John Butler Yeats RHA (1839 - 1922) Portrait of Jenny Yeats Oil on canvas, 50.8 x 40.7cm (20 x 16'') Exhibited: Pyms Gallery, London, Friendship Portraits, 11th May - 17th June 2005, Cat. No. 1 Literature: The Art of a Nation: Three Centuries of Irish painting, Pyms Gallery London, June 2002, cat. no. 15 The son of a Protestant rector from Sligo, John Butler Yeats was born in Co. Down and studied Law at Trinity College, Dublin. In 1865 after the birth of his first child, the poet William Butler Yeats he moved to London and joined Heatherley's School of Art. He became friends with J.T. Nettleship, George Wilson and Edwin Ellis who were all keen to extend the ideals of the Pre-Raphaellites. In 1872 Yeats produced his first portraits and in 1880 he returned to Ireland showing regularly at the R.H.A. In 1908, after having moved back to London in 1887, he emigrated permanently to New York. He became friendly with Robert Henri and John Sloan, the leaders of the Ash Can School. He showed regularly with members of the school in New York whilst also enjoying the patronage of John Quinn. Yeats' family, particularly his children, provided him with material for portraits throughout his career. Here he paints his sister Jane Grace or Jenny, named after their mother. Yeats, also gave the same pair of names to his daughter who died in infancy. Like her sister Grace Jane (Gracie) she remained unmarried living quietly in Morehampton Road, in Donnybrook. The 'Morehampton Road Yeats' (also including his brother Isaac) represented the respectable antithesis of the artist's carefree and bohemian lifestyle, though on occasion they dutifully turned up to certain important events such as Susan Mitchell's lecture on their brother in 1919. Isaac in particular was a conservative bourgeois, secretary of the Artisan Dwelling Company and a firm unionist 'if he ever had a daring idea he successfully concealed it'. Surprisingly little information survives about Jenny Yeats's life, she hardly features in her brother's correspondence. She died shortly before the Second World War at the age of ninety two. As early as the mid 1870s, Yeats had portrayed Gracie (in a work which was turned down by the Royal Academy), while the present portrait of Jenny can be dated to the early 1890s. As such, it is a rare early oil by the artist from his London period. Yeats himself claimed that he did not lift a paint brush between 1890 and 1897. This is not quite true as a Portrait of Ascheson Henderson (Ulster Museum) is dated 1891, certainly, however, it was a fallow period in his career, during which he was more concerned with book illustration and failed literary projects. Nevertheless the portrait of his sister is an accomplished piece of painting with a strong sense of modelling and neat simplicity of composition. It shows Jenny, on a visit to London, conservatively dressed, perhaps even a little prim, her attire contrasting with the oriental screen of the background. William Butler in his autobiography recalled that the family home in Bedford Park was decorated in the aesthetic style with 'peacock blue' and the juxtaposition of his buttoned up aunt with the sensual background, with all the connotations that the aesthetic movement conjured up in London of the 1890s is surely deliberate and not a little ironic
1839-1922 SELF PORTRAITS Quantity: 2 one inscribed, signed and dated l.r.: Myself/ seen through a glass - / by/ JB Yeats/ Oct - 1919; the other bears the signatures and inscriptions of various members of the Yeats family and the date 17th December 1968 on the backboard both pencil one 48 by 35cm., 19 by 14in., the other 29.5 by 23cm., 11Â by 9in.
1839-1922 THREE SKETCHBOOKS OF PORTRAITS, INCLUDING THOSE OF FRANCIS HACKETT AND THE SCULPTOR JO DAVIDSON AND VARIOUS OTHER SUBJECTS, SOME OF WHICH WERE DRAWN AT THE HOME OF CELESTINE PETITPAS, 317 WEST 29TH STREET, NEW YORK Quantity: 3 bears inscriptions and dates throughout pencil on 30 sketchbook pages one 11 by 16cm., 4¼ by 6¼in., the other two 13 by 20cm., 5 by 8in.
