- 1
John Butler Yeats
Estimate
3,000 - 5,000 GBP
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Description
- John Butler Yeats
- Mrs John Butler Yeats (Susan Mary Pollexfen)
- pen and ink, oval
- 23 by 18cm., 9 by 7in.
Literature
William M. Murphy, The Yeats Family and the Pollexfens of Sligo, Dolmen Press, Dublin, 1971, illustrated no.1;
James White, John Butler Yeats and the Irish Renaissance, Dolmen Press, Dublin, 1972, p.21;
William M. Murphy, Prodigal Father: The Life of John Butler Yeats, Cornelll University Press, Ithaca and London, 1978, illustrated p.54;
William Murphy, Family Secrets, William Butler Yeats and his Relatives, Syracuse University Press, New York, 1995, p.39, fig.17;
Hilary Pyle, Yeats: Portrait of an Artistic Family, London, 1997, p.98, fig.55, p.54;
Bruce Arnold, Jack Yeats, Yale University Press, New Haven and London, 1998, fig.3, p.4
James White, John Butler Yeats and the Irish Renaissance, Dolmen Press, Dublin, 1972, p.21;
William M. Murphy, Prodigal Father: The Life of John Butler Yeats, Cornelll University Press, Ithaca and London, 1978, illustrated p.54;
William Murphy, Family Secrets, William Butler Yeats and his Relatives, Syracuse University Press, New York, 1995, p.39, fig.17;
Hilary Pyle, Yeats: Portrait of an Artistic Family, London, 1997, p.98, fig.55, p.54;
Bruce Arnold, Jack Yeats, Yale University Press, New Haven and London, 1998, fig.3, p.4
Condition
The sheet appears to be sound. Some minor and occasional spots of staining and light abrasions, only visible upon close inspection. The work appears in good overall condition, held in a gilt plaster frame under glass, ready to hang. Unexamined out of frame.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
Catalogue Note
Susan was the eldest of the Pollexfen daughters and two years younger than her brother George (lot 27). John Butler Yeats first met her in 1862; she was pretty, with striking contrast in her eyes, one of which was blue, the other brown, each of a 'decided' colour. As W. Murphy commented, their early courtship was 'to lead to one of the most frustrating and fruitful marriages in the history or Ireland' (Murphy, op. cit., p.34). They were engaged in 1862 and married the following year.
The present portrait was done in 1867, the year JBY took Susan and their two-year-old son, William, to London to launch his career as an artist. It reveals the early Pre-Raphaelite influence which initially captured JBY on his move to London and his circle of close artist-friends, Edwin Ellis, John Nettleship and George Wilson. One of his neighbours was Ford Madox Brown and it interesting to note, as James White points out, that the present work bears a striking resemblance to Ford Madox Brown's wife, Emma, in The Last of England (Birmingham City Art Gallery).