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Donnington Priory
Newbury, Berkshire
RG14 2JE
United Kingdom
Tales from The Art Crypt: Works from The Richard Feigen Collection
This is a live online auction with auctioneer. For details on registration, bidding, viewing & condition reports, click “Important information” link.
A curated selection from the esteemed collection of Richard L. Feigen (1930-2021), one of the most legendary art dealers of his generation. Read more!
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Viewing in London (highlights):
23 Jun 2025 10:00 - 16:00 BST
24 Jun 2025 10:00 - 16:00 BST
25 Jun 2025 10:00 - 16:00 BST
Viewing in Newbury (full sale): see below
Auction dates
Jul 02, 2025 02:00 PM BST
Viewing dates
Jun 29, 2025 10:00 AM - 03:00 PM BST
Jun 30, 2025 10:00 AM - 04:00 PM BST
Jul 01, 2025 10:00 AM - 04:00 PM BST
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BARTHOLOMEUS BREENBERGH (DUTCH 1598-1657)
WALLS OF A CITY, POSSIBLY LATINUM
Pen and brown ink, with brown and grey wash over black chalk
Later inscribed (lower right)
8 x 14.5cm (3 x 5½ in.)
Drawn circa 1626 - 1629.
Provenance:
The Collection of The Rt. Hon. F Leverton Harris
His Sale, Sotheby's, London, 22 May 1928, lot 18
Sale, Kunstveilingen Mak Van Waay B.V, Amsterdam, 11 June 1975, lot 55, where purchased by Richard L. Feigen
Literature:
M. Roethlisberger, Bartholomeus Breenbergh, Handzeichnungen , Berlin, 1969, under no. 61
M. Roethlisberger, Bartholomeus Breenbergh: The Paintings , 1981, no. 101, p.51 (ill., fig. 101)
Exhibited:
New York, Richard L. Feigen & Co, Bartholomeus Breenbergh , cat. by M. Roethlisberger, 18 September - 31 October 1991, no.29 (ill) travelled to
London, 18 November - 20 December 1991, no. 29
The number at the upper right identifies this almost pure wash drawing as part of Breenbergh's small sketchbook, the dated sheets from which range from 1626 to 1629, during the artist's later years in Rome. Roethlisberger has pointed out that this scene was probably sketched from life just outside an unidentified town in Latinum. Interestingly, this motif does not recur in any known painting by Breenbergh and is his only known architectural study viewed parallel to the picture plane rather than from a sharp diagonal.
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ITALIAN SCHOOL (18TH CENTURY)
ARCHITECTURAL CAPRICCIO
Pen and ink
Inscribed with a device (lower right)
11.5 x 15cm (4½ x 5¾ in.)
Provenance:
Charles Molinier (1845-1910) [Lugt 2917]
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JEAN- JACQUES LEQUEU (FRENCH 1757-1826)
BACCHIC FRIEZE
Pen and black ink, with brown wash and white highlighting
Signed and inscribed (lower right), later inscribed and dated '1785' (to backboard verso)
18 x 41cm (7 x 16 in.)
Condition Report:
Condition Report Disclaimer
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‡ ANNE-LOUIS GIRODET-TRIOSON (FRENCH 1767-1824)
JUPITER & LEDA
Charcoal heightened with white chalk
19.5 x 15cm (7½ x 5¾ in.)
Drawn circa 1820.
Provenance:
Atelier Girodet
Antoine César Becquérel, Chatillon Coligny, Loiret (the son of Général Becquérel, Girodet's guardian)
By descent to Henri Becquérel
By descent to his wife, Louise Lorieux
By descent to her nephnew, Pierre Deslandres
Thence by descent
Exhibited:
Chicago, The Art Institute of Chicago, Girodet: Romantic Rebel , 11 Feb - 30 April 2006, cat. no. 127
New York, The Metropolitan Museum of Art, Girodet: Romantic Rebel , 22 May - 27 April 2006, cat. no. 127
Montreal, The Montreal Museum of Fine Arts, Girodet: Romantic Rebel, 11 October - 11 January 2007, cat. no. 127
Literature:
S. Bellenger, 'Aurora and Cephalus: A Story of an Acquisition.' Cleveland Studies in the History of Art , The Cleveland Museum of Art, vol. 8, 2003, p.188f; note 3
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ANNE-LOUIS GIRODET-TRIOSON (FRENCH 1767-1824)
CEPHALUS & AURORA
Charcoal heightened with white chalk
19 x 15.5cm (7¼ x 6 in.)