John Butler Yeats RHA (1839-1922) Bored Oil on canvas, 38.1 x 27.9cm (15 x 11'') Provenance: From the collection of the artist's Granddaughter Anne Yeats and her sale HOK RDS November 2002 Exhibited: The Royal Hibernian Academy, 1882 Cat. No. 272 John Butler Yeats first exhibited at the Royal Hibernian Academy in 1880 and until 1908 he exhibited at total of eighty-five works. The present work was exhibited in 1882 at the RHA during a period when Yeats was concentrating on more serious subject matter, a series of drawings of the Phoenix Park murder trials. This half length portrait resembles the portrait of ''Jack B Yeats as a Boy'' painted 1883 and exhibited in the same year at the RHA, cat no.366. Both stylistically and in its pose this lady is posed to the right with her head turning back at a characteristic angle, her right arm is sketchily done, similar again to the Jack B Yeats portrait. He is also quite provocative in his use of colour, a trait which notes his later paintings. As a portrait painter he was highly praised and The Studio magazine said of his work that ''he had stamped his individuality upon his work in such a manner as to give it a certain distinction, a quality of uniqueness''.
John Butler Yeats (1839-1922) Self Portrait Pencil, 50 x 37.5cm (19½ x 14¾'') Signed and dated 1921 Provenance: Collection of the Yeats family, by descent from the artist Inscribed on backing board in the hand of the New York lawyer John Quinn, 'Kindly wrap in cardboard & return to /John Butler Yeats/ 317 West 29th'. One of a number of self-portrait studies composed while Yeats was working on his final (and ultimately unfinished) self-portrait in oils. John Quinn financed and looked after Yeats during his final years in New York. West 29th street was the address of the Petipas boarding house where Yeats had a room.
John Butler Yeats RHA (1859-1922) In a Gondola Gouache, 33 x 47cm (13 x 18.5'') Signed and extensively inscribed on artist's label verso Provenance: Inherited by the current owner Exhibited : 1901 Hone - Yeats Loan Exhibition in Dubin Literature: ''The prodigal Father'' by William Murphy P116 and P232 This is one of two works that the poet Dr John Todhunter commissioned from John Butler Yeats based on Brownings series of narrative poems ''Bells and pomegranates''. The first commission was given in 1870 ''Pippa Passes'' and is now in the Collection of The National Gallery of Ireland (Ref 3531). Brownings poems tell how a girl from Asolo spends her New Years holiday passing through the lives of others ,passing through their lives,imagining herself into their situations and so influencing them. It took 2 years for the first commission to reach Todhunter. Yeats met and made a lifelong friendship with the John Todhunter while at Trinity College (1857 - 62) . Todhunter was a gifted dilettante who started life in a grocery firm but then decided to become a Doctor and through his interest in music,poetry and philosophy brought him into the company of John. At the time of painting this picture Yeats was sharing a studio with Edwin Ellis at. No. 74 Newman Strret,London near J.T. Nettleship - a member of the informal artistic brotherhood they had set up who recently published a collection of essays on Browning's poetry. The brotherhood declared a common interest in Blake,Browning and the Pre-Raphaelite ideals as well as a belief in the solitary nature of the artist. Browning saw ''Pippa Passes'' at Todhunters and called on Yeats,who was out and never returned Brownings call. It had also been admired by Rossetti who invited Yeats to visit but again Yeats due to the awe in which he held Rossetti never took up the invitation. The model for Pippa in both this work and ''Pippa Passes'' has been identified as Nelly Whelan. This later work was also in Todhunters possession when Browning called and Todhunter lent both to the very successful 1901 Hone-Yeats exhibition that was organized by Sarah Purser and included 44 works by John Butler Yeats and 28 works by Hone. There is a label verso inscribed with a stanza from Robert Browning's In a Gondola ''Care no for the coward, care only to put aside thy beauteous hair, my blood will hurt''
John Butler Yeats (American, 1839-1922) Harriet Bryant Signed and dated "J. B. Yeats/Sept__1910" c.r., inscribed "Harriet Bryant -/by W.B. Yeats's father- J.B." on the reverse. Pencil on paper, 19 3/4 x 14 3/4 in. (50.2 x 37.5 cm), framed. Condition: Toning, mild acid burn, repairs at the lower corners.
