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Larkin Erdmann

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Zürich
Larkin Erdmann

Art Gallery

13/05/2026

Man Ray — To Create is Divine

Larkin Erdmann is pleased to present our publication Man Ray — To Create is Divine. The book brings together 162 works spanning the full breadth of Man Ray’s career, from his early experiments to his final years.

Featuring an essay by Francis M. Naumann and detailed entries by Andrew Strauss, the publication offers new insights into the artist’s practice, alongside rare, previously unpublished photographs of his Paris studio.

A comprehensive look at one of the twentieth century’s most inventive artistic minds.

“To create is divine, to reproduce is human.”

Available for purchase at our booth 322 throughout TEFAF New York and available to order soon.

09/05/2026

Today we have lost a giant.
Rest in peace Bruno Bischofberger.
You have been a visionary and I am grateful to have crossed paths with you. You have taught me a lot. I will cherish the moments we had together forever.
May there be something special for you to collect in heaven.
💔

08/05/2026

For TEFAF New York 2026, Larkin Erdmann is pleased to present a solo booth dedicated entirely to Man Ray at Stand 322.

Opening Hours
May 14 (by invitation only)
May 15 – 18 | 11am – 7pm
May 19 | 11am – 6pm

Spanning more than five decades, the presentation brings together works across painting, photography, drawing, and objects, tracing Man Ray’s continual reinvention across media.

Highlights include Giant Chess Set (1961), one of the artist’s largest chess sets conceived as both game and Surrealist object, alongside a rare 1926 Rayograph, La Prière (1930, printed 1960s), Cadeau (c. 1963), and Still Life (1913), each reflecting pivotal moments in Man Ray’s experimentation with form, photography, and poetic subversion.

On the occasion of this solo presentation, Larkin Erdmann is pleased to announce the release of the gallery’s new publication, Man Ray: To Create is Divine. The publication will be available for purchase at the booth throughout the fair.

23/04/2026

Presenting our solo exhibition dedicated to Max Bill, on view until 24 July 2026.

Bringing together works from the 1940s to the early 1980s, the exhibition traces Bill’s precise and rigorous approach to form, structure, and color across drawing, painting, and sculpture. A key figure of Concrete Art, his practice reflects a continuous pursuit of clarity and order through rational principles.

The presentation also includes a selection of vintage furniture by Max Bill, in collaboration with Rock Design.

Open Tuesday to Friday, 10:00-18:00 at
Hirschengraben 3, 8001 Zurich.

27/03/2026

We are pleased to announce our upcoming exhibition, opening on April 23 in Zurich, presenting a broad selection of works by Max Bill.

As a first glimpse, we present one painting and one sculpture, offering a quiet introduction to his clear and harmonious visual language.

Opening 23 April
Hirschengraben 3, 8001 Zürich

Rhythmus mit gleichen Quanten (A Steady Rhythm), 1975
Signed and dated on the reverse
Oil on canvas
114 x 114 cm (56 3/4 x 56 3/4 in)

Fläche im Raum von einer Linie begrenzt (Area in space bound by a line), 1952
Gilt brass, oak wood
Unique work
19 x 33.5 x 9 cm (3 4/8 x 13 2/8 x 3 4/8 in)

24/03/2026

Antonio Calderara 13 March – 18 April 2026 Société, Berlin

Société Wielandstraße 26 10707 Berlin

We are delighted to share our collaboration with on a joint exhibition dedicated to Antonio Calderara, on view through 18 April 2026.

Born in 1903 in Abbiategrasso and based for most of his life in Vacciago on Lake Orta, Calderara developed into one of the quiet yet distinctive voices of European postwar abstraction. Beginning with landscapes, architectural views, and still lifes, he gradually moved toward an increasingly reduced visual language shaped by light, proportion, and silence.

By the early 1960s, Calderara had arrived at the poetic geometric abstraction for which he is best known, creating delicate fields of color, fine lines, and precise forms that hold space, stillness, and atmosphere in subtle balance. His works do not seek drama, but instead unfold through clarity, concentration, and a remarkable sense of calm.

     

13/03/2026

We are at TEFAF Maastricht!

Opening hours
14 – 19 March 2026
Daily 11-7 pm

Opening tomorrow to the public, we look forward to welcoming you to our stand 424 and presenting a selection of works spanning modern and contemporary art.

