Tag: Lisa Dennison

The November marquee sales in New York are among the most anticipated events on the global art calendar and the final litmus test of the market’s health after the London and Paris fairs and auctions. Leading the $1.6 billion New York auction week this November is a concentration of high-end, big-name collections, as single-owner sales have become an increasingly important tool for auction houses to secure major consignments and build momentum around a notable name and provenance. “A well-known individual definitely drives interest,” Elizabeth Siegel, vice president and head of private and iconic collections at Christie’s, told Observer.

Over the past decade these types of sales have accounted for 15.6 percent of total value, according to ArtTactic, reaching a peak of 31.3 percent in 2022 with the Paul G. Allen Collection. In the first 10 months of 2025 they continued to outperform with white gloves and records, reaching 18.5 percent of global auction value. In the final week of November in New York alone, single-owner sales are estimated at $706.8 million of total auction value. “A single-owner sale totally elevates prices. It gives them a real boost,” Lisa Dennison, chairman of Sotheby’s Americas, confirmed.

As New York’s fall auctions approach, here is a breakdown of the most anticipated collections set to appear as single-owner sales or within the marquee offerings, along with the top lots that have made headlines in the months leading up to this pivotal week for the art market.

The Leonard A. Lauder Collection at Sotheby’s

The Collection of Robert F. and Patricia G. Ross Weis at Christie’s

Over more than 50 years, Patricia G. Ross Weis and Robert F. Weis assembled a collection that reflected not only the evolution of 20th-century art between Paris and New York but also the life journey they shared. The 18-lot single-owner Collection of Robert F. and Patricia G. Ross Weis sale on November 17 is expected to generate between $92.35 million and $136.7 million, accounting for more than half of the collection’s total estimated value of $180 million, which includes another 80 works that will be distributed across additional auctions and categories.

The top lot is a vibrant yellow-and-orange Mark Rothko painted in 1958, the same year the artist completed his monumental murals for the Four Seasons restaurant in Manhattan’s Seagram Building. Acquired by the couple from PaceWildenstein in 1995, the work boasts an extensive exhibition history, including its inclusion in the important AbEx show the Beyeler Foundation staged in 1989. Estimated at around $50 million and backed by a third-party guarantee, the canvas stands as one of Rothko’s most powerful expressions of American abstraction, its layered chromatic fields pulsing with contained, tormented energy and sublime atmospheric depth.

Another star lot in the collection is Piet Mondrian’s Composition with Red and Blue (estimate: $20-30 million), signed and dated “PM 39-41.” This rare-to-auction painting belongs to the artist’s transatlantic period, as Mondrian began it in Europe and completed it in New York between 1939 and 1941. Its distinguished exhibition history includes “Mondrian: Nature to Abstraction” at the Tate in 1997. The work exemplifies Mondrian’s rigorous balance of line, color and luminous white ground, an essential yet conceptually intricate dialogue at the heart of his practice.

Other anticipated works include an early Fauvist landscape by Georges Braque, Henri Matisse’s lyrical Figure et bouquet (Tête ocre) from his Nice period (estimate: $15-25 million), and Pablo Picasso’s La Lecture (Marie-Thérèse), a portrait of his muse estimated in the region of $40 million. Another exemplary work, one that justifies the sale title “A Tale Between Two Cities,” is the bold gestural abyssal composition Pierre Soulages painted in Peinture 161 x 200 cm, 14 novembre 1958, offered at $5-7 million, which resonates with the essential black marks on a white ground in Franz Kline’s Placidia from 1961 (estimate: $10-15 million).

Robert F. Weis made his fortune as chairman of Weis Markets Inc., a family-run food company founded in 1912 in rural Pennsylvania, where the couple lived. A lifelong learner and avid reader, he developed a deep appreciation for art. Patricia Weis, born in New York City, shared his passion for art, architecture and design, an interest first sparked by an uncle in the fashion industry. She began collecting after meeting Lucie Rie and Hans Coper on a trip to London. Together, the pair became prominent philanthropists supporting educational, cultural, civic and medical institutions: Patricia served on the boards of Bard College and Franklin & Marshall College, while Robert was a Sterling Fellow at Yale University and sat on its Committee on Buildings and Grounds. They also championed Jewish causes and supported the Lown Cardiovascular Research Foundation, the Cystic Fibrosis Foundation and the Metropolitan Opera.

The Cindy and Jay Pritzker Collection at Sotheby’s

The other major consignment Sotheby’s has secured for November is the Cindy and Jay Pritzker Collection, which is expected to generate a total in excess of $120 million. Known for founding the Pritzker Architecture Prize in 1979—often called the “Nobel of architecture”—the Chicago-based couple extended their devotion to creative excellence beyond the built environment, assembling a collection that reflects the breadth and rigor of their cultural philanthropy.

