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Jack Butler Yeats Sold at Auction Prices

Painter, Illustrator

Jack Butler Yeats 1871-1957. Painter and illustrator, born in London, the son of the painter, John Butler Yeats, (1839-1922) and brother of the poet, William Butler Yeats, (1865-1939).

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            • JACK BUTLER YEATS, RHA, THE MASTERS.
              Jan. 24, 2024

              JACK BUTLER YEATS, RHA, THE MASTERS.

              Est: €30 - €60

              JACK BUTLER YEATS, RHA, THE MASTERS.

              Purcell Auctioneers
            • YEATS, Jack Butler (1871-1957) A Broadside [The Complete Set of 84 issues]
              Dec. 13, 2023

              YEATS, Jack Butler (1871-1957) A Broadside [The Complete Set of 84 issues]

              Est: £7,000 - £10,000

              YEATS, Jack Butler (1871-1957) A Broadside [The Complete Set of 84 issues]. Dundrum, County Dublin: Dun...

              Christie's
            • Jack Butler Yeats RHA (1871 - 1957) The Bruiser (1900) Watercolour 24.9 x 17.5cm (9 7/8 x 6 7/8”) Signed twice, in watercolour and in pencil Provenance: With The Dawson Gallery, Dublin, label verso; Collection of Dr Graham McCarthy, Stockholm;
              Dec. 06, 2023

              Jack Butler Yeats RHA (1871 - 1957) The Bruiser (1900) Watercolour 24.9 x 17.5cm (9 7/8 x 6 7/8”) Signed twice, in watercolour and in pencil Provenance: With The Dawson Gallery, Dublin, label verso; Collection of Dr Graham McCarthy, Stockholm;

              Est: €8,000 - €10,000

              Jack Butler Yeats RHA (1871 - 1957) The Bruiser (1900) Watercolour 24.9 x 17.5cm (9 7/8 x 6 7/8”) Signed twice, in watercolour and in pencil Provenance: With The Dawson Gallery, Dublin, label verso; Collection of Dr Graham McCarthy, Stockholm; With Waddington Galleries, London, labels verso; Sale, these rooms, 5/12/2001, lot 89; With Theo Waddington’s Irish Art Project, labels verso; Private Collection, Ireland Exhibited: Dublin, Leinster Hall, March 1900, Sketches of Life in the West of Ireland and Elsewhere, cat.no.41; Oxford, Clarendon Hotel, October 1900, Sketches of Life in the West of Ireland; London, Walker Art Gallery, February 1901, Sketches of Life in the West of Ireland and Elsewhere, cat.no. 43; New York, Clausen Galleries, March/April 1904, Recent Watercolours, cat. no. 11; Dublin, The Dawson Gallery, Nov/Dec 1962, Watercolours and Pen and Ink Drawings, cat.no. 47. Literature: H.Pyle, Jack B. Yeats, His Watercolours, Drawings and Pastels, cat.no. 500, p.131, where she describes the work thus: “A boxer on his way into a changing room which is already crowded. To the left is the entrance to the ring, where some men and women are discussing the contest.”

              Adam's
            • Jack Butler Yeats RHA (1871 - 1957) Young John (1904) Watercolour 24.1 x 19cm (9 ½ x 7 ½“) Signed, inscribed Provenance: Sold at the 1905 Dublin exhibition to Jack Geoghegan Exhibition: New York, Clausen Galleries, March/April 1904, Re
              Dec. 06, 2023

              Jack Butler Yeats RHA (1871 - 1957) Young John (1904) Watercolour 24.1 x 19cm (9 ½ x 7 ½“) Signed, inscribed Provenance: Sold at the 1905 Dublin exhibition to Jack Geoghegan Exhibition: New York, Clausen Galleries, March/April 1904, Re

              Est: €6,000 - €8,000

              Jack Butler Yeats RHA (1871 - 1957) Young John (1904) Watercolour 24.1 x 19cm (9 ½ x 7 ½“) Signed, inscribed Provenance: Sold at the 1905 Dublin exhibition to Jack Geoghegan Exhibition: New York, Clausen Galleries, March/April 1904, Recent Watercolours, cat. no. 21; London, Guildhall, May/July 1904, Loan Exhibition of Irish Artists, cat.no.75; Dublin, Leinster Hall, October 1905, Literature: H.Pyle, Jack B. Yeats, His Watercolours, Drawings and Pastels, cat.no. 500, p.131

              Adam's
            • Jack Butler Yeats RHA (1871-1957) 'Blue Jackets in Fancy Dress' (1897), also known as 'Men-o'-War(s) in Fancy Dress (Costume)' Watercolour over pencil, 35 x 18.8cm (13¾ x 7½) Provenance: With the Waddington Galleries, London; Mrs S. Levy, Londo
              Dec. 06, 2023

              Jack Butler Yeats RHA (1871-1957) 'Blue Jackets in Fancy Dress' (1897), also known as 'Men-o'-War(s) in Fancy Dress (Costume)' Watercolour over pencil, 35 x 18.8cm (13¾ x 7½) Provenance: With the Waddington Galleries, London; Mrs S. Levy, Londo

              Est: €5,000 - €10,000

              Jack Butler Yeats RHA (1871-1957) 'Blue Jackets in Fancy Dress' (1897), also known as 'Men-o'-War(s) in Fancy Dress (Costume)' Watercolour over pencil, 35 x 18.8cm (13¾ x 7½) Provenance: With the Waddington Galleries, London; Mrs S. Levy, London; Exhibited London, Clifford Gallery - Watercolour Sketches, 1897, Cat. No. 7; London, Waddington Galleries - Early Watercolours, 1961, Cat. No. 17 (illustrated) Literature: Hilary Pyle, Jack B. Yeats - His Watercolours, Drawings and Pastels. Irish Academic Press 1993, Cat. No. 78, illustrated p. 68.

              Adam's
            • Jack Butler Yeats RHA (1871-1957) The Strand Races, The Finish, (1906) Ink on Paper, 14.7 x 46.4cm (5¾ x 18¼) Signed Provenance: The Dawson Gallery, Dublin; Christie's, London, 9 November 1984, lot 72; Theo Waddington's Irish Art Project, labe
              Dec. 06, 2023

              Jack Butler Yeats RHA (1871-1957) The Strand Races, The Finish, (1906) Ink on Paper, 14.7 x 46.4cm (5¾ x 18¼) Signed Provenance: The Dawson Gallery, Dublin; Christie's, London, 9 November 1984, lot 72; Theo Waddington's Irish Art Project, labe

              Est: €15,000 - €20,000

              Jack Butler Yeats RHA (1871-1957) The Strand Races, The Finish, (1906) Ink on Paper, 14.7 x 46.4cm (5¾ x 18¼) Signed Provenance: The Dawson Gallery, Dublin; Christie's, London, 9 November 1984, lot 72; Theo Waddington's Irish Art Project, label verso; Sale, Sotheby's, London 2015 Exhibited: London, Whitechapel Art Gallery, Summer Exhibition of Irish Art, 21 May - 29 June 1913, no.71 Literature: Hilary Pyle, The Different Worlds of Jack B. Yeats: His Cartoons and Illustrations, Irish Academic Press, Dublin, 1994, no.2015, p.283

              Adam's
            • Jack Butler Yeats (Irish 1871–1957), Evening, Cuala Press Hand Colored Print, Signed in Plate l.r., Frame: 11 3/4 x 14 3/4 in. (29.8 x 37.5 cm.)
              Dec. 05, 2023

              Jack Butler Yeats (Irish 1871–1957), Evening, Cuala Press Hand Colored Print, Signed in Plate l.r., Frame: 11 3/4 x 14 3/4 in. (29.8 x 37.5 cm.)

              Est: $50 - $100

              Jack Butler Yeats (Irish 1871–1957), Evening, Cuala Press Hand Colored Print, Signed in Plate l.r.,

              Weschler's
            • Untitled: Interior
              Nov. 22, 2023

              Untitled: Interior

              Est: £4,000 - £6,000

              Jack B. Yeats, R.H.A. 1871 - 1957 Untitled: Interior signed with monogram (lower right) watercolour and gouache on paper unframed: 35.5 by 25.5cm.; 14 by 10in. framed: 48 by 38cm.; 19 by 15in. Executed circa 1908.

              Sotheby's
            • Cygnets in Stephen's Green
              Nov. 22, 2023

              Cygnets in Stephen's Green

              Est: £60,000 - £80,000

              Jack B. Yeats, R.H.A. 1871 - 1957 Cygnets in Stephen's Green signed JACK B YEATS (lower left); titled and also inscribed SWANS IN STEPHENS GREEN (on the reverse) oil on panel unframed: 23 by 35.5cm.; 9 by 14in framed: 40.5 by 53.5cm.; 16 by 21in. Executed in 1925. 

