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Koller Auktionen

Name: Koller Auktionen
Address: Hardturmstrasse 102, Zürich, 8005, CH
Telephone: +41444456363
Price range: £££

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Koller Auktionen

INTERNATIONAL AUCTIONS | SWISS MADE
Welcome to Koller Auctions, the leading Swiss auction house.

Koller ist nach Umsatz und Versteigerungsvolumen das grösste Schweizer und auch weltweit ein führendes Auktionshaus. Dank einem spezialisierten und hoch motivierten Team von über 60 Mitarbeitenden sowie einem weltumspannenden Repräsentantennetz versteigert Koller Zürich und Koller Genf sechsmal Jährlich an die 8'000 Luxusobjekte höchster Qualität. Dies macht unser Auktionshaus zu einem internation

al tätigen Schweizer Unternehmen und Ihrem persönlichen Berater für herausragende Ergebnisse. Seit 1974 besteht Koller West, mit Räumlichkeiten auf der anderen Seite der Strasse, schräg gegenüber des Haupthauses. Das "Team West" bietet kleine und grosse Kostbarkeiten zu erschwinglichen Preisen sowie für ein junges begeistertes Publikum.

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Koller Auctions is one of the world's leading auction houses, with locations from London to Shanghai. The Zurich head office conducts four auctions annually (see our auction calendar), in March, June, September and December. Koller's Geneva branch holds two annual sales in November and May, specializing Art Nouveau, Art Deco and Design, as well as Books & Autographs, and Fine Wine. Since 1974, Koller West, located across the street from the main salesrooms, offers affordable pieces to newcomers and a young audience. Koller West also enables the Zurich auction house to sell complete estates and to expertly place objects of a broad spectrum in one auction series.

04/06/2026

Planetary landscape
Starting from a style defined by strongly emphasised contours, Ferdinand Hodler only made colour a central compositional element in his late work. On 14 October 1917—precisely when the present painting was created—he reflected critically on his earlier neglect of colour: “More than ever, colour not only accompanies form, but form lives and curves through colour. And now it is splendid. Now I have the great spaces.” This painting is a powerful expression of that insight.
After years devoted to Symbolist figure paintings and portrait commissions, Hodler increasingly sought to focus exclusively on landscape painting. In the summer of 1917, he told the critic Johannes Widmer: “Look how everything dissolves into lines and space. Does it not seem as though you stood at the edge of the earth and communicated freely with the universe? Such things I shall paint from now on… planetary landscapes!” (Johannes Widmer, Von Hodlers letztem Lebensjahr, Zurich 1919, pp. 8f.). The term aptly describes these final works, which transcend topography in favour of a universal vision of nature.
In 1917, Hodler rented a house in Caux overlooking Lake Geneva. Revisiting a compositional scheme developed between 1895 and 1911, he created two sunset landscapes that pushed his art towards abstraction.
Warm bands of colour stretch across sky, lake and shoreline. Physical boundaries dissolve, and pictorial space becomes the bearer of an inner, almost immaterial reality. Animated by subtle tonal vibrations, the reduced palette lends the composition a quiet intensity. Hodler abandons anecdotal detail in favour of rhythm, balance and harmony.
Realising his concept of the “planetary landscape,” he presents nature as an expression of universal order. Painted only six months before his death, the work transforms landscape into a cosmic vision poised between reality and abstraction.

Lot 3035
FERDINAND HODLER
Sonnenuntergang am Genfersee von Caux aus (Sunset on Lake Geneva from Caux)
1917

This work is a highlight of our upcoming SWISS ART auction on 26 June.

02/06/2026

Coloured Vases
Ai Weiwei is not only the creator of distinctive installations, sculptures and photographs, but also a committed activist who tirelessly advocates for human rights and freedom of expression in China. His artistic practice is closely intertwined with his political engagement and reflects – as in the present work – central controversies and contradictions of contemporary Chinese society.

