William Orpen

(18781931 ) - Artworks Wikipedia® - William Orpen
ORPEN William At Paris

Whyte's /Feb 23, 2015
500.00 - 700.00
3,000.00

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Artworks in Arcadja
391

Some works of William Orpen

Extracted between 391 works in the catalog of Arcadja
William Orpen - The Male Art Model And The Char Lady, And Other Sketches

William Orpen - The Male Art Model And The Char Lady, And Other Sketches

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Lot 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_‰ ۝)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.
William Orpen - Gladys Cooper

William Orpen - Gladys Cooper

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Lot 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
William Orpen - Portrait Of Gertrude, Countess Of Dudley

William Orpen - Portrait Of Gertrude, Countess Of Dudley

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Lot number: 242
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Sir William Orpen RA RHA (1878-1931) PORTRAIT OF GERTRUDE, COUNTESS OF DUDLEY, NEE MILLAR (1879-1952) HALF LENGTH, IN A WHITE DRESS AND RED CLOAK WITH FUR-TRIMMED COLLAR, WEARING A MULTIPLE STRING OF PEARLS Signed l.r., oil on canvas 76 x 61cm Gertie Millar was born in 1879 in Bradford and started her career at the age of 13 at the St. James's Theatre in Manchester. Later she moved to London and by 1897 she was well established as a stage favourite. In 1902, she married Lionel Monckton, a talented composer of musical comedies, who subsequently wrote a number of hit songs for her. Despite great success together in the theatre, GertieÉs marriage to Lionel Monckton was not a happy one. The gossip columns carried many stories about the popular showgirl and in 1913 there were rumours of a liaison with the Duke of Westminster, with both reportedly about to divorce their respective spouses so that they could marry each other. How true these stories were is open to debate, as even th
William Orpen - At Paris

William