For although disclaiming any attempt to whitewash his subject, Murphy believed JBY was far more interesting than his two famous sons and just as hard a worker at his art.
Convinced that her late friend deserved scholarly attention, she provided Bill with many of JBY's letters to Quinn, regaled him with memories of the cultural world the three had shared, and, as her final gesture, in her will left him JBY's gravesite.
Many years later, in a detailed three-page typescript, Bill wrote a description for me of how he did not meet George Yeats, though for two years she had delivered to him via Michael tightly-packed tins holding the letters of JBY to his family.
But some thought he occasionally transgressed those limitations, especially in that next hefty volume of revelations, Family Secrets: William Butler Yeats and His Relatives (1995), which made use of even further unpublished documentation, including the letters Lily wrote for 36 years to her cousin and adopted daughter, Ruth Pollexfen Lane-Poole, JBY's amorous correspondence with Rosa Butt, and new material on the Dun Emer Industries and the Yeats sisters.
Scholars, musicians and poets gathered in Chestertown, New York, called together by Declan Foley of Australia, to spend a weekend discussing JBY and his circle of friends and family.
Often referred to as "JBY" (one of his forms of signature), John Butler Yeats (1839-1922) is as highly esteemed in New York as in his homeland.
JBY's restless nature perhaps accounts for the way in which he continually reassessed and revised his method of working, always comparing his style with that of younger contemporaries.
Though the National Gallery has no portrait of Elizabeth (1868-1940), Jack's younger sister has been represented for the new museum's first two years by JBY's only oil of her, generously lent by the family.
JBY's portraits of now historic personalities, friends, and acquaintances during the height of the Irish cultural and political movement are a feature of the museum.
Three portraits from JBY's American period were donated to the National Gallery in the 1960s and make an effective bridge to two canvases by Anne, his granddaughter.