Modern Paris: A Century Begins

 

McNay Art Museum 

Oct. 30, 2026-Jan. 24, 2027

Amedeo Modigliani, "Girl with Blue Eyes" (detail), 1918. Oil on canvas. Collection of the McNay Art Museum, Bequest of Marion Koogler McNay, 1950.99

When artists from around the world flocked to Paris in the 1900s, they fostered imaginative innovation that shifted the trajectory of visual art. The McNay Art Museum celebrates the creativity that blossomed from their collaboration in “Modern Paris: A Century Begins,” on view Oct. 30, 2026-Jan. 24, 2027. 

 Vincent van Gogh, “Women Crossing the Fields,” 1890. Oil on paper. Collection of the McNay Art Museum, Bequest of Marion Koogler McNay, 1950.49

The exhibition of more than 50 paintings, prints and sculptures draws exclusively from the McNay Art Museum’s permanent collection and showcases a range of artists, including Georges Braque, Marc Chagall, Henri Matisse, Amedeo Modigliani, Berthe Morisot, Pablo Picasso, Chaïm Soutine and Vincent van Gogh.

The exhibition highlights Marion Koogler McNay as the Museum’s founding collector and opens with

 

Alfred Sisley’s “The Route from Saint-Germain to Marly” (1872). Sisley’s painting depicts the quiet villages on the outskirts of Paris and was displayed in the first Impressionist exhibition in 1874. The evolution that followed is evident in works by Paul Cézanne, Henri de Toulouse-Lautrec, Paul Gauguin and Pierre-Auguste Renoir.

“Marion Koogler McNay’s collecting of French modernist works was visionary for South Texas in the 1930s and 1940s. She built this collection with real discernment at a time when many of these artists were not yet the canonical figures they later became,” said Matthew McLendon, Ph.D., director and CEO of the McNay Art Museum and curator of “Modern Paris.” “Much of these holdings have been distributed across the permanent collection galleries in thematic hangs or off view. Bringing key works together in this way illustrates how the McNay’s collection can highlight this important moment in western art history.”

The exhibition invites visitors to explore the rise of Fauvism and Cubism featuring a host of works that challenge what those artists perceived as Impressionism’s limitations in form and boldness.

Picasso upends the history of image making with 

“Guitar and Wine Glass” (1912). The collage features wallpaper, a newspaper clipping, sheet music, a wine glass drawing and paper that mimics the shape and woodgrain of a guitar. The McNay’s Tobin Collection of Theatre Arts includes 

Matisse’s “Robe for the Emperor” costume for the ballet “Le Chant du Rossignol” and Picasso’s maquette for “Le Tricorne.” Both objects in the exhibition emphasize collaborations between visual artists and performing artists.

The exhibition also showcases the McNay’s holdings of prints that cemented Paris as the capital of innovative printmaking in the early 20th century. During that time, dealers and publishers such as Ambroise Vollard produced limited edition prints for major artists, including Braque, Picasso and Georges Rouault. Etchings from “Poésies de Stéphane Mallarmé” invite visitors to examine artwork from Matisse’s first livre d’artiste (artist’s book). Published by Albert Skira in 1932, the book is widely regarded as one of the finest examples of the format, in which artist and poet collaborate as genuine equals.

“Modern Paris” ends with a selection of works by artists collectively referred to as “The School of Paris.” These artists who weren’t native to Paris converged on Montparnasse because of the region’s relative tolerance for difference. Among the works on view is 

Amedeo Modigliani’s “Girl with Blue Eyes” (1918), a standout work in the McNay’s collection that conveys the powerful innovation associated with Modigliani’s painting as well as the feelings of intimacy he was able to produce between subject and viewer.

“The innovations taking place in Paris, that resonated quickly across Europe and beyond in the first decades of the 20th century are why I became an art historian. I think it is one of the most thrilling moments in art history. Marion Koogler McNay clearly felt the same way based on her collecting for the first modern art museum in Texas,” explained McLendon. “‘Modern Paris’ offers visitors a more specific sense of this moment and of one of the strengths of the McNay Art Museum’s collection that was built by a woman and continues to grow following her bold example.”

