William Frederick Yeames

(18351918 ) - Artworks Wikipedia® - William Frederick Yeames
YEAMES William Frederick Dr. Harvey And The Children Of Charles I

Sotheby's /Jul 13, 2010
97,217.18 - 145,825.77
Not Sold

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Artworks in Arcadja
15

Some works of William Frederick Yeames

Extracted between 15 works in the catalog of Arcadja
William Frederick Yeames - Or Long-hair'd Page In Crimson Clad

William Frederick Yeames - Or Long-hair'd Page In Crimson Clad

Original
Estimate:

Price:

Lot number: 5048
Other WORKS AT AUCTION
Description:
Property of various owners William Frederick Yeames (British, 1835-1918) "Or long-hair'd page in crimson clad" signed, inscribed and dated 'W.F. Yeames / Florence / 1858' (lower left) and titled on a label fragment on the stretcher oil on canvas 25 1/4 x 15 1/2in The title is taken from Alfred, Lord Tennyson's poem The Lady of Shalott (1842): "Sometimes a troop of damsels glad, An abbot on an ambling pad, Sometimes a curly shepherd lad, Or long-hair'd page in crimson clad Goes by to tower'd Camelot; And sometimes through the mirror blue The knights come riding two and two. She hath no loyal Knight and true, The Lady of Shalott."
William Frederick Yeames - The New Standard

William Frederick Yeames - The New Standard

Original 1888
Estimate:

Price:

Gross Price
Lot number: 350
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Description:
William Frederick Yeames (British, 1835-1918) "The New Standard", oil on canvas, signed and dated lower right "W.F. Yeames, 1888", 30-1/2" x 40-1/2". Presented in a period giltwood exhibition frame with brass artist plaque, incised with title of work and artist's name. William Frederick Yeames (British, 1835-1918) "The New Standard": In overall very good, professionally restored condition. The canvas has been relined. There are minor touch ups and inpainting along the right edge of canvas, small area above the seated elderly female figure and to the upper left area.
William Frederick Yeames - Hiding The Priest

William Frederick Yeames - Hiding The Priest

Original 1868/74
Estimate:

Price:

Gross Price
Lot number: 125
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Description:
William Frederick Yeames, R.A. (1835-1918) Hiding the priest signed and dated 'W. F. YEAMES/1868-1874' (lower left) oil on canvas 23 1/8 x 33¾ in. (58.7 x 85.8 cm.) This picture shows the interior of a room now known as The Punch Room at Cotehele House, a 16th century manor house near Plymouth.
William Frederick Yeames - Dr. Harvey And The Children Of Charles I

William Frederick Yeames - Dr. Harvey And The Children Of Charles I

Original 1871
Estimate:

Price:

Lot number: 97
Other WORKS AT AUCTION
Description:
WILLIAM FREDERICK YEAMES 1835 - 1918 DR. HARVEY AND THE CHILDREN OF CHARLES I 80,000—120,000 GBP measurements note 166 by 115cm., 65¼ by 45¼in. signed l.l.: W.F.YEAMES oil on canvas EXHIBITED Royal Academy, 1871, no.81 LITERATURE AND REFERENCES James Dafforne, 'The Works of William Frederick Yeames, A.R.A.',in Art Journal, 1871, p.100 CATALOGUE NOTE William Frederick Yeames was born in southern Russia, the son ofthe Consul. His childhood was spent in Odessa and Germany but hemoved to London in 1848 aged thirteen and began to study painting.He exhibited for the first time in 1859 and specialised in subjectsfrom Elizabethan and Cromwellian history painted in fine detail andwith emotional gravitas. He is best-known for his Royal Academyexhibit of 1878 And When did you Last see your Father? (FIG1. Walker Art Gallery, Liverpool) which became one of the mostfamous and beloved paintings of the mid-nineteenth century. Thepicture depicts the interrogation by Roundhead soldiers of the sonof a Royalist who stoically refuses to betray his father'swhereabouts. The painting became so famous that a popular songThe Young Royalist was based upon it and in 1934 MadameTussaud's in London produced a waxworks tableaux of the picture(versions created in 1955 and the 1960s and only dismantled in1990). Between 1887 and 1938 one-hundred-and-twenty applicationswere made to the Walker Art Gallery to print reproductions of thepainting in history books. The painting caught the publicimagination but the present, earlier picture, having been in aprivate collection rather than on public show, is much lessknown.When this picture was exhibited at the Royal Academy in 1871, thefollowing explanation of the narrative was given in the catalogue;'The young princes accompanied their father the King, whilst hewaged war with the Parliament. At the outset of the battle ofEdgehill, their tutor Harvey, the famous discoverer of thecirculation of blood, took them to a place of safety, as hethought, and all absorbed in his meditations, sat down, pulled outhis books, and plunged into his studies. It was only when thebullets whistled about their heads that he became aware of thedanger to which his young charges were exposed.' Yeames treated thesubject with an element of humour, contrasting the alert andconcerned animation of the children and the oblivious calm of theirguardian stroking his beard and engrossed in his book. In thebackground the smoke of the battle of Edgehill shows the dangerthat confronts the children. The Battle of Edgehill was the firstpitched battle of the Civil War, fought in southern Warwickshire onSunday 23 October 1642. Yeames' painting depicts the periphery ofthe battlefield; 'The figures are unusually large, but effective:the princes have climbed a high bank and are watching the battlewith the curiosity of young children, while the learned doctor,absorbed in his studies, seems perfectly unconscious of anythingthat is passing around him.' (James Dafforne, 'The Works of WilliamFrederick Yeames, A.R.A.', in Art Journal, 1871, p.100) There was great appeal for subjects from the history of theEnglish Civil War in Victorian art, especially for thosesympathetic with the Royalists. Walter Scott's novelWoodstock of 1826 is an important example from the literaryworld while a series of paintings for the Houses of Parliament byCharles West Cope tackled the subject in the 1850s and 1860s. In1847 a popular adventure novel was published by Captain Marryatentitled Children of the New Forest containing extendedaccounts of the confrontations between Royalist children andrevolutionaries. Both Dr. Harvey and the Children of CharlesI and And When did you Last see your Father? depicthistorical events but Yeames' concentration on childhood gave thepaintings a shared sense of humanity and emotion. Yeames may haveconsciously been producing pictures that would tug at theheart-strings and also paintings which would become famous asillustrations of history with which Victorian children wouldidentify. The two pictures share not simply the historical settingof the subject, but also the contrast of the innocence andfragility of the children and the violence and danger of theconflict. The blue suit worn by the boy in And When did you Lastsee your Father? is the same costume worn by a child in Dr.Harvey and the Children of Charles I. It almost certainly derivedfrom Gainsborough's Blue Boy. As has been written of And When did you Last see your Father?but equally could be said of Dr. Harvey and the Children of CharlesI; 'Yeames's achievement lay in crystallizing for all time... thewhole saga of romantic, doomed Cavaliers and stern, relentlessPuritans, a subject which occupied a central position amongst thethemes and obsessions of the Victorian literary and artistic mind.'