Miscellaneous < Back EDUARDO NERY, 1975 EDUARDO NERY (Portugal, 1938 - 2013) Untitled 1975 Collage H 63,5 cm x W 35,8 cm

Modern Design < Back POLTRONA PILÃO I, 1979 José Zanine Caldas, Brazil Poltrona Pilão (Pilão Armchair) Jaca solid wood H 79,5 x W 50,5 cm Observations : Armchair made from Jaca wooden log, hand carve with aid of axe and adze. Conical shape tapered at the base. Sandpaper finish and wax polished. Poltrona Pilão (Pilão Armchair) José Zanine Caldas, Brazil Jaca solid wood H 79,5 x W 50,5 cm Poltrona Pilão (Pilão Armchair) José Zanine Caldas, Brazil Jaca solid wood H 79,5 x W 50,5 cm Poltrona Pilão (Pilão Armchair) José Zanine Caldas, Brazil Jaca solid wood H 79,5 x W 50,5 cm Poltrona Pilão (Pilão Armchair) José Zanine Caldas, Brazil Jaca solid wood H 79,5 x W 50,5 cm Poltrona Pilão (Pilão Armchair) José Zanine Caldas, Brazil Jaca solid wood H 79,5 x W 50,5 cm Poltrona Pilão (Pilão Armchair) José Zanine Caldas, Brazil Jaca solid wood H 79,5 x W 50,5 cm Poltrona Pilão (Pilão Armchair) José Zanine Caldas, Brazil Jaca solid wood H 79,5 x W 50,5 cm Poltrona Pilão (Pilão Armchair) José Zanine Caldas, Brazil Jaca solid wood H 79,5 x W 50,5 cm Poltrona Pilão (Pilão Armchair) José Zanine Caldas, Brazil Jaca solid wood H 79,5 x W 50,5 cm Poltrona Pilão (Pilão Armchair) José Zanine Caldas, Brazil Jaca solid wood H 79,5 x W 50,5 cm Poltrona Pilão (Pilão Armchair) José Zanine Caldas, Brazil Jaca solid wood H 79,5 x W 50,5 cm Poltrona Pilão (Pilão Armchair) José Zanine Caldas, Brazil Jaca solid wood H 79,5 x W 50,5 cm Poltrona Pilão (Pilão Armchair) José Zanine Caldas, Brazil Jaca solid wood H 79,5 x W 50,5 cm Poltrona Pilão (Pilão Armchair) José Zanine Caldas, Brazil Jaca solid wood H 79,5 x W 50,5 cm Poltrona Pilão (Pilão Armchair) José Zanine Caldas, Brazil Jaca solid wood H 79,5 x W 50,5 cm Poltrona Pilão (Pilão Armchair) José Zanine Caldas, Brazil Jaca solid wood H 79,5 x W 50,5 cm Poltrona Pilão (Pilão Armchair) José Zanine Caldas, Brazil Jaca solid wood H 79,5 x W 50,5 cm Poltrona Pilão (Pilão Armchair) José Zanine Caldas, Brazil Jaca solid wood H 79,5 x W 50,5 cm Poltrona Pilão (Pilão Armchair) José Zanine Caldas, Brazil Jaca solid wood H 79,5 x W 50,5 cm Poltrona Pilão (Pilão Armchair) José Zanine Caldas, Brazil Jaca solid wood H 79,5 x W 50,5 cm Poltrona Pilão (Pilão Armchair) José Zanine Caldas, Brazil Jaca solid wood H 79,5 x W 50,5 cm Poltrona Pilão (Pilão Armchair) José Zanine Caldas, Brazil Jaca solid wood H 79,5 x W 50,5 cm Poltrona Pilão (Pilão Armchair) José Zanine Caldas, Brazil Jaca solid wood H 79,5 x W 50,5 cm Poltrona Pilão (Pilão Armchair) José Zanine Caldas, Brazil Jaca solid wood H 79,5 x W 50,5 cm Poltrona Pilão (Pilão Armchair) José Zanine Caldas, Brazil Jaca solid wood H 79,5 x W 50,5 cm Poltrona Pilão (Pilão Armchair) José Zanine Caldas, Brazil Jaca solid wood H 79,5 x W 50,5 cm Poltrona Pilão (Pilão Armchair) José Zanine Caldas, Brazil Jaca solid wood H 79,5 x W 50,5 cm Poltrona Pilão (Pilão Armchair) José Zanine Caldas, Brazil Jaca solid wood H 79,5 x W 50,5 cm Poltrona Pilão (Pilão Armchair) José Zanine Caldas, Brazil Jaca solid wood H 79,5 x W 50,5 cm Poltrona Pilão (Pilão Armchair) José Zanine Caldas, Brazil Jaca solid wood H 79,5 x W 50,5 cm Poltrona Pilão (Pilão Armchair) José Zanine Caldas, Brazil Jaca solid wood H 79,5 x W 50,5 cm Poltrona Pilão (Pilão Armchair) José Zanine Caldas, Brazil Jaca solid wood H 79,5 x W 50,5 cm