In ‘Coloured Vases’, Ai Weiwei transfers 39 Neolithic vases of varying proportions into a contemporary context, deliberately positioning them within the tension between past and present. By completely overpainting them with industrially produced, vivid colours, he subjects the objects to a radical transformation and turns them into autonomous artworks. Their appearance is fundamentally altered: the original surfaces, as well as geometric and curved decorative patterns, are entirely covered and remain concealed beneath layers of paint.

Through this intervention, the artist does not only achieve a visual transformation. He simultaneously strips the vessels of their historical and cultural legibility, thereby questioning their identity and authenticity. The ambivalence between visibility and concealment highlights his conceptual strategy, which critically challenges established, Western-influenced notions of originality, authenticity and historical integrity. Ai Weiwei himself succinctly describes this approach: ‘You cover something so that it is no longer visible, yet still present underneath, and what appears on the surface does not belong there, but is nevertheless there.’

Lot 3428*
AI WEIWEI
Coloured Vases. 2006.
Acrylic on 39 ceramic vases
Estimate: CHF 70 000 / 100 000

This work is a highlight of our upcoming Post-War & Contemporary auction on 25 June.

31/05/2026

Annetta and Alberto

On 10 October 1901, Annetta gave birth to their first son, whom the couple named Giovanni Alberto and whose godfather was Cuno Amiet. Oscar Miller, the prominent collector and patron of contemporary Swiss art, was also informed by the painter. Giovanni enclosed with the letter a drawing of his son, which he titled ‘Voilà le Bougre!’.

The theme of mother and child, which had already preoccupied Giovanni Giacometti before the birth of his own children, took centre stage in his work in the months and years that followed.

In the spring of 1902, he painted a frontal view of Annetta holding her infant son, who was just a few months old, in fluid, sketch-like brushstrokes (now in the Kunstmuseum Chur). During this period, Giovanni Giacometti increasingly broke away stylistically from his great role model Giovanni Segantini, who had died unexpectedly in 1899, and developed his own distinctive artistic style. The influence of Vincent van Gogh and Post-Impressionism now became more pronounced and shaped numerous works from the early 1900s.

The painting on offer here, *Annetta and Alberto*, echoes the 1902 composition through the mother’s gaze, which is directed squarely at the viewer. However, the intimacy of the earlier work gives way to a heightened, almost symbolist interpretation of the subject. Annetta has clearly been moved to the centre; the posture and composition of mother and child, as well as the motif of the flower in her hand, are reminiscent of early depictions of the Madonna and lend the painting a timeless dimension that transcends the private sphere.

Lot 3050
GIOVANNI GIACOMETTI
Annetta und Alberto.
Circa 1904
Oil on canvas
The estimate: CHF 300 000 / 400 000

This work is a highlight of our upcoming SWISS ART auction on 26 June

28/05/2026

HIGHLIGHTS À PARIS

Vernissage: Jeudi 28 mai
18 - 21 h

avec la brève présentation à 19h d’un
chef-d’œuvre de Paul Signac par
Charlotte Cachin, arrière-petite-fille de l’artiste.

Galerie Andres Thalmann
70, rue du Faubourg St-Honoré
75008 Paris

▸ du 28 au 31 mai,
▸ de 11h à 19h

▸ le 29 mai ouverture prolongée jusqu’à 20h

Si jamais tu es de passage à Paris -
Nous serons ravis de t’y retrouver.

• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

HIGHLIGHTS IN PARIS

Opening: Thursday 28 May
6–9 pm

with a short presentation at 7 pm of a
masterpiece by Paul Signac by
Charlotte Cachin, the artist’s great-granddaughter.

Galerie Andres Thalmann
70, rue du Faubourg St-Honoré
75008 Paris

▸ 28–31 May,
▸ 11 am–7 pm

▸ 29 May: extended opening until 8 pm

If you happen to be in Paris -
We look forward to seeing you there.

