George Bernard O'Neill Sold at Auction Prices

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

George Bernard O'Neill (Irish, 1828-1917) 'Grandfather's Pet' signed ' G. B. O'Neill' l.r., oil on panel 30 x 25cm Provenance: With Gladwell & Patterson, London. Condition Report: Framed: 37 x 32cm On close inspection a fine 9cm vertical line is visible to the centre right of the bottom edge. Light surface dirt. The work overall presents well and is ready to hang. Not examined under UV light. For full condition report, please contact the department.

George Bernard O'Neill (British, 1828-1917) The Baker's boy

George Bernard O'Neill (British, 1828-1917) The Baker's boy bears signature (on the reverse) oil on board 14.3 x 11.4cm (5 5/8 x 4 1/2in). For further information on this lot please visit the Bonhams website

GEORGE BERNARD O'NEILL (BRITISH 1828-1917), THE FAVOURITE

GEORGE BERNARD O'NEILL (BRITISH 1828-1917)THE FAVOURITEOil on panelSigned with initials (lower right) and signed and inscribed on the reverse: The Favourite / by G. B. O'Neill / Willesley 1868 24 x 29.5cm (9¼ x 11½ in.)Provenance:Sale, Sotheby's London, 6th of March 2008, lot 70

George Bernard O'Neill (1828-1917) The Goose Girl

George Bernard O'Neill (1828-1917) The Goose Girl oil on canvas signed lower left h:51  w:40.80 cm. Provenance: Private Collection In a laneway lined with medieval houses, a young woman wearing an apron and bonnet, and carrying a pail, approaches a flock of geese. Behind her, a group of older people, including an elderly man with a walking stick, stand outside a cottage door. While style and subject matter suggests this is a later work by O'Neill, and perhaps an attempt to emulate the work of his contemporaries in France or Belgium, the setting of this painting is almost certainly Cranbrook in Kent, a town famed for its old houses, windmills and inns. O'Neill was a successful genre painter, and wanted his images to 'tell a story'. The young woman's stance, head tilted to one side, indicates perhaps that she cares little for the gossips behind her. Born in Dublin in 1828, son of Bernard and Sarah O'Neill, George Bernard O'Neill was brought to England as a child. His father worked as a storekeeper at Woolwich arsenal, and O'Neill, the ninth of fifteen children, attended school locally. After studying at the RA schools, O'Neill enjoyed success, specialising in genre scenes and paintings of childhood. While appealing to Victorian sentimentality, his works are also reflective of conditions in society-as with his 1852 The Foundling. In 1859, after his marriage to Emma Callcott, (a cousin of John Callcott Horsley), O'Neill joined a group of artists based at Cranbrook, near Sissinghurst in Kent. Founded by Frederick Daniel Hardy, the Cranbrook colony included O'Neill's cousin in law Callcott Horsley, along with George Hardy, Thomas Webster, George Henry Boughton and Augustus Mulready. While living in London during the winter months, in summertime O'Neill and his wife rented Old Wilsley House, a medieval timber framed residence near Cranbrook, which became the setting for many of his paintings. The couple had seven children, who, as they grew up, provided models for paintings such as The Rehearsal, The Daisy Chain, The Game of Hide and Seek, and Piggy-back. In works such as The Quaker and the Tax Gatherer, he tackled more serious issues. His Manning the Navy (1860) is an ambitious work, redolent of the jingoism of Victorian Britain, while Thomas Wentworth, 1st Earl of Stafford depicts children enacting a scene from history. A member of the Art Union and active in London's artistic circles, O'Neill was a friend and supporter of James MacNeill Whistler. A popular artist at the outset of his career, his work gradually fell out of favour, and when he died in 1917 he had not exhibited for many years. Peter Murray, March 2022

GEORGE O'NEILL The Foundling

GEORGE O'NEILL The Foundling engraving 15 x 25.5cm PROVENANCE The Royal Australian and New Zealand College of Obstetricians and Gynaecologists (RANZCOG)

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.

GEORGE BERNARD O'NEILL (1828-1917)Hide and SeekOil on canvas, 61 x 50cm (24 x 19¾'')Signed

GEORGE BERNARD O'NEILL (1828-1917)Hide and SeekOil on canvas, 61 x 50cm (24 x 19¾'')Signed