“Modern Paris: A Century Begins” is organized by the McNay Art Museum and curated by Matthew McLendon, Ph.D., director and CEO of the McNay Art Museum.

Lee Krasner

Gagosian

October 19–December 18, 2026

Gagosian, Olney Gleason, and the Pollock-Krasner Foundation are pleased to announce an exhibition of Lee Krasner’s paintings and works on paper from the 1960s at Gagosian’s rue de Ponthieu gallery in Paris. This collaborative presentation is the first solo exhibition of the artist’s work in France and continues the renewed international attention brought by the 2019–21 touring European retrospective Lee Krasner: Living Color. 

The Paris exhibition, opening on October 19, 2026, spans a pivotal decade in Krasner’s artistic development, characterized by vibrant gestural abstractions. It coincides with the first major dual survey of Lee Krasner’s and Jackson Pollock’s work, Krasner and Pollock: Past Continuous, on view at the Metropolitan Museum of Art, New York, from October 4, 2026, to January 31, 2027. Larry Gagosian noted, “

The 1960s marked a key turning point in Lee Krasner’s life and career, as her distinctive artistic voice was seen on its own. At a moment when her talent and contributions are finally being acknowledged on an institutional scale, we are honored to contribute to that story by presenting a show of her work in Paris for the very first time.” Eric Gleason commented, “This important exhibition focusing on work from the 1960s will further illuminate Krasner’s position as one of the most versatile and courageous painters of the postwar era. "

Comet, 1966–70, oil on canvas, 70 × 86 inches (117.8 × 218.4 cm) © 2026 Pollock-Krasner Foundation/Artists Rights Society (ARS), New York. Photo: Christopher Stach, courtesy Olney Gleason, New York 

 Krasner is one of the most significant artists of the New York School. Throughout the 1960s, living between Springs, East Hampton, and her apartment and studio in Manhattan, she threw herself into a focused period of experimentation and reinvention. Tackling canvases of unprecedented scale and increasingly lyrical compositions, Krasner worked with newly restricted palettes and began to apply paint directly from the tube. These developments gave rise to the Umber paintings (1959–62) and Primary Series (1960s), now considered among the pinnacles of her painterly achievements. Krasner’s influence on American art deepened across the decade, consolidated in part by the 1965 retrospective Lee Krasner: Paintings, Drawings and Collages at London’s Whitechapel Gallery, curated by Bryan Robertson. In 1969, she turned her attention to calligraphic color experiments and original compositions in gouache on paper. 

The exhibition at Gagosian includes works spanning this period, culminating in the majestic oil on canvas Comet (1966–70), now in the collection of the PollockKrasner Foundation in New York. The exhibition marks the first time Krasner’s work has been the subject of a solo presentation in France, a country whose modernist legacy, particularly the work of Henri Matisse, proved formative to her development as a painter. Krasner made an important visit to Paris in 1956, where time spent at the Louvre deepened her engagement with the history of European painting. Her relationship with France was formally recognized in 1982, when she was awarded the Chevalier de l’Ordre des Arts et Lettres. 

The exhibition is Krasner’s debut at Gagosian. Olney Gleason continues to represent the artist’s work globally in partnership with the Pollock-Krasner Foundation. 

Lee Krasner, The Seasons, 1957. Whitney Museum of American Art, New York© The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York

"I like a canvas to breathe and be alive. Be alive is the point."
—Lee Krasner. 

Biography.

 

Arguably the most crucial proponent of Pollock, Krasner was instrumental in propelling his career and cementing his reputation as the most influential living American artist, having introduced him to Willem de Kooning, Clement Greenberg and Peggy Guggenheim, as well as other key figures. Living with Pollock at their home near The Springs, Long Island, Krasner developed some of her most compelling series, including her Little Image paintings. Defined by thick impasto and repetitive abstract symbols, these works are recognized as among her most noteworthy contributions to Abstract Expressionism.

