On the conviction that it is important to keep one’s finger on the pulse of the time, the Swiss couple Arthur and Hedy Hahnloser-Bühler amassed an extensive collection of Post-Impressio nist art between 1906 and 1936. Their unique holdings comprise works by nearly all of the great trailblazers of modernism in art, from van Gogh to Cézanne, Manet to Vallotton, and Manguin to Renoir. The collectors gave special priority to the Nabis artists Félix Vallotton, Pierre Bonnard and Édouard Vuillard, and to the Fauves around Henri Matisse.

Through the artworks and the friendly exchange between the artists and the collectors, the Villa Flora – the Hahnlosers’ home in Winterthur – became a venue of the unity of art and life and the awakening modern age. Beyond the boundaries of private art patronage, these activities had a fruitful impact on the collecting policies of public institutions.

The exhibition “Flora Awakening” presents some 100 paintings and sculptures by fifteen artists from the historical Hahnloser collection. These works enter into dialogue with works from the Staatsgalerie Stuttgart’s own holdings, thus shedding light on the productive interaction between private and public approaches to artcollecting.


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Villa Flora in Winterthur

The master carpenter Johann Heinrich Heider (1814-50) builds a craftman’s house in the classicistic style according to his own design.

Johann Heinrich Bühler-Guyer, grandfather of Hedy Hahnloser-Bühler, buys the house and extends it by a storage and commercial section for the spinning company run by the family. A commercial building emerges in the garden

Hedy Bühler buys the property and moves there after her marriage with Arthur Hahnloser. He installs his first eye-doctor’s practice in the house.

Arthur Hahnloser’s practice rooms are moved to the private hospital at the Lindberg. The “Flora” is now used exclusively as a residential home. The interior, continually being replenished especially by Hedy as a skilled artisan, becomes the ideal setting for the developing art collection.

The architects Rittmeyer & Furrer are commissioned with the integration of a salon conceived in the Secession style using geometrical surfaces. The salon designed for the “Flora” is initially presented at an interior design exhibition at the Zurich Museum for Arts and Crafts.

The architect Robert Rittmeyer landscapes the garden of the “Flora” in geometrical design and in alignment with the large sculpture by Maillol L’Eté (Summer) (1911) and Pomone (1910/1911). The house, the garden and the collection thus coalesce to form a unique ensemble.

Regularly seeking recreation in Southern France, Arthur and Hedy Hahnloser-Bühler decide to by the house “La Pauline” directly by the sea in Cannes in 1923.

In order to adequately present the meanwhile extensive art collection, a top-lit hall is built into the “Flora” based on the design of Robert Rittmeyer.

With the death of Arthur Hahnloser, the expansion of the collection comes to an end. Hedy receives many art enthusiasts in her house.

After the death of Hedy Hahnloser-Bühler, daughter Lisa Hahnloser-Jäggli and her family move into the “Flora”. As the host, she invites many interested visitors and engages in acting as a mediator for the art works remaining in the house

The descendants of the collector couple establish the Hahnloser/Jaeggli Foundation in order to maintain and keep alive the heritage of the ancestors.

The supporting association Villa Flora is founded with the aim of allowing the public to gain access to the “Flora” and the collection.

The house is opened as a museum under the name “Villa Flora Winterthur. Sammlung Hahnloser”. The curators of the collection are Dr. Ursula Perucchi-Petri (until 2007) and Dr. Angelika Affentranger-Kirchrath who heads the collection to date.

Due to communal savings the museum is temporarily closed.

The collection is presented, in varying compilations, in the Hamburger Kunsthalle, at the Musée Marmottan Monet in Paris, the Kunstmuseum Halle (Saale) and the Staatsgalerie Stuttgart.


From August 2017 The collection of the “Villa Flora” will be entrusted to the Kunstmuseum Bern as a permanent loan for the next 15 years. Please find further information on the website http://villaflora.ch

FÉLIX VALLOTTON, La Blanche et la Noire, (Die Weiße und die Schwarze), 1913, Hahnloser/Jaeggli Stiftung, Winterthur, Foto: Reto Pedrini, Zürich
Hedy, Paul, August, Arthur, Ida und Emil Hahnloser, vor Dezember 1910, © Archiv Villa Flora
VINCENT VAN GOGH, Le semeur (Der Sämann), 1888, Hahnloser/Jaeggli Stiftung, Winterthur, Foto: Reto Pedrini, Zürich
PIERRE BONNARD, Promenade en mer (Segelpartie auf dem Meer), 1924, Privatsammlung, Foto: Reto Pedrini, Zürich, © VG Bild- Kunst, Bonn 2017
Édouard Manet,  Amazone (Die Amazone), 1883, Hahnloser/Jaeggli Stiftung Winterthur, Foto: Reto Pedrini, Zürich
FERDINAND HODLER, Das Jungfraumassiv von Mürren aus, 1911, Hahnloser/ Jaeggli Stiftung, Winterthur, Foto: Reto Pedrini, Zürich
Paul Cézanne, Portrait de l'artiste (Porträt des Künstlers), 1877/78,  Hahnloser/Jaeggli Stiftung, Winterthur, Foto: Reto Pedrini, Zürich
Henri Matisse, Nice, cahier noir (Nizza, schwarzes Heft), 1918, Hahnloser/Jaeggli Stiftung, Winterthur, Foto: Reto Pedrini, Zürich, © Succesion H. Matisse/VG Bild-Kunst, Bonn 2016
Édouard Vuillard, Le vase bleu (Die blaue Vase), um 1932, Villa Flora, Winterthur, Foto: Reto Pedrini, Zürich
Odilon Redon, Andromède (Andromeda), um 1907, Villa Flora, Winterthur, Foto: Reto Pedrini, Zürich

Katalog zur Ausstellung

Zur Ausstellung erscheint ein reich bebilderter Katalog in deutscher Sprache;
100 Seiten, 128 farbige Abb.
28,5 x 22 cm, Festeinband

ISBN: 978-3-95498-286-8

19,90 € im Museumsshop
(Buchhandelspreis 24,90 €)

Hier haben Sie die Möglichkeit einen Blick in das Buch zu werfen.


Zur Ausstellung ist eine Audioführung in deutscher Sprache für 5€ an der Kasse erhältlich. Diese wurde in Zusammenarbeit mit Antenna InternationalTM erstellt.


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