10 U.S. AUCTION PICKS- 11/02/26
Ten Artworks I Would Investigate Before Buying at Auction
Week of November 2, 2026
Independent Art Market Intelligence | Gérard Van Weyenbergh | VWART.com
This week, I have selected ten artworks appearing in forthcoming American auctions between November 3 and November 12, 2026.
My selection is not based simply on price or famous signatures. I am looking for something more interesting: artistic quality, unusual provenance, historically significant dates, neglected artists, or estimates that deserve closer examination.
The ten works come from four established auction houses: Bonhams (website), Swann Auction Galleries (website), Rago (website), and Doyle (website).
Sotheby's and Christie's are excluded as selling houses.
All ten lots have been verified against current catalogues or published lot records. Each selection includes a direct link to the individual lot. The estimates range from $3,000 to $90,000.
1. Charles Ephraim Burchfield — Dusk, circa 1926
Auction house: BonhamsLocation: New York CityAuction date: November 3, 2026Lot: 13Estimate: $40,000–60,000Medium: Watercolor and graphite on paper
WHY WOULD I LOOK AT IT?
Burchfield's watercolors can be extraordinarily atmospheric, and this is an interesting example from 1926.
The provenance begins with the artist's estate, followed by Kennedy Galleries in New York. The previous owners acquired it from the gallery in August 1982.
The work was exhibited at DC Moore Gallery in 2010 and is accompanied by a research report prepared by Burchfield scholar Nancy Weekly.
The combination of estate provenance, exhibition history and scholarly documentation makes this a serious candidate for investigation.
WHAT WOULD CONCERN ME?
The published condition report mentions minor handling creases, corner creasing and impressions associated with an earlier mount.
Although the pigments are reported to have retained their vibrancy, I would want to examine the watercolor personally.
I would also compare the estimate with Burchfield's strongest works from the 1920s.
At a $40,000 hammer price, Bonhams' standard buyer's premium would add approximately $11,900 before any third-party bidding fee, taxes or shipping. LiveAuctioneers
2. Franz Kline — Elizabeth (Seated at Table), 1945
Auction house: BonhamsLocation: New YorkAuction date: November 3, 2026Lot: 20Estimate: $12,000–18,000Medium: Oil on board mounted on Masonite
WHY WOULD I LOOK AT IT?
Most collectors associate Franz Kline with his monumental black-and-white abstract paintings.
But this is a figurative painting from 1945, before his mature abstract period.
The provenance is particularly interesting. The work belonged to Mr. and Mrs. I. David Orr by 1968 and subsequently descended within the family.
It was exhibited in Kline's memorial exhibition in Washington in 1962 and in the important 1968 retrospective at the Whitney Museum of American Art.
At $12,000–18,000, I would certainly investigate a painting with this exhibition history.
WHAT WOULD CONCERN ME?
Early figurative works by famous abstract painters do not necessarily command prices comparable to their mature masterpieces.
The condition report mentions slight surface dirt, uneven varnish and a very small area of inpainting.
I would verify the exhibition documentation, examine the mounted support and compare prices for Kline's pre-1950 paintings.
Bonhams' buyer's premium and any applicable bidding-platform surcharge must be added to the hammer price. LiveAuctioneers
3. Thomas Sills — Leningrad, 1959
Auction house: Swann Auction GalleriesLocation: New YorkAuction date: November 10, 2026Lot: 83Estimate: $20,000–30,000Medium: Oil on canvas, 88.9 × 106.7 cm
WHY WOULD I LOOK AT IT?
Thomas Sills is an interesting artist whose historical importance deserves more attention.
Self-taught, he developed his abstract painting during the 1950s and exhibited at Betty Parsons Gallery in New York.
This signed painting dates from 1959, a significant period in his career.
It retains a Betty Parsons Gallery label on the reverse.
The provenance includes the artist's estate, Corcoran Gallery in Cleveland and an Ohio private collection.
The date, gallery association and scale make this an attractive research candidate.
WHAT WOULD CONCERN ME?
The catalogue requests that prospective buyers contact the specialist for a condition report.
I would examine the canvas, surface, possible restoration and the gallery label.
I would also investigate the painting's exhibition history and compare it with Sills' strongest compositions.
Swann charges a 27% buyer's premium on the first $100,000 of the hammer price. Certain third-party bidding platforms add another 5%.
At a $20,000 hammer price, the premium alone would therefore be $5,400 when bidding directly, before taxes and shipping. Swann Galleries
4. Ed Clark — Life Zone (Louisiana Works), 1978
Auction house: Swann Auction GalleriesLocation: New YorkAuction date: November 10, 2026Lot: 118Estimate: $20,000–30,000Medium: Dry pigment on paper, 74.9 × 105.4 cm
WHY WOULD I LOOK AT IT?
Ed Clark's distinctive approach to abstraction makes his work particularly relevant to collectors interested in postwar American painting.
This work is signed and dated 1978.
More importantly, the provenance states that it was acquired directly from the artist by a private collector in Baton Rouge, Louisiana.
Direct artist provenance is always worth examining.
The large format and connection to Clark's Louisiana period make this work interesting beyond its estimate.
