Koller View 2-21 English

2| 21
Rodin′s
‘The Kiss’
PAGES 6−7
Boetti
to Warhol
PAGES 14−17
Swiss
Lakes
PAGES 10−12

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Dear Reader,
We are delighted to offer an impressive selection of quality artworks, almost
exclusively from private collections, in our saleroom auctions in Zurich on
1 and 2 July 2021, and we are very pleased that this edition of KOLLERview
will be distributed for the first time with the Frankfurter Allgemeine Zeitung,
in addition to customary inserts in the Neue Zürcher Zeitung and Le Temps.
Among the highlights of the Impressionist & Modern Art auction are signif-
icant works from the early Modern period: an early cast of the legendary
bronze ‘The Kiss’ by Auguste Rodin, an important portrait by Erich Heckel,
from circa 1914 – his finest period – and three watercolours by Paul Klee. A
wide selection of Impressionist paintings includes a splendid large-format
landscape by Alfred Sisley.
Nearly every important Swiss artist of the first half of the 20th century is
represented in the Swiss Art auction; the sale, which includes some mu-
seum-quality works, could form the foundation of an important collection.
Featured works include five oil paintings and a dozen works on paper by Fer-
dinand Hodler, all with excellent provenances, three works by Félix Vallotton,
OURview. p. 2
Editorial
PREview. pp. 3– 20
June/July 2021 auctions
REview. pp. 20– 23
March 2021 auctions
OVERview. p. 23
Contacts
CALENDARview. p. 24
All auction results include buyer’s premium. 1 CHF = € .91 (on 8 May 2021)
KOLLERview is published four times annually, in English, French and German. Edition: 383 500 copies.
Next issue: September 2021.
Texts: Dr Tilo Richter
Layout: Laura Koller
Translations: Karl Green
Photos: Koller Auctions Ltd
four by Adolf Dietrich, and more than a dozen by Cuno Amiet. There are
also rare paintings by Varlin and Gottardo Segantini, as well as by Giovanni
and Augusto Giacometti. Our PostWar and Contemporary Art auction also
boasts works by famous artists such as Andy Warhol, Roy Lichtenstein,
Alighiero Boetti, Serge Poliakoff, Tom Wesselmann and Frank Stella.
The fine art auctions will be preceded on 30 June by sales of Jewellery and
Watches that are sure to make collectors’ hearts beat faster. And begin-
ning 22 June, you can participate in our online auctions of Art Nouveau,
Design, Vintage Fashion, Silver and Photographs.
If this is your first experience as a bidder and you would like to know more
about the auction process and our guarantees, please feel free to contact us.
We look forward to your visit.
Yours sincerely,
Cyril Koller
Augusto Giacometti. Blaue Blumen. 1911. Oil on canvas. 40.5 × 45 cm.
Estimate: CHF 80 000/140 000

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The girl from Ins
Handicrafts and reading the newspaper, making music
and learning – in countless works, Albert Anker por-
trayed the everyday life of his family and neighbours
in rural Ins. His drawings, watercolours and paintings
not only reflect the zeitgeist and tastes of the late
19th century, but above all give the viewer a glimpse
of these very private scenes of domestic life, with no
other purpose than to share a moment.
FOR FURTHER INFORMATION
SWISS ART
Cyril Koller
koller@kollerauctions.com
ONLINE CATALOGUES
www.kollerauctions.com
In this widely exhibited work, the artist shows his
young model in profile, absorbed in knitting. The soft
light streaming in through the bull’s-eye windowpanes
flatters the skin tones and the deftly rendered fabrics,
while the room itself remains in obscurity. The scene
is suffused with tranquillity and simplicity, as in many of
Albert Anker’s portraits.
Albert Anker (1831–1910). Girl knitting by a window. Oil on canvas. 66 × 51 cm. Estimate: CHF 800 000/1 200 000

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Marc Chagall
Lush bouquets of flowers were part of Chagall’s imagery since the early 1920s. The Provençal summer bouquet in this painting stands oversized in the landscape. In the
background, the southern French town of St. Paul-de-Vence, where Chagall lived from the mid-1960s, is easily recognizable. As in many of his late works, elements of his
earlier creative phases reappear, such as the goat and the lovers. Chagall composed idealised scenes, nourished by his memories, including those of his first wife Bella
Rosenfeld, who died in 1944. She was not only the recipient of many real bouquets, but also of painted ones. In the process, as Chagall put it, a ‘happy vision of a desirable
world’ emerged. The completion of the famous five-part stained-glass window cycle in the Fraumünster church in Zurich and the opening of the Musée National Marc
Chagall in Nice, the largest public collection of works by the Russian artist, coincided with the period of this painting. Chagall was able to reap the fruits of his busy life in
old age until his death in 1985, and was honoured in numerous solo exhibitions worldwide.
Bouquet d'été. 1973. Oil on canvas. 92 × 73 cm. Estimate: CHF 800 000/1 400 000
©
2021,
ProLitteris,
Zürich

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Alfred Sisley
The English artist Alfred Sisley was drawn to landscapes from an early age. He frequent-
ly portrayed the surroundings of Moret-sur-Loing near Fontainebleau, especially after he
moved there in 1889. Painting en plein air, he captured the lovely region from ever-changing
perspectives, as here in lush shades of green, with special interest in big skies and water
surfaces with constantly changing reflections.
Tournant du Loing à Moret. 1896. Oil on canvas. 60 × 73 cm. Estimate: CHF 600 000/900 000
Pierre-Auguste Renoir
Renoir’s virtuoso brushwork is unmistakable, even in this small-for-
mat painting, in which the vivid summer palette and the light elo-
quently convey the atmosphere of southern France.
Paysage aux deux figures. Circa 1915. Oil on canvas. 31.5 × 41 cm.
Estimate: CHF 150 000/250 000
Gustave Loiseau
This shimmering river landscape from a private Swiss collection once
belonged to the influential Parisian art dealer Paul Durand-Ruel, who
championed Loiseau’s work early on in his career. It is being offered
for sale at auction for the first time in over 50 years.
Gelée et Soleil à Tournedos. 1899. Oil on canvas. 60 × 72.5 cm.
Estimate: CHF 60 000/90 000
Albert Marquet
Marquet painted this view, which extends from Montreux over Lake Geneva to the
snow-covered Alps, during a trip to Switzerland in 1936/37. The lively brushwork recalls
the artist’s Fauvist roots.
Montreux. 1937. Oil on canvas. 65 × 81 cm. Estimate: CHF 80 000/120 000
IMPRESSIONIST & MODERN ART
Jara Koller
jara.koller@kollerauctions.com
ONLINE CATALOGUES