 

Following Pollock's death from an automobile accident in 1956, Krasner dedicated the remainder of her life to solidifying Pollock's legacy, while continuing her own artistic endeavors. During this time of newfound solitude, Krasner realized her iconic Umber Paintings, which convey a distinctive rawness and intensity that was unprecedented in her oeuvre until this point. Fiercely composed of abstract forms through explosive brushwork in a parsed-down palette of primarily umber, cream and white, this series is considered among Krasner's most psychoanalytically evocative work.

 

With paintings from the 1960s, Krasner embraced Pollock's artistic achievements in size, all-over composition, gestural method and engagement with Jungian psychology, which emphasized the importance of the individual psyche and personal quest for wholeness. From time to time, Krasner incorporated staring eyes, a motif that harkened back to her own earlier work. Other repeated marks suggest foliage, wind, feathers and wings. It is with these works that Krasner further delved into ideas about self-knowledge.

 

Reflecting on work from this period, in 1973, Krasner remarked: "My painting is so biographical, if anyone can take the trouble to read it." This assertion is evident especially in works from the 1960s, which stand as vehicles by which the artist confronted her turbulent 11-year relationship with Pollock and the effects of his death in a particularly poignant and personal mode of expression. At once unruly and lyrical, each canvas becomes animated by Krasner's individual and newly powerful backhand gesture, advancing in a rhythmic motion from right to left in vast, curvilinear sweeps. Vigorously thrusting and stabbing with her brush and body, these works present Krasner's sophisticated integration of sprays and arcs with nodules of paint. Accordingly, Krasner's works from the 1960ssignal her emergence from behind her husband's shadow and the beginning of Krasner's critical recognition of her own unique and noteworthy artistic impulses. 

 

In 1978, the exhibition Abstract Expressionism: The Formative Years positioned Krasner in her rightful place alongside Pollock, de Kooning, Mark Rothko, Barnett Newman, Robert Motherwell and Adolph Gottlieb. Exhibition catalogue.

Shortly after Krasner's death, the Museum of Modern Art presented a major retrospective of her work.

 

Today, Krasner's work has been exhibited worldwide and is included in the permanent collections of major institutions, such as the Metropolitan Museum of Art, New York; Museum of Modern Art, New York; Jewish Museum, New York; Whitney Museum of American Art, New York; Brooklyn Museum, New York; Albright-Knox Art Gallery, Buffalo; National Gallery of Art, Washington, D.C.; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Tate, London; Cleveland Museum of Art; Los Angeles County Museum of Art; Museum of Contemporary Art, Los Angeles; Philadelphia Museum of Art; Museum Ludwig, Cologne; National Gallery of Australia, Sydney; among many others.

William Hogarth’s 1755 painting “An Election Entertainment,”

 

depicting English Whigs partying on election day, while Tories protest outside. Posted just for fun - so many individuals in 1 painting!

Leonora Carrington The art of transmutation

Almine Rech 

 Sep 8 — Oct 10, 2026 

From September 8 to October 10, 2026, Almine Rech Paris is dedicating a solo exhibition to Leonora Carrington (1917–2011), a leading figure in international Surrealism and one of the most distinctive artists in the history of art. Bringing together paintings, sculptures, drawings, masks, and works on paper, this exhibition invites visitors to rediscover a body of work whose visionary power continues to fascinate through its ability to create a dialogue between myth, magic, and metamorphosis. Spanning the 20th century and its upheavals, from the rise of fascism to her exile in Mexico, Carrington nevertheless defies any strictly biographical interpretation. 

Neither muse, nor disciple, nor mere heir to Surrealism, she created a body of work that is profoundly free, unbound by aesthetic categories or assigned identities. Her world never seeks to represent reality: it transforms its very laws, opening pathways between the visible and the invisible, the human and the animal, nature and culture, dream and matter. 

This exhibition highlights one of the key aspects of her work: art as a process of transmutation. In Carrington’s work, nothing is static. Beings change form, boundaries become porous, and realms intermingle. Dragons, horses, birds, hyenas, hybrid creatures, and androgynous figures make up a cosmology in which every form seems to be in a state of perpetual becoming. The metamorphoses that run through her work do not belong to the realm of fantasy in the sense of an escapist imagination; they constitute an alternative way of thinking about the living world, based on continuities rather than on divisions. This vision is rooted in a culture of rare breadth. Fascinated by alchemy, mythology—particularly Celtic mythology—Mesoamerican traditions, tarot, and Eastern spiritualities, Carrington constructs an iconography where ancient knowledge and modern intuitions converge. 

