Letztes Selbstporträt 1993 Oil and charcoal on canvas, 762 × 662 mm Marie-Louise von Motesiczky Charitable Trust, London

In this last self-portrait, the artist reflects on her origins and depicts herself as a grand aristocratic figure and a woman of the world. Elegantly dressed in a high-collared blouse, adorned with a double string of pearls, Motesiczky portrays herself in a regal posture, head held up high. She is carefully made up, her pink lipstick catching the viewer’s eye in the painting’s otherwise subdued colour scheme of grey and pale green. As in most self-portraits, her thin hair, now white, is covered, here by a light grey cloth hat, which has survived in the artist’s estate. The self-portrait is unfinished. This is especially noticeable in the lower half of the picture, where the background is undefined and the clothes are simply hinted at. Large parts of the canvas are visible as well as the charcoal underdrawing. Despite its sketchy, hesitant style and incomplete state – or perhaps precisely because of that fact – this

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is a particularly moving work. Created on the basis of profound self-examination, it surrounds the painter with an aura of mystery. sources from the archive of the marie-louise von motesiczky charitable trust Sybille Moser to Marie-Louise von Motesiczky, 22 April 1994: ‘Dein Porträt ﬁnde ich wundervoll … “Porträt der alten Dame” … Du bist eine rätselhafte wunderbare Frau, voller Witz und Abenteuerlust.’ exhibitions Liverpool 2006, no. 89, illus. p. 251 (col.); Frankfurt am Main 2006, no. 89, illus. p. 251 (col.); Vienna 2007, no. 89, illus. p. 251 (col.); Passau 2007, no. 89, illus. p. 251 (col.); Southampton 2007, no. 89, illus. p. 251 (col.). bibliography Phillips 2001, p. 33; Michel 2003, p. 76, illus. Abb. 121 (col.); López Calatayud 2005, pp. 17 (Self-portrait), 23, illus. n.p. (full and three details, col.); R. Gries 2006, n.p.; Kneller 2006, n.p.; Marie-Louise von Motesiczky, exh. booklet 2006, n.p.; Sander 2006, pp. 120 f.; Schlenker 2006c, p. 250; Weiner 2006, n.p.; Lloyd 2007, p. 220, illus. ﬁg. 35 (col.).

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Sundial with Birds and Flowers 1993/4 Oil, charcoal and pastel on canvas, 407 × 456 mm Marie-Louise von Motesiczky Charitable Trust, London

As in so many other pictures, Motesiczky here drew inspiration from her own garden in Hampstead. In a seemingly hasty, rough and sketchy manner she captures one of its prominent features, a sundial. It stands in the middle of the lawn, surrounded by a small flowerbed in which nasturtiums and daisies usually grew. The end of the garden is defined by the long, dark wall in the background. Curiously, Motesiczky has turned her well-kept garden into something of a jungle, where high grass and wildly coloured flowers thrive. Extra drama is added by two large black birds facing each other on either side of the sundial, as if squaring up for a fight.

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Roses in the Window Rosen im Fenster 1994 Oil on canvas, 506 × 358 mm Marie-Louise von Motesiczky Charitable Trust, London

Placed in front of a window that allows a glimpse of the darkness outside, is a transparent glass vase holding a bunch of voluptuous pink roses and several leaves and smaller flowers that cannot be identified, all probably taken from the artist’s garden. The symmetry of the composition is enlivened by the fact that the window panes are slightly crooked and that the vase is positioned just off-centre, slightly to the left of the black crossbar. This still-life has been executed in the sketchy manner typical of the artist’s late work.

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Still-life, Flowers Blumenstilleben 1994 Oil and pastel on canvas, 407 × 506 mm Marie-Louise von Motesiczky Charitable Trust, London

Still-life, Flowers is a sketchy rendering of an arrangement of ﬂowers displayed in a low bowl. The bright colours of the orange, yellow, pink and red blossoms – presumably rudbeckias, nasturtiums and chrysanthemums – glow before a dark background. A few strokes of pastel add even more vivacity to the composition. The black shape, outlined in white, behind the bouquet probably represents the neck of a bottle.

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Still-life with Rudbeckia Early 1990s Oil, pastel and charcoal on canvas, 560 × 455 mm Marie-Louise von Motesiczky Charitable Trust, London

In front of an indistinguishable background stands an earthenware vase with a bunch of flowers from the artist’s garden. Besides one white drooping chrysanthemum, a pinkish white rose and some grass, several bright golden-yellow rudbeckias dominate the bouquet. Motesiczky’s treatment of the composition is very sketchy. She used white pastel to fill in missing parts of the rudbeckias, indicating their former fuller shape where the petals have already fallen off.

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Still-life with Flowers Mid-1990s Oil, pastel and charcoal on canvas, 358 × 406 mm Marie-Louise von Motesiczky Charitable Trust, London

Although this composition is still identifiable as a flower still-life, it is one of Motesiczky’s most abstract and least easily readable. In a very sketchy manner she depicts an expansive bunch of sweet peas and gypsophila, probably from the artist’s garden. Neither the vase nor the surroundings are clearly specified. The yellow structure underneath the flowers perhaps indicates the legs of a small table, while the dark folds of a curtain might be suggested in the top left and right corners.

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Female Head 1994/5 Oil, charcoal and pastel on canvas, 507 × 407 mm Marie-Louise von Motesiczky Charitable Trust, London

It has been suggested that this painting began as a portrait of Pia-Maria Kerman (fig. 252), the mother of Michael Kerman, a lodger at 6 Chesterford Gardens at the time and a friend of the artist. The rather heavily worked canvas shows the head of a female figure in profile. With her reddish-brown wavy hair and thinlipped mouth she bears little resemblance to the blonde Kerman. Both background and clothes are vaguely hinted at, but only a large flower with pink leaves, possibly a lily, can be clearly made out. It is not known if the artist abandoned the portrait or considered it finished, or why so many drastic alterations were made.

Fig. 252 Pia-Maria Kerman in the living room at Chesterford Gardens, photograph, 1994 (Motesiczky archive)

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Dog Toby Hund Toby 1995 Oil, charcoal and pastel on canvas, 551 × 720 mm Marie-Louise von Motesiczky Charitable Trust, London

Toby, a black mongrel dog who belonged to the artist’s relatives in Portugal, inspired Motesiczky to paint this portrait during a recent visit. She probably made the painting on her return to London, working from photographs (fig. 253). In an unspecified outdoor setting with trees and foliage discernible on both sides, Toby is majestically stretched out on the floor and patiently observes the viewer. The dog’s face is well defined with a striking long white beard and marked eyebrows. According to a friend, Motesiczky was keen to make Toby’s eyes stand out in the dark especially in contrast to his black fur. The resulting gleaming eyes, together with the wet nose that reflects the green of the surroundings, bestow a certain

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demonic quality on the dog. The painting is unﬁnished with sizeable portions of the canvas left bare and the dark brown priming visible, mainly in the lower part of the canvas. Yet it manages to convey the complete and uninterrupted focus on the dog – a subject that was always dear to the artist. Italian greyhounds often appear as accessories to portraits of the artist’s mother, but only three other paintings pay tribute to dogs individually and exclusively (Dog with Flowers, no. 130, and Wenki, no. 126, both 1954, and Dog with Flowers, 1965, no. 201). exhibitions Vienna 2007, ex catalogue; Southampton 2007, ex catalogue.

Fig. 253 Toby, photograph, 1994 (Motesiczky archive)

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Still-life, Apples and Blossom on a Table Stilleben, Äpfel und blühende Zweige auf einem Tisch 1996 Oil and charcoal on canvas, 358 × 508 mm Signed (centre bottom): MM. Marie-Louise von Motesiczky Charitable Trust, London

In this late still-life, three apples and several branches of pink and white blossoms, probably rhododendron from the artist’s garden, are neatly arranged on a table. This is covered by a white cloth and placed against a dark wall – a device Motesiczky used throughout her career. Most striking in this composition is the very sketchy and seemingly hasty manner of execution. This leaves details unclear and, if Motesiczky had not signed the canvas, would suggest an unﬁnished state. exhibitions Vienna 2007, ex catalogue; Passau 2007, ex catalogue; Southampton 2007, ex catalogue.

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Still-life, Vase of Flowers Stilleben, Blumenvase 1996 Oil on canvas, 610 × 457 mm Marie-Louise von Motesiczky Charitable Trust, London

This is the last painting Marie-Louise von Motesiczky worked on. Presumably begun sometime in 1995, it was standing uncompleted on the easel in the studio at the artist’s death in June 1996 (fig. 254). The still-life with its subdued colours forms part of the large body of flower paintings to which the artist increasingly turned in the 1980s and 1990s. Among the flowers that can be identified are white rhododendron, orange azalea, white and mauve lilac which could all be found in the artist’s garden. The still-life must probably be considered unfinished since the artist expressed her intention to include a lizard. bibliography López Calatayud 2005, p. 13 (Still Life with Vase of Flowers); Schlenker 2006a, pp. 16 f., illus. p. 18 (col.); Schlenker 2006b, pp. 206 f., illus. p. 206 (col.); Lloyd 2007, p. 221.

Fig. 254 Motesiczky’s studio after her death with Still-life, Vase of Flowers still on the easel, photograph, 1996 (Motesiczky archive)

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Undated Paintings

This section lists Motesiczkyâ&#x20AC;&#x2122;s paintings which, despite all eďŹ&#x20AC;orts, have proved impossible to date. In these cases, Motesiczky did not assign dates to her works and no documents could be located in the archive that gave clues to the time of origin. Attempts at dating the works stylistically were inconclusive.

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Strawberries and Sugar Undated Oil on board, 376 × 365 mm Marie-Louise von Motesiczky Charitable Trust, London

Motesiczky seems to have arranged this stilllife on a table before a window, over which the curtains are draped in low folds. Laid out on a colourfully patterned tray are a small box of strawberries, a bowl containing sugar on a napkin and a plate with green and red objects that are diﬃcult to decipher and might be cherries.

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Two Bearded Men by a Lake Undated Oil on canvas (not attached to stretcher), 505 × 710 mm (painted area) Marie-Louise von Motesiczky Charitable Trust, London

This unstretched canvas shows two blackhaired men with beards standing by a lake. While one is dressed in a yellow top the other is wearing swimming trunks. As if about to enjoy some fun on the water, sun glasses hang around his neck, a white towel is slung across his shoulder and he is carrying a paddle. The composition seems unﬁnished.

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Still-life, Celery, Wooden Spoon and Knife Undated Oil and charcoal on canvas, 252 × 357 mm Marie-Louise von Motesiczky Charitable Trust, London

This kitchen still-life was left unstretched by Motesiczky and only recently put on a stretcher. Two bunches of celery are placed on a board. As if the preparations for a meal were about to start, a cutting knife handily rests next to them. A large wooden spoon lies diagonally across the celery stalks while a piece of newspaper is stuck to the bottom left corner of the composition. It reads ‘pages 39 to 48’ and probably became accidentally attached to the surface when the painting was stored. 522

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In the Park with Swans Undated Oil on canvas (not attached to stretcher), 300 × 455 mm (painted area) Marie-Louise von Motesiczky Charitable Trust, London

This unstretched canvas shows a scene in a park. In the foreground, a white and a black swan are floating on the water, accompanied by ducks. More ducks explore the grass that, interspersed with flowerbeds, stretches to the horizon where a bank of trees can be made out. A group of people crosses the grass in the distance while a lone figure takes a dog for a walk. A curious large grey bird rushes off to the right.

336

Bust of a Girl Undated Oil and charcoal on canvas (not attached to stretcher), 505 × 405 mm (painted area) Marie-Louise von Motesiczky Charitable Trust, London

This unstretched canvas shows the portrait of an unknown blonde young woman. Although the head has been carefully executed, the rest of the composition seems unﬁnished, with signs of an earlier composition underneath.

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Swimmer Undated Oil on canvas (not attached to stretcher), 375 × 505 mm (painted area) Marie-Louise von Motesiczky Charitable Trust, London

This unstretched and badly damaged canvas depicting a beach scene was discovered at the Motesiczky Trust in 2004. The composition is horizontally divided into three parts: the greenish sea, the yellow beach and the blue sky, broken up by a cluster of trees on the left and hills on the right. Three ﬁgures are walking along the beach, close to what appear to be three white tents. The swimmer in the calm water turns his head towards a second, barely visible bather in the left corner who has been painted over. 523

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Selection of Drawings

Apart from oil paintings, Marie-Louise von Motesiczkyâ&#x20AC;&#x2122;s oeuvre comprises a large number of drawings. Over four hundred have survived in the artistâ&#x20AC;&#x2122;s estate. With very few exceptions, none of them was signed and dated by the artist. Many drawings are preparatory sketches for paintings in which Motesiczky experiments with the composition. A small selection of her drawings is presented here.

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Sonja 1926 Charcoal and pastel on paper (?), dimensions unknown Location unknown

Only a black-and-white photograph of this drawing survives in the artist’s estate. The original, which the artist presented to the sitter’s parents, could not be located. The sitter may be a girl named Sonja Saller who, with her family, lived on or near the Motesiczky estate in Hinterbrühl. The little girl, a bow in her hair, is sitting on the ﬂoor, her legs crossed and tucked under. Her friendly, snub-nosed face is smiling at the artist with whom she is obviously familiar and at ease. Her hands are gesticulating as if telling a story or playing. A toy donkey, momentarily discarded, lies in her lap. provenance Artist; sitter’s parents (gift).

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At the Opera 1920s Black chalk and pastel on paper, 480 × 374 mm Marie-Louise von Motesiczky Charitable Trust, London

In this beautifully executed and highly finished drawing – a rare instance in the artist’s oeuvre – Motesiczky presents us with a close-up view of a box at the opera. It is occupied by three people who, perhaps enjoying an interval in the performance, relax and glance around them. The two women seated in the front row are of different generations and bear a faint resemblance to the artist and her mother. Both are elegantly dressed. The younger one, her short dark hair adorned by a green and black hat, rests her arm on the back of the chair, casually supporting her head with the tips of her fingers. A temporarily discarded pair of white gloves is draped over the balustrade. The elder and more rounded lady, also carefully made up, wears a fox-fur around her neck and holds the evening’s programme in her hand. Through an open door, beyond the richly decorated interior of the box, we catch a glimpse of a waiter in a red uniform bearing a tray of what appears to be drinks. Motesiczky may have been familiar with paintings such as Die Loge [1], 1928, by Max Beckmann (fig. 255) which shows a similar scene in a box.

Fig. 255 Max Beckmann, Die Loge [1], 1928, oil on canvas, 1212 × 848 mm (Staatsgalerie Stuttgart)

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Self-portrait Playing Darts Selbstporträt beim Pfeilwerfen Late 1920s Pastel and charcoal on paper, 612 × 466 mm (sight) Georg Baldass, Vienna

Unique among the artist’s numerous depictions of herself, this early self-portrait shows Motesiczky as a sportswoman, playing darts. The activity possibly takes place in a room which the artist rented in either Paris or Berlin, as the settee in the background, covered with bedclothes and a pillow and evidently serving as a bed, indicates. Motesiczky, wearing what looks like a dressing gown or nightgown and felt slippers, her hair done up in a bun, looks completely at ease. She is intently engaged in a game of darts. One raised hand balances a dart in the air, aiming at the board just visible on the right, which is leaning against a piece of furniture. The other hand holds more darts for further throws. Stylistically, with its neutral, almost empty background, the black outlines, sparse colouring and highlighting in white, this light-hearted glimpse of Motesiczky in private is closely related to Max Beckmann’s drawing Junge mit Hummer, 1926 (ﬁg. 256). Having visited his master-class in Frankfurt in 1927/8, Motesiczky must have been intimately familiar with Beckmann’s recent work and created here her own version of his style. provenance Artist; Pauly Baldass (gift probably before 1938); Georg Baldass (inherited 1974). exhibitions Frankfurt am Main 2006, no. 19, illus. p. 83 (col.); Passau 2007, no. 19, illus. p. 83 (col.); Southampton 2007, no. 19, illus. p. 83 (col.).

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Fig. 256 Max Beckmann, Junge mit Hummer, 1926, charcoal on paper, heightened with white, 605 × 450 mm (private collection)

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Samuel Barber 1933 Medium and dimensions unknown Signed (top left): Motesiczky 31.XII.33 Location unknown

The young American composer Samuel Barber (1910–81) spent the winter of 1933/4 in Vienna. While taking voice lessons and practising conducting he was being swept up in Vienna’s social whirl. Together with his lifelong friend and companion, the composer Gian Carlo Menotti (1911–2007), he took up residence on Brahmsplatz, in the Motesiczkys’ studio ﬂat on the ﬂoor above their own living quarters. In her memoirs, Henriette von Motesiczky recalls her tenants, who were soon to become good friends: ‘I would only like to further mention our last tenants since today they are very famous musicians. The American Sam Barber and his friend, Gian Carlo Menotti, an Italian. When I asked for a reference, they gave me the address of [Arturo] Toscanini. I did, of course, not write to the great maestro. It was enough to know that they were friends of his.’1 Samuel Barber enthusiastically reported back home on his successful stay in Vienna and his impression of the young Motesiczky: ‘The rest of the winter has been ideal. I found an atelier in Brahmsplatz, which looks out over the city. The landlady, who lives in an apartment underneath, has a charming daughter-painter who immediately introduced me to many people … Shortly after getting settled here I had the idea of having a little orchestra come to play in my atelier every week so that I could learn to conduct. I was able to get sixteen of the best young strings in Vienna – all members of the Konzertorchester – for a total sum of $9 weekly. Unbelievable! These Wednesday afternoons have been my greatest fun, and what better way is there to learn to conduct? The atelier is very attractive – grand for music – and the acoustics make it often sound like a whole symphony. I play exactly what I want’.2 It is conceivable that members of the musical Motesiczky family were in the audience for these performances. As the signature suggests, the drawing was created on New Year’s Eve 1933. Dressed in full evening clothes, complete with cummerbund and bow tie, Samuel Barber is reclining at

leisure on a sofa, resting either before or after (as his ruﬄed hair might indicate) the evening’s festivities. Compared with his thin legs and small body, Samuel Barber’s head is disproportionately large. It seems to have been the part of the body that Motesiczky was most interested in and which she captured with a striking likeness. The friendship between the two composers and the artist that had begun in Vienna did not break oﬀ. They repeatedly saw each other again. On a trip to the United States in 1934 or 1935, Motesiczky probably visited Samuel Barber, as suggested by an old address book, containing the composer’s address and phone number together with details of the nearest station. When, in 1956, she stayed with Quappi Beckmann in New York, she took the chance to catch up with her old friends: ‘Yesterday I met Sam [Barber] and Nocki [Gian Carlo Menotti]. It was very nice.’3

Motesiczky presented the drawing to the sitter as a gift, presumably shortly after its creation. Its current whereabouts are unknown. notes 1 ‘Nur unsere letzten Miter möchte ich noch erwenen weil sie heute sehr berühmte Musiker sind. Der Amerikaner Sem Barber und sein Freund, Jon Carlo Minotti ein Italiener. Als ich damals eine Auskunft über sie wollte, gaben sie mir die Adresse von Toskanini. Natürlich habe ich dann nicht, an den grossen Meister geschrieben. Es genügte mir das ich wuste, das sie mit ihm befreundet waren.’: Henriette von Motesiczky, undated manuscript: Motesiczky archive. 2 Samuel Barber to Curtis Institute, [winter 1934], quoted in Overtones, 1933–4, pp. 76 f. 3 ‘Gestern sah ich Sam u. Nocki. Es war sehr nett.’: MarieLouise von Motesiczky to Elias Canetti, 9 March 1956: Motesiczky archive. provenance Artist; Samuel Barber (gift 1933/4). bibliography Schlenker 2006d, p. 255.