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Auguste Rodin is one of the most important sculp-
tors in the history of European art. He revitalised the
sculpture of his time by referring to classical models
and conceptions of art while focusing on nature, the
human body and its natural movement.
Today, Auguste Rodin’s figures ‘The Thinker’ and ‘The
Kiss’ have become a part of our cultural heritage, em-
blematic of sculpture’s entry into the modern age. In
1887 however, at its first exhibition in the Georges
Petit Gallery in Paris, ‘The Kiss’ caused a veritable
scandal.
First executed in terracotta, the closely entwined lov-
ers were inspired by a well-known episode in Dante
Alighieri’s ‘Divine Comedy’, the kiss between Frances-
ca da Rimini and her husband’s younger brother, Paolo
Malatesta. The notoriety of this incident gave Rodin a
welcome excuse to integrate the kissing scene into his
‘Gates of Hell’, which he had begun to work on in 1880.
The doors were to form the entrance to the newly
built Musée des Arts Décoratifs in Paris. Later Rodin
rejected this idea because he felt the subject was too
harmonious and lacked drama, and he treated ‘The
Kiss’ as an independent work. The 1889 sculpture in
Pentelic marble is today in the collection of the Musée
Rodin.
Rodin capitalised on the attention the public’s initial
indignation had brought to him and his work by mak-
ing his sculptures accessible to a broader group of col-
lectors and art lovers as bronze casts. In 1898, Rodin
signed a ten-year contract with the Leblanc-Barbe-
dienne foundry for the reproduction of his models
‘L’Eternal Printemps’ and ‘The Kiss’ and, together with
the renowned foundry, created bronzes of ‘The Kiss’
in various sizes.
Some 70 examples of the ‘deuxième réduction’ meas-
uring 60 centimetres high were cast in bronze be-
tween 1904 and 1918. The contract stipulated that
Rodin would receive a fifth of the proceeds from sales.
The sculptures were each inscribed on the interior
with a number code in ink representing the date of
creation. In most cases, due to decades of wear, this
number is no longer visible, which is why it is not pos-
sible to know exactly when most of the bronzes were
cast. The model in our auction is one of the very rare
examples where the ink code is still well preserved.
The sculpture was created on 8 June 1905 and is thus
one of the earliest casts of this size. Its original sales
invoice is in the Musée Rodin in Paris.
The bronze sculpture, with its warm patina, was
acquired in Paris between 1905 and 1910 by the
great-great-grandfather of the current owners and
has remained in the same family for more than 100
years. Today, ‘The Kiss’ is one of Rodin’s most famous
works, and one of the world’s best-known sculptures.
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Preview of the Impressionist and Modern Art auction on 2 July 2021
From scandal to icon
1 Paul Signac (1863–1935). Saint-Malo, trois-mâts
jaune. 1931. Watercolour on paper. 28 × 75 cm.
Estimate: CHF 80 000/120 000
2 Auguste Rodin (1840–1917). Le Baiser (The Kiss).
2ème réduction dite aussi ‘réduction n°4’. 1886.
Cast on 8 June 1905. Bronze with brown patina.
H 59.8 cm. Estimate: CHF 350 000/500 000
IMPRESSIONIST MODERN ART
Jara Koller
ONLINE CATALOGUES

