Lot 40
  • 40

Daniel O'Neill

Estimate
20,000 - 30,000 GBP
bidding is closed

Description

  • Daniel O'Neill
  • Maureen 
  • oil on board
  • 61 by 51cm., 24 by 20in.

Provenance

Tom Caldwell Gallery, Belfast;
Adam's, Dublin, 27 May 1998, lot 55, where purchased by the present owner

Condition

The board appears sound, some occasional and minor frame abrasions along the edges, otherwise the work in good overall condition. Under ultraviolet light there appear to be no signs of retouching. Held in a wooden and canvas inset 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."

Catalogue Note

Daniel O’Neill’s work falls into the movements of romanticism and symbolism. As a largely untrained artist who was educated early in his short life by the horrors of the Second World War, O’Neill did not shy away from experimentation, trying his hand at mediums from carving to theatre design. His paintings however, simplify forms to the point of creating a surreal and introverted world, reminiscent of Chagall’s symbolist works. His style was partly influenced by a short stay in Paris during 1949, and allowed to flourish over initially difficult beginnings through friendship with fellow artist Gerard Dillon, and the support of Dublin dealer Victor Waddington from 1945 onwards. Throughout the 1950s his works remained flattened and simplified in the modernist vein, but an adopted palette of blues and dark greens contribute to a distinctive atmospheric mood. His career as a whole forms a unique reflection on the themes of birth, death and love, imbued with a strong sense of mystery.