Featuring works by
March Avery
Max Bill
Alighiero Boetti
Georges Braque
Alexander Calder
Antonio Calderara
Marcel Duchamp
Lucio Fontana
Günther Förg
Paul Gauguin
Jean Auguste Dominique Ingres
On Kawara
Jannis Kounellis
Yayoi Kusama
Piero Manzoni
Meret Oppenheim
Francis Picabia
Pablo Picasso
Ken Price
Man Ray
Odilon Redon
Sophie Taeuber-Arp
Georges Vantongerloo
Andy Warhol

04/03/2026

For the first time, Larkin Erdmann Gallery is pleased to present at TEFAF Maastricht!

14 – 19 March 2026
VIP preview 12 – 13 March 2026

As a highlight of our presentation, we will show Bouquets et céramique sur une commode, 1888, by Paul Gauguin. Painted in oil on canvas, this luminous still life captures a moment of quiet intensity: vibrant bouquets arranged beside ceramics on a commode, rendered with remarkable sensitivity to color, light, and texture.

By 1888, Gauguin had already begun moving beyond naturalistic representation, experimenting with bold color contrasts and compositional harmony that would define his later, more expressive works. This painting exemplifies his ability to transform ordinary domestic scenes into deeply evocative compositions, bridging observation and imagination.

The photograph shared alongside the painting shows Gauguin at work, brush in hand — offering a glimpse of his careful approach and close connection to his subjects. His still lifes from this period demonstrate both technical skill and poetic vision, turning everyday objects into vivid expressions of mood and color.

Among these objects is the distinctive Pot with a Mask, a brown stoneware vase with a sculpted face and a mottled brown glaze. It appears on the right side of the painting as well as in the photograph.

Bouquets et céramique sur une commode, 1888
Oil on canvas
73 x 85 cm (28 3/4 x 33 1/2 in)

27/02/2026

MAZE Art St. Moritz has begun!

26 February – 1 March 2026
Hotel Reine Victoria, St. Moritz

Opening hours
Friday, 27 February 2026, 3–8 pm
Saturday, 28 February 2026, 3–8 pm
Sunday, 1 March 2026, 1–6 pm

We look forward to welcoming you at the fair and sharing a presentation of works by:

March Avery
Max Bill
Alighiero Boetti
Alexander Calder
Antonio Calderara
Augusto Giacometti
Giovanni Giacometti
Jannis Kounellis
Ken Price
Man Ray
Gerhard Richter
Albert Steiner
Andy Warhol

presents

20/02/2026

On view next week at MAZE Art St. Moritz!
27 Feb - 1 March 2026
VIP preview Thursday 26 February 2026

Painted in 1910, Paesaggio sole captures Giovanni Giacometti’s deep fascination with light, color, and nature. Loose, vibrant brushstrokes bring the forest landscape to life, evoking the warmth and gentle movement of a summer day. The glowing palette and expressive surface highlight his pivotal role in Swiss modern painting, bridging the lyricism of Post-Impressionism with the intensity of early Expressionism.

Born in Stampa, just a short distance from St. Moritz, Giacometti’s presence at MAZE Art St. Moritz feels like a quiet homecoming.

Swipe to discover a subtle detail — the artist’s monogram and date, delicately inscribed in the lower right.

Giovanni Giacometti
Paesaggio sole (Agn) (Sommer im Wald), 1910
Oil on canvas
61.5 x 50.5 cm (24 1/4 x 19 7/8 in)

presents

18/02/2026

On view from tomorrow at MAZE Art Gstaad!

In the early 1920s, Francis Picabia entered a significant period of change. After Dada, he began working more freely and intuitively, moving away from fixed styles and clear meanings. His works from this time are playful, bold, and open to interpretation.

Between 1922 and 1924, Picabia created numerous drawings linked to André Breton’s journal Littérature, including cover designs and works that were never published. Executed in black ink on white paper, they often incorporated the word “littérature” in inventive ways and carried an ironic, sometimes subtly sarcastic tone.

Untitled (1923–24) reflects this spirit. With its confident, fluid line and open-ended imagery, the drawing invites viewers to look closely and form their own reading — a vivid example of Picabia’s restless creativity during the 1920s.

Francis Picabia
Untitled, 1923–24
Pen and ink on paper
61.2 × 47.2 cm (24 1/8 × 18 5/8 in)

–

Alexander Calder
Red Nine, 1965
Sheet metal, wire and paint
73.7 x 129.8 x 76.4 cm (29 x 51 1/2 x 30 1/4 in)

Man Ray
Hands, 1949
Gelatin silver print
34.6 x 26.7 cm (13 5/8 x 10 1/2 in)

MAZE Art Gstaad
20 - 22 February 2026
VIP preview Thursday 19 February 2026

presents

Adresse

Zürich

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