10 U.S. AUCTION PICKSNovember 9, 2026
American Auction Intelligence
Ten artworks I would investigate before bidding
Prepared for Gérard Van Weyenbergh — VWART.com
This week's research identifies 10 individually verified lots in forthcoming American auctions on November 10–11, 2026. The selection ranges from a $1,200 Stuart Davis screenprint to a $150,000 Gertrude Abercrombie painting.
The emphasis is on original works, unusual provenance, historically meaningful dates, documented exhibition histories and estimates worth investigating.
All ten have direct individual catalogue links. Sotheby's and Christie's are excluded as selling houses.
Editorial limitation: This edition draws from two auction houses, Swann Auction Galleries and Rago. There is no numerical shortfall, but the concentration in two sales limits geographical and auction-house diversity. The catalogue records have been checked; the artworks themselves have not been physically examined.
1. NATHAN OLIVEIRA — Woman in Fur Coat #2, 1961
Auction house: Swann Auction GalleriesLocation: New York, NYDate: November 10, 2026Lot: 146Estimate: $5,000–8,000Medium: Gouache on paper
WHY WOULD I LOOK AT IT?
This is one of my preferred selections.
The drawing dates from 1961, an important period in Oliveira's development as a figurative artist.
It is signed and dated, and measures approximately 76.8 × 55.9 cm.
The provenance includes Charles Alan Gallery in New York, the collection of Dr. and Mrs. Milton M. Gardner and the Heckscher Museum of Art.
The work was exhibited at the Heckscher Museum in 1990–91.
At $5,000–8,000, a documented work with museum provenance deserves investigation.
WHAT WOULD CONCERN ME?
I would request the museum's deaccession documentation and clarify the discrepancy between the catalogue's reported 1983 gift and its accession number beginning with 1980.
I would also request a condition report addressing fading, gouache losses, paper discoloration and mounting.
The signature and historical documentation should be checked against museum records.
At a $5,000 hammer price, Swann's stated 27% premium would bring the cost to $6,350 before taxes, shipping, insurance and framing. Swann Galleries
2. PIERRE MICHEL BURAGLIO — Untitled (Diptych), 1981
Auction house: Swann Auction GalleriesLocation: New York, NYDate: November 10, 2026Lot: 141Estimate: $6,000–9,000Medium: Mixed-media construction
WHY WOULD I LOOK AT IT?
This unusual two-part construction dates from 1981.
The provenance records acquisition from Zabriskie Gallery in New York around that year, followed by a New York private collection.
That gallery association makes the work interesting.
Buraglio's unconventional approach to painting, materials and construction deserves attention from collectors interested in European postwar art.
The estimate merits comparison with his larger works and early constructions.
WHAT WOULD CONCERN ME?
The exact relationship and spacing between the two elements must be understood.
I would examine the construction materials, attachments, possible alterations and installation requirements.
The gallery provenance should be supported by invoices or archival documentation where available.
I would also investigate the work's exhibition history.
At a $6,000 hammer price, the 27% premium would bring the total to $7,620 before taxes, transportation and any conservation work. Swann Galleries
3. PHILIP GUSTON — Studio Forms, 1980
Auction house: Swann Auction GalleriesLocation: New York, NYDate: November 10, 2026Lot: 120Estimate: $4,000–6,000Medium: Lithograph on Arches Cover paper
WHY WOULD I LOOK AT IT?
This lithograph dates from 1980, the final year of Guston's life.
It is signed, titled, dated and numbered 80/100.
The work was printed and published by Gemini G.E.L. in Los Angeles and bears the workshop's stamps.
The catalogue identifies it as Semff 45.
The combination of a late date, recognized workshop and documented edition makes this an interesting entry point into Guston's graphic work.
WHAT WOULD CONCERN ME?
This is an editioned lithograph, not a unique painting.
I would verify the edition, workshop stamps and catalogue reference.
The paper should be examined for fading, staining, foxing and mounting damage.
I would compare recent sales of other impressions.
At a $4,000 hammer price, the buyer's premium would bring the cost to $5,080 before taxes, framing and shipping. Swann Galleries
4. STUART DAVIS — Ivy League, 1953
Auction house: Swann Auction GalleriesLocation: New York, NYDate: November 10, 2026Lot: 19Estimate: $1,200–1,800Medium: Color screenprint
WHY WOULD I LOOK AT IT?
This is the least expensive work in my selection.
