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William Orpen

(1878 -  1931 ) Wikipedia® : William Orpen
ORPEN William Study Of A Satyr

Cheffins
Mar 6, 2019
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Variants on Artist's name :

Sir William Orpen

 

Artworks in Arcadja
524

Some works of William Orpen

Extracted between 524 works in the catalog of Arcadja
William Orpen - Study For 'the Café Royal'

William Orpen - Study For 'the Café Royal'

Original 1911
Estimate:

Price:

Lot number: 184
Other WORKS AT AUCTION
Description:
Sir William Orpen, R.A., R.H.A. (1878-1931) Study for 'The Café Royal' inscribed \‘Nicholson/BILLIE./De Vere Coles mistress/in love with John/Pryde/GEORGE MOORE-/Rich/John myself & someone/not settled yet.\’ (along the lower edge) pencil, ink and watercolour on paper 9 ½ x 11 ¾ in. (24.2 x 29.8 cm.) Executed in 1911.
William Orpen - On The Cliff (howth, County Dublin)

William Orpen - On The Cliff (howth, County Dublin)

Original 1913
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Net Price
Lot number: 27
Other WORKS AT AUCTION
Description:
ON THE CLIFF (HOWTH, COUNTY DUBLIN), 1913 Sir William Orpen KBE RA RI RHA (1878-1931) Signature: signed and dated lower right; with Pyms Gallery label on reverse pencil and watercolour 21 x 29¼in. (53.34 x 74.30cm) Exhibited: 'Orpen and the Edwardian Era', Pyms Gallery, 1987, catalogue p.103 (illustrated)
William Orpen - Study Of A Satyr

William Orpen - Study Of A Satyr

Original
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Price:

Net Price
Lot number: 59
Other WORKS AT AUCTION
Description:
Sir William Orpen, KBE, RA, RHA (Irish, 1878-1931) Study of a satyr pencil 22.50 x 17.50cm (9 x 7in) Exhibited: The Neptune Gallery, 122 A St Stephen's Green, Dublin, Orpen Exhibition, 16th June - 14th July 1971, no. 19; European Fine Arts, 6 Lower Merrion Street, Dublin, Twentieth Century Drawings by Irish Artists, November 1989, no. 35 Other Notes: The present sketch is from a sketchbook that Orpen kept when he studied at the Slade School between 1897 and 1899.
William Orpen - Sir Aston Webb

William Orpen - Sir Aston Webb

Original 1921
Estimate:

Price:

Lot number: 341
Other WORKS AT AUCTION
Description:
SIR WILLIAM ORPEN, R.A. (1878-1931) Sir Aston Webb signed, inscribed and dated 'Sir Aston Webb, P.R.A./by Sir Wm Orpen, RA/4 July 1921.' (lower left) pencil on paper 6¾ x 4¼ in. (17 x 10.8 cm.) Executed on 4 July 1921, at The Arts Club, London. Sold with a letter from Sir Aston Webb to Sir David Murray, dated 5 July 1921. Provenance A gift from the sitter to Sir David Murray, 5 July 1921. A gift to the present owner's father, and by descent. Literature and exhibited Exhibited London, Fine Art Society, British Drawings and Water-colours of the 20th Century, June 1971, no. 78. Lot Essay Sir Aston Webb, G.C.V.O., C.B., R.A., F.R.I.B.A. (1849-1930) was an architect who designed the principal facade of Buckingham Palace and the main building of the Victoria and Albert Museum. He was President of the Royal Academy from 1919-1924, and the founding Chairman of the London Society. Post Lot Text This lot has been imported from outside the EU for sale and placed under the Temporary Admission regime. Import VAT is payable (at 5%) on the hammer price. VAT at 20% will be added to the buyer\’s premium but will not be shown separately on the invoice. Please see Conditions of Sale for further information.
William Orpen - Miss Annie Mary Geraldine 'dolly' Harmsworth: Interior Portrait

William Orpen - Miss Annie Mary Geraldine 'dolly' Harmsworth: Interior Portrait

Original
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Price:

Gross Price
Lot number: 71
Other WORKS AT AUCTION
Description:
Sir William Orpen, R.W.S., N.E.A.C., R.A., R.H.A. MISS ANNIE MARY GERALDINE 'DOLLY' HARMSWORTH: INTERIOR PORTRAIT Read Condition Report Register or Log-in to view condition report Or Artist's Studio Book for Autumn 1907, 'Portrait of Miss Harmsworth £150' [including sketch of the picture with brief description underneath "36x28 White Dress, Pink Sash, Glass Ball"]; Sir Robert Leicester Harmsworth, Bt and thence by descent; Christie's, London, 13 June 1980,lot 81; Christie's, London, 3 March 1988,lot 87; Cyril Leeper Collection, Canada, 30 March 1988 - 13 June 1989; Phillips, London, 13 June 1989, lot 85; Taylor Gallery, London, 1989; Sotheby's, London, 16 May 1996, lot 463 London, Royal Academy, Winter Exhibition, 1933, no.30; London, Taylor Gallery, Ireland and the Modern Movement, 1 June - 31 July 1990, no.30; New Haven, Yale Center for British Art,America\’s Eye: Irish Paintings from the Collection of Brian P. Burns, 25 September 1997 - 4 January 1998; Washington, John F. Kennedy Center, Irish Paintings from the Collection of Brian P. Burns, 13 - 28 May 2000, illustratedp.78 Literature Artist\’s Studio Book Reference: 13/07-1907 [Page/Line-Date]; Cara Copland Reference: H01:07 [Page:Line]; P. G. Konody and Sidney Dark, William Orpen, Artist and Man, London, 1932, pp.200, 267; Bruce Arnold, Orpen, Mirror to an Age, London 1981, p.254 Catalogue Note In 1907, Orpen was sharing his studio at 5 South Bolton Gardens, with friend and fellow artist Sir William Nicholson during which time they both embarked on a series of still-lifes based on objects in and around the studio. In addition, by 1907, his friend and distant cousin, Sir Hugh Lane, was also using Orpen\’s studio to store artworks, (both pictures and objects), some of which were intended for Dublin\’s Municipal Art Gallery, which Lane was still in the process of creating, and which finally opened in January 1908. In 1904, Orpen had accompanied Lane on a continental trip to Paris and Madrid, advising Lane on Modern French Art, resulting in the purchase by Lane of a number of such works, some of which could be found in Orpen\’s studio. Orpen, taking advantage of this good fortune, used several of them as props, representing them in several of his paintings of that period. These include Edouard Manet\’s Portrait of Eva Gonzalès (1870, National Gallery, London) which appears in Orpen\’s Homage to Manet; Ignace-Henri-Théodore Fantin-Latour\’s, Still Life with Glass Jug, Fruit and Flowers (1861, National Gallery, London), which appears in the background of Still Life: The Reflection (c.1907, Private Collection); Auguste Rodin\’s bronze, Brother and Sister (1890, National Gallery of Ireland, Dublin), in Still Life: Rodin Bronze, with a bowl of flowers, a blue bowl, a wooden globe, and an embroidered cloth, all on a table (c.1908, Mildura Arts Centre, Victoria, Australia); and Jacobus Hendricus Maris, A Girl Feeding a Bird in a Cage, (c.1867, National Gallery, London), part of which is visible in the upper right hand corner of the current work. Also visible but not attributable to Lane is a glass globe resting on a stemmed pedestal. This globe, which Orpen used to reflect his own image, also appears as one of the objects in Still Life: The Reflection (c.1907), as well as in The Glass Globe (1908, Mildura Arts Centre, Victoria, Australia). In the later part of the 19th and early in the 20th century, several British artists looked to the work of James Abbott Mc Neill Whistler for inspiration. In observing the current work, it is likely that he was referencing Whistler\’s interior entitled, At the Piano (1858–59) (Taft Museum of Art, Ohio, USA), which Orpen would almost certainly have seen when it was exhibited in 1905 at the artist\’sMemorial Exhibition in London in 1905 (no.75). This shows Whistler\’s half-sister at the keyboard of a grand piano and niece leaning against the crook in the grand, watching her mother as she plays, placing Annie Haden in profile. Orpen chooses a similar pose, with Annie Harmsworth\’s legs crossed, with just the toes of the bent leg\’s foot making contact with the floor, whilst she leans against a sideboard, rather than a piano. As this is a commissioned portrait, Orpen does not have the luxury of using a second figure as a foil. Rather than \‘landscape\’, he chooses the more usual \‘portrait\’ orientation for the work, keeping the balance by replacing a second figure with various objects on the left of the composition. On the right-hand side, he introduces half of 'an old Dutch chair', (which is in The Mirror of 1900 and in several other later portraits), with a piece of clothing draped over the seat, trailing to the floor. He also subtly rearranges the pose, the legs cross higher up at the calves, the head is turned to directly face the viewer, the lean into the piece of furniture is just that much greater, and greater emphasis is placed on the hands. The effect is that it gives Annie a nonchalant attitude, presenting us with a softer and less formal portrait than that of Annie Lumb of the year before. Given Orpen's great admiration for Velasquez, whose spell he fell under on a trip to Madrid in 1904 in the company of Lane, it has also been suggested that the present portrait shares an affinity with Velasquez's portraits of the Infanta Margaret at the ages of 3 and 8, seen in the pose of the girl, the vase of flowers, patterned carpet and bronze of a lion. Known as 'Dolly', Annie Harmsworth was born on 4 May 1900, in Bushey, Hertfordshire, the eldest daughter of Sir Robert Leicester Harmsworth, Bt. Her father was Liberal M.P. for Caithness 1900-1918 and for Caithness and Sutherland 1918-1922. He was a brother of Alfred Charles William Harmsworth, (Viscount Northcliffe) (founder of the 'Daily Mail' and one-time owner of 'The Times') and of Harold Sidney Harmsworth (Viscount Rothermere), Cecil Bisshopp Harmsworth, (1st Baron Harmsworth of Egham), Sir Hildebrand Aubrey Harmsworth, Bt., and William Albert St. John Harmsworth. Miss Harmsworth married Terry Colley Durham of Richmond, Appomatix, Virginia, U.S.A. on 1st March 1921. He was a Rhodes Scholar of Christ Church, Oxford, who died in 1949. They had four daughters. She died, aged ninety, on 24th June 1990, in St Leonards-on-Sea, East Sussex, England. Orpen also painted Annie\’s sister, Violette Lilian Rosemary Harmsworth: In a Landscape (1910, formerly in the Brian P. Burns Collection), and much later, two of her uncles which are since untraced.
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