Miscellaneous < Back ROBERTO CRIPPA, 1971 ROBERTO CRIPPA (Italy, 1921 - 1972) Meteorite 1971 Mixed technique, collage and cork on cardboard H 60 cm x W 73 cm Note: signed and dated on the back. Archive certificate issued by Roberto Crippa Jr. n. ADN 0/10/X/XXIV/01.

Exhibitions Archive < Back APA AUTUMN FAIR 2019 Lisboa OPENING 13 de nov. de 2019 CLOSING 17 de nov. de 2019 Always looking to showcase the unprecedented, in this edition of the fair, we steped out of our comfort zone and presented for the first time at a fair a set of pieces of ethnological character, namely a group of war clubs from the 17th, 18th and 19th centuries from the amazon tribes in Northern Brazil and Guyana, as well as a group of Abelan masks from New Guinea, from the first half of the 20th century. Portuguese and International design, alongside Contemporary art, continue to constitute our “core business”. For Portuguese Design highlighted an exceptional dining table and set of chairs designed by architect Henrique Albino for Octógono in the 60s. In the remit of International Design, we showed an important and iconic chair by Shiro Kuramata — “How high the Moon”. In relation to Contemporary Art, we presented a small selection of creations from Italian artist Michelangelo Pistoletto as well as an unparalled piece of large dimensions from 1983 by Pedro Proença, affirming the artist’ importance in the realm of Portuguese Art. Previous Next

Modern Design < Back PAIR OF ORGANIC SIDE TABLES, c. 1970 Ado Chale (b. 1928), Belgium Petrified sequoia (250 million years old Arizona redwood), black lacquered steel. No damages H36xL38xP42cm / H36×L60×P50cm Composed by prime organic materials such as petrified sequoia, from a fossilized tree trunk the artist discovered during one of his travels to the Arizona desert. These cross sections were carefully sliced, enhancing its stunning patterns, then diamond polished, producing a couple ofunique gleaming top surfaces in shades of vibrant rust with translucent grey clouds and burnt umbers, that contrast withthe monochrome black lacquered steel in Chale’s iconic tripod bases.

