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JACK BUTLER YEATS, R.H.A. (1871-1957)
JACK BUTLER YEATS, R.H.A. (1871-1957)
JACK BUTLER YEATS, R.H.A. (1871-1957)
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Artist's Resale Right ("Droit de Suite"). Artist's… Read more
JACK BUTLER YEATS, R.H.A. (1871-1957)

The Waterfall

JACK BUTLER YEATS, R.H.A. (1871-1957)
The Waterfall
signed 'JACK B YEATS' (lower right)
oil on canvas
18 x 24 in. (45.7 x 61 cm.)
Painted in 1924.
with Victor Waddington Galleries, Dublin.
Acquired from the above by Mrs C.S. Collinson in 1942, and by descent to Captain C.S. Collinson in 1945.
Joseph H. Hirshhorn, who presented the work to the Smithsonian Institute, Washington, D.C., 17 May 1966.
Their sale; Sotheby's, London, 10 May 1989, lot 157.
with Cynthia O'Connor, Dublin.
Anonymous sale; Christie's, Dublin, 6 June 1990, lot 116.
with Theo Waddington Fine Art, London, where purchased by the present owners’ father in December 1995.
H. Pyle, Jack B. Yeats: A Catalogue Raisonné of the Oil Paintings, Vol. I, London, 1992, p. 207, no. 232, illustrated.
Dublin, Engineer's Hall, Pictures of Life in the West of Ireland, March - April 1924, no. 39.
Dublin, National College of Art, National Loan Exhibition, June - July 1945, no. 38.
Special Notice

Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.

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Pippa Jacomb
Pippa Jacomb Modern British & Irish Art

Lot Essay

Displaying delicate but fluid brushwork and emphasising subtle tonal shifts, the style of The Waterfall is an interesting contrast to the heavy impasto and complementary colours which characterise much of Yeats’ oeuvre, especially his later works. This reserved style is well suited to the quietly lyrical, narrative quality of the painting discussed by Hilary Pyle:

'This painting of Glencar Waterfall in County Sligo picks up and develops the romanticism of The Riverside (Long Ago), 1922, mingling past with present, as a couple who have been abroad revisit the haunts of former days. The painting is mainly dark, centring on the clump of rocks and trees in shadow beyond the fall. Through a gap the waterfall catches the light, as in a paler way do the man and woman (who resemble the pair in the earlier composition), continuing their walk along the woody path. The permanence of the waterfall is contrasted with the people, who are here today. They are only two, the painting seems to say, in the succession of those who have visited here in the past, and those who are yet to come in the future' (H. Pyle, Jack B. Yeats: A Catalogue Raisonné of the Oil Paintings, London, 1992, p. 207, no. 232).

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