Drawn circa 1820.
Exhibited:
Chicago, The Art Institute of Chicago, Girodet: Romantic Rebel , 11 Feb - 30 April 2006, cat. no. 129
New York, The Metropolitan Museum of Art, Girodet: Romantic Rebel , 22 May - 27 April 2006, cat. no. 129
Montreal, The Montreal Museum of Fine Arts, Girodet: Romantic Rebel, 11 October - 11 January 2007, cat. no. 129
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ANNE-LOUIS GIRODET-TRIOSON (FRENCH 1767-1824)
JUPITER AND CALLISTO
Charcoal heightened with white chalk
19.5 x 15cm (7½ x 5¾ in.)
Drawn circa 1820.
Exhibited:
Arkansas, Arkansas Arts Centre 43rd Collector's Show & Sale, December 2 - 31st 2011, No. 29
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1,500 - 2,500 GBP
‡ ANNE-LOUIS GIRODET-TRIOSON (FRENCH 1767-1824)
STUDY OF A DEAD SOLDIER FROM "THE REVOLT OF CAIRO"
Charcoal heightened with pastel
19.5 x 38cm (7¾ x 14¾ in.)
Provenance:
Malcolm Forbes, New York
Exhibited:
Birmingham, Birmingham Museum of Art, Methods and Media: Drawings from the Birmingham Museum of Art , 10 January - 7 April 2002, no.5
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‡ ANNE-LOUIS GIRODET-TRIOSON (FRENCH 1767-1824)
STUDY FOR THE DEATH OF PYRRHUS
Pencil, black crayon and ink
18 x 26.5cm (7 x 10¼ in.)
Drawn circa 1790.
Provenance:
The Collection of L. J. A. Coutan, Paris (Lugt. L.464)
The Collection of Pierre Olivier Dubaut, Paris (Lugt. L.2103b)
Literature:
T. Crow, Emulation: Making Artists for Revolutionary France, New Haven and London, 1995, pp.128-9; 320, no. 51, ill. fig. 95
Exhibited:
New York, Shepherd Gallery, Ingres & Delacroix through Degas & Puvis de Chavannes: The Figure in French Art 1800 - 1870 , 20 May - 28 June 1975, cat. no. 11, p.25, ill. p.26
New Haven, Yale University Art Gallery, Gesture and Expression: The Language of Art in the Age of Revolution , 28 February - 30 April 1989 (as Baron Gros)
Paris, Louvre, Girodet 1767-1824 , 22 September 2005 - 2 January 2006, cat. no.13
Chicago, The Art Institute of Chicago, Girodet: Romantic Rebel, 11 Feb - 30 April 2006, cat. no. 13
New York, The Metropolitan Museum of Art, Girodet: Romantic Rebel , 22 May - 27 August 2006, cat. no. 13
Montreal, The Montreal Museum of Fine Arts, Girodet: Romantic Rebel, 11 October - 11 January 2007, cat. no. 13
Angers, Musée D'Angers, La Dernière de Troie , 25 May - 2 September 2012, cat. no. 23, pp.106
This drawing and a related oil sketch (also previously in the collection of Richard L. Feigen, New York) were previously ascribed to Baron Gros, with the attribution to Girodet, first suggested by Philippe Bordes.
In the present lot the pencil drawing shows some indecisiveness about Zopyrus' figure, with the arm first extended toward the fallen Pyrrhus and then withdrawn in a shielding gesture. In the oil sketch, the gesture becomes even more protective, as Zopyrus throws his cloak over his head to block his view of the older general.
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5,000 - 7,000 GBP
‡ THÉODORE GÉRICAULT (FRENCH 1791-1824)
STUDY FOR 'THE OATH OF BRUTUS AFTER THE DEATH OF LUCRETIA'
Pencil on light greenish-blue coloured paper
92 x 13cm (36 x 5 in.)
Drawn circa 1814-1816.
Provenance:
Sale, Drouot, Paris, March 17, 1989, lot 3 [part lot, from so-called 'Album Blanche']
Literature:
Miller, Asher Ethan, " Théodore Géricault, The Oath of Brutus after the Death of Lucretia, ca. 1815-1816 , French Paintings and Pastels, 1600-1945, The Collections of the Nelson-Atkins Museum of Art , ed. by Marcereau DeGalan, 2019, illus. Fig 4
The present study is a freely rendered drawing focusing on the composition of the figures directly relating to the finished painting, now held in The Nelson-Atkins Museum of Art.