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Siesta

Erna Wohl in the Bath Erna Wohl in der Badewanne

1933

1934

Pastel and charcoal on paper, 254 × 423 mm Marie-Louise von Motesiczky Charitable Trust, London

Like Henriette von Motesiczky – Portrait No. 1, 1929 (no. 29), and numerous later portraits, Siesta shows the artist’s mother in one of her favourite places: in bed. She is enjoying her afternoon rest, a treat she always observed and insisted on her daughter following. Henriette von Motesiczky is lying on her stomach to rest on what is probably a hot day. Her large, powerful figure dominates the paper with her sheer size. Above the duvet, her nightgown has ridden up, exposing her round belly and white fleshy arms, one tucked in between the pillows, the other supporting the head. Despite her massive bulk, denting the huge cushions all around her, the childlike features of her face, especially the wide-eyed gaze that fixes the viewer in surprise, lend a certain innocence to the overall air of abandonment.

Pastel on paper, 318 × 486 mm Marie-Louise von Motesiczky Charitable Trust, London

sources from the archive of the marie-louise von motesiczky charitable trust Daniele Grassi, typescript, c. 1986, p. 4: ‘Im Pastell “Siesta” von 1933 ist bereits die erste nachtwandlerische Darstellung Deiner Mutter, einer Seehund-Mutter, in Rosa und Grautöne gewickelt, mit dem Kopf eines sehr lebendigen Tieres, das aus der Tiefe auftaucht, aus seiner tönenden Welt des Fruchtwassers, und den Betrachter mit großen Augen – Deinen eigenen Augen – eines Tieres ﬁxiert, das lauscht und auf der Hut ist vor kommenden Störungen.’ exhibitions The Hague 1939, no. 13; London 1944b, no. 37, shown as Lady Day-Dreaming; London 1985, no. 15, illus. p. 28 (col.); Cambridge 1986, no. 15, illus. p. 28 (col.); Frankfurt am Main 2006, no. 22, illus. p. 89 (col.); Passau 2007, no. 22, illus. p. 89 (col.); Southampton 2007, no. 22, illus. p. 89 (col.). bibliography A.d.B. 1939, n.p.; Gruyter 1939, n.p.; Zimmermann 1985, n.p.; Plakolm-Forsthuber 1994, illus. p. 167; Vorderwülbecke 1999, pp. 23, 34, 53 f.n., illus. p. 78; Phillips 2001, p. 33; Rothländer 2004a, p. 48, illus. p. 48 (Fiesta); López Calatayud 2005, p. 27, illus. n.p. (col.); Held 2006, n.p.; Lloyd 2006, pp. 40 f.; Schlenker 2006c, pp. 78, 88; Lloyd 2007, p. 81.

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Erna Wohl, whose husband is said to have helped with the Motesiczkys’ accounts, was a friend of the artist and her family. When the Motesiczkys left Austria Erna Wohl stayed on in Vienna while her brother Emil emigrated to England. He settled in Slough, not far from the Motesiczkys’ home in Amersham, which he frequently visited. Erna Wohl kept in touch with the Motesiczky family and visited them in Amersham in 1952. She met Elias Canetti who, after initially disliking her, had only praise for her: ‘She totally opened up and was pleasant, clever and human all of a sudden. She told me wonderful things about you; and then we also talked about Frankfurt. Just imagine, she often was in the boarding-house, where I stayed with my mother and my two brothers in Frankfurt all those years ago, and visited a lady there who impressed me deeply with her education and her wit.1 Erna is by far the most interesting of all the Wohls and only in your presence she does give such a tensed-up impression; this is because she loves you and needs you: you are her whole life’s history, but you know that.’2 On their regular visits back to Vienna after the war, both the artist and her mother always met Erna Wohl who would put herself at their constant disposal. In 1953 the artist’s mother wrote home: ‘It is good that Erna is here, only she has too much time for me and that makes me lazy and I don’t see enough of other people. She always looks like a little carp who gasps for breath and still keeps smiling … On Saturday … I will invite someone and Erna will lay the table and clear everything away.’3 Erna Wohl’s eagerness to be of assistance, although appreciated for its kind intentions, sometimes proved too much for the Motesiczkys who tended to be exhausted by her endless demands for attention and conversation. A typical remark about Erna Wohl is the following: ‘Erna is dear but sadly not in good form and often gets on my nerves.’4 The portrait captures the familiarity between sitter and artist. It shows Erna Wohl taking a bath in a large metal tub. Completely naked, she is stretched out in the water that

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Fig. 257 Pierre Bonnard, The Bath, 1925, oil on canvas, 860 × 1206 mm (Tate, London)

reaches only up to her breasts while her knee also sticks out. Aware of the onlooker, she has discarded her sponge which, out of reach, floats in the water. This bathing scene is reminiscent of Pierre Bonnard’s The Bath, 1925 (fig. 257). Yet whereas Bonnard’s model has artificially elongated, straight limbs, Erna Wohl’s legs are unnaturally bent. notes 1 In the second part of his autobiography, Die Fackel im Ohr, first published in German in 1980, Elias Canetti describes his fellow guests at the Pension Charlotte where his family

stayed from 1921 to 1923. The lady in question is probably Fräulein Kündig, a teacher. 2 ‘Sie ist ganz aufgegangen und war plötzlich angenehm, klug und menschlich. Sie hat mir wunderschöne Sachen von Dir erzählt; und dann sprachen wir auch von Frankfurt. Stell Dir vor, sie war oft in der Pension, wo ich damals mit meiner Mutter und meinen beiden Brüdern in Frankfurt wohnte und hat da eine Dame besucht, die mir durch ihre Bildung und ihren Witz tiefen Eindruck machte. Die Erna ist die weitaus interessanteste von allen Wohls und nur in Deiner Gegenwart macht sie einen so verkrampften Eindruck; das ist, weil sie Dich liebt und braucht: Du bist die ganze Geschichte ihres Lebens, aber das weisst Du.’: Elias Canetti to Marie-Louise von Motesiczky, 13 October [1953]: Motesiczky archive. 3 ‘Dass Erna da ist ist gut, sie hat nur zu viel Zeit für mich u. das macht mich faul u. ich kümmere mich zu wenig um

andere Menschen. Aussehen tut sie immer wie ein kleiner Karpf, der nach Luft schnappt und doch dabei lächelt … Samstag … lade ich mir dann wen ein u. die Erna deckt Tisch u. räumt alles weg.’: Henriette von Motesiczky to Marie-Louise von Motesiczky, 15 January 1953: Motesiczky archive. 4 ‘Erna ist lieb aber leider in keiner guten Verfassung und geht einem oft sehr auf die Nerven.’: Marie-Louise von Motesiczky to Henriette von Motesiczky, 20 November 1955: Motesiczky archive.

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Portrait Frau L. 1934 Pastel on paper, 600 × 480 mm Private collection, the Netherlands

Ilse von Lieben (1873–1961; fig. 258), the eldest sister of Motesiczky’s mother, married the Dutch entrepreneur Willem Leembruggen in 1895. The two sisters and their families always kept in close contact. In 1922 the young Motesiczky stayed with her aunt in The Hague for several months, studying at a private art school with the Czech painter Carola Machotka. When forced to leave Austria in 1938, the Motesiczkys immediately turned to Ilse Leembruggen who was a well-known benefactress. Over the years, and especially during the Second World War, when Ilse Leembruggen was arrested repeatedly and sent to the transit camp in Westerbork, she generously helped and supported numerous individuals, family members, friends and strangers. Among them was Max Beckmann, who, as a ‘degenerate’ artist, had emigrated to Amsterdam with his wife. Alerted by Motesiczky to the plight and financial difficulties of the Beckmanns, Ilse Leembruggen became a patron of the artist, buying several of his works. Apart from Portrait Frau L. and the drawing Aunts, Sketching (p. 533), created in the same year, Motesiczky again depicts her aunt in the 1948 painting In the Garden (no. 81). According to family tradition, she is seen here on the terrace of a chalet during a vacation in Switzerland. Well wrapped up, with a blanket for extra protection, she is looking up from her book. Behind Ilse Leembruggen, underneath the striped blind, sits a Dutch writer by the name of Boutens (probably the translator, scholar and mystic poet Pieter Cornelis Boutens, 1870–1943) who gave her Dutch lessons. With only his impressive moustache visible under a large hat, he is engrossed in his reading. This portrait was presumably among the works that the artist’s brother Karl sent on from Vienna in 1938. Max Beckmann is reported to have congratulated Motesiczky on the portrait with the words: ‘You did a good job!’

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sources from the archive of the marie-louise von motesiczky charitable trust Karl von Motesiczky to Marie-Louise von Motesiczky, 4 May 1938: ‘Inzwischen habe ich alles in Bewegung gesetzt, damit Du Deine Bilder bald bekommst. Otto [Kallir] hat mir einen Spediteur genannt, der Spezialist ist. Er war heute bei mir und hat sich alle angeschaut. Seiner Meinung nach bestehen keine Schwierigkeiten, da es sich um moderne Kunst handelt … Wo steht das Pastell: Tante Ilse – Boutens, damit ich es senden kann?’

Gaby Reydon-Nechansky to Marie-Louise von Motesiczky, 25 December 1987: ‘Aber Tante Ilse schaut auf mich herab und sagt mit ihren träumerischen großen Augen: es ist alles nicht so wichtig. Das Bild macht mir mehr und mehr Freude!’ provenance Artist; Gaby Reydon-Nechansky (purchased 1985). exhibition London 1944b, no. 44 (?), probably shown as Aunt. bibliography Schlenker 2006b, pp. 194 f., illus. p. 194 (col.); Lloyd 2007, p. 81.

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Aunts, Sketching Tanten, Malen 1934 Pastel and charcoal on paper, 575 × 410 mm (sight) Mirli and Daniele Grassi, Belgium

Motesiczky’s aunts, Ilse Leembruggen (1873– 1961) and Valerie (Valla) Karplus (1874–1938), both née von Lieben, were gifted and keen amateur artists. In the grounds of the family villa in Hinterbrühl they had a studio in an outbuilding that Motesiczky’s mother Henriette, the youngest sibling and then in her early teens, once showed to the poet Hugo von Hofmannsthal: ‘Then we passed the green, slightly faded door that was left ajar and hang crookedly in its hinges. It was the studio of my sisters. The high, light room with a north-facing window. Sketches were strewn about, unﬁnished still-lifes, unwashed brushes. A picturesque mess.’1 Here, several decades later, the aunts are shown indulging in their passion in the open air, probably near the Dutch town of Leiden, where the Leembruggen wool factory was situated. Leiden’s houses and a church tower as well as a bridge leading to them are visible in the background. On an almost cloudless day, the sisters have chosen an empty stretch of

land on which to place their stools and easel. Well-wrapped against the elements they are hardly distinguishable and totally absorbed in their task. Valla Karplus, on the left, sports a ﬂoppy yellow hat that obscures her eyes. Ilse Leembruggen, on the right, wearing a white scarf round her head, has a drawing pad in her lap which she seems to have discarded momentarily, being engrossed in watching her sister at work.

Fig. 258 Ilse Leembruggen, photograph, undated (Motesiczky archive)

Ein malerisches Durcheinander.’: Henriette von Motesiczky: ‘Meine erste Begegnung mit Hoﬀmannsthal’, unpublished manuscript, p. 5: Motesiczky archive. provenance Artist; Ilse Leembruggen; Louise Rupé; Mirli and Daniele Grassi. exhibitions Vienna 2004b, illus. p. 220 (col.), shown as Ilse Leembruggen und Valerie Karplus; Frankfurt am Main 2006, no. 23, illus. p. 91 (col.); Passau 2007, no. 23, illus. p. 91 (col.); Southampton 2007, no. 23, illus. p. 91 (col.).

note

bibliography

1 ‘Dann gingen wir an der grünen etwas ausgeblichenen Thüre vorbei die oﬀen stand und schif in ihren Angeln hing. Es war das Atelier meiner Schwestern. Der hohe helle Raum mit einem Nordfenster. Skizzen lagen herum, angefangene Stilleben ungewaschene Pinsel.

Lloyd 2004, illus. p. 220 (col.) (Ilse Leembruggen und Valerie Karplus); Schlenker 2006c, p. 90; Lloyd 2007, pp. 80 f.

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Hunting Auf der Jagd 1936 Pastel and charcoal on paper, 459 × 568 mm Marie-Louise von Motesiczky Charitable Trust, London

Family tradition has it that the artist’s mother, Henriette von Motesiczky, when staying in the family villa at Hinterbrühl, would often go up to the balcony early in the morning, wearing a nightdress and carrying a shotgun. Coming down to breakfast she would greet everyone with the words: ‘I have shot a hare!’ This work testifies to Henriette von Motesiczky’s great passion for hunting, a pastime she had shared with her late husband Edmund von Motesiczky, who had died during a hunting trip to the family estate in Vázsony, Hungary (figs 9, 11 and 259). It shows a bulky figure sitting in a boat among the reeds, aiming her shotgun at ducks, two of which can be seen flying off in the background. The huntress is characterized as a resolute person, with red cheeks and a bulbous nose. She has a certain androgynous quality about her, were it not for the ample breasts and the blue dress straining at the seams with the effort of concentration, that prove her femininity. In the eyes of one critic, Henriette von Motesiczky resembles a ‘monstrous Amazon’.1 She certainly comes across as mildly eccentric in this wonderfully vital and touchingly comical depiction. note 1 ‘monströsen Flintenweib’: Muschik 1966. exhibitions London 1944b, no. 36, shown as Lady Hunting; Vienna 1966, no. 10, illus.; Linz 1966, no. 10, illus.; Munich 1967, no. 10, illus.; Bremen 1968, no. 10, illus.; London 1985, no. 19, illus. p. 29 (col.); Cambridge 1986, no. 19, illus. p. 29 (col.); Vienna 1994, no. 12, illus. (col.); Frankfurt am Main 2006, no. 24, illus. p. 93 (col.); Passau 2007, no. 24, illus. p. 93 (col.); Southampton 2007, no. 24, illus. p. 93 (col.). bibliography Muschik 1966, n.p.; Spiel 1966, n.p.; Dr. S. 1968, n.p.; Zimmermann 1985, n.p.; Black 1994, p. 8; Koch 1994, p. 100; Kruntorad 1994, n.p.; Plakolm-Forsthuber 1994, p. 167; Schmidt 1994a, illus. p. 7; Phillips 2001, p. 33; Schlenker 2001, p. 2; Schlenker 2003, p. 107; Lloyd 2004, p. 223; Rothländer 2004a, p. 50, illus. p. 50; López Calatayud 2005, p. 27, illus. n.p. (col.); Crüwell 2006c, n.p.; R. Gries 2006, n.p.; Held 2006, n.p.; Lloyd 2006, pp. 40, 43; Schlenker 2006c, p. 92; Sternburg 2006, n.p.; Lloyd 2007, pp. 81 f.

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Fig. 259 Henriette von Motesiczky in hunting outﬁt with a dead boar and a collection of deer antlers, photograph, before 1910 (Motesiczky archive)

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Beryl 1939/40 Pastel on board, 600 × 490 mm (sight) Private collection, United Kingdom

When Motesiczky moved to Amersham in 1939 she found a friend in Margaret (Peggy) Harris who, with her family, lived less than a mile away from ‘Cornerways’, the Motesiczky house in Chestnut Lane. Michael Croft, later Lord Croft, Motesiczky’s ‘gentleman friend’, used to stay with the Harrises when visiting her in Amersham. He was probably introduced to the Motesiczkys by Oskar Kokoschka who had painted a portrait of him in 1938/9 (fig. 178). On her visits to ‘Cornerways’, Margaret Harris was often accompanied by her daughter Beryl, who liked to play in the garden. Beryl was about four years old when this drawing was made (fig. 260). On the right, a chair belonging to a three-piece suite can be glimpsed, while Beryl sits on a wicker chair. She is wearing a white dress with puffed sleeves. Her hair is cut in a page-boy style. She cradles in her arm her doll Valerie, whose blue coat Motesiczky faithfully depicted while choosing to change the doll’s originally red bonnet to white. Beryl Atkins, née Harris, modelled again for Motesiczky. Five years after this portrait was done, Motesiczky noted another sitting in her diary: ‘Drew Beryl and little Mary Cala’.1 According to Beryl Atkins, Motesiczky started a second portrait of her, for which the above mentioned sitting might have been used. She remembers posing for the artist with her hands folded in her lap and the artist, curiously, suggesting that she put either a doll or a knife there. As a second portrait of Beryl has not been identified among the artist’s oeuvre, work on it might not have been completed beyond the sketching stage. note 1 ‘Beril u. kl. Mary Cala gez.’: Marie-Louise von Motesiczky, diary entry for 15 February 1945: Motesiczky archive. provenance Artist; sitter’s family (c. 1940).

Fig. 260 Beryl Harris, aged 4½, photograph, c. 1940 (Collection Beryl Atkins)

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Mother Meine Mutter 1977 Charcoal on paper, 280 × 380 mm Signed (bottom right): M.L.M. 1977 Location unknown

Like the painting Mother in Bed of c. 1977/8 (no. 259), this intimate drawing of the artist’s mother, Henriette von Motesiczky, was executed in the last year of the sitter’s life. It depicts the fragile and thin, almost emaciated body of Motesiczky’s favourite model in later years. By choosing her mother as a sitter the artist was able to combine her work with her duty of looking after her ailing parent, now in her mid-nineties. Motesiczky concentrates on the head of her sleeping model, indicating only her surroundings, a thick pillow and a blanket drawn up to the chin, with a few lines. Henriette von Motesiczky’s bald head is turned away from the viewer, the lack of hair disguised by a headscarf. The proﬁle, however, highlights her vulnerability, emphasizing the now prominent ear and nose and suggesting sunken cheeks. This moving portrait is almost an attempt at capturing the beloved mother one last time before it is too late. This drawing must probably be considered lost. Together with all of the artist’s work it went into storage after her death, where it went missing. sources from the archive of the marie-louise von motesiczky charitable trust Barbara Göpel to Marie-Louise von Motesiczky, 11 December 1982: ‘Wenn ich die Fotos von Deiner Mutter sehe, ihre Gedichte lese, kann ich erst recht ermessen, wie gut Deine Portraits von ihr sind – bis zu der erschütternden Zeichnung, bei der aller Schmerz des Abschiednehmens tastend den Stift führt … Das sind doch einfach erstklassige Bilder, die der zutiefst verstehenden Beckmann-Schülerin und die späteren, befreiten.’ exhibition Cambridge 1986, ex catalogue, shown as Portrait of Henriette M., 1976.

