Not necessarily the most expensive works coming to auction — but 10 artworks I believe deserve a closer look because of their quality, rarity, provenance, estimate, market relevance or potential opportunity.

1. DONALD JUDD — Untitled

Christie’s, New York — October 1, 2026Estimate: $1,000,000–1,500,000

WHY WOULD I LOOK AT IT?

This is my strongest pick this week. Conceived in 1965 and fabricated in 1969, this red-lacquer bullnose progression is one of only eight unique examples fabricated between 1965 and 1970.

The early date, rarity and Barbara Jakobson provenance create a particularly compelling combination.

What would concern me? At seven figures, I would want the fabrication history, original surface, condition and relevant documentation examined very carefully before considering a bid.

2. SAM GILLIAM — Region and Mind, 1971

Christie’s, New York — October 1, 2026Estimate: Check current catalogue

WHY WOULD I LOOK AT IT?

This is a large, early beveled-edge painting purchased directly from Gilliam’s studio in 1971 and retained in the same private Washington collection for more than five decades.

That kind of fresh-to-market provenance immediately attracts my attention.

What would concern me? Gilliam’s market makes important distinctions between periods, formats and quality. I would compare this specifically with other early-1970s beveled-edge paintings rather than relying on the artist’s general auction results.

3. ANDY WARHOL — Flowers, 1964

Sotheby’s, New York — October 7, 2026Estimate: $2,500,000–3,500,000

WHY WOULD I LOOK AT IT?

This is not simply another Warhol Flowers.

It was exhibited at Leo Castelli’s original 1964 Flower Paintings exhibition, later appeared in the important 1970–71 Warhol retrospective, is documented in the catalogue raisonné and has effectively remained in the same ownership since 1966.

That is serious provenance.

What would concern me? Precisely because the history is so attractive, bidders may pay a substantial provenance premium. I would establish the value of the painting itself before deciding how much extra that history deserves.

4. JOHN CHAMBERLAIN — Untitled, 1967

Sotheby’s, New York — October 7, 2026Estimate: $500,000–700,000

WHY WOULD I LOOK AT IT?

This may be one of my favorite sculpture opportunities in the upcoming sales.

The work was acquired from Leo Castelli Gallery in May 1968 and has remained with the same owner. It is also documented in Chamberlain’s sculpture catalogue raisonné.

Early date, Castelli provenance and long-term ownership are all significant positives.

What would concern me? With Chamberlain, I would examine the surfaces and structure carefully for alterations, repairs or interventions. Condition can have a meaningful effect on desirability and value.

5. ALMA THOMAS — Red Mums Display

Sotheby’s, New York — October 7, 2026Estimate: $500,000–700,000

WHY WOULD I LOOK AT IT?

Alma Thomas has moved from being historically under-recognized to receiving substantial museum and collector attention.

I would want to determine whether this particular painting combines the date, scale, chromatic intensity and quality that collectors seek in her mature work.

What would concern me? Her market has risen considerably. Increasing institutional recognition is important, but it should never be confused with a guarantee of continued price appreciation.

6. WAYNE THIEBAUD — Pie a la mode

Sotheby’s, New York — October 7, 2026Estimate: $800,000–1,200,000

WHY WOULD I LOOK AT IT?

This work brings us directly into Thiebaud’s iconic food imagery — the subject matter most immediately associated with the artist.

Recognizable subject matter can create strong collector demand, particularly when the individual work has the right date, quality and visual presence.

What would concern me? A famous subject does not automatically make an exceptional painting. At around $1 million, I would compare the work carefully with other Thiebaud food paintings before deciding on a maximum bid.

7. ROBERT MANGOLD — Light Neutral Curved Area

Sotheby’s, New York — October 7, 2026Estimate: $200,000–300,000

WHY WOULD I LOOK AT IT?

Mangold is an important figure in American Minimalism, yet his market remains substantially below artists such as Donald Judd.

That discrepancy makes certain high-quality Mangold works particularly interesting to examine. This example also comes from the Robert A.M. Stern Collection.

What would concern me? Mangold has a sophisticated but narrower collector base. I would consider this primarily as a serious long-term collection purchase rather than a short-term resale opportunity.

8. RICHARD DIEBENKORN — Untitled

Sotheby’s, New York — October 7, 2026Estimate: $180,000–250,000

WHY WOULD I LOOK AT IT?

At first glance, the estimate deserves attention considering Diebenkorn’s stature in postwar American art.

The work also comes from the Caro and James Schneithorst collection, giving it an interesting collecting history.

What would concern me? With Diebenkorn, period, medium, scale and subject matter can create enormous differences in value. A relatively low estimate does not necessarily mean an opportunity — it may simply reflect the work’s position within his oeuvre.

9. BETTY WOODMAN — Lush Minoan Pillow Pitcher

Sotheby’s, New York — October 7, 2026Estimate: $15,000–20,000

WHY WOULD I LOOK AT IT?

This is my sleeper pick.

Betty Woodman is represented in major museum collections and played an important role in bringing ceramics into the vocabulary of contemporary fine art.

At an estimate of only $15,000–20,000, the relationship between the artist’s historical significance and the market price deserves attention.

What would concern me? The secondary market is considerably thinner than it is for painting. I would buy a work like this because of its quality and significance — not because I expected a quick resale.

10. GEORGE CONDO — I Want My Brain Back, 2020

Sotheby’s, New York — October 7, 2026Estimate: $1,000,000–1,500,000

WHY WOULD I LOOK AT IT?

This is a large and immediately recognizable Condo acquired from Hauser & Wirth in the year it was painted.

It belongs to the psychological portraiture for which Condo has become internationally recognized.

What would concern me? This is a relatively recent work, and there is substantial Condo material in the market. At more than $1 million, I would compare it rigorously with earlier and historically more significant examples before bidding.

THREE I WOULD RESEARCH FIRST

DONALD JUDD

The combination of an early conception date, rarity and strong provenance makes this difficult to replace simply by waiting for another Judd to appear.

JOHN CHAMBERLAIN

A 1967 sculpture purchased from Leo Castelli in 1968, retained by the same owner and documented in the catalogue raisonné is exactly the type of provenance I want to investigate.

BETTY WOODMAN

At the opposite end of the price spectrum, an estimate of $15,000–20,000 makes this particularly interesting. An artist can be historically important without carrying a million-dollar price tag.

THE ART EXPERT’S VIEW

A prestigious name does not automatically make a good purchase.

Before bidding, I look beyond the signature.

I examine the quality, provenance, condition, authenticity documentation, exhibition history, previous auction results, rarity and current market.

And sometimes, the most valuable advice an independent art expert can give a collector is very simple:

Walk away.

Gérard Van Weyenbergh Fine Art Expert VWART.com