John Butler Yeats RHA (1839-1922) Early Memories; Some Chapters Of Autobiography by John Butler Yeats, 1922, And two other titles the first title with dedication on inside cover from Isaac Yeats to Fannie Gordon dated 27 September, 1923; dedicated and date [1944] in a second hand 22 by 15cm., 8.5 by 6in. Provenance: The first title a gift from Isaac Yeats to his sister Fannie Gordon; thence by descent; First Title, The Cuala Press, 1923. First Edition limited to 500 copies. In original blue boards with linen spine. With provenance details on insert laid in. Second title, The Divine Vision and Other Poems by A.E. Hamilton, London and New York, 1904. First Edition hard back in original teal boards with gilt-titled upper on spine. This title was owned by the Reverend Robert Malcolm Gwynn (1877-1962) of Trinity College dated July 1904 and was originally purchased from Greene's, Clare Street. Third title Some Passages from the Letters of A.E. to W.B. Yeats, Cuala Press, Dublin, 1936. With letter to Lolly Yeats affixed to lower inside board and dated 12/9/33. (3 books)
John Butler Yeats RHA (1839-1922) Susan Mitchell Soft pencil, 35 x 24 cm (14 x 9.5) Inscribed, signed and dated 1905 Susan Mitchell, the writer, resided with the Yeats family in London for several years, living as a member of the family. She later wrote, 'I wish I was skilful enough in words to paint for you that delightful household in Bedford Park, where first I learned what conversation meant, where Mr. Yeats, that brave head thrown back, his eyes smiling, said things that seemed to me daring, witty, full of old wisdom and young folly, but said them always with such distinction and grace that made the mere saying significant ..' Provenance: The collection of the Yeats family. From the estate of the late Senator Michael Butler Yeats.
John Butler Yeats RHA (1839-1922) PORTRAIT OF A MAN, 26 JUNE 1904 signed, inscribed and dated lower left pencil on reverse of a handwritten menu card 16 by 11cm., 6.25 by 4.25in> Provenance: Collection of Lady Gregory, Coole Park; Private collection John Butler Yeats was in London in June 1904 to coalesce a visit to the Guildhall, 'Exhibition of a Selection of Works by Irish Painters', which opened in May and which contained six of his paintings (of the 465 on display), and to attend at a performance of Willie's (William Butler Yeats') Where There is Nothing. The timing of these two very significant Irish events in London in mid-June of 1904 meant that a large community of Irish, from the arts scene in particular, were present in the city at this time. It is uncertain how John Butler Yeats financed this journey to London but it has been suggested that Lady Gregory was a possible sponsor> William M. Murphy, in his text Prodigal Father: The Life of John Butler Yeats indicates that she had asked him to do s etches for her at the rehearsal for the play, which he attended along with many others from Dublin. On Sunday, June 26 1904, the day of the debut performance of Where There is Nothing, John Butler Yeats dined beforehand with Willie, Miss Annie Horniman, Charles Shannon, Charles Ricketts, Robert Gregory and Florence Farr in Sloane Square, London. All these individuals were prominent figures in the formation of the Abbey Theatre, Dublin. Murphy notes that Miss Horniman gave Yeats her ticket for the performance, "the best seat in the house", he told Lily, "front row in the middle of the Gallery" while she sat in William Butler Yeats' box with Arthur Symons and his wife. The play, Murphy notes, could not be shown in Dublin at that time because of the controversial nature of its plot, but cites the June 1904 performance as "splendid, most stimulating". William M. Murphy, Prodigal Father: The Life of John Butler Yeats, Cornell University Press, 1978, p. 271
John Butler Yeats (1839-1922) A Vision Ink and monochrome wash, 23 x 30.5cm (9 x 12") Provenance: The collection of the Yeats family. From the estate of the late Senator Michael Yeats. Note: Probably a design for an illustration. In the 1890s, while living in London, Yeats was commissioned to illustrate Daniel Defoe's novels for Dent; he also offered illustrations to other publishers. It is thought that the two boys in this picture are the artists children the poet W.B Yeats and the artist Jack B. Yeats.
John Butler Yeats (1839-1922) The Concertina Player Monochrome watercolour heightened with white, 35.6 x 22.7cm (14" x 9") Provenance: The collection of the Yeats family. From the estate of the late Senator Michael Yeats.