The exhibition features, among other works, the paintings 

The Lovers (1987), 

Laberinto (1991),(Loan from FAMM (Femmes Artistes du Musée de Mougins) / The Levett Collection) and 

La Naguala (1975), which reference these major themes. Thus, her work invites us not so much to solve riddles as to accept the existence of multiple, sometimes contradictory, yet always open-ended realities. The fantastical is not an escape, but a way of inhabiting the world differently. 

After settling in Mexico in 1942, Carrington came to regard the country as her chosen home. Indigenous cosmologies, the richness of popular traditions, and the idea of a world animated by invisible forces and other forms of agency deeply nourished her imagination. Without ever renouncing her British roots, she developed a body of work in which cultures and temporalities engage in a free and fluid dialogue. In her universe, historical time gives way to mythical time, where past, present, and future coexist within the same symbolic space. 

The exhibition also reveals the full scope of a practice that extends far beyond painting. As much a writer as a visual artist, Carrington developed a truly multifaceted body of work. Drawing, sculpture, tapestry, masks, theater, costume design, jewelry, and literature all form part of the same creative exploration. The images extend the narratives, the texts respond to the sculptures, and the materials engage in a dialogue with one another. Each medium becomes an expression of a unique imagination, rejecting any hierarchy between artistic forms. Particular attention is paid to sculpture, which accompanied the artist throughout her life. From her earliest experiments to the large bronze works created in the final years of her life, Carrington never ceased to explore the possibilities offered by three-dimensional form. Bronze occupies a unique place in this regard. Created using wax or plasticine models up until her final days, these sculptures encapsulate the figures that have always populated her world: horses, birds, fantastical creatures, protective deities, and guides between worlds. They appear as the culmination of a philosophy of metamorphosis, in which the material itself becomes the site of constant transformation. 

The exhibition also highlights Carrington’s profound relevance to the present day. Long before ecological, feminist, or posthumanist issues came to the forefront in contemporary debates, her work was already challenging the major dualisms inherited from Western thought. The distinctions between human and non-human, female and male, nature and culture dissolve in her work, giving way to a relational view of living beings. This insight, which is strikingly relevant today, undoubtedly explains why her work continues to inspire artists, philosophers, writers, and fashion designers. Through this exceptional collection, Almine Rech aims to convey the richness of an artist whose creative vision remains inexhaustible. 

More than a historical figure of Surrealism, Leonora Carrington emerges as one of the great visual thinkers on the theme of transmutation. Her work invites us to reconsider our relationship with the world, with other living beings, and with the imagination itself. At a time when certainties are wavering and new narratives are needed, Carrington’s works remind us that transformation is not merely an iconographic theme: it constitutes a way of being in the world. Between myth and matter, magic and knowledge, memory and becoming, they open up a space where boundaries cease to be limitations and become passages. It is perhaps here that the undiminished power of her work still lies today. — Dr. Mylène Ferrand, art historian and curator.

Also see 

Leonora Carrington: What if the Impossible Wasn’t Impossible?

Bruxelles 1900

The Petit Palais 

 In 1900, in the Grand Palais, opened in Paris, the visitors of the Universal Exhibition discovered, at the same time, the exhibition was consecrated to other nations, a Belgian section that enjoyed an enthusiastic unanime: about 150 paintings and sculptures venues Belgium appears to be a veritable revelation. This Parisian recognition established Brussels as one of the major European artistic centers at the turn of the 19th and 20th centuries. 

The exposition is an extraordinary focus on culture that includes 250 works: paintings, sculptures, decorative arts, posters, jewelry, photographs, architecture, and graphic arts.

The exhibition has been realized in part with the Royal Museums of Fine Arts of Belgium, the Royal Museums of Art and History and the Royal Library of Belgium (KBR) and benefit from the exception of three institutions. 