              Sotheby's
            • The Trotter
              Nov. 21, 2023

              The Trotter

              Est: £80,000 - £120,000

              Jack Butler Yeats, R.H.A. 1871 - 1957 The Trotter signed JACK B YEATS (lower left) oil on panel unframed: 23.5 by 36cm.; 9¼ by 14in. framed: 38.5 by 51.5cm.; 15 by 20¼in. Executed in 1925.

              Sotheby's
            • The Donkey Show
              Nov. 21, 2023

              The Donkey Show

              Est: £400,000 - £600,000

              Jack Butler Yeats, R.H.A. 1871 - 1957 The Donkey Show signed JACK B YEATS (lower left); titled (on the reverse) oil on canvas unframed: 46 by 61cm.; 18 by 24in. framed: 75 by 89.5cm.; 29½ by 35½in. Executed in 1925.

              Sotheby's
            • Yeats. Portrait of an Artistic Family. Hilary Pyle. Holberton. 1997. large
              Nov. 08, 2023

              Yeats. Portrait of an Artistic Family. Hilary Pyle. Holberton. 1997. large

              Est: €50 - €90

              Yeats. Portrait of an Artistic Family. Hilary Pyle. Holberton. 1997. large format. dj. and Jack B. Yeats 1871-1957 a centenary exhibition. 2 attractive books

              Purcell Auctioneers
            • § Jack Butler Yeats R.H.A (Irish 1871-1957) Inlet
              Oct. 27, 2023

              § Jack Butler Yeats R.H.A (Irish 1871-1957) Inlet

              Est: £2,500 - £3,500

              § Jack Butler Yeats R.H.A (Irish 1871-1957) Inlet signed in pencil (lower right), inscribed from Sketch Book inscribed "... at B****** Point 1898" in red pen (on backboard), watercolour on paper (8.7cm x 12.7cm (3 3/8in x 5in))

              Lyon & Turnbull
            • Jack Butler Yeats RHA (1871-1957) On the Stones - The Cattle Market, Caledonian Road, Selling Cheap Nags, (c.1950) Indian ink on card, 35.5 x 52cm (14 x 20½) Signed Provenance: Waddington Galleries, London; Private Collection Exhibited: '2
              Sep. 27, 2023

              Jack Butler Yeats RHA (1871-1957) On the Stones - The Cattle Market, Caledonian Road, Selling Cheap Nags, (c.1950) Indian ink on card, 35.5 x 52cm (14 x 20½) Signed Provenance: Waddington Galleries, London; Private Collection Exhibited: '2

              Est: €10,000 - €15,000

              Jack Butler Yeats RHA (1871-1957) On the Stones - The Cattle Market, Caledonian Road, Selling Cheap Nags, (c.1950) Indian ink on card, 35.5 x 52cm (14 x 20½) Signed Provenance: Waddington Galleries, London; Private Collection Exhibited: '25th Annual Exhibition', Art Society Belfast, 1905; 'Sketches of Life in the West of Ireland', Leinster Hall, Dublin, 1-20 October 1906, cat. No. 40; 'Pictures of Life in the West of Ireland', Walker Art Gallery, London, 3-29 February 1908, no. 43; 'Early Drawings and Watercolours', Victor Waddington, London 27 Oct - 18 Nov 1967, no. 10 (reproduced); 'Jack B. Yeats Retrospective Exhibition', Waddington Fine Arts, Montreal 12 March - 5 April 1969, no. 40 Literature: Manchester Guardian, 28 January 1905 (7); (reproduced); Pyle, Hilary, 'The Different Worlds of Jack B. Yeats. His Cartoons and Illustrations' Irish Academic Press, 1994, catalogue no. 651, p.117 (listed), p.119 (illustrated) One from a series of twenty-eight illustrations of life in the East End of London, called Pastimes of the Londoners. Intended as a book which was not in the end published, this illustration did appear in the Manchester Guardian in January 1905 when it was accompanied by an article by Jack Yeats.

              Adam's
            • Jack Butler Yeats RHA (1871-1957) The Woods in The Bay / The Woods and The Bay (1955) Oil on panel, 23 x 35.5cm (9 x 14”) Signed, inscribed with title ‘The Woods and The Bay’ verso Provenance: Wilfred Evill Collection; Miss Honor Frost, executo
              Sep. 27, 2023

              Jack Butler Yeats RHA (1871-1957) The Woods in The Bay / The Woods and The Bay (1955) Oil on panel, 23 x 35.5cm (9 x 14”) Signed, inscribed with title ‘The Woods and The Bay’ verso Provenance: Wilfred Evill Collection; Miss Honor Frost, executo

              Est: €40,000 - €60,000

              Jack Butler Yeats RHA (1871-1957) The Woods in The Bay / The Woods and The Bay (1955) Oil on panel, 23 x 35.5cm (9 x 14”) Signed, inscribed with title ‘The Woods and The Bay’ verso Provenance: Wilfred Evill Collection; Miss Honor Frost, executor of the collection; Sale, these rooms, 12 February 1981, lot 53; Private Collection, Dublin. Exhibited: Brighton, Brighton Art Gallery & Museum, June/August 1965, cat. no. 283, label verso Literature: Hilary Pyle, A Catalogue Raisonné of The Oil Paintings, Andre Deutsch, 1992, cat. no. 1182. The Wood in the Bay is one of Jack B. Yeats’s last works. It was completed in August 1955 when the artist was living in Portobello Nursing Home and visiting his studio in Fitzwilliam Square to complete his paintings.¹ He died in March 1957, less than two years later. Hilary Pyle notes that in Yeats’s final paintings there is ‘greater abstraction of form and setting and a tendency to purer tones, … the mood is more overtly spiritual’.² This is evident in this delicate, ethereal landscape. Its palette consists of subtle greens and blues evoking a summer vista of open water and verdant terrain. The large blue silhouette of a mountain in the background has the shape of Ben Bulben. A copse of trees in the mid left, sculpted out of impasto, add texture and depth to the composition. In the right foreground touches of orange suggest the colourful flora of the West of Ireland, such as the exotic Montbretia. The blustery sky consists of vertical lines of white board visible through the blue. Elsewhere vivacious brushstrokes convey the movement of the clouds and the constantly changing environment of the Irish landscape. Energy is evident throughout the composition, from the sweep of water in the foreground to the quivering trees and shuddering clouds in the sky above. Dr Roisin Kennedy July 2023 1. H.Pyle, Jack B. Yeats, A Catalogue Raisonne of the Oil paintings, l, p.1083 Ibid.

              Adam's
            • Jack Butler Yeats RHA (1871-1957) On a Western Quay/ Sligo Quay (1923) Oil on panel, 23 x 35.5cm (9 x 14”) Signed Provenance: Sir Patrick Ford, London; With J. Leger & Son, Old Bond Street, London, November 1942 label verso; Sale, these roo
              Sep. 27, 2023

              Jack Butler Yeats RHA (1871-1957) On a Western Quay/ Sligo Quay (1923) Oil on panel, 23 x 35.5cm (9 x 14”) Signed Provenance: Sir Patrick Ford, London; With J. Leger & Son, Old Bond Street, London, November 1942 label verso; Sale, these roo