Modern Design < Back KANGAROO CHAIR, c. 1955 Kangaroo Chair by Pierre Jeanneret (1896 , Geneva, Switzerland - 1967) for Chandigarh, India Circa 1955 Teak and straw H 61 x W 53,3 x D 77,5 cm Pierre Jeanneret, cousin of the visionary Édouard Jeanneret - better known as Le Corbusier - was a member of the architecture and design team who got things done. In recent years, P. Jeanneret has emerged from Le Corbusier’s shadow, as collectors have discovered his skillful furniture design creations. Jeanneret studied at the École des Beaux-Arts in Geneva and after he graduated in 1921 he became a partner in Le Corbusier’s office in Paris. The pair collaborated on numerous residential projects, most notably the Villa Savoye, the iconic modernist house in suburban Paris completed in 1931. Jeanneret also worked with the great Charlotte Perriand on the Grand Modele line of tubular metal furnishings that was a sensation at the annual Salon d’Automne design expo in 1929. A rift developed between Jeanneret and his cousin during World War II, as the former joined the French resistance, while Le Corbusier cooperated with the occupying authorities in Vichy. The two did not work together again until 1950, when Le Corbusier persuaded Jeanneret to help execute the master plan for the new city of Chandigarh in Punjab, India. Jeanneret lived and worked there until the final years of his life. Kangaroo Chair, c. 1955 by Pierre Jeanneret for Chandigarh, India Teak and straw H 61 x W 53,3 x D 77,5 cm Kangaroo Chair, c. 1955 by Pierre Jeanneret for Chandigarh, India Teak and straw H 61 x W 53,3 x D 77,5 cm Kangaroo Chair, c. 1955 by Pierre Jeanneret for Chandigarh, India Teak and straw H 61 x W 53,3 x D 77,5 cm Kangaroo Chair, c. 1955 by Pierre Jeanneret for Chandigarh, India Teak and straw H 61 x W 53,3 x D 77,5 cm Kangaroo Chair, c. 1955 by Pierre Jeanneret for Chandigarh, India Teak and straw H 61 x W 53,3 x D 77,5 cm Kangaroo Chair, c. 1955 by Pierre Jeanneret for Chandigarh, India Teak and straw H 61 x W 53,3 x D 77,5 cm Kangaroo Chair, c. 1955 by Pierre Jeanneret for Chandigarh, India Teak and straw H 61 x W 53,3 x D 77,5 cm Kangaroo Chair, c. 1955 by Pierre Jeanneret for Chandigarh, India Teak and straw H 61 x W 53,3 x D 77,5 cm Kangaroo Chair, c. 1955 by Pierre Jeanneret for Chandigarh, India Teak and straw H 61 x W 53,3 x D 77,5 cm Kangaroo Chair, c. 1955 by Pierre Jeanneret for Chandigarh, India Teak and straw H 61 x W 53,3 x D 77,5 cm Kangaroo Chair, c. 1955 by Pierre Jeanneret for Chandigarh, India Teak and straw H 61 x W 53,3 x D 77,5 cm Kangaroo Chair, c. 1955 by Pierre Jeanneret for Chandigarh, India Teak and straw H 61 x W 53,3 x D 77,5 cm Kangaroo Chair, c. 1955 by Pierre Jeanneret for Chandigarh, India Teak and straw H 61 x W 53,3 x D 77,5 cm Kangaroo Chair, c. 1955 by Pierre Jeanneret for Chandigarh, India Teak and straw H 61 x W 53,3 x D 77,5 cm Kangaroo Chair, c. 1955 by Pierre Jeanneret for Chandigarh, India Teak and straw H 61 x W 53,3 x D 77,5 cm Kangaroo Chair, c. 1955 by Pierre Jeanneret for Chandigarh, India Teak and straw H 61 x W 53,3 x D 77,5 cm Kangaroo Chair, c. 1955 by Pierre Jeanneret for Chandigarh, India Teak and straw H 61 x W 53,3 x D 77,5 cm Kangaroo Chair, c. 1955 by Pierre Jeanneret for Chandigarh, India Teak and straw H 61 x W 53,3 x D 77,5 cm Kangaroo Chair, c. 1955 by Pierre Jeanneret for Chandigarh, India Teak and straw H 61 x W 53,3 x D 77,5 cm Kangaroo Chair, c. 1955 by Pierre Jeanneret for Chandigarh, India Teak and straw H 61 x W 53,3 x D 77,5 cm Kangaroo Chair, c. 1955 by Pierre Jeanneret for Chandigarh, India Teak and straw H 61 x W 53,3 x D 77,5 cm Kangaroo Chair, c. 1955 by Pierre Jeanneret for Chandigarh, India Teak and straw H 61 x W 53,3 x D 77,5 cm Kangaroo Chair, c. 1955 by Pierre Jeanneret for Chandigarh, India Teak and straw H 61 x W 53,3 x D 77,5 cm Kangaroo Chair, c. 1955 by Pierre Jeanneret for Chandigarh, India Teak and straw H 61 x W 53,3 x D 77,5 cm Kangaroo Chair, c. 1955 by Pierre Jeanneret for Chandigarh, India Teak and straw H 61 x W 53,3 x D 77,5 cm Kangaroo Chair, c. 1955 by Pierre Jeanneret for Chandigarh, India Teak and straw H 61 x W 53,3 x D 77,5 cm Kangaroo Chair, c. 1955 by Pierre Jeanneret for Chandigarh, India Teak and straw H 61 x W 53,3 x D 77,5 cm Kangaroo Chair, c. 1955 by Pierre Jeanneret for Chandigarh, India Teak and straw H 61 x W 53,3 x D 77,5 cm Kangaroo Chair, c. 1955 by Pierre Jeanneret for Chandigarh, India Teak and straw H 61 x W 53,3 x D 77,5 cm Kangaroo Chair, c. 1955 by Pierre Jeanneret for Chandigarh, India Teak and straw H 61 x W 53,3 x D 77,5 cm