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‡ THÉODORE GÉRICAULT (FRENCH 1791-1824)
LE SONGE D'ENÉE (THE DREAM OF AENEAS)
Black crayon, pen and ink, wash and watercolour heightened with white
13.5 x 21cm (5¼ x 8¼ in.)
Drawn circa 1815.
Provenance:
Edouard Aynard Collection
Sale, Sotheby's, Monaco, 20 th June 1987, lot 436
Galerie Prouté, Paris
Private collection, Switzerland
Sale, Sotheby's, London, 9 th April 2002, lot 110
Executed in 1815, according to Professor Lorenz Eitner the drawing 'exemplifies the eccentric graphic style - marked by extremely heavy, angular pen contours - in which Gericault at that time explored classical subjects. This classicist episode in Géricault's work constituted a rather vehement reaction against his own earlier modern and realistic work of 1812-1814.'
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‡ BARON ANTOINE- JEAN GROS (FRENCH 1771-1835)
ULYSSES KILLING THE SUITORS OF PENELOPE
Pen and brown ink, black chalk, brown and grey wash, heightened with white
15.5 x 22cm (6 x 8½ in.)
Drawn circa 1798.
Provenance:
Sale, Christie's, London, Old Master Drawings , 6 th July 1999, lot 203
Related to the oil sketch datable to around 1798 formerly in the Germain Seligman collection, J. Richardson, The Collection of Germain Seligman, New York, 1979, no. 29. A comparable drawing is held in Besancon, Museé des Beaux-Arts, A. Sérullaz, Le néo-classicisme francais, exhib. cat., 1975, no. 75.
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CIRCLE OF RICHARD PARKES BONINGTON (BRITISH 1802-1828)
UNLOADING A BARGE
Pencil
With Col. J. Lewis Brown's collector's stamp (lower left)
11.5 x 17.5cm (4½ x 6¾ in.)
Provenance:
John Lewis Brown, a gift from the artist to John Lewis Brown's Uncle and by descent to
Louise Lewis Brown, his daughter
Jean Dieterle and by descent until
Sale, Sotheby's, London, 21 November 1991, lot 26
This drawing was part of a large group of sketches from the Dieterle collection which were sold Sotheby's 21 Nov 1985 lots 22-33. Their provenance can be traced back to the artist John Lewis Brown (1829-1890) through to his niece Louise Lewis Brown by whom the collector's stamp (L.307d) was added circa 1890-1892.
Condition Report:
The sheet is not laid down but attached to the mount at the upper corners, there is some light surface dirt and some scattered light foxing and discolouration along the extreme upper edge. There are also some areas of silver fish damage. The pencil work is strong. The left hand edge is deckled where it has been removed from a sketchbook. The drawing is fitted into conservation housing and could be hung without further attention. The drawing was not removed from the frame in the preparation of this report.
Condition Report Disclaimer
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CIRCLE OF RICHARD PARKES BONINGTON (BRITISH 1802 - 1828)
STUDY OF VILLAGE ROOFS
Pencil with stumping
With Col. J. Lewis Brown collector's stamp (lower right)
9.5 x 7cm (3½ x 2¾ in.)
Provenance:
John Lewis Brown, a gift from the artist to John Lewis Brown's Uncle and by descent to Louise Lewis Brown, his daughter
Jean Dieterle and by descent until
Sale, Sotheby's, London, 21 November 1991, lot 33 (part lot)
This drawing was part of a large group of sketches from the Dieterle collection which were sold Sotheby's 21 Nov 1985 lots 22-33. Their provenance can be traced back to the artist John Lewis Brown (1829-1890) through to his niece Louise Lewis Brown by whom the collector's stamp (L.307d) was added circa 1890-1892.
Condition Report:
The sheet is not laid down but attached to the mount at the corners. The sheet has discoloured overall and there are some areas of abrasion to the corners. The drawing was not removed from the frame in the preparation of this report.
Condition Report Disclaimer
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SIR DAVID WILKIE (SCOTTISH 1785-1841)
STUDY FOR NELSON SEALING THE COPENHAGEN LETTER
Pen and brown ink
5 x 6.5cm (1¾ x 2½ in.)