26/05/2026

The Congregation for the Doctrine of the Faith

Damien Hirst, born in Bristol in 1965, is regarded as the figurehead of the Young British Artists and has profoundly shaped contemporary art. His international breakthrough began at Goldsmiths, University of London, where he organised the influential exhibition Freeze while still a student. Hirst’s work revolves around life, death, faith and science, constantly challenging traditional concepts of art. 
Combining the formal rigour of Minimalism with the intellectual approach of Conceptual Art, Hirst largely abandons classical painting techniques. Instead, he employs serial structures and biological materials to make existential questions tangible. Alongside his famous animals preserved in formaldehyde, the butterfly became one of his central motifs. For Hirst, it symbolises the fragility and transience of human existence, while art attempts to preserve beauty beyond natural decay.
 The Congregation for the Doctrine of the Faith (2003) exemplifies this transformation of nature into artifice.Hundreds of real butterfly wings are embedded in glossy lacquer on canvas, forming a monumental upward-pointing triangle. The composition evokes religious iconography, recalling medieval depictions of divine order through symmetry and light.
 Executed with clinical precision, the strictly symmetrical arrangement creates kaleidoscopic patterns that force the insects’ natural diversity into a human-made system.
 The title references the Vatican’s Dicastery for the Doctrine of the Faith, creating tension between religious dogma and biological reality. What first appears as a magnificent ornament reveals itself as an accumulation of once-living remains. By transforming organic material into geometric order, Hirst explores humanity’s desire to resist transience through faith, art and aesthetic systems.

Lot 3475*
DAMIEN HIRST
The Congregation for the Doctrine of the Faith. 2003.
Butterfly wings and high-gloss lacquer on canvas on wood.
CHF 400 000 / 600 000

This work is a highlight of our upcoming Post-War and Contemporary auction on 25 June.

23/05/2026

CATALOGUES NOW ONLINE

We are very pleased to present our curent catalogues for the upcoming JUNE auctions.
This long May weekend is the perfect occasion to curl up and browse through them! You’ll discover many interesting works from:

* SWISS ART
* IMPRESSIONIST & MODERN ART
* POST-WAR & CONTEMPORARY
* ASIAN ART
* PRINTS & MULTIPLES
* WATCHES
* JEWELLERY

Auctions: 16 June - 26 June
Preview in Zürich: 13 - 22 June

For more information visit https://kollerauctions.com

19/05/2026

A scene of quiet, poetic intensity

Gustave Loiseau painted Péniche sur l’Oise in 1900, at a time when he had reached artistic maturity and was gaining increasing recognition. Following in the tradition of Impressionist artists such as Monet and Sisley, he preferred to work *en plein air* and focused his attention on the play of light and seasonal changes in the landscape.  Loiseau frequently stayed in the region along the Oise north of Paris, which was one of his favourite subjects. He repeatedly returned to the same locations to study and capture the different times of day and seasons in his paintings. The picture depicts a tranquil scene on the riverbank: a péniche lies still in the water, and the trees on the bank are bare, suggesting the transition between late autumn and early winter. The sky is overcast, the air feels damp and cool. Muted, cool tones dominate – shades of grey, blue and desaturated green – complemented by earthy hues of ochre and brown, particularly on the boat and along the riverbank.   The mood is calm and self-contained. Loiseau, regarded as a sensitive and reserved personality, transforms an unassuming river landscape into a scene of quiet, poetic intensity. The work derives its impact not from a spectacular motif, but from the precise, subtle observation of light, colour and atmosphere.

GUSTAVE LOISEAU (1865 Paris 1935) Péniche sur l’Oise. 1900 54 × 65 cm
The estimate is: CHF 120000 / 180000

This work is part of our upcoming IMPRESSIONIST & MODERN ART auction on 26 June

16/05/2026

POMI🍎 GIOVANNI GIACOMETTI

The 1910 painting “Pomi” is an early example of Giovanni Giacometti’s intense engagement with French modernism. Following his stay in Paris in 1907, which he undertook together with Cuno Amiet, Giacometti engaged in a thorough study of Paul Cézanne and Vincent van Gogh. From this encounter, he developed not merely an imitation of foreign models, but his own painterly language, which proved decisive for his subsequent development.

Contemporary critics had already noted the affinity with van Gogh. On the occasion of the van Gogh exhibition at the Kunsthaus Zürich, Hans Trog wrote: “After van Gogh, one can very comfortably and with great pleasure linger with Amiet and Giacometti. In their enthusiastic delight in the festive brilliance of colour, they are van Gogh’s artistic kindred spirits.”