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Ossip Zadkine
The Russian-born sculptor Ossip Zadkine made his debut as an exhibiting sculptor at
the Paris Autumn Salon in 1911. ‘Les trois grâces’ was created in 1926, by which time
he already held a French passport. This group of three women is his earliest work in
bronze; before that he had worked mainly in stone and wood. Among the particular-
ities of Zadkine’s forms, which are rooted in the materials used, are convex-concave
elements and the incised lines on the surface, which create subtle references to Cubist
models. This bronze, the first of only five examples cast, was apparently important to
Zadkine, for it remained in his possession for many years, probably until his death.
Les trois soeurs ou les trois grâces ou les trois belles ou les trois amies. 1926. Cast in 1926.
Bronze with dark brown patina. H 53 cm. Estimate: CHF 200 000/300 000
©
2021,
ProLitteris,
Zurich
Odyssey of a Heckel Portrait
Born in 1891, Milda Georgi adopted the stage name Sidi (or ‘Siddi’) Riha
when she became a dancer. She married Erich Heckel in 1915, only a
short time after he painted this portrait of her. While Heckel and Riha re-
mained a couple until the end of his life in 1970, the painting underwent
a decades-long odyssey that reflects German history.
Painted in 1914, the portrait was created during a difficult period for
Heckel, marked by the dissolution of the legendary artists’ group ‘Die
Brücke’, of which he was a founding member, as well as by Siddi’s pro-
longed illness. She was confined to her bed for a long period in the late
summer of 1913. Heckel continued to produce art during this time, even
holding his first solo exhibition at the Fritz Gurlitt Gallery in Berlin, but his
personal crisis is reflected in the sombre palette he employed.
The first owner of ‘Frau am Tisch’ (Woman at a table) was the Jewish
entrepreneur, collector and patron Alfred Hess, who amassed an excel-
lent collection of German Expressionist works, including ten by Heckel,
before his death in 1931. In the summer of 1933, his widow Thekla Hess
and her son Hans felt compelled to transfer nearly 100 works, including
circa 60 paintings, to Switzerland. They were exhibited in Basel and Zu-
rich, and so were kept out of reach for a time from the Nazi authorities.
In March 1937, the portrait of Siddi and 69 other works were sent to the
Cologne Kunstverein, where Ernst Ludwig Kirchner’s famous painting
‘Berlin Street Scene’ was already located. Later owned by Carl Hage-
mann and then the state of Berlin, the Kirchner was restituted in 2006,
subsequently selling for $38 million.
Thekla Hess emigrated to England in 1938, and was able to save part of
the collection by bringing it with her. The rest remained behind in Ger-
many and was lost there. In a crate in Cologne, ‘Frau am Tisch’, along with
some other works, survived a bombing raid and later a flood, and final-
ly ended up with the painter Peter Herkenrath – whether legally or not,
however, remained unclear. In the 1970s, the painting, which had been
considered lost, reappeared for the first time. Now it will be offered at
auction in Zurich, its sale made possible as part of a fair settlement with
the Hess heirs in accordance with the Washington Principles.
Erich Heckel. Frau am Tisch (Woman at a table). 1914. Oil on canvas.
64 × 38.5 cm. Estimate: CHF 300 000/500 000
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In April 1914, Paul Klee travelled to Tunisia to paint. His
companions were the German August Macke and the
Swiss Louis Moilliet, fellow artists from the same gen-
eration whom Klee had met and come to appreciate a
tectonic abstractions echo Mediterranean motifs; the
forms evoke sailboats or tents, beach landscapes and
waves. At the same time, the painting, composed in
geometric forms and stark colours, bears strong Bau-
haus influences.
The gouache ‘Bergschlucht’ (Mountain Gorge) from
1934 (ill. 3) is a fine example of the shift in colours and
formal language in Klee’s late work. His subjects now
appear much softer and more powdery than before,
yet still suggestively abstract; geometric severity has
now given way to more open forms.
Between Tunis and Dessau
year earlier in Hilterfingen on Lake Thun. The trip had a
lasting effect on the artistic work of all three travellers,
and today it is considered a significant event in the his-
tory of modern art, a milestone in the transition from
Expressionism to non-objective painting.
Among the locations where the three artists paint-
ed were Tunis, Hammamet and Kairouan. The forms,
impressions and especially the luminous colours that
Klee experienced there and incorporated into his
compositions continued to resonate in his work for al-
most a decade – for example in the ‘Kleine Landschaft’
(Small Landscape) of 1915 (ill. 2), where he achieved
an artistic metamorphosis through the interweaving
and interactions of various pictorial concepts. Klee
described this period as one in which he tackled the
‘synthesis of urban and pictorial architecture’.
Klee’s summery, playful composition ‘Côte de
Provence’(ill.1),createdin1927aspartofaseven-part
series, coincides with the artist’s important Bau
haus years, initiated by Walter Gropius. His first solo
exhibition of 39 watercolours had taken place in Par-
is two years earlier, at the Vavin-Raspail gallery. The
IMPRESSIONIST MODERN ART
Jara Koller
ONLINE CATALOGUES
1 Paul Klee (1879–1940). Côte de Provence 5. 1927.
Watercolour on paper on artist’s board.
11.4 × 32 cm. Estimate: CHF 220 000/300 000
2 Paul Klee (1879–1940). Kleine Landschaft, Hauptsäch-
lichmitFarb=Quadraten.1915.Watercolourandpencil
onchalk-primedpaperonartist’sboard.13.5×11.5cm.
Estimate: CHF 250 000/350 000
3 Paul Klee (1879–1940). Bergschlucht. 1934. Gou-
ache and chalk on primed paper on artist’s board.
37.4 × 49.3 cm. Estimate: CHF 350 000/400 000
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Water worlds and magic mountains
Preview of the Swiss Art Auction on 2 July 2021
The selection of Swiss art in the 2 July sale presents a
concentration of exemplary works rarely encountered
in a single auction. It is a journey through the devel-
opment of Swiss painting from Calame and Diday to
Hodler and Vallotton, and beyond to a large expressive
nocturnal landscape by Max Gubler.
The name Ferdinand Hodler evokes grandiose lake
and mountain landscapes, both to the general public
as well as art connoisseurs. Hodler also actively en-
gaged in figure painting, mostly of symbolic content
(ill. 2), and portraits, such as the important likeness
of Clara Pasche-Battié (ill. 3) offered in this auction.
His first international breakthrough was with a figure
painting: ‘The Night’ (Kunstmuseum Bern). Crucial
not only for Hodler’s personal development, but also
for the development of Swiss art, was his relation-
ship with his first formal teacher, Barthélemy Menn,
who introduced Hodler to new developments in the
plein air painting of the Barbizon school, including its
goal of treating the landscape as a subjective atmos-
pheric experience. Landscape, then, is at the origins
of Hodler’s art. And his development into one of the
most influential and important Swiss painters culmi-
nated in the magnificent Lake Geneva landscapes of
his late work. In this painting from circa 1911 (ill. 1),
Hodler celebrates the fluid transitions between the
almost dematerialised water surface, the distant
coastline, and the overcast sky. The artist’s last
painting was an unfinished view of Lake Geneva,
which closes the circle.
Between his early and late works lie almost 50 years
and an immense progression – not only in Hodler’s
workitself,butinmodernartingeneral.Theperiodbe-
tween 1870 and 1920 is characterised by a break with
tradition and a shift towards new artistic approaches.
In Switzerland, painting the Alps has been a central – if
not the central – theme ever since Caspar Wolf, who
climbed glaciers and peaks in the 18th century, armed
with easel and palette. Philosophical approaches such
as Rousseau’s ‘retour à la nature’, as well as tourism,
driven by the British in the 19th century, proved to
be decisive influences on new visions of the Helvetic
world.
The great Swiss landscape painters however, from
Alexandre Calame to Giovanni Segantini to Ferdinand
Hodler, were not concerned with a tourist perspective
of the Alps. In their work, mountains and lakes became
dramatically heightened places in which nature stands
symbolically for life and death, genesis and demise,
and at the same time as an eternal constant. This
approach influenced almost all the painters of the fol-
lowing generation, of whom Cuno Amiet and Giovanni
Giacometti were the most important.
Félix Vallotton came to landscapes by his own path.
His acquaintance with the artists of the Nabis group
in Paris led him to make paintings in which, as in
‘Pommier, Equemauville’ (p. 13), he creates enigmati-
cally intimate moods. From here, Vallotton developed
his art further into large-scale, strictly structured ‘pay-
sages composés’ arising not from nature alone, but
from his power of imagination (p. 13). After the First
World War, the first generation of modernists was
followed by artists such as Adolf Dietrich and Niklaus
Stoecklin, who practically turned this development on
its head, giving their full attention to observed reality
while employing a new naiveté.
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SWISS ART
Cyril Koller
ONLINE CATALOGUES
1 Ferdinand Hodler (1853–1918). Lake Geneva seen
from Chexbres. Circa 1911. Oil on canvas. 68 × 90.5
cm. Estimate: CHF 1 500 000/2 500 000
2 Ferdinand Hodler (1853–1918). The Orator, from
‘Unanimity’. 1913. Oil on canvas. 126 × 77 cm.
Estimate: CHF 150 000/200 000
3 Ferdinand Hodler (1853–1918). Portrait of Clara
Pasche-Battié. 1914. Oil on canvas. 47.5 × 39.5 cm.
Estimate: CHF 350 000/500 000
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Ferdinand Hodler
In 1906, Hodler portrayed Lake Thun from an elevated vantage point near the Schynige Platte. Coming from Interlaken via Wilderswil, he reached this vantage point on a
cogwheel railway. The blue and green forests and peaks contrast with the yellow meadows and turquoise waters of the lake.
Lake Thun from Breitlauenen. 1906. Oil and oil pastels on canvas. 103 × 89 cm.
Estimate: CHF 800 000/1 200 000