Provenance:
Sale, Christie's, London, 13 July 1934, lot 143 as 'Sealing the Document', sold to Agnew's on behalf of Miss L. Horwood
Sale, Christie's, London, 17 November 1992, lot 32 (part)
This drawing relates to the painting of Nelson Sealing the Copenhagen Letter, which Wilkie conceived in 1835, but which did not progress further than some drawings and oil sketches. One is in the Ashmolean Museum, Oxford and another was previously in the collection of Richard Feigen. Related drawings for the subject are at The British Museum and the Yale Center for British Art.
We are grateful to Alex Kidson for his help in preparing this catalogue entry. The work will be included in Hamish Miles' forthcoming catalogue raisonné of the work of David Wilkie.
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SIR DAVID WILKIE (SCOTTISH 1785-1841)
STUDY OF A MAN
Brown ink, unframed
5 x 4cm (1¾ x 1½ in.)
Unframed
We are grateful to Alex Kidson for his help in preparing this catalogue entry. The work will be included in Hamish Miles' forthcoming catalogue raisonné of the work of David Wilkie.
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JOSEPH MALLORD WILLIAM TURNER (BRITISH 1775 - 1851)
VIEW OF MAIDSTONE, KENT
Pencil
22 x 27cm (8½ x 10½ in.)
Drawn circa 1845-50.
Provenance:
Mrs Sophia Booth (1798-1875), the artist's landlady
Daniel John Pound, her son from whom purchased by
Lawrence W. Hodson, Compton Hall by 1884 and by descent until
Sale, Sotheby's, London, 30 November 1978, part of lot 97, where purchased by
Richard Feigen (1930-2021)
with Richard L. Feigen & Co., New York
Literature:
Ian Warrell, Turner's Sketchbooks , 2014, p. 233.
The present drawing and lot 73 were from a loosely bound group of seventeen pencil drawings, from a sketchbook that Turner used in 1845-1846 to record subjects in Canterbury, Rochester and Maidstone. Ian Warrell proposed grouping the existing sheets (now broken up) as the 'Canterbury, Rochester and Maidstone sketchbook', see Warrell, loc.cit. Throughout the 1840s Turner spent time on the Kent coast, first at Margate and from 1846 at Deal, his visits there being facilitated by the South Eastern Railway being extended to Margate in 1844.
We are grateful to Ian Warrell for his help in preparing this catalogue entry.
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JOSEPH MALLORD WILLIAM TURNER (BRITISH 1775-1851)
VIEW OF CANTERBURY FROM THE EAST
Pencil
22.5 x 28cm (8¾ x 11 in.)
Provenance:
Mrs Sophia Booth (1798-1875), the artist's landlady
Daniel John Pound, her son from whom purchased by
Lawrence W. Hodson, Compton Hall by 1884 and by descent until
Sale, Sotheby's, London, 30 November 1978, part of lot 97, where purchased by
Richard Feigen (1930-2021)
with Richard L. Feigen & Co., New York
This drawing and lot 72 drawing were from a loosely bound group of seventeen pencil drawings, from a sketchbook that Turner used in 1845-1846 to record subjects in Canterbury, Rochester and Maidstone. Ian Warrell proposed grouping the existing sheets (now broken up) as the 'Canterbury, Rochester and Maidstone sketchbook', see Warrell, loc.cit. Throughout the 1840s Turner spent time on the Kent coast, first at Margate and from 1846 at Deal, his visits there being facilitated by the South Eastern Railway being extended to Margate in 1844.
We are grateful to Ian Warrell for his help in preparing this catalogue entry.
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1,500 - 2,000 GBP
PAUL ELIE RANSON (FRENCH 1861-1909)
L'HOMMAGE
Pastel on canvas
46 x 55cm (18 x 21½ in.)
Painted circa 1900.
Exhibited:
Saint-Germain-en-Laye, Maurice Denis Musée/Jardin, Paul Ranson: Fantasmes et sortilèges, 29 October 2009-24 January 2010
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ARY SCHEFFER (DUTCH 1795-1858)
PORTRAIT OF A MOTHER
Pencil
Inscribed in French (lower edge)
11 x 11.5cm (4¼ x 4½ in.)
