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Daniel O'Neill
DEPOSITION
Lot 11
Result:
Not Sold
Estimate:
€15,000 - €20,000
Daniel O'Neill, 1920-1974
DEPOSITION
Oil on board, 18" x 24" (45.7 x 61cm), signed and inscribed on label verso.
Provenance: The Victor Waddington Gallery, Dublin, 1955 (original receipt attached); Private Collection Dublin and by desce...
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Lot 11
Daniel O'Neill
DEPOSITION
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Lot 11
Daniel O'Neill
DEPOSITION
Estimate:
€15,000 - €20,000
Daniel O'Neill, 1920-1974
DEPOSITION
Oil on board, 18" x 24" (45.7 x 61cm), signed and inscribed on label verso.
Provenance: The Victor Waddington Gallery, Dublin, 1955 (original receipt attached); Private Collection Dublin and by descent.
In this richly detailed board, Daniel O'Neill's distinctive colouring and style is brought together with a subject that has compelled artists for centuries. Against a troubled sky, the body of Christ is gently taken from the Cross, the task illuminated by a figure holding a torch to light the way. In the foreground, mourners (including, we might assume, the Virgin Mary in traditional blue), leave the sad scene behind them. Although perhaps better known for his fantastical landscapes or sensuous depictions of women, religious works form an interesting theme in O'Neill's oeuvre, with several paintings depicting elements of the Easter story. Born into a Catholic family in West Belfast, one biographer has noted that from a young age, O'Neill studied the work of the Italian Renaissance painters in the Belfast library; and from the beginning of his exhibiting career in the 1940s, religious works were among those on display.
Although the present work is undated, it may relate to a cycle of religious scenes completed and exhibited by O'Neill in the 1950s. For example, he contributed to an exhibition of sacred art at the Ashley Gallery, London in 1950, alongside Colin Middleton, Eugene Judge, Richard King, and Father Jack Hanlon. Writing in the Catholic Standard, James White noted that Victor Waddington had organised the display, expressing a wish that the gallerist would show similar works at home as the 'a constant plea…for the development of ecclesiastical art in Ireland has not been answered, even if certain artists are interested in the subject.'[1] In 1956, O'Neill also contributed work to an exhibition organised by the Benedictine congregation during the Third Liturgical Congress at Glenstal Abbey, showing depictions of the 'Supper at Emmaus' and 'Ecce Homo'.[2]
Easily overlooked in histories of Irish art in this period, works like this are a reminder of the intersection between modernist painting styles and sacred art, and the enduring artistic patronage of religious orders.
Kathryn Milligan, October 2023
[1] James White, 'Give us some of these at home', Catholic Standard, 6 October 1950, p.11
[2] G.H.G, 'Exhibition of Irish Church Art', Irish Times, 12 April 1956, p.7
DEPOSITION
Oil on board, 18" x 24" (45.7 x 61cm), signed and inscribed on label verso.
Provenance: The Victor Waddington Gallery, Dublin, 1955 (original receipt attached); Private Collection Dublin and by descent.
In this richly detailed board, Daniel O'Neill's distinctive colouring and style is brought together with a subject that has compelled artists for centuries. Against a troubled sky, the body of Christ is gently taken from the Cross, the task illuminated by a figure holding a torch to light the way. In the foreground, mourners (including, we might assume, the Virgin Mary in traditional blue), leave the sad scene behind them. Although perhaps better known for his fantastical landscapes or sensuous depictions of women, religious works form an interesting theme in O'Neill's oeuvre, with several paintings depicting elements of the Easter story. Born into a Catholic family in West Belfast, one biographer has noted that from a young age, O'Neill studied the work of the Italian Renaissance painters in the Belfast library; and from the beginning of his exhibiting career in the 1940s, religious works were among those on display.
Although the present work is undated, it may relate to a cycle of religious scenes completed and exhibited by O'Neill in the 1950s. For example, he contributed to an exhibition of sacred art at the Ashley Gallery, London in 1950, alongside Colin Middleton, Eugene Judge, Richard King, and Father Jack Hanlon. Writing in the Catholic Standard, James White noted that Victor Waddington had organised the display, expressing a wish that the gallerist would show similar works at home as the 'a constant plea…for the development of ecclesiastical art in Ireland has not been answered, even if certain artists are interested in the subject.'[1] In 1956, O'Neill also contributed work to an exhibition organised by the Benedictine congregation during the Third Liturgical Congress at Glenstal Abbey, showing depictions of the 'Supper at Emmaus' and 'Ecce Homo'.[2]
Easily overlooked in histories of Irish art in this period, works like this are a reminder of the intersection between modernist painting styles and sacred art, and the enduring artistic patronage of religious orders.
Kathryn Milligan, October 2023
[1] James White, 'Give us some of these at home', Catholic Standard, 6 October 1950, p.11
[2] G.H.G, 'Exhibition of Irish Church Art', Irish Times, 12 April 1956, p.7
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In the event of a tied bid, the preference will be given to the bid submitted first. The second bidder will receive immediate notification of being outbid.
PLEASE BID EARLY TO AVOID DISAPPOINTMENT.
In order to allow rival bidders the opportunity to respond to a late bid the following extensions will apply:
IF A BID IS RECEIVED WITHIN THE FINAL 45 SECONDS OF THE COUNTDOWN THE CLOCK WILL RESET TO 60 SECONDS.
At any point you can leave a maximum bid, representing the highest price you are prepared to pay for a particular lot. Bidding only advances when there is competition from a rival bidder. In that case the system bids on your behalf, only up to the maximum if required. All bids are relayed to you be email, along with notification if you have been outbid.
All maximum bids are confidential and not disclosed. The system will endeavor to purchase the lot for you for the least price. Bids are subject to buyer’s premium of 25% (incl vat), with no additional charges.
In the event of a tied bid, the preference will be given to the bid submitted first. The second bidder will receive immediate notification of being outbid.
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