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Daniel O'Neill (1920-1974) GIRLS AND DOGS oil on board signed lower left; titled on reverse; also
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Description
Daniel O'Neill (1920-1974) GIRLS AND DOGS oil on board signed lower left; titled on reverse; also numbered [No. 24] on exhibition label on reverse Waddington Gallery, Dublin, where purchased by the parents of the present owner In this vibrantly coloured scene, three girls hold, and interact, with a collection of dogs; from those nestled on their laps or in the crook of their arms, to a larger companion who happily receives a pat on his head. The composition is unified by O'Neill's use of bright, sky and turquoise blues, moving from left to right across the canvas, and repeated on the sleeve, dress, and face of the respective figures. The layered and often thickly applied paint is characteristic of O'Neill's technique. This is particularly noticeable in this canvas through the rendering of the girls' hair, where patches of ochre and gold catch the eye; O'Neill also uses the palette knife to suggest the different materials of the girls' clothes. Writing about the artist in 1946, Cecil Ffrench Salkeld noted that texture was 'one of O'Neill's strongest weapons, and it is a weapon that he uses with great subtlety', and that is certainly evident in this painting. 1 Although ostensibly engaged in movement, there is a sense of stillness to the three figures; their downcast eyes suggest that each is in rapt concentration. The ambiguity of the dogs (are they stuffed toys, or real animals?), and the marionette-like features of the centre and right hand figures lend a somewhat surreal atmosphere to the painting. As O'Neill's art developed from the 1950s onwards, this uncanny air was embraced, finding full expression in his depictions of figures in landscape settings. The subject and colouring of Girls and Dogs is similar to other works exhibited by O'Neill in the mid-1950s, such as Girl Fiesta (AIB Collection). A comparable work by the artist, Three Children (deVeres, 2013), is less finely rendered, but repeats the motif of three children with animals. The hand-carved Waddington frame is a testament to the relationship between O'Neill and the well-known Dublin gallerist and art dealer, Victor Waddington. In 1945, O'Neill was taken on by Waddington, and several solo exhibitions of his work were held there through the 1940s and 1950s. With the income from the Waddington Gallery, O'Neill was able to focus on his painting without distraction; having previously worked as an electrician and housepainter in Belfast and London. In addition to solo exhibitions in Dublin, O'Neill's art was shown in London, Belfast, Montreal and other North American cities.Dr Kathryn Milligan October 2017 1. Cecil Ffrench Salkeld, 'Daniel O'Neill, A Critical Appreciation', Envoy 1:1, December 1949 18 by 24in. (45.7 by 61cm)
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Daniel O'Neill (1920-1974) GIRLS AND DOGS oil on board signed lower left; titled on reverse; also numbered [No. 24] on exhibition label on reverse Waddington Gallery, Dublin, where purchased by the parents of the present owner In this vibrantly coloured scene, three girls hold, and interact, with a collection of dogs; from those nestled on their laps or in the crook of their arms, to a larger companion who happily receives a pat on his head. The composition is unified by O'Neill's use of bright, sky and turquoise blues, moving from left to right across the canvas, and repeated on the sleeve, dress, and face of the respective figures. The layered and often thickly applied paint is characteristic of O'Neill's technique. This is particularly noticeable in this canvas through the rendering of the girls' hair, where patches of ochre and gold catch the eye; O'Neill also uses the palette knife to suggest the different materials of the girls' clothes. Writing about the artist in 1946, Cecil Ffrench Salkeld noted that texture was 'one of O'Neill's strongest weapons, and it is a weapon that he uses with great subtlety', and that is certainly evident in this painting. 