Attributed to John Butler Yeats RHA (1839-1922) CONSTANCE GORE-BOOTH (1868-1927), LATER COUNTESS MARKIEVICZ inscribed 'Con Gore Booth' upper left, and '2pm' lower right pencil on paper 60 by 41cm., 23.5 by 16.2 5in. This portrait drawing of a young woman is a preparatory study for a now untraced 'finished' portrait, most probably in pencil (graphite). The sitter is Constance Gore-Booth, daughter of Sir Henry Gore-Booth of Lissadell House, Co. Sligo, and going by her possible age in the drawing, the sketch was executed in the early 1890s when the sitter was in her early twenties. W. B. Yeats had befriended Con Gore-Booth in 1892 and visited Sligo and Lissadell on a number of occasions in the early 1890s. It is not inconceivable that his father, the artist John Butler Yeats, joined him on one of these visits to the great house and was invited to sketch portraits of the Gore-Booth daughters. At the same time, this drawing could just as easily have been done in London as Con Gore-Booth studied at the Slade School of Art from 1893-4 and John Butler Yeats lived in London from 1886 to 1902. Various recorded meetings between Con Gore-Booth and W. B. Yeats are known for these years. On the basis of my experience as the curator of an exhibition on John Butler Yeats, it is my view that the drawing is by him.1 In the 1920s, W. B. Yeats would memorably recall the Gore-Booth daughters (Con and Eva) as: Two girls in silk kimonos, both Beautiful, one a gazelle 2 A number of photographs of Con Gore-Booth in the 1890s exist and there are definite similarities between known photos of her and this image. The most telling facial similarities are the slightly upturned nose, a defined chin and wide eyes. 3 The fact that the drawing carries an inscription in the artist's hand confirms the identification. A later pencil sketch by J. B. Yeats of Countess Markievicz (formerly in the collection of the late Michael B. Yeats and sold through these rooms, 5 April 2008, lot 300) has been rather loosely dated to c.1895 and shows the sitter wearing glasses and a hat.4 Going by her features, this person looks older than a woman in her late twenties and must be dated to the early years of the twentieth century, when the newly married Countess was in her thirties. The attribution to J. B. Yeats is based on the subtlety and verve with which he has conveyed the facial aspects of his sitter while also conveying an independence of personality. By lifting the head and thus allowing the sitter to look down towards us, the artist conveys spirit and determination, aspects of character that come across in equal measure in the smaller half length drawing on the same sheet. If this drawing dates from the first half of the 1890s (according to the age of the sitter), the extensive use of hatching around the head of the sitter is fully in keeping with the portrait style of J. B. Yeats in these years. A couple of pencil drawings of Susan Mitchell and her sister Jenny Mitchell (collection of Gráinne Yeats) which date from the late 1890s and were done in Blenheim Road, west London at the Yeats home, offer interesting comparisons in terms of dark hatching used to contrast with the brightness of the face. Equally, a highly accomplished drawing of a young girl, 'Cuckoo' York Powell (c.1895-99, again, collection of Gráinne Yeats) shows the attention the artist paid to close observation of the face and a more hurried concern with the shoulders and dress. This drawing of Constance Gore-Booth is similar, with a comparable fascination with great dark spheres for the eyes. Another stylistic technique that Yeats exhibits in both the Gore-Booth and York Powell drawings is his use of the sheet of paper for trying out a series of poses or drafts. In the case of the Gore-Booth sketch, one can only guess that the inscription '2 pm' refers to his capturing a certain pose one afternoon with the expectation that further drawings will ensue until the artist is satisfied. The size of this sheet of paper is large in comparison with most other known drawings by J. B. Yeats. This is perhaps due to its unfinished aspect and the fact that so many of his drawings have in time become exhibitable items. Unlike many other drawings of well known Irish personalities of the period, this sketch of Constance Gore-Booth is a private sketch and shows the artist working out a solution to a portrait problem. Throughout the 1890s, Yeats made extensive use of the black lead pencil and achieved a greater expressiveness through his increased control of it. Some years later, when he held his first exhibition in 1901, the artist's friend Frederick York Powell wrote that "he has incontestably made the soft greys and dark sheen of the black lead the vehicle of some of his most intimate and successful interpretation of living nature". This drawing was at Lissadell for over one hundred years, unattributed and possibly kept with various student drawings by Constance Gore-Booth. When it resurfaced, it was thought that this drawing was a self-portrait. This is not the case. Con Gore-Booth did train as an artist in London and Paris but her work is never more than that of an amateur. Her portrait of her sister, Eva (Christie's, Lissadell Sale, 2003, lot 118) is a very slight work, showing little understanding of life drawing and no subtlety in conveying character. By contrast, in the 1890s, John Butler Yeats was proving himself to be a formidable portraitist. His direct application of graphite to paper shows a concern with subtle gradations of tone. His art is highly naturalistic as opposed to realist. Fintan Cullen Professor of Art History University of Nottingham 1 Fintan Cullen, The Drawings of John Butler Yeats (1839-1922), Albany Institute of History and Art, 1987. 2 W. B. Yeats, 'In Memory of Eva Gore-Booth and Con Markiewicz' from The Winding Stair and Other Poems, 1933. 3 R. F. Foster, W. B. Yeats. A Life: I, The Apprentice Mage, Oxford University Press, 1997, plate 14. 4 William M. Murphy, Prodigal Father. The Life of John Butler Yeats (1839-1922), Cornell University Press, 1978, p. 451. See also Hilary Pyle, Yeats: Portrait of an Artistic Family, National Gallery of Ireland and Merrell Holberton, 1997. Provenance: Lissadell House, Co. Sligo; Clearance sale, Mealy's, Dublin, 3 December 2002, lot 315; Mealy's, December 2004, lot 1; 'Independence Sale', Adam's and Mealy's, Dublin, April 2007, lot 399; Private collection, Dublin
John Butler Yeats RHA (1839-1922) SELF PORTRAIT, JUNE 1919 signed, inscribed 'New York' and dated lower right pencil and charcoal on paper 49 by 36cm., 19.25 by 14in. Provenance: Collection of J. M. Kerrigan; Thence by family descent This is one of a small number (approximately six) self portraits by John Butler Yeats drawn during the period 1919-22. The stance is more informal and candid than that of the October 1919 portrait (collection of William M. Murphy, the artist's biographer), without the quizzical tilt of the head seen in the 1921 portrait (Pyms Gallery, 2005) and the undated sketch in the National Gallery (NGI 6313). It belonged originally to Joseph Kerrigan (1884-1964), Abbey actor and film star, who settled permanently in Hollywood in 1935. It was left to an Irish cousin of his and has remained in the one family's possession since.
