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Jack Butler Yeats RHA (1871-1957) DRIFT, 1941 signed lower right; original exhibition labels on reverse oil on canvas 61 by 91cm., 24 by 36in. Provenance: Sold by Leo Smith to Mrs Pym (Kathleen Fox), Dublin, 1944; Mrs J. E. Allnatt, Tullow; Adam's, Dublin, 9 October 1986 lot 56 (colour plate in catalogue); Private collection, England; Sotheby's, London, 11 November 1987; Waddington Galleries, London; Whence purchased by the present owner Exhibited: RHA, 1942 no. 72; Jack B. Yeats: National Loan Exhibition, National College of Art, Dublin, June - July 1945 catalogue no. 108; Loan Exhibition, New Gallery, Belfast, 14-26 June 1965 catalogue no. 2; Jack B. Yeats: A Centenary Exhibition, National Gallery of Ireland, September - December 1971 and Cultural Centre, New York, April - June 1972 catalogue no. 70; Jack B. Yeats: The Late Paintings, Arnolfini Gallery, Bristol, Whitechapel Art Gallery, London, and Haags Gemeentemusuem, The Hague, 16 February - 15 September 1991 catalogue no. 14; Jack B. Yeats, Waddington Galleries, with Theo Waddington Fine Art, London, 16 February ' 12 March 1995 catalogue no. 17 ( reproduced in catalogue) Literature: Irish Times, 30 March 1942; Irish Independent, 30 March 1942; Lia Clarke, 'RHA Show', Irish Press 30 March 1942; Hilary Pyle, Jack B. Yeats: A Catalogue Raisonne of the Oil Paintings, Andre Deutsch, London, 1992 volume I, page 479, catalogue no. 520; colour plate reproduction, volume III, page 300; T G. Rosenthal, The Art of Jack B. Yeats, Andre Deutsch, 1993 colour plate 58, page 102 listed page 282; Bruce Arnold, Jack B. Yeats, exhibition catalogue, Waddington Galleries, London, 1995 pages 24-5. E600000-800000 (GBP405000-540000 approx.) Hilary Pyle has written of this work: 'One of Yeats's lyrical fantasies, looking back to the salad days of 442 [Tears, 1932] and 443 [Dancing on the Deck, 1932]. A man and a woman, in party dress, are adrift in the ocean, the man singing to the music of his mandolin, the girl, with her back to him, buried in the book she is reading. Because of the height of imaginative description, backed by the intensity of the colouring, Yeats achieves a moment of true poetry, where the imagined becomes real and it is a fantasy no longer' (Pyle, op. cit., volume II, page 479).