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Occasionally one comes across supposedly later copies which, on closer investigation, turn out to be originals from the period. Can you tell us about such a rediscovery? For our March 2022 auction, a Swiss estate con- signed a painting that had been passed down in the family as a 20 th -century copy after a work by David Teniers II (1610–1690). Through our research in ar- chives and elsewhere, we were able to show that the painting had been in the important collection of a Basel family in the 19 th century. The authentic- ity was thus confirmed, increasing the value of the work many times over. Who collects Old Masters today? The majority of collectors are from older generations. For- tunately, there are more and more young collectors and Old Master lovers as well. The enjoyment of art from past centuries is present in all age groups, because of its artistic and historical background, and its aesthetic message which continues to resonate across the ages. Do you have any examples of museums or other insti- tutions that have acquired works from Koller? Quite often, Old Master and 19 th century paintings sold here find their way into public collections. For example, a landscape by Jacob van Ruisdael (1628– 1682) was purchased by the National Museum in Oslo, and the Penitent Magdalene by Gerrit van Honthorst (1592–1656) was acquired by the Mu- seum of Fine Arts in Budapest. Works we have sold can also be found in Swiss museums, such as a pair of pendants by Philipp Jakob Loutherbourg (1740– 1812), which were purchased by the Kunstmuseum Basel. How is art historical and provenance research conducted in your field? What sources do you use for this? We work with a worldwide network of specialists and experts and rely on catalogues raisonnés and the current literature. In the field of provenance re- search, we consult the recognised databases. Sometimes, especially in the case of centu- ries-old works, frames and the reverse sides of paintings also provide information about the history of a painting. What can experts discover there? A look at the back of a painting reveals many se- crets about a work of art. In addition to identifying the painting’s support and its condition, it can help us to decipher the history of a painting in more detail. For example, collectors’ wax stamps can be found there, customs markings provide informa- tion about a work’s past journeys, and exhibition labels reveal when a painting was presented to the public. There are also indications on the reverse side about the making of the picture’s support, such as brand stamps of the craft guilds on wood- en panels, engravings on copper plates or stamps on canvases. Frames were often changed and adapted to the current taste of an era. In recent years, a concept from art history that had not played a major role for quite some time has come to the fore again: the cabinet of curi- osities. How do you experience the renaissance of universal collecting, in which the old and the contemporary, the artistic and the natural, the serious and the curious are set in dialogue with each other? This is a phenomenon known since the Renaissance that still fascinates us today. The appeal of the un- FOR CONSIGNMENTS AND ESTIMATES OLD MASTER PAINTINGS Karoline Weser weser@kollerauctions.com www.kollerauctions.com discovered, the curious and the beautiful is part of human nature. The juxtaposition of different art movements and works from different eras raises new questions, expands awareness and last, but not least, influences how the objects are perceived. What advice can you give to those who want to collect Old Masters? You should never stop training your eye. Study orig- inal works as much as possible, whether in muse- ums, exhibitions or at auction previews. In addition to awareness of artistic quality, you should also ac- quire an understanding of the work’s state of con- servation. At auctions, you can view the works with- out restriction and also take a look at the reverse side, which can be a treasure trove of information. Francisco deGoya (1746–1828). Lot and his daughters. Oil on canvas. 91 × 125 cm. Sold for CHF 2.65million (September 2012) Giovanni Maria Butteri (1540–1606). Allegory of patience. Oil on panel. 145.3 × 71 cm. Sold for CHF 170 000 (September 2022) Guido Reni (1575–1642). The Assumption of Mary. Circa 1596–97. Oil on copper. 58 × 44.4 cm. Sold for CHF 1.22million (March 2013) 21