KOLLER VIEW 01/24

21 Which special object from the auctions of recent years do you still remember fondly today? CK: I remember many fascinating paintings that we had the honour of selling. One of them is very special, it brought us luck and shows how the auction market works. Incidentally, this was also the first painting that Laura and I ‘conquered’ together. It was a wonderful painting by Albert Anker that was consigned to us for auction in 2009, in excellent condi- tion. As fate would have it, we were able to sell this painting for the artist’s record price at the time. That triggered the ‘Anker wave’, as I call the many paintings by this artist that were subsequently auctioned at Koller – many beautiful Anker paintings no longer hung so firmly on the walls of their long-time owners. And the works that came to auc- tion in this way aroused the interest of important collec- tors. The highlight was the auction of ‘Turnstunde’ (The gymnastics lesson) for over 7 million Swiss francs. The results we realised for Anker also brought us many im- portant works by other well-known Swiss painters, such as Robert Zünd, Ferdinand Hodler, Félix Vallotton, Cuno Amiet and the Giacomettis. What about purchases by museums and institutions? LK: Museums are always interested in special works. The painting ‘Niesen’ by Ferdinand Hodler, for example, attract- ed bidding from a major European museum. We were able to sell a large painting by AlexandreCalame to awell-known museum in Switzerland. And the Flims triptych by Giovanni Giacometti sold for the record price of 4 million francs to a private institution that exhibited its collection at the Solothu- rn Art Museum a few years ago. Heinz Bütler's documentary film ‘Albert Anker. Paint- ing Lessons with Raphael’ was released in cinemas in 2022. The film not only portrays the artist, but also the man Albert Anker. What significance do biographical aspects have for the art trade? CK: That is a very sensitive, quiet and beautiful film that I rec- ommend to everyone, even to those who think of this artist as dusty and patriotic. Real art lovers are naturally – and of- ten very intensively – concerned with the life and history of the artists behind the works they own. This dialogue leads to a better understanding of the works. Sometimes, it also leads to wanting to own more works by that artist. The dis- cussion as to whether a work of art can or should be viewed independently of the life of its creator is very topical today. However, I believe that in the end, artistic quality will prevail. And that’s probably also how the market will react. In the Anker film, we learn a lot about the artist’s close ties to Paris. How is Swiss art perceived abroad? CK: While the main interest in Swiss art is primarily at home, there are exceptions. These include Hodler, Vallotton, Alberto Giacometti of course, but also his father Giovanni, and Giovanni Segantini – in other words, some of the most important names in Swiss art history up to 1960. These artists are also of interest abroad and collectors outside Switzerland frequently bid on their works. For Ferdinand Hodler's ‘Niesen’, which Laura mentioned earlier, we had interest from the USA and various European countries. a painting to our auction, and there are others who would rather talk to the old man. In the end, however, we discuss everything together and exchange ideas. Having a spar- ring partner within the family whom you can trust is a great stroke of luck. LK : Our father-daughter team is actually perceived very positively. I’m frequently asked whether it's a challenge to work with my father, and I always reply that it's really easy-going and uncomplicated. I think this is because my father gives me freedom, actively involves me in decisions and still always supports me with his experience. I simply enjoy working with him. For further information Swiss Art Cyril Koller & Laura Koller lkoller@kollerauctions.com –––– ‘Our father-daughter team is perceived very positively’. Laura Koller –––– In the end, however, the painting was acquired by a Swiss. Works by Soutter, Wölfli, Amiet, Olsommer, Porges or Krü- si can also cause a stir internationally. Not to mention the contemporaries: Cahn, Armleder, Bill, Fleury, Oppenheim, Gertsch and Giger, for example. Working with family members is something special – how do you divide the workload and responsibility between you, and how is your father-daughter team perceived by your clientele? CK : Laura has taken on the main workload in the Swiss Art department in recent years. I still help out and work with customers who have been with us for many years. The combination of my thirty years of experience and Laura’s fresh and motivated eye is a great advantage. I think our customers see it that way too. There are people who prefer to talk to my daughter about the possibility of consigning Félix Vallotton. Sold for CHF 920 000 Robert Zünd. Sold for CHF 530 000