Modern Art < Back ANTONI TAPIES Untitled 1984 Etching on Paper 44 x 63,5 cm

Contemporary Art < Back SARA BICHÃO Lisbon, 1986 Sara Bichão lives and works in Lisbon. Has a degree (2008) and a master (2011) in Plastic Arts from Faculty of Fine Arts of the University of Lisbon. Has integrated several artistic residences like Residency Unlimited (2012, EUA), ADM-PIRA (2016, Mexico) or Artistes en Résidence (2017, France). Exhibits regularly since 2009. Solo exhibitions (selection): Encontra-me, Mato-te (2018), Fundação Calouste Gulbenkian, Lisbon; Coastal (2017) and Adrift in Space, Melt in Pace (2015), Barbara Davis Gallery, Houston; O meu sol chora (2016), Fundação Portuguesa das Comunicações in partnership with Galeria Bessa Pereira, Lisbon; Somebody’s Address (2016) and Open Gates (2014), Rooster Gallery, New York; Recheio (2014), Carpe Diem Arte e Pesquisa, Lisbon. Group exhibitions (selection): Chama (2018), Atelier- -Museu Júlio Pomar, Lisbon; Extática Esfinge (2017), CIAJG, Guimarães; Curar e Reparar (2017), Anozero, Biennial of Contemporary Art of Coimbra; O Que Eu Sou (2017), MAAT, Lisbon; Now, this is fucking too hot (2017, com Manon Harrois), Les Ateliers, Clermont-Ferrand; Puras Cosas Nuevas (2017), Pantalla Blanca, Mexico City; de repente bien (2016), Cantabria Central Library, Santander; }{ { } (2015, com Omar Barquet), Diagrama, Mexico City; Eccentric Exercise II (2015), KCB, Belgrado; Les Gens Heureux, Copenhagen (2014); Soundless Harmonies (2014), Artopia Gallery, Milão; Eccentric Exercise I (2013), Copenhagen; Uma Coisa a Seguir à Outra (2013, com Miguel Ângelo Rocha), Galeria Quadrum, Lisbon; Extending the Line (2012), Arevalo Gallery, Miami. Was awarded by Fidelidade Mundial - Young Artists Award (2009, honorable mention), by Anteciparte (2009, selected artist) and won the BPI / FBAUL (2008) in the discipline of painting. Her work is represented in several public collections: Fundação Calouste Gulbenkian, Lisbon; MAAT - Fundação EDP, Lisbon; Fundação Portuguesa das Comunicações, Lisbon; Figueiredo Ribeiro Collection, Lisbon; António Cachola Collection, Elvas; MidFirst Bank, Arizona; Twins Design, Houston; Fidelidade Mundial, Lisbon; Telo de Morais, Coimbra; Benetton Foundation, Milan; CAC, Malaga. Sem título, 2014 Grafite e marcador sobre papel. 21,05 cm x 29,5 cm Sem título, 2013 Grafite e tinta da china sobre papel Moleskine. 18,7 cm x 25,0 cm Sem título, 2013 Grafite e tinta da china sobre papel de Moleskine. 18,5 cm x 25,0 cm Sem título, 2012 Grafite e lápis de cor sobre papel de Moleskine. 18,5 cm x 25,0 cm Sem título, 2012 Marcador sobre papel de Moleskine. 18,7 cm x 25,0 cm Sem título, 2012 Marcador sobre papel de Moleskine. 18,7 cm x 25,0 cm Sem título, 2011 Aguarela e grafite sobre papel de Moleskine. 25,0 cm x 18,6 cm Sem título, 2014 Aguarela sobre papel de Moleskine. 12,7 cm x 21,0 cm Sem título, 2012 Aguarela sobre papel de Moleskine. 8,1 cm x 13,9 cm Sem título, 2012 Aguarela, lápis de cor e grafite sobre papel de Moleskine. 8,2 cm x 14,0 cm Sem título, 2012 Grafite e lápis sobre papel de Moleskine. 8,8 cm x 14,0 cm Sem título, 2012 Tinta acrílica e grafite sobre papel de Moleskine. 8,3 cm x 14,0 cm Sem título, 2012 Grafite, aguarela e lápis de cera sobre papel de Moleskine. 8,3 cm x 13,9 cm Sem título, 2013 Aguarela e grafite sobre papel de Moleskine. 8,2 cm x 13,9 cm Sem título, 2014 Marcador e lápis de cera sobre papel de Moleskine. 8,2 cm x 13, 9 cm Sem título, 2012 Tinta acrílica e marcador sobre papel de Moleskine. 8,9 cm x 14,9 cm Sem título, 2012 Tinta acrilica e aguarela sobre capa de Moleskine. 9,0 cm x 13,9 cm Sem título, 2013 Marcador sobre papel de Moleskine. 13,9 cm x 8,7 cm Sem título, 2012 Grafite e lápis de cera sobre Moleskine. 14 cm x 9 c Sem título, 2013 Caneta esferográfica sobre capa de Moleskine. 13,9 cm x 8,9 cm Untitled, 2013 Wood and acrylic paint 123cm (H) x 2cm (W) x 2cm (D) Signed and dated This work was exhibited at Carpe Diem, Lisboa 2014 Untitled, 2014 Acrylic on woodboard 66,5cm (H) x 52,0cm (W) x 2,0cm (D) Signed and dated This work was exhibited at Carpe Diem, Lisboa 2014 Untitled, 2014 Acrylic on woodboard 91,3cm (H) x 11,0cm (W) x 3,3cm (D) Signed and dated This work was exhibited at Carpe Diem, Lisboa 2014 Astuto / Sly, 2015 Wood, canvas, fabric, leather, steel, cord and cotton 110cm (H) x 87cm (W) x 12cm (D) Untitled, 2014 Plaster ball and leather 39,0cm (H) x 6,0cm (W) x 6,3cm (D) This work was exhibited at Rooster Gallery, on the individual exhibition "Somebody’s adress” in 2014

