Adams /May 27, 2015
€250.00 - €350.00
Artworks in Arcadja415
Some works of William OrpenExtracted between 415 works in the catalog of Arcadja
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Sir William Orpen, K.B.E., R.A., R.H.A. (British/Irish 1878-1931), "Self-Portrait of the Artist with His Wife Grace", ca. 1902-1912, conte on paper, signed lower right "Orpen", sight 11-3/4" x 11-1/4". Glazed, matted and framed. Sir William Orpen, a London-based artist, was one of the most prolific portrait painters in Edwardian society at the turn of the century. During World War I, he served as a war correspondent in France for the British government. His drawings, sketches and portraits of battles, soldiers and generals were so prodigious, Orpen was knighted for his service in 1918. In addition to his military works, Orpen is equally renowned today by curators and scholars for the visual complexity of his self-portraits, in which he often portrayed himself (sometimes mockingly) in multiples as well as from multiple angles. In "Ready to Start", 1917, in the Imperial War Museum, Orpen depicts himself in a mirror or painting within a painting, and in a series of self-portraits in pencil that recently sold at auction in Ireland, Orpen appears in 3/4 profile from the rear as he does in the drawing offered here. Art Historian Bruce Arnold has noted that the multiplicity of Orpen's portraits reflect "the shadow of death and experience, toil, passion and fulfillment" of his time that "few English artists have equaled." A fine example of Orpen's enigmatic nature is this touching self-portrait of the artist and his wife. Grace Knewstub married Orpen in 1902. Though their marriage was an unhappy one fraught with mistresses after 1908, Orpen's sketchbooks reveal much tenderness in the early years of their marriage, in which Grace is portrayed numerous times in profile, resting, modelling, and looking after their infant daughters. With her distinctive nose and poised chin captured in warm sanguine in this drawing, Grace is a beauty to behold and possess as one of Orpen's more intimate portraits and self-portraits.
William Orpen - Portrait Of Vivien Hugh Smith (1867-1956), Later First 1st Baron Bicester Of Tusmore Park
Auction: Whyte's -Sep 28, 2015 - DublinLot number: 24
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Description: Sir William Orpen RA RI RHA (1878-1931) PORTRAIT OF VIVIEN HUGH SMITH (1867-1956), LATER FIRST 1st BARON BICESTER OF TUSMORE PARK, 1919 oil on canvas signed lower right; with James Bourlet & Sons [Dublin] label on reverse h:50 w:40 in. Provenance: Commissioned from the artist in 1919 for £1,500; Christie's, 17 May 2001, lot 111; Private collection Exhibited: Royal Academy, London, 1920, no. 307, as Portrait of Vivian Hugh Smith (Presentation Portrait) Literature: Studio Book, reference: 30/22-1919 The present work is probably one of the earliest commissions Orpen carried out after his return from the Peace Conference in Paris in 1919. An unpublished letter dated Paris July 1919 from Orpen to William Marchant of the Goupil Gallery (Tate Gallery Archive) would suggest a date of September 1919. Orpen writes: 'I'm going back [to London] for three weeks early in September to paint two portraits. (I ain't got any money).' His need for money and claim to poverty was understandable at this time considering he had been providing for a family household and schooling on a Major's pay for the previous two years or so, when he was employed in the capacity of Official War Artist. The subject of the present portrait is Vivian Hugh Smith a descendent of the banking family, which founded Smith's Bank at Nottingham. He worked for the merchant banking firm of Morgan Grenfell & Co. and became a director of many important companies. He was created a Baron in 1938. His career in the City was most notable for his role as a Director and later as Governor of the Royal Exchange Assurance for sixty years. Although he had always loved horses, it was only late in life, with the acquisition of Tusmore Park near Bicester that he could indulge his passion acquiring a series of successful steeplechasers. Other distinguished artists of the day painted his portrait including Sir Herbert James Gunn, R.A. and Sir Alfred James Munnings, P.R.A. who portrayed him in hunting pink and on horseback. We are grateful to the Orpen Research Project for their previous research on this lot.
