Susan Mary 'Lily' Yeats

Hilary Pyle, Yeats: Portrait of an Artistic Family, London, 1997, fig.42, p.40

There is a small hole below the hilltop village in the background; otherwise the work appears in good overall condition. Held under glass in a gilt wood frame with dark green linen inset; 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."

The title and theme of the present work is taken from W. B. Yeats' poem, 'The Players Ask for a Blessing on the Psalteries and on Themselves', in which the last stanza reads: 'The proud and careless notes live on/ But bless our hands that ebb away.'

In 1888, Lily Yeats was invited by May Morris, daughter of William Morris and running Morris & Co., to work in her embroidery workshop at Kelmscott House in Oxfordshire. It was here that Lily learnt her craft, spending nearly six years there. To the added delight of the family in London, after her initial week at Morris & Co., she returned with ten shillings - welcome relief for a family consistently searching for the next income. May Morris' strong temper and strict working conditions meant it was not always pleasant for Lily, but the experience was invaluable for her when she went on to produce needlework at Dun Emer in Dublin.