[made in new york city]

Find us in Bruton

Founded by Danielle L. Newns Fein in May 2020, FEIN Collections [made in new york city] is a UK-based enterprise involved in international sales of high-calibre contemporary artworks. Those artworks and their creators are represented by FEIN Collections, located in Bruton, Somerset.

Danielle L. Newns Fein: from nyc to Bruton

Summer 2006. I was walking in the west village and happened upon a gentleman with a cart of photographs, just on 4th street east of 7th Avenue South. Ned Otter was selling prints of his father’s — Robert Otter — incredible and haunting photographs of New York City of the late 1950s/early 60s; he had found the majority of negatives of his father’s large body of work and developed the photographs after his father’s death. [Digitization came years later.] I purchased two prints for $40 each. Two weeks later, he was written up in The New York Times: ‘Peddling Images of a Lost City.’ In 2016, I reached out to Ned and to relay this tale and to show him how I had framed his father’s works. I could never part that which his father had captured of New York.

FEIN Collections was developed with a desire to saturate Danielle's new home in Bruton with an innovative space for people to feel immersed in a connubial atmosphere of multidisciplinary familiarity and fresh artistic uniqueness.

[made in new york city]

New York City had always been a primary locus of my internationally-influenced zeal to foster the success of the works of art created by artists about which I feel particular passion and believe deserving of triumph in the art world. I began my private collection in New York. These private collection works I would never sell. It is New York that remains an inspiring locale where dreams develop even if just by the senses’ memory:

Rain glossing cobble stones under streetlamps outside of a West Village apartment whilst listening to music, closing my eyes to feel every note lingering on my skin and throughout my corps. Walking at night breathing in the City’s haunting smells, my conscious mind oscillating between a state of utter bewilderment imposed by the beauty of my home’s trash and glory and that ardent New Yorker disdain for slow-paced walkers and tourists and people who do not know how to jay-walk properly.

I have always enjoyed those freedoms that only New Yorkers have. Such as the ability to tell a complete stranger to ‘f**k off’ in passing for no relevant reason in context—just because I might be in a terrible mood. Being a New Yorker does, indeed, allow one’s feelings to manifest consciously rather than repressing artistic compulsions in a constrained societal influence.


Newns Fein has always been a collector. However, beginning in her early twenties, the seriousness with which she embarked upon compiling a private collection of her own increased in scale and expanded in style. Each and every piece of artwork she owns must ‘make sense’ – simply put – to her very personal emotional, intellectual and aesthetic proclivities. These proclivities, influenced by her instinct – greatly informed by her in-depth creative and formal art historical knowledge – has allotted for a diverse collection in which not one purchase has been looked upon with regret.

If I own [a] work(s) by a particular artist, it is attributable to a craving for the assurance that I am to learn something new every time the works are viewed with a day's changing light and mood and circumstance – wholly enhancing the breadth and depth of my escape into the manifestation of another's vision.

Importantly, Newns Fein has not purchased a work of art with a distinct intention of potential for increased market-price as the catalyst; the potential to ‘gain’ from an ‘investment’ is not the reason for which she, personally, collects artworks. Rather, her intimate investment when purchasing an artwork is one driven by moments that transcend the formal market. However, Newns Fein has found that she does have a pronounced ability to spot up-and-coming artistic talent and a remarkable ability to gauge the potential of marketability – and hence an increase in price in a short period of time on the market – of an artist in the world of art business.

That which is assured to all artists whose work she possesses personally, with which she chooses to surround herself, is the longevity of her commitment to imbibing that which moves her and that from which she realises enjoyment each and every day. These works are to be forever homed in a contemplative domain where an existence as purely aesthetic items is overruled by a personal, forever-growing and oscillating curiosity which is combined with aesthetic gratification.


Danielle L. Newns Fein earned her B.A. in Art History and Literature from Barnard College, Columbia University (2006, cum laude). She concluded this multidisciplinary degree with the completion of her Senior Thesis: Physically Manifesting Imaginative Freedom: Exploring William Blake’s ‘The Marriage of Heaven and Hell’ as a Complete Artwork. In 2013, Newns Fein obtained her degree in Law from Benjamin N. Cardozo School of Law. Tailoring her foci at Cardozo to Art Law and Cultural Heritage, her areas of expertise are in Reparations, Restitution and Provenance Research with specialisations in art looted by the Nazi regime during the Second World War – Holocaust claims restitution – and Holocaust reparations. After moving to London from New York City in 2016, Newns Fein secured her Master’s degree in Art Business (2019, with Merit) from Sotheby's Institute of Art London.