Together with two pencil drawings by Jules Lanson (19th century), comprising: A Couple Reading by the Fire , and A Visit to the Shoemaker , both signed (lower left; and lower right respectively), the first indistinctly inscribed (along the lower edge), each 13 x 25cm (5 x 9¾ in.) (3)
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RODOLPHE BRESDIN (FRENCH 1822-1885)
THREE SKETCHES, COMPRISING: FOUR MOUNTED HORSEMEN; SOLDIERS ON HORSEBACK AND STANDING; JOSEPH AND POTIPHAR'S WIFE
Pen and ink
With the artist's studio stamp (on the mount)
The largest 5 x 8cm (1¾ x 3 in.)
Unframed (3)
Provenance:
Ian Woolmer Family Collection, New York (according to a label of the back of Joseph and Potiphar's Wife)
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PIERRE BONNARD (FRENCH 1867-1947)
PAYSAGE
Pencil
Stamped Bonnard (lower left) and with initials (lower right)
11 x 15cm (4¼ x 5¾ in.)
With a study of a still life, stamped with initials, verso.
Provenance:
Sale, Christie's, South Kensington, 2 December 1996, lot 15
This work is recorded in the Bernheim-Jeune Archives under no. 196-0716B 42/42.
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PIERRE BONNARD (FRENCH 1867-1947)
PAYSAGE
Crayon and pencil
10 x 16.5cm (3¾ x 6¼ in.)
Drawn in 1923.
Provenance:
Michel Terrasse, Paris (before 1996)
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DONALD KAUFMAN (AMERICAN B. 1935)
DRAWING 4
Coloured pencils on graph paper
Signed with initials and dated 66 (lower right)
43 x 55.5cm (16¾ x 21¾ in.)
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DONALD KAUFMAN (AMERICAN B. 1935)
DRAWING 12
Coloured pencils on graph paper
Signed with initials and dated 66 (lower right)
28 x 43.5cm (11 x 17 in.)
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DONALD KAUFMAN (AMERICAN B. 1935)
DRAWING 3
Coloured pencils on graph paper
Signed with initials and dated 66 (lower right)
28.5 x 44cm (11 x 17¼ in.)
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λ ÖYVIND FAHLSTRÖM (SWEDISH 1928-1976)
STUDY FOR PHASE 3 OF THE COLD WAR
Tempera, ink, and pencil on paper
Signed, titled and dated 1964 & 1968 (lower right)
25 x 35cm (9¾ x 13¾ in.)
Provenance :
Sidney Janis Gallery, New York
Sale, Sotheby's, London, 22 February 1990, lot 415
Exhibited :
Barcelona, Museu d'Art Contemporani de Barcelona, Öyvind Fahlström, Another Space for Painting, October 2000-January 2001 (illustrated in the catalogue, p.23)
Lucca, Fondazione Ragghianti, Öyvind Fahlström, Another Space for Painting, March-May 2001
New York, The Yellow Chair Gallery, Öyvind Fahlström: Myth Science , September-November 2015
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λ GIUSEPPE GALLO (ITALIAN B. 1954)
UNTITLED (DIPTYCH)
Oil and pastel on paper
One signed and dated 1987-1989 (verso)
Each 46 x 35cm (18 x 13¾ in.) (2)
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IRVING PETLIN (AMERICAN 1934-2018)
STUDY FOR THE CLAY FOUNTAIN...MORNING
Pastel
Signed and dated 73 (lower right)
48 x 65.5cm (18¾ x 25¾ in.)
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ROBERT WILSON (AMERICAN B. 1941)
16 DRAWINGS: DEATH DESTRUCTION AND DETROIT
Pencil
The largest 15.5 x 20cm (6 x 7¾ in.) (16)
Each framed in perspex cases
Drawn in 1978.
Exhibited:
New York, Neuberger Museum
Denmark, Louisiana Museum of Modern Art, Drawing Distinctions , August-September 1981
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20TH CENTURY SCHOOL
UNTITLED
Red and black ink on paper
16.5 x 11.5cm (6¼ x 4½ in.)
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ROBERT WILSON (AMERICAN B. 1941)
DRAWING FROM 'I WAS SITTING ON MY PATIO THIS GUY APPEARED I THOUGHT I WAS HALLUCINATING'
Pencil
54 x 75cm (21¼ x 29½ in.)
Drawn in 1977.
Provenance:
Paula Cooper Gallery, New York
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