Bidding on this item has ended.
Daniel O'Neill
PROFILE
Lot 24
Result:
Not Sold
Estimate:
€35,000 - €45,000
Daniel O'Neill (1920-1974)
PROFILE
Oil on board, 24" x 20" (61 x 51cm), signed, inscribed verso
Provenance: George McClelland Collection.
Exhibited: Dan O'Neill Selected Figurative Works, Octagon Gallery, Belfast, August 5-29 1987, cat No.2... Read more
Lot 24
Daniel O'Neill
PROFILE
PROFILE
Oil on board, 24" x 20" (61 x 51cm), signed, inscribed verso
Provenance: George McClelland Collection.
Exhibited: Dan O'Neill Selected Figurative Works, Octagon Gallery, Belfast, August 5-29 1987, cat No.2... Read more
Lot 24
Daniel O'Neill
PROFILE
Estimate:
€35,000 - €45,000
Daniel O'Neill (1920-1974)
PROFILE
Oil on board, 24" x 20" (61 x 51cm), signed, inscribed verso
Provenance: George McClelland Collection.
Exhibited: Dan O'Neill Selected Figurative Works, Octagon Gallery, Belfast, August 5-29 1987, cat No.23
Painted in 1970, 'Profile' marks a turning point in O'Neill's life after he returned to live in Belfast during the emergence of the Troubles in Northern Ireland. Living in London in the late 1960's O'Neill was dealing with the aftermath of a traumatic break-up of a long-term relationship and news media reports that violence had erupted close to his home in west Belfast. A chance encounter with art dealer George McClelland on route to Holyhead led him to move back home to prepare for a solo exhibition at McClelland's May street gallery. But while preparations were being made for the show, O'Neill was deeply concerned how his work would be perceived in his native city. He had received critical acclaim in Belfast after his 1952 CEMA Retrospective at the Belfast Museum and Art Gallery (Ulster Museum) but how would the public receive him in 1970? Although he had been selling his work through the Dawson Gallery in Dublin, no Belfast audience had seen his work in eighteen years.
'Profile' was among a number of works chosen from George McClelland's collection for a small exhibition, Dan O'Neill Selected Figurative Works held at the Octagon Gallery in Belfast in August 1987. McClelland was the largest contributor to the show loaning thirteen paintings from the selected twenty-five works which reflected O'Neill's development from 1940 to 1970. Subsidized by the Arts Council for Northern Ireland, the exhibition led to an increased awareness of O'Neill's work. Circa Magazine commissioned Brian Kennedy to critically review the show. He outlined O'Neill's development but took issue with his subjects of women and his late period. He stated his view of women was 'problematical'… adding 'we are always distanced from his females; rarely are we part of their company.' He singled out 'Profile' from his late period noting it was 'garish in colour and insensitive in handling.'(Circa Sep-Oct, 1987, p.45) Kennedy was probably not aware that O'Neill suffered from depression in the 1940's which led to an unhealthy relationship with alcohol. Taboo subjects in the 1950's and 60's some friends disguised O'Neill's flaws by characterizing him as an 'enigmatic' or an 'aloof' figure when O'Neill needed to disengage from society. His late simplified motifs in vibrant colour could reflect a renewed self-esteem and confidence from returning home after receiving positive reviews from major newspapers.
The subject of heads regularly appear throughout O'Neill's oeuvre. Women can appear in profile or directly face the viewer. The sitters often represent women who played a significant role in his life; daughter, wife, partner, lover, or may be an individual who helped him during a stay in hospital. This may be a nurse, a fellow AA member, or social worker. Sometimes his head portraits depict the influence of other painting styles in art history or were a nod to painters he admired, Goya, Rouault, Picasso, Modigliani, Watteau, and Soutine. 'Profile' may be 'distanced from' the viewer but O'Neill's heads were deeply personal and while his palette had undergone a radical departure in 1969-70 from his earlier romantic period, the intensity of feeling was the same. In this work, O'Neill has purposely edited details allowing colour to act as his language to evoke emotion from the viewer.
Karen Reihill, Author of Daniel O'Neill, Romanticism & Friendships (published November, 2020)
PROFILE
Oil on board, 24" x 20" (61 x 51cm), signed, inscribed verso
Provenance: George McClelland Collection.
Exhibited: Dan O'Neill Selected Figurative Works, Octagon Gallery, Belfast, August 5-29 1987, cat No.23
Painted in 1970, 'Profile' marks a turning point in O'Neill's life after he returned to live in Belfast during the emergence of the Troubles in Northern Ireland. Living in London in the late 1960's O'Neill was dealing with the aftermath of a traumatic break-up of a long-term relationship and news media reports that violence had erupted close to his home in west Belfast. A chance encounter with art dealer George McClelland on route to Holyhead led him to move back home to prepare for a solo exhibition at McClelland's May street gallery. But while preparations were being made for the show, O'Neill was deeply concerned how his work would be perceived in his native city. He had received critical acclaim in Belfast after his 1952 CEMA Retrospective at the Belfast Museum and Art Gallery (Ulster Museum) but how would the public receive him in 1970? Although he had been selling his work through the Dawson Gallery in Dublin, no Belfast audience had seen his work in eighteen years.
'Profile' was among a number of works chosen from George McClelland's collection for a small exhibition, Dan O'Neill Selected Figurative Works held at the Octagon Gallery in Belfast in August 1987. McClelland was the largest contributor to the show loaning thirteen paintings from the selected twenty-five works which reflected O'Neill's development from 1940 to 1970. Subsidized by the Arts Council for Northern Ireland, the exhibition led to an increased awareness of O'Neill's work. Circa Magazine commissioned Brian Kennedy to critically review the show. He outlined O'Neill's development but took issue with his subjects of women and his late period. He stated his view of women was 'problematical'… adding 'we are always distanced from his females; rarely are we part of their company.' He singled out 'Profile' from his late period noting it was 'garish in colour and insensitive in handling.'(Circa Sep-Oct, 1987, p.45) Kennedy was probably not aware that O'Neill suffered from depression in the 1940's which led to an unhealthy relationship with alcohol. Taboo subjects in the 1950's and 60's some friends disguised O'Neill's flaws by characterizing him as an 'enigmatic' or an 'aloof' figure when O'Neill needed to disengage from society. His late simplified motifs in vibrant colour could reflect a renewed self-esteem and confidence from returning home after receiving positive reviews from major newspapers.
The subject of heads regularly appear throughout O'Neill's oeuvre. Women can appear in profile or directly face the viewer. The sitters often represent women who played a significant role in his life; daughter, wife, partner, lover, or may be an individual who helped him during a stay in hospital. This may be a nurse, a fellow AA member, or social worker. Sometimes his head portraits depict the influence of other painting styles in art history or were a nod to painters he admired, Goya, Rouault, Picasso, Modigliani, Watteau, and Soutine. 'Profile' may be 'distanced from' the viewer but O'Neill's heads were deeply personal and while his palette had undergone a radical departure in 1969-70 from his earlier romantic period, the intensity of feeling was the same. In this work, O'Neill has purposely edited details allowing colour to act as his language to evoke emotion from the viewer.
Karen Reihill, Author of Daniel O'Neill, Romanticism & Friendships (published November, 2020)
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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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