Following the success of Paris 1900, the Petit Palais, on avenue Winston-Churchill in the 8ᵉ arrondissement of Paris, turns its gaze toward Brussels with a major exhibition, Brussels 1900, on view from November 10, 2026 to April 25, 2027. For the first time in France, such a comprehensive panorama of Belgian creative output at the dawn of the 20th century is gathered in a single venue: painting, sculpture, decorative arts, photography, architecture, jewelry and fashion are brought together to tell a city in full ferment.

What immediately stands out is the sheer scale of the territory covered. We won't just talk about a few well-known Symbolist paintings: the exhibition will bring together works of very different kinds, from monumental triptychs by Léon Frédéric to the movable ensembles and models by Victor Horta, along with posters from the Salon des XX and jewelry by Philippe Wolfers. Horta, a leading figure of Belgian Art Nouveau, breaks with the traditional architecture of bourgeois houses, championing open planning and spatial fluidity, and makes extensive use of metal and glass. Seeing his models in Paris will be a rare chance to get as close as possible to a way of thinking about built space that changed Europe’s face.

Commissariat general: 

Géraldine David, general director of the Royal Museums of Art and History 

Sara Lammens, director of the Royal Library of Belgium (KBR)

Annick Lemoine, president of the public establishment of the Orsay and Orangery Museums, former director of the Petit Palais 

Kim Oosterlinck, general director of the Royal Museum of Fine Arts in Belgium 

Commissariat scientifique: 

Anne-Charlotte Cathelineau, conservatrice and chef du patrimoine en charge of sculptures, Petit Palais Davy Depelchin, conservator in charge of the collection of paintings and sculptures of the 19th century at the Royal Museums Fine Arts of Belgium 

Benjamin Foudral, director of the Musée Gustave Courbet d’Ornans.

Fernand Khnopff, Des Caresses, 1896. Huile sur toile, 50,5 x 150 cm. Musées royaux des Beaux-Arts de Belgique. © Musées royaux des Beaux-Arts de Belgique, Bruxelles / photo J. Geleyns Art Photography

Maria Lassnig and Edvard Munch. Flow of Paint = Flow of Life

 Kunsthaus Zürich

2 October 2026 – 21 February 2027

From October 2, 2026, to February 21, 2027, the Kunsthaus Zürich presents the first exhibition to directly juxtapose the work of the Austrian painter Maria Lassnig and the Norwegian artist Edvard Munch. Around 150 works open a fascinating dialogue about the body, perception, and the cycle of life – showcasing two exceptional artistic positions in a new context.

At the same time, with this exhibition, the Kunsthaus reminds us that the museum possesses the largest collection of Munch paintings outside of Norway: a treasure to be cherished.

With the exhibition "Maria Lassnig and Edvard Munch. "Painting Flow = Life Flow" the Kunsthaus Zürich presents for the first time a double exhibition that connects the work of the Austrian artist Maria Lassnig (1919–2014) with that of the Norwegian painter Edvard Munch (1863–1944). The exhibition title takes its name from a Lassnig painting from 1996 and refers to a central idea shared by both artists: painting as an expression of existential experience and as a means of self-reflection.

Although more than half a century separates them, Lassnig and Munch share a common interest in the big questions of human existence. Both explore the body, emotions, and the relationship between humankind and nature in their art. While Munch focuses on the cyclical nature of life, death, and renewal, Lassnig consistently directs her gaze inward. Her so-called "body awareness paintings" arise from the immediate sensation of her own body and give inner states a distinctive painterly form.

FIRST DUAL EXHIBITION OF TWO EXCEPTIONAL ARTISTS

For the first time, the exhibition reveals the diverse points of contact—as well as the differences—between the two bodies of work. Developed as part of a four-year collaboration with the Hamburger Kunsthalle, initiated by directors Ann Demeester and Alexander Klar, the exhibition at the Kunsthaus Zürich highlights the institution’s close historical connection to Edvard Munch.