Fig. 261 Marie-Louise von Motesiczky, sketch, c. 1977, graphite on paper, 329 × 208 mm (MarieLouise von Motesiczky Charitable Trust, London)

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Portrait Maria 1990 Pastel and charcoal on paper, 538 × 447 mm (sight) Signed (bottom left): Maria Marie Louise von Motesiczky 1990. Private collection, London

Fig. 262 Marie-Louise von Motesiczky, Maria Gussago, c. 1990, charcoal on paper, 450 × 320 mm (Marie-Louise von Motesiczky Charitable Trust, London)

Maria Gussago, the Italian sitter for this portrait, was born in Gussago, just outside Brescia, in 1924. She came to England in 1948 and started working as a housekeeper for Ladislas Rice, a Hampstead neighbour of the artist. Motesiczky would sometimes meet Maria Gussago on the street and, as the sitter recalls, repeatedly asked her to sit for her portrait, which, originally, the artist apparently intended to carry out in oil. Maria Gussago did not take the request seriously and kept declining the offer. When she saw the artist’s early work The Balcony, 1929 (no. 30), which Ladislas Rice had just purchased, she eventually agreed to sit. Motesiczky went about her business very thoroughly, creating several highly accomplished studies for Maria Gussago’s portrait (fig. 262). The final portrait was done

in a number of sittings which took place in the artist’s studio and were accompanied by pleasant chatting (ﬁg. 263). The portrait shows the head of an elderly woman, her white hair tied back. The sitter is smiling faintly, focusing on a point in the middle distance. Her clothes are merely suggested, but, judging from photographs, must have consisted of a grey blouse under a yellow jumper. provenance Artist; Ladislas Rice (gift 1990).

Fig. 263 Maria Gussago posing for her portrait, photograph, 1990 (Motesiczky archive)

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Birthday Still-life with Photo Undated Pastel and oil on paper, 470 × 165 mm Marie-Louise von Motesiczky Charitable Trust, London

Unusually, Motesiczky painted this still-life on paper, cut exactly to size. It shows a carefully arranged composition of objects on a table, covered with a white tablecloth: a small calendar mounted on a red board and a photograph of the young Motesiczky in a Chinese costume (fig. 20), framed by two vases containing bunches of red and white roses. Just like Birthday, 1962 (no. 184), the still-life presumably depicts a scene on the artist’s birthday, 24 October, as the calendar sheet indicates. The flowers may have been birthday gifts. The unusual vertical format was occasionally employed by Motesiczky, mainly in her early career (see for example Summer Landscape, 1926, no. 14) when the influence of her teacher Max Beckmann, who also favoured such formats, was strongest. The photograph was taken in Frankfurt am Main in 1927, when Motesiczky was taking part in a Chinese play. The melancholic composition is full of memories of the past, presumably triggered by the artist’s birthday and her advancing age.

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Chronology

1906 Marie Luise Josefine Alice von Motesiczky is born in Vienna on 24 October to Henriette von Motesiczky (née von Lieben, born in 1882) and Edmund Franz von Motesiczky Kesseleökeö (born in 1866). Her mother is a talented amateur painter and poet; her father a gifted musician. She has an elder brother, Karl Wolfgang Franz (born in 1904). Marie Hauptmann joins the family as Motesiczky’s nurse. The family divides its time between an apartment at Brahmsplatz 7, in the fourth district of Vienna, in winter, and the Villa Todesco at Kröpfelsteig 42, in the village of Hinterbrühl in the Wienerwald, south-west of Vienna, in the summer. During the hunting season they live at the Hungarian estate of Vázsony. The extended family is among the most prominent in Vienna and plays a leading role in the city’s cultural life, having interests in science, music, literature, painting and philosophy, and counting among its circle the composers Johann Strauß and Johannes Brahms, the writers Franz Grillparzer and Hugo von Hofmannsthal as well as Sigmund Freud. 1909 Edmund von Motesiczky falls ill with a twisted intestine on a hunting trip. He dies on 12 December. Henceforth Motesiczky is educated by a succession of private tutors and governesses. 1916 Enters school, the Öffentliches Mariahilfer Mädchenlyzeum, in the sixth district of Vienna. A tall girl, she becomes known as ‘Piz’ within the family because of her height, the reference being to the Swiss mountain Piz Buin. 1920 Leaves school at the age of thirteen, which she later greatly regretted. She begins to draw and for several months takes private art lessons in the Viennese studio of the artist David Kohn. In the summer, the painter Max Beckmann (1884–1950) is introduced to the Motesiczkys by a relative, Irma Simon, wife of Heinrich Simon, the editor-in-chief of the Frankfurter Zeitung. Beckmann becomes a close family friend and a key artistic influence on Motesiczky. She often visits the Kunsthistorisches Museum in Vienna where the curator Ludwig Baldass introduces her to art history.

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Fig. 264 Marie-Louise von Motesiczky, photograph, 1925 (Motesiczky archive)

1922 Falls in love with her cousin Witold Schey. Her mother sends her to stay with her aunt Ilse Leembruggen in the Netherlands to help her to recover from the infatuation. Motesiczky spends four months in The Hague. She discovers the paintings of the Dutch school, notably Rembrandt, and of Vincent van Gogh, who becomes a decisive inﬂuence. She attends the private art school of the Czech painter Carola Machotka, and also meets Mathilde von Kaulbach (1904–96), daughter of the Munich painter Friedrich August von Kaulbach. 1923 Mathilde von Kaulbach stays with the Motesiczkys at their ﬂat on Brahmsplatz, Vienna. She meets Max Beckmann and subsequently marries him in 1925. Henriette von Motesiczky’s nickname for her, ‘Quappi’, is adopted by all her friends, including Beckmann.

Fig. 265 Marie-Louise von Motesiczky in front of a mirror, photograph, c. 1920 (Motesiczky archive)

1924 For about three months attends the Städelschule in Frankfurt am Main, where she studies with Professors Johann Vincenz Cissarz (1873–1942) and Franz Karl Delavilla (1884–1967). She stays with Heinrich and Irma Simon and attends their Friday lunches. The guests include the conductor Wilhelm Furtwängler, the ballerina Anna Pavlova and the writers Benno Reifenberg and Fritz von Unruh. She regularly meets Max Beckmann, sees his works in the Simons’ house and visits his studio for the ﬁrst time, where he shows her his latest oil paintings. On returning to Hinterbrühl, she takes up oil painting herself. She enrols at the Kunstgewerbeschule am Ring in Vienna for one term in autumn, studying with Professors Adolf Boehm (1861–1927) and Erich Mallina (1873–1954). 1925–7 Spends long periods in Paris, often in the winter. Studies at the Académie de la Grande Chaumière in Montparnasse. She makes friends with the painter Wolfgang Paalen (1905–59). In Vienna, she has a romance with the exiled Hungarian writer Baron Lajos Hatvany (1880–1961).

Fig. 266 Marie-Louise von Motesiczky on the balcony in Hinterbrühl, photograph, 1920s (Motesiczky archive)

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Fig. 267 Elinor von Lieben (left), Marie-Louise von Motesiczky (centre) and Elias Canetti (right) in the garden in Amersham, photograph, c. 1940 (Motesiczky archive)

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Fig. 268 Marie-Louise von Motesiczky and Elias Canetti in her studio in Amersham, photograph, early 1940s (Motesiczky archive)

1927–8 Beckmann invites Motesiczky to attend his masterclass at the Städelschule in Frankfurt am Main. She later recorded experiences of this in her essay ‘Max Beckmann als Lehrer. Erinnerungen einer Schülerin des Malers’. 1928 Travels to Spain. The writer Heimito von Doderer (1896–1966) dedicates a poem, ‘Lebhafte Erinnerung’, to Motesiczky. 1928–30 Moves to Berlin and studies life drawing at the Studien-Atelier für Malerei und Plastik Robert Erdmann in Charlottenburg. She forms a relationship with the artist Siegfried Sebba (1897–1975) which lasts several years. Her mother prevents their marriage.

1933 First exhibits in public at the ‘Frühjahrsausstellung des Hagenbundes’ in Vienna, showing two works. In the winter of 1933/4 the composers Gian Carlo Menotti (1911–2007) and Samuel Barber (1910–81) rent a flat in the Motesiczkys’ house and soon become friends. Motesiczky paints a portrait of each of them (both now lost). 1934 Travels to the United States and enquires about the possibilities of emigrating there with Sebba. 1937 Romantic attachment with Herbert Schey, the twin brother of Witold, which lasts until her flight from Austria in the following year. 1938 Flees Vienna for the Netherlands with her mother on 13 March, the day after the Anschluss. They live in several boarding houses and hotels, occasionally meeting Max and Quappi Beckmann. Karl remains in Austria and sends out Motesiczky’s early paintings from the 1920s and 1930s. With Ella Lingens and others he subsequently joins a resistance group that helps Jews to escape from Austria. 1939 Has her first solo exhibition at Esher Surrey Art Galleries in The Hague in January, which is well received by the critics. She and her mother decide to emigrate to England, travelling with Marie Hauptmann via Switzerland to London, where they arrive in February. They live in a hotel in Sloane Square, then in a flat in Marble Arch, and later rent rooms at 76 Adelaide Road in north London. Karl von Motesiczky sends out a substantial part of the Viennese household, including furniture and artworks. The Motesiczkys renew their acquaintance with the painter Oskar Kokoschka (1886–1980), a family friend from Vienna. Motesiczky meets the writer Elias Canetti (1905–94) who had fled to England with his wife Veza in February 1939. They embark on a turbulent relationship that lasts for the rest of their lives and is marked by unfailing support for each other’s work. Motesiczky also meets Canetti’s friend, Gustav Mahler’s daughter, the sculptress Anna Mahler (1904–88), who makes a portrait bust of her (now lost).

Fig. 269 Marie-Louise von Motesiczky in her Paris studio, leaning on the wall next to her drawing At the Opera, photograph, c. 1930 (Motesiczky archive)

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Fig. 270 Marie-Louise von Motesiczky, photograph, 1947, sent to Elias Canetti in a letter dated 14 August 1947 (Motesiczky archive)

1940 Escapes the dangers of the Blitz with her mother and Marie Hauptmann by moving to Amersham in Buckinghamshire, a village to the west of London. They first live with the priest Gordon Milburn and his wife Mary at ‘Durris’ in Stubbs Wood, where Canetti and his wife live later on. After the war, Motesiczky paints the portrait Father Milburn, 1958 (no. 154), and Canetti describes the couple in his English memoirs Party in the Blitz (2005). Kokoschka paints a portrait of Motesiczky. 1941 The Motesiczkys acquire ‘Cornerways’, a threebedroom house at 86 Chestnut Lane, Amersham. The house affords space for a studio and for Canetti’s substantial library. Motesiczky participates in the ‘Exhibition of Contemporary Continental Art. Paintings, Water-Colours, Sculptures’ at the Leger Gallery in London. She helps Max Beckmann to survive in exile during the war by mediating sales of his works to her relatives in the Netherlands. 1942 Participates in the ‘Exhibition of Works by Allied Artists’ at the R.B.A. Galleries in London. Canetti dedicates to her a manuscript, Aufzeichnungen für Marie-Louise, published in 2005. Her brother is arrested by the Gestapo on 13 October after helping two Jewish couples from Poland escape to Switzerland. He is deported to Auschwitz. 1943 Joins the Artists’ International Association. Karl von Motesiczky dies in the prisoners’ infirmary at Auschwitz on 25 June. 1944 Shows twenty-eight paintings at the ‘Exhibition of Painting and Sculpture by Marie Louise Motesicky and Mary Duras’ at the Czechoslovak Institute, London. She shows a painting in ‘AIA 1944. Artists’ International Association Members’ Exhibition’ at the R.B.A. Galleries.

1945 After the war Motesiczky moves from Amersham to London, staying at 139 Maida Vale. She takes part in ‘This Extraordinary Year. Annual Exhibition by members of the Artists’ International Association’ at the Whitechapel Art Gallery in London. 1946 First trip to Vienna after the war. She returns regularly. 1948 She and her mother are ‘naturalized’ as British citizens. She moves to a ﬂat at 14 Compayne Gardens, West Hampstead. Canetti has a room here from 1951 to 1957, where he often works. 1950 Around this time she forms lasting friendships with the art critic and writer Edith Yapou, the leading modernist architect Godfrey Samuel and the émigré artist Milein Cosman and her husband, the musicologist Hans Keller. 1952 Has solo exhibitions at the Kunstzaal Van Lier, Amsterdam, and the Kunstzaal Plaats, The Hague. The Stedelijk Museum of Modern Art, Amsterdam, buys Finchley Road at Night (no. 110), painted that year. 1953 Participates in the exhibition ‘The Renaissance of the Fish. Paintings from the 17th to the 20th Century’ at Roland, Browse and Delbanco, Cork Street, London. 1954 Her nurse, Marie Hauptmann, who has been a second mother to her since her childhood, dies in March, aged sixty-nine. The Städtische Galerie in Munich mounts an exhibition of works by Erna Dinklage and Motesiczky featuring thirty-four of her works, chieﬂy recent paintings. Friendship with the composer Ralph Vaughan Williams and his wife Ursula, whose portrait she paints. 1955 Together with Heinz May, Curt Beckmann and Hans van Breek, Motesiczky exhibits at the Kunstverein für die Rheinlande und Westfalen in Düsseldorf.

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Fig. 271 Milein Cosman and Marie-Louise von Motesiczky on the steps of the Tate Gallery in London, photograph, 1953 (Motesiczky archive)

Fig. 272 Marie-Louise von Motesiczky with Franzi – in the background a tapestry with a hunting scene from the family property in Vienna, photograph, c. 1955 (Motesiczky archive)

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Fig. 273 Marie-Louise von Motesiczky, photograph, undated (Motesiczky archive)

1956 Makes an extended trip to the United States and to Mexico. Here she meets Wolfgang Paalen again. The family estate in Hinterbrühl is sold to Hermann Gmeiner for the construction of an SOS-Kinderdorf, a charitable children’s village. Five years later, in 1961, Henriette and Marie-Louise von Motesiczky erect a monument to Karl on this site. 1958 Engages Maria Pauzenberger (‘Bauzen’) who cares for her mother for the rest of her life. 1959 Motesiczky and her mother purchase a substantial three-storey Edwardian house in Chesterford Gardens, Hampstead. 1960 Moves with her mother to Chesterford Gardens. Her studio and bedroom are on the first floor. Canetti has a room on the top floor, which he uses for writing. ‘Cornerways’ is rented out, then sold in the 1970s. Helen Lessore, who also showed Francis Bacon, Frank Auerbach and Leon Kossoff, mounts a solo exhibition for Motesiczky at the Beaux Arts Gallery in London. 1961 Holidays with Gretel and Theodor W. Adorno at Sils Maria, Switzerland. The art historian Josef Paul Hodin publishes an appreciation of her work in The Painter & Sculptor and another in Alte und moderne Kunst (1966).

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Fig. 274 Marie-Louise von Motesiczky on the London Underground, photograph, 1974/5 (Motesiczky archive)

1963 Veza Canetti dies. Motesiczky expects to become Canetti’s second wife. A portrait of Iris Murdoch is commissioned for St Anne’s College, Oxford, on the occasion of the writer’s retirement from teaching. 1964 Travels to Tunisia. Shows two paintings in the exhibition ‘Last Anthology’ at the Beaux Arts Gallery, London. 1966 Major solo exhibition at the Wiener Secession, for which Canetti writes an essay on her work. The show travels to the Neue Galerie der Stadt Linz, the Galerie Günther Franke in Munich (1967) and the Kunsthalle in Bremen (1968). Paintings are bought by the Österreichische Galerie in the Belvedere (Frau Ziegler, 1938, no. 45), the Neue Galerie der Stadt Linz (Self-portrait with Pears, 1965, no. 202) and the Culture Office of Vienna (Elias Canetti, 1960, no. 165). 1969 First visit to Israel, where she returns several times. 1973 Suffers a bitter disappointment on learning that Canetti has married the art restorer Hera Buschor (in 1971), and that they have a child. Motesiczky temporarily breaks off all contact with him.

1974 Participates in the exhibition ‘Hampstead in the Thirties. A Committed Decade’ at the Camden Arts Centre, London. 1975 Takes part in ‘Portraits Today’, an exhibition of The Contemporary Portrait Society held at The Qantas Gallery, London. 1977 Submits a painting for the ‘Summer Exhibition’ at the Royal Academy of Arts, London. It is not accepted. She tries again with two paintings in 1981 and is again rejected. 1978 Henriette von Motesiczky dies on 8 June at the age of ninety-six, having been nursed to the end by her daughter. The house is altered to accommodate lodgers. Motesiczky moves downstairs, but keeps her studio on the ﬁrst ﬂoor. 1980 Karl von Motesiczky is honoured as a Righteous Among the Nations. She shows fourteen paintings in the exhibition ‘Max Beckmanns Frankfurter Schüler 1925–1933’ at the Kommunale Galerie im Refektorium des Karmeliterklosters in Frankfurt am Main.

Fig. 275 Änne Meyer, widow of the Beckmann pupil Friedrich Wilhelm Meyer, Marie-Louise von Motesiczky, the art historian Günter Vogt and the former Beckmann pupils Theo Garve, Inge Dinand and Alfred Nungesser during a panel discussion at the Kommunale Galerie im Karmeliterkloster, Frankfurt am Main, photograph, 1980 (Motesiczky archive)

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1982 Compiles a memorial book for her mother, which includes reproductions of paintings and poems by Henriette as well as some of her own paintings. 1985 Has her ﬁrst retrospective, ‘Marie-Louise von Motesiczky. Paintings Vienna 1925 – London 1985’, at the Goethe-Institut, London. The show brings together seventy-three paintings from public and private collections as well as from the artist’s own collection. The catalogue contains essays by Ernst Gombrich, Günter Busch, Richard Calvocoressi and Motesiczky herself. The exhibition is a huge success. It is widely reviewed in the British press as well as in the Frankfurter Allgemeine Zeitung and the Süddeutsche Zeitung. The Tate Gallery, London, acquires three paintings, View from the Window, Vienna, 1925 (no. 4), Still-life with Sheep, 1938 (no. 48) and From Night into Day, 1975 (no. 251).

