Koller View 2/20

10 Max Pechstein (1881‒1955). Fishermen’s wives. Circa 1920. Oil on board. 52.2 × 45.9 cm. Estimate: CHF 220 000/280 000 Max Pechstein's painting "Fishermen’s wives", circa 1920, unites stylistic elements of German Expressionism. His dynamic brushwork, the strong colour contrasts and the subject borrowed from everyday life are reminiscent of works by his "Brücke" colleagues Ernst Ludwig Kirchner, Karl Schmidt-Rottluff and Erich Heckel. Pechstein's pronounced love of the sea and the people who live there – for example in Nida on the Curonian Spit, which he often visited from 1909 – is evident in this work. Pechstein not only worked in the Baltic seaside town as an artist, but also occasionally joined the fishermen on their outings. Gustave Loiseau (1865‒1935). Peupliers au bord de l'Eure. (Poplars by the Eure River). 1900. Oil on canvas. 65.5 × 82 cm. Estimate: CHF 150 000/250 000 This landscape byGustave Loiseau, circa 1900, confirms the artist's standing among the French Post-Im- pressionists. The "splitting" of the colours and the dynamic brushwork cause the landscape to dissolve into a blue-green shimmer, a vibration, as the viewer's gaze wanders across the picture. The terms used for Loiseau's unconventional hatching technique, such as "touche croisée" or "en treillis", attempt to de- scribe the net-like or grid-like brushstrokes. Loiseau painted many of his works en plein air between Paris and the coast of north-west France, mainly along the rivers Seine and Yonne. The landscape offered here was created on the banks of the Eure near Saint-Cyr-du-Vaudreuil, which Loiseau visited several times beginning in 1899. Giovanni Giacometti (1868‒1933). Mattino d'estate (Summer morning). 1924. Oil on canvas. 51 × 55 cm. Estimate: CHF 120 000/180 000 The motif of the garden recurs throughout Giovanni Giacometti's artistic work. Stylistic references to van Gogh and Cézanne are unmistakable, yet Giacometti went his own way with his "Battle for Light". Cuno Amiet (1868‒1961). Roses in a blue vase. 1910. Oil on canvas. 40 × 32.5 cm. Estimate: CHF 70 000/120 000 When Amiet painted this flower still life, he was becoming quite well-known in the Swiss art world. Two years earlier, the Zurich Künstler- haus had shown eighteen of his works along- side those of Giovanni Giacometti, Hans Em- menegger and Vincent van Gogh.