Davis was an important figure in American modernism, and this screenprint dates from 1953.
The work bears a stencil signature and was published by Tiber Press in New York.
The catalogue references Cole/Myers, page 79.
At $1,200–1,800, I would investigate it as an accessible example of American modernist printmaking.
WHAT WOULD CONCERN ME?
The signature is a stencil signature, not a handwritten autograph.
That distinction must be understood.
I would verify the printing history, edition information and paper condition.
The image measures only approximately 12.7 × 20.3 cm.
Its small size and edition characteristics may influence resale demand.
At a $1,200 hammer price, the 27% premium would bring the cost to $1,524 before taxes and shipping. Swann Galleries
5. GENE DAVIS — Yankee Doodle, 1972
Auction house: Swann Auction GalleriesLocation: New York, NYDate: November 10, 2026Lot: 109Estimate: $4,000–6,000Medium: Color screenprint on paper laid down to canvas
WHY WOULD I LOOK AT IT?
This monumental vertical screenprint measures approximately 201 × 86 cm.
It is signed and numbered 144/144.
The work was printed by Fine Creations in New York and published by HKL.
Its large scale makes it visually striking.
For collectors interested in Washington Color School abstraction, it offers an alternative to Davis's paintings.
WHAT WOULD CONCERN ME?
The paper is mounted on canvas.
I would investigate whether this was part of the original production or a later intervention.
The large format makes conservation, display and transportation more complicated.
I would also compare the estimate with other impressions from the edition.
At a $4,000 hammer price, the buyer's premium would bring the cost to $5,080 before additional expenses. Swann Galleries
6. ROBERT MOTHERWELL — Untitled, circa 1963
Auction house: RagoLocation: Lambertville, New JerseyDate: November 11, 2026Lot: 166Estimate: $5,000–7,000Medium: Ink on paper
WHY WOULD I LOOK AT IT?
This is one of the strongest research candidates in the selection.
The drawing dates from approximately 1963 and is signed with the initials RM.
Its provenance includes the collections of James Fitzsimmons, John A. Schweitzer, and Gordon and Zanne Stewart.
It was exhibited at York University in Toronto in 1978.
Most importantly, it is identified in the Motherwell drawings catalogue raisonné as Rogers D346.
The catalogue also records a 1965 publication reference.
At $5,000–7,000, this documentation deserves serious attention.
WHAT WOULD CONCERN ME?
The drawing has appeared at auction several times, including in June 2024.
I would retrieve the previous results and investigate the work's market history.
I would also verify the catalogue raisonné reference and examine the paper for stains, fading and repairs.
Rago's buyer's premium is 28% on the first $2 million.
At a $5,000 hammer price, the total would be $6,400 before taxes, platform fees, shipping and insurance. Rago Auctions
7. GERTRUDE ABERCROMBIE — Two Shells, Lady (Figure) on Beach, 1956
Auction house: RagoLocation: Lambertville, New JerseyDate: November 11, 2026Lot: 114Estimate: $100,000–150,000Medium: Oil on Masonite
WHY WOULD I LOOK AT IT?
This small painting measures approximately 13 × 19 cm.
It was acquired directly from the artist in 1956 by Sander Allen.
The provenance subsequently passes through Janet McGrath and her descendants.
Dr. Susan Weininger, a leading Abercrombie scholar, has authenticated the painting and provided extensive commentary.
The subject incorporates several characteristic elements of Abercrombie's surrealist imagery: shells, an isolated figure and an austere landscape.
The combination of direct artist provenance, scholarly authentication and a characteristic subject makes this historically compelling.
WHAT WOULD CONCERN ME?
The painting is extremely small relative to its estimate.
I would examine the Masonite support, paint surface, frame and any restoration.
The provenance appears unusually strong, but I would still review the underlying documentation.
I would also compare the estimate with other Abercrombie paintings of similar scale and subject.
At a $100,000 hammer price, Rago's 28% premium would bring the cost to $128,000 before taxes, insurance and transportation. Rago Auctions
8. GERTRUDE ABERCROMBIE — Cat and I, 1936
Auction house: RagoLocation: Lambertville, New JerseyDate: November 11, 2026Lot: 115Estimate: $15,000–20,000Medium: Relief print
WHY WOULD I LOOK AT IT?
This is a particularly unusual Abercrombie work.
The print dates from 1936 and was created for the Chicago Society of Artists' 1937 calendar.
