Mendelssohn Bartholdy, Felix.

showing the gardens in front of the Thomaskirche, the Thomasschule, and the Bach-Denkmal (the monument erected by Mendelssohn and unveiled on 23 April 1843), with trees in leaf and five figures in the foreground, one with a baby-carriage, c.14.5 x 18cms, laid down on the flyleaf of Schlemmer's copy of: Johann Sebastian Bach's Werke, vol III. 'Clavierwerke' (the Inventions and Clavierübung), 341, [10] pages, folio, list of subscribers, engraved music, contemporary cloth boards, book plates of Dr [Fritz] Schlemmer, Leipzig: Bach-Gesellschaft, [1853], some foxing not affecting the drawing

Condition is described in the main body of the cataloguing, where appropriate
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

This is a fine unrecorded drawing linking Mendelssohn with his great predecessor at Leipzig, Johann Sebastian Bach, whose music he did so much to revive.  The depiction of the Bach-Denkmal, means that it must date from between 1843 and 1847. The original owner was Mendelssohn's friend the organist Dr Fritz Schlemmer, cousin of Mendelssohn's wife, Cécile, who pasted it into his copy of a volume from the Bach-Gesellschaft edition of the Werke, published in 1853.  Schlemmer is named as one of the subscribers to this edition, listed under Frankfurt-am-Main.

This drawing is very similar to Mendelssohn's slightly more finished version, also in pencil, now in the Mendelssohn Archiv of the Staatsbibliothek zu Berlin, MA BA 163, illustrated in Felix Mendelssohn Bartholdy zum 200 Geburtstag (Berlin, 2009), p.82.  They both present the same view, probably from Mendelssohn's study, including the Bach-Denkmal, and even the same five figures in the foreground.  The present drawing may be a copy of MA BA 163, rather than an early draft of it, but in our opinion, it dates from the same period (not later) and appears to be in Mendelssohn's own hand.  It is notable for its freedom and naturalness of execution, unlike a drawing made through copying by another hand. The slightly unfinished state of this drawing has lead some to suggest that it might be a contemporary copy.  However, there are no known copies of any drawings by Mendelssohn, such as by his sister Fanny or wife Cécile. Mendelssohn is known to have made several versions of drawings himself; for example, in 1847, he copied the sketchbook made in Scotland in 1829 for his friend Karl Klingemann. The watercolour view of the Thomasschule, made in 1839, before the construction of the Bach-Denkmal, was sold in these rooms on 21 May 1998, lot 274.  Given the provenance, via his friend and cousin, the overwhelming likelihood is that the present drawing is by Mendelssohn himself.