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1986 The retrospective ‘Marie-Louise von Motesiczky. Paintings Vienna 1925 – London 1985’ travels to the Fitzwilliam Museum in Cambridge. She participates in the exhibitions ‘Hampstead Artists 1946–1986’ at the Camden Arts Centre, London, and ‘Kunst im Exil in Großbritannien 1933–1945’ at the Orangery of Schloß Charlottenburg, Berlin. The latter subsequently travels to the Städtische Galerie in Oberhausen, the Historisches Museum der Stadt Wien and the Camden Arts Centre, London, under the title ‘Art in Exile in Great Britain 1933–1945’.

Fig. 276 Marie-Louise von Motesiczky, photograph, 1980s (Motesiczky archive)

1987 Participates in the exhibition ‘Emigré Artists’ at the John Denham Gallery, London. 1988 The exhibition ‘Marie Louise von Motesiczky with “Figurative Image”’ at the Royal Hospital Kilmainham in Dublin shows sixteen paintings by Motesiczky.

Fig. 277 Marie-Louise von Motesiczky in her studio in Chesterford Gardens, photograph, 1980s (Motesiczky archive)

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Fig. 279 Marie-Louise von Motesiczky, photograph, early 1990s (Motesiczky archive)

Fig. 278 Milein Cosman, Marie-Louise von Motesiczky, 1993, conté on paper, 480 × 330 mm (Hunterian Museum & Art Gallery, University of Glasgow)

1989 With Milein Cosman and others, shows two paintings in Peter Black’s exhibition ‘Modern and contemporary works of art: paintings, drawings, prints and pots’ in London. 1990 Travels to Egypt. Around this time begins to compile an oeuvre catalogue with her personal secretary, Barbara Price. Canetti commissions a portrait, which Motesiczky completes in 1992. He rejects it, and it is accepted by the National Portrait Gallery in London. 1992 Exhibits Conversation in the Library, 1950 (no. 103), in the major exhibition on Jewish life, ‘Jüdische Lebenswelten. Jüdisches Denken und Glauben, Leben und Arbeiten in den Kulturen der Welt’ at the Martin-Gropius-Bau in Berlin. She devotes herself to assuring the future of her work and establishes the Marie-Louise von Motesiczky Charitable Trust to preserve her legacy.

1994 A retrospective exhibition comprising ﬁfty works from seven decades is held at the Österreichische Galerie in the Belvedere in Vienna. This later travels to Manchester City Art Galleries. The Österreichische Galerie aquires Self-portrait with Comb, 1926 (no. 13). Motesiczky is awarded the Österreichisches Ehrenkreuz für Wissenschaft und Kunst I. Klasse. Participates in the exhibition ‘Helen Lessore. Artist & Art Dealer’ at Theo Waddington Fine Art Limited, London. Makes her ﬁnal trip to Israel to see the retrospective by Siegfried Sebba. 1995 Six paintings are included in the exhibition ‘Neue Sachlichkeit. Österreich 1918–1938’ at the Kunstforum Bank Austria in Vienna. 1996 Marie-Louise von Motesiczky dies in London on 10 June. The Tate Gallery, London, arranges a commemorative exhibition and a memorial meeting, introduced by Nicholas Serota and addressed by Ernst Gombrich. Her ashes are consigned to the family grave at the Döblinger Friedhof in Vienna. 2006 The centenary exhibition tour of Marie-Louise von Motesiczky’s work opens in Tate Liverpool in April and goes on to the Museum Giersch in Frankfurt am Main in September. 2007 The centenary tour continues at the Wien Museum in Vienna (March–May), the Museum Moderner Kunst in Passau (June–September) and concludes at the Southampton City Art Gallery (September– December). Jill Lloyd’s biography The Undiscovered Expressionist. A Life of Marie-Louise von Motesiczky is published.

Fig. 280 Marie-Louise von Motesiczky with Stephan Lackner, the noted collector and patron of Max Beckmann, and Lackner’s wife. They are standing in front of Max Beckmann’s Self-portrait with Horn, 1938, in the exhibition ‘Max Beckmann. Gemälde 1905–1950’ at the Städel in Frankfurt am Main, photograph, 1990 (Motesiczky archive)

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List of Exhibitions

Vienna 1933 ‘Frühjahrsausstellung des Hagenbundes’ Zedlitzhalle April 1933 Group exhibition Catalogue

Amsterdam 1952 ‘Marie Louise Motesiczky’ Kunstzaal Van Lier 2 February – 1 March 1952 Solo exhibition No catalogue

The Hague 1939 ‘Tentoonstelling van werken door Marie Louise Motesiczky’ Esher Surrey Art Galleries 7–27 January 1939 Solo exhibition No catalogue

The Hague 1952 ‘Marie Louise Motesiczky’ Kunstzaal Plaats 8 – 28 March 1952 Solo exhibition No catalogue

London 1941 ‘Exhibition of Contemporary Continental Art. Paintings, Water-Colours, Sculptures’ Leger Gallery 3 July–2 August 1941 Group exhibition Catalogue London 1942 ‘Exhibition of Works by Allied Artists’ R.B.A. Galleries 6–30 May 1942 Group exhibition Catalogue (Also shown with alterations in various towns in Scotland, England, Wales and Northern Ireland, 1941–3, catalogue) London 1944a ‘AIA 1944. Artists’ International Association Members’ Exhibition’ R.B.A. Galleries 15 April – 6 May 1944 Group exhibition Catalogue London 1944b ‘Exhibition of Painting and Sculpture by Marie Louise Motesicky and Mary Duras’ The Czechoslovak Institute 27 September – 18 October 1944 Solo exhibition with Mary Duras Catalogue London 1945 ‘This Extraordinary Year. Annual Exhibition by members of the Artists’ International Association’ Whitechapel Art Gallery 8 – 29 September 1945 Group exhibition Catalogue

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London 1953 ‘The Renaissance of the Fish. Paintings from the 17th to the 20th Century’ Roland, Browse and Delbanco October – November 1953 Group exhibition Catalogue Munich 1954 ‘Erna Dinklage, Marie Louise Motesiczky’ Städtische Galerie 21 August – 19 September 1954 Solo exhibition with Erna Dinklage Catalogue Düsseldorf 1955 ‘Heinz May, Curt Beckmann, Professor Hans van Breek, Marie Louise Motesiczky’ Kunstverein für die Rheinlande und Westfalen 16 January – 9 February 1955 Group exhibition Catalogue London 1960 ‘Marie-Louise Motesiczky’ Beaux Arts Gallery 7 January – 3 February 1960 Solo exhibition Catalogue London 1963 Summer exhibition of the gallery’s regulars Beaux Arts Gallery July (?) Group exhibition No catalogue London 1964 ‘Last Anthology’ Beaux Arts Gallery 8 October – 6 November 1964 Group exhibition Catalogue

Vienna 1966 ‘Marie-Louise Motesiczky’ Wiener Secession 5 – 25 May 1966 Solo exhibition Catalogue (also used for Linz 1966, Munich 1967 and Bremen 1968) Linz 1966 ‘Marie-Louise Motesiczky’ Neue Galerie der Stadt Linz, Wolfgang Gurlitt Museum 9 – 31 December 1966 Solo exhibition Catalogue (same as for Vienna 1966, Munich 1967 and Bremen 1968) Munich 1967 ‘Marie-Louise Motesiczky’ Galerie Günther Franke 4 – 30 October 1967 Solo exhibition Catalogue (same as for Vienna 1966, Linz 1966 and Bremen 1968) Bremen 1968 ‘Marie-Louise Motesiczky. Gemälde’ Kunsthalle 27 October – 24 November 1968 Solo exhibition Catalogue (same as for Vienna 1966, Linz 1966 and Munich 1967) Vienna 1970 ‘25 Jahre Ankäufe des Kulturamtes der Stadt Wien. Malerei, Plastik, Graphik. Eine Auswahl’ Wiener Secession 7 – 26 April 1970 Group exhibition Catalogue

Frankfurt am Main 1980 ‘Max Beckmanns Frankfurter Schüler 1925–1933’ Kommunale Galerie im Refektorium des Karmeliterklosters 22 November 1980 – 2 January 1981 Group exhibition Catalogue Nottingham 1982–4 ‘Private Views’ Arts Council Collection Touring Exhibition Shown in Nottingham, Twickenham, Barnsley, Norwich, Bradford, Milton Keynes, Lincoln, Stalybridge, Durham, Bath, Hastings, Peterborough, Leigh Group exhibition No catalogue London 1985 ‘Marie-Louise von Motesiczky. Paintings Vienna 1925 – London 1985’ Goethe-Institut 8 November – 14 December 1985 Solo exhibition Catalogue (also used for Cambridge 1986) Berlin 1986 ‘Kunst im Exil in Großbritannien 1933 – 1945’ Orangery of Schloß Charlottenburg 10 January – 23 February 1986 Group exhibition Catalogue London 1986a ‘Hampstead Artists 1946 – 1986’ Camden Arts Centre 20 April – 29 May 1986 Group exhibition Catalogue

London 1974 ‘Hampstead in the Thirties. A Committed Decade’ Camden Arts Centre 29 November 1974 – 19 January 1975 Group exhibition Catalogue

Oberhausen 1986 ‘Kunst im Exil in Großbritannien 1933 – 1945’ Städtische Galerie, Schloß Oberhausen 2 May – 15 June 1986 Group exhibition No catalogue

London 1975 ‘Portraits Today. 11th exhibition of The Contemporary Portrait Society’ The Qantas Gallery 21 October – 8 November 1975 Group exhibition Catalogue

Cambridge 1986 ‘Marie-Louise von Motesiczky. Paintings Vienna 1925 – London 1985’ The Fitzwilliam Museum 15 July – 31 August 1986 Solo exhibition Catalogue (same as for London 1985)

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London 1986b ‘Art in Exile in Great Britain 1933 – 1945’ Camden Arts Centre 20 August – 5 October 1986 Group exhibition Catalogue London 1986c ‘Recent Acquisitions’ Tate Gallery November Display of the Tate Gallery’s recently acquired works from the artist in Gallery 37 No catalogue Vienna 1986 ‘Kunst im Exil in England’ Historisches Museum der Stadt Wien Date unknown Group exhibition No catalogue London 1987 ‘Emigré Artists’ John Denham Gallery 15 – 28 June 1987 Group exhibition Catalogue Dublin 1988 ‘Marie Louise von Motesiczky with “Figurative Image”’ Royal Hospital Kilmainham 9 December 1988 – 8 January 1989 Group exhibition Catalogue Oxford 1988–90 ‘Growing Old’ Arts Council Collection Touring Exhibition Shown in Oxford and Bradford schools Group exhibition No catalogue London 1989 ‘Modern and contemporary works of art: paintings, drawings, prints and pots’ Peter Black, 14 Highbury Terrace, Islington June Group exhibition Catalogue Cambridge 1991 ‘Peter Black in association with Broughton House Gallery: An exhibition of contemporary paintings, sculpture, prints, studio pottery’ Broughton House Gallery 28 – 31 October 1991 Group exhibition No catalogue

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Berlin 1992 ‘Jüdische Lebenswelten. Jüdisches Denken und Glauben, Leben und Arbeiten in den Kulturen der Welt’ Martin-Gropius-Bau 12 January – 26 April 1992 Historical/group exhibition Catalogue

Vienna 1999b ‘Jahrhundert der Frauen. Vom Impressionismus zur Gegenwart. Österreich 1870 bis heute’ Kunstforum 7 October 1999 – 2 January 2000 Group exhibition Catalogue

Vienna 1994 ‘Marie-Louise von Motesiczky’ Österreichische Galerie, Oberes Belvedere 16 February – 17 April 1994 Solo exhibition Catalogue

Vienna 1999c ‘Blickwechsel und Einblick. Künstlerinnen in Österreich. Aus der Sammlung des Historischen Museums der Stadt Wien’ Historisches Museum der Stadt Wien (Hermesvilla) 18 November 1999 – 24 April 2000 Group exhibition Catalogue

Manchester 1994 ‘Marie-Louise von Motesiczky. Paintings 1925 – 93’ Manchester City Art Galleries 7 May – 19 June 1994 Solo exhibition Catalogue London 1994 ‘Helen Lessore. Artist & Art Dealer’ Theo Waddington Fine Art Limited 16 November – 20 December 1994 Group exhibition Catalogue Vienna 1995 ‘Neue Sachlichkeit. Österreich 1918 – 1938’ Kunstforum Bank Austria 1 April – 2 July 1995 Group exhibition Catalogue Marbach 1998 ‘“Ortlose Botschaft”. Der Freundeskreis H.G. Adler, Elias Canetti und Franz Baermann Steiner im englischen Exil’ Schiller-Nationalmuseum September – November 1998 Historical/group exhibition Subsequently shown at the Literaturhaus Berlin (November 1998 – January 1999) and the Literaturhaus Wien (May – June 1999) Catalogue Vienna 1999a ‘Neuerwerbungen. Österreichische Galerie Belvedere 1992 – 1999. Meister von Heiligenkreuz bis Elke Krystufek’ Österreichische Galerie Belvedere, Oberes Belvedere 15 September – 21 November 1999 Group exhibition Catalogue

London 2000 ‘Painting the Century. 101 Portrait Masterpieces 1900 – 2000’ National Portrait Gallery 26 October 2000 – 4 February 2001 Group exhibition Catalogue Frankfurt am Main 2000 ‘Aus der Meisterklasse Max Beckmanns. Karl Tratt, Friedrich Wilhelm Meyer und ihre Kommilitonen’ 1822-Stiftung der Frankfurter Sparkasse 27 November 2000 – 28 January 2001 Group exhibition Catalogue London 2001 ‘Mirror Mirror. Self-portraits by Women Artists’ National Portrait Gallery 24 October 2001 – 24 February 2002 Group exhibition Catalogue Vienna 2004a ‘Wien, Stadt der Juden. Die Welt der Tante Jolesch’ Jüdisches Museum 19 May – 31 October 2004 Historical/group exhibition Catalogue Vienna 2004b ‘Die Liebens. 150 Jahre Geschichte einer Wiener Familie’ Jüdisches Museum 11 November 2004 – 3 April 2005 Historical/group exhibition Catalogue

Klosterneuburg 2006 ‘Österreich 1900 – 2000. Konfrontationen und Kontinuitäten’ Sammlung Essl 17 February – 21 May 2006 Group exhibition Catalogue Liverpool 2006 ‘Marie-Louise von Motesiczky’ Tate Liverpool 11 April – 13 August 2006 Solo exhibition Catalogue (also used for Frankfurt am Main 2006, Vienna 2007, Passau 2007 and Southampton 2007) Frankfurt am Main 2006 ‘Marie-Louise von Motesiczky’ Museum Giersch 24 September 2006 – 11 February 2007 Solo exhibition Catalogue (same as for Liverpool 2006, Vienna 2007, Passau 2007 and Southampton 2007) Vienna 2007 ‘Who is Marie-Louise von Motesiczky? Malerin zwischen Wien und London’ Wien Museum 8 March – 20 May 2007 Solo exhibition Catalogue (same as for Liverpool 2006, Frankfurt am Main 2006, Passau 2007 and Southampton 2007) Passau 2007 ‘Marie-Louise von Motesiczky. Eine Retrospektive’ Museum Moderner Kunst 2 June – 9 September 2007 Solo exhibition Catalogue (same as for Liverpool 2006, Frankfurt am Main 2006, Vienna 2007 and Southampton 2007) Southampton 2007 ‘Marie-Louise von Motesiczky’ Southampton City Art Gallery 28 September – 9 December 2007 Solo exhibition Catalogue (same as for Liverpool 2006, Frankfurt am Main 2006, Vienna 2007 and Passau 2007)

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Bibliography

Every eﬀort has been made to compile as comprehensive a bibliography as possible. Mere advertisements for exhibitions and electronic publications are, however, not included. Some items held in the Motesiczky archive, such as press cuttings or photocopies, whose publication details could not be clariﬁed completely are indicated.

archives Bayerische Staatsgemäldesammlungen, Max Beckmann Archiv, Neue Pinakothek, Munich Carl Hanser Verlag, Munich Collection Beryl Atkins Collection Sheela Bonarjee Collection Jo Bondy Collection Richard Calvocoressi Collection Peter and Diana Clegg Collection Milein Cosman

Association, exh. cat., Whitechapel Art Gallery, London 1945

Art in Exile in Great Britain 1933–1945, exh. cat., Camden Arts Centre, London 1986

Max Beckmann, exh. cat., Stedelijk Museum, Amsterdam 1951

Hampstead Artists 1946–1986, exh. cat., Camden Arts Centre, London 1986

f ilm

Max Beckmann zum Gedächtnis. 1884–1950, exh. cat., Bayerische Staatsgemäldesammlungen, Munich 1951

Otto Kallir-Nirenstein. Ein Wegbereiter österreichischer Kunst, exh. cat., Historisches Museum der Stadt Wien, Vienna 1986

Frederick Baker. Die Motesiczkys. Stilleben mit Cello, Jagdhund und Staﬀelei, ORF 2, 11 March 2007, 3sat, 2 April 2007

The Renaissance of the Fish. Paintings from the 17th to the 20th Century, exh. cat., Roland, Browse and Delbanco, London 1953

Kunst im Exil in Großbritannien 1933–1945, exh. cat., Orangerie des Schlosses Charlottenburg, Berlin 1986

Erna Dinklage, Marie Louise Motesiczky, exh. cat., Städtische Galerie, Munich 1954

Tate Gallery. November 1986, monthly exh. programme, Tate, London 1986

Heinz May, Curt Beckmann, Professor Hans van Breek, Marie Louise Motesiczky, exh. cat., Kunstverein für die Rheinlande und Westfalen, Düsseldorf 1955

Emigré Artists, exh. cat., John Denham Gallery, London 1987

Tate Archive, London Zentralbibliothek, Handschriftenabteilung, Zürich

radio programmes (in date order)

Menschenbilder, Ö1, 23 February 1986 (an abbreviated version of this interview is published in Gaisbauer/Janisch 1992, pp. 169–77) Zeitgenossen. Marie-Louise von Motesiczky im Gespräch mit Paul Assall, Südwestfunk 2, 2 August 1987

Collection Andreas Neufert

Zeitreisen. Künstlerinnen im Exil. Gespräche mit Emigrantinnen. Marie-Louise von Motesiczky, Radio Bremen 2, 13 July 1991

Collection Margery Oplatka

Mittagsjournal, Ö1, 15 February 1994

Collection Kurt Overlack

Collection Peter Verdemato

Kulturjournal, Radio Bremen 2, 21 February 1994 (the transcript of Gudrun Boch’s programme Die Malerin Marie-Louise von Motesiczky in der Österreichischen Galerie im Belvedere, Wien is in the Motesiczky archive)