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Félix Vallotton
Vue d’Avignon. 1920. Oil on canvas. 64.5 × 54 cm.
Estimate: CHF 150 000/200 000
Félix Vallotton
The picturesque coast of Normandy captivated generations of artists before Vallotton. Here he chose to
depict not one of the towering cliffs, but a comparatively less spectacular stretch of land near the mouth
of the Seine on the English Channel.
Falaise à Vasouy. 1910. Oil on canvas. 58 × 89 cm. Estimate: CHF 280 000/380 000
Giovanni Giacometti
The walnut tree. 1916. Oil on canvas. 100 × 76 cm.
Estimate: CHF 150 000/250 000
Félix Vallotton
Pommier, Equemauville. 1901. Oil on board. 37 × 42 cm.
Estimate: CHF 90 000/150 000
Gottardo Segantini
The unique light of the mountains shines on the hamlet of Grevasalvas,
between Sils and Maloja, which was also the setting for the beloved
German-language ‘Heidi’ television series in 1978.
Grevasalvas. 1938. Oil on canvas. 109 × 151 cm.
Estimate: CHF 120 000/180 000

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Frank Stella
This image of Frank Stella’s three-dimensional collage
‘Guifa e la Berretta Rossa’ from 1985 belies the enor-
mous size of this artwork, which measures three by
fourmetres.Stella,comingfromabstractexpres-
sionist painting, moved beyond the flat rectan-
gle of the canvas to create new, three-dimen-
sional objects with illusions of depth: ‘The
impulse that goes into [my sculptures] is
painterly, and they live or die by my paint-
erly skills, not by my skills as a sculptor’. The
works in this series are named after short
stories by Italo Calvino.
Frank Stella. Guifa e la Berreta Rossa. 1985. Wall
relief. Oil, urethane, enamel, fluorescent alkyd
resin and acrylic on canvas. 330 × 406 × 78.7 cm.
Estimate: CHF 300 000/500 000
John Chamberlain
Chamberlain designed this work as a gift for Heidi Connor, his business and studio manager from 1980 to 1990, who coordinated his business
affairs and finances, and documented his work, generally freeing him to concentrate on his art. This ‘Birthday Card’ brings together in a compar-
atively small space many typical elements of Chamberlain’s art: metal fragments from the car graveyard, expressive colour fields, and the playful
positioning of individual forms on the picture surface.
Heidi (A Birthday Card). 1991. Chrome, steel and lacquer. 28 × 81.2 × 15.2 cm. Estimate: CHF 90 000/140 000
Roberto Matta
The cosmopolitan Chilean artist Matta moved in the circle of Parisian
Surrealists, lived for nearly a decade in New York, and spent his twilight
years in Italy. His ‘cosmic surrealism’ treats the power of the subcon-
scious as well as his political commitment in large-scale dream worlds
with volatile forms.
Sueño:unsogno.1993.Oiloncanvas.150×146cm.
Estimate:CHF50000/70000
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POSTWAR CONTEMPORARY
Silke Stahlschmidt
stahlschmidt@kollerauctions.com
ONLINE CATALOGUES
Organic mosaic
Preview of the PostWar Contemporary Art auction on 1 July 2021
Born in Antwerp in 1958, Jan Fabre is one of the most
innovative and diverse artistic personalities on the
contemporary art scene. With ‘Adsum qui feci’, he
created a unique piece of art: a large-format mosaic
composed of thousands of beetle shells that iridesce
depending on the lighting and angle of view. It appears
almost immaterial, becoming a vast reflector of green,
blue and orange light. With his baroque choice of ma-
terials, the artist refers to the icons of his birthplace,
from Rubens to Jordaens, while revealing his close
connection to nature (Fabre studied botany as well
as art). The beetle shells covering the canvas form a
clock, symbolising the transition between the earth-
ly dimension and eternal life. The flanking dogs could
represent loyalty, devotion, and perhaps submission.
Both the medium and the imagery point to Fabre’s
central theme – the perpetual metamorphoses of
Nature as signs of life’s transience.
Peter Fischli and David Weiss transformed incon-
spicuous everyday objects, such as a brick wall, into a
24-part series of shiny black rubber castings (‘Wall’),
which they presented to the public in 1986/87 under
the title ‘Rubber Sculptures’. Removed from their
original context and translated into a different mate-
rial, the everyday objects take on a life of their own as
works of art.
Markus Lüpertz’s sculptural works cast in bronze
oscillate between painting and sculpture, thanks to
their expressive colouration; here the surfaces be-
come three-dimensional painting supports. Their
enormous physical presence stems from their ar-
chaic, raw forms, a monumental aspect even in
smaller formats, and the immediate and insistent
visual contact between object and viewer. The deep
anchoring of Lüpertz’s pictorial world in tradition-
al models from Hellenic antiquity is unmistakable;
but before they can become repetitive he shatters
them, in a manner both masterful and restless, thus
raising questions about contemporary ideals of
beauty.
A strong identification with ancient myths and clas-
sical Greek philosophy also characterises the work
of Theodoros Stamos, an American with Greek roots
who belongs to the first generation of Abstract Ex-
pressionists. His expressive colour field painting, pur-
sued over decades, culminates in the ‘Infinity Fields’
of his late work, represented in the July auction by a
large-format painting from the ‘Lefkada’ series. With