WHAT WOULD CONCERN ME?
Dry pigment on paper can be particularly sensitive to handling, abrasion and environmental conditions.
I would request detailed condition photographs and ask whether the pigment has been fixed or otherwise treated.
The direct-from-artist provenance should be supported by available invoices, correspondence or collection records.
I would also compare the estimate with prices for Clark's works on paper rather than his paintings on canvas.
Swann's 27% buyer's premium, possible third-party surcharge, taxes, framing and shipping must all be considered. Swann Galleries
5. Joan Mitchell — Trees II, 1992
Auction house: Swann Auction GalleriesLocation: New YorkAuction date: November 10, 2026Lot: 119Estimate: $30,000–50,000Medium: Color lithograph on two sheets of Rives BFK paper
WHY WOULD I LOOK AT IT?
This is a monumental lithograph measuring approximately 145 × 208 cm.
It is signed, dated and numbered 9/34.
The work was printed and published by Tyler Graphics, an important American printmaking workshop.
Its provenance includes the Herbert F. Johnson Museum of Art at Cornell University.
For a collector who cannot contemplate the multimillion-dollar prices of Mitchell's major paintings, a large, documented print offers a different collecting opportunity.
WHAT WOULD CONCERN ME?
A lithograph is not an original painting, even when signed and produced during the artist's lifetime.
I would verify the edition, printing history and completeness of the two-sheet composition.
The large paper support also requires careful examination for fading, discoloration, handling damage and mounting problems.
Transportation and conservation-quality framing could be expensive.
I would compare this impression with other examples from the edition before deciding whether $30,000–50,000 is attractive. Swann Galleries
6. Robert Motherwell — Untitled, circa 1963
Auction house: RagoLocation: LambertvilleAuction date: November 11, 2026Lot: 166Estimate: $5,000–7,000Medium: Ink on paper, 37 × 29 cm
WHY WOULD I LOOK AT IT?
This is one of my most interesting selections.
A small drawing by Motherwell dating from approximately 1963, with substantial provenance and published documentation.
The ownership history includes the collections of James Fitzsimmons, John A. Schweitzer, Gordon and Zanne Stewart, and several recorded auction appearances.
The drawing was exhibited at York University in Toronto in 1978.
Most importantly, Rago identifies it in the Motherwell drawings catalogue raisonné as Rogers D346.
At an estimate of $5,000–7,000, the documentation makes this an obvious candidate for closer examination.
WHAT WOULD CONCERN ME?
The provenance includes several auction appearances, most recently at Stair Galleries in June 2024.
I would investigate the previous hammer prices and determine whether the work has been repeatedly offered without finding a permanent collector.
I would also verify the catalogue raisonné reference and examine the paper for staining, repairs and fading.
Rago's standard buyer's premium is 28% on the first $2 million, with additional charges possible through third-party platforms.
At a $5,000 hammer price, the direct-bidding premium would add $1,400 before taxes and shipping. Rago Auctions
7. Kiki Smith — Untitled (Feet), 1994
Auction house: RagoLocation: Lambertville, New JerseyAuction date: November 11, 2026Lot: 117Estimate: $8,000–12,000Medium: Paint on silver-leafed Japanese paper, 51 × 193 cm
WHY WOULD I LOOK AT IT?
Kiki Smith's work occupies an important place in contemporary art, particularly in relation to the human body, identity and material experimentation.
This unusually long composition dates from 1994.
Its provenance includes Pace Gallery in New York, followed by a Christie's auction in 2011 and a private collection.
The work was exhibited in Kiki Smith: Drawings at Pace Gallery in October–November 1994.
For me, the early exhibition history and unusual material make it worth investigating.
WHAT WOULD CONCERN ME?
The silver-leafed Japanese paper is a potentially delicate support.
I would want a specialist paper-conservation assessment addressing oxidation, abrasion, adhesion and any previous repairs.
The long horizontal format may also complicate display and framing.
I would compare the estimate with other unique Kiki Smith works on paper, rather than with her sculptures or editioned prints.
Rago's 28% standard premium and any platform, tax or shipping charges must be included in the final cost. Rago Auctions
8. Sandú Darié — Untitled, circa 1955
Auction house: RagoLocation: Lambertville, New JerseyAuction date: November 11, 2026Lot: 160Estimate: $3,000–5,000Medium: Mixed media on canvas mounted on panel, 45 × 55 cm
WHY WOULD I LOOK AT IT?
This is exactly the kind of work I like to investigate.
Sandú Darié was an important figure in Latin American geometric abstraction and Concretism.
The painting dates from approximately 1955, an interesting period in his development.
It is signed and accompanied by a certificate of authenticity from Roberto Cobas Amate.
The recorded provenance includes LA Modern Auctions in April 2025 and a California private collection.
At $3,000–5,000, it deserves attention from collectors interested in Latin American modernism.
WHAT WOULD CONCERN ME?
The painting appeared at auction relatively recently, in April 2025.
I would retrieve that result and investigate the reason for its return to market.
The certificate should be examined for its precise wording and supporting research.