Collection Doris Winter

Front Row, BBC Radio 4, 20 April 2006

Deutsches Literaturarchiv, Marbach

Augenweide. Von Büchern und Bildern, Radar, Radio Darmstadt, 17 December 2006

Collection Gerda Garve

Collection Ladislas Rice Collection Christiane Rothländer

Dokumentationsarchiv des österreichischen Widerstandes, Vienna Fitzwilliam Museum, Cambridge, Collection David Scrase

exhibition catalogues

Hungarian Academy of Science, Budapest

(in date order)

Library of Congress, Washington, dc

Frühjahrsausstellung des Hagenbundes, exh. cat., Zedlitzhalle, Vienna 1933

Marie-Louise von Motesiczky Charitable Trust, London (Motesiczky archive) National Portrait Gallery, London Österreichische Nationalbibliothek, Handschriftenabteilung, Vienna Österreichisches Staatsarchiv, Haus-, Hof- und Staatsarchiv, Vienna Rijksbureau voor Kunsthistorische Documentatie, The Hague St Anne’s College, Oxford Staatsbibliothek, Handschriftenabteilung, Berlin Städelsches Kunstinstitut und Städtische Galerie, Frankfurt am Main Stiftung Archiv der Akademie der Künste, Walter Benjamin Archiv, Berlin

548

Exhibition of Contemporary Continental Art. Paintings, Water-Colours, Sculptures, exh. cat., Leger Gallery, London 1941 Exhibition of Works by Allied Artists, exh. cat., R.B.A. Galleries, London 1942 Exhibition of Works by Allied Artists, exh. cat., touring exhibition in Scotland, England, Wales and Northern Ireland, 1942 AIA 1944. Artists’ International Association Members’ Exhibition, exh. cat., R.B.A. Galleries, London 1944 Exhibition of Painting and Sculpture by Marie Louise Motesicky and Mary Duras, exh. cat., The Czechoslovak Institute, London 1944 This Extraordinary Year. Annual Exhibition by the members of the Artists’ International

Marie-Louise Motesiczky, exh. cat., Beaux Arts Gallery, London 1960 Last Anthology, exh. cat., Beaux Arts Gallery, London 1964 Marie-Louise Motesiczky, exh. cat., Neue Galerie der Stadt Linz, Wolfgang Gurlitt Museum, Linz 1966 Marie-Louise Motesiczky, exh. cat., Wiener Secession, Vienna 1966 Marie-Louise Motesiczky, exh. cat., Galerie Günther Franke, Munich 1967 Marie-Louise Motesiczky, exh. cat., Kunsthalle, Bremen 1968 25 Jahre Ankäufe des Kulturamtes der Stadt Wien. Malerei, Plastik, Graphik. Eine Auswahl, exh. cat., Wiener Secession, Vienna 1970 Hampstead in the Thirties. A Committed Decade, exh. cat., Camden Arts Centre, London 1974 Portraits Today. 11th exhibition of The Contemporary Portrait Society, exh. cat., The Qantas Gallery, London 1975 Mary Duras. Ausstellung von Plastiken und Graphiken, exh. cat., Galerie Moser, Graz 1978 Max Beckmanns Frankfurter Schüler 1925–1933, exh. cat., Kommunale Galerie im Refektorium des Karmeliterklosters, Frankfurt am Main 1980 Max Beckmann in Frankfurt 1915–1933, exh. cat., Städtische Galerie im Städelschen Kunstinstitut, Frankfurt am Main 1983 The Story of the Artists International Association 1933–1953, exh. cat., Museum of Modern Art, Oxford 1983

Marie Louise von Motesiczky with ‘Figurative Image’, exh. cat., Royal Hospital Kilmainham, Dublin 1988 Wien 1938, exh. cat., Historisches Museum der Stadt Wien, Vienna 1988 Modern and contemporary works of art: paintings, drawings, prints and pots, exh. cat., Peter Black, 14 Highbury Terrace, Islington, London 1989 Max Beckmann. Gemälde 1905–1950, exh. cat., Museum der bildenden Künste, Leipzig/Städelsches Kunstinstitut, Frankfurt am Main, 1990 Jüdische Lebenswelten. Jüdisches Denken und Glauben, Leben und Arbeiten in den Kulturen der Welt, exh. cat., Martin-Gropius-Bau, Berlin 1992 Die verlorene Moderne. Der Künstlerbund Hagen 1900–1938, exh. cat., Österreichische Galerie im Schloß Halbturn, Burgenland, Vienna 1993 Wolfgang Paalen. Zwischen Surrealismus und Abstraktion, exh. cat., Museum Moderner Kunst Stiftung Ludwig Wien, Vienna 1993 Theo Garve 1902–1987. Schüler Beckmanns, exh. cat., Galerie und Kunstantiquariat Joseph Fach, Frankfurt am Main 1994 Oskar Kokoschka. Emigrantenleben. Prag und London 1934–1953, exh. cat., Kunsthalle, Bielefeld 1994 Helen Lessore. Artist & Art Dealer, exh. cat., Theo Waddington Fine Art Limited, London 1994 Marie-Louise von Motesiczky, exh. cat., Österreichische Galerie, Oberes Belvedere, Vienna 1994

Marie-Louise von Motesiczky. Paintings Vienna 1925 – London 1985, exh. cat., Goethe-Institut, London 1985

Marie-Louise von Motesiczky. Paintings 1925– 93, exh. cat., Manchester City Art Galleries, Manchester 1994

Die Vertreibung des Geistigen aus Österreich. Zur Kulturpolitik des Nationalsozialismus, exh. cat., Zentralsparkasse und Kommerzialbank Wien, Vienna 1985

Milein Cosman. Drawings and Prints, exh. cat., Belgrave Gallery, London 1996

Neue Sachlichkeit. Österreich 1918–1938, exh. cat., Kunstforum Bank Austria, Vienna 1995

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Women’s Art at New Hall, cat. to permanent exh., 2nd edition, Cambridge 1996

Paula’s Home, exh. booklet, Lentos Kunstmuseum, Linz 2004

Max Beckmann and Paris, exh. cat., Kunsthaus, Zürich/The Saint Louis Art Museum, Saint Louis, 1998

Wien, Stadt der Juden. Die Welt der Tante Jolesch, exh. cat., Jüdisches Museum, Vienna 2004

‘Ortlose Botschaft’. Der Freundeskreis H.G. Adler, Elias Canetti und Franz Baermann Steiner im englischen Exil, exh. cat., SchillerNationalmuseum, Marbach/Literaturhaus, Berlin/Literaturhaus, Vienna, 1998

Marie-Louise von Motesiczky 1906–1996. The Painter/Die Malerin, exh. cat., Tate Liverpool/Museum Giersch, Frankfurt am Main/Wien Museum, Vienna/Southampton City Art Gallery, 2006

Anonymous. ‘Glass House Life’, Evening Standard, 24 September 1944

Blickwechsel und Einblick. Künstlerinnen in Österreich. Aus der Sammlung des Historischen Museums der Stadt Wien, exh. cat., Historisches Museum der Stadt Wien (Hermesvilla), Vienna 1999

Österreich 1900–2000. Konfrontationen und Kontinuitäten, exh. cat., Sammlung Essl, Klosterneuburg 2006

Anonymous. ‘Expositie Kunstzaal Van Lier’, Nieuwe Rotterdamsche Courant, 19 February 1952 [1952b]

Destination England. Austrian Exile in Great Britain 1938–1945, exh. cat., Austrian Cultural Institute, London 1999 Jahrhundert der Frauen. Vom Impressionismus zur Gegenwart. Österreich 1870 bis heute, exh. cat., Kunstforum, Vienna 1999 Max Beckmann sieht Quappi: … was werde ich für schöne Portraits von Dir machen, exh. cat., Kunsthalle Emden, Stiftung Henri und Eske Nannen, Emden 1999 Neuerwerbungen. Österreichische Galerie Belvedere 1992–1999. Meister von Heiligenkreuz bis Elke Krystufek, exh. cat., Österreichische Galerie Belvedere, Vienna 1999 Aus der Meisterklasse Max Beckmanns. Karl Tratt, Friedrich Wilhelm Meyer und ihre Kommilitonen, exh. cat., 1822-Stiftung der Frankfurter Sparkasse, Frankfurt am Main 2000 Inventarisiert. Enteignung von Möbeln aus jüdischem Besitz, exh. cat., Museum Kaiserliches Hofmobiliendepot, Vienna 2000 Max Beckmann. Selbstbildnisse. Zeichnung und Druckgraphik, exh. cat., Bayerische Staatsgemäldesammlungen, Neue Pinakothek, Munich/Herzog Anton Ulrich-Museum, Braunschweig, 2000 Painting the Century. 101 Portrait Masterpieces 1900–2000, exh. cat., National Portrait Gallery, London 2000 Mirror Mirror. Self-portraits by Women Artists, exh. cat., National Portrait Gallery, London 2001 Continental Britons. Jewish Refugees from Nazi Europe, exh. cat., The Jewish Museum, London 2002

Marie-Louise von Motesiczky, exh. booklet, Tate Liverpool 2006 (also used for Southampton 2007)

Anonymous. ‘Marie Louise Motesiczky. Kunstzaal Esher Surrey’, publication unknown [1939] (copy in Motesiczky archive) Anonymous. ‘Tentoonstelling Mej. M. L. Motesiczky’, Het Vaderland, 26 January 1939

Anonymous. ‘Weerzien met de schilderes Marie Louise Motesiczky’, Het Parool (Amsterdam), 2 February 1952 [1952a]

Anonymous. ‘Twee schilderessen’, Het Vrije Volk, 22 March 1952 [1952c] Anonymous [Eric Newton]. ‘A Subtle Painter. Art of Marie-Louise Motesiczky’, The Times, 21 January 1960

books, essays and articles

Anonymous. ‘Three Summer Exhibitions Worth Visiting’, The Times, 24 July 1963

A.d.B. ‘Marie Louise Motesiczky. Huize Esher Surrey’, Avondpost (The Hague), 17 January 1939

Anonymous. ‘Linz’, Oberösterreichische Nachrichten, 21 May 1966

Abbey, William von, Charmian Brinson, Richard Dove, Marian Malet and Jennifer Taylor (eds). Between two languages. German-speaking exiles in Great Britain 1933–1945, Stuttgart 1995 Adler, Jeremy. ‘Kunst als Feier’, in Marie-Louise von Motesiczky, exh. cat., Österreichische Galerie, Oberes Belvedere, Vienna 1994, pp. 17 f. Adler, Jeremy. ‘Die Freundschaft zwischen Elias Canetti und Franz Steiner’, Akzente, vol. 42, no. 3, 1995, pp. 228–31 Adler, Jeremy and Richard Fardon (eds). Franz Baermann Steiner. Selected Writings, vol. 1: Taboo, Truth and Religion, vol. 2: Orientpolitik, Value, and Civilisation, New York/Oxford 1999 Adler, Jeremy et al. ‘Preface/Vorwort’, in Marie-Louise von Motesiczky 1906–1996, exh. cat., Tate Liverpool/Museum Giersch, Frankfurt am Main/Wien Museum, Vienna/Southampton City Art Gallery, 2006, pp. 8–15 Adorno. Eine Bildmonographie, ed. Theodor W. Adorno Archiv, Frankfurt am Main 2003

Anonymous [Victor Matejka]. ‘Bildende Kunst. Marie-Louise Motesiczky’, Tagebuch, vol. 21, no. 6, June 1966, p. 15 Anonymous. ‘Enchantment drawn from life’, Ham & High, 29 November 1985 Anonymous. ‘Viennese artist’s portraits on display’, Cambridge Weekly News, 7 August 1986 Anonymous. ‘Ausstellung Marie-Louise von Motesiczky’, Parnass, no. 1, 1994, p. 144 [1994a] Anonymous. ‘Marie-Louise von Motesiczky. Malerin zwischen den Zeiten’, Die Presse, 14 February 1994 [1994b] Anonymous. ‘Wiedersehen’, Der Standard, 15 February 1994 [1994c] Anonymous. ‘Canetti-Porträt von Motesiczky. Beckmann-Schülerin im Exil’, Proﬁl, 21 February 1994 [1994d] Anonymous. ‘Bilder für die Ewigkeit’, Österreichische Ärztezeitung, February 1994, page unknown [1994e] (copy in Motesiczky archive) Anonymous. ‘Marie-Louise von Motesicky. Selbstporträt mit Kamm, 1926’, Täglich Alles, 2 March 1994 [1994f ]

Adunka, Evelyn. ‘Eine Ausstellung über die Malerin Marie-Louise von Motesiczky im Belvedere’, Illustrierte Neue Welt, February 1994, p. 20

Anonymous. ‘Intime Bilder’, Die Furche, 3 March 1994 [1994g]

Anna Mahler. Ich bin in mir selbst zu Hause, exh. cat., Literaturhaus, Vienna 2004

Albrecht, K. ‘Beckmann war ihr Lehrmeister. Marie-Louise Motesiczky in der Kunsthalle’, Bremer Nachrichten, 26 October 1968

Anonymous. ‘Weiter Weg von Hinterbrühl und zurück’, Der Hinterbrühler, March 1994 [1994i]

Die Liebens. 150 Jahre Geschichte einer Wiener Familie, exh. cat., Jüdisches Museum, Vienna 2004

Andics, Helmut. Die Juden in Wien, Vienna 1988

New Hall Art Collection. Catalogue of the Women’s Art at New Hall, cat. to permanent exh., 3rd edition, Cambridge 2003

Ambrose, Tom. Hitler’s Loss, London 2001

Anonymous. ‘Dame mit rotem Hut’, Agrar Post, 16 March 1994 [1994h]

Anonymous. ‘Österreichische Galerie. Marie-Louise von Motesiczky’, Chemiearbeiter, no. 3, 1994, p. 14 [1994j]

Anonymous. ‘M.-L. von Motesiczky tot’, Frankfurter Rundschau, 15 June 1996 [1996a] Anonymous [Jeremy Adler]. ‘Marie-Louise von Motesiczky’, The Times, 15 June 1996 Anonymous. ‘Marie-Louise von Motesiczky’, The Daily Telegraph, 22 June 1996 [1996b] Anonymous. ‘Aus der Meisterklasse Beckmanns. Bilder der Frankfurter Schüler des Malers im Kundenzentrum der Frankfurter Sparkasse 1822 zu sehen’, Hanauer Anzeiger, 9 December 2000 [2000a] Anonymous. ‘Meisterklasse im Kundenzentrum’, Sparkassenzeitung, no. 73, 22 December 2000 [2000b] Anonymous. ‘Asylum seekers who made Britain great’, Camden New Journal, 1 August 2002, p. 16 Anonymous. ‘Marie-Louise von Motesiczky. Tate Liverpool’, Live, 7–13 April 2006 Anonymous. ‘“Marie-Louise von Motesiczky” im Museum Giersch bis 28. Januar 2007’, Magazin Frankfurt, 28 January 2007 Appignanesi, Lisa and John Forrester. Freud’s Women, London 2000 Arnbom, Marie-Theres. Friedmann, Gutmann, Lieben, Mandl, Strakosch. Fünf Familienporträts aus Wien vor 1938, 2nd edition, Vienna/Cologne/Weimar 2003 Auty, Giles. ‘Enigma Variations’, The Spectator, 23 November 1985, pp. 36 f. Auty, Giles. ‘Unknown Forces’, The Spectator, 2 February 1991, pp. 38 f. b. ‘Eine fesselnde Überraschung. Die Malerin Marie-Louise Motesicky stellt in der Secession aus’, Wiener Zeitung, 7 May 1966 BA. ‘Festwöchentlicher Ausstellungsbetrieb. Internationale und österreichische Bilder und Graphiken in zehn Wiener Galerien’, Kurier (Vienna), 27 May 1966 Baker, Frederick. ‘Thoroughly modern Marie-Louise’, The European, 4–10 March 1994, p. 11 Baldaß, Ludwig. ‘Die Malerin Marie Louise Motesiczky’, Die Kunst und das schöne Heim, vol. 53, no. 6, March 1955, pp. 218 f. Bartl, Johann. Villa Wertheimstein. Vom geistigen Treﬀpunkt zum musealen Gedenkraum, diploma thesis, University of Vienna, 1990 Basoski, Corn. ‘Schilderijen van Marie Louise Motesiczky’, Nieuwe Haagsche Courant, 21 March 1952 Baum, Peter. ‘Rundgang von der Albertina zur Kleinen Galerie’, Oberösterreichische Nachrichten (Linz), 21 May 1966 Bayley, John. Iris. A Memoir of Iris Murdoch, London 1998

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Bayley, John. Iris and the Friends. A Year of Memories, London 1999

Borzello, Frances. Seeing Ourselves. Women’s Self-Portraits, London 1998

Caesar, Babette. ‘… soll es im Herzen heiß werden’, Schwäbische Zeitung, 18 March 2002

Bearman, Marietta et al. (eds). Wien–London, hin und retour. Das Austrian Centre in London 1939 bis 1947, Vienna 2004

Bowness, Alan. ‘Grande-Bretagne’, Quadrum, no. 8, 1960, pp. 178–81

Calvocoressi, Richard. Introduction to Marie-Louise von Motesiczky. ‘Max Beckmann as Teacher’, Artscribe, no. 47, July/August 1984, pp. 50 f.

Beckmann, Mathilde Q. Mein Leben mit Max Beckmann, 2nd edition, Munich/Zürich 2000

Braat, L.P.J. ‘Letter from Holland’, Art News and Review, vol. 4, no. 7, 3 May 1952, p. 1

Beckmann, Max. Tagebücher 1940–1950, ed. Erhard Göpel, Munich/Vienna 1979

Brandenburg, Machiel. ‘Marie Louise Motesisky. Emotioneel expressionisme’, De Bussumsche Courant, 9 February 1952

Beckmann, Max. Briefe, 3 vols, eds Klaus Gallwitz, Uwe M. Schneede and Stephan von Wiese, Munich/Zürich, vol. 1 1993, vol. 2 1994, vol. 3 1996

Breidecker, Volker. ‘Fliegen sind ihm nicht ﬂeischig genug. Elias Canetti, Marie-Louise von Motesiczky und der Schulmeister Witz’, Süddeutsche Zeitung, 26 August 2005

Beckmann, Max. On My Painting, London 2003

Breidecker, Volker. ‘Aufbruch aus der Welt von Gestern. Auf den Spuren der Wiener Malerin Marie-Louise von Motesiczky, die vor 100 Jahren geboren wurde’, Süddeutsche Zeitung, 26 October 2006 [2006a]

Behr, Shulamith. ‘Marie-Louise von Motesiczky. Liverpool’, The Burlington Magazine, vol. cxlviii, no. 1241, August 2006, pp. 560–62 Beller, Steven. Vienna and the Jews, 1867– 1938. A cultural history, Cambridge 2000 Berghahn, Marion. Continental Britons. German-Jewish Refugees from Nazi Germany, Oxford/Hamburg/New York 1988 Berryman, Larry. ‘Marie-Louise von Motesiczky’, Arts Review, 6 December 1985, p. 628 best. ‘Meisterin des Porträts’, Die Presse, 15 June 1996 Black, Peter. Introduction to Marie-Louise von Motesiczky. Paintings 1925–93, exh. cat., Manchester City Art Galleries, Manchester 1994, pp. 3–11 Black, Peter. ‘Marie-Louise von Motesiczky’, The Independent, 15 June 1996 Black, Peter. ‘Marie-Louise von Motesiczky’, Dictionary of Women Artists, ed. Delia Gaze, London/Chicago 1997, pp. 991–4 Black, Peter. ‘Portrait Power’, The Spectator, 20 May 2006, pp. 56 f. Blechen, Camilla. ‘Nach England, um zu überleben. Deutsche Künstler im britischen Exil 1933–1945. Ausstellung in Berlin’, Frankfurter Allgemeine Zeitung, 10 February 1986 Bohm-Duchen, Monika. ‘Introduction’, in Art in Exile in Great Britain 1933–1945, exh. cat., Camden Arts Centre, London 1986, unpaginated Borchhardt-Birbaumer, Brigitte. ‘Malerin und Geliebte’, Wiener Zeitung, 8 March 2007 Borchmeyer, Dieter. ‘Wohin rennst du so ﬂeißig? Elias Canetti, vor hundert Jahren geboren, zeigt sich im Spiegel einer neuen Biograﬁe als Verwandlungstier und Todesfeind’, Die Zeit, 28 July 2005 Born, Wolfgang. ‘Ausstellungen’, Neues Wiener Journal, 21 April 1933

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Index Page numbers in bold refer to catalogue entries, those in italics to figures.