its freer surfaces and dynamically applied lines, this
series appears less austere than some of his earlier
works, such as the ‘Sun Boxes’ of the 1960s.
Jan Fabre (1958). Adsum qui feci. 2016. Beetle shells on canvas. 164 x 220 cm. Estimate: CHF 100 000/150 000
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Alighiero Boetti
‘My planes are real, they exist and fly every day! They go everywhere, in every direction and travel around the entire world. They are free and also so beau-
tiful!’. ‘Aeri’ combines two important and frequently recurring aspects in Boetti’s artistic work: ballpoint pens and airplanes. In this series the artist acted as
a director, entrusting the execution to third parties. Boetti commissioned the designer Guido Fuga to create models of airplanes, which he depicted from
various perspectives and scales. He delegated the filling-in of the background with ballpoint pen strokes to assistants, provoking spontaneous interactions
in the picture – and it is precisely this unpredictability that makes these works unique. In the triptych from the series offered on 2 July, an invasion of aero-
planes seems to be rushing towards us. Convinced of future technical possibilities, Boetti prophesied: ‘One day it will be possible. The planes will no longer
be driven by men but by robots, and everything will be calculated. In a few years, my work will be the true representation of the sky!’
Aeri.1983(triptych).Ballpointpenonpaperoncanvas.70×50cmeach.Estimate: CHF200000/300000
Andy Warhol
In 1985, Warhol created his ‘Ads’ portfolio, which
reinterpreted advertising subjects – such as this
depiction of actor James Dean on a Hollywood
movie poster.
Rebel Without a Cause (James Dean). 1985.
Colour screenprint. 131/190. 96.5 × 96.5 cm.
Tom Wesselmann
Wesselmann prominently stages this naked torso – in the manner typical of
his nudes, without showing the nose and eyes.
Pastel-Nude on the Beach. Circa 1965. Pastel and pencil on paper. 19.7 × 23.2 cm.
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Andy Warhol
Toy packaging like this one for a wind-up plush dog
inspired Warhol, formerly a commercial artist, who
became an obsessive collector and highly successful
popular artist.
Terrier. 1983. Synthetic polymer and silkscreen on canvas.
35.5 × 28 cm. Estimate: CHF 50 000/70 000
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for
the
Visual
Arts,
Inc.
/
2021,
ProLitteris,
Zurich

17
©
Estate
of
Roy
Lichtenstein
/
2020,
ProLitteris,
Zurich
©
Estate
of
Roy
Lichtenstein
/
2020,
ProLitteris,
Zurich
Christo
Christo’s finely crafted drawings served to visualise
planned installations and, as self-sufficient works of
art, helped to finance the costly projects that he and
his wife Jeanne-Claude produced without outside
funding.
Wrapped Trees, Project for the Fondation Beyeler, Riehen,
Switzerland. 1997. Mixed media on wove paper on panel.
66.7 × 77.5 cm. Estimate: CHF 35 000/45 000
Bruno Weber
Throughout his life, the Swiss painter and sculptor remained a unique phenomenon; his
wide-ranging artistic oeuvre defies categorisation. The ‘people’s artist’ became nationally
and internationally known for his idiosyncratic 20,000-square-metre sculpture and water
garden in Weinrebenpark near Zurich. Weber’s stylistic models are to be found all over
the world; ancient Indian sculpture had a major influence on his formal language, as in the
biomorphic allusions in this three-part suite of furniture.
Suite of two chairs side table: ‘Four-faced functional sculptures’, design circa 1970.
Polyester, cast and black-lacquered. Estimate: CHF 9 000/12 000
Roy Lichtenstein
In this composition, Lichtenstein reduces his own canon of forms and colours
to an absolute minimum, which remains instantly recognisable despite the
image’s considerable abstraction. Although the actual subject of the picture
is no longer discernible, the artist succeeds in alluding to a larger pictorial
context. The chosen scheme of colour fields and lines seems like an excerpt
from a larger work and thus stands pars pro toto for the artist’s oeuvre as a
whole, leaving open the question of whether he is seriously or ironically pro-
voking art-historical references ‒ to Piet Mondrian’s Constructivist painting,
for example.
Untitled. 1979. Oil on canvas. 31.5 × 42.5 cm. Estimate: CHF 80 000/120 000
Serge Poliakoff
The Russian-born Frenchman’s oeuvre was closely
associated with the Paris School and post-war abs-
tract movements in Europe. Poliakoff’s paintings
harmoniously arrange interlocking planes of colour.
A profound and lasting influence on Poliakoff’s un-
derstanding of colour was the art of his friends Was-
sily Kandinsky, Robert and Sonia Delaunay and Otto
Freundlich, whom he met in the 1930s.
Composition abstraite. 1962. Oil on canvas. 41 × 33 cm.
Roy Lichtenstein
Lichtenstein chose the Statue of Liberty as
a patriotic advertising motif for the political
celebration ‘I Love Liberty’, which took place
in Los Angeles in 1982.
I Love Liberty. 1982. Colour screenprint.
196/250. 97.3 × 68.7 cm.
Pablo Picasso
In the ten years that Françoise Gilot lived at
Picasso’s side, the artist created countless
portraits of her. The striking eyelashes are
a signature feature of these representa-
tions.
Françoise. 1946. Lithograph. 4/50. 65 × 49.5 cm.
©
Succession
Picasso
/
2020,
ProLitteris,
Zurich
©
2021,
ProLitteris,
Zurich
©
2021,
ProLitteris,
Zurich

