28 Jack Butler Yeats RHA (1871-1957)

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28 Jack Butler Yeats RHA (1871-1957) LOCAL AND TRAVELLING CHAMPIONS, DEVONSHIRE, 1897 watercolour, black chalk and pencil on paper signed lower left; with Waddington Galleries labels on reverse 14 x 10in. (35.56 x 25.40cm) Provenance: Waddington Galleries, London; From where acquired by Mr & Mrs F. Hess, London; Sotheby’s, 18 May 2000, lot 140; Private collection Exhibited: ‘Jack B. Yeats, Watercolour Sketches’, Clifford Gallery, London, November 1897, catalogue no.15; ’Jack B. Yeats: Early watercolours’, The Waddington Galleries, London, 6-29 April 1961, catalogue no.23 (illustrated in black and white); ’Jack B. Yeats: Amongst Friends’, The Douglas Hyde Gallery, Trinity College, Dublin, 9 September -14 Octo- ber 2004, catalogue no. 46, p.120 (illustrated in colour p.121); ’Father and Son: Paintings, watercolours and drawings by John Butler Yeats and Jack Butler Yeats’, Theo and Vivienne Waddington’s Irish Art Project at 5a Cork Street, London, 5-30 May 2009 Literature: Pyle, Hilary, Jack B. Yeats: His Watercolours, Drawings and Pastels, Irish Academic Press, Dublin, 1993, no.71, p.66 (illustrated in black and white); Arnold, Bruce, Jack Yeats, Yale University Press, New Haven and London, 1998, p.69 (illustrated in black and white fig.71) Yeats was living in Devon when he painted this work, having moved there from London with his wife Cottie in 1895. It is one of several scenes of local fairs and markets that he produced before moving his focus to the West of Ireland in 1898. A tall thin man in a blue jacket approaches a man at a boxing booth. The title of the work, Local and Travel- ling Champions suggest that the stall’s main attraction was pitching its champions against local contenders. The pair of boxing gloves hanging from the roof also indicates that visitors were welcome to try their luck in the ring. Paintings of boxing fights are prominently displayed above the entrance. One boxer, Sullivan, is named. The large rattle in the proprietor’s hand was used to attract the crowds to the booth. Beyond to the right a competing attraction, ‘the petrified man’ is advertised. Yeats sketched boxing matches and travelling fairs endlessly in the early decades of his career. They provided opportunities to observe the performers and the crowds. His keen sense of the types of character that fre- quented such events is evident in the stance and expression of the stall holder. With his flat cap pulled down over his eyes, his patterned necktie, and his hand thrust in his pocket he appears both shrewd and shifty. The painting was included in one of Yeats’s first one-man shows, at the Clifford Gallery in London in 1897. Dr Róisín Kennedy April 2016 €15,000-€20,000 (£11,810-£15,750 approx.) Large Image & Place Bid Lot 28.

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Making Their Mark 17
Making Their Mark 17 A CELEBRATION OF GREAT WOMEN ARTISTS Susan Mary "Lily" Yeats, in a 1901 portrait by Photograph of Susan Mary "Lily" Yeats (left) and Elizabeth Corbet "Lolly" Yeats (right). Elizabeth Corbet "Lolly" Yeats, in an 1887 Jack Butler Yeats. National Gallery of Ireland. portrait by Jack Butler Yeats. Sisters Susan Mary "Lily" Yeats (1866-1949, above, left) and Elizabeth Corbet "Lolly" Yeats (1868-1940, above, right) were pivotal figures in the advancement of the Arts and Crafts style in Ireland. Founded in England by the British designer William Morris, the Arts and Crafts Movement advocated traditional, handcrafted objects as a rebellion against soulless factory-made furnishings. The Yeats sisters were from a preeminent Irish family--their father John and brother Jack were noted painters, and their other brother was the renowned poet William Butler Yeats. Born in Enniscrone, County Sligo, Ireland, Lily Yeats was a frequent visitor to William Morris when her family moved to London in the 1870s; she would learn embroidery from his daughter, May Morris. Younger sister Lolly Yeats, also in the Morris circle, was more interested in painting and printing; by the end of the century she had written and illustrated four instructional books on sketching directly with a brush. Upon returning to Ireland, both sisters would co-found the Dun Emer Guild, a Arts and Crafts group in Dublin managed and staffed entirely by women, with the textile designer Evelyn Gleeson (1855-1944). Guilds, as opposed to factories, were a return to the Medieval and Renaissance guilds that once served as the primary centers of art production.
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