Adler, H.G. 508 Eine Reise 483 Adler, Jankel 52 Adler, Jeremy 53, 428, 508, 508 portrait (no. 319) 61, 507, 508–9 Adorno, Theodor W. 46 After the Ball (no. 87) 43, 61, 152, 155, 193–5, 259 Aitchison, Craigie 47, 474 Akt auf dem Balkon see Balcony, The Akt mit einer Ratte und Büchern see Nude with a Rat and Books Allerseelen (no. 217) 376–7, 386 Alt, Rudolf 17 Altdorfer, Albrecht 277 Alte Frau, Amersham see Old Woman, Amersham Alte Lied, Das see Old Song, The Altschulova, Julia 43, 188, 228, 260, 340 Ansberg, Frau: portrait (Model in Frankfurt) (no. 18) 102 Apache (no. 9) 61, 86, 87, 99, 106 Äpfel see Still-life with Apples and Banana Apples and Grapes (no. 303) 487 Apples from Hinterbrühl (no. 137) 258–9 Arbeiter, Paris see Workman, Paris Arbeiterin/Junge Farbige see Hanni, Hinterbrühl At the Dressmaker’s (no. 35) 64, 77, 103, 124–7, 190, 338, 470 At the Opera (drawing) 56, 527, 527 Atelier mit Aktmodell see Studio with Nude Model Atkins, Beryl (née Harris) 535, 535 Auerbach, Frank 47 Auf der Jagd see Hunting Aunts, Sketching (drawing) 56, 186, 533, 533 Auspitz, Rudolf 14 Azaleas in Town (no. 63) 163 Azaleen in der Stadt see Azaleas in Town Backstage (no. 139) 260–61 Bacon, Francis 47 Bakker, Dr Rein Valencijn 32, 34, 280 portrait (no. 152) 280–81 Balcony, The (no. 30) 31, 58, 116–17, 537 Baldass, Ludwig 21, 44, 216, 236 portrait (no. 151) 61, 277–9 Baldass, Pauly 21, 277 Barber, Samuel 32, 46 portrait (drawing) 529, 529 Barke der Flüchtigen, Die see Travellers, The Baron Schey at the Races (no. 298) 226, 346, 482 Baron Schey beim Rennen see Baron Schey at the Races Basket of Fruit (no. 235) 399 Bauernfreund, Jacob see Bornfriend, Jacob Beach and Rocks (no. 179) 317 Beach Scene (no. 247) 362, 415 Beach Still-life (no. 68) 169, 317 Beazly, Mrs: portrait (no. 54) 152 Beckmann, Curt 44

Beckmann, Mathilde (‘Quappi’) (née von Kaulbach) 24, 24, 25, 33, 49, 59, 193, 193, 288, 529 Beckmann, Max 22, 23, 24, 24, 28, 32, 33, 37, 38, 40, 44, 50, 55, 58, 59, 63, 64, 193, 193; as teacher 27, 51, 92, 277; influence on Motesiczky 27, 48–9, 56, 94, 103, 124, 128, 261, 330, 538 Apollo 33, 34 Bildnis Käthe von Porada 23, 94, 96 Blühende Akazie 84, 84 Die drei Schwestern 393, 393 Fischstilleben mit Netz 236, 236 Frühstückstisch (blau) 130, 130 Garderobe 124, 124 Hafen bei Bandol (grau) und Palmen 309, 309, 370 Junge mit Hummer 528, 528 Kleine italienische Landschaft 309, 309, 370 Landschaft mit Luftballon 116, 116 Die Loge [1] 527, 527 Marie-Louise von Motesiczky 24, 25 Marie-Louise von Motesiczky und Mathilde von Kaulbach 24, 25 Die Möwen 56, 330, 330 Nachtstrasse 220, 220 Selbstporträt 24, 24 Strandszene 33, 33 Vampir 270, 270 Der Wels 393, 393 Zwei Damen am Fenster 24, 25 Bei der Schneiderin see At the Dressmaker’s Benedikt, Friedl 47 Benn, Gottfried 23 Bennett, Alan 28 Berner, Barbara Valentina 506 Portrait ‘Au pair’ Barbara (no. 316) 506 Bernoulli, Christoph 30 Berryman, Larry 51 Beryl (drawing) 535, 535 Beschorner, Anna 103 Beschorner, Hans 103, 130 Beschorner, Wilhelmine 130 Binding, Rudolf 23 Birthday (no. 184) 28, 322 Birthday Still-life with Photo (pastel and oil) 322, 538, 539 Blaatz, Carl Theodor von 286 Marie-Louise von Motesiczky 21, 286 Black, Jantien (née Salomonson) 498, 498 Black, Louise 498, 498 Black, Peter 51, 53, 102, 134, 156, 169, 244, 277, 498 Blick aus dem Fenster see View of Vienna Blick aus dem Fenster, Wien see View from the Window, Vienna Bloch, Ernst 30 Bloch, Martin 42, 52 Blonde Woman (no. 166) 305, 318, 319 Blumenstilleben see Still-life, Flowers Böcklin, Arnold 17 Boehm, Professor Adolf 24 Boller-Schwing, Trudi 35

Bolter, Mrs: portrait (no. 285) 77, 466 Bomberg, David 47 Bonarjee, Sheela 330, 330, 477, 490 portrait (no. 190) 56, 58, 61, 330–31, 332 Bondy, Charlotte 345 Bonnard, Pierre 130 The Bath 531, 531 Bornfriend, Jacob 46, 52 Bosch, Hieronymus: Ship of Fools 145, 145 Boutens, Pieter Cornelis 532 Bowl of Fruit with Candelabra (no. 90) 197 Bowl of Pansies, Ashtray and Cigarette (no. 66) 168 Brahms, Johannes 14, 17 Braque, Georges 42 Breek, Hans van 44 Breker, Arno 44 Brentano, Franz von 14 Brentano, Sophie 126, 284, 298, 309, 348 Brill, Carla 50 Brookner, Anita: The Next Big Thing 126 Browse, Lillian 234 Bubi/Wixi (dog) 324, 324, 325, 345, 345, 350, 352–3, 368, 368, 369, 442 Bullfight (no. 20) 60, 104–5 Busch, Günter 51 Bust of a Girl (no. 336) 523 Calvocoressi, Richard 51, 132 Camels (no. 194) 307, 336, 338 Canetti, Elias 20, 27, 29, 31, 36–8, 37, 40, 41, 42, 43–4, 45, 47, 47, 48, 50, 51, 52, 57, 59–63, 64, 66, 126, 156, 158, 173, 182, 233, 234, 249, 276, 277, 283, 302, 321, 351, 414, 502, 508, 530, 541; and Motesiczky’s work 38, 42–3, 49, 52, 60, 64, 138, 150, 177, 253, 280, 295, 324, 330, 346, 348, 351, 366, 374, 378, 436 Die Blendung 330 Komödie der Eitelkeit 215, 344 Motesiczky’s letters to 169, 189, 266, 270, 296, 327, 328, 334, 336, 340, 342 Party in the Blitz 36, 283 portraits 62 Canetti, London (no. 200) 62, 344 Canetti with Two Women on Scales (drawing) 50, 51 Elias Canetti (no. 165) 48, 53, 62, 282, 302–4 Head of Elias Canetti (drawing) 302 Portrait Elias Canetti (no. 315) 62, 282, 502–5 Study of Canetti Reading (no. 78) 62, 182, 282 see also Conversation in the Library; In the Garden; Orchid; Self-portrait with Canetti Canetti, Hera (née Buschor) 50 Canetti, Veza 36, 37, 38, 47, 126, 140, 156, 156, 173, 182, 283, 283, 344 portrait (drawing) 38, 38 Carey, Frances 53 Carlin, Irene 43 Cars beneath a Palm Tree by a Lake (no. 170) 309

Cascais (no. 127) 60, 242–3 Cat with Flowers (no. 86) 192, 307 Chadwick, Julian 53 Charoux, Siegfried 46 Chemist’s Shop (no. 196) 57, 338–9, 398 Child with a Candle, Birthday Cake and Dog (no. 310) 130, 498 Chirico, Giorgio de 42 Circus Scene (no. 192) 333 Cissarz, Professor Johann Vincenz 23 Clark, Robert 49 Clegg, Arthur and Nell 226, 256, 396 Clegg, Peter 256, 256 portrait (no. 135) 256–7 Coenen, Günter 50 Coloured Model (no. 148) 61, 273 Confrontation in the Forest (no. 240) 63, 389, 404–5 Conversation in the Library (no. 103) 48, 52, 63, 210–13, 282, 302 Cook, The (no. 222) 384, 385 Cook Attacked by Dragonflies (no. 162) 300 Cosman, Milein 46, 47, 52, 230, 286, 368, 403, 508, 542, 545 Joanna 403, 403 Marie-Louise von Motesiczky 545 Countess with Plum (no. 65) 50, 58, 61, 151, 166–7, 170, 220, 223, 451 Couple Promenading on the Sea Front (no. 214) 370 Cow Stretching over Hedge in Field (no. 238) 402 Cranach, Lucas, the Elder: Der Jungbrunnen (Fountain of Youth) 362, 364 Croft, Michael (later Lord) 41, 380, 535 Cushman, Renée (née Scharf ) 262, 288, 385 Cyclamen at the Window (no. 73) 175 Cyclist (no. 79) 183 Dächer in Compayne Gardens see View from the Window in Compayne Gardens I Dachinger, Hugo 42, 52 Daffodils and Narcissi (no. 312) 500 Deckchair in the Garden (no. 98) 205 Delavilla, Professor Franz Karl 23 Denbeaux, Andrea 343 Denham, John 52 Deutsch, Ludwig see Hatvany, Baron Lajos Dinand, Inge 50, 543 Dinklage, Erna 44 Distel see Thistle Doderer, Heimito von 30, 48 ‘Lively Memory’ 30 Doering, Paul Montgomery 30 Dog Coiffure (no. 229) 392 Dog Toby (no. 329) 518 Dog with Flowers (no. 201) 192, 345 Dog with Flowers (Portrait ‘Franzi’) (no. 130) 184, 246–7 Dorffest in Tirol see Village in Tyrol Dorothy (no. 74) 57, 176–7 Döry de Jobbaháza, Margit Baronin 272, 328 portrait (no. 188) 328

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Dream Boat, The see Travellers, The Drei Köpfe see Three Heads Drogerie see Chemist’s Shop Duck Flying over a Meadow (no. 227) 391 Dufy, Raoul 42 Duras, Mary 42, 177 Marie Louise 42, 42 Dürer, Albrecht 49 Duyster, Willem Cornelisz: A Musical Party 412, 412 Dwarf (no. 22) 57, 102, 107 Edersheim, Berthe 24, 92, 306 Hotel in Paris 306, 306 Edge of Wood (no. 96) 203 Ehrlich, Georg 42, 46, 52 Eight Figures in Yellow Hats in Landscape (no. 157) 288 Emigrants, The see Travellers, The Engelhardt, Fräulein: portrait (no. 15) 57, 98 Erhard, K. von 20 Ernst, Max 42 Evacuatie (Evacuation) see Travellers, The Evelyn and Friend (no. 270) 58, 448–9 Evelyn und Freundin (Marie-Louise) see Evelyn and Friend Fallon, Maureen 434 Portrait Maureen (no. 258) 61, 226, 434, 451 Familienbild see In the Garden Family Portrait in the Garden (no. 97) 204 Father Milburn see Milburn, Father Robert Gordon Feathers and Arrows (no. 120) 233 Federn, Paul 31, 321 Federn und Pfeile see Feathers and Arrows Feibusch, Hans 52 Female Head (no. 328) 517 Female Profile and Bird (no. 228) 391 Female Swimmer with Fish 362, 363 Fiesta (no. 207) 357, 358, 360 Fiesta 2 (no. 208) 359, 360 Fiesta 3 (no. 209) 359, 361 Figdor, Albert 20 Figures Walking to Church (no. 49) 144 Filtsch, Molly 18 Finchley Road at Night (no. 110) 44, 60, 220–21 Finchley Road bei Nacht see Finchley Road at Night Fire in July (no. 58) 156–7 Fischer, Ludwig Hans: Villa Todesco . . . 19 Florist (Japanese Girl) (no. 320) 510 Forsdyke, Dea (née Gombrich) 51 Forsdyke, John 51 Fountain in the Park (no. 105) 214–15 France, Soldier by the Sea (no. 140) 262 Franke, Günther 48, 357, 358, 366, 367, 368 Frankreich, Soldat am Meer see France, Soldier by the Sea Franzi (dog) 246, 246, 247, 289, 291, 433, 442, 542 Französisches Restaurant see French Restaurant

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Frau mit blauem Papagei see Woman with Blue Parrot French Restaurant (no. 221) 384, 385 Freud, Sigmund 15, 114, 321 Freundinnen see Girlfriends Friend of the Royal Academy, A see Samuel, Godfrey: portrait From Night into Day (no. 251) 49, 51, 57, 67, 244, 420–23 Fruit and Rose (no. 314) 501 Fürst, Bruno 277 Furtwängler, Wilhelm 23 Galion, Achmed Abu 464, 464 Garden in the Summer (no. 169) 308 Gardener, The (no. 75) 178–9 Garten im Sommer see Garden in the Summer Gärtner, Amersham see Gardener, The Garve, Theo 27, 27, 49, 50, 543 Geburtstag see Birthday Gerda (no. 189) 329 Gespräch in der Bibliothek see Conversation in the Library Ginestet, Elie 470 Ginsberg, Ernst 46 Girl by the Fire (no. 52) 61, 150, 253 Girlfriends (no. 138) 260, 301 Glashaus, Das see Greenhouse, The Gmeiner, Hermann 44 Goetze, Sigismund 214 Gogh, Vincent van 22, 55, 63, 77 The Bridge 22, 88 Van Gogh’s Chair 88, 88 Golders Hill Park (no. 274) 60, 452–3 Goldschmidt, Hilde 46, 286 Gombrich, Ernst 49, 51, 53, 56, 60, 62, 472 Gomperz, Theodor 14 Göpel, Erhard 56 Gräfin mit Pflaume see Countess with Plum Grassi, Flavia 456, 457, 457, 458 Flavia Grassi (no. 279) 457–9 Portrait Flavia (no. 278) 456 Gray, Allan 289 Gray, Liss 289, 292, 292, 416 Greco, El: St Louis, King of France, and a Page 94, 94 Greenhouse, The (no. 266) 49, 66, 435, 442–5 Guinness, Alec 28 Gussago, Maria 537, 537 portraits (drawings) 537, 537 Hals, Frans 55, 88, 138 Hamann, Paul 52 Hampstead Garden (no. 242) 64, 408 Hanfstaengl, Eberhard 44 Hanni, Hinterbrühl (no. 8) 83, 86, 99 Hare (no. 299) 483 Harris, Margaret (Peggy) 535 Hase see Hare Hatvany, Baron Lajos (‘Laczi’) 30–31, 56, 90, 91 Hauer, Franz von 17, 17 Hauptmann, Hilda 137

portrait (Hilda) (no. 44) 20, 57, 137, 253 Hauptmann, Marie (‘Ritschi’) 20, 137, 150, 150, 164, 169, 192, 249, 254, 496 portraits see Girl by the Fire; Marie in Doorway Haystacks (no. 156) 60, 287 Head of a Girl (no. 92) 199 Head of a Girl (no. 271) 450, 462 Head of a Man (no. 89) 196 Head of a Smiling Woman (no. 94) 201 Head of Young Man Wearing Green (no. 306) 489 Head of Henriette see Motesiczky, Henriette Heck, Georg 50 Henderson, Gay 441 Henriette . . . see Motesiczky, Henriette Hergenhahn, Walter 50 Hilda (no. 44) 20, 57, 137, 253 Hilda, meine Milchschwester see Hilda Hinter den Kulissen see Backstage Hinterbrühl, Glasshouse (no. 5) 82 Hitler, Adolf 50, 140, 280 Hodin, Josef Paul 292, 293 Hoffer, Marina 406, 406 portrait (drawing) 406 Hoffmann, Edith (née Yapou) 56 Hofmannsthal, Hugo von 14, 17, 55, 533 Hölderlin, Friedrich 283 Holtby, Robert T., Dean of Chichester 474, 474 portrait (no. 289) 62, 474–5 Horthy, Admiral Nicholas 90 Hotel, Paris (no. 167) 306 Hour, The (no. 211) 239, 260–61, 357, 366 Hummer see Lobster Hund mit Blumen see Dog with Flowers (no. 201) Hund Toby see Dog Toby Hunting (drawing) 56, 66, 534, 534 Ibsen, Henrik 14 In a Chinese Restaurant (no. 225) 390 In Church, Mexico (no. 144) 268, 300 In der Kirche, Mexiko see In Church, Mexico In the Garden (no. 81) 63, 64, 186–7 In the Park with Swans (no. 335) 523 Inderin see Bonarjee, Sheela: portrait Indian Couple (no. 106) 216 Indian Mother with Child (no. 76) 61, 180 Indische Mutter mit Kind see Indian Mother with Child Indisches Paar see Indian Couple Irises and Peonies (no. 72) 60, 174 Jaffé, Michael 53 Jause see Tea-time Kahn, Erich 52 Kallir, Fanny (née Löwenstein) 21, 288 Kallir, Otto 21, 34, 288 Kamele see Camels Karl as St Christopher (drawing) 109, 109 Karplus, Gretel 46