Headlining the November 20 Cindy and Jay Pritzker Collection sale, which immediately precedes Sotheby’s Modern Evening Auction at 7:30 p.m., is Vincent van Gogh’s Romans Parisiens (Les Livres jaunes) (1887), a radiant still life from the artist’s Paris period in which a stack of yellow-bound books becomes a portrait of his voracious intellect. Estimated at $40 million, the painting was acquired by the Pritzkers in 1994 through Richard L. Feigen & Co. and boasts an extensive literature and exhibition history spanning major institutions across Europe and the United States, including the show “Van Gogh à Paris” at the Musée d’Orsay (1988), “Vincent van Gogh Paintings” at the Rijksmuseum Vincent van Gogh, Amsterdam (1990), and “Vincent van Gogh and the Modern Movement, 1890-1914” at Museum Folkwang, Essen, and the Van Gogh Museum, Amsterdam (1990-91). The work last appeared publicly in “Van Gogh and Gauguin: The Studio of the South” at the Art Institute of Chicago (2001-02), “The Real Van Gogh: The Artist and His Letters” at the Royal Academy of Arts, London (2010), and “Van Gogh’s Bedrooms” at the Art Institute of Chicago (2016). The preparatory painting for this canvas is held in the Van Gogh Museum’s permanent collection.

Comparing the present work to Piles of French Novels in the Van Gogh Museum, scholars have described it as particularly revealing of the artist’s stylistic transition. If the earlier study, flatter in tone and more monochromatic, reflects his fascination with Japanese prints through its block-like composition and restrained palette, the painting in the Pritzker Collection reintroduces depth and vitality through rhythmic dashes and loose strokes of the Neo-Impressionist style Van Gogh adopted in his final Paris months.

Among the other highlights of the sale are Henri Matisse’s sensuous triptych Léda et le cygne (1944-46), estimated at $7-10 million, and Paul Gauguin’s La Maison de Pen du, gardeuse de vache (1889), painted during his Pont-Aven period and carrying a $6-8 million estimate. Additional highlights include Max Beckmann’s Der Wels (Catfish) ($5-7 million), Ernst Ludwig Kirchner’s Hallesches Tor, Berlin (1913, $3-5 million), a large-scale outdoor sculpture by Joan Miró ($4-6 million), and a lyrical Camille Pissarro landscape from his second Pontoise period ($1.2-1.8 million).

The breadth of the Pritzker holdings will extend beyond the November sale, with further lots offered next month in Sotheby’s Books and Manuscripts, Sculpture and Works of Art, Chinese Works of Art, and Design auctions. Together, the ensemble is expected to bring tens of millions of dollars across multiple sales.

The Elaine Wynn Collection at Christie’s

Christie’s also secured the remarkable collection of Elaine Wynn, the late philanthropist and “Queen of Las Vegas,” who passed away this April. Celebrated for her discerning eye and the remarkable assemblage she built both alongside and independently of her former husband, casino magnate Steve Wynn, her estate is estimated at over $75 million. Nine of the top works will be featured in the 20th Century Evening Sale on November 17, two in the 21st Century Evening Sale on November 19, with the remainder to follow in the Post-War and Contemporary Art Day Sale.

The highlights from her collection span centuries and movements yet share the same standard of excellence that defined Wynn’s collecting ethos. On the Modern side, the top lot is Richard Diebenkorn’s transcendent Ocean Park #40, which will be offered in the 20th Century Evening Sale with an estimate of $15-25 million. The work returns to the rostrum just as Gagosian announces its representation of the Diebenkorn estate and inaugurates a dedicated exhibition at its Upper East Side gallery. Wynn acquired the painting at Sotheby’s in 2021, when it achieved a then-record $27.3 million. Diebenkorn’s auction record now stands at $46.4 million, set by his 1965 Recollections of a Visit to Leningrad at Christie’s New York in November 2023, placing the current estimate well within range yet poised to surpass it amid renewed market attention following Gagosian’s endorsement. Before its last sale, Ocean Park #40 was featured in the traveling museum exhibition dedicated to the series at the Modern Art Museum of Fort Worth and the Orange County Museum of Art (2011-2012), as well as Acquavella Galleries’ 2018 show pairing Diebenkorn’s California scenes with those of Wayne Thiebaud.