              Est: €100,000 - €150,000

              Jack Butler Yeats RHA (1871-1957) On a Western Quay/ Sligo Quay (1923) Oil on panel, 23 x 35.5cm (9 x 14”) Signed Provenance: Sir Patrick Ford, London; With J. Leger & Son, Old Bond Street, London, November 1942 label verso; Sale, these rooms 16 March 1978, lot 114; Private Collection, Dublin. Exhibited: Dublin, Stephen’s Green Gallery, April/May 1923, Drawings and Pictures of Life in the West of Ireland, cat. no.24; New York, Society of Independent Artists, Annual Exhibition, March 1924; London, Tooth, Pictures of Irish Life, cat. no. 33; London, Leger Galleries, October 1942, London Group 4th Wartime Exhibition. Literature: Listener (6 April 1942); Hilary Pyle, A Catalogue Raisonné of The Oil Paintings, Andre Deutsch, 1992, cat. no. 193. Bounded by a spectacular West of Ireland landscape, a sailor leans against a wooden building, its planked construction giving a sense of structure and solidity to the right hand side of the painting. Its starkness makes the surrounding scenery appear even more fantastical. A high mountain dominates the vista with a large ascendancy house to its left. In the centre huddled along a causeway are a line of comparatively tiny cottages. Hilary Pyle has identified the location as Drumcliffe, the area north of Sligo town, under the shadow of Ben Bulben, where W. B. Yeats was later buried and where the Yeats’s paternal grandfather was once the clergyman.¹ The rugged shaped mountain has also been identified as Knocknarea, to the south of Sligo town, on a note on a label on the reverse. It is not possible to identify the specific location. Yeats seems to have exaggerated the details of the view for dramatic effect as he did in many of his later epic paintings such as On Through the Silent Lands (1951, Ulster Museum) and Two Travellers (1942, Tate Gallery), both of which feature similar glacial peaks. Here the juxtaposition of the large house and the sheer limestone cliff face of the mountainside convey a familiar congruence of manmade splendour and the more sublime beauty of nature as it exists in the West of Ireland. This, as in all Yeats’s work, is painted from memory and may combine different elements in the one composition. The details are probably gleaned partly from the perusal of earlier sketches. The man is dressed in a dark double breasted, marine style jacket and a peaked cap, like that of the pilot, a recurring figure in the work of Yeats. The pilot is based on Michel Gillen, who worked at Rosses Point when Yeats was a child living with his grandparents in Sligo. Gillen’s job was to guide merchant ships from Rosses Point along the Garavogue River to the quayside in Sligo town. The pilot’s job required great skill in navigation and sailing as well as a deep knowledge and understanding of the geography and conditions of the Garavogue and its environs. He appears in several of Yeats’s drawings and paintings, often in or near the Pilot House, a look-out hut, which was located on the headland at Rosses Point, and from where he could watch for the arrival of ships into the river mouth. In a contemporary work, Pilot Comes Ashore, (1923, Private Collection) the pilot stands on a quay in front of Knocknarea.² In Sligo Quay, he appears as an outsider in the depths of the countryside, his pose retaining a nautical stance. This solitary male figure in an expansive landscape that moves between water and mountain becomes a major theme in Yeats’s later work. Here the traveller is the pilot man who waits patiently for his boat to arrive rather than the nomads of the later work. He contemplates the incoming tide instead of the magnificent landlocked world beside him. The mixture of the building types in this space – the large colonial mansion and modest dwellings - denotes the complex history of rural Ireland. When the painting was made in 1923, the conflict generated by this past was raging throughout the land, and the solemn pose of the figure and the quiet calm of the view could be seen to reflect contemporary political and social tension. It shares the clarity of vision, psychological intensity, and rich colour with such other work of this period as the Island Funeral (1923, Model Sligo), Liffey Swim (1923, NGI) and Early Morning, Glasnevin (1923, Private Collection). The stone bollard on the quayside demarcates the foreground of the painting. Its solid form casts a shadow across the stone blocks of the quay, leading to the pilot. Touches of red in the sky suggest the slow dissent of the sun which casts its intense light on the gables of the houses and on the mountain cliffs in the distance, also heightened in red tones. Movement is conveyed by the blue turquoise torrent of the water and the cloud strewn sky above, a subtle indication of change and energy in the otherwise tranquil scene. The painting was exhibited in Dublin in 1923, at the Society of Independent Artists in New York in 1924, at the Goupil Gallery, London in 1925 and in the Leger Galleries in London in 1942. It belonged to the Scottish politician and art collector, Sir Patrick Ford for many years. Dr Róisín Kennedy (July 2023) H.Pyle, Jack B. Yeats, A Catalogue Raisonné of the Oil paintings, l, p.169 H.Pyle, Jack B. Yeats, A Catalogue Raisonné of the Oil paintings, l, p.170

              Adam's
            • Jack Butler Yeats RHA (1871-1957) A Western Ocean Beau (1912) Pen and Indian ink, 26.8 x 19.4cm (10 ½ x 7 ¾ “) Signed and inscribed with title Provenance: The Yeats Family, their sale, Sotheby’s London, 27th September 2017, lot 189 Literatur
              Sep. 27, 2023

              Jack Butler Yeats RHA (1871-1957) A Western Ocean Beau (1912) Pen and Indian ink, 26.8 x 19.4cm (10 ½ x 7 ¾ “) Signed and inscribed with title Provenance: The Yeats Family, their sale, Sotheby’s London, 27th September 2017, lot 189 Literatur

              Est: €8,000 - €12,000

              Jack Butler Yeats RHA (1871-1957) A Western Ocean Beau (1912) Pen and Indian ink, 26.8 x 19.4cm (10 ½ x 7 ¾ “) Signed and inscribed with title Provenance: The Yeats Family, their sale, Sotheby’s London, 27th September 2017, lot 189 Literature: Hilary Pyle, The Different Worlds of Jack B. Yeats – His Cartoons and Illustrations, ref no. 1881 & 2093. Reproduced: A Broadside, no. 11 fourth year (April 1912); also issued in Cuala Press calendar for 1935.

              Adam's
            • Jack Butler Yeats RHA (1871-1957) Illustration to ‘Roll the Cotton Down, (Halliards Chanty)’ (1911) Pen and Indian ink, 9 x 13.6cm (3 ½ x 5 ¼ “) Signed with monogram, twice Provenance: The Yeats Family, their sale, Sotheby’s London, 27th Septem
              Sep. 27, 2023

              Jack Butler Yeats RHA (1871-1957) Illustration to ‘Roll the Cotton Down, (Halliards Chanty)’ (1911) Pen and Indian ink, 9 x 13.6cm (3 ½ x 5 ¼ “) Signed with monogram, twice Provenance: The Yeats Family, their sale, Sotheby’s London, 27th Septem

              Est: €1,500 - €2,500

              Jack Butler Yeats RHA (1871-1957) Illustration to ‘Roll the Cotton Down, (Halliards Chanty)’ (1911) Pen and Indian ink, 9 x 13.6cm (3 ½ x 5 ¼ “) Signed with monogram, twice Provenance: The Yeats Family, their sale, Sotheby’s London, 27th September 2017, lot 189 Literature: Hilary Pyle, The Different Worlds of Jack B. Yeats – His Cartoons and Illustrations, ref no. 1835. Reproduced: A Broadside, no. 8 third year (January 1911)

              Adam's
            • Jack Butler Yeats RHA (1871-1957) Illustration to ‘Blow, Bullies, Blow (Halliards Chanty)’ (1911) Pen and Indian ink, 10.5 x 14.4cm (4 ¼ x 5 ¾ “) Signed Provenance: The Yeats Family, their sale, Sotheby’s London, 27th September 2017, lot 189
              Sep. 27, 2023

              Jack Butler Yeats RHA (1871-1957) Illustration to ‘Blow, Bullies, Blow (Halliards Chanty)’ (1911) Pen and Indian ink, 10.5 x 14.4cm (4 ¼ x 5 ¾ “) Signed Provenance: The Yeats Family, their sale, Sotheby’s London, 27th September 2017, lot 189

              Est: €1,500 - €2,500

              Jack Butler Yeats RHA (1871-1957) Illustration to ‘Blow, Bullies, Blow (Halliards Chanty)’ (1911) Pen and Indian ink, 10.5 x 14.4cm (4 ¼ x 5 ¾ “) Signed Provenance: The Yeats Family, their sale, Sotheby’s London, 27th September 2017, lot 189 Literature: Hilary Pyle, The Different Worlds of Jack B. Yeats – His Cartoons and Illustrations, ref no. 1853. Reproduced: A Broadside, no. 2 fourth year (July 1911); A Little Book of Drawings (1979).

              Adam's
            • Jack Butler Yeats RHA (1871-1957) Illustration to ‘The Flash Frigate’ (1911) Pen and Indian ink 10.2 x 14cm (4 x 5½ “) Signed Provenance: The Yeats Family, their sale, Sotheby’s London, 27th September 2017, lot 189 Literature: Hilary Pyle, T
              Sep. 27, 2023

              Jack Butler Yeats RHA (1871-1957) Illustration to ‘The Flash Frigate’ (1911) Pen and Indian ink 10.2 x 14cm (4 x 5½ “) Signed Provenance: The Yeats Family, their sale, Sotheby’s London, 27th September 2017, lot 189 Literature: Hilary Pyle, T

              Est: €2,000 - €3,000

              Jack Butler Yeats RHA (1871-1957) Illustration to ‘The Flash Frigate’ (1911) Pen and Indian ink 10.2 x 14cm (4 x 5½ “) Signed Provenance: The Yeats Family, their sale, Sotheby’s London, 27th September 2017, lot 189 Literature: Hilary Pyle, The Different Worlds of Jack B. Yeats – His Cartoons and Illustrations, ref no. 1867. Reproduced: A Broadside, no. 7 fourth year (December 1911)

              Adam's
            • Jack B Yeats: Jack B. Yeats. An appreciation and an interpretation MacGreev
              Sep. 13, 2023

              Jack B Yeats: Jack B. Yeats. An appreciation and an interpretation MacGreev

              Est: €40 - €80

              Jack B Yeats: Jack B. Yeats. An appreciation and an interpretation MacGreevy, Thomas Published by Victor Waddington Dublin, 1945, 1st Ed; Catalogue for Jack B Yeats Exhibition at the Victor Waddington Galleries October 1951 and also at the Dawson Gallery in 1966 (3)

              Purcell Auctioneers
            • A print by Jack B. Yeats (1871-1957) titled "Start of the Race." Published by The Cuala Press Limited, Dublin Ireland. 57x28cm with frame.
              Jun. 27, 2023

              A print by Jack B. Yeats (1871-1957) titled "Start of the Race." Published by The Cuala Press Limited, Dublin Ireland. 57x28cm with frame.

