George Bernard O'Neill Sold at Auction Prices

George Bernard O'Neill (1828-1917) The Rehearsal oil on canvas 28 ¼ x 38 in. (71. 8 x 96.5 cm.)

George Bernard O'Neill (1828-1917) The Rehearsal signed 'G.B. O'Neill' (lower right) and further signed and numbered 'G.B. O'Neill./No 1' (on the reverse) oil on canvas 28 ¼ x 38 in. (71. 8 x 96.5 cm.)

GEORGE BERNARD O’NEILL (BRITISH, 1828-1917) Piggy-back signed ‘G.B.O’Neill’ (lower ri

GEORGE BERNARD O’NEILL (BRITISH, 1828-1917) Piggy-back signed ‘G.B.O’Neill’ (lower right) oil on panel 35 x 45.5cm (13 3/4 x 17 15/16in).

Frederick Daniel Hardy (British, 1826-1911) and George Bernard O'Neill (British, 1828-1917) - Waiting by the hearth

Frederick Daniel Hardy (British, 1826-1911) and George Bernard O'Neill (British, 1828-1917) Waiting by the hearth

George Bernard O'Neill (British, 1828-1917) Piggy-back

George Bernard O'Neill (British, 1828-1917) Piggy-back signed 'G.B.O'Neill' (lower right) oil on panel 35 x 45.5cm (13 3/4 x 17 15/16in).

George Bernard O'Neill (British, 1828-1917) 'The rehearsal'

George Bernard O'Neill (British, 1828-1917) 'The rehearsal' signed 'G.B. O'Neill' (lower right); signed and inscribed 'G.B. O'Neill./n01' (on the reverse) oil on canvas 71 x 95.3cm (27 15/16 x 37 1/2in). Footnotes Provenance Frost & Reed, London, no. 32869. Private collection, Canada. Exhibited London, Royal Academy, 1879, no. 1368.

The daisy chain

George Bernard O'Neill (1828-1917) The daisy chain signed 'G B O'Neill' (lower right) oil on canvas 13 ½ x 11 in. (34.3 x 28 cm.)

George Bernard O'Neill (1828-1917), THE DAISY CHAIN, 13.5" x 10.75" - 34.3 x 27.3 cm.

GEORGE BERNARD O'NEILL (1828-1917), IRISH/BRITISHTHE DAISY CHAINOil on canvas; signed lower right, titled to the nameplate13.5" x 10.75" - 34.3 x 27.3 cm.Estimate: $3,000-4,000

George Bernard O'Neill (1828-1917) ''A Good Read''

George Bernard O'Neill (1828-1917) ''A Good Read'' Inscribed and dated 1854 verso, oil on panel, 25cm by 32cm

George Bernard O'Neill (1828-1917)

George Bernard O'Neill (1828-1917) The Quaker and the Tax-Gatherer signed and dated 'G B O'Neill /61' (lower right) oil on canvas 29¼ x 45¼ in. (74.3 x 115 cm.)

George Bernard O'Neill (1828-1917)

George Bernard O'Neill (1828-1917) The young nurse signed 'GB O'Neill' (lower right) oil on canvas 21 x 17 in. (53.3 x 43.2 cm.)

After; George Bernard O'Neill (1829-1917) Anglo

After; George Bernard O'Neill (1829-1917) Anglo Irish. A young girl on her way to marker, Oil on Canvas, bears a Signature and Dated 1860/1, 12" x 10", a the companion piece, a boy, a pair (2)

GEORGE BERNARD O'NEILL

1828 - 1917 STOLEN FRUIT IS THE SWEETEST signed l.r.: G B O'Neill oil on canvas 62 by 55cm., 24½ by 21¾in.

George Bernard O'Neill (British, 1828-1917)

'Don't be afraid', children fishing on a riverbank signed 'G B O'Neill' (lower left); bears label verso oil on canvas 44.5 x 35cm (17 1/2 x 13 3/4in).

George Bernard O'Neill (British, 1828-1917) A friendly word

A friendly word signed 'G B O'Neill' (lower right), oil on canvas 53.5 x 41cm (21 1/16 x 16 1/8in).

George Bernard O'Neill (British, 1828-1917)

'Don't be afraid', children fishing on a riverbank signed 'G B O'Neill' (lower left); bears label verso oil on canvas 44.5 x 35cm (17 1/2 x 13 3/4in).

George Bernard O'Neill (British, 1828-1917) The Codicil

The Codicil signed 'G B O'Neill' (lower right), oil on canvas 60.5 x 52cm (23 13/16 x 20 1/2in).