Other top lots include J.M.W. Turner’s poetic Ehrenbreitstein (estimate: $12-18 million) and a refined Parisian scene by Georges Seurat. On the postwar side, headline works are Lucian Freud’s late self-portrait (estimate: $15-25 million) and Joan Mitchell’s sunflower-hued explosion of color and gesture (estimate: $12-18 million).

The Edlis|Neeson Collection at Christie’s

Also presented as part of Christie’s 44-lot 21st Century Evening Sale on November 19, the Edlis|Neeson Collection is described by the auction house as a rare example of a carefully curated ensemble of postwar icons that together trace the evolution of modern and contemporary art. Austrian-born American collector and philanthropist Stefan Edlis and his life partner Gael Neeson began assembling their collection in the 1970s, gradually filling their landmark apartment on Chicago’s Magnificent Mile with works that James Rondeau, president and director of the Art Institute of Chicago, once called “one of the most important collections of modern and contemporary art in existence.” In 2015, the couple donated 44 works to the Art Institute, a gift the museum described as transformative. Born in Vienna in 1925, Stefan Edlis fled Nazi-occupied Austria for the U.S. in 1941 and later founded Apollo Plastics Corporation. In 1974, he met Gael Neeson, and together they began a lifelong pursuit of art collecting, mentored by Chicago collector Gerald Elliot. Their first major acquisition, Piet Mondrian’s Large Composition with Red, Blue, and Yellow (1977), marked the beginning of a collection that evolved toward Pop, Conceptual and contemporary art, featuring icons like Andy Warhol, Robert Rauschenberg, Cindy Sherman and Richard Prince, as well as a later generation similarly engaged with Pop and mass culture, including Damien Hirst, Jeff Koons, Takashi Murakami and Ugo Rondinone.

One of the top lots is Ed Ruscha’s How Do You Do?, coming to auction amid strong market momentum for the artist following MoMA’s major retrospective last year. Part of Ruscha’s coveted mountain series, this laconic phrase floats diagonally rather than horizontally, suspended over a meticulously rendered alpine landscape, each ridge and summit bathed in deep blue light. Acquired directly from Gagosian in 2004 and shown that same year in the Aspen Art Museum’s Ed Ruscha: Mountain Paintings, the work makes its auction debut with an estimate of $5-7 million, secured by a third-party guarantee.

Another highlight is Andy Warhol’s The Last Supper (Yellow) (1986), acquired from Gagosian in 2002 and now estimated at $6-8 million, also backed by a guarantee from Christie’s. The auction house describes it as the culmination of Warhol’s career, a meditation on the dualities of mass media and mortality. Created just a month before his death and first exhibited in Milan’s Palazzo delle Stelline, directly across from Leonardo da Vinci’s Last Supper, the series was Warhol’s way of “making Leonardo exciting again.” The work reflects his lifelong fascination with the iconography of images, their power, repetition and eventual loss of aura through mass reproduction. As more than 3,000 visitors attended the Milan show, The Last Supper came to embody Warhol’s own final self-reflection, a farewell from the artist who became as famous and as mythic as the masters he reinterpreted.

Also featured in the sale are Warhol’s Skull (estimate: $800,000-1.2 million), which will open the Evening Sale, and his Oxidation Painting (Diptych) (1978), acquired from Skarstedt Gallery in 2017 (estimate: $900,000-1.2 million, guaranteed). Other highlights include a Diego Giacometti bronze table (estimate: $3-5 million), Richard Prince’s Double Nurse (estimate: $3-5 million), and Jeff Koons’s Gazing Ball (Courbet Sleep) (estimate: $600,000-800,000), acquired from Gagosian in 2015. The sale also includes works by Cindy Sherman, George Condo, Claes Oldenburg and Tom Wesselmann, alongside two Giacometti library tables.

Perhaps the most provocative work from the collection, although not for sale, is Maurizio Cattelan’s Him (2001), which will be viewable by request during the November pre-sale exhibition, a haunting reminder of the collection’s daring and thought-provoking spirit.

The Max N. Berry Collections at Christie’s

Debuting in the 20th Century Evening Sale this November, the collection of connoisseur Max Berry brings to auction one of the season’s most wide-ranging and valuable encyclopedic consignments. Spanning more than 30 categories, the collection, which is expected to generate tens of millions of dollars across several years of sales, reflects Berry’s lifetime of passionate and discerning collecting, driven more by curiosity than by market fashion.

