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Lévy Gorvy Dayan is pleased to announce “Jutta Koether: tRaVeLiNgliGHt,” the artist’s first solo exhibition at 19 East 64th Street, New York. Through twelve new canvases, Koether reveals the most recent phase of her Grid paintings, created in direct dialogue with Alberto Giacometti’s “Still Life with an Apple” (1937)—an important work in his radical investigations of perception—held in the collection of the Metropolitan Museum of Art, New York. Reflecting on her new series, Koether cites Giacometti’s quote, “I am only making by unmaking.”
(1-2) Jutta Koether. “let ‘Em ROll,” 2025 (3-4) Jutta Koether. “LeT ‘eM rOlL,” 2025–26 (5-6) Jutta Koether. “leT ‘eM RoLl,” 2025–26. All courtesy of the artist and Lévy Gorvy Dayan
31 Oct 2026
Presented in collaboration with Galleria dello Scudo, Lévy Gorvy Dayan will open “Leoncillo and the Soul of Clay,” marking the first solo presentation of the artist in New York in more than three decades. Focusing on the radical body of sculpture Leoncillo created in the last ten years of his life, from the late 1950s to the 1960s, the presentation is a tribute to the artist’s singular relationship to the ceramic medium—revealing how clay and terracotta acted not only as Leoncillo’s primary material, but also an eternal extension of the artist himself.
Among the most significant sculptors of the twentieth century, Leoncillo Leonardi—known by his first name Leoncillo—worked with clay and terracotta from childhood to his earliest days as an artist. During his career, he first created figurative ceramic sculptures, reflecting Baroque and Cubist influences, before turning in the late 1950s towards abstraction. The works he made from this point, until his untimely death at the age of fifty-two in 1968, portray the material essence of clay. For Leoncillo, it represented the ultimate embodied medium; “The clay is like my own flesh—a process of absolute identification.”
Join us for the opening on November 4 from 6 to 8 PM at 19 East 64th Street, New York.
(1) Leoncillo in his studio working on a “Mutilazione” sculpture, Rome, 1962. Photograph by Giorgio Casali, courtesy of Univeristà Iuav di Venezia – Archivio Progetti (2) Leoncillo. “Tempo ferito II,” 1963 (3) Leoncillo. “Taglio bianco,” 1959 (4) Leoncillo. “San Sebastiano bianco,” 1960–61 (5) Leoncillo. “Bozzetto per Racconto rosso,” 1962 All © Leoncillo Leonardi
28 Oct 2026
Lévy Gorvy Dayan is delighted to announce “Bacon / de Kooning,” the first exhibition to juxtapose the works of Francis Bacon and Willem de Kooning, two indelible figures of postwar art.
While the two artists met previously, knew of each other’s work, and possessed painterly affinities, they have long been positioned as painters staunchly working at alternate ends of the artistic spectrum-Bacon a champion of a heightened and existential figuration and de Kooning a pioneer of gestural Abstract Expressionism. Now, for the first time, “Bacon / de Kooning” will demonstrate their shared commitment to the medium of paint as a primary means of human expression.
Join us for the opening on November 4 from 6 to 8 PM at 19 East 64th Street, New York.
(1) Francis Bacon (left) and Willem de Kooning (right) during the opening of Bacon’s retrospective at the Metropolitan Museum of Art, New York, 1975. Photograph by Steve Schapiro / Corbis via Getty Images
Lévy Gorvy Dayan is delighted to announce “Bacon / de Kooning,” the first exhibition to juxtapose the works of Francis Bacon and Willem de Kooning, two indelible figures of postwar art.
While the two artists met previously, knew of each other’s work, and possessed painterly affinities, they have long been positioned as painters staunchly working at alternate ends of the artistic spectrum-Bacon a champion of a heightened and existential figuration and de Kooning a pioneer of gestural Abstract Expressionism. Now, for the first time, “Bacon / de Kooning” will demonstrate their shared commitment to the medium of paint as a primary means of human expression.
“Bacon / de Kooning” opens at Lévy Gorvy Dayan, New York, from November 4 through December 19.
