10 U.S. AUCTION PICKS — 12 OCTOBER 2026
Independent Art Market Intelligence | October 12, 2026
Ten artworks worth investigating in forthcoming American auctions — selected for quality, provenance, historical importance, and potentially interesting estimates.
This week's selection looks beyond the spectacular prices that dominate auction headlines. I have concentrated on original paintings and sculptures, supplemented by a few historically significant works on paper.
The works come from established American auction houses, including Los Angeles Modern Auctions, Toomey & Co. and Swann Auction Galleries.
My objective is not to recommend ten purchases. It is to identify ten works that deserve further investigation before bidding.
All estimates below are in U.S. dollars and exclude buyer's premiums, taxes, shipping and other costs.
1. GEORGE RICKEY — Three Lines Oblique Conical Path, 1972
Auction house: Los Angeles Modern Auctions (LAMA)Location: Los Angeles, California Auction date: October 20, 2026 Lot: 106 Estimate: $100,000–150,000
WHY WOULD I LOOK AT IT?
This is an important kinetic sculpture in stainless steel, measuring approximately 87 inches high with a 120-inch diameter.
What interests me most is its provenance.
The present owner acquired the sculpture directly from George Rickey in 1972.
It also has a documented exhibition history, including the Städel Museum in Frankfurt in 1977 and Galerie Schlegl in Zurich in 1997–98.
This combination of early date, direct provenance, substantial scale and exhibition history makes the work particularly attractive for research.
WHAT WOULD CONCERN ME?
Kinetic sculpture introduces considerations that do not apply to paintings.
I would want to examine the mechanical operation, structural integrity, conservation history and installation requirements.
Transportation and installation could also be expensive.
My assessment: One of the strongest provenance stories in this week's selection.
2. ALLEN TUCKER — Storm on the Farm
Auction house: Toomey & Co.Location: Chicago, Illinois Auction date: October 23, 2026 Estimate: $6,000–8,000
WHY WOULD I LOOK AT IT?
Allen Tucker is an interesting American modernist whose work deserves attention beyond the most familiar names of twentieth-century American painting.
This painting is featured among the highlights of Toomey's forthcoming Fine Art auction.
At $6,000–8,000, I would investigate whether its quality, date and subject make it an attractive example of the artist's work.
The appeal here is the possibility of acquiring a distinctive American painting without paying the premium attached to more fashionable names.
WHAT WOULD CONCERN ME?
I would want to establish the exact date, dimensions, provenance and condition.
Tucker's market is relatively specialized. A low estimate does not necessarily indicate an undervalued painting.
My assessment: An interesting candidate for a collector who values American modernism rather than fashionable auction names.
3. DIEGO RIVERA — Escuela al Aire Libre (Open Air School), 1932
Auction house: Swann Auction Galleries Location: New York Auction date: October 29, 2026 Lot: 265 Estimate: $10,000–15,000
WHY WOULD I LOOK AT IT?
Rivera's artistic importance extends far beyond the market for his paintings.
His graphic work also reflects his political interests, social observations and commitment to public education.
This 1932 work is particularly interesting because of its date and subject.
At $10,000–15,000, I would compare its significance with other Rivera works on paper and editions from the same period.
WHAT WOULD CONCERN ME?
The catalogue's full technical description must be examined before bidding.
I would verify the medium, edition details if applicable, printing history, condition and relevant catalogue references.
My assessment: An important artist, an interesting historical date and a price level that justifies closer examination.
4. TAKAKO YAMAGUCHI — A Suivre #1, 1982
Auction house: Los Angeles Modern Auctions Location: Los Angeles, California Auction date: October 20, 2026 Estimate: $70,000–90,000
WHY WOULD I LOOK AT IT?
This is one of the more intriguing contemporary-art opportunities of the week.
A Suivre #1 is a mixed-media work dating from 1982, a relatively early moment in Yamaguchi's artistic career.
Yamaguchi has attracted substantial institutional and market attention in recent years. But what makes this work interesting is not simply the artist's increasing recognition.
It is the combination of an early date and an estimate that deserves comparison with the artist's more recent auction results.