John Butler Yeats RHA (1839-1922) PORTRAIT OF COUNTESS MARKIEVICZ, pencil drawing on paper, inscribed "Madame Markievicz" in lower margin by the artist's daughter Lily Yeats, 25 by 17cm., 9.75 by 6.75in. By descent from the artist to his son Michael Yeats; by whom donated to Our Lady's Children's Hospital, Crumlin; Charity auction on their behalf, whence purchased by the present owner.
John Butler Yeats RHA (1839-1922) HEAD OF A WOMAN pencil on paper 48 by 39cm., 19 by 15.25in. Provenance: Miss M. Weir, Belfast (as per lot 81); Thence by descent to the previous owner Yeats' subtle and soft handling of the black lead pencil, seen to excellent effect in this work, is typical of his style in the late 1890s and early 1900s. In the introduction to Yeats' exhibition in Dublin in 1901 the critic Frederick York Powell, wrote: 'he has incontestably made the soft greys and dark sheen of the black lead the vehicle of some of his most intimate and successful interpretations of living nature'. The sitter is possibly his daughter Lily, who sat for her father on many occasions (see for instance Lily Yeats Reclining, circa 1897, plate 19 in Fintan Cullen, The Drawings of John Butler Yeats (1839-1922), Albany Institute of History and Art, New York, 1987, and Portrait of Lily Yeats, circa 1901 oil on canvas, National Gallery of Ireland). E6000-8000 (GBP4100-5400 approx.)
John Butler Yeats RHA (1839-1922) PORTRAIT OF GRACIE YEATS (MRS MATTHEW YEATS) with a label on reverse inscribed in a later hand: "A. G.M. Yeats (Mrs Matthew Yeats) by John Butler Yeats RHA" oil on canvas 61 by 51cm., 24 by 20in. Provenance: J. Edwin Yeats (the sitter's son), Toronto, Canada; Thence by descent; Sotheby's, Billingshurst, August 2001; Private collection, Nottinghamshire A.G.M Yeats, or 'Gracie Yeats' as she was known, was John Butler Yeats' aunt by marriage. Born Grace Drew, her father was for many years an archdeacon in the Bahamas; he later became rector at Skibereen, Co. Cork. Grace married Matthew Yeats, the ninth and youngest son of the Rev. John Yeats (1774-1846), rector of Drumcliffe in Co. Sligo and John Butler Yeat's paternal grandfather. Matthew Yeats (1819-1885) worked as a land agent, initially in Celbridge, Co. Kildare, and later in Sligo. William M. Murphy records that John Butler Yeats "often went out of his way" to visit his youngest uncle Matt, who was "yet another affectionate Yeats" and later acted as John's agent when he inherited property in Thomastown, Co. Kildare (William M. Murphy, Prodigal Father: The Life of John Butler Yeats, Cornell University Press, 1978, p. 30). Matthew and Grace married late in life, thus their children were similar in age to John's own family. When John's family were spending a summer with the Pollexfen relations in Sligo, Willie, Lily and Lolly (Jack was too young) would walk to Matthew and Grace's house 'Fort Louis', there to play in the "enchanted" garden and jointly terrorise the neighbouring children (Murphy, op. cit., p. 92). John was evidently very fond of Matthew, Grace, and his young cousins. During the summer of 1874 he tutored Matt's eldest son Frank and described it as "the pleasantest time" he had ever spent in Sligo ( Murphy, op. cit., p. 102). Yet when the same child was much younger, Grace had "deliberately put her young baby Frank out of sight when John Butler Yeats visited them at Celbridge", for John did not respond well to babies, who were "conversationalists and thinkers only potentially" (pp. 495-496). William Murphy's biography of John Butler Yeats refers frequently to Matthew Yeats, particularly in his capacity as John's land agent, and as a relation whom John consistently favoured over his dreaded in-laws, the Pollexfens. Three of Matthew and Grace's children - Frank, Edwin and Elizabeth - later emigrated to Canada, but John remained in touch with them. Indeed, when Elizabeth's daughter the poet Norah Holland (1876-1925) visited Ireland in 1904, John drew a sketch of her, which was later reproduced in an anthology of Canadian poetry. The present portrait of Matthew's wife Grace was no doubt painted as a tribute to his favourite uncle and by way of thanks for his efforts in managing John's complicated financial affairs.
