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William Orpen

(1878 -  1931 ) Wikipedia® : William Orpen
ORPEN William Peasants And Toy Seller

Adams /Jun 1, 2016
4,000.00 - 6,000.00
3,600.00

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Artworks in Arcadja
441

Some works of William Orpen

Extracted between 441 works in the catalog of Arcadja
William Orpen - A Profile Portrait Of A Young Man

William Orpen - A Profile Portrait Of A Young Man

Original
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Price:

Lot number: 699A
Other WORKS AT AUCTION
Description:
SIR WILLIAM ORPEN (1878-1931) A profile portrait of a young man, signed lower right, charcoal, 14.25" x 9.75". 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.
William Orpen - The Fiddler

William Orpen - The Fiddler

Original -
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Price:

Lot number: 7
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Description:
Sir William Orpen, R.W.S., N.E.A.C., R.A., R.H.A. 1878-1931 THE FIDDLER signed l.r.: ORPEN pencil and watercolour 67.5 by 47cm., 26¾ by 18½in. Read Condition Report Read Condition Report Register or Log-in to view condition report Or Saleroom Notice Provenance Laurence Bradbury Esq. by 1923;Agnew & Sons, London, where purchased by the father of the present owner in 1965Exhibited London, Agnew & Sons, June 1965, no.76Literature Anon, Figure Painting in Watercolours by Contemporary British Artists, 1923, (The Studio, ‘Special Number’’’’’’’’), illus.;‘Art Publications’’’’’’’’, The Scotsman, 11 June 1923, p.2;J.B. Manson, ‘Some Drawings by Sir William Orpen’’’’’’’’, The Studio, vol. 86, October 1923, opp. p.183, illus. as frontispiece Catalogue Note In December 1914, as it became clear that prophecies of a swift end to the war in Europe would not be realized, William Orpen exhibited his large allegorical work The Western Wedding, (fig. 1), at the New English Art Club. It was the second in his ‘Irish trilogy’’’’’’’’.1Unflattering comparisons were made with Piero della Francesca’’’’’’’’s Nativity and this ‘curious scene’’’’’’’’ of an open air West of Ireland wedding was considered indecipherable.2 ‘To judge by appearances’’’’’’’’ said one critic,… the priest and the fiddler standing on the opposite sides of a gigantic crucifix are discoursing simultaneously while guests are scattered promiscuously with no great interest in the ceremony.3Orpen’’’’’’’’s message was not a simple one, mixing western peasant rusticity and catholic piety with memories of the plays of Synge in the tangle of Irish cultural revival. For many the picture was simply disjointed and its significance is made more difficult to unravel because it perished in a fire while in storage. A fully worked up compositional study, given to Thomas Bodkin and passed to his daughter, is also lost. What remains is a series of drawings that relate to the figure groups – the central one comprising the barefoot fiddler with his vagabond family. While other spectators at this strange event seem oddly disengaged, the musician, probably modelled by Sean Keating, faces the priest as he confers his blessing, perhaps waiting for a signal to continue playing. Whatever we may think of the ‘Wedding’’’’’’’’ ensemble, the parts are supremely eloquent. Orpen’’’’’’’’s draughtsmanship was hailed by contemporaries, one describing the line in works like the present drawing, as ‘clear, firm and vivid’’’’’’’’. As in his earlier Caravaggesque crayon studies (see lot 5), so confident was his handling of the medium that a single contour, placed with the precision of silverpoint, was sufficient to convey all he needed to say about space and form. CH Collins Baker accounted for this change of emphasis as a move towards modernism – ‘Perhaps the recent exhibition of the so-called Post-Impressionists may have suggested something to him’’’’’’’’, he mused.4 Comparisons were invoked by others with great draughtsmen of the past – Ingres and Leonardo. So prized were the drawings of this period that the Chenil Gallery produced an expensive portfolio of facsimilies accompanied by a booklet of enthusiastic encomia. By the twenties, in a more uncertain world, James Bolivar Manson in his brief critical survey of Orpen’’’’’’’’s drawings declared that The Fiddler,… has charm; the subject is delightful; the naïve expression on the kneeling boy’’’’’’’’s face is very sweet; but it is not impulsive; it is a careful drawing and a careful draughtsman (I mean a consciously careful one) is a little like a painstaking comedian.5The pedantic Manson, a minor Impressionist painter, now working as a Tate Gallery curator, may well have been aware of Orpen’’’’’’’’s legendary humour. What he evidently did not appreciate was the spontaneity and schooled intuition that arose from in-depth study and long experience. Drawing, according to PG Konody was a ‘veritable passion’’’’’’’’.6 Orpen drew instinctively, incessantly and without licence. As his letters attest, he thought, first and foremost, visually. And when we look at the glorious Fiddler, little else matters. Kenneth McConkey[1] Orpen’’’’’’’’s so-called ‘Irish Trilogy’’’’’’’’ consisted of Sowing New Seed …, 1913 (Mildura Art Centre, Australia) and Nude Pattern, The Holy Well, 1916 (National Gallery of Ireland), in addition to The Western Wedding. [2] C.H. Collins Baker, ‘Ways of Seeing Things’’’’’’’’, The Saturday Review, 12 December 1914, p.603.[3] ‘Our Private Correspondence’’’’’’’’, The Scotsman, 2 December 1914, p.7.[4] C.H. Collins Baker, ‘The Paintings of William Orpen ARA, RHA’’’’’’’’, The Studio, vol LII, 1911, p.260.[5] J.B. Manson, ‘Some Drawings by Sir William Orpen’’’’’’’’, The Studio, vol LXXXVI, 1923, p.189.[6] P.G. Konody, ‘The Sketch Books of Sir William Orpen’’’’’’’’, The Studio, vol CIV, 1932, p.309. Fig. 1 William Orpen, The Western Wedding (formely Matsukata Collection, destroyed) See MoreSee Less Suggested Lots JUMP TO LOT Irish Art Lot No. Invalid Now Irish Art 13 September 2016 | 2:30 PM BSTLondon Buy Catalogue Contact Info Contact Info Charlie Minter Deputy Director
William Orpen - Portrait Of Sir Louis Bernhard Baron