I would investigate how closely this work relates to the visual language that has made her paintings particularly sought after.
WHAT WOULD CONCERN ME?
Yamaguchi's secondary market is still relatively young and can be volatile.
I would not use one exceptional auction result as evidence that every work by the artist should command a similar price.
The precise medium, provenance, condition and significance within her early production require examination.
My assessment: One of the most interesting research candidates, but not necessarily a bargain.
5. WALLACE BERMAN — Untitled
Auction house: Los Angeles Modern Auctions Location: Los Angeles, California Auction date: October 20, 2026 Estimate: $70,000–90,000
WHY WOULD I LOOK AT IT?
An original Verifax collage by Wallace Berman is immediately worth investigating.
Berman was one of the influential figures of the California Beat and assemblage movements.
His Verifax collages are central to his artistic identity, making them particularly relevant to collectors interested in postwar American art.
I would much rather examine a work that belongs to an artist's defining creative practice than a less significant work acquired simply because it carries a famous signature.
WHAT WOULD CONCERN ME?
The exact date, composition, provenance and condition are essential.
Berman's Verifax technique also raises conservation questions involving the stability of photographic materials.
I would compare this example with documented works in museum collections and established private collections.
My assessment: Potentially an important work, provided its quality and documentation justify the estimate.
6. KARL BENJAMIN — TG #25
Auction house: Los Angeles Modern Auctions Location: Los Angeles, California Auction date: October 20, 2026 Lot: 110Estimate: $12,000–18,000
WHY WOULD I LOOK AT IT?
Karl Benjamin was a significant figure in Southern California geometric abstraction.
His paintings can be particularly interesting for collectors seeking historically relevant American abstraction at prices below those of the most celebrated New York artists.
What attracts me here is the estimate.
The auction house's own records show that a work titled TG #25 appeared with estimates of $35,000–45,000 in 2016 and $15,000–20,000 in 2019.
The current estimate is $12,000–18,000.
That is exactly the kind of pricing history that would make me investigate further.
WHAT WOULD CONCERN ME?
First, I would confirm that these records refer to the same physical artwork.
If they do, I would examine its ownership and auction history, including whether previous offerings sold or failed to sell.
A declining estimate does not automatically represent an opportunity. It may indicate that the market has already expressed reservations about the work.
My assessment: A particularly interesting case for studying the difference between an auction estimate and actual market demand.
7. LUIS NISHIZAWA — Girasoles y frutas
Auction house: Toomey & Co. Location: Chicago, Illinois Auction date: October 23, 2026 Estimate: $6,000–8,000
WHY WOULD I LOOK AT IT?
Nishizawa is an important figure in twentieth-century Mexican art, although his international auction visibility is more limited than that of Mexico's most famous modernists.
The still-life subject is particularly appealing for a collector interested in Mexican painting.
At $6,000–8,000, I would investigate the quality of the composition and its relationship to the artist's broader production.
An established artist with a relatively specialized international market can sometimes deserve more attention than a fashionable contemporary name.
WHAT WOULD CONCERN ME?
The artist's market is not equally developed in every country.
I would compare the painting with sales in Mexico, examine the technique and dimensions, and verify the provenance.
I would also want to know whether the estimate reflects the quality of this particular painting or simply the limited American demand for the artist.
My assessment: An interesting candidate for collectors of Mexican modernism.
8. PAUL-ÉMILE PISSARRO — Le Noireau en Juin
Auction house: Toomey & Co.Location: Chicago, Illinois Auction date: October 23, 2026 Estimate: $3,000–5,000
WHY WOULD I LOOK AT IT?
Here is a modestly estimated work associated with an important artistic family.
Paul-Émile Pissarro was the youngest son of Camille Pissarro and developed his own career as a painter.
At $3,000–5,000, this work deserves an examination, particularly if it is a characteristic and well-preserved example.
I would be interested in its relationship to the Normandy landscape tradition and the artist's documented production.
WHAT WOULD CONCERN ME?
The Pissarro surname is not, by itself, a reason to buy.
The market for Paul-Émile differs considerably from that of his father.