I would also request a condition report addressing the mixed-media surface and the canvas mounted on panel.
At a $3,000 hammer price, Rago's 28% premium would bring the price to $3,840 before taxes, additional platform charges and shipping.
A low estimate is interesting only when the complete acquisition cost remains sensible. Rago Auctions
9. Odilon Redon — Femme dans les Fleurs
Auction house: DoyleLocation: New YorkAuction date: November 12, 2026Lot: 8Estimate: $70,000–90,000Medium: Pastel on thin board mounted on another board
WHY WOULD I LOOK AT IT?
This is one of the most important works in the selection from a documentation standpoint.
The pastel has a substantial recorded provenance, including Galerie Geroux in Brussels, De Hauke et Cie and Schoneman Gallery in New York.
It appeared at Sheridan Galleries in New York in January 1950.
The work was exhibited at the John Herron Institute in Indianapolis in 1915, during Redon's lifetime.
It is also documented in Alec Wildenstein's 1992 catalogue raisonné of Redon's paintings and drawings, volume I, number 174.
That combination of early exhibition history and published documentation makes the work particularly interesting.
WHAT WOULD CONCERN ME?
The condition description identifies blue paper strips attached around the edges, losses to some of those strips and minor creasing associated with separation of the board layers.
Pastels are extremely sensitive to handling and conservation intervention.
I would request an independent paper conservator's assessment before bidding.
I would also confirm the catalogue raisonné entry and compare the work with other Redon pastels of similar dimensions and quality.
Doyle's published buyer's premium is 33% on the first $50,000 of the hammer price and 32% on the next portion.
At a $70,000 hammer price, the premium would add approximately $22,900 before taxes, insurance and shipping. LiveAuctioneers
10. Ivan Pokhitonov — Coin de mon jardin sous neige
Auction house: DoyleLocation: New YorkAuction date: November 12, 2026Lot: 13Estimate: $8,000–12,000Medium: Oil on board
WHY WOULD I LOOK AT IT?
This small winter landscape is particularly interesting because of its documentation.
The painting is signed and bears an inscription on the reverse referring to the artist's garden and studio in Brussels in 1923.
The provenance begins with descent through the artist's family.
It subsequently appeared at Christie's in London in November 2007 before entering a New York private collection.
The painting was exhibited at the State Tretyakov Gallery in Moscow in 1963 and is mentioned in published literature.
Doyle states that it will be included in the forthcoming catalogue raisonné prepared by Olivier Bertrand.
At $8,000–12,000, this is a work I would investigate seriously.
WHAT WOULD CONCERN ME?
The proposed catalogue raisonné inclusion should be confirmed directly with the scholar preparing it.
The catalogue's dimensions contain an apparent typographical inconsistency, which should be clarified with Doyle.
The published condition assessment is encouraging, reporting a stable surface and no visible restoration under ultraviolet examination.
Nevertheless, I would request detailed photographs and independently verify the attribution and provenance.
Doyle's 33% buyer's premium on a hammer price within this estimate range would add approximately $2,640–3,960, before taxes and shipping. LiveAuctioneers
THREE I WOULD RESEARCH FIRST
1. ROBERT MOTHERWELL — LOT 166
The combination of an early-1960s date, substantial provenance, exhibition history and a catalogue raisonné reference makes this drawing especially interesting at its estimate.
2. IVAN POKHITONOV — LOT 13
The artist-family provenance, historical exhibition, published literature and proposed catalogue raisonné inclusion make this a compelling research candidate.
3. FRANZ KLINE — LOT 20
A figurative painting from 1945, exhibited in important Kline retrospectives, at an estimate that deserves comparison with the market for his early works.
THE ART EXPERT'S VIEW
What interests me most in this week's American auctions is the difference between an artist's reputation and the market for a particular work.
Franz Kline is famous for his abstract paintings. But what is the market for a figurative work painted before he developed that style?
Joan Mitchell's major paintings can command enormous prices. But does that automatically make a $40,000 lithograph attractive?
And what about a small Robert Motherwell drawing, documented in a catalogue raisonné, offered for $5,000–7,000?
These are the questions collectors should ask.
The estimate is only one part of the equation.
The quality of the artwork, its importance within the artist's career, its condition, provenance, authenticity documentation and resale market all matter.
And there is another consideration that buyers regularly underestimate: the total cost of ownership.
A $10,000 hammer price can become $13,000 or more after the buyer's premium alone. Taxes, shipping, insurance, conservation and framing can add substantially more.
An auction estimate is not an appraisal. It is the beginning of the investigation.
Research note — November 2, 2026: All ten lots were identified in forthcoming sales and checked against published individual lot records. The Bonhams and Doyle links lead to their individual LiveAuctioneers catalogue entries; the Swann and Rago links lead to the auction houses' own lot pages. There is no shortfall. None of the works has been physically examined for this research report, and estimates may change or lots may be withdrawn before the sale.
Newsletter status: This is a private, pre-publication research edition for VWART's weekly collector newsletter, whose first public issue is planned for Monday, January 4, 2027. No newsletter was published, no subscribers were contacted, and no email was sent. Research will continue on the existing weekly schedule.
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