Provenance

Richard L. Feigen

Feigen & Co., Richard L.
Private Collection c/o Richard L. Feigen & Co.

1930 - 2021

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See all 18 works of art
A shaft of sunlight illuminates a bone-white, barren tree trunk that has fallen across a stream within a dense wood in this horizontal landscape painting. The water closest to us is deep in shadow, and the surface closer to the opposite bank is a shimmering moss green. One spiraling, ash-brown tree trunk rises out of the stream to our right of center, and another hunched, gnarled trunk grows from the far bank, to our left. Tiny in scale, two dogs stand at the water’s edge between the gnarled tree and the fallen trunk beyond. The dirt earth where the tree had stood is sand-colored, and it is surrounded with pea and pine-green grass and growth. Nearly lost in shadow, to our right, three men gather just beyond the fallen tree. Two ride donkeys while the third strides toward them with his rifle resting on his shoulder, leading another donkey. All three men wear dark jackets and trousers and tan-colored hats. A fourth man rides a donkey into the scene from the right side. Just above his head, slivers of blue water and a pale pink sky peek through the tree trunks. A fifth donkey faces us from our side of the fallen tree and a third dog runs toward the water. The impenetrable forest reaches off the top edge of the painting, the trees painted in hunter, olive, and sage green. Many of the tree trunks are wrapped with vines.
Horace Vernet, Departure for the Hunt in the Pontine Marshes, 1833, oil on canvas, Chester Dale Fund, 2004.38.1

Departure for the Hunt in the Pontine Marshes

Horace Vernet · 1833 · oil on canvas ·  Accession ID  2004.38.1

A bank of flowering bushes, possibly roses, fills most of an enclosed garden in front of a white house in this horizontal landscape painting. The scene is created using visible dabs and strokes of scarlet red, pale yellow, rust orange, and shell pink for the roses and kelly, teal, and forest green for the greenery. The cloud of flowers fills most of the left two-thirds of the composition, and dabs of shamrock and moss green and delphinium blue indicate grass and other plants around it. To our right of the roses, a couple walks near a fence in the distance. Painted with only a few strokes and touches of paint, one person wears a white dress and hat, and the other a dark gray suit and hat. A celery-green tree grows up the right edge of the canvas and curves toward the ivory-white, three-story house. The upper story is tucked under a pitched, ash-brown roof, and aquamarine-blue shutters flank the windows. More trees surround the house and line the fence. Brushstrokes in white and nickel gray suggest clouds against the ultramarine-blue sky. The artist signed and dated the painting in black near the lower left corner: “Claude Monet 73.”
Claude Monet, The Artist's Garden in Argenteuil (A Corner of the Garden with Dahlias), 1873, oil on canvas, Gift of Janice H. Levin, in Honor of the 50th Anniversary of the National Gallery of Art, 1991.27.1

The Artist's Garden in Argenteuil (A Corner of the Garden with Dahlias)

Claude Monet · 1873 · oil on canvas ·  Accession ID  1991.27.1

The image depicts a figure in profile, blue and black engraving. The person is seated, head leaning on an arm, eyes closed, with long flowing hair and draped clothing. The figure is surrounded by a halo, with a crescent moon, trees, and cloudy sky in the background. The artwork is framed by a dark blue fabric and wooden frame.
Joseph Cornell, Paolo and Francesca, 1943-1948, box construction, Collection of Robert and Aimee Lehrman, Washington, D.C., in honor of Nathaly Baum, 2023.124.16

Paolo and Francesca

Joseph Cornell · 1943-1948 · box construction ·  Accession ID  2023.124.16

A pale-skinned, muscular man sitting and reading a book as a lion rests at his feet fills this vertical painting. The man’s knees are angled slightly to our right but his torso twists back to the left. His head follows that direction so he’s almost in profile as he looks at the book, which he holds up to our left. His brows are deeply furrowed, and he has a bumped, blade-like nose. He has short, copper-red hair and a squared beard. He wears a tunic and knee-lengths pants that shimmer in shades of topaz blue and pearly white under a carnation-pink cloak that drapes from his shoulders and across his thighs. A round, gold pin holds the cloth in place on his left shoulder, to our right. His lower legs and feet are bare. He rests the heel of one foot on a rounded plinth and lifts the toes so they come at us. The other knee bends deeply and the toes of that foot perch lightly behind the first leg. The man leans to our right to look at the open book, which he holds in both arms to the left. Visible text on the far page reads, “ANGELVS DESCENDIT EVO.” He braces a black inkpot and spindly white feather quill in one hand and holds a pair of pince-nez glasses with the other. The lion is small in comparison to the man and has a curly mane and translucent gray wings. The background is dark except a strip off-white floor along the bottom edge.
Giorgio Vasari, Saint Mark, 1570-1571, oil on panel, Gift of Damon Mezzacappa in Loving Memory of Elizabeth Mezzacappa, 2012.79.1

Saint Mark

Giorgio Vasari · 1570-1571 · oil on panel ·  Accession ID  2012.79.1

This painting shows a woodland scene with dense trees on the right side, their white and brown trunks twisting upwards and their leaves in shades of dark green, yellow ochre, and rusty orange. In the bottom left corner, a small reflective body of water is visible behind dark stones nearby. Behind the water is a low green meadow with tall grass, and in the distance there are more tall trees and some white buildings with red roofs. The horizon is visible on the left, separating the ground from the blue sky. There are bright white clouds near the horizon, but in the upper left corner are dark gray clouds.
Narcisse Diaz de la Peña, The Edge of the Forest at Les Monts-Girard, Fontainebleau, 1868, oil on canvas, Chester Dale Fund, 2000.37.1