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Description: SIR WILLIAM ORPEN (1878-1931) A profile portrait of a young man, signed lower right, charcoal, 14.25" x 9.75". See illustration. Provenance: With a letter stating that this work was gifted from Orpen to the mother of the current owner, whilst studying together at The Metropolitan School of Art, Dublin, in around 1894. Private collection, Wareham.
Auction: Adams -May 27, 2015 - DublinLot number: 20
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Description: Sir William Orpen RHA RA RI (1878-1931)The Male Art Model and the Char Lady, and other sketchesPencil, 22.5 x 17cm (8å_ x 6å_‰ Û)Provenance: Courtfield Institute Orpen folio reference 25/81 (see label verso)Exhibited: Orpen Exhibition, The Neptune Gallery, Dublin, June/ July 1971.Twentieth Century Drawings, European Fine Arts, Dublin, November 1989, Catalogue No.27.
Auction: Whyte's -May 25, 2015 - DublinLot number: 26
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Description: Sir William Orpen RA RI RHA (1878-1931) GLADYS COOPER oil on canvas signed upper right; with exhibition label on reverse h:30 w:25 in. Provenance: The sitter's family; Thence by descent; Private Treaty sale, Sotheby's, 2001; Private collection Exhibited: '158th Summer Exhibition', Royal Academy, London, 1926, no. 19; '54th Autumn Exhibition', Walker Art Gallery, Liverpool, 1926, no. 143 Literature: Cooper, Gladys, Gladys Cooper, Hutchinson & Co., London, 1930, p.264,265 (illustrated on frontispiece) Konody, P.G. & Dark, Sidney, Sir William Orpen, Artist and Man, Seeley Service & Co. London, 1932, p.273 (Appendices, Chronological list of Paintings (1924); Arnold, Bruce, Orpen Mirror to an Age, Jonathan Cape, London, 1981, pp.409, 417 In 1924 former Gaiety girl and future screen star Gladys Cooper sat for one of the most soughtafter society portrait painters of the 20th century, Sir William Orpen. Both artists were at the height of their celebrity at this juncture. The present work is a testament to the beauty of the performer and the skill and enduring quality of the artist. Gladys Cooper, born in 1888, had her stage debut in 1905. In 1913 she began a mutually successful theatrical partnership and lasting friendship with actor /manager Gerald du Maurier. She also ran the Playhouse Theatre on the Embankment with thespian and businessman Frank Curzon. The variety of plays produced at the Playhouse brought financial success and praise from the critics. Her celebrity was further consolidated through her famed collaborations with Somerset Maugham in the 1920s. Among the fêted shows at London's Adephi Theatre in the 1920s was J. M. Barrie's Peter Pan. At the time the present work was painted Gladys Cooper was rehearsing for the title role; that of the impish eternal boy with the gift of flight, and leader of his gang of Lost Boys on the island of Neverland. In her autobiography published in 1930 she records her time sitting before Orpen and lifts the curtain on their respective mindset.. '… I was never allowed to catch even a glimpse of it while it was being done, and when it was finished I found that I had been given a distinct Peter Pan-ish sort of look. This was rather strange, but I think I can explain it. While Orpen was painting me I was thinking very hard about playing Peter and it may be that he saw something in my face which was from my mind. Orpen wrote me the following letter about the picture: Dear Miss Cooper although I was too shy to show you the picture I am really very keen on it- what do you think of making it into 'Peter Pan' just a little bit by bringing the shadow along with you - it really was the idea I had when I painted out the white cloak – because your face became what I thought you looked like in the partor what Peter ought to look like. Yours ever, William Orpen Just say 'rubbish' if you don't like the idea. 2 ' Miss Cooper must have been pleased with the nod to her stage role as the shadow is visible, hovering against her right shoulder next to the lighter coloured backdrop. Orpen shows her sitting sideways, relaxed with arms crossed and gazing into the distance beyond – perhaps emulating the expression of Peter's aloofness from this world, as observed by the critic Mr J. T. Grein, writing in The Sketch, as he reviewed Cooper's revival of the part.3 Her timelessly beautiful elfin face and long elegant neck are accentuated by her fashionable flapper hair-style and a string of glittering beads, which add a hint of glamour to her