(Roy Strong, And When did you last see your Father, The VictorianPainter and British History, 1978, p.136) James Dafforne, 'The Works of William Frederick Yeames, A.R.A.',in Art Journal, 1871, p.100 William Frederick Yeames was born in southern Russia, the son ofthe Consul. His childhood was spent in Odessa and Germany but hemoved to London in 1848 aged thirteen and began to study painting.He exhibited for the first time in 1859 and specialised in subjectsfrom Elizabethan and Cromwellian history painted in fine detail andwith emotional gravitas. He is best-known for his Royal Academyexhibit of 1878 And When did you Last see your Father? (FIG1. Walker Art Gallery, Liverpool) which became one of the mostfamous and beloved paintings of the mid-nineteenth century. Thepicture depicts the interrogation by Roundhead soldiers of the sonof a Royalist who stoically refuses to betray his father'swhereabouts. The painting became so famous that a popular songThe Young Royalist was based upon it and in 1934 MadameTussaud's in London produced a waxworks tableaux of the picture(versions created in 1955 and the 1960s and only dismantled in1990). Between 1887 and 1938 one-hundred-and-twenty applicationswere made to the Walker Art Gallery to print reproductions of thepainting in history books. The painting caught the publicimagination but the present, earlier picture, having been in aprivate collection rather than on public show, is much lessknown.When this picture was exhibited at the Royal Academy in 1871, thefollowing explanation of the narrative was given in the catalogue;'The young princes accompanied their father the King, whilst hewaged war with the Parliament. At the outset of the battle ofEdgehill, their tutor Harvey, the famous discoverer of thecirculation of blood, took them to a place of safety, as hethought, and all absorbed in his meditations, sat down, pulled outhis books, and plunged into his studies. It was only when thebullets whistled about their heads that he became aware of thedanger to which his young charges were exposed.' Yeames treated thesubject with an element of humour, contrasting the alert andconcerned animation of the children and the oblivious calm of theirguardian stroking his beard and engrossed in his book. In thebackground the smoke of the battle of Edgehill shows the dangerthat confronts the children. The Battle of Edgehill was the firstpitched battle of the Civil War, fought in southern Warwickshire onSunday 23 October 1642. Yeames' painting depicts the periphery ofthe battlefield; 'The figures are unusually large, but effective:the princes have climbed a high bank and are watching the battlewith the curiosity of young children, while the learned doctor,absorbed in his studies, seems perfectly unconscious of anythingthat is passing around him.' (James Dafforne, 'The Works of WilliamFrederick Yeames, A.R.A.', in Art Journal, 1871, p.100) There was great appeal for subjects from the history of theEnglish Civil War in Victorian art, especially for thosesympathetic with the Royalists. Walter Scott's novelWoodstock of 1826 is an important example from the literaryworld while a series of paintings for the Houses of Parliament byCharles West Cope tackled the subject in the 1850s and 1860s. In1847 a popular adventure novel was published by Captain Marryatentitled Children of the New Forest containing extendedaccounts of the confrontations between Royalist children andrevolutionaries. Both Dr. Harvey and the Children of CharlesI and And When did you Last see your Father? depicthistorical events but Yeames' concentration on childhood gave thepaintings a shared sense of humanity and emotion. Yeames may haveconsciously been producing pictures that would tug at theheart-strings and also paintings which would become famous asillustrations of history with which Victorian children wouldidentify. The two pictures share not simply the historical settingof the subject, but also the contrast of the innocence andfragility of the children and the violence and danger of theconflict. The blue suit worn by the boy in And When did you Lastsee your Father? is the same costume worn by a child in Dr.Harvey and the Children of Charles I. It almost certainly derivedfrom Gainsborough's Blue Boy. As has been written of And When did you Last see your Father?but equally could be said of Dr. Harvey and the Children of CharlesI; 'Yeames's achievement lay in crystallizing for all time... thewhole saga of romantic, doomed Cavaliers and stern, relentlessPuritans, a subject which occupied a central position amongst thethemes and obsessions of the Victorian literary and artistic mind.'(Roy Strong, And When did you last see your Father, The VictorianPainter and British History, 1978, p.136)
William Frederick Yeames - Queen Elizabeth And Leicester

William Frederick Yeames - Queen Elizabeth And Leicester

Original 1865
Estimate:

Price:

Lot number: 85
Other WORKS AT AUCTION
Description:
William Frederick Yeames (British, 1835-1918) Queen Elizabeth and Leicester signed and dated 'W F Yeames 1865' (lower left) oil on canvas 72 x 92.5cm (28 3/8 x 36 7/16in). The present lot reputedly represents Queen Elizabeth receiving the Earl of Leicester and interrupted by the Duke of Norfolk. Provenance: Sotheby's, London, 28th November 1972, lot 56; Private collection, UK.
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