10 U.S. AUCTION PICKS — OCTOBER 26, 2026
Independent Art Market Intelligence | VWART.com
New York | October 27 – November 10, 2026
This week's selection features ten specific artworks in forthcoming American auctions, chosen for their artistic importance, provenance, rarity, historical significance or potentially interesting estimates.
I have concentrated on three established auction houses: Freeman's, Bonhams and Swann Auction Galleries.
The estimates range from $5,000 to $300,000. These are not necessarily ten works I would buy. They are ten works I believe deserve serious investigation.
All dates, lot numbers and estimates below have been checked against current auction catalogues or published lot records. The Bonhams entries are documented through its LiveAuctioneers catalogue.
1. Pablo Picasso — Tête de Femme Couronnée de Fleurs (Pichet), 1954
Auction house: Freeman's Location: New York Auction date: October 27, 2026 Lot: 32 Estimate: $200,000–300,000
Painted and glazed terracotta, 24.1 cm high.
WHY WOULD I LOOK AT IT?
This is not an ordinary Picasso ceramic edition.
Freeman's describes it as a unique prototype, outside the numbered editions of the related Madoura model.
Its provenance runs from Picasso through his estate to Marina Picasso.
The Comité Madoura has confirmed its authenticity, and the Picasso Administration is expected to issue a certificate in November 2026.
The combination of rarity and direct family provenance makes it an important research candidate.
WHAT WOULD CONCERN ME?
The Picasso Administration certificate is not expected until after the auction. I would obtain written confirmation of its status and conditions before bidding.
I would also examine the ceramic for restoration, chips and alterations, and compare the price with other unique Picasso ceramics rather than standard editions.
2. Auguste Rodin — Femme au Pyjama Noir Entrouvert, circa 1900
Auction house: Freeman's Location: New York Auction date: October 27, 2026 Lot: 33 Estimate: $10,000–15,000
Watercolor and pencil on paper mounted on board.
WHY WOULD I LOOK AT IT?
This is one of the most interesting works in the selection.
It belonged to Jules and Etta Mastbaum. Jules Mastbaum's collection was instrumental in establishing Philadelphia's Rodin Museum.
The drawing was also exhibited in London in 1901.
Freeman's states that it will be included in the forthcoming Rodin drawings catalogue raisonné being prepared by Christina Buley-Uribe.
At this estimate, the combination of provenance, exhibition history and scholarly documentation is particularly interesting.
WHAT WOULD CONCERN ME?
The paper has been mounted on board. The condition report mentions toning, staining, foxing and remnants of an earlier mount.
I would obtain a paper conservator's assessment and written confirmation of the proposed catalogue raisonné inclusion.
3. El Lissitzky — Proun (Schizzo), circa 1922–1923
Auction house: Freeman's Location: New York Auction date: October 27, 2026 Lot: 91 Estimate: $70,000–90,000
Gouache and pencil on paper, 45.5 × 45.5 cm.
WHY WOULD I LOOK AT IT?
The Proun compositions occupy a central position in Lissitzky's artistic development.
This work was exhibited at the Museo Villa dei Cedri in Bellinzona, Switzerland, in 2025–2026, and illustrated in the accompanying publication.
Its early date and recent scholarly exposure make it especially interesting.
WHAT WOULD CONCERN ME?
Russian avant-garde attribution requires exceptional care.
I would independently examine the provenance, materials, inscriptions and available technical research. The recent exhibition is valuable documentation, but it does not eliminate the need for independent authentication.
4. Laura Knight — Children in a Rowboat, 1916
Auction house: Freeman's Location: New York Auction date: October 27, 2026 Lot: 71 Estimate: $50,000–80,000
Oil on canvas, 54 × 63.5 cm.
WHY WOULD I LOOK AT IT?
A signed and dated painting from Knight's Newlyn period.
The provenance includes Richard Green Gallery in London, where the painting was exhibited in 1988.
The date, subject and exhibition history make it particularly attractive to collectors of British painting.
I would investigate whether the estimate reflects the painting's quality or the more specialized American market for this artist.
WHAT WOULD CONCERN ME?
The canvas has been lined, and the published condition report identifies scattered inpainting.
I would request ultraviolet photographs and determine the extent of restoration before considering a bid.
5. Max Weber — Primitive Head, 1917
Auction house: BonhamsLocation: New York Auction date: November 3, 2026 Lot: 17 Estimate: $7,000–10,000
Oil on board, 21.3 × 13.7 cm.
WHY WOULD I LOOK AT IT?
A small painting from Weber's important early modernist period.
Its provenance includes The Downtown Gallery and several established private collections.
It was exhibited at the High Museum of Art in Max Weber: The Cubist Decade, 1910–1920.
At $7,000–10,000, I would investigate whether the modest dimensions are obscuring its historical significance.
WHAT WOULD CONCERN ME?
The work has appeared at auction previously, including in 1993 and 1996.
I would retrieve those results and compare them with the present estimate.
The published condition report also identifies scattered small areas of inpainting.
6. John Sloan—Landscape Sketch and Brunette Nude, Striped Blanket
Auction house: BonhamsLocation: New York Auction date: November 3, 2026 Lot: 82 Estimate: $70,000–100,000
Double-sided oil on canvas, 83.8 × 99.7 cm.
