Christie’s at the end of 2025 lines up a dense calendar of auctions between Paris, London, and New York.
Below are the previews, top lots, and estimates that will mark the autumn of the art market.
What are the main Christie’s auctions in autumn 2025?
Christie’s has announced a cycle of auctions focused on three capitals: Paris, London, and New York. Highlighted are the collections of Daniel Abadie, Vivian Fusillo, Ole Faarup, as well as the collections of the couple Ross Weis and Elaine Wynn.
Furthermore, the programming mixes 20th-century and contemporary works, thus offering a cross-sectional view of the market.
The Paris session: Daniel Abadie and Magnelli
On September 30, 2025, in Paris, Christie’s will dedicate a session to the collection of art historian Daniel Abadie, known for his exhibitions at the Centre Pompidou and the Galerie du Jeu de Paume. The catalog includes 81 lots, among which are six compositions by Alberto Magnelli and works by names like Kandinsky and Sophie Taeuber-Arp.
Top lot and estimates
- Standhaft (1931) by Wassily Kandinsky — starting bid €300,000.
- Plans et triangles réciproques (1931) by Sophie Taeuber-Arp — estimate €200,000–€300,000.
- Carpe d’or (1987) by François-Xavier Lalanne — starting bid €30,000.
The Vivian Fusillo collection between New York and London
On September 30, 2025, in New York, Christie’s will present the main lots of the Vivian Fusillo collection in the Post‑War to Present sale.
Among the most prominent pieces is Peinture II (1964) by Joan Mitchell, estimated at $2.5–3.5 million. Additionally, some works from the collection will be offered in the Modern British Art Evening Sale on October 22, 2025 in London.
Ole Faarup in London: Doig leads
During the Marquee Week in London, Christie’s will auction the collection of Danish entrepreneur Ole Faarup on October 15 and 16, 2025, with an online session open from October 8 to 21, 2025. The catalog includes about 140 lots, with an aggregate estimate of £16–£22 million.
Key pieces
- Country Rock (1998–1999) by Peter Doig — monumental work (over 3 meters), low estimate £7 million.
- Ski Jacket (1994) by Peter Doig — estimate £6–8 million; offered at auction for the first time.
- Untitled (1982) by Jean‑Michel Basquiat — £300,000–£500,000.
- Blossom (1997) by Chris Ofili — low estimate £1 million.
Additionally, the proceeds will support the Ole Faarup Art Foundation, which promotes artists under 50 from Denmark, the Faroe Islands, and Greenland.
The Ross Weis and Elaine Wynn collections in New York
In November 2025, Christie’s will present in New York two major auctions: the collection of the couple Robert F. and Patrizia G. Ross Weis and the collection of Elaine Wynn. The Weis are entrusting over 80 lots that include works by Matisse, Picasso, Mondrian, and Rothko.
The estimated aggregate values exceed $180 million; furthermore, according to the New York Times, Christie’s may have offered guarantees that bring the package over $200 million.
Top lots marked in the auctions
- La lecture (Marie‑Thérèse) (1932) by Pablo Picasso — estimate around $40 million.
- Figure et bouquet (Tête ocre) (1937) by Henri Matisse — estimate $15–25 million.
- Composition with Red and Blue (1939–1941) by Piet Mondrian — estimate $20–30 million.
- N. 31 (Yellow Stripe) by Mark Rothko — estimate about $50 million.
The Wynn Collection
“Elaine: The Collection of Elaine Wynn” will be distributed during the Fall Marquee Week in New York: 9 lots will be part of the 20th Century Evening Sale, 2 in the 21st Century Evening Sale, and the others in the Post‑War and Contemporary Art Day Sale. The overall estimate exceeds $75 million. Among the notable lots are works by William Turner, Lucian Freud (The Painter Surprised by a Naked Admirer, 2005), Richard Diebenkorn (Ocean Park #40), and Joan Mitchell (Sunflower V).
How to interpret the calendar and estimates
For market observers, these auctions represent a test of global sentiment. However, the estimates do not equate to results: final prices depend on variables such as provenance, condition, buyer’s premium, and guarantees. In particular, guarantees can significantly affect the dynamics of negotiations.
Moreover, in practice, previews and public exhibitions serve as a thermometer of interest. Therefore, we advise collectors to evaluate the lot on display, verify provenance, and calculate the buyer’s premium before making bids. From personal experience, attending previews and consulting recent comparables helps set realistic bid limits and avoid emotional auctions.
As an authoritative clarification, Christie’s notes that “guarantees can be provided directly or through third parties”; furthermore, the Art Basel & UBS report highlights the role of institutional acquisitions and private collectors in supporting key market segments. These observations should be considered when interpreting the scope of estimates and guarantees (Christie’s, Art Basel & UBS).
Sources and insights
For official catalogs and details, consult the official Christie’s website and the New York Times article on the Weis collection guarantees.
Additionally, follow us on our dedicated sections: Online Auctions, Modern Art, Guide to Investing in Modern Art, and Museums and Collections.
As expert in digital marketing, Amelia began working in the fintech sector in 2014 after writing her thesis on Bitcoin technology. Previously author for several international crypto-related magazines and CMO at Eidoo. She is now the co-founder and editor-in-chief of The Cryptonomist and Econique.
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