(2-3) Francis Bacon. “Three Studies of Henrietta Moraes,” 1969 [CR 69-06] © Estate of Francis Bacon. All rights reserved. / DACS, London / ARS, New York, 2026
Lévy Gorvy Dayan is delighted to announce “Bacon / de Kooning,” the first exhibition to juxtapose the works of Francis Bacon and Willem de Kooning, two indelible figures of postwar art.
While the two artists met previously, knew of each other’s work, and possessed painterly affinities, they have long been positioned as
27 Oct 2026
Now Open and in the Press : “Leoncillo and the Soul of Clay” is on view in New York through December 19.
Following the exhibition’s recent opening we are pleased to share recent coverage from “Il Giornale dell’Arte”.
In his article, director Luca Zuccala examines the profound significance of Leoncillo’s return to New York after more than thirty years, examining how the Italian sculptor transformed clay into a material inseparable from his lived experience.
Zuccala spotlights the historical significance of works such as “Tempo ferito II” (1963) and “San Sebastiano nero” (1962), featured in the artist’s 1965 exhibition at Galleria Odyssia, New York, and reunited here on 64th Street. The review underscores how Leoncillo established a practice in which form reflects tangible physical interventions, fissures, and tears.
To read the review, tap the link in bio.
(1–5) Install views of “Leoncillo and the Soul of Clay” at Lévy Gorvy Dayan, New York, 2026.
10 Nov 2026
Now on view through December 19
• “Bacon / de Kooning” — Focusing on smaller-scale paintings from the late 1960s and 1970s—each chosen by Francis Bacon and Willem de Kooning for their deliberately human proportions—this exhibition demonstrates their shared commitment to paint as a primary means of human expression.
• “Leoncillo and the Soul of Clay” — Presented in collaboration with Galleria dello Scudo, this landmark exhibition marks the artist’s first solo presentation in New York in more than three decades, celebrating the sculptor who saw clay as the ultimate embodied medium: “an absolute process of identification”.
• “Jutta Koether: tRaVeLiNgliGHt” — Koether’s first solo exhibition in the gallery’s 1932 Beaux-Arts townhouse debuts twelve new canvases created in direct dialogue with Alberto Giacometti’s Still Life with an Apple (1937), inciting questions around the act of looking and inviting further study.
Visit us at 19 East 64th Street, New York, Tuesday through Saturday, 10 AM – 6 PM.
(1–2) Installation views of “Bacon / de Kooning” at Lévy Gorvy Dayan, New York, 2026 (3) Installation view of “Leoncillo and the Soul of Clay” at Lévy Gorvy Dayan, New York, 2026 (4) Installation views of “Jutta Koether: tRaVeLiNgliGHt” at Lévy Gorvy Dayan, New York, 2026
06 Nov 2026
This Halloween in London, we are presenting Cecily Brown’s spectral meditation on the theme of the memento mori. A Latin phrase meaning “remember that you must die,” memento mori imagery centers the human skull—implicated, in Brown’s work, in a playful optical illusion. Here, the skull’s midst transforms into two childlike figures, countering the implication of death with youth and innocence.
Also on display is Alison Watt’s “Hircus” (2024), depicting the skull of a goat—a motif that conjures folkloric legends of witches’ Sabbath. Watt’s practice, however, comprises a continual exploration of the form of the still life, exploring notions of quietude and contemplation. Finally, Tracey Emin’s “We Fell from the Sky” (2022) is a striking composition whose dark palette was inspired by Francisco Goya. In this work, the artist reflects on love and death as inextricable opposites.
Join us this Halloween to delve into these works and more at 35 Dover Street in Mayfair, London. On view through November 2026.
(1) Cecily Brown. “Untitled,” 2005 © Cecily Brown, 2026 (2-3) Install view of Lévy Gorvy Dayan, London, 2026
31 Oct 2026
“Wangari Mathenge: Re-membering” has been extended through Wednesday, October 28.
The exhibition’s title derives from Ngugi wa Thiong’o’s book “Something Torn and New: An African Renaissance,” which focuses on the impacts of colonialism on the experience of diasporic and continental Africans. Mathenge’s research into Kenyan colonial literature from 1900 to 1963 resulted in a series featuring colorful overhead views of figures surrounded by accumulated books, objects, and textiles.