William Orpen - Portrait Of Sir Louis Bernhard Baron

Original
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Gross Price
Lot number: 363
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Description:
Sir William Orpen, R.A., R.H.A. (Stillorgan 1878-1931 London) Portrait of Sir Louis Bernhard Baron (1876-4934), seated three-quarter length in a grey suit signed 'ORPEN' (lower left) oil on canvas 40¼ x 34¼ in. (102.3 x 87 cm.) Anonymous sale; Christie's, London, 10 May 2007, lot 86, where purchased by the present owner. PROPERTY OF A DISTINGUISHED CORPORATE COLLECTION Artist's Studio Book for 1926: Mr L. Baron £2100. P. Konody and S. Dark, William Orpen: Artist & Man, London, 1932, p. 274. For further information on this lot please visit www.christies.com. Sir Louis Bernhard Baron (1876-1934) was the oldest son of Bernhard Baron. Orpen painted Sir Louis in 1926, Bernhard Baron in 1927 and Sir Edward Baron, possibly Sir Louis' brother, in 1930. All were one time heads of Carreras, the cigarette manufacturer. These commissions may have been dear to Orpen's heart as the artist was a heavy smoker, and their company manufactured his favourite brand of cigarette, Piccadilly No. 1. He even produced an 'unsolicited' testimonial, as a skit on the 'His Master's Voice' logo. It comprised a drawing in which he featured Mr Funny, his dog, which was not totally unlike Nipper, the HMV dog. Entitled Carreras, His Master's Scent, Orpen states the following: "'Unsolicited Testimonial' (and unpaid for!) Dear Sirs, for thirty years I have smoked Virginia cigarettes - but never have I tasted any of them so good as your Piccadilly No. 1. Yours truly William Orpen".
William Orpen - Peasants And Toy Seller

William Orpen - Peasants And Toy Seller

Original
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Net Price
Lot number: 30
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Description:
Description Sir William Orpen RA RHA (1878-1931) Peasants and Toy Seller Pastel and gouache, 24 x 26cm (9½ x 10¼'') Signed Provenance: Dr Karl Mullen Sale 1976, where acquired by the current owner. Exhibited: 'William Orpen: A Centenary Exhibition', November/December 1978 The National Gallery of Ireland, Catalogue No.162, where lent by the current owner. This work was also included in an exhibition (untraced) called 'Duke II', organised by Art Exhibitions Bureau, London (original label verso.
William Orpen - Self-portrait Of The Artist With His Wife Grace

William Orpen - Self-portrait Of The Artist With His Wife Grace

Original 1902-12
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Net Price
Lot number: 842
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Description:
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.
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