The landscape dates from 1917; the nude from approximately 1928–1930.
WHY WOULD I LOOK AT IT?
Two paintings by Sloan on the same canvas, representing different periods of his career.
The work has an extensive exhibition history, including the Brooklyn Museum and National Gallery of Art.
Its provenance includes Ruth Martin, an important collector of Sloan's work.
The double-sided format provides an unusual opportunity to study the evolution of the artist's painting.
WHAT WOULD CONCERN ME?
Double-sided paintings can present conservation, framing and display difficulties.
I would want to understand the condition of both surfaces, how the canvas is mounted and whether one composition has historically been considered more important than the other.
7. John Frederick Kensett — Scene Near Greeley, Colorado, circa 1870–1872
Auction house: Bonhams Location: New York Auction date: November 3, 2026 Lot: 52 Estimate: $120,000–180,000
Oil on canvas, approximately 91.8 × 152.7 cm.
WHY WOULD I LOOK AT IT?
A substantial Western landscape by one of the important painters associated with the Hudson River School.
Western subjects are relatively unusual within Kensett's production.
The painting is returning to the market after nearly two decades, according to the auction announcement.
Its scale, subject and historical importance justify attention.
WHAT WOULD CONCERN ME?
I would investigate the historical identification of the location and compare the painting with accepted Western landscapes by Kensett.
The condition of the canvas, possible relining, old restorations and the work's exhibition history would also be important.
8. Michael Corinne West — From the Edge of Nothing Matter Weeps, circa 1960s
Auction house: Swann Auction Galleries Location: New York Auction date: November 10, 2026 Lot: 89 Estimate: $30,000–50,000
Oil on canvas, 127 × 167.6 cm.
WHY WOULD I LOOK AT IT?
A substantial painting by an artist who participated in the development of Abstract Expressionism but historically received less attention than many male contemporaries.
West studied with Hans Hofmann and was associated with important New York artistic circles.
The painting comes from a New York private collection and descended to the present owner.
Its scale and period make it worth investigating.
WHAT WOULD CONCERN ME?
I would examine the painting's condition, compare its quality with West's strongest works and investigate recent auction results.
Increased institutional recognition does not necessarily translate into a stable secondary market.
9. Jannis Spyropoulos — Gera, 1962
Auction house: Swann Auction Galleries Location: New York Auction date: November 10, 2026 Lot: 69 Estimate: $6,000–8,000
Encaustic on paper mounted on canvas, 68.6 × 86.4 cm.
WHY WOULD I LOOK AT IT?
A signed and dated work from 1962.
The provenance traces to the collection of Mr. and Mrs. Malcolm K. Whyte in Milwaukee.
It was exhibited at the Milwaukee Art Museum in 1964.
The combination of an early exhibition history and a relatively modest estimate makes it worth examining.
WHAT WOULD CONCERN ME?
The encaustic technique and mounted paper support require specialist examination.
I would also compare the estimate with results from the Greek market, where recognition of the artist may differ from that in the United States.
10. Nathan Oliveira — Woman in Fur Coat #2, 1961
Auction house: Swann Auction Galleries Location: New York Auction date: November 10, 2026 Lot: 146 Estimate: $5,000–8,000
Gouache on paper, 76.8 × 55.9 cm.
WHY WOULD I LOOK AT IT?
A signed and dated work from an important period in Oliveira's development.
The provenance includes Charles Alan Gallery, Dr. and Mrs. Milton Gardner and the Heckscher Museum of Art.
The painting is being sold to benefit the museum.
Its documented ownership and exhibition history make it interesting at this estimate.
WHAT WOULD CONCERN ME?
Museum provenance is valuable, but it does not guarantee artistic importance or resale demand.
I would examine the paper's condition, compare the work with Oliveira's stronger figurative compositions and establish its position within the artist's production.
THREE I WOULD RESEARCH FIRST
1. Auguste Rodin — Femme au Pyjama Noir Entrouvert. The Mastbaum provenance, early exhibition history and proposed catalogue raisonné inclusion make this my most intriguing candidate relative to its estimate.
2. Max Weber — Primitive Head. A documented 1917 painting with an important exhibition history, offered at a relatively modest estimate.
3. Pablo Picasso — Tête de Femme Couronnée de Fleurs. The unique prototype status and direct family provenance are compelling, although I would require written clarification regarding the forthcoming certificate before bidding.
THE ART EXPERT'S VIEW
The American auction market continues to offer opportunities outside the most expensive evening sales.
What interests me is not simply the estimate but the relationship between artistic quality, provenance, historical importance and market demand.
A $10,000 drawing can deserve more investigation than a $300,000 painting.
However, no estimate should be interpreted as proof of value.
Before bidding, I would examine the complete condition report, authenticity documentation, comparable auction results and the total acquisition cost.
Buyer's premiums are particularly important. Swann, for example, publishes a 27% premium on the first $100,000 of the hammer price, with an additional charge possible when bidding through certain third-party platforms. Swann Galleries
An auction estimate is not an appraisal. It is the beginning of the investigation.
Gérard Van Weyenbergh Independent Art Expert VWART.com
Research dated October 26, 2026. All ten lots are scheduled for future sales as of this date. Estimates are in U.S. dollars, excluding premiums, taxes and shipping. This selection is independent commentary, not an authentication, appraisal or guarantee of future resale value.
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