This relationship dates back to the 1920s. Under the direction of Wilhelm Wartmann—the director at the time—the Kunsthaus dedicated a comprehensive exhibition to Munch in 1922, featuring over 70 paintings and more than 430 works on paper. Looking back, the artist described this as one of his "most comprehensive and best solo exhibitions" and one of his finest artistic experiences. That same year, the first Munch paintings entered the Kunsthaus collection. Subsequent exhibitions and numerous acquisitions followed, shaping the museum’s significant Munch holdings to this day.

Maria Lassnig also shares a close connection with the Kunsthaus Zürich. In 2002, she received the Roswitha Haftmann Prize—Europe’s most lucrative award for contemporary visual art, which is presented at the Kunsthaus. Just a year later, the Kunsthaus dedicated a solo exhibition to her and, in 2004, acquired the painting *Geballte Gewalt* (Clenched Force). Additional works were added to the museum’s Prints and Drawings Collection.

The fundamental concept for this dialogue was developed by the Berlin-based scholar and curator Hans Dieter Huber, who initiated the project. Working together with Sandra Gianfreda (curator at the Kunsthaus Zürich) and Brigitte Kölle (curator and head of the collection at the Hamburger Kunsthalle), they created an exhibition that opens up new art-historical perspectives. Peter Pakesch of the Maria Lassnig Foundation supported the project from the outset, providing key inspiration.

COLOR AS THE LANGUAGE OF PERCEPTION

Maria Lassnig engaged deeply with art history—and Edvard Munch was among her most important points of reference. She described him as an artist who "penetrated to the deepest layers of the psyche and its existential threat." Her influence is evident not only in her expressive use of color but also in her free brushwork and lifelong spirit of experimentation.

Her 1983 painting *Traditionskette* (Chain of Tradition) demonstrates just how consciously Lassnig positioned herself within a painterly tradition. Diego Velázquez, Edvard Munch, and Vincent van Gogh appear behind her—forming, as it were, an artistic family tree in whose lineage she situates herself. For this exhibition, it has been possible to locate the work and make it accessible to the public once again after a long period.

The exhibition explores this dialogue through surprising connections between motifs and themes. Both artists engage with human vulnerability, illness and death, the bond between humanity and nature, and the relationships between humans and animals. It is precisely their differences in style and era that give rise to striking resonances.

Placed in direct juxtaposition, well-known works by Munch enter into a new
context. His use of line, color, and composition can be reinterpreted through
the lens of Lassnig’s painting. At the same time, the depth of Munch’s influence
on Lassnig’s artistic thinking becomes apparent. The exhibition offers a chance
to view Munch through Lassnig’s eyes—and to rediscover both artists.

MAJOR LOANS FROM OSLO AND VIENNA

Featuring around 150 works, including 78 paintings, the exhibition provides a
comprehensive overview of both artists’ oeuvres. Prestigious loans from the
Munch Museum in Oslo and the Maria Lassnig Foundation in Vienna enable
numerous juxtapositions never before seen.

CATALOGUE 

A richly illustrated catalogue accompanies the exhibition, featuring essays,
an interview with writer Siri Hustvedt (conducted by Sandra Gianfreda),
quotes from Maria Lassnig and Edvard Munch, poems by their contemporaries,
and brief statements by contemporary artists. 

IMAGES

Maria Lassnig, Three Graces, 2011 Oil on canvas, 200 x 155 cm Kunstmuseum Bonn, permanent loan from KiCo Collection © Maria Lassnig Stiftung / 2026, ProLitteris, Zurich*, photo: Jens Ziehe - ARTOTHEK

Maria Lassnig, Married Couple, 2001 Oil on canvas, 100 x 125 cm
Städtische Galerie im Lenbachhaus und Kunstbau Munich, KiCo Collection © Maria Lassnig Stiftung / 2026, ProLitteris, Zurich*

Maria Lassnig, Two Ways of Being (Double Self-Portrait), 2000
Oil on canvas, 100.3 x 124.7 cm
Maria Lassnig Foundation,© Maria Lassnig Stiftung / 2026, ProLitteris, Zurich*