John Butler Yeats RHA (1839-1922) ILLUSTRATION TO A FAIRY TALE, circa 1886-1887 signed with initials lower right; inscribed on reverse watercolour heightened with white 44 by 27cm., 17.5 by 10.5in Provenance: Purchased from the artist by a friend of the Yeats family; by whom given in 1936 to Mrs Buckley, Sandymount, Dublin; thence to her daughter Enid, by whom given in 1994 to the present owner Inscribed on reverse with the instructions to a printer to reduce image to 7.5 x 4.75 inches, and with the artist's name and address, 58 Eardley Crescent, Earls Court (Yeats' address in 1886- 1887), crossed out and replaced below with 3 Blenheim Road, Bedford Park, Chiswick (his address from mid-1887). Struggling to support his large family on the unreliable income of a portrait painter, Yeats left Dublin for London in late 1886 to attempt a living doing black and white illustration work1. From his initial residence in Eardley Crescent he submitted woodcuts and drawings to such publishing firms as Atalanta, Cassell's, Harper's and the Tract Society. However, an unprofessional approach and a distinct lack of marketing skills resulted in many such works not selling and consequently remaining with the family. Contrary to his son Jack's illustrative work, JBY's work in this field has been largely undocumented. The present work represents a rare - possibly unique - example of this part of JBY's oeuvre. 1 William Murphy, Prodigal Father: The Life of John Butler Yeats (1839-1922), Cornell University Press, Ithica & London, 1978, p. 159. E8000-10000 George Campbell RHA (1917-1979) George Campbell RHA was one of Ireland's best known figurative painters of the twentieth century. Several retrospectives of his work have revealed his talent for capturing a sense of place, whether it be of his home county Wicklow, the streets of Dublin or Belfast, the wilds of Connemara or his adoptive heartland in Malaga, Spain. What is not perhaps as widely acknowledged is the incessant nature by which Campbell drew and painted. He seems constantly to have had a sketch pad at the ready to jot down the features of a drinking companion or the rythyms of a group of folk musicians. When times for artists were somewhat lean in the forties and fifties, he would happily swap a drawing or two in exchange for some more marketable commodity, which he could then sell to support himself and Madge. The following lots (92 to 98) were given by Campbell to his friend William Baird and have remained since in the latter's family.
John Butler Yeats RHA (1839-1922) PORTRAIT OF A LADY signed and dated [June 1898] lower left pencil drawing 15 by 13cm., 6 by 5in. E3 500-4,500 (E2,300-2,900 sterling approx.)
John Butler Yeats RHA (1839-1922) WALLACE RUSSELL, AGED 9 YEARS signed, titled and dated [March 1906] lower right pencil drawing 33 by 25cm., 13 by 10in. Provenance: Dawson Gallery framing label on reverse E6,000-8,000 (IR E4,700-6,200 approx.)
![John Butler Yeats RHA (1839-1922) PORTRAIT OF A LADY signed and dated [June 1898] lower left pencil drawing 15 by 13cm., 6 by 5in. E3 500-4,500](https://stageimg.invaluable.com/housePhotos/Whytes/41/195541/H2548-L07068312.jpg)
![John Butler Yeats RHA (1839-1922) WALLACE RUSSELL, AGED 9 YEARS signed, titled and dated [March 1906] lower right pencil drawing 33 by 25cm.,](https://stageimg.invaluable.com/housePhotos/Whytes/99/194299/H2548-L07040951.jpg)