The Edge of the Forest at Les Monts-Girard, Fontainebleau

Narcisse Diaz de la Peña · 1868 · oil on canvas ·  Accession ID  2000.37.1

A pale-skinned man sitting hunched over as he draws on a tablet and a bull lying at his feet fill this vertical painting. The man faces our right in profile, and he looks down at the book. He has a lined forehead, a bumped nose, and wrinkles around his nose. He has lanky, chin-length hair and a curly, unruly beard. He sits with one leg pulled up so he can partially brace the tablet on that knee. He holds the inkwell and clutches the top of the tablet with one hand and draws using a feather quill with the other. His other leg stretches down, and the ball of the bare foot is perched against the edge of the low platform on which the man sits. His garment has a white collar over a tunic that shimmers from plum purple to moss green. Extending from under the tunic’s short sleeves are long sky blue and pale laurel green sleeves. A golden yellow robe drapes over one shoulder and wraps around his lap. The gray bull, which is shown in about half the scale of the man, sits with one front leg tucked under his body as he looks over to our right. The floor is pale mauve purple, and the background is dark green, almost black. A glimpse of a work of art showing a woman holding a baby is visible near the top left corner of the painting.
Giorgio Vasari, Saint Luke, 1570-1571, oil on panel, Gift of Damon Mezzacappa in Loving Memory of Elizabeth Mezzacappa, 2012.79.2

Saint Luke

Giorgio Vasari · 1570-1571 · oil on panel ·  Accession ID  2012.79.2

A nearly nude man and woman look up at a bearded man floating in front of a billowing red drapery in midair, accompanied by five chubby children in this horizontal painting. All the people have pale or peachy skin. The man and woman on the ground, Adam and Eve, take up the left half of the composition and are shown near a grove of trees. Adam, to our right in the pair, stands with knees bent, his body facing us. He holds both open hands, palm up, toward Eve, to our left. His head tips to our right and he looks up at the bearded man, God, with dark eyes under raised brows. Adam has a brown beard and curly hair. He wears a ring of leaves across his hips but is otherwise nude. His cheek and nose, hands, knees, and toes are pink, and muscles stand out on his torso, arms, and legs. To our left, Eve kneels on one knee and braces her other leg on her splayed toes. Her body is angled to our left, and she turns back to look up at Adam. She has long blond hair, and her skin is more pale than the others. She also wears leaves around her hips, and her torso and legs are bare. Her left hand, closer to Adam, rests on her thigh. With her other hand, she points to a striped snake on the ground. The trees behind them have dark green leaves and yellow fruit. The dirt ground beneath them has some scrubby green growth. Close to Adam, God and his attendants float above a lion and a lamb on the ground, all taking up the right half of the composition. God’s gray beard and hair blow back as if in a wind. He wears a topaz-blue, knee-length toga. His body faces us, and he leans to our left, almost horizontally, toes pointed off to our right. He reaches his right arm, to our left, toward Adam. His other arm stretches out and rests on a black orb, about the size of a basketball. He is supported to our left by two child-like angels, wearing brick red or golden yellow robes. Three smaller children, like toddlers, gather around the black orb. The red cloth billowing around God and the angels creates a shell-like form that surrounds them. The white lamb lies below and looks at Adam and Eve, and the lion crouches and looks off to our left. Trees and grassy knolls lead back to distant, blue hills. A horse and bear stand, tiny in scale, in the distant landscape. The horizon comes about halfway up the painting, and the vivid blue sky above is clear. In the lower right corner, the inventory number “F.7” is painted in yellow.
Domenichino, The Rebuke of Adam and Eve, 1626, oil on canvas, Patrons' Permanent Fund, 2000.3.1

The Rebuke of Adam and Eve

Domenichino · 1626 · oil on canvas ·  Accession ID  2000.3.1

This is a painting of various figures holding flags and swords against an evening sky. The scene appears to be a military or triumphant moment, with figures gathered around, possibly atop a hill. The evening sky features a glowing moon partially obscured by clouds, casting light over the landscape. The figures in the painting are drawn in a sketch-like manner, hinting at movement and emotion, with many holding their hands and arms aloft. The earth tones and rough outlines give the painting a sense of urgency and vibrancy. This is in the style of Franz von Menzel.
Gustave Doré, The Shades of French Soldiers from the Past Exhort the Army to Victory on the Rhine, c. 1870, brush and brown ink, black watercolor, and white gouache over graphite on wove paper, laid down on heavy paper, Helen Porter and James T. Dyke Fund, 2006.62.1

The Shades of French Soldiers from the Past Exhort the Army to Victory on the Rhine

Gustave Doré · c. 1870 · brush and brown ink, black watercolor, and white gouache over graphite on wove paper, laid down on heavy paper ·  Accession ID  2006.62.1

The image displays abstract shapes and lines, with swirling, rounded forms rising from rectangular bases. There are green, triangular shapes in the background. In the foreground, there is a structure with the word "JUPITER" and a circular form with a white and blue center. Bold and contrasting colors are used throughout the composition.
Max Beckmann, Hot Springs at Abano, 1939, oil on canvas, Collection of Arnold and Joan Saltzman, 2020.112.1

Hot Springs at Abano

Max Beckmann · 1939 · oil on canvas ·  Accession ID  2020.112.1

Circles are arranged in offset rows against a white background on this square canvas. Full round circles are pale gray across the center, and the shapes gradually darken as they flatten into ovals that become more elongated as they near the top and bottom edges. This creates the visual impression that the center bulges out at the viewer and curves away at the top and bottom.
Bridget Riley, Balm, 1964, oil on canvas, Gift of Mr. and Mrs. Burton Tremaine, 1970.37.2

Balm

Bridget Riley · 1964 · oil on canvas ·  Accession ID  1970.37.2