Karplus, Michael 464, 464 Michael Karplus and Bedouin Friend (no. 283) 464 Karplus, Richard 53 Karplus, Valerie (Valla) (née von Lieben) 15, 533 Karsten, Fritz 371 Katze mit Blumen see Cat with Flowers Kaulbach, Friedrich August von 17, 24 Kaulbach, Mathilde von see Beckmann, Mathilde Keller, Hans 46, 286, 403, 508 Kerman, Michael 517 Kerman, Pia-Maria 517, 517 Keyser, David de 184 Kind mit Kerze, Geburtstagskuchen und Hund see Child with a Candle, Birthday Cake and Dog Kingsley, Jocelyn 396 Kitzbühel (no. 155) 60, 172, 286 Kleines Roulette see Small Roulette Klimt, Gustav 55 Koala (no. 128) 243 Koestler, Arthur 90 Kohn, David 21 Kokoschka, Olda 32, 38, 39, 41, 218 Kokoschka, Oskar 20, 32, 38, 39, 40–43, 55–6, 59–60, 64, 156, 177, 428 Flowers with Porcelain Dog 40, 40 Marie-Louise 38, 39, 218, 218 Michael Croft 41, 380, 380 Kokoschka Fishing for Two Nudes 41, 41 Koppel, Heinz 47 Kornfeld see Haystacks Kossoff, Leon 47 Krenek, Ernst 46 Kristeller, Paul Oskar 46 Kröpfelsteig, Hinterbrühl (no. 17) 60, 100–101 Krüger, Anna 50 Küchenlehrling, Der see Cook, The Kurze Fahrt, Die see Short Trip, The Lächelnde Dame see Portrait of a Smiling Lady Lackner, Stephan 545 Lake Scene (no. 300) 484 Landauer, Karl 321 Landscape, Sark (no. 182) 320 Landschaft Herm see Beach and Rocks Landschaft Sark see Landscape, Sark Landungssteg Llandudno see Pier Llandudno Last Self-portrait (no. 322) 64, 512–13 Le Carré, John 492 Leembruggen, Ilse (née von Lieben) 15, 18, 22, 32, 33, 236, 266, 309, 532, 533 Portrait Frau L. (drawing) 56, 186, 280, 532, 532 see also Aunts, Sketching; In the Garden; Three Heads Leembruggen, Kees 31, 355, 355, 356 portrait (no. 205) 354–6 Leembruggen, Philip 355 Leembruggen, Willem 22, 186, 280

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Lenbach, Franz von 17, 55 Lessore, Helen 47, 338 Letzten Äpfel aus der Hinterbrühl, Die see Apples from Hinterbrühl Letztes Selbstporträt see Last Self-portrait Leuchter mit Rosenvase see Still-life, Yellow Rose Lewinson, David 252 Lewinson, Georgette 43, 228, 229, 252 see Mother and Child Lhote, André 42 Lieben, Adolf von 14 Lieben, Anna von 15, 15, 17, 18, 19, 114, 321, 412, 413 Lieben, Elinor von 541 Lieben, Ernst von 15, 327, 327 portrait (Uncle Ernst) (no. 187) 326–7 Lieben, Ilse von see Leembruggen, Ilse Lieben, Leopold von 14, 15, 15, 17, 18 Lieben, Robert von 14, 15, 19 Lieben, Valerie von see Karplus, Valerie Liegende mit Pfeife see Reclining Woman with Pipe Lingens, Ella 43 Liszt, Franz 14 Litvin, Ray (Rachel Litwin) 226 portrait (Frau Litwin) (no. 115) 57, 61, 226–7 Lo and Lilly (no. 107) 63, 216 Lobster (no. 119) 44, 230–32, 234, 236 Loewenberg, Edith 45 Lolita (no. 180) 318 Lolita III (no. 181) 319 Lolita Reclining (drawing) 318, 318 Lolita Seated (drawing) 318, 318 Lorette . . . see Lugten, Lorette Lugten, Lorette 382, 382, 383, 383 Head of Lorette (drawing) 383, 383 Lorette as Painter (no. 220) 61, 383 Lorette in the Studio (no. 219) 64, 382 Lorette Seated (drawing) 382, 382 Lytton, Nicolas 272 portrait (no. 147) 272, 328 McAlpine, Lord 319 Machotka, Carola 22, 532 McMillan, William 214 McNeill, Christine: At a Dressmaker’s, 1938 126 Mädchen am Feuer see Fire in July Mader (or Moder), Karl 107 Magg, Wolfgang 18 Magic Fish, The (no. 146) 63, 270–71, 300 Mahler, Alma 36, 40 Mahler, Anna 36, 42 Mahler, Gustav 36 Maillet, Leo 50 Makart, Hans 14, 17, 55 Mallina, Professor Erich 24 Man Kissing a Woman’s Hand (drawing) 384, 384 Man with a Child (drawing) 252, 252 Man with Green Scarf (no. 249) 61, 417

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Mandt, Hella 50 Manet, Edouard: Le Balcon 134, 134 Mann, Thomas 30, 90 Mann mit grünem Schal see Man with Green Scarf Marie am Feuer see Girl by the Fire Marie in Doorway (no. 134) 20, 57, 61, 137, 150, 253–5 Marx, Ernst 430 Masaryk, Jan 42 Maxi (dog) 416, 433, 442, 462 May, Heinz 44 Meier-Graefe, Julius: Vincent 22, 77, 88 Meine Mutter see Mother (drawing) Menotti, Gian Carlo 32, 46, 74, 218, 529 Amelia al Ballo 32 Meyer, Friedrich Wilhelm 50 Meyer, Änne 543 Milburn, Mary 283, 283 Milburn, Father Robert Gordon 36–7, 283, 283 portrait (Father Milburn) (no. 154) 37, 61, 283–5 Miriam (no. 203) 348–9 Mitzi (no. 290) 476 Mixed Flowers in a Vase with Cutlery (no. 100) 207 Model in Frankfurt (no. 18) 102 Model, Vienna (no. 27) 61, 99, 112, 119, 168, 273, 466 Model, Vienna (no. 32) 61, 99, 112, 119 Model, Vienna (no. 33) 52, 61, 120–21 Model with Bird Cage (no. 77) 181 Model with Dog (no. 282) 450, 457, 462–3 Model with Parasol (no. 37) 129 Modell in Wien see Model, Vienna Modell mit Sonnenschirm see Model with Parasol Modell mit Vogelkäfig see Model with Bird Cage Moder, Karl 107 Modersohn-Becker, Paula 27, 128 Halbakt einer sitzenden Bäuerin 128, 128 Monier, Guy 384, 385 Morgen im Garten see Morning in the Garden Morning in the Garden (no. 61) 63, 161, 184, 246 Motesiczky (Kesseleökeö), Edmund Franz von 16, 17–18, 18, 19, 20, 534 Motesiczky (de Kesseleökeö), Matthias 17 Motesiczky, Henriette von (née von Lieben) 15, 16, 17, 18–19, 19, 20, 21, 22, 23, 24, 31, 32, 33, 35–6, 40, 44–5, 48–50, 56, 61, 63, 98, 114, 138, 184, 186, 266, 324, 346, 350, 350, 421 Der Ball 292, 292 poems 122, 124, 126, 161, 296, 373 portraits 49, 66–7 Head of Henriette (drawing; 1954) 244 Head of Henriette (drawing; 1959) 290 Head of Henriette von Motesiczky (drawing) 298, 299 Henriette in Bed, Asleep with a Dog (drawing) 433

Henriette in Dog Cart with Marie-Louise Running Alongside (drawing) 350, 351 Henriette M. (no. 177) 66–7, 314–15 Henriette von Motesiczky (no. 160) 66, 67, 296–9 Henriette von Motesiczky and Friend Talking (no. 99) 206 Henriette von Motesiczky in the Garden (drawing) 416, 416 Henriette von Motesiczky – Portrait No. 1 (no. 29) 66, 114–15, 238, 244 Henriette von Motesiczky with Dog and Flowers (no. 213) 66, 357, 368–9, 460 Hunting (drawing) 534, 534 Portrait with Turban (no. 80) 66, 184–5, 246 Reclining Woman with Pipe (no. 129) 52, 66, 238, 244–5, 439 see also From Night into Day; Mother; Mother in Bed; Mother in Green Dressing Gown; Mother in the Garden; Mother with a Straw; Mother with Baton; Old Song, The; Siesta; Way, The Motesiczky, Karl Wolfgang Franz von 18, 18, 20, 29, 30, 30, 31–6, 43, 44, 99, 155, 193, 193, 258–9, 321 Karl as St Christopher (drawing) 109, 109 monument to 44, 45 portrait (no. 24) 109 Motesiczky, Rosina von (née Süffert) 17, 17 Mother (no. 254) 426 Mother (drawing) 536, 536 Mother and Child (no. 133) 52, 63, 229, 252 Mother in Bed (no. 259) 67, 435 Mother in Green Dressing Gown (no. 250) 57, 66, 418–19 Mother in the Garden (no. 248) 66, 416 Mother with a Straw (no. 186) 38, 47, 324–5 Mother with Baton (no. 257) 67, 184, 426, 432–3 Mountain Landscape (no. 273) 452 Mountains and Orange Trees in Mallorca (no. 307) 60, 490–91 Murdoch, Iris 48, 126, 334, 342 The Book and the Brotherhood 42, 218 Flight from the Enchanter 126 portrait (no. 193) 48, 62, 126, 334–5, 342 Mutter im Bett see Mother in Bed Mutter im Garten see Mother in the Garden Mutter im grünen Morgenrock see Mother in Green Dressing Gown Mutter mit Kind see Mother and Child Mutter mit Stab see Mother with Baton Mutter mit Strohhalm see Mother with a Straw Nach dem Ball see After the Ball Nessler, Walter 52 Newton, Eric 43, 44, 154 Night Still-life (no. 185) 323 Nude (no. 36) 57, 61, 77, 128 Nude with a Rat and Books (no. 246) 62, 357, 414

Nudes at Hampstead Pond (no. 291) 362, 477 Nungesser, Alfred 50, 543 Obst und Rose see Fruit and Rose Old Song, The (no. 158) 57, 63–4, 66, 67, 244, 289–94, 307 Old Woman, Amersham (no. 59) 61, 158–9 Old Woman with Flowers and Page Boy (no. 223) 386 Onkel Ernst see Uncle Ernst Orchid (no. 153) 60, 90, 282 Orchid and Clay Figure (no. 212) 357, 367 Orchid and Figure (no. 123) 238, 258 Orchid with Bowl and Mirror (no. 318) 507 Orchidee see Orchid Orchidee und Tonfigur see Orchid and Clay Figure Owen, Beatrice 45, 350, 410 portrait (Mrs Owen) (no. 244) 45, 410–11 Paalen, Wolfgang 29, 288 Pallenberg, Max 23 Paraz, Albert 23 Parting (no. 149) 63, 156, 274–5 Pauzenberger, Maria 45, 74, 466, 496, 496 Portrait Frau Pauzenberger (no. 309) 45, 496–7 Pechmann, Günther Freiherr von 44 People on a Train (no. 31) 118 Pettenkofen, August von 17 Pfarrer Milburn see Milburn, Father Robert Gordon: portrait Pfingstrosen see Irises and Peonies Pfirsich see Still-life with Peach Philip (dog) 184, 184, 246, 247 Picasso, Pablo 42 Pier Llandudno (no. 64) 60, 164–5, 169, 317 Piero della Francesca: The Queen of Sheba Adoring the Wood of the Cross 406, 407 Pinsel und Matador see Spanish Still-life Pollaczek, Franz 288 Porada, Käthe von 23, 27 Henriette von Motesiczky to 48, 247 Portrait, American Model (no. 199) 58, 343 Portrait ‘Au pair’ Barbara see Berner, Barbara Valentina Portrait Flavia see Grassi, Flavia Portrait ‘Franzi’ see Dog with Flowers (no. 130) Portrait Frau L. see Leembruggen, Ilse Portrait Henderson Boy see Ross-Duggan, Jeremy Portrait Maria (drawing) 537, 537 Portrait Maureen see Fallon, Maureen Portrait of a Russian Student (no. 16) 57, 61, 99, 160, 273, 367 Portrait of a Smiling Lady (no. 67) 61, 168 Portrait of a Young Girl in a Blue Dress (no. 113) 224 Portrait of Young Man in Red Cap (no. 26) 111 Portrait of Elizabeth see Tollinton, Elizabeth Portrait of Woman in Red (no. 101) 208 Portrait with Turban (no. 80) 66, 184–5, 246

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Porträt eines jungen Mädchens im blauen Kleid see Portrait of a Young Girl in a Blue Dress Porträt eines russischen Studenten see Portrait of a Russian Student Porträt Frau Ansberg, Frankfurt see Model in Frankfurt Porträt mit Turban see Portrait with Turban Previn, André 28, 322 Price, Barbara 58 Propper, Erica 249 Psychoanalyst (no. 183) 31, 321 Psychoanalytiker see Psychoanalyst Rafael, Maria-Therese (‘Mitzi’) 476, 476 portrait (Mitzi) (no. 290) 61, 476 Rainbird, Sean 53 Reclining Woman with Pipe (no. 129) 52, 66, 238, 244–5, 439 Reeves, Marjorie 334 Refugees. A Dream see Travellers, The Regent’s Canal from Macclesfield Bridge (drawing) 466, 467 Regent’s Canal with Aviary (no. 286) 214, 222, 466–7 Regent’s Canal with Car (no. 111) 214, 222 Regent’s Park (no. 108) 214, 217 Regent’s Park mit Auto see Regent’s Canal with Car Reich, Wilhelm 32, 33–4, 193, 321 Reifenberg, Benno 23, 30, 48, 49, 53, 130, 186, 346, 378, 378, 389 portrait (no. 218) 62, 378–81 Reifenberg, Liselotte Maria 378, 380 Reisenden, Die see Travellers, The Rembrandt van Rijn 61, 63 David Playing the Harp for Saul 289, 289 Rice, Ladislas 537 Rivera, Diego: Flower Day 268, 268, 300 Roland, Browse and Delbanco 44, 234 Rollin, Dr Anna-Maria 472 Rosé, Arnold 17 Rosen see Still-life with Red Roses Rosen im Fenster see Roses in the Window Rosen mit Globus see Still-life with Flowers and Globe Roses in the Window (no. 324) 514 Roses, Toad and Nude (no. 173) 311 Ross-Duggan, Jeremy 441, 441 portrait (Portrait Henderson Boy) (no. 265) 441 Roth, Jörg 321 Rothenstein, John 43, 153, 158, 167 Rothschild, Alix de 387 Rothschild, Liliane de 470 Rothschild, Miriam 59, 324, 387, 387, 404, 406, 408 portrait (no. 224) 62, 387–9 Rothschild, Baron Philippe de 62, 469, 469, 470 portrait (no. 287) 62, 126, 278, 468–71 portrait (drawing) 469, 471 Rümann, Arthur 220 Rupé, Gretl 44

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Rupé, Karin 266, 267 Karin Rupé (no. 143) 266–7 Karin Rupé with a Flute (drawing) 266, 267 Saaler, Frau: portrait (no. 60) 160 Saar, Ferdinand von 14 Saller, Sonja see Sonja Salomonson, Jan Willem 340 Salomonson, Karin see Rupé, Karin Samuel, Godfrey 46, 404, 428, 428, 430 Godfrey Samuel with Dogs (drawing) 430, 431 portrait (no. 256) 46, 50, 428–31 Sandmeyer, John 417, 417 Schalk, Franz 17 Schey, Baron Fritz von 36, 482 portrait (Baron Schey at the Races) (no. 298) 226, 346, 482 Schey, Herbert 31, 482 Schey, Margarete (née Mayer) 22 Schey, Witold 22, 22, 31, 482 Schiele, Egon 21, 55 Schneelandschaft see Snow Drift with Gate Schnitzler, Arthur 132 Schwarzwald, Eugenie 90 Schwimmbad vor dem Meer see Swimming Pool Schwind, Moritz von 14 Schwitters, Kurt 52 Scrase, David 53 Scurr, Cyril Frederick 472, 472 portrait (Portrait of the Anaesthetist Dr Cyril Scurr) (no. 288) 62, 470, 472–3 Sebba, Siegfried 29, 29, 30, 378 Sheep-shearing 29 Segal, Arthur 52 Seidler, Marie (Mary) 36, 149 portrait (Frau Seidler) (no. 51) 52, 61, 148–9 Seilern, Count Antoine 18 Selbstporträt beim Pfeilwerfen see Self-portrait Playing Darts Selbstporträt in Blau see Self-portrait in Blue Selbstporträt in Grün see Self-portrait in Green Selbstporträt in Schwarz see Self-portrait in Black Selbstporträt mit Birnen see Self-portrait with Pears Selbstporträt mit Canetti see Self-portrait with Canetti Selbstporträt mit Kamm see Self-portrait with Comb Selbstporträt mit rotem Hut see Self-portrait with Red Hat Selbstporträt mit Schleier see Self-portrait with Veil Selbstporträt mit Strohhut see Self-portrait with Straw Hat Self-portrait in Black (no. 159) 57, 64, 77, 295 Self-portrait in Blue (no. 195) 64, 337 Self-portrait in Green (no. 55) 64, 153, 264 Self-portrait in Mirror Looking Left (no. 91) 64, 190, 198 Self-portrait in Mirror, Yellow Roses (no. 255) 64, 170, 427

Self-portrait Playing Darts (drawing) 56, 63, 528, 528 Self-portrait with Canetti (no. 237) 62, 64, 400–401, 404, 414 Self-portrait with Comb (no. 13) 53, 63–4, 94–6, 97, 124, 170, 410, 427 Self-portrait with Green Headscarf (no. 93) 200 Self-portrait with Henriette (drawing) 238, 238 Self-portrait with Mirror (no. 85) 64, 170, 190–91, 198, 427 Self-portrait with Mirror (no. 284) 64, 170, 465 Self-portrait with Palette (no. 168) 64, 307, 338, 382 Self-portrait with Pears (no. 202) 38, 48, 64, 170, 190, 198, 346–7, 427, 482 Self-portrait with Red Hat (no. 47) 33, 38, 50, 57, 64, 77, 140–42, 190, 264 Self-portrait with Straw Hat (no. 42) 64, 134–5 Self-portrait with Veil (no. 142) 64, 264–5 Short Trip, The (no. 204) 64, 66, 350–53, 416 Sickert, Walter 47 Siesta (drawing) 56, 66, 114, 238, 244, 530, 530 Simon, Heinrich 23, 29, 30, 378 Simon, Irma 22, 23, 288, 350 Sladen, Cassie 276, 276 Sladen, Dorothy Kate 276, 276 Slideshow with Piero della Francesca (no. 241) 406–7 Small Roulette (no. 1) 13, 22, 23–4, 57, 60, 77 Snake Charmer (no. 191) 332 Snow Drift with Gate (no. 70) 172 Sommerlandschaft see Summer Landscape Sonja (drawing) 526, 526 SOS-Kinderdorf in Hinterbrühl 44, 45 Sotriffer, Kristian 314 Spanierin see Spanish Girl Spanish Girl (no. 21) 28, 106 Spanish Still-life (no. 141) 263, 307, 338 Spanisches Stilleben see Spanish Still-life Spender, Natasha (née Litvin) 226 Spender, Stephen 226 Spiel, Hilde 50, 63 Springbrunnen im Park see Fountain in the Park Steen, Jan 55, 88 Steiner, Franz Baermann 52, 63, 210, 302, 334 Stepun, Fedor 44, 99 Stierkampf see Bullfight Still-life, Apples and Blossom on a Table (no. 330) 519 Still-life, Apples and Flowers in Blue Vase (no. 321) 511 Still-life, Bowl of Fruit with Pomegranate (no. 172) 311 Still-life, Candles, Vase of Roses and Chair (no. 302) 486 Still-life, Celery, Wooden Spoon and Knife (no. 334) 522 Still-life Christmas Mail (no. 294) 57, 479 Still-life, Flowers (no. 325) 515 Still-life, Heather and Apple (no. 269) 447 Still-life, Pink Roses and Brushes (no. 84) 190