Among the top lots hitting the rostrum during the November marquee evening sale is Calder’s Acrobats (1929), a seminal wire sculpture estimated at $5-7 million. Composed of two delicately balanced figures mounted on a wooden base, the piece dates to the artist’s pivotal Paris years when he began transforming his toy-maker’s ingenuity into formal sculptural language. Acrobats is directly linked to Calder’s famed Cirque Calder (1926-31), the hand-built miniature circus that anticipated his lifelong fascination with movement and performance. Its appearance at auction coincides with the Whitney Museum’s centennial tribute “High Wire: Calder’s Circus at 100.”

Also included in the sale is Berry’s Alexander Calder Untitled (1938), a rare yellow hanging mobile estimated at $1.5-2 million. Evoking the artist’s childlike sense of wonder, the sculpture’s continuous motion, no matter how still the air, epitomizes Calder’s mastery of balance, rhythm and levity. Completing the lineup of modern masters from the collection are Giacometti’s Buste d’homme (Diego), a bronze portrait of the artist’s brother, cast and signed 2/6 with an estimate of $5-8 million, and his still life Nature morte (1938), estimated at $1.5-2 million, a testament to the artist’s existential and essential synthesis of form and psychological depth.

Additional works from Berry’s collection, including Judaica, American art and Chinese art, will be offered in stages through 2027, underscoring both the scope and scholarly depth of a lifetime spent collecting with intellect, passion and humanity. As Berry told Observer in a recent interview, his ultimate wish is that the works are enjoyed, whether by private collectors or in institutions. “It will be wonderful if a museum acquires some of them and makes them public, where they can sit alongside other objects of a similar nature to tell the story of their artistry and their times.”

The Schlumberger Collection at Sotheby’s

Similarly eclectic is the Schlumberger Collection, which Sotheby’s secured for this season. It debuted in Paris during their Surrealism and Its Legacy auction, with additional lots now scheduled to appear in New York during the Modern Evening Auction on November 20 and Modern Day Auction on November 21. Further works will be in the Important Design, Fine Jewelry and Fine Books & Manuscripts sales held between November and December 2025. This singular ensemble, bridging centuries of art and design and reflecting the legacy of one of Europe’s great industrial and cultural dynasties, was founded by brothers Conrad and Marcel Schlumberger, whose pioneering work in geophysics revolutionized the energy industry. The family also became renowned for its refined patronage of the arts. That legacy continued through Marcel’s daughter, Anne Schlumberger, whose discerning eye was shaped by her lifelong engagement with Surrealism, architecture and design.

Among the works coming from the collection is Claude Monet’s Vue de Rouen, a luminous and atmospheric canvas painted at the dawn of his famed cathedral series and set to be one of the top lots in Sotheby’s Modern Evening Auction. Fresh to the block with an estimate of $3,000,000-4,000,000, this iconic Monet embodies a pure luminous atmosphere as the artist focuses on the transitory phenomenology of light and color, reaching a level of abstraction close to raw sensorial perception before any codification or formalization. The other highlight of the collection is François-Xavier Lalanne’s Hippopotame Bar (1976), a pièce unique and the first and only example the artist created in copper, serving as the prototype for his later bronze editions.

Property from the Kawamura Memorial DIC Museum of Art at Christie’s

Christie’s added another major institutional consignment to its marquee sales with the Property from the Kawamura Memorial DIC Museum of Art collection. The museum, long celebrated for its distinguished holdings of Western art, is deaccessioning eight masterpieces by some of the most significant names in Impressionism and Modernism. Presented as a dedicated group in the 20th Century Evening Sale on November 17, with further works to follow in the Impressionist & Modern Art Day Sale and the Post-War & Contemporary Art Day Sale, the offering marks a pivotal moment in the museum’s history.

For more than three decades, the works resided in Kawamura’s purpose-built museum near Tokyo, where they brought international visitors face-to-face with the great masters of modern art. Following its closure in March 2025, the institution announced plans to divest around 280 works through auctions and private sales, aiming to raise at least ¥10 billion (approximately $68 million).

Leading Christie’s 20th Century Evening Sale from the museum’s collection is Claude Monet’s Nymphéas (1907), one of the artist’s most dazzling depictions of his Giverny waterlily pond, estimated at $40-60 million. Acquired in 1970 from the Estate of Albert J. Dreitzer through Sotheby’s, the painting has been a cornerstone of Kawamura’s galleries ever since, its vertical composition capturing the pond’s luminous surface in an almost abstract symphony of reflection and light.

Other highlights include Pierre-Auguste Renoir’s Jeune femme arrangeant des fleurs (estimate: $8-12 million), Marc Chagall’s Le Rêve de Paris (estimate: $4-6 million) and Henri Matisse’s Femme au chapeau bleu (estimate: $3-5 million), which will also be offered in the 20th Century Evening Sale.

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