Her sculptural works extend this investigation into three dimensions. “Re-membering VIII (Before Us, After Us, Ever Changing)” features an intricately carved wooden doorframe inspired by nineteenth-century doors from Lamu Old Town, Kenya. On it, a hand-crafted macramé textile hangs like an abstracted landscape.
“Rather than presenting the territory as fixed,” Mathenge states, “I wanted the work to evoke a landscape that is assembled from fragments: stitched together, carried forward, and continually reimagined.”
(1,3) Wangari Mathenge. “Re-membering VIII (Before Us, After Us, Ever Changing),” 2025–26 (detail). Courtesy of the artist and Lévy Gorvy Dayan (2) Install views of “Wangari Mathenge: Re-membering” at Lévy Gorvy Dayan, New York, 2026
23 Oct 2026
Art Basel Paris is now open!
At Booth C25, Lévy Gorvy Dayan presents a curated selection of masterworks spanning twentieth-century and contemporary art.
Please reach out to [email protected] to request a preview.
(1–3) Install views of Lévy Gorvy Dayan’s booth, Art Basel Paris, 2026
21 Oct 2026
Across Pierre Soulage’s paintings on paper, the white of the paper constitutes a compositional form. In these works, he seeks, as he described, an “[emerging] relationship with the ground: a painterly light sparked by contrast or the picture’s reflection of light.” Expanding his use of unconventional materials, Soulages took up scrapers, blades, sponges, and other tools of his own invention. He explained, “Not wanting to be tricked by the tools that were on offer and that didn’t suit me, because they were made for a kind of painting with a practice and an ideology that didn’t suit me, I made my own tools.” Soulages advanced his artistic experimentations with light on paper until 2004, creating a body of work featuring active and involved surfaces marked by an interplay of bold, saturated strokes and those seemingly illuminated in their transparency. While exhibited throughout the artist’s career, Soulages’s paintings on paper have been the subject of increased study, most recently through the donation of over one-hundred works in 2014 to the Musée Soulages, Rodez, France; a large-scale focused exhibition at the Musée du Luxembourg, Paris, from 2025 to 2026; and a forthcoming catalogue raisonné that will accompany that of the works on canvas.
This Saturday, October 24th is the final day to view, “Pierre Soulages: Paintings on Paper”
(1–4) Install views of “Pierre Soulages: Paintings on Paper,” Lévy Gorvy Dayan, New York, 2026
20 Oct 2026
Alison Watt’s enigmatic painting “The Cherubic One”(1992) dates to an early moment in her practice. Subtly allegorical and with sumptuous details, the work shows her engagement with portraiture and art historical motifs, including influences from Scottish painter James Cowie (1886–1956).
Recent canvases “Peale” (2018) and “Dream” (2024) are distinguished by the artist’s signature deft realism. Exuding intimacy and quietude, they comprise meditations on the tradition of the still life—absenting the figure yet conveying a sense of human touch and implied narrative.
These paintings by Watt are currently on display in our London gallery, at 35 Dover Street in Mayfair, alongside works by Cecily Brown and Tracey Emin.
(1–4) Installation views of Lévy Gorvy Dayan, London,2026
19 Oct 2026
"It took me a while to learn all the rules, and now I break them." Inma Barrero
Step inside the studio with artist Inma Barrero as she takes us through her intricate, deliberate process of crafting ceramic sculptures. From mixing specialized Japanese glazes with her own custom chemistry to embracing unpredictable "accidents" created in the fire, every piece is shaped with intention—far removed from anything industrial.
Saturday, October 17 is the final day to view "Inma Barrero: MOTHERS" at Lévy Gorvy Dayan, New York
15 Oct 2026
In “Untitled” (2005), Cecily Brown engages the age-old tradition of the vanitas, creating an optical illusion marked by her signature expressive brushwork. On the market for the first time in 20 years, the painting is now on display at 35 Dover Street, Mayfair, London.
Cecily Brown. Untitled, 2005 © Cecily Brown, 2026
15 Oct 2026
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