18
WATCHES
Uwe Vischer
vischer@kollerauctions.com
ONLINE CATALOGUES
1

19
Preview of the Watches auction on 30 June 2021
1 An extremely rare Rolex Daytona yellow gold
wristwatch with Paul Newman dial. Circa 1968.
Estimate: CHF 150 000/250 000
2 A rare Patek Philippe yellow gold perpetual calendar
wristwatch, limited edition of 25 for Beyer Chrono-
metrie. Estimate: CHF 50 000/90 000
3 A very rare Rolex yellow gold Daytona wristwatch,
ref. 6263, 1987. Estimate: CHF 70 000/120 000
4 A Henry Capt yellow gold Grand Complication
pocket watch with perpetual calendar, minute
repeater and rattrapante chronograph.
5 A large Veigneur gold and enamel pocket watch with
repeater and automaton, circa 1780.
2 3
The pioneering invention for the ‘mobilisation’ of the
watch was the use of a steel spring to drive the move-
ment. Whereas weights had previously been necessa-
ry to exert a uniform force on the gears inside clocks
and keep them moving, mainsprings miniaturised the
entire process. Around the year 1500, these new me-
chanisms were used in ‘clock-watches’, which were ini-
tially only equipped with an hour hand. Although these
clocks were already much smaller than their prede-
cessors, they were not yet suitable for carrying around
comfortably in a pocket, let alone on a wristband.
In the 18th
century, advances in watchmaking allowed
true pocket watches to be made. And thanks to im-
proved movements with more precise escapements,
there was now also a use for a minute hand. These
watches, which could be wound and adjusted with
their own keys, were considered status symbols of the
wealthy due to their costliness as well as the technical
finesse of their special features. Around 1900, the in-
dustrial production of pocket watches had reached its
4
5
3
Time in your pocket
peak, and already after the First World War, wristwat-
ches were considered the new ne plus ultra. Today, due
to the omnipresence of computers, mobile phones
and smartwatches, the current time is an all-pervasive
part of everyday life.
When we carry our smartphone in our handbag or po-
cket today, we are unconsciously harking back to the
beginnings of mobile timepieces. Pocket watches as
timepieces have long gone out of fashion, but as col-
lectors’itemstheyarestillverypopular–especiallythe
technically refined and aesthetically high-quality ob-
jects from the early days of their production in renow-
ned manufactories, including those in Switzerland.

20
Eugène Louis Boudin
The tranquil Touques River meanders through the
Norman Pays d’Auge, much as it does through the
work of Boudin, a native of Honfleur. Since the artist
owned a home in the seaside resort of Deauville, he
had many opportunities to paint by the sea and in the
surrounding countryside. This river motif, which he
varied several times, exemplifies his mastery of deli-
cate colours, harmonious shading and skill at captur-
ing reflections on the leisurely flowing water.
La Touques à Saint-Arnoult. 1893. Oil on canvas.
54.1 × 74.2 cm. Sold for CHF 104 000
Ferdinand Georg Waldmüller
The young women in Waldmüller’s painting share a sweet
secret: in the glow of a candle, they hold a love letter in
their hands. While the paper shields the bright flame, the
two figures are bathed in warm light. The artist succeeds
in involving the observer in the scene through his highly
naturalistic depiction and by skilfully directing the viewer’s
gaze. The Austrian Waldmüller acquired these expressive
possibilities through his decades-long studies of the old
masters.
The Love Letter. 1848. Oil on canvas. 78 × 64.5 cm.
Sold for CHF 232 000
An outing on the Prater. 1833. Oil on panel. 31 × 25.5 cm.
Sold for CHF 73 000
Arnold Böcklin
Portraits by Böcklin often show people engaged in in-
trospection, as in this religious image of the penitent
Mary Magdalene. This is a late work of the Basel-born
artist, who was highly regarded throughout Europe;
his 70th birthday in 1897 was celebrated with nume-
rous exhibitions.
Penitent Mary Magdalene. 1895. Tempera on board.
36.6 × 36.6 cm. Sold for CHF 100 000
Konstantin Ivanovich Gorbatov
Gorbatov’s veduta depicts the paradisiacal island of Capri, in the bright, shim-
mering light of the south. In the tradition of the Impressionists, he relied on a
contrasting palette of pastel tones. This painting, typical of this Russian artist
who emigrated to Italy, had been absent from the art market for 70 years pre-
vious to the March auction.
View of Capri. Oil on canvas. 50.3 × 60.4 cm. Sold for CHF 134 000

