Lot 46
  • 46

DANIEL O'NEILL | Seated Nude

Estimate
10,000 - 15,000 GBP
bidding is closed

Description

  • Daniel O'Neill
  • Seated Nude
  • signed l.l.: D O'Neill
  • oil on board
  • 51 by 61cm., 20 by 24in.

Provenance

Waddington Galleries, Montreal;
Collection of Joshua and Elizabeth Peterfreund, New York;
Acquired from the above, 1960, thence by descent to the present owner

Condition

The board appears sound. Two small flecks of paint loss near the centre of the lower edge and the surface is a little dirty. Otherwise the work appears in good overall, untouched condition. No signs of retouching under ultraviolet light. Held in period silver gilt composite frame with linen inset.
"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

O'Neill reinterpreted the art historical subject of the reclining nude in a a number of key works in his career (such as The Blue Skirt, 1949, Ulster Museum, Belfast and Reclining Nude, private collection, sold these rooms 7 May 2008, lot 181). O'Neill travelled to Paris in the late 1940s, most probably sponsored by his dealer Victor Waddington, where in addition to the Old Masters, he encountered more contemporary takes of this classical genre, including Manet's Olympia. He was also inspired by the Expressionist works of Maurice Vlaminck whose influence is clear in the deep colour combinations of the present work. In the background of Seated Nude, O'Neill includes another painting of a reclining nude and such inclusions, together with the modelling of the figure and the compositional arrangement, displays O'Neill's avant-garde developments.