Maria Lassnig, Flow of Paint = Flow of Life, 1996
Oil on canvas, 205 x 155.5 cm Maria Lassnig Foundation, © Maria Lassnig Stiftung / 2026, ProLitteris, Zurich*

Maria Lassnig, The Great Wave, 1995 Pencil, watercolour, gouache on paper,
47.5 x 65.1 cmMaria Lassnig Foundation, © Maria Lassnig Stiftung / 2026, ProLitteris, Zurich*

Edvard Munch, Two Human Beings. The Lonely Ones, c. 1935
Oil on canvas, 91 x 129,5 cm
Munchmuseet, Oslo, photo: Munchmuseet, Oslo

Maria Lassnig, Chain of Tradition, 1983
Oil on canvas, 204 x 130 cm
Private collection, © Maria Lassnig Stiftung / 2026, ProLitteris, Zurich*, photo: Ulrich Ghezzi

Maria Lassnig, Balled-Up Violence, 1988
Oil on canvas, 200 x 200 cm Kunsthaus Zürich, 2004 © Maria Lassnig Stiftung / 2026, ProLitteris, Zurich*

Maria Lassnig, Sleeping with a Tiger, 1975
Oil on canvas, 106.5 x 1270 cm
The Albertina Museum, Vienna, permanent loan from Oesterreichische Nationalbank
© Maria Lassnig Stiftung / 2026, ProLitteris, Zurich*, photo: Graphisches Atelier Neumann

Edvard Munch, Vampire in the Forest, 1916–1918 Oil on canvas, 150 x 137 cm
Munchmuseet, Oslo, photo: Munchmuseet, Oslo

Edvard Munch, Madonna, 1895
Lithograph, 64 x 48 cm
Munchmuseet, Oslo, Foto: Munchmuseet, Oslo

Edvard Munch, Self-Portrait with the Spanish Flu, 1919
Oil on canvas, 150 x 131 cm
The National Museum, Oslo, photo: Nasjonalmuseet / Børre Høstland

Edvard Munch, Girls on the Pier, 1901
Oil on canvas, 83.8 x 129.6 cm
Hamburger Kunsthalle / photo: Elke Walford – ARTOTHEK

Edvard Munch, Winter Night, c. 1900 Oil on canvas, 81 x 121 cm Kunsthaus Zürich, 1931

Koller Auctions Old Master Paintings 18 September 2026,

Lot 3018* - A218 Old Master Paintings - Friday 18 September 2026, 02.00 PM

PIETER BRUEGHEL the Younger

(Brussels 1564–1638 Antwerp)

The Swan Inn. Circa 1626.

Oil on panel.

Signed lower right: P. BREVGHEL. Verso mark of the panel maker Michiel Vriendt (active 1615–1637) and the brand marks of the City of Antwerp and the Guild of Saint Luke.

44 × 62.8 cm.

CHF 600 000 / 900 000 | (€ 618 560 / 927 840)

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Lot 3025* - A218 Old Master Paintings - Friday 18 September 2026, 02.00 PM

JAN BRUEGHEL the Elder

(Brussels 1568–1625 Antwerp)

The road to market. 1606

Oil on copper.

Signed and dated lower left: BRVEGHEL 1606. Verso of the copper plate: stamp of Pieter Stas with the date 1606.

29.5 × 44 cm.

CHF 350 000 / 500 000 | (€ 360 820 / 515 460)

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Lot 3030* - A218 Old Master Paintings - Friday 18 September 2026, 02.00 PM

SALOMON VAN RUYSDAEL

(Naarden circa 1600–1670 Haarlem)

River landscape with cows and sailing boats. 1653.

Oil on panel.

Monogrammed and dated lower left: SVR / 1653.

39.8 × 59.5 cm.

CHF 350 000 / 500 000 | (€ 360 820 / 515 460)

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Lot 3017* - A218 Old Master Paintings - Friday 18 September 2026, 02.00 PM

CHRISTOFFEL VAN DEN BERGHE

(active in Middelburg circa 1617–after 1628)

Winter landscape with skaters.

Oil on panel.

34.6 × 59.8 cm.

CHF 120 000 / 180 000 | (€ 123 710 / 185 570)