The sheet bears a handwritten New Year greeting and the artist's signature.
Its provenance begins with a gift from Abercrombie to Kathleen Blackshear.
Dr. Susan Weininger has authenticated the work.
The artist produced relatively few prints, making this a specialized collecting opportunity.
WHAT WOULD CONCERN ME?
The relationship between the original signed impressions and the larger printed calendar edition must be understood.
I would verify the impression's status, signature and provenance.
Paper condition is particularly important.
I would examine fading, foxing, tears, repairs and mounting.
At a $15,000 hammer price, the 28% premium would bring the total to $19,200 before taxes and other costs. Rago Auctions
9. KIKI SMITH — Untitled (Feet), 1994
Auction house: RagoLocation: Lambertville, New JerseyDate: November 11, 2026Lot: 117Estimate: $8,000–12,000Medium: Paint on silver-leafed Japanese paper
WHY WOULD I LOOK AT IT?
This unusual composition measures approximately 51 × 193 cm.
It is signed and dated 1994.
The provenance includes Pace Gallery in New York and a Christie's sale in 2011.
It was exhibited in Kiki Smith: Drawings at Pace Gallery in October–November 1994.
The exhibition history, date and unusual support make it worth investigating.
WHAT WOULD CONCERN ME?
The work is executed on silver-leafed Japanese paper dating from the 1920s.
I would request a specialist conservation assessment addressing oxidation, abrasion, adhesion and possible restoration.
The unusually long format could complicate display and framing.
I would also retrieve the 2011 auction result.
At an $8,000 hammer price, Rago's premium would bring the cost to $10,240 before taxes, shipping and conservation expenses. Rago Auctions
10. SANDÚ DARIÉ — Untitled, circa 1955
Auction house: RagoLocation: Lambertville, New JerseyDate: November 11, 2026Lot: 160Estimate: $3,000–5,000Medium: Mixed media on canvas mounted on panel
WHY WOULD I LOOK AT IT?
This is another particularly interesting candidate.
Darié was an important figure in Latin American geometric abstraction and Concretism.
The work dates from approximately 1955 and measures 45 × 55 cm.
It is signed and accompanied by a certificate of authenticity from Roberto Cobas Amate.
The provenance includes LA Modern Auctions in April 2025 and a California private collection.
At $3,000–5,000, I would investigate it seriously.
WHAT WOULD CONCERN ME?
The painting appeared at auction only eighteen months ago.
I would retrieve the April 2025 result and investigate the reason for its return to market.
The certificate of authenticity should be examined carefully.
I would also request a condition report addressing the mixed-media surface and the mounted canvas.
At a $3,000 hammer price, Rago's premium would bring the cost to $3,840 before taxes, platform fees, shipping and insurance. Rago Auctions
THREE I WOULD RESEARCH FIRST
1. ROBERT MOTHERWELL — LOT 166
The catalogue raisonné reference, historical exhibition, published documentation and relatively modest estimate make this drawing particularly interesting.
2. NATHAN OLIVEIRA — LOT 146
The 1961 date, museum provenance and accessible estimate deserve investigation, especially once the provenance-documentation discrepancy is resolved.
3. SANDÚ DARIÉ — LOT 160
An original work from approximately 1955 with an authentication certificate and a recent auction history that can be researched.
THE ART EXPERT'S VIEW
This week's American auctions demonstrate an important distinction between artistic reputation and market value.
A famous signature does not automatically make every work by that artist a good acquisition.
A Philip Guston lithograph, a Robert Motherwell drawing and a Gertrude Abercrombie painting represent very different collecting markets.
The Motherwell interests me because of its documentation.
The Oliveira interests me because of its date and museum history.
The Darié interests me because of its period, estimate and the possibility of investigating its previous auction result.
But I would not recommend bidding on any of these works without examining their condition and understanding the complete acquisition cost.
An auction estimate is not an appraisal. It is the beginning of the investigation.
Research and publication note — November 9, 2026: All ten lots have identifiable individual catalogue records. Swann's individual pages returned intermittent access errors when opened directly, but their indexed catalogue records supplied the lot information used here. The Rago records were directly accessible. The edition is therefore suitable as a research draft, with a final live-catalogue and condition check recommended before publication.
The newsletter's first public issue remains planned for Monday, January 4, 2027. This edition has not been published, and no subscriber emails have been sent. Weekly research will continue on the existing schedule.
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