Still-life, Red Rose (no. 176) 60, 313 Still-life, Vase of Flowers (no. 331) 13, 53, 520 Still-life, Vase of Flowers and Wicker Chair (no. 304) 487 Still-life with African Doll (no. 297) 481 Still-life with Apples (no. 57) 155 Still-life with Apples and Banana (no. 136) 258 Still-life with Apples and Corn (no. 280) 460 Still-life with Asters (no. 281) 49, 60, 440, 460–61 Still-life with Azalea and Clock (no. 245) 412–13 Still-life with Azalea and Teapot (no. 236) 399 Still-life with Books, Roses and Recorder (no. 275) 454 Still-life with Bowl and Daffodils (no. 295) 479, 507 Still-life with Brush and Strawberries (no. 231) 394 Still-life with Brushes, Pineapple and Red Tulips (no. 174) 312 Still-life with Cigarettes (no. 25) 110 Still-life with Clematis (no. 82) 58, 188 Still-life with Coffee Pot (no. 6) 83 Still-life with Cyclamen (no. 206) 357 Still-life with Dahlias (no. 313; 1991) 500 Still-life with Dahlias (no. 317; 1992) 507 Still-life with Fish (no. 277) 60, 455 Still-life with Fishes (no. 122) 44, 230, 234, 236–7 Still-life with Flowers (no. 327) 516 Still-life with Flowers and Globe (no. 305) 488 Still-life with Flowers and Meat Safe (no. 267) 446 Still-life with Flowers and Oil-lamp (no. 311) 499 Still-life with Flowers and Pipe (no. 95) 202 Still-life with Fruit and Roses (no. 263) 440 Still-life with Fruit, Vegetables and Knife (no. 40) 133 Still-life with Garden Tools (no. 41) 133 Still-life with Globe (no. 124) 239, 488 Still-life with Gong (no. 53) 52, 58, 151, 167, 170 Still-life with Grapefruits and Candles (no. 71) 173 Still-life with Hyacinths (no. 178) 316 Still-life with Inkpot, Ashtray and Matches (no. 175) 313 Still-life with Lemon (no. 268) 58, 446, 455 Still-life with Lilac (no. 171) 310 Still-life with Lily of the Valley and Pansy (no. 243) 409 Still-life with Monkey on Garden Bench (no. 23) 108 Still-life with Narcissi (no. 114) 225 Still-life with Paintboxes and Nasturtiums (no. 112) 223 Still-life with Pansies (no. 56) 43, 154 Still-life with Peach (no. 215) 371–2, 394 Still-life with Peaked Cap (no. 39) 132 Still-life with Photo (no. 34) 60, 122–3, 346, 482 Still-life with Red Roses (no. 264) 440

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Still-life with Rhododendron Branch (no. 262) 439 Still-life with Rudbeckia (no. 326) 515 Still-life with Scales (no. 28) 52, 113 Still-life with Sheep (no. 48) 33, 51, 60, 143 Still-life with Strawberries (no. 276) 455, 501 Still-life with Tulips (no. 11) 31, 57, 60, 90–91, 282 Still-life with Two Porcelain Dogs (no. 301) 485 Still-life with Watercolour Box (no. 102) 209 Still-life with Yellow Fan and Cherries (no. 118) 230, 396 Still-life with Yellow Roses (no. 62) 162 Still-life, Yellow Rose (no. 253) 425 Still-life, Yellow Roses in White Bowl (no. 104) 214 Stilleben am Strand see Beach Still-life Stilleben, Äpfel und blühende Zweige auf einem Tisch see Still-life, Apples and Blossom on a Table Stilleben, Äpfel und Blumen in blauer Vase see Still-life, Apples and Flowers in Blue Vase Stilleben, Blumenvase see Still-life, Vase of Flowers Stilleben, Heide mit Apfel und Wasserhahn see Still-life, Heather and Apple Stilleben mit Affe see Still-life with Monkey on Garden Bench Stilleben mit Ananas see Still-life with Brushes, Pineapple and Red Tulips Stilleben mit Äpfeln see Still-life with Apples Stilleben mit Aschenbecher see Still-life with Inkpot, Ashtray and Matches Stilleben mit Astern see Still-life with Asters Stilleben mit Azalee und Uhr see Still-life with Azalea and Clock Stilleben mit Büchern, Rosen und Flöte see Still-life with Books, Roses and Recorder Stilleben mit Clematis see Still-life with Clematis Stilleben mit Cyclamen see Still-life with Cyclamen Stilleben mit Dahlien see Still-life with Dahlias Stilleben mit Erdbeeren see Still-life with Strawberries Stilleben mit Fisch(en) see Still-life with Fish(es) Stilleben mit Flieder see Still-life with Lilac Stilleben mit gelben Blumen und Spiegel see Self-portrait in Mirror, Yellow Roses Stilleben mit Globus see Still-life with Globe Stilleben mit Gong see Still-life with Gong Stilleben mit Kaffeekanne see Still-life with Coffee Pot Stilleben mit Maiglöckchen see Still-life with Lily of the Valley and Pansy Stilleben mit Malkästen und Kapuzinerkresse see Still-life with Paintboxes and Nasturtiums Stilleben mit Narzissen see Still-life with Narcissi Stilleben mit Obst, Gemüse und Messer see

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Still-life with Fruit, Vegetables and Knife Stilleben mit Obst und Waage see Still-life with Scales Stilleben mit Obstschale und Narzissen see Still-life with Bowl and Daffodils Stilleben mit Photographie see Still-life with Photo Stilleben mit Pinsel und Erdbeeren see Still-life with Brush and Strawberries Stilleben mit Puppe und Apfel see Still-life with African Doll Stilleben mit Schafen see Still-life with Sheep Stilleben mit Schirmmütze see Still-life with Peaked Cap Stilleben mit Stehlampe see Night Still-life Stilleben mit Stiefmütterchen see Still-life with Pansies Stilleben mit Tulpen see Still-life with Tulips Stilleben mit Zitronenscheiben see Still-life with Lemon Stilleben mit zwei Porzellanhunden see Still-life with Two Porcelain Dogs Stilleben, Obstschale mit Granatapfel see Still-life, Bowl of Fruit with Pomegranate Stockerl see Stool Stool (no. 10) 22, 77, 88–9 Straße, Hinterbrühl see Street in Hinterbrühl Strauss, Johann 14 Strawberries and Sugar (no. 332) 522 Street Scene (drawing) 386, 386 Street in Hinterbrühl (no. 7) 82, 84–5 Studio with Nude Model (no. 239) 46, 60, 286, 382, 403 Stunde, Die see Hour, The Sturm ums Glashaus see Tulips and Narcissi Summer Landscape (no. 14) 58, 97, 538 Sunday Times 43, 49, 154 Sundial with Birds and Flowers (no. 323) 514 Swales, Peter 270 Swarzenski, Georg 23 Swimmer (no. 337) 523 Swimming Pool (no. 210) 63, 362–5 Tanten, Malen see Aunts, Sketching Taylor, John Russell 51 Tea-time (no. 38) 130–31 Thijn, Suzanne van 230, 396, 396 portrait (no. 233) 230, 396–7 Thistle (no. 261) 244, 439 Three Heads (no. 69) 58, 64, 151, 167, 170–71, 180, 200, 226 Tintoretto 17 Todesco, Moritz 19, 84, 100 Todesco, Sophie von 14, 15 Tollinton, Elizabeth 492–4, 492, 494 Portrait of Elizabeth (no. 308) 61, 492–5 Tratt, Karl 27, 27, 30, 50, 103 Travellers, The (no. 50) 36, 50, 52, 58, 63, 145–7, 204 Trennung see Parting Tulips and Narcissi (no. 292) 478 Tunesische Landschaft see Tunisian Landscape Tunisian Landscape (no. 197) 60, 340–41

Two Apples with Chrysanthemums (no. 293) 478 Two Bearded Men by a Lake (no. 333) 522 Two Cyclamen in a Vase (no. 125) 240 Two Friends, The (no. 163) 260, 301 Two Girls (no. 19) 27, 103 Two Lakes, The (no. 296) 60, 480 Two Nude Women and Tent (no. 232) 395 Two Women and a Shadow (no. 109) 41, 64, 218–19 Two Women Drinking Wine (no. 234) 398 Two Women on a Ship (no. 198) 342 Uglow, Euan 47 Uhlmann, Fred 42, 52 Uncle Ernst (no. 187) 326–7 Undertaker, The (no. 2) 61, 78 Unruh, Fritz von 23 Vaizey, Marina 49, 51 Vaughan Williams, Ralph 62, 249 Vaughan Williams, Ursula 62, 249 ‘In a Studio’ 249–50 portrait (no. 132) 62, 249–51, 278, 330, 470 Verdemato, Elinor 241, 242, 243 Vermeer, Jan 55, 88, 138 View from the Window in Compayne Gardens I (no. 116) 228 View from the Window in Compayne Gardens II (no. 117) 229 View from the Window, Vienna (no. 4) 51, 58, 60, 80–81 View of Vienna (no. 3) 58, 79 Village in Tyrol (no. 121) 234–5 Vogt, Günter 543 Von der Nacht in den Tag see From Night into Day Vries, Linda de 477

Winter, Gordon 424 portrait (no. 252) 50, 424 Winter Landscape see Snow Drift with Gate Wixi see Bubi Wohl, Emil 530 Wohl, Erna 530 Erna Wohl in the Bath (drawing) 56, 530–31, 531 Woman and Musician (no. 43) 136 Woman from Chestnut Lane (no. 150) 276 Woman Holding a Fish (no. 230) 393 Woman in a Tub (drawing) 204, 204 Woman in Green Leaning on a Chair (no. 88) 196 Woman in Profile (no. 161) 300 Woman with Blue Parrot (no. 83) 189 Woman with Umbrella (no. 226) 390 Workman, Paris (no. 12) 27, 92–3, 306 Worms, Constance Baroness de 167 see Countess with Plum Wunschkind, Das see Tea-time Yapou, Edith 43 Yucatan, Mexico (no. 145) 60, 269 Zauberfisch see Magic Fish, The Ziegler, Frau: portrait (no. 45) 48, 138 Zischka, Rosa 138 portrait (Frau Zischka) (no. 46) 138–9 Zwei Äpfel mit Chrysanthemen see Two Apples with Chrysanthemums Zwei Cyclamen in Vase see Two Cyclamen in a Vase Zwei Frauen und ein Schatten see Two Women and a Shadow Zwei Mädchen see Two Girls Zwerg, Hinterbrühl see Dwarf

Waal, Alexander de 451 portrait (no. 272) 50, 167, 451 Waal, Edmund de 451 Waal, Henk de 32, 104, 280 Waal, Rak de 104 Waal, Victor de, Dean of Canterbury 436, 436, 451 portrait (no. 260) 61, 62, 436–8 Wagner, Otto 21, 277 Waiting at the Airport (no. 164) 301 Wassermelone see Water Melon Water Melon (no. 131) 248 Way, The (no. 216) 61, 66, 373–5 Weg, Der see Way, The Wenki (no. 126) 241 Werner, Michael (Werner von Alvensleben) 167 Wertheimstein, Josephine von 14 Wichert, Fritz 23 Wiessing, Henri 220, 230, 396 Windspiel mit Blumen see Dog with Flowers (no. 130) Winsloe, Christa 30, 90 Winter, Doris 424, 430

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The author and publishers are grateful to the following individuals and institutions for permission to quote extracts: Astrid Altschul-Junesjö, Carole Angier, Diana Athill, Dieter Bassermann, Kulturamt Frankfurt am Main, Matthew Bailey, National Portrait Gallery, Mayen Beckmann, Raimund Bezold, Verlag C.H. Beck, Peter Black, Jo Bondy, Johanna Canetti, John le Carré, Diana and Peter Clegg, Hugh Cobbe, Milein Cosman, Andrea Denbeaux, Júlia Domán, Hatvany Lajos Múzeum, Hatvan, José Eckhard, Walter Elkan, Barbara Göpel, Daniele Grassi, Matthew Guinness, Evamarie Kallir, Jane Kallir, Zipi and Michael Karplus, Ian Karsten, Henry Lessore, Erika Lorenz, Patricia Lousada, M.D.B. McKerchar, Reform Club, London, Bryony Millan, National Portrait Gallery, London, Tim Moreton, Richard Morphet, Sybille-Karin Moser-Ernst, Beatrice Owen, Johannes Rafael, Hilde Randolph, Jan Reifenberg, Gaby Reydon-Nechansky, Markie Robson-Scott, Henry Rollin, Jörg Roth, Karin and Jan Willem Salomonson, David Scrase, Fitzwilliam Museum, Cambridge, Josefa Simon, Christopher

Stevenson, Peter Swales, the Executors of Ursula Vaughan Williams, Peter Verdemato and Victor de Waal. Every effort has been made to contact copyright holders; any omissions are inadvertent, and will be corrected in future editions if notification is given to the Trustees of the Marie-Louise von Motesiczky Charitable Trust in writing. The copyright for Marie-Louise von Motesiczky’s paintings, drawings and sketches lies with the Marie-Louise von Motesiczky Charitable Trust. Motesiczky’s works in the possession of the Trust were photographed by Matthew Hollow and Simon Roberton. We are grateful to the following individuals and institutions for permission to reproduce images: accent studios – Carsten Clüsserath, Saarbrücken: fig. 17 © ADAGP, Paris and DACS, London 2008: fig. 257 Jörg P. Anders: fig. 168 © 2008, Banco de México Diego Rivera & Frida Kahlo Museums Trusts, México D.F, DACS: fig. 110 Bart Cloet: no. 114, no. 136

© 2009 The Marie-Louise von Motesiczky Charitable Trust The Marie-Louise von Motesiczky Charitable Trust 151 Ashley Gardens, Westminster, London sw1p 2sn Registered Charity number 1059380 All rights reserved. Except as permitted under legislation, no part of this publication may be reproduced, stored in a retrieval system, published, performed in public, adapted, broadcast, transmitted, recorded or reproduced in any form or by any means without the prior permission of the copyright owner. isbn 978-1-55595-322-5 British Library Cataloguing in Publication Data: A catalogue record of this book is available from the British Library. artistic editor Johanna Stephenson copy editor Eileen Power designer Philip Lewis Printed and bound by Conti Tipocolor, Italy

Lucas Cuturi: no. 151 © DACS 2008: figs 15, 17, 18, 19, 24, 25, 42, 47, 53, 56, 58, 85, 92, 113, 135, 136, 147, 185, 186, 255, 256 Michael Lewis Dunn: no. 147, fig. 130 Ursula Edelmann – ARTOTHEK: fig. 122 Ursula Edelmann – ARTOTHEK, © VG Bild-Kunst Bonn: fig. 47 © English Heritage Photo Library: fig. 197 Foto Kaufmann: no. 139, no. 149 Fotostudio Otto, Vienna: no. 165 Jeannine Govaers: nos 18, 23, 25, 55, 64, 130, 131, 144, 197, 298, Portrait Frau L. (1934), Aunts, Sketching (1934) David Hall, Frankfurt am Main: no. 218 Foto Archiv, Carl Hanser Verlag, Munich: fig. 38 Hyatt Studios: Beryl (1939/40) Anne James: p. 4, back cover © Foundation Oskar Kokoschka / 2008 DACS: figs 31, 32, 178 Photograph © 2007 Museum Associates/ LACMA: fig. 110 Photo © The National Gallery, London: fig. 43 © National Portrait Gallery, London: no. 315

Österreichische Galerie Belvedere Vienna: no. 45 Jan Oplatka: figs 28, 60, 65, 69, 87, 97, 106, 107, 117, 127, 267, 268, 272 Petőfi Irodalmi Múzeum, Budapest: fig. 44 Johannes Rafael: no. 290 Peter Rauter: fig. 279 © Photo RMN/© Hervé Lewandowski: figs 46, 59 © Photo RMN/© René-Gabriel Ojéda: fig. 62 Antonia Reeve: no. 39, fig. 25 © Rheinisches Bildarchiv Köln: figs 53, 113 J. Scherb, Vienna: Sonja (1926), Samuel Barber (1933) Alaisdair Smith, Glasgow: no. 137, fig. 34 Jürgen Spiler, Dortmund: fig. 136 Staatsgalerie Stuttgart: fig. 255 © Tate, London 2007: fig. 257 Rodney Todd-White & Son, London: no. 260 Chris Warde-Jones, Rome: no. 278, figs 224 William Wilson Photography: no. 264 Keith Wynn, photo craft (Hampstead) Ltd: no. 265

Published in association with Hudson Hills Press LLC 3556 Main Street, Manchester, Vermont 05254 publisher and executive director Leslie Pell van Breen founding publisher Paul Anbinder United States Library of Congress In Publication Data Available from the Publisher upon request Distributed in the United States, its territories and possessions, and Canada by National Book Network, Inc. Distributed outside North America by Antique Collectors’ Club, Ltd front jacket Self-portrait in Green, 1942 (no. 55, detail) back jacket Marie-Louise von Motesiczky, 1986 front jacket flap Marie-Louise von Motesiczky, 1925 Page 2 Self-portrait with Comb, 1926 (no. 13, detail) Page 4 Marie-Louise von Motesiczky, 1986 Page 7 Last Self-portrait, 1993 (no. 322, detail) Page 8 Still-life with Scales, 1929 (no. 28, detail) Pages 10/11 Henriette M., 1961 (no. 177, detail) Page 12 Marie-Louise von Motesiczky, late 1920s Page 54 Marie-Louise von Motesiczky and friend in her studio in Paris, c. 1930 Page 72 Self-portrait with Canetti, 1960s (no. 237, detail) Page 524 Portrait Frau L., 1934 (detail)