              Est: -

              A print by Jack B. Yeats (1871-1957) titled "Start of the Race." Published by The Cuala Press Limited, Dublin Ireland. 57x28cm with frame.

              Laganside Auctions
            • Jack Butler Yeats RHA (1871-1957) Near the Docks (1945) Oil on panel, 23 x 35.5cm (9 x 14) Signed Provenance: Mrs F. Davenport, Surrey; With Waddington Galleries, London; Private Collection, Dublin Exhibited: Limerick, Goodwin Galleries, Se
              May. 31, 2023

              Jack Butler Yeats RHA (1871-1957) Near the Docks (1945) Oil on panel, 23 x 35.5cm (9 x 14) Signed Provenance: Mrs F. Davenport, Surrey; With Waddington Galleries, London; Private Collection, Dublin Exhibited: Limerick, Goodwin Galleries, Se

              Est: €100,000 - €150,000

              Jack Butler Yeats RHA (1871-1957) Near the Docks (1945) Oil on panel, 23 x 35.5cm (9 x 14) Signed Provenance: Mrs F. Davenport, Surrey; With Waddington Galleries, London; Private Collection, Dublin Exhibited: Limerick, Goodwin Galleries, Sept. 1945 Literature: Hilary Pyle, Jack B. Yeats: A Catalogue Raisonné of The Oil Paintings, Andre Deutsch, London 1992, Cat No. 687 This late work depicts two figures at a quayside with tall buildings and boats and water behind them. The man in the peaked cap is reminiscent of the figure of the Pilot who appears in many of Yeats’s paintings including the Pilot Sligo River (1927, Private Collection), A Misty Morning, (1943, Private Collection) and the early watercolour The River Pilot, (1900, Model Sligo). The figure in this painting appears younger and less stern than the Pilot, but his cap, necktie and dark blue jacket are all hallmarks of the famous figure. The old man who rushes past the sailor, recalls the figure of the artist himself, who is usually dressed in this formal fashion with hat and long coat. His stooped pose contrasts with the self-assurance and upright stance of the sailor. It is as if a chance encounter had sparked off a memory of Yeats’s youth and the heroic figure of the river pilot who featured so large in his childhood. As a boy, Yeats often travelled on the pilot boat up and down the Garavogue river, where his grandfather William Pollexfen was a merchant in Sligo town. The young boy lived with his grandparents in Charlemont House, overlooking Sligo harbour. Near the Docks is one of several oils painted in 1945 that recall the ships and sailors of Sligo. Yeats was clearly remembering and thinking about this period in his life at the time. It is likely, given his focus on Sligo, that this work depicts the docks in the Western town. For another painting From the Old Pilot House, (1945, Private Collection) Yeats perused a sketchbook of 1902 in which he had drawn the Pilot house at Rosses Point.¹ He includes in the painting, an image of the Pilot gazing out to sea. The Pilot was crucial to the safe journey of merchant ships from the Atlantic to the docks in Sligo and his skill impressed the young Yeats who used him as a symbol of ingenuity and resolve throughout his subsequent career. The right-hand side of the composition is closed off by the imposing block of a quayside warehouse while the lower and more varied buildings on the left allow daylight to dominate. The flowing water of the riverside is conveyed by the striated surface of the panel which Yeats uses to create rhythmic lines throughout the work. The proximity of water and architecture gives an almost Venetian quality to the left-hand side of the painting. Such liminal spaces between land and water were a rich source of inspiration to Yeats who relished their ambiguity and the direct interaction between solid and liquid form that they encapsulated. The strong light of day almost dissolves the buildings and their solid forms are conveyed largely through reflected light on the surfaces of their walls such as the deep blues and yellows of the warehouse or the rich orange and yellow of the smaller building to the left. The two figures are sculpted out of thick pigment. The downcast head of the old man conveys his thoughtful expression despite the apparent anarchic arrangement of paint strokes. The face of the sailor is an astonishing passage of painting, with the fall of strong daylight from the left transforming the ear and chin into streaks of bright yellow. The left eye socket is in shadow and is molded out of purple paint. The application of pigment throughout the composition creates a sense of rapid movement and changing atmospheric effects. The chance encounter or memory that inspired Near the Docks is solidified by Yeats, in all its psychological and sensual intensity, through his remarkable handling of paint. Róisín Kennedy, April 2023

              Adam's
            • Jack Butler Yeats RHA (1871-1957) Figure of a Young Woman in a Landscape Indian ink and watercolour, 12.2 x 16.5cm (4¾ x 6½) Signed Provenance: Christie's, London, November 1983 where purchased by the present owner
              May. 31, 2023

              Jack Butler Yeats RHA (1871-1957) Figure of a Young Woman in a Landscape Indian ink and watercolour, 12.2 x 16.5cm (4¾ x 6½) Signed Provenance: Christie's, London, November 1983 where purchased by the present owner

              Est: €2,000 - €3,000

              Jack Butler Yeats RHA (1871-1957) Figure of a Young Woman in a Landscape Indian ink and watercolour, 12.2 x 16.5cm (4¾ x 6½) Signed Provenance: Christie's, London, November 1983 where purchased by the present owner

              Adam's
            • Jack Butler Yeats RHA (1871-1957) 'Blue Jackets in Fancy Dress' (1897), also known as 'Men-o'-War(s) in Fancy Dress (Costume)' Watercolour over pencil, 35 x 18.8cm (13¾ x 7½) Provenance: With the Waddington Galleries, London; Mrs S. Levy, Londo
              May. 31, 2023

              Jack Butler Yeats RHA (1871-1957) 'Blue Jackets in Fancy Dress' (1897), also known as 'Men-o'-War(s) in Fancy Dress (Costume)' Watercolour over pencil, 35 x 18.8cm (13¾ x 7½) Provenance: With the Waddington Galleries, London; Mrs S. Levy, Londo

              Est: €10,000 - €15,000

              Jack Butler Yeats RHA (1871-1957) 'Blue Jackets in Fancy Dress' (1897), also known as 'Men-o'-War(s) in Fancy Dress (Costume)' Watercolour over pencil, 35 x 18.8cm (13¾ x 7½) Provenance: With the Waddington Galleries, London; Mrs S. Levy, London; Exhibited London, Clifford Gallery - Watercolour Sketches, 1897, Cat. No. 7; London, Waddington Galleries - Early Watercolours, 1961, Cat. No. 17 (illustrated) Literature: Hilary Pyle, Jack B. Yeats - His Watercolours, Drawings and Pastels. Irish Academic Press 1993, Cat. No. 78, illustrated p. 68.

              Adam's
            • Jack Butler Yeats RHA (1871-1957) The Baker Rode a Pie-Bald (c. 1903) Watercolour, 17.2 x 26cm (6¾ x 10¼) Signed Literature: Hilary Pyle, Jack B. Yeats - His Watercolours, Drawings and Pastels. Irish Academic Press 1993, Cat. No. 446, illustra
              May. 31, 2023

              Jack Butler Yeats RHA (1871-1957) The Baker Rode a Pie-Bald (c. 1903) Watercolour, 17.2 x 26cm (6¾ x 10¼) Signed Literature: Hilary Pyle, Jack B. Yeats - His Watercolours, Drawings and Pastels. Irish Academic Press 1993, Cat. No. 446, illustra

              Est: €5,000 - €8,000

              Jack Butler Yeats RHA (1871-1957) The Baker Rode a Pie-Bald (c. 1903) Watercolour, 17.2 x 26cm (6¾ x 10¼) Signed Literature: Hilary Pyle, Jack B. Yeats - His Watercolours, Drawings and Pastels. Irish Academic Press 1993, Cat. No. 446, illustrated p. 121.