1 Although ostensibly engaged in movement, there is a sense of stillness to the three figures; their downcast eyes suggest that each is in rapt concentration. The ambiguity of the dogs (are they stuffed toys, or real animals?), and the marionette-like features of the centre and right hand figures lend a somewhat surreal atmosphere to the painting. As O'Neill's art developed from the 1950s onwards, this uncanny air was embraced, finding full expression in his depictions of figures in landscape settings. The subject and colouring of Girls and Dogs is similar to other works exhibited by O'Neill in the mid-1950s, such as Girl Fiesta (AIB Collection). A comparable work by the artist, Three Children (deVeres, 2013), is less finely rendered, but repeats the motif of three children with animals. The hand-carved Waddington frame is a testament to the relationship between O'Neill and the well-known Dublin gallerist and art dealer, Victor Waddington. In 1945, O'Neill was taken on by Waddington, and several solo exhibitions of his work were held there through the 1940s and 1950s. With the income from the Waddington Gallery, O'Neill was able to focus on his painting without distraction; having previously worked as an electrician and housepainter in Belfast and London. In addition to solo exhibitions in Dublin, O'Neill's art was shown in London, Belfast, Montreal and other North American cities.Dr Kathryn Milligan October 2017 1. Cecil Ffrench Salkeld, 'Daniel O'Neill, A Critical Appreciation', Envoy 1:1, December 1949 18 by 24in. (45.7 by 61cm)
Important Irish Art
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Dublin
2
Ireland
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The buyer shall pay the Auctioneer a commission at the rate of 25% (which includes VAT at the prevailing rate under The Margin Scheme and which is not reclaimable). A further charge of 3% applies to on-line bidders
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Auction Description:
Whyte’s Irish & International Art auction is the inaugural sale of 2016 and will include not only the most sought-after names in Irish art, such as Jack B Yeats, Paul Henry, Frederick Walter Osborne, Seán Keating, Basil Blackshaw and Patrick Hennessy, but also a flavour from the international market including Joan Miró and David Hockney.
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Whyte & Sons Auctioneers Limited, trading as Whyte's, hereinafter called "the auctioneer" exercises all reasonable care to ensure that all descriptions are reliable and accurate, and that each item is genuine unless the contrary is indicated. However, the descriptions are not intended to be, are not and are not to be taken to be, statements of fact or representations of fact in relation to the lot. They are statements of the opinion of the auctioneers, and attention is particularly drawn to clause 5 set out below. Comments and opinions, which may be found in or on lots as labels, notes, lists, catalogue prices, or any other means of expression, do not constitute part of lot descriptions and are not to be taken as such unless they are made or specifically verified by the auctioneers. 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(b) The Auctioneer or its employees, servants or agents may, on request organise packing and shipping of lots purchased or may order on the buyer's behalf third parties to pack or ship purchases. Under no circumstances does the Auctioneer accept any liability whatsoever for any loss or damage howsoever occasioned in the course of such service. (c) The buyer authorises the Auctioneer to use any photographs or illustrations of any lot purchased for any or all purposes as the Auctioneer may require. The placing of a bid will be taken as full agreement to all the above conditions. WHYTE & SONS AUCTIONEERS LIMITED 38 Molesworth Street, Dublin 2
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Condition:
Whyte & Sons Auctioneers Limited, trading as Whyte's, hereinafter called "the auctioneer" exercises all reasonable care to ensure that all descriptions are reliable and accurate, and that each item is genuine unless the contrary is indicated. However, the descriptions are not intended to be, are not and are not to be taken to be, statements of fact or representations of fact in relation to the lot. They are statements of the opinion of the auctioneers, and attention is particularly drawn to clause 5 in our full Terms & Conditions. Comments and opinions, which may be found in or on lots as labels, notes, lists, catalogue prices, or any other means of expression, do not constitute part of lot descriptions and are not to be taken as such unless they are made or specifically verified by the auctioneers.
Premium & Taxes:
The buyer shall pay the Auctioneer a commission at the rate of 25% (which includes VAT at the prevailing rate under The Margin Scheme and which is not reclaimable). A further charge of 3% applies to on-line bidders.
Payment:
Each lot shall be paid for in full before delivery and taken away at his/her expense within seven days of the sale.
Shipping:
The buyer will be responsible for all removal, storage and insurance charges in respect of any lot which has not been collected within fourteen days of the date of sale.
