Lot 44
  • 44

Jack Butler Yeats, R.H.A.

Estimate
20,000 - 30,000 GBP
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Description

  • Jack Butler Yeats, R.H.A.
  • The Fern in the Area
  • signed l.l.: JACK/ B YEATS; titled on the reverse
  • oil on board
  • 23 by 35.5cm., 9 by 14in.
  • Painted in 1950.

Provenance

The artist's estate;
Private collection, USA;
Adams, Dublin, 5 December 2001, lot 56, where purchased by the previous owner

Literature

Hilary Pyle, Jack Butler Yeats, A Catalogue Raisonné of the Oil Paintings, Vol. II., Andre Deutsch, London, 1992, no.1036, p.940

Condition

The board appears to be sound. Slightly dirty otherwise in good overall condition with strong passages of impasto. Under ultraviolet light there appear to be no signs of retouching. Held in a wood composite frame, recently restored, under glass.
"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

The Fern in the Area was painted in 1950 towards the end of Yeats' career, when he was at his most prolific and producing some of his most expressive and energetic paintings. When turning to pure landscapes without the inclusion of a figure, Yeats’ paintings were often pushed to their most abstract. Although the title hints at the subject - a fern seen by the lower edge - the other details, including the specific location, remain vague. Such works show Yeats painting at his freest; rarely worked from sketches, he preferred to paint directly and spontaneously onto the surface and employ an adventurous use of colour, particularly with the primaries, as seen in the blue, red and yellow in the present work. This direct and open approach did not therefore restrict his paintings but invites the viewer to read into the painting as one wishes, and to delight in the image as Yeats himself has evidently delighted in its creation.