George Bernard O'Neill (British, 1828-1917) A friendly word

A friendly word signed 'G B O'Neill' (lower right), oil on canvas 53.5 x 41cm (21 1/16 x 16 1/8in).

ATTRIBUTED TO GEORGE BERNARD O'NEILL (1828-1917),

ATTRIBUTED TO GEORGE BERNARD O'NEILL (1828-1917), BAD NEWS, signed lower left, attributed in the slip and dated 1869, in a gilt-composition frame. 19cm by 14cm

George Bernard O'Neill (1828-1917)

George Bernard O'Neill (1828-1917) Post time signed and dated 'G. B. O'Neill/77' (lower left) oil on canvas 24 x 20 in. (61 x 50.8 cm.)

GEORGE BERNARD O'NEILL

READY FOR A STROLL signed G B O'Neill (lower left)

George Bernard O'Neill (British, 1828-1917) Spring Garland

Spring Garland signed 'G.B.O'Neill' (lower right), oil on board, 26 x 22.5cm (10 1/4 x 8 7/8in).

George Bernard O'Neill (1828-1917)

George Bernard O'Neill (1828-1917) Hide and Seek signed 'G.B.O'neill' (lower right) oil on panel 15 3/8 x 12 in. (39.1 x 30.5 cm.)

George Bernard O'Neill (British, 1828-1917) The sailor's return 8 1/2 x 11 1/4in (21.5 x 28.5cm)

The sailor's return signed 'GB O'Neill' (lower right) oil on canvas 8 1/2 x 11 1/4in (21.5 x 28.5cm)

George Bernard O'Neill (1828-1917)

George Bernard O'Neill (1828-1917) Sweet dreams signed 'G B O'Neill' (lower right) oil on panel 18 x 13 7/8 in. (45.7 x 35.5 cm.)

George Bernard O'Neill (1828-1917)

George Bernard O'Neill (1828-1917) A joyful welcome signed and dated 'G.B.O'Neill.1901' (lower right) oil on canvas 24 x 20 in. (61 x 50.7 cm.)

GEORGE BERNARD O'NEILL, BRITISH 1828-1917

signed and dated 1869

George Bernard O'Neill (British 1828-1917) The little gardener signed 'G.B. O'Neill' (lower right), oil on canvas 35.5 x 45.5 cm. (14 x 18 in.)

Charles Compton (1828-1884)

A Study in the National Gallery - 1855 signed and dated 'C. Compton/July 1855' (lower right) oil on canvas 10 x 12 in. (25.4 x 30.5 cm.) PROVENANCE Anon. sale, Christie's, London, 2 March 1982, lot 215. with The Fine Art Society, London, from whom acquired by the present owner in 1982. EXHIBITION London, Royal Academy, 1856, no. 294. Victorian Childhood, 1986, cat. pl. 24. The Pursuit of Leisure, 1997-8, no. 38 NOTES The children are looking at a derivative of Piet… with Mourning Angels by the Bolognese Renaissance artist, Francesco Francia, a lunette to the altarpiece in the National Gallery that had been purchased in 1841 (fig. 1). Although few biographical details are known about Charles Compton, it is understood he was acquainted with some of the Pre-Raphaelite artists and admired Millais' paintings in particular. There was a growing Victorian conviction that looking at High Art was morally improving and many artists chose to depict public art exhibitions, examples include George Bernard O'Neill's Public Opinion (1863) and Thomas Hall's One Touch of Nature Makes the Whole World Kin (1867). Most notable amongst them was William Powell Frith's A Private View in the Royal Academy, 1881.

George Bernard O'Neill (1828-1917)

Study for 'The Jury' (lot 315) pencil and red and yellow chalk 163/4 x 12 in. (42.6 x 30.5 cm.) PROVENANCE George C. Dewhurst. A. Dewhurst; and by descent to William Mostyn-Owen, London. Anon. sale, Christie's, London, 13 May 1977, lot 66, as 'The Obstinate Juryman', when acquired by the present owner. NOTES This sketch for the central figure in A Jury has remained with the oil (lot 315) since its execution. It shows the strength of O'Neill's draughtsmanship. It is intriguing to see that the ear-trumpet, which indicates the juror's deafness in the painting, is barely delineated at all. Perhaps this twist in the picture's narrative was confirmed at a later stage. However, the drawing does clarify those physical mannerisms that O'Neill accentuates to convey obstinancy: the man's legs are planted firmly, and his fists skewered determinedly upon his knees.

