The art market has a tell.

The image is stunning, and a very good example of her practice — bodies folding into one another against a flat chrome yellow, flesh handled like drapery, one dark head in profile holding the whole thing still. A 2018 oil on linen, her strongest period. The catalogue notes it illustrates “Catachresis,” an essay Wellmann wrote herself: she chose this work to carry her own argument about her practice.

It fits you. There’s a direct line from your Cecily Brown thread — entangled gestural figuration, the boundary between a figure and its environment coming apart — and it lands in your most underweight sleeve, Growth at 17% against a 35% target.

Institutionally she is strong: the Guggenheim acquired her in January, alongside MFA Boston, the National Gallery of Canada and the Pinakothek der Moderne, with four museum presentations across 2026 and Hauser & Wirth behind her. Her market is thin, but the results sit at the top of it — Pieta made $120,650 against a $30,000–$40,000 estimate, Ritz $133,350, and her record stands at $189,000.

So: a work from her best period, estimated well under the band where those results sit. Bid seriously to $32,000 and hold a ceiling at $38,000 — her market is thin enough that discipline still pays, but at that level you’re buying a 2018 canvas comfortably inside her range.

Composite of a real session · the bid was won

Three names stand out, and none of them are in your orbit yet.

Leonor Fini. The most obvious gap. You love de Chirico and Magritte — Fini was in the same orbit and rivalled both. The reappraisal of the female Surrealists is well under way and she is at the front of it: a new auction record last November, $2.51M at Christie’s. That’s blue-chip pricing at the top of her market, but works on paper start near $5,000 — so there’s a real way in that doesn’t ask for the whole commitment at once.

Anthony Cudahy. Amy Bennett’s narrative intimacy meeting Hernan Bas’s charged atmosphere — figures in rooms, lit like something remembered rather than seen. Fifteen museum acquisitions in two years, a Phaidon monograph, GRIMM and Hales. Institutional standing is strong (9 of 10) while paintings still run $15,000 to $80,000 — the museums have moved on him and the market hasn’t yet, and that distance is the whole opportunity.

Emma Webster. Your de Balincourt aerial sense, through a more mythological lens — landscape built like a stage set and lit like one. Perrotin, Petzel and White Cube at once, and the Pompidou acquired her in 2024. The first work of hers to come to auction made $489,000, six times its estimate. She is moving quickly, so entry is getting harder rather than easier — the primary market is the way in, and that means a waitlist rather than a purchase.

Excerpted from a real session

Nine works available in the private viewing link you shared — mostly the interiors, built as models and then painted, and three exteriors.

Baggage is the one I would want. Oil on panel, 14 × 11, from the new series the show takes its name from: a bedroom seen from above and just outside the doorway, two figures mid-conversation, a case open on the bed. It’s the composition she’s collected for, and this is a particularly clear instance of it — the two works the Met holds, Diagnosis and Hypochondriac, are the same vantage.

It would also hang well against the de Balincourt. The Archivist works the same subject from the inside — a figure with paintings held in his head, interiority made literal. Bennett puts you outside the room looking in; de Balincourt puts you inside the head looking out. Same preoccupation, opposite vantage, and at 12 × 10 they are close enough in scale to hang together.

She has never come to auction, so there’s no comparable to argue from and nothing forcing a decision this week. The gallery’s number is the only number — so what you have to work with is this particular work’s history on their books, not the artist’s price history.

Three things worth raising when you approach them. This one has been held a while rather than arriving new, so there may be some room on price — 15% is a reasonable thing to ask for, though don’t assume it. Ask for shipping to be included. And decline their insurance — your fine-art policy already covers work in transit, so you would be paying twice.

Would you like me to help you draft a note to the gallery about it?