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31

Jack B. Yeats, R.H.A.

Derelict

VAT reduced rateArtist's Resale Right

Estimate:

10,000 - 15,000 EUR

Property from the Collection of the Late Brian P. Burns | Provenant de l'ancienne Collection de Brian P. Burns

Jack B. Yeats, R.H.A.

Jack B. Yeats, R.H.A.

Derelict

Derelict

Estimate:

10,000 - 15,000 EUR

Lot sold:

12,600

EUR

Property from the Collection of the Late Brian P. Burns

Jack B. Yeats, R.H.A.

1871 - 1957

Derelict


signed JACK B YEATS (lower right)

watercolour on paper

unframed: 33.5 by 23.5cm., 13¼ by 9¼in.

framed: 59 by 49cm.; 23¼ by 19¼in.

Executed in 1910. 

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Provenant de l'ancienne Collection de Brian P. Burns

Jack B. Yeats, R.H.A.

1871 - 1957

Vagabond


signé JACK B YEATS (en bas à droite)

aquarelle sur papier

san cadre: 33.5 by 23.5cm., 13¼ by 9¼in.

avec cadre: 59 by 49cm.; 23¼ by 19¼in.

Exécuté en 1910. 

The sheet is sound and does not appear to be laid down, cockles slightly. Very slightly discoloured sheet. The work appears in very good overall condition.


Held under glass in a gilt frame with a blue mount; unexamined out of frame.


Please note: Condition XVI of the Conditions of Business for Buyers (Online Only) is not applicable to this lot. (Veuillez noter que l'Article XVI des Conditions Générales de Vente applicables aux Vendeurs (Ventes Effectuées Exclusivement en Ligne) n'est pas applicable pour ce lot.)


The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.

Sold through the Victor Waddington Galleries to Serge Philipson, Dublin, 1945

Mrs. Rachel Philipson-Levy, from whom acquired by the late Brian P. Burns in 1996

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Vendu par les Victor Waddington Galleries à Serge Philipson, Dublin, 1945

Mme Rachel Philipson-Levy, où acquise par feu Brian P. Burns en 1996

Thomas MacGreevy, Jack Butler Yeats: an Appreciation and an Interpretation, Dublin, 1945, p.23
Hilary Pyle, Jack B. Yeats, His Watercolours, Drawings and Pastels, Dublin, 1993, no.699, p.164

Dublin, Leinster Hall, Sketches of Life in the West of Ireland, 8 - 12 December 1910, no.16

Paris, Salon des Indépendents, 1912

London, Walker Art Gallery, Sketches of Life in the West of Ireland, 29 June - 18 July 1914, no.30

New Haven, Yale Center for British Art, America’s Eye: Irish Paintings from the Collection of Brian P. Burns, 25 September 1997 - 4 January 1998; 

Washington, John F. Kennedy Center, Irish Paintings from the Collection of Brian P. Burns, 13 - 28 May 2000, illustrated p.97;

Phoenix, Phoenix Art Museum, A Century of Irish Painting: Selections from the Brian P. Burns Collection, 3 March - 29 April 2007, illustrated p.96

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Dublin, Leinster Hall, Sketches of Life in the West of Ireland, 8 - 12 décembre 1910, no.16

Paris, Salon des Indépendants, 1912

Londres, Walker Art Gallery, Sketches of Life in the West of Ireland, 29 juin - 18 juillet 1914, n°30.

New Haven, Yale Center for British Art, America's Eye : Irish Paintings from the Collection of Brian P. Burns, 25 septembre 1997 - 4 janvier 1998 

Washington, John F. Kennedy Center, Irish Paintings from the Collection of Brian P. Burns, 13 - 28 mai 2000, illustré p.97 

Phoenix, Phoenix Art Museum, A Century of Irish Painting : Selections from the Brian P. Burns Collection, 3 mars - 29 avril 2007, illustré p.96

Jack B. Yeats’s career began as an illustrator and his early work consists of lively, figurative animationsIt was not in fact until the age of forty that he had a respectable painting to his name, only turning to oils seriously from 1909. The early watercolours are a significant part of his oeuvre and they continued to serve as subjects in his later oil paintings. The characters are often portrayed in a heroic manner, inspired by his reading of popular stories and the mythical heroes of folk life and ballads. 


Yeats held a longstanding fascination for the sea and seamen, inspired by his upbringing in Sligo, a small town on the edge of the Atlantic. Here a red-bearded sailor stands on a quayside with a view of Benbulben and the Sligo waterfront behind him. His mood reflects the title of the work. For Thomas MacGreevy, it epitomised Yeats' achievement in painting 'the people of Ireland' and the 'everyday scene' (MacGreevy, Jack B. Yeats - An Appreciation and An Interpretation, Dublin, 1945, p.23). 


Serge Philipson was an important collector of Yeats' work. A Frenchman who settled in Ireland, he introduced Yeats to Victor Waddington, sparking one of the most important dealer-relations in modern Irish art (Hilary Pyle, Jack B. Yeats, A Catalogue Raisonne of the Oil Paintings, London, 1992, Vol. 1, p.lxx).

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La carrière de Jack B. Yeats a débuté en tant qu'illustrateur et ses premières œuvres consistent en des animations vivantes et figuratives. Ce n'est en fait qu'à l'âge de quarante ans qu'il a une peinture respectable à son nom, ne se tournant sérieusement vers l'huile qu'à partir de 1909. Les premières aquarelles constituent une partie importante de son œuvre et elles ont continué à servir de sujets à ses peintures à l'huile ultérieures. Les personnages sont souvent représentés de manière héroïque, inspirés par ses lectures d'histoires populaires et des héros mythiques de la vie populaire et des ballades.


Yeats avait une fascination de longue date pour la mer et les marins, inspirée par son enfance à Sligo, une petite ville au bord de l'Atlantique. Ici, un marin à la barbe rouge se tient sur un quai avec une vue sur Benbulben et le front de mer de Sligo derrière lui. Son humeur reflète le titre de l'œuvre. Pour Thomas MacGreevy, cette œuvre incarne la réussite de Yeats à peindre "le peuple d'Irlande" et la "scène quotidienne" (MacGreevy, Jack B. Yeats - An Appreciation and An Interpretation, Dublin, 1945, p. 23).


Serge Philipson était un important collectionneur d'œuvres de Yeats. Français installé en Irlande, il a présenté Yeats à Victor Waddington, créant ainsi l'une des plus importantes relations entre marchands et artistes dans l'art moderne irlandais (Hilary Pyle, Jack B. Yeats, A Catalogue Raisonne of the Oil Paintings, Londres, 1992, Vol. 1, p.lxx).