George Bernard O'Neill (1828-1917)

The Jury signed and dated 'G B O'Neill/1854' (lower right) oil on panel 24 7/8 x 391/4 in. (63.2 x 99.7 cm.) PROVENANCE George C. Dewhurst. A. Dewhurst; and by descent to William Mostyn-Owen, London. Anon. sale, Christie's, London, 13 May 1977, lot 66, as 'The Obstinate Juryman', when acquired by the present owner. LITERATURE Art Journal, 1854, p. 160. EXHIBITION London, Royal Academy, 1854, no. 116. Manchester, Art Treasures, 1857, no. 454. London, International Exhibition, 1862, no. 462. Manchester, Jubilee Exhibition, 1887, no. 70. 32 Victorian Paintings from the Forbes Magazine Collection, 1981. Virtue Rewarded, 1988-90, no. 7. NOTES A jury has gathered in the room behind the law court, and are due to announce their verdict, but are hindered by the stoical refusal of one member, who is deaf, to append his ear-trumpet to his ear and so respond to their summons. His verdict is key to their adjudication, and they physically assail him with evidence of the passing of time, gesturing at fob watches and beseeching him with expressions of frustration and concern. O'Neill's painting belongs to a strong tradition of genre painting which probed the workings of the establishment. In an age when social and political legislation intensified, and public services were overhauled, the spectre of authority became more present in the life of civilians. The guardians of public welfare - whether in education, the church or the law - appeared in literature and art alike, and the occasional hypocrisy within these institutions was exposed. Whilst Hogarth, Rowlandson, and Gilray were explicit in their satire, nineteenth-century painters wove satire more subtly into narrative painting. O'Neill adheres particularly to the example of Wilkie and Mulready. Both artists made scenes from everyday life an appropriate subject for exhibited art. Their native tact was sometimes tempered with more derisive humour. Here O'Neill turns his attention to the public themselves, rather than the legal establishment. Although both admirable and necessary, the practical shortcomings of gathering together a disparate group to adjudicate a case are made evident in O'Neill's representation. Like Dickens and Trollope, O'Neill obtains his comic effect by emphasising variety of human type: the contrast between the sleepy defector and more didactic others, for example. The picture's irony derives from the fact that such chaos can exist behind the doors of the most august of institutions. The picture was atypical for the artist, whose work usually exhibits a defiantly pretty, even nostalgic, aesthetic. O'Neill was a member of the Cranbrook Colony, an informal group who spent summers working in this Kent village. Often featuring women and children clad in historical dress, their art depicted the beamed interiors of Tudor houses local to the area, and has remained consistently popular. A Jury demonstrates O'Neill's expertise as a painter of detailed interior scenes, evoking the Dutch Masters. He creates a varied perspective by incorporating angles and a doorway. The light is gentle and pertinent, falling upon the central figure of the procrastinator. This robust character raises a more serious, general, point. In his failure to deliver a verdict, or respond, he represents in wider terms the dissenter within a council. By exaggerating the expressions of his companions - who rely upon visual effect - O'Neill highlights the tension that can prevail between group and individual in any context.

George Bernard O'Neil (1828-1917)

Hanging the mistletoe signed 'G B O'Neill' (lower left), and dated '1892' (lower right) oil on panel 12 x 9 7/8 in. (30.5 x 25.1 cm.).

George Bernard O'Neill (1828-1917)

Sympathy signed 'G B O'Neill' (lower left) oil on panel 18 x 133/4 in. (45.7 x 34.9 cm.) PROVENANCE with T. Richardson and Co., London.

George Bernard O'Neill (1828-1917)

The Obedient Model signed 'G.B.O'Neill.' (lower right) oil on board 181/2 x 15 3/8 in. (47 x 39.1 cm.) LITERATURE C. Wood, Victorian Panorama, 1976, p. 226, pl. 239.

George Bernard O'Neill (British, 1828-1917) The Pedlar, initialled, also signed and dated Kensington `63 on reverse, oil on board, 20.5 x 16.5cm

George Bernard O'Neill (1828-1917) "THE BROKEN ENGAGEMENT" signed and indistinctly dated 1860, signed and dated verso and inscribed on a plaque attached to the frame, oil on panel 30 x 35.5cm

GEORGE BERNARD O'NEILL (1828-1917) DAISY CHAINS

signed GB O'Neill l.r., oil on panel 33 by 27.5 cm.; 13 by 10 3/4 in.