I would verify the medium, authenticity documentation, provenance and condition, then compare the estimate with results for comparable works by Paul-Émile himself.
My assessment: An accessible entry into a recognized artistic family, but quality must take precedence over the name.
9. REMBRANDT VAN RIJN — The Descent from the Cross: Second Plate, 1633
Auction house: Swann Auction Galleries Location: New York Auction date: October 29, 2026 Lot: 46 Estimate: $8,000–12,000
WHY WOULD I LOOK AT IT?
This is one of the most historically significant works in the selection.
An etching and engraving by Rembrandt, dated 1633, with established catalogue references.
The work is documented as Bartsch 81 and New Hollstein 119.
For an Old Master print, the state and quality of the impression are fundamental to understanding its value.
At $8,000–12,000, I would certainly examine the impression.
WHAT WOULD CONCERN ME?
The catalogue identifies it as the sixth state of eight according to New Hollstein.
It is also described as trimmed at or just inside the platemark.
These details matter considerably.
Two impressions from the same Rembrandt plate can have dramatically different values.
I would examine the quality of the impression, the paper, possible restorations and the precise state before considering a bid.
My assessment: An important historical image, but one requiring specialist print expertise.
10. MARTIN LEWIS — Night in New York, 1932
Auction house: Swann Auction Galleries Location: New York Auction date: October 29, 2026 Lot: 219 Estimate: $5,000–8,000
WHY WOULD I LOOK AT IT?
Martin Lewis is one of the most interesting American printmakers of the twentieth century.
His atmospheric New York scenes capture the city's architecture, artificial light and urban life with remarkable sensitivity.
This 1932 etching is particularly interesting because the catalogue describes it as probably an artist's proof, apart from the edition of 135.
It is signed and inscribed imp in pencil, and the catalogue identifies Charles S. White as the printer.
At $5,000–8,000, I would investigate the quality of this impression.
WHAT WOULD CONCERN ME?
The designation artist's proof requires careful examination.
I would want to establish whether the impression is demonstrably distinct from the regular edition.
The condition of the paper, margins, ink quality and printing characteristics are also important.
My assessment: One of the more attractive lower-estimate works in the selection, particularly for collectors of American graphic art.
THREE I WOULD RESEARCH FIRST
1. GEORGE RICKEY — Three Lines Oblique Conical Path
The combination of direct provenance, early date, substantial scale and documented exhibitions makes this my strongest candidate for a detailed investigation.
2. KARL BENJAMIN — TG #25
The apparent history of changing estimates is particularly interesting. I would investigate the work's previous auction appearances and determine whether its current estimate reflects a genuine market opportunity.
3. TAKAKO YAMAGUCHI — A Suivre #1
An early work by an artist whose market has changed significantly. The challenge is determining whether the estimate reflects its artistic importance or the enthusiasm surrounding the artist's recent recognition.
THE ART EXPERT'S VIEW
There is something I find particularly interesting about this week's American auctions.
The most expensive artwork is not necessarily the most interesting one.
A $150,000 sculpture with exceptional provenance may deserve attention.
But so might a $5,000 print with an unusual printing history or a $12,000 painting that has appeared at auction with substantially higher estimates.
The real question is not simply what the auction house expects an artwork to bring.
The question is what the artwork is actually worth—and why.
That requires examining its quality, provenance, condition, historical significance, previous auction results and the depth of its resale market.
An estimate is an invitation to investigate.
It is not a valuation.
And certainly not a guarantee of a good purchase.
Independent commentary for educational purposes. The selections are not guarantees of authenticity, future value or resale performance. All lots should be independently verified before bidding.
A final practical note: Swann's published conditions specify a 27% buyer's premium on the first $100,000 of the hammer price, with additional charges possible through certain online platforms. A $10,000 hammer price can therefore become $12,700 before taxes, shipping or other expenses. That difference should be part of every collector's calculation.
Gerard Van Weyenbergh
On the internet since 1999, with the first website for art appraisal and art authentication on the web. Then named vanweyenbergh.com, which was hacked more than 15 years ago..
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