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Paul Feiler (British, 1918-2013) Supported Ovals, Brown 92 x 92 cm. (36 3/16 x 36 3/16 in.) image 1

Paul Feiler (British, 1918-2013) Supported Ovals, Brown 92 x 92 cm. (36 3/16 x 36 3/16 in.) image 2

The Property of a Private Family Collection from a Knightsbridge Residence

Lot 13^AR

Paul Feiler
(British, 1918-2013)
Supported Ovals, Brown 92 x 92 cm. (36 3/16 x 36 3/16 in.)

Modern British and Irish Art

22 November 2022, 15:00 GMT

London, New Bond Street

Sold for £57,000 inc. premium

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Paul Feiler (British, 1918-2013)

Supported Ovals, Brown
signed, titled and dated 'PAUL FEILER/SUPPORTED OVALS, BROWN/1963/64' (verso)
oil on canvas
92 x 92 cm. (36 3/16 x 36 3/16 in.)

Footnotes

Provenance
With The Redfern Gallery, London, where acquired by the family of the present owners
Private Collection, U.K.

Following the success of his 1953 solo exhibition at The Redfern Gallery, Paul Feiler purchased a chapel at Kerris near Penzance, which would become both his studio and centre of family life. Despite splitting his time between Cornwall and Bristol for the next twenty years, it was the Cornish coast with its dramatic light and rugged geography that drew his attention and provided a seemingly endless source of inspiration. Feiler became a central figure in the 'St Ives School', alongside other British pioneers of post-war abstraction such as Patrick Heron, Peter Lanyon and Roger Hilton, outstanding examples by whom are included in the present collection.

Supported Ovals, Brown dates to 1963/4 and demonstrates Feiler's interest in the interplay of shape and form at this time. Many of the compositions from this period were originally explored through a number of drawings, in turn informing the oil paintings, which often went through several stages before completion. In the present work, a complex layering has been undertaken to ground the oval shapes which appear like cells, overlapping one another in motion. The horizontal lines of black and darker brown provide both structure and stability within the pictorial space, which is square to enhance the sense of balance. As is the case here, the titles of the paintings from this period tend to consist of two or three parts with a defining adjective (in this case 'supported') alongside a colour description. Whilst this marks a change from the references to specific Cornish locations that proliferated in the titles of works from the previous decade, the influence of the landscape in Supported Ovals, Brown is still potent.

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