Pomi thus marks a significant turning point in Giacometti’s work around 1910. The classical motif of the still life serves here as the starting point for a modern approach to painting, in which French influences merge with Giacometti’s own artistic sensibility. It is precisely in its early immediacy that the work displays the confidence and freshness that particularly characterise his painting of those years.

GIOVANNI GIACOMETTI (Stampa 1868–1933 Glion) Pomi. 1910 oil on canvas 38 × 46 cm

The estimate is: CHF 60 000 / 100 000

This work is part of our upcoming SWISS ART auction on 26 June.

13/05/2026

SALVO
With his poetic landscapes, SALVO ranks among the most distinctive figures in Italian art of the second half of the 20th century. Following early conceptual works within the Arte Povera movement, from the late 1970s onwards the artist developed the distinctive visual language that is now internationally associated with his name: luminous landscapes imbued with a tranquil, almost timeless atmosphere.
The present work, Paesaggio, from 1982, belongs to this pivotal creative phase. A Mediterranean village with a church tower unfolds in simplified architectural forms, surrounded by rolling hills and a mountain landscape bathed in pastel hues. The composition appears deliberately minimalist yet is imbued with great painterly sensitivity. Characteristic features include the softly modulated surfaces, the iridescent light, and the dreamlike colour palette of violet, blue and green tones.
SALVO is less interested in the literal depiction of a place than in its emotional and remembered dimension. His landscapes appear as inner images – quiet visions hovering between reality and imagination. In doing so, the artist combines elements of the Italian painting tradition with a contemporary, almost naïve formal language. It is precisely this tension that lends his paintings their distinctive character and immediate impact.
The works from the early 1980s mark a high point in SALVO’s painterly oeuvre. They established the international recognition that today makes the artist one of the most significant Italian figures of his generation. Paesaggio impressively illustrates the lyrical power of his painting: an idealised landscape of quiet beauty, filled with light, colour and Mediterranean memories.

SALVO (Salvatore Mangione)
Leonforte 1947 – 2015 Turin
Paesaggio, 1982
Oil on canvas
Estimate: CHF 50 000 - 80 000

10/05/2026

Au théâtre

With loose, vibrating pastel strokes and a cleverly chosen perspective, Federico Zandomeneghi draws the viewer right into the pulsating life of the Parisian theatre. Two elegantly coiffed female spectators dominate the foreground; their silhouettes frame the view of the stage, where a dancer in a light-coloured dress appears almost weightless. The actual action thus unfolds less on the stage than in the interplay of observing and being observed – a central theme of modern metropolitan culture in the late 19th century.

Zandomeneghi, born in Venice in 1841 and resident in Paris from the 1870s onwards, belonged to the close circle of the Impressionists and exhibited with them on several occasions. His affinity with Edgar Degas, whose interest in ballet and theatre scenes he shared, is particularly evident here. Unlike Degas’s often analytically detached observations, however, Zandomeneghi retains a softer, more intimate atmosphere. The figures do not appear as studies of social roles, but as part of a fleeting, almost dreamlike moment.

The work belongs to that group of theatrical and social scenes through which Zandomeneghi captured the modern urban lifestyle of the Belle Époque. It combines impressionistic use of light with a remarkable psychological sensitivity and ranks among the most poetic examples of his later work.

Federico Zandomeneghi
(1841–1917)
Au théâtre, c. 1900
Pastel on paper on board
45.9 × 37.9 cm

Estimate: CHF 60 000/90 000

This work is part of our Impressionist & Modern Art auction on 26 June

Adresse

Hardturmstrasse 102
Zürich
8005

Öffnungszeiten

Montag	09:00 - 12:00
	13:30 - 18:00
Dienstag	09:00 - 12:00
	13:30 - 18:00
Mittwoch	09:00 - 12:00
	13:30 - 18:00
Donnerstag	09:00 - 12:00
	13:30 - 18:00
Freitag	09:00 - 12:00
	13:30 - 18:00

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+41444456363

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