Beschreibung:

Artist: Jack Butler Yeats RHA (1871-1957) Title: The Derelict (1910) Signature: signed 'JACK B YEATS' lower right Medium: watercolour on paper Size: 34 x 23½cm (13.4 x 9.3in) Framed Size: 53 x 43cm (20.9 x 16.9in) Provenance: The Victor Waddington Galleries, London; Serge Philipson, Dublin, 1945; Mrs Rachel Philipson-Levy, from whom acquired by the late Brian P. Burns in 1996; Sotheby's, Ireland / France: Art & Literature Sale, 16th May, 2022, lot 31; Private Collection Exhibited: Dublin, Leinster Hall, 'Sketches of Life in the West of Ireland', 8th - 12th December 1910, no.16; Paris, Salon des Indépendents, 1912; London, Walker Art Gallery, 'Sketches of Life in the West of Ireland', 29th June -18th July 1914, no.30; New Haven, Yale Center for British Art, 'America’s Eye: Irish Paintings from the Collection of Brian P. Burns', 25th September 1997 - 4th January 1998; Washington, John F. Kennedy Center, 'Irish Paintings from the Collection of Brian P. Burns', 13th - 28th May 2000, illustrated p.97; Phoenix, Phoenix Art Museum, 'A Century of Irish Painting: Selections from the Brian P. Burns Collection', 3rd March - 29th April 2007, illustrated p.96 Literature: 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 a#morebtn { color: #de1d01; } a#morebtn:hover { cursor: pointer;} Bearded and wearing a sailor’s cap and a long blue coat, a man stands on the quayside, leaning against a bollard. In contrast with many of Yeats’s sailors, who stand on the decks of brigs and barquentines, or stride jauntily through the streets of imagined seaports, this is a former mariner, sad-eye... Read more Jack Butler Yeats Lot 21 - 'The Derelict (1910)' Estimate: €10,000 - €15,000 Bearded and wearing a sailor’s cap and a long blue coat, a man stands on the quayside, leaning against a bollard. In contrast with many of Yeats’s sailors, who stand on the decks of brigs and barquentines, or stride jauntily through the streets of imagined seaports, this is a former mariner, sad-eyed and doleful, who has fallen on hard times. A sailing ship can be seen in the background, also a house on a headland, with mountains in the distance. The location, as in Yeats’s large oil painting Memory Harbour, is an imagined, and fondly remembered, Sligo. The Derelict was shown in one of series of exhibitions featuring work by Yeats, Sketches of Life in the West of Ireland, all held at Leinster Hall, Dublin, in the first decade of the twentieth century. This work was included in the 1910 exhibition. Writing some three decades later (in an essay published in 1945) Thomas MacGreevy described Yeats’s subject-matter, and mentioned this work: He went on painting the people, at work — ploughing, loading turf, herding, breeding horses, going to the fair, going to the creamery, going home — islanders going home in boats — and at play — sitting in the circus, staring in at shop windows, talking together, dreaming alone. Sometimes he represented them completely idle, as for instance, he represents that retired old seaman leaning against an anchor on a quayside, whose mood gives the picture Derelict its title. [Thomas MacGreevy “Jack B. Yeats, An Appreciation and an Interpretation” in Jack B. Yeats, Victor Waddington Publications 1945] Yeats’s art provides glimpses into an everyday life, mainly of Sligo, where he spent much of his childhood, but also into his own imaginative world. Economic deprivation, and people living on the fringes of society, are constant themes in his work. He imbued his paintings with a sense of private and personal memory, and a desire to place the viewer within the event depicted. Having spent much of his childhood watching his grandfather’s trading ships come and go from the Sligo quays,