Paul Feiler (b. 1918)
Artist's Resale Right ("Droit de Suite"). Artist's… Read more
Paul Feiler (b. 1918)

Island off the North Cornish Coast

Paul Feiler (b. 1918)
Island off the North Cornish Coast
signed and dated 'FEILER 52' (lower right), signed again and inscribed 'PAUL FEILER/ISLAND OFF THE NORTH/CORNISH COAST' (on the reverse), signed again 'PAUL FEILER' (on the stretcher)
oil on canvas
28 x 47 in. (71 x 119.5 cm.)
with Redfern Gallery, London, where purchased by J.S. Crosfield, at the 1953 exhibition, for 50 guineas.
London, Redfern Gallery, Paintings by Adrian Ryan, Paul Feiler, Frederick Gore, Hilde Stieler, January - February 1953, no. 67.
Special notice
Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.

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Lot Essay

'Looking through a window, you make sense of that portion of landscape which fills the window-frame: you get a view. Stepping outside the
window, you enter the landscape and find that it is no longer what you thought it was, but something far more complex and spatially limitless. It is with this experience of space that Paul Feiler's painting has always been concerned rather than with views of landscape, and if it is true that most artists spend their whole life exploring the possibilities of just one idea, then the elusiveness of space may be said to be Feiler's special domain' (see P. Khoroche, exhibition catalogue, Paul Feiler: The Near and The Far: Paintings 1953-2004, St Ives, Tate Gallery, 2005, p. 6).

Feiler had first visited Cornwall in 1949 and his works of the early 1950s became increasingly abstract and were influenced by the dramatic Cornish coast and landscape. Feiler explained in a statement in 1956, 'I have always enjoyed writing down with paint what I felt the world around me looked like. This has been a limited world; a world of wide open spaces, with snow and ice-covered mountains; later, the sea and rocks seen from a height. This has led me to try to communicate a universal aspect of forms in space; where the scale of shapes to each other and their tonal relationship convey their physical nearness to the spectator and where the overall colour and its texture supplies the emotional overtones of the personality of 'the place'' (see T. Cross, Catching the Wave: Contemporary Art and Artists in Cornwall from 1975 to the present day, Tiverton, 2002, p. 52).

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