21
Anthony van Dyck
St Jerome’s aged body contrasts sharply
with his powerful pose. Because the saint’s
attributes – the skull, prayer book and sur-
rounding landscape – are rendered in less
detail, the viewer’s gaze focuses primarily on
the figure. The sincere emotionality imparted
by van Dyck to his religious motifs gives them
substance and character. This painting, from
a private collection, may once have been in
the legendary art collection of van Dyck’s re-
nowned mentor, Peter Paul Rubens. Despite all
that he borrowed from Rubens, van Dyck de-
veloped his own unmistakeable style, emulat-
ed by subsequent generations.
St Jerome in the wilderness. Oil on panel.
47.1 × 40.4 cm. Sold for CHF 2.44 million.
Roelant Savery
Savery’s small tondo of a cow is a fine example of
the stand-alone depictions of animals that be-
came fashionable in Holland at the beginning of
the 17th century.
Cow reclining in a landscape. 1604. Oil on panel.
D 17.5 cm. Sold for CHF 128 000
Filippino Lippi
Filippino Lippi’s depiction of St Benedict in a classical
architectural niche reveals a familiarity with composi-
tions often found in Italian frescoes and panel pain-
tings. ‘This small-format panel painting is a surprising
and fascinating early masterpiece of the Florentine
Renaissance, from the hand of the still-young Filippi-
no Lippi, who in the following decades was to deve-
lop into one of the most important Renaissance ar-
tists in Italy and a harbinger of Florentine Mannerism.’
(Prof. Dr Gaudenz Freuler)
Saint Benedict. Circa 1470–75. Oil tempera on panel.
63.3 × 23.3 cm. Sold for CHF 134 000
Jacob Jordaens
Venus and Adonis are among the most famous lovers
in art history. This life-sized depiction by the Flem-
ish Baroque painter Jordaens from his later creative
period is characterised by warm colours; expres-
sive brushwork intensifies the drama. Jordaens fol-
lows in the great footsteps of Titian, Veronese and
Rubens who all treated this subject inspired by Ovid’s
Metamorphoses.
Venus and Adonis. Oil on canvas. 197.5 × 155 cm.
Circle of Annibale Carracci
A ‘Portrait of a Young Man with a Lace Col-
lar’ was the subject of a lively bidding war in
the March auction.
Portrait. Oil on canvas. 40.2 × 33.2 cm.

22
22
Diderot d’Alembert
The comprehensive Encyclopédie, published – and also large-
ly written by – Denis Diderot and Jean le Rond d’Alembert, with
its 72,000 articles and almost 3,000 copperplate illustrations, is
considered the most important scientific work of the Enlighten-
ment. Their lofty goal was to assemble the knowledge of their
time in a single publication. Consequently, the 35 volumes re-
mainoneofthemostimportantsourceson18th
-centurysociety,
culture and science.
Diderot / d’Alembert, Encyclopédie, ou dictionnaire raisonné des
sciences. 35 vols. Paris et al, 1751‒1777. Sold for CHF 40 000
Charles Darwin
For the first time in decades, a first edition of Charles Darwin’s
epoch-making publication ‘On the Origin of Species’ was of-
fered at auction in the German-speaking world. This extremely
rare copy had been in a private library in Geneva for more than
a century and a half. On his extensive research trips, the British
naturalist collected findings from which he extracted a modern
evolutionary biology. Few works of natural science have stimu-
lated such important scientific, philosophical and theological
discussions in Darwin’s time, and to this day.
Charles Darwin. On the Origin of Species. London, John Murray, 1859.
First edition. Sold for CHF 98 000
Johann Friedrich Spindler
This pair of chests of drawers is a fine example of the art of Johann Friedrich
Spindler, a cabinetmaker based in Bayreuth, Germany, whose workshop was known
for extraordinary marquetry in the naturalistic Rococo style. Together with his
stepbrother Heinrich Wilhelm Spindler, Johann Friedrich was summoned to Pots-
dam in 1765 by Frederick II, King of Prussia, to make furniture for the New Palace.
A pair of important marquetry chests of drawers from the workshop of Johann Friedrich
Spindler. Potsdam circa 1760/65. 134 × 66 × 82.5 cm. Sold for CHF 220 000
Astronomical regulator clock
Ferdinand Berthoud, son of a justicier from Val-de-
Travers, is considered one of the leading clockmakers
in the history of the craft. His clocks, pocket wat-
ches and chronometers, produced in small numbers,
are among the finest of the 18th
century, and can be
found today in major museum collections. In addition,
Berthoud published theoretical texts, including trea-
tises on maritime clocks and instruments which were
financed by Louis XVI.
A rare and fine Directoire astronomical skeleton clock with
seconds, month, day, date and moon phase, Paris, late
18th
c. The dial signed Ferdinand Berthoud.
35 × 13 × 62 cm. Sold for CHF 43 000
Böttger stoneware
Red stoneware from the early years of Meissen pro-
duction – such as this teapot from around 1710
– was only produced for a brief time, and almost
exclusively for the Royal Collections. Based on
Chinese red stoneware from Yixing, it was the re-
sult of ceramic experiments begun in 1705 by the
alchemist Johann Friedrich Böttger and the sci-
entist Ehrenfried Walther von Tschirnhaus, funded
by Augustus the Strong of Saxony. Production of this
stoneware was soon eclipsed by the scientists’ mo-
mentous discovery of the secret of manufacturing pure white porcelain, which would ensure the
renown of the Meissen manufactory.
A Böttger stoneware covered teapot. Meissen, circa 1710. Model by Johann Jakob Irminger. H 9.5 cm.
Sold for CHF 98 000