Contemporary Art < Back PEDRO CABRITA REIS Lisbon, 1956 Born in 1956 in Lisbon, where he currently lives and works. He enrolled in the Lisbon Academy of Fine Arts in 1973 to study painting, and had his first solo exhibition in 1981. His work since then has evolved into a complex oeuvre comprising a variety of genres ranging from drawing and painting to sculpture and installation. With an acute sense of space occupation, whether an exhibition hall or outdoor urban and natural landscapes, Reis’s artworks delve into issues related to memory and to construction and architectural processes, by using diverse unsophisticated materials, such as wood, glass, plaster, stone, plastic and metal, sometimes in combination with ordinary household objects. He participated in Documenta 9, Kassel, in 1992, as well as the 21st and 24th São Paulo Biennales in 1994 and 1998, respectively. In 2003, he represented Portugal at the Venice Biennale. Pedro Cabrita Reis has exhibited widely in prestigious Portuguese and foreign art museums and centres, namely “One after another, a few silent steps”, a retrospective that toured Hamburg (2009), Nimes (2010) and Leuven (2011) before being staged at the Lisbon Berardo Museum in 2011, and “States of Flux – Pedro Cabrita Reis”, at Tate Modern, London, in 2011. Following the same guiding principles as the rest of his artistic endeavour, Reis’s public art include, in addition to Uma escultura para Santo Tirso [A Sculpture for Santo Tirso], built for the 6th Santo Tirso International Symposium of Contemporary Sculpture in 2001, Da cor das flores [On the Colour of Flowers], a public sculpture created in 2001 for the Bemposta Dam, and Castelo [Castle], rising at the Contemporary Sculpture Park of Vila Nova da Barquinha (Almourol) since 2012. 1+1, 2003 Plywood and found wood doors 222cm x 64cm x 77cm Photo by PCR studio Antwerpen stairs, 1987 lacquered aluminium 173,5cm x 206,0cm x 7,0cm

OUR MISSION We are commited to providing our customers with works of art they'll cherish and live with, developing emotional connections and enriching their lives < HOME We have challenged ourselves to break epochal and stylistic barriers, focusing on the intrinsic beauty of each of the artworks presented and looking to create a scenario of tranquility in which art is the vital and recreational element, creating amongst us a constant source of inspiration. From Modern design to Roman archeology, each of our acquisitions is the result of a fine line of passion, holding us inescapably to the chosen object, which at times is a fruitful and unexpected encounter and in others a result of a long and persistent search. In the ephemeral architecture of our gallery exhibitions, we have aimed to recreate our universe, our passion for form, design, material and for the relations that establish between a piece and its surroundings. Our gallery is located in Rua de S. Bento, the traditional place for galleries in Lisbon. Galeria Bessa Pereira in PRESS Visit us Business Hours 10h00 – 13h00; 14h30 – 19h00 Monday to Saturday Rua de São Bento 426, Lisboa