George Bernard O'Neill (1828-1917), Traveler on horseback, Oil

Oil on canvas Ireland, 19th century George Bernard O'Neill (1828-1917) – Irish genre painter Monogramed 'GBON' lower left Verso inscribed 'Painted by G. Bernard O'Neill' Dimensions: 25.8 x 34.5 cm Gilt stucco frames: 49 x 58.5 cm Provenance: Private collection, Italy Picturesque village impression: A couple travelling on horseback say´s hello to the villagers in front of half-timbered houses – a rare work of the Irish painter George Bernard O'Neill. Condition: The varnish is darkened and somewhat stained. There are areas with rubbing due to the frame along the upper edges and corners of the canvas. Scattered retouched spots can be found. The overall impression is good. The frame shows traces of usage and age as tears. The dimensions are 25.8 x 34.5 cm and the frame measures 49 x 58.5 cm. George B. O'Neill (1828-1917) The Dublin-born George Bernard O'Neill was an Irish genre and portrait painter and belonged to the circle of the painters of the English Cranbrook Colony in Kent. O'Neill studied at Royal Academy in London, where his works were shown in exhibitions since c. 1850. The artist became very successful. His oeuvre focusses on narrative scenes from everyday life with figures in interiors, which are characterized by the charming atmosphere of the paintings and empathy of the artist. Works of O'Neill are in the following collections: National Gallery in London and in the museums of the cities Leeds, Liverpool, Preston and Sheffield. (msc) Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

George Bernard O'Neill (1828-1917), Traveler on horseback, Oil

Oil on canvas Ireland, 19th century George Bernard O'Neill (1828-1917) – Irish genre painter Monogramed 'GBON' lower left Verso inscribed 'Painted by G. Bernard O'Neill' Dimensions: 25.8 x 34.5 cm Gilt stucco frames: 49 x 58.5 cm Provenance: Private collection, Italy Picturesque village impression: A couple travelling on horseback say´s hello to the villagers in front of half-timbered houses – a rare work of the Irish painter George Bernard O'Neill. Condition: The varnish is darkened and somewhat stained. There are areas with rubbing due to the frame along the upper edges and corners of the canvas. Scattered retouched spots can be found. The overall impression is good. The frame shows traces of usage and age as tears. The dimensions are 25.8 x 34.5 cm and the frame measures 49 x 58.5 cm. George B. O'Neill (1828-1917) The Dublin-born George Bernard O'Neill was an Irish genre and portrait painter and belonged to the circle of the painters of the English Cranbrook Colony in Kent. O'Neill studied at Royal Academy in London, where his works were shown in exhibitions since c. 1850. The artist became very successful. His oeuvre focusses on narrative scenes from everyday life with figures in interiors, which are characterized by the charming atmosphere of the paintings and empathy of the artist. Works of O'Neill are in the following collections: National Gallery in London and in the museums of the cities Leeds, Liverpool, Preston and Sheffield. (msc) Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

GEORGE BERNARD O'NEIL (1828-1917) A study of young children in an interior,

GEORGE BERNARD O'NEIL (1828-1917) A study of young children in an interior, with their dog and a basket of puppies, signed lower right and dated '95, oil on canvas, 13.5" x 17.75". See illustration

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)'MY, HOW THEY HAVE GROWN'Signed l.r., oil on canvas laid down on

George Bernard O'Neill (1828-1917) 'MY, HOW THEY HAVE GROWN' Signed l.r., oil on canvas laid down on panel 27 x 23cm

George Bernard O'Neill, (1828-1917) The Favourite Oil on board, 25 x 29.5cm (9¾ x 11½'') Signed with initials, also inscribed with title, artist's name & 'Willisley' and dated 1868, probably in artist's hand verso O'Neill was born in Dublin but left

George Bernard O'Neill, (1828-1917) The Favourite Oil on board, 25 x 29.5cm (9¾ x 11½'') Signed with initials, also inscribed with title, artist's name & 'Willisley' and dated 1868, probably in artist's hand verso O'Neill was born in Dublin but left for England in 1837, and was accepted at the Royal Academy Schools in 1845. A successful student, he regularly exhibited at the Royal Academy from 1847 onwards, and gained a reputation as a painter of charming narrative scenes. He was a member of the Cranbrook Colony, a group of artists who settled in Cranbrook, Kent from 1854 onwards and were inspired by seventeenth-century Dutch and Flemish painters. They have been referred to as 'genre' painters as they tended to paint scenes of everyday life that they saw around them, typically scenes of domestic life; cooking and washing, children playing and other family activities. The popularity of these scenes led to success for the artist in the 1850s-1870s, when his works were eagerly collected by entrepreneurs and industrialists of the area. The artist expressed his pleasure at this recognition by the public in his painting 'Public Opinion', which was shown at the Royal Academy in 1863 (at present at the Leeds City Art Gallery).

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, (1829-1917), The Task,

GEORGE BERNARD O'NEILL, (1829-1917), The Task, 1879, oil on canvas, signed and dated lower right: G B O'Neill 79|, 60.0 x 50.0 cm

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) Post Time, Oil

George Bernard O'Neill (1828-1917) Post Time, Oil on canvas, Signed and dated '77 lower left, 61 x 50cm (24 x 193/4in) Provenance: with Frost & Reed Ltd.

George Bernard O'Neil (1828-1917), Irish/English. BROTHER AND SISTERLY LOVE

George Bernard O'Neil (1828-1917), Irish/English. BROTHER AND SISTERLY LOVE; Oil on canvas; signed lower right24" x 19.75" - 61 x 50.2 cm.

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