23
Johann Joachim Kändler
Fauna, flora and porcelain – the great passions of the
Saxon Elector Augustus the Strong – are combined
in these two items. Between 1731 and 1733, the
Elector commissioned an African expedition to pro-
cure exotic animals for the court menagerie as well
as specimens for the natural history collections. One
of his ambitious projects was creating the Japanese
Palace on the banks of the Elbe in Dresden. Intended
to house the monarch’s collection of Asian porcelain,
he also commissioned large quantities of Meissen
porcelain to be exhibited there. The royal desire to
reproduce hundreds of life-sized porcelain animals
and birds turned out to be a technical challenge for
the manufactory and its modelers. During more than
20 years, Johann Joachim Kändler created nearly 40
different birds. The first models of the Eurasian oriole
with bright yellow plumage and black wings were in-
itially produced in the early 1730s exclusively for the
Japanese Palace, before being adapted and manufac-
tured for wider commercial sale in the 1740s.
Two models of orioles with gilt bronze mounts. Meissen,
the models by Johann Joachim Kändler from 1733/34.
H 25.5 cm (28.5 cm). Sold for CHF 103 000
Offices

representatives
Specialists
SWISS ART
Cyril Koller
IMPRESSIONIST
MODERN ART
Cyril Koller
POSTWAR CONTEMPORARY
PRINTS MULTIPLES
Silke Stahlschmidt
stahlschmidt@kollerauctions.com
PHOTOGRAPHY
Gabriel Müller
mueller@kollerauctions.com
FINE FURNITURE
Stephan Koller
skoller@kollerauctions.com
MEDIEVAL SCULPTURE
Stephan Koller
skoller@kollerauctions.com
ASIAN ART
Regi Preiswerk
asianart@kollerauctions.com
OLD MASTER
19TH
CENTURY PAINTINGS
Karoline Weser
weser@kollerauctions.com
OLD MASTER PRINTS
DRAWINGS
Franz-Carl Diegelmann
diegelmann@kollerauctions.com
EUROPEAN PORCELAIN
CERAMICS
Sabine Neumaier
neumaier@kollerauctions.com
SILVER
Corinne Koller
ckoller@kollerauctions.com
DESIGN
Cyril Himmer
himmer@kollerauctions.com
VINTAGE FASHION
Jara Koller
BOOKS, MANU
SCRIPTS
AUTOGRAPHS
Dr Andreas Terwey
terwey@kollerauctions.com
ART NOUVEAU ART DECO
CARPETS
Jean-Pierre Dalla Vedova
dallavedova@kollerauctions.com
JEWELLERY
Carla Süssli
suessli@kollerauctions.com
WATCHES
Uwe Vischer
vischer@kollerauctions.com
WINE
Koller Geneva
geneva@kollerauctions.com
KOLLER ZURICH
Hardturmstrasse 102
8031 Zurich
Switzerland
T +41 44 445 63 63
office@kollerauctions.com
DÜSSELDORF
Ulrike Gruben
Citadellstrasse 4
40213 Düsseldorf
Germany
T +49 211 30 14 36 38
M +49 175 586 38 64
duesseldorf@kollerauctions.com
KOLLER GENEVA
Rue de l’Athénée 2
1205 Geneva
Switzerland
T +41 22 311 03 85
geneva@kollerauctions.com
MUNICH
Fiona Seidler
Maximiliansplatz 20
80333 Munich
Germany
T +49 89 22 802 766
M +49 177 257 63 98
muenchen@kollerauctions.com
ITALY
Luigi Pesce
Via Cairoli 18
16124 Genova, Italy
T +39 339 596 27 68
italia@kollerauctions.com
BEIJING
Jing Li
Chedaogou 10# 6/4-307
Haidian Qu
100089 Beijing
China
T +86 135 2039 8057
beijing@kollerauctions.com

JUNE/JULY 2021 AUCTIONS
30 June Jewellery
Watches
1 July Prints Multiples
PostWar Contemporary Art
2 July Swiss Art
Impressionist Modern Art
PREVIEWS
Zurich:
24–28 June, 10am–6pm
29 June, 10am–4pm
Hardturmstrasse 102 + 121, 8005 Zurich
Munich (highlights):
Maximiliansplatz 20, 80333 Munich
Basel (highlights):
Andlauerhof, Münsterplatz 17, 4051 Basel
KOLLER online only
6 July Art Nouveau Art Deco, Design,
Furniture, Silver
Bidding open from 22 June to 6 July
7 July 20th
21st
Century Paintings Prints, Swiss Art,
Photography, Vintage Fashion
Bidding open from 22 June to 7 July
Preview:
Hardturmstrasse 102 + 121, 8005 Zurich
CONSIGNMENTS
September
Old Master 19th
Century Paintings,
Drawings Prints, Jewellery, Fine Furniture,
Porcelain, Silver, Books, Manuscripts
Autographs, Carpets
Consignments accepted until late July
December Modern Contemporary Art, Swiss Art,
Watches, Jewellery, Photography, Art Nouveau
Art Deco, Design, Vintage Fashion, Asian Art
Consignments accepted until late September (mid-
September for Asian Art; late August for Jewellery).
Please contact us at least a week before the deadlines.
We look forward to hearing from you.
APPRAISAL EVENTS
Jewellery Watches
Basel: 15–16 June (Watches only)
Hamburg: 10 September
Munich: 16–17 September
Appointments for estimates and consignments
for all auctions can be made at any time.
Burma ruby
Burma ruby and diamond ring,
by Péclard. Ruby 5.12 ct, not heated.
Estimate: CHF 180 000/280 000
Buccellati
Multicolour Ceylon sapphire, ruby and diamond
brooch, circa 1996. Estimate: CHF 15 000/20 000
Burma sapphire
Burma sapphire and diamond ring,
circa 1970. Sapphire 21.68 ct, not heated. 
Estimate: CHF 98 000/160 000

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