              Adam's
            • Jack Butler Yeats RHA (1871-1957) A Good Winner (1900) Pen, ink and watercolour, 21 x 13.5cm (8¼ x 5¼) Signed Provenance: With Victor Waddington, London, label verso; Mr & Mrs G. Rhodes; Private Collection Exhibited: London, Victor Waddin
              May. 31, 2023

              Jack Butler Yeats RHA (1871-1957) A Good Winner (1900) Pen, ink and watercolour, 21 x 13.5cm (8¼ x 5¼) Signed Provenance: With Victor Waddington, London, label verso; Mr & Mrs G. Rhodes; Private Collection Exhibited: London, Victor Waddin

              Est: €10,000 - €15,000

              Jack Butler Yeats RHA (1871-1957) A Good Winner (1900) Pen, ink and watercolour, 21 x 13.5cm (8¼ x 5¼) Signed Provenance: With Victor Waddington, London, label verso; Mr & Mrs G. Rhodes; Private Collection Exhibited: London, Victor Waddington - Early Drawings and Watercolours, Oct/Nov 1967, Cat. No. 62 Literature: Hilary Pyle - 'The Different Worlds of Jack B. Yeats,' Cat. No. 1570, illus. p224; Jack B. Yeats - 'Life in the West of Ireland,' 1912, p. 67

              Adam's
            • Jack Butler Yeats RHA (1871-1957) Beggar at the Door Pen, ink and watercolour wash, 16.3 x 12.5cm (6¼ x 5) Signed Provenance: Sale, Christies, London, c. 1970 (date unknown); where purchased by the present owner
              May. 31, 2023

              Jack Butler Yeats RHA (1871-1957) Beggar at the Door Pen, ink and watercolour wash, 16.3 x 12.5cm (6¼ x 5) Signed Provenance: Sale, Christies, London, c. 1970 (date unknown); where purchased by the present owner

              Est: €3,000 - €5,000

              Jack Butler Yeats RHA (1871-1957) Beggar at the Door Pen, ink and watercolour wash, 16.3 x 12.5cm (6¼ x 5) Signed Provenance: Sale, Christies, London, c. 1970 (date unknown); where purchased by the present owner

              Adam's
            • Jack Butler Yeats RHA (1871-1957) The Crown and the Anchor Man Pen and ink, 16 x 8.5cm (6¼ x 3½) Signed with monogram Provenance: With the Waddington Galleries, London, label verso; collection of Mr Tony Alkin; sale, Sotheby's London 21/5/9
              May. 31, 2023

              Jack Butler Yeats RHA (1871-1957) The Crown and the Anchor Man Pen and ink, 16 x 8.5cm (6¼ x 3½) Signed with monogram Provenance: With the Waddington Galleries, London, label verso; collection of Mr Tony Alkin; sale, Sotheby's London 21/5/9

              Est: €1,500 - €2,500

              Jack Butler Yeats RHA (1871-1957) The Crown and the Anchor Man Pen and ink, 16 x 8.5cm (6¼ x 3½) Signed with monogram Provenance: With the Waddington Galleries, London, label verso; collection of Mr Tony Alkin; sale, Sotheby's London 21/5/99, Lot 338; where purchased by the present owner Exhibited: Dublin, Leinster Hall - Pictures of Life in the West of Ireland, December 1910, illustrated on cover

              Adam's
            • Jack Butler Yeats RHA (1871-1957) The Race Pen, ink and watercolour wash, 24 x 16.6cm (9½ x 6½) Signed and inscribed Provenance: Sale, Christies, London 21/11/95, lot 24; where purchased by present owner
              May. 31, 2023

              Jack Butler Yeats RHA (1871-1957) The Race Pen, ink and watercolour wash, 24 x 16.6cm (9½ x 6½) Signed and inscribed Provenance: Sale, Christies, London 21/11/95, lot 24; where purchased by present owner

              Est: €8,000 - €12,000

              Jack Butler Yeats RHA (1871-1957) The Race Pen, ink and watercolour wash, 24 x 16.6cm (9½ x 6½) Signed and inscribed Provenance: Sale, Christies, London 21/11/95, lot 24; where purchased by present owner

              Adam's
            • Jack Butler Yeats RHA (1871-1957) I Will Not Sit on the Grass, She Said Indian ink and watercolour, 11.3 x 15cm (4½ x 6) Signed Provenance: With the Dawson Gallery, Dublin; Sale, Sotheby's London 10/06/81, Lot 158, where purchased by the prese
              May. 31, 2023

              Jack Butler Yeats RHA (1871-1957) I Will Not Sit on the Grass, She Said Indian ink and watercolour, 11.3 x 15cm (4½ x 6) Signed Provenance: With the Dawson Gallery, Dublin; Sale, Sotheby's London 10/06/81, Lot 158, where purchased by the prese

              Est: €3,000 - €5,000

              Jack Butler Yeats RHA (1871-1957) I Will Not Sit on the Grass, She Said Indian ink and watercolour, 11.3 x 15cm (4½ x 6) Signed Provenance: With the Dawson Gallery, Dublin; Sale, Sotheby's London 10/06/81, Lot 158, where purchased by the present owner. Jack B. Yeats produced his greatest volume of watercolour work during a period (c. 1897-1910) when he was also very active as a cartoonist and illustrator. So, as much as the eye is drawn to the vivid application of finely judged colour, it is the boldness of line, the clarity in the rendering, and occasionally also the humour, that characterizes much of this collection. The skills of draughtsmanship which he undoubtedly possessed had been honed, without tuition, during the hours of obsessive sketching and doodling with which he had occupied himself from an early age. He excelled as a black-and-white artist, and producer of fine watercolours and drawings, during the period that preceded his entry into the world of oil painting with which he is more commonly associated (though he would continue to produce work in all these areas for many years). He was living in England, the country of his birth, throughout this time, and one can detect traces of some of the great English graphic artists, such as George Cruikshank and Phil May, though he evolved an idiosyncratic and recognizable style all his own from early on. A hint of the bizarre, suggestive of Francisco Goya or James Ensor, add a mysterious flavour to works such as the wonderful pencil and watercolour piece, Blue Jackets in Fancy Dress, also known as Men-o-Wars in Fancy Dress (Costume),(Lot 52) which depicts an unusual group of figures ascending a quayside ladder in Dartmouth. There were regular trips back to Ireland, and in dozens of compact sketchbooks he documented the characters and incidents of small-town life, many related to fairgrounds and to horse racing. Hilary Pyle tells us that these sketches, themselves often in ink and watercolour, would form the basis of larger works completed at home in his Devon hideaway, Cashlauna Shelmiddy. Losing nothing in the transition, the finished works retain the spontaneity and raw spark of the quickly rendered sketchbook drawings. Horses appear in a number of the pictures in this collection (The Race (Lot 47); The Baker Rode a Pie-Bald (Lot 51)), and they would be central to his art throughout his life. They could function metaphorically, particularly in the later work, but Yeats could also be more direct in his celebration of their sheer physicality, power, and speed. He was equally fascinated by the enigmatic riders, steely-eyed protagonists in many drawings and paintings, and by the bustle of the social worlds in which they moved. The beautifully observed pen and ink drawing of The Crown and Anchor Man (Lot 48) is typical of the unique characters- the street performers and race day vendors, circus and fairground entertainers- to whom Yeats was repeatedly drawn during this period. Yeats’s first solo exhibition of watercolour sketches, the majority of which were executed in Devon, was held at the Clifford Gallery in London in 1897. In 1899 he held another exhibition of his work, titled “Sketches of Life in the West of Ireland,” at the Walker Art Gallery, again in London, repeated later that year at Leinster Hall in Dublin. Throughout this period Yeats alternated between galleries in these two cities, averaging one solo show annually up to 1914. He subscribed to a press cuttings agency- Romeike and Curtice of the Strand- and pasted his notices and reviews into a scrapbook, which attests to the largely positive response that his watercolour work received at the time. A critic for the Daily Express, on visiting the first Dublin show, wrote that “(n)o one, it seems to us, has studied the humbler side of Irish life with such insight and intelligence, and certainly no Irish artist has ever given us so graceful and fresh a representation of its pathos and humour.” Commenting on another Dublin exhibition two years later, a reviewer for the United Irishman remarks, with some prescience, that “these pictures will some day be looked upon as important historical records.” Indeed there is an almost documentary approach to many of his subjects, unsurprising given the journalistic collaborations with J.M. Synge that saw them render, in prose and illustration, the rawness of life in Mayo and Connemara for the Manchester Guardian in 1905. Yeats would return again and again to the rural sites of sporting competition and public entertainment, often with an eye for the onlookers, as in the busy and endlessly appealing composition of A Good Winner (Lot 50). Many works from this period combine observation from real life with the mischievous caricatural twist that typified much of the material he was also producing for the humour periodicals and early comics. The suggestion of gently ribald comedy in I will not sit on the grass, she said (Lot 46) exemplifies the playful interplay between caption and image that Yeats imported into the art gallery from those popular contexts. The strong outlines and striking compositions evident in these pieces, for example Figure of a Young Woman in a Landscape (Lot 53) and Beggar at the Door (Lot 49), also recall the well-known drawings that appeared in printed form in the series A Broad Sheet (1902-03) and later A Broadside (1908-1915) published respectively in London by Elkin Mathews and in Dublin by Dun Emer/Cuala Press. Michael Connerty, April 2023 Lit: Hilary Pyle. Jack B. Yeats- His Watercolours, Drawings and Pastels. Dublin: Irish Academic Press. 1992

              Adam's
            • Jack Butler Yeats RHA (1871-1957) JUSTICE, 1946
              May. 29, 2023

              Jack Butler Yeats RHA (1871-1957) JUSTICE, 1946

              Est: €150,000 - €200,000

              Jack Butler Yeats RHA (1871-1957) JUSTICE, 1946 oil on canvas signed lower right; titled on stretcher on reverse h:14  w:18 in. Provenance: With Victor Waddington Galleries, November 1946; Mrs John Patton, Montreal; Thence by family descent; Whyte's, 4 March 2019, lot 22; Private collection Exhibited: 'Paintings', Waddington Galleries, Montreal, 24 October to 11 November 1961, catalogue no. 30 (reproduced) Literature: Pyle, H., Jack Butler Yeats in the National Gallery of Ireland, NGI, Dublin, 1986, p. 26-27; Pyle, H., Jack B. Yeats: A Catalogue Raisonné of the Oil Paintings, Andre Deutsch, London, 1992, Vol. II, catalogue no. 791 A woman dusts the judge's bench in an empty court room. Light floods in from the large window to the left. The cold grey blue tones of the walls contrast with the warm impasto of orange red that dominate the foreground of the painting. In the former parts of the canvas are left untouched, while the latter are formed out of thick, highly textured pigment. This suggests the reflected sunlight on the grand furnishings of the room. An imposing red canopy surrounds the judge's chair, symbolising the authority of the court. Two tall lamps furnish the bench, making the setting appear highly theatrical, even funereal. In front, the barristers' bench with metal railings can be deciphered. The courtroom in Justice is much grander than that represented in Yeats's pen, ink and watercolour painting, The Poteen Makers (1912, NGI), which shows a more modest rural courthouse. (1) In this early work two plaintiffs stand in front of an enormous official desk presided over by two impassive magistrates. Surrounded by onlookers and guarded by policemen, the court with its official notices, ink stands and sheaves of paper, appears officious and comical. Yeats's fascination with court houses came from his awareness of their central, if controversial, position in Irish life. Yeats's favourite dramatist, Dion Boucicault and the novels of Somerville and Ross often used the troubled relationship between the Irish citizen and the colonial formality of the court to dramatic and comic effect. In 1899 Yeats sketched a man sitting in front of the incongruous classical façade of the halls of justice in Ennis, contrasting the ordinary citizen with the might and pomp of the law. In 1901 he sketched Galway's court house paying close attention to the prominent coat of arms on its pediment. His interest in the affairs of the courtroom must also have been sparked by his father's memories of his time as a barrister in Dublin. John Butler Yeats was more absorbed in sketching the various protagonists than in legal discussion and he abandoned the bar to become a professional artist. Jack also sketched court proceedings showing bewigged barristers posturing in court. (2) As in many of Yeats's late paintings, the forms in Justice are difficult to distinguish precisely. Their elusiveness asserts the idea that this is first and foremost a painting, a two- dimensional artificially produced entity that attempts to reconstruct three-dimensional space from memory and from sensory perception. Secondly its ambiguity subtly challenges the apparent logic of the courtroom and its dealings. The woman who is leaning over the desk is the only figure in the space. Her central role in the painting is emphasised by the intense daylight which illuminates her form. She extends her arm towards a large pink and blue cloth, as if laying evidence before the absent judge. Normally when the court is in sitting, no one would be permitted to approach the bench and the figure's intimate engagement with it is typical of Yeats's subversive take on such elitist formalities. He used a similar device in another painting of 1946, On the Court House Steps, which shows a vagrant reposing on the steps of Naas court house. (3) Dr. Róisín Kennedy 1. Hilary Pyle, Jack B. Yeats in the National Gallery of Ireland, (NGI, 1986), pp.26-27. 2. Sketchbook 216 illustrated in Hilary Pyle, Jack B. Yeats. A Catalogue Raisonné of the Oil Paintings, 1992, II, p. 722. 3. Hilary Pyle, Jack B. Yeats. A Catalogue Raisonné of the Oil Paintings, 1992, II, p.672.

              Whyte's
            • Jack Butler Yeats RHA (1871-1957) GLORY TO THE BRAVE SINGER, 1950
              May. 29, 2023

              Jack Butler Yeats RHA (1871-1957) GLORY TO THE BRAVE SINGER, 1950

              Est: €300,000 - €400,000

              Jack Butler Yeats RHA (1871-1957) GLORY TO THE BRAVE SINGER, 1950 oil on canvas signed lower right h:24  w:36 in. Provenance: Victor Waddington Gallery, London; Whence purchased in 1971 by Mr and Mrs. C.E. Knight; Their sale, Christie's, The Irish Sale, 12 May, 2005; The Waddington Gallery, London; Whence purchased by the present owner Exhibited: RHA Annual exhibition, 1951, catalogue no. 172; 'Jack B. Yeats Exhibition', Victor Waddington Galleries, Dublin, October 1953, catalogue no. 1; Munster Fine Art Club Annual Exhibition, Cork, 1956; 'Jack B. Yeats Exhibition', Waddington Galleries, London, March/April 1963, catalogue no. 28; 'Jack B. Yeats Exhibition', Waddington Galleries, London, Oct/Nov 1967, catalogue no. 24; 'Jack B. Yeats Exhibition', Waddington Galleries, London, April/May 1971, catalogue no. 24. Literature: 'Jack B. Yeats' exhibition catalogues, Waddington Galleries London 1963, 1967 (both illustrated in B&W and 1971 illustrated in colour); Pyle, Hilary, Jack B. Yeats, A Catalogue Raisonné of The Oil Paintings, André Deutsch, London, 1992, Vol. II, no. 1065, p.967 This late visionary work of Jack B. Yeats depicts a woman reclining in the landscape. She raises herself from the ground and extends her right arm in an exaggerated manner. She points towards a songbird which stands on the topmost branch of a tree, its neck extended and its beak open skywards as it fills the air with its music. The woman's face is in profile and her closed eyes convey an expression of complete rapture as she listens to the singing of the thrush. Her serpentine pose, in which she looks over her shoulder, suggests that she has been aroused from her sleep by the mesmerising sound of the bird. The highly theatrical posture of the figure is reminiscent of a modern dancer or a classical actress. Her flamboyant appearance and strange gesturing make it appear that she is in abeyance to the bird, prostrate in the face of its splendour. The long dark hair, dangling gold earring and exotic costume of the woman suggest that she is a gypsy or travelling player who has come to rest in this wild location. She is the female equivalent of the wandering men found in so many of Yeats works, most notably the youth in The Singing Horseman, (1949, National Gallery if Ireland). She lies in a tree-lined bower contained by the vertical trunks of saplings that form a protective palisade of blues and reds which opens to a sky of blue and yellow. The colours of her dress; blue, white, pink and gold are enhanced by those of the flowers and plants of this lush setting. This part of the composition recalls those of other late paintings most notably A Rose Among Many Waters, (1952, Private Collection). The subject of a figure enthralled by a bird is also reminiscent of Yeats's A Blackbird Singing in Tir na Nóg (1943, Private Collection). In this a child gazes upon a bird as it bathes in a rock pool in the midst of a lush and verdant landscape. The painting was exhibited at the RHA in Dublin in 1951 when its resemblance to the earlier work, There is no Night (1949, Dublin City Gallery) was noted by one writer. This iconic painting shows a male figure reclining in an open marshy landscape. He lifts himself up and gestures, in a similar fashion to the figure in this painting, to a distant white galloping horse. However in Glory to the Brave Singer the view into space is curtailed by the rich vegetation that encircles the woman. The title adds a sense of drama and intrigue with its connotations of subterfuge and danger. This is a highly romantic work, part of a series of Yeats's later paintings that portray the enduring beauty of nature and its power over humanity. The painting was shown in Munster Fine Art Club Exhibition in Cork in 1956 and several times at the Victor Waddington Gallery in London in the late 1950s and 1960s but it has rarely been exhibited in public since becoming part of a private collection in 1971. It belongs firmly with the other great epic paintings of Yeats's late works. Dr Róisín Kennedy Hilary Pyle comments on page 967 of her Catalogue Raisonné: 'A figure lying in a forest glade raises himself on his elbow and flourishes his arm up to the dawn sky, singing the while. Every colour has been employed in the impasto drawing, which is done on a lightly stained ground. The composition resembles that of a A Homage to Bret Harte, (Pyle No. 579); while the visionary mood accords with the larger canvases such as 1067 (Shouting, sold at Whyte's, 29 November 2021, lot 37, €1.7 million) From the catalogue for Christie's sale on 12 May, 2005: The present work was painted in 1950, a year after Yeats had painted the smaller Singing 'My Dark Rosaleen' (sold in Christie's, 20 May 1999, lot 129, for €400,000). Ireland had by this time become a Republic and Yeats was an established figure of the art world. He had been a governor of the National Gallery of Ireland for over ten years and had major exhibitions in both Dublin (1945) and at the Tate Gallery in London (1948). In these paintings Yeats was using the act of singing as a symbol of unrestrained passion, specifically relating it to an expression of nationalistic feeling. My Dark Rosaleen, which the 1949 painting refers to in the title is a traditional nationalistic song, addressing Ireland in the guise of a lover, under the psuedonym of 'the little black rose'.

              Whyte's
            • Jack Butler Yeats RHA (1871-1957) THE WATERFALL GATE, 1944
              May. 29, 2023

              Jack Butler Yeats RHA (1871-1957) THE WATERFALL GATE, 1944

              Est: €70,000 - €90,000

              Jack Butler Yeats RHA (1871-1957) THE WATERFALL GATE, 1944 oil on panel signed lower right; titled on reverse h:9  w:14 in. Provenance: Victor Waddington Galleries, Dublin, 1944; Private collection, Dublin; Adam's, 29 March 2006, lot 61; Private collection; Oriel Gallery, Dublin; Private collection Literature: Pyle, Hilary, Jack B. Yeats, A Catalogue Raisonné Of The Oil Paintings, André Deutsch, London, 1992, Vol. II, no. 604, p.553 In The Waterfall Gate Yeats presents the viewer with a tightly focused composition comprising a view of flowing water seen through a portal flanked by what appears to be a wall, the left side of which is decorated with vegetation. The scene is bathed in bright light with the viewer's gaze directed towards the centre of the composition through the use of bright whites and yellows and dramatic brushstrokes. The energy and movement of the water is felt through an impastoed application of paint in shades of blue, grey and white with organic material suggested in dashes of greens and yellows. The painted surface shows a diversity of technique with thinly painted areas and dragged brushstrokes showing the panel beneath. A more rigorous, generous application to express the vitality of the rushing water lends an ethereal quality to the work. Although the location of the present scene is not included in the title, it may depict a view of the waterfall at Glenmacnass, Co. Wicklow.(1) Figuratively, however, the subject could also be drawing on memories from the artist's life using its subject as a gateway. The theme of the waterfall is a recurring one in Yeats' oeuvre and one which became synonymous with his youth as well as the beauty of nature. The subject has been treated as a standalone - as is the case with the present work - but also as a backdrop, most memorably perhaps in the important oil Memory of Boucicault and Bianconi, 1937 (Collection of the National Gallery of Ireland). That painting depicted Glencar waterfall, a place which held real significance for the artist and his family, with William Butler Yeats setting his early poem, The Stolen Child (1886) there - "Where the wandering water gushes...". By 1944, when this painting was executed, the artist was 73 years old, two of his siblings, poet W.B. and his sister Elizabeth (known as Lolly) also an artist had predeceased him in 1939 and 1940 respectively. Some works from this period, such as And So my Brother Hail and Farewell for Ever More, 1945 (NGI), (2) drew on this sadness and one might safely assume that the artist was contemplating his own mortality at this juncture in his life. In The Waterfall Gate however there is no lonely figure standing in contemplation, the view is focused solely on the natural world with the waterfall - youth and beauty - as protagonist. Whether the artist is reminiscing on his youth or contemplating his own mortality and what awaits him down stream is left to the viewer to decide. Adelle Hughes May 2023 FOOTNOTES: 1 Another work on the same subject dating to 1944 recorded as number 603 (the present work numbered 604) in Hilary Pyle's catalogue Raisonne of the oil paintings suggests this. 2 The title of this painting is an approximation of the final line of an elegiac Roman poem of the first century BC, in which its author Catullus laments the death of his brother.

              Whyte's
            • The Road to Galway
              May. 10, 2023

              The Road to Galway

              Est: €35,000 - €55,000

              Jack B. Yeats, R.H.A. 1871 - 1957 The Road to Galway signed JACK B YEATS (lower right) oil on panel unframed: 23 by 35.5cm.; 9 by 14in framed: 36 by 49cm.; 14¼ by 19¼in. Executed in 1924.  __________________________________________________________________________ Jack B. Yeats, R.H.A. 1871 - 1957 The Road to Galway signé JACK B YEATS (en bas à droite) huile sur panneau sans cadre: 23 by 35.5cm.; 9in by 14in avec cadre: 36 by 49cm.; 14¼ by 19¼in. Exécuté en 1924. 

              Sotheby's
            • Come on the Dawn
              May. 10, 2023

              Come on the Dawn

              Est: €200,000 - €300,000

              Jack B. Yeats, R.H.A 1871 - 1957 Come on the Dawn signed JACK B. YEATS (lower right); titled (on the reverse) oil on canvas unframed: 35.5 by 46cm.; 14 by 18in. framed: 55 by 65.5cm.; 21 3⁄4 by 25 3⁄4in. Executed in 1951. ---------------------------------------------------------------------------- Jack B. Yeats, R.H.A 1871 - 1957 Come on the Dawn signé JACK B. YEATS (en bas à droit); titré (au revers) huile sur toile sans cadre: 35.5 by 46cm.; 14 by 18in. avec cadre: 55 by 65.5cm.; 21 3⁄4 by 25 3⁄4in. Exécuté en 1951.

              Sotheby's
            • Jack B. Yeats and Contemporaries. Exhibition catalogue at Sligo County Libr
              May. 10, 2023

              Jack B. Yeats and Contemporaries. Exhibition catalogue at Sligo County Libr

              Est: €80 - €120

              Jack B. Yeats and Contemporaries. Exhibition catalogue at Sligo County Library & Museum Art Gallery. August 1989. Illustrated in colour & B/W. and Jack B. Yeats at the Niland Gallery, Sligo, September 1998. Quarto. Illustrated in colour. 2 scarce Yeats exhibitions at Sligo (2)

              Purcell Auctioneers
            • Jack B. Yeats - Tony O'Malley (exhibition catalogue) Fallon, Brian - Hilary
              May. 10, 2023

              Jack B. Yeats - Tony O'Malley (exhibition catalogue) Fallon, Brian - Hilary

              Est: €30 - €60

              Jack B. Yeats - Tony O'Malley (exhibition catalogue) Fallon, Brian - Hilary Pyle Published by Nordjyllands Kunstmuseum, Denmark, 1999 with c 30 signatures of notable attendees at the exhibation

              Purcell Auctioneers
            • Jack Butler Yeats RHA (1871-1957) Zoe the White Slave (c.1904)
              Apr. 18, 2023

              Jack Butler Yeats RHA (1871-1957) Zoe the White Slave (c.1904)

              Est: €1,500 - €2,500

              Jack Butler Yeats RHA (1871-1957) Zoe the White Slave (c.1904) watercolour on paper h:12.20  w:9 cm. Provenance: Collection of Anne Yeats; Yeats Family Collection; Private Collection

              Morgan O'Driscoll
            • Jack Butler Yeats RHA (1871-1957) "Jack B. Yeats: A catalogue Raisonné of the oil paintings" by Hilary Pyle London: André Deutsch (1...
              Apr. 18, 2023

              Jack Butler Yeats RHA (1871-1957) "Jack B. Yeats: A catalogue Raisonné of the oil paintings" by Hilary Pyle London: André Deutsch (1...

              Est: €500 - €750

              Jack Butler Yeats RHA (1871-1957) "Jack B. Yeats: A catalogue Raisonné of the oil paintings" by Hilary Pyle London: André Deutsch (1992) three volumes - from an edition limited to 1500 Provenance: Private Collection Three volumes, 1856pp with 1822 illustrations, 111 in colour. Cloth in a slipcase in fine unopened condition. Definitive catalogue raisonné of one of Ireland's greatest painters, bringing together every known oil painting by Yeats, providing further documentary illustrations where appropriate and citing all relevant sources and influences. A must have for anyone interested in the history of Irish art and work of Jack B. Yeats. Mint unopened condition.

              Morgan O'Driscoll
            • Jack Butler Yeats RHA (1871-1957) The Race Meeting
              Apr. 18, 2023

              Jack Butler Yeats RHA (1871-1957) The Race Meeting

              Est: €1,000 - €1,500

              Jack Butler Yeats RHA (1871-1957) The Race Meeting watercolour and pencil on paper h:11.50  w:9 cm. Provenance: Yeats Family Collection; Private Collection

              Morgan O'Driscoll
            • Jack Butler Yeats RHA (1871-1957) Mouth Frogmore (September 15th 1900)
              Apr. 18, 2023

              Jack Butler Yeats RHA (1871-1957) Mouth Frogmore (September 15th 1900)

              Est: €1,000 - €1,500

              Jack Butler Yeats RHA (1871-1957) Mouth Frogmore (September 15th 1900) watercolour and pencil on paper h:9  w:11.50 cm. Provenance: Yeats Family Collection; Private Collection

              Morgan O'Driscoll
            • Jack Butler Yeats RHA (1871-1957) THE ENTHUSIASTS, 1902
              Mar. 06, 2023

              Jack Butler Yeats RHA (1871-1957) THE ENTHUSIASTS, 1902

              Est: €20,000 - €30,000

              Jack Butler Yeats RHA (1871-1957) THE ENTHUSIASTS, 1902 watercolour signed lower right; with National Loan Exhibition and Victor Waddington Gallery labels on reverse h:19  w:14.50 in. Provenance: Given by the artist to Thomas McGreevy, 1945; Thence by descent to the previous owner; Adam's, 4 October 2006, lot 98; Private collection Exhibited: 'Sketches of Life in the West of Ireland, Jack B. Yeats Exhibition', Wells Central Hall, Dublin, 18-30 August 1902, catalogue no. 4; 'Sketches of Life in the West of Ireland, Jack B. Yeats Exhibition', Walker Gallery, London, 4 February to 4 March 1903, catalogue no. 2; 'Recent Watercolours, Jack B. Yeats Exhibition', Clausen Galleries, New York, 31 March to 16 April 1904, catalogue no. 18; 'Jack B. Yeats - National Loan Exhibition', National College of Art, Dublin, June to July 1945, catalogue no. 172 Literature: Pyle, Hilary, Jack B. Yeats: His watercolours Drawings and Pastels, Irish Academic Press, Dublin, 1993, no. 409, p. 115

              Whyte's
            • Jack Butler Yeats, irische Dorfszene, Farbgrafik der Cuala Press, Irland um 1910
              Mar. 04, 2023

              Jack Butler Yeats, irische Dorfszene, Farbgrafik der Cuala Press, Irland um 1910

              Est: €250 - €300

              Jack Butler Yeats, irische Dorfszene, Farbgrafik der Cuala Press, Irland um 1910 Jack Butler Yeats, 1871 - 1957, irischer Künstler und Autor, bedeutender Vertreter der Wiederbelebung keltischer Kultur im 20. Jh., Ansicht des irischen Dorflebens, Druckgrafik, 9 x 34,2 cm, drucksigniert, unter Glas gerahmt Jack Butler Yeats, Irish Village Scene, colour print by Cuala Press, Ireland circa 1910 Jack Butler Yeats, 1871 - 1957, Irish artist and author, important representative of the revival of Celtic culture in the 20th century, view of Irish village life, print, 9 x 34.2 cm, signed, framed under glass.

              K&K – Auktionen in Heidelberg
            • JACK BUTLER YEATS (1871 - 1957) R. H. A.
              Mar. 02, 2023

              JACK BUTLER YEATS (1871 - 1957) R. H. A.

              Est: €1,800 - €2,000

              West of Ireland village. Pencil sketch. Framed. Provenance: From the Artist's sketch books, Yeats family collection.

              Sheppards
            • Jack Butler Yeats RHA (1871 - 1957) Houses on the Shoreline; The Mates Greatcoat (verso) Double sided sketches, pencil and watercolour, each page 8.5 x 12cm Signed with initials Provenance: With Theo Waddington Fine Art Ltd, London, label verso
              Mar. 01, 2023

              Jack Butler Yeats RHA (1871 - 1957) Houses on the Shoreline; The Mates Greatcoat (verso) Double sided sketches, pencil and watercolour, each page 8.5 x 12cm Signed with initials Provenance: With Theo Waddington Fine Art Ltd, London, label verso

              Est: €1,500 - €2,000

              Jack Butler Yeats RHA (1871 - 1957) Houses on the Shoreline; The Mates Greatcoat (verso) Double sided sketches, pencil and watercolour, each page 8.5 x 12cm Signed with initials Provenance: With Theo Waddington Fine Art Ltd, London, label verso

              Adam's
            • Jack Butler Yeats RHA (1871-1957) The Ring Master and the Clown (1909) Watercolour, 25 x 35cm (10 x 13¾) Signed Provenance: Peter Katz; sold to Victor Waddington, London 1967; With Victor Waddington Galleries, London, label verso Allen Figgis
              Mar. 01, 2023

              Jack Butler Yeats RHA (1871-1957) The Ring Master and the Clown (1909) Watercolour, 25 x 35cm (10 x 13¾) Signed Provenance: Peter Katz; sold to Victor Waddington, London 1967; With Victor Waddington Galleries, London, label verso Allen Figgis

              Est: €15,000 - €20,000

              Jack Butler Yeats RHA (1871-1957) The Ring Master and the Clown (1909) Watercolour, 25 x 35cm (10 x 13¾) Signed Provenance: Peter Katz; sold to Victor Waddington, London 1967; With Victor Waddington Galleries, London, label verso Allen Figgis (owner); Waddington Galleries Montreal label verso; Sale, these rooms, 14 July, 1983; Private Collection, Dublin Exhibited: Dublin 1909, Aonach, Exhibition of Paintings, Cat. No.21 Literature: Yeats, Jack B., Life in the West of Ireland (1912, 1915) 75; Yeats, Jack B., And to You Also (1944, 1974) 120; Pyle, Hilary, Jack B. Yeats His Watercolours, Drawings and Pastels, Cat. No.681, p.161 illus By the time The Ringmaster and the Clown was first exhibited in 1909, Jack Yeats had already achieved a significant degree of fame and appreciation. Hugh Lane, a few years earlier, in his quest to establish a gallery of modern art in Dublin had approached artists and friends in an effort to persuade them to present works to form a nucleus of a collection. Jack Yeats, while still living in Devon presented three watercolours, The Rogue, The Melodeon Player and The Day of the Sports. By January 1908, The Dublin Municipal Gallery of Modern Art had opened at 17 Harcourt Street. According to Hilary Pyle, Jack Yeats had given what he considered his most up-to-date important work – character studies of contemporary Irishmen of the West. Pyle continues … ‘From about 1906, when Yeats was painting a little more in oil, a new spirit is noticeable in his watercolours. The images and manner are much the same as before, but they are treated more seriously, often isolated pictorially in space; and the themes generate a greater breadth of purpose. Synge’s friendship has made the artist see his Western Irish imagery in a wider context, so that landscapes and figures plumb more deeply from the particular to the universal’. Yeats writing in And to You Also in 1944, described ‘the parasol of the auditorium’ of the circus tent. ‘The sad-faced clown stumbles along on the ring-master’s left, while up above the ring-master on his right, sits the beautiful girl … on the back of a grand old cream horse … ’. The circus life theme stayed with Yeats throughout his career, the images from his childhood life in Sligo indelibly etched on his pictorial memory, notably in The Haute École Act and That Grand Conversation was under the Rose, the oils of 1925 and 1943. In the present work the clown is, as Hilary Pyle describes ‘…. in merry mood, looking coyly at the spectator’.

              Adam's
            • PAIR OF JACK B. YEATS WOODBLOCK PRINTS
              Mar. 01, 2023

              PAIR OF JACK B. YEATS WOODBLOCK PRINTS

              Est: €150 - €250

              Political Meeting. The Sleepers.

              Sheppards
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