Daniel O'Neill

Acquired directly from the artist and thence by descent to the present owner

Original canvas. There are some minor scuff marks in the corners and the varnish has slightly discoloured otherwise in good overall condition. Under ultraviolet light, there appear to be no signs of retouching. Held in a painted and gilt frame.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The subject of the present work was inspired by O'Neill's friend Gerard Dillon and his enthusiasm for the people and landscape of the West of Ireland (see for example, lot 174 and 193). In the present work, the mother of the family sits prominently in the foreground wearing the traditional waist coat and shirt of the West whilst at the centre of the background, O'Neill focuses on one of the traditional white washed cottages that pepper the landscape all along the West coast.

O'Neill was himself an advocate of living a simple and uncomplicated life and moved with his family to a cottage in Conlig, Co.Down in the early 1950s. One of his neighbours by his cottage there recalled that during storms, the artist would creep outside in the middle of the night in order to fully experience the natural effects of thunder and lightning. When asked about his night time wanderings, O'Neill answered simply, 'it was really beautiful with the lightning flashing through the trees' (O'Neill, quoted in James White, Gerard Dillon, Dublin 1994, p.41). His night time experiences were clearly responsible for the intense night sky in the background of the present work which presents a powerful contrast to the warm glow of the traditional oil lamp in the foreground.