KOLLER VIEW 4/22

5 1 Robert Zünd (1827–1909). Mill near Rathausen. Oil on canvas. 67 × 99 cm. Estimate: CHF 100 000/150 000 2 Albert Anker (1831–1910). Girl peeling potatoes. 1886. Oil on canvas. 70 × 52 cm. Estimate: CHF 900 000/1 400 000 3 Albert Anker (1831–1910). Boy with a red waistcoat. 1885. Oil on canvas. 40.3 × 32.5 cm. Estimate: CHF 300 000/500 000 4 Detail: Augusto Giacometti (1877–1947). Roses. 1933. Oil on canvas. 96 × 100 cm. Estimate: CHF 180 000/280 000 5 Giovanni Giacometti (1868–1933). Capolago. 1931. Oil on canvas. 75 × 80 cm. Estimate: CHF 300 000/400 000 6 Giovanni Giacometti (1868–1933). Ottilia on the balcony. 1911. Oil on canvas. 65 × 52.5 cm. Estimate: CHF 100 000/150 000 Works such as the colourful view of Lake Sils (ill. 5) represent Giovanni Giacometti’s liberation from the formative influences of Segantini, the Neo-Impres- sionists, Cézanne, van Gogh and Hodler, which had guided him throughout his career. It was in paintings such as this one from his mature period, with its sen- sual and spontaneous style, that he approached his artistic perfection. During the summer Giacometti lived with his wife and their four children in a house with a studio located near this scene. Heavy white clouds pass by the summit of Corvatsch; in the cen- tre of the picture the lake glistens in the sunlight. The water appears choppy in places, apparently theMalo- ja wind is blowing through the Engadine on this warm summer day. Giacometti had a close relationship with his family and he often chose them as the subject of his paint- ings, either individually or together. He captures a special moment of happiness in this portrait of his daughter Ottilia, who seems to brighten the summer day with her laughter (ill. 6). Finally, Augusto Giacometti's painting of roses unites the artist’s lifelong preoccupation with the most di- verse levels of abstraction and a colouration height- ened to the highest degree (ill. 4). Three major phas- es define his work: first his beginnings in Paris, during which he was strongly influenced by Art Nouveau, followed by the years after 1910, when he created his first mosaic-like abstractions, which are among his most important works. Even during this period, how- ever, the figurative remained equally important, and penetrates again and again inmany of these pictures. The forces of representationalism and abstraction are in constant struggle throughout his oeuvre. The late flower paintings, partly abstract, partly rep- resentational, such as the outstanding large-format example offered here, become a glorification of col- our itself. 5 6 FOR FURTHER INFORMATION SWISS ART Laura Koller lkoller@kollerauctions.com ONLINE CATALOGUES www.kollerauctions.com