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Daniel O'Neill
LOVERS IN THE EVENING
Lot 67
Price Realised:
€28,000
Estimate:
€20,000 - €30,000
Daniel O'Neill, 1920-1974
LOVERS IN THE EVENING
Oil on board, 20" x 26" (50.7 x 66cm), signed; inscribed verso.
Provenance: Oriel Gallery, Dublin; Private Collection.
Over the period 1960 - 1971, three exhibitions of work by Daniel O'N...
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Lot 67
Daniel O'Neill
LOVERS IN THE EVENING
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Lot 67
Daniel O'Neill
LOVERS IN THE EVENING
Estimate:
€20,000 - €30,000
Daniel O'Neill, 1920-1974
LOVERS IN THE EVENING
Oil on board, 20" x 26" (50.7 x 66cm), signed; inscribed verso.
Provenance: Oriel Gallery, Dublin; Private Collection.
Over the period 1960 - 1971, three exhibitions of work by Daniel O'Neill took place at the Dawson Gallery, Dublin. Reviewing the collection of paintings exhibited in November 1960, 'J.W' wrote in the Irish Times that O'Neill was 'preoccupied with the beauty of womanhood', often setting his figures against 'a background of landscape or sky in which the paint is laid on in a profusion and quality, recalling Yeats'.[1] Comparison with the older artist is certainly borne out in Tomorrow's A New Day, with the blues, yellow and green redolent of Yeats's work from the late 1940s. The motif of the reclining woman (as 'J. W.''s comments suggest) was a recurring theme in O'Neill's painting, often showing languorous figures painted in thick impasto. While not as provocative as some of these works (for example, The Blue Skirt, Ulster Museum) there is a gentle interiority to this scene, the figure lost in sleep under a thickly painted blanket. The title suggests the escapism of dreams, and hope for better days to come. O'Neill was drawn to this composition more than once: a similar work I Wonder What Tomorrow Will Bring (Adams, December 2009, Lot 15) is a more finished version of this composition, perhaps suggesting that this was a preparatory oil sketch or simply a scene that the artist was attracted to and seeking to perfect in paint.
Born in Belfast, and largely self-trained as an artist, in 1945 O'Neill was taken on by Victor Waddington as a gallery artist. This provided him with a much-needed outlet to exhibit and sell his paintings and marked the beginning of a highly successful professional relationship that at saw his works travel through the network of Waddington galleries in Dublin, London, and Montreal through the 1940s, 1950s and 1960s. Although known as 'Yeats's man', Waddington's influence on the exhibition and promotion of Irish art at home and abroad was transformative for a generation of artists in Ireland, including Daniel O'Neill and his Northern Irish contemporaries.
Dr Kathryn Milligan, May 2023
[1] J.W, 'Paintings by Daniel O'Neill', Irish Times, 4 November 1960.
LOVERS IN THE EVENING
Oil on board, 20" x 26" (50.7 x 66cm), signed; inscribed verso.
Provenance: Oriel Gallery, Dublin; Private Collection.
Over the period 1960 - 1971, three exhibitions of work by Daniel O'Neill took place at the Dawson Gallery, Dublin. Reviewing the collection of paintings exhibited in November 1960, 'J.W' wrote in the Irish Times that O'Neill was 'preoccupied with the beauty of womanhood', often setting his figures against 'a background of landscape or sky in which the paint is laid on in a profusion and quality, recalling Yeats'.[1] Comparison with the older artist is certainly borne out in Tomorrow's A New Day, with the blues, yellow and green redolent of Yeats's work from the late 1940s. The motif of the reclining woman (as 'J. W.''s comments suggest) was a recurring theme in O'Neill's painting, often showing languorous figures painted in thick impasto. While not as provocative as some of these works (for example, The Blue Skirt, Ulster Museum) there is a gentle interiority to this scene, the figure lost in sleep under a thickly painted blanket. The title suggests the escapism of dreams, and hope for better days to come. O'Neill was drawn to this composition more than once: a similar work I Wonder What Tomorrow Will Bring (Adams, December 2009, Lot 15) is a more finished version of this composition, perhaps suggesting that this was a preparatory oil sketch or simply a scene that the artist was attracted to and seeking to perfect in paint.
Born in Belfast, and largely self-trained as an artist, in 1945 O'Neill was taken on by Victor Waddington as a gallery artist. This provided him with a much-needed outlet to exhibit and sell his paintings and marked the beginning of a highly successful professional relationship that at saw his works travel through the network of Waddington galleries in Dublin, London, and Montreal through the 1940s, 1950s and 1960s. Although known as 'Yeats's man', Waddington's influence on the exhibition and promotion of Irish art at home and abroad was transformative for a generation of artists in Ireland, including Daniel O'Neill and his Northern Irish contemporaries.
Dr Kathryn Milligan, May 2023
[1] J.W, 'Paintings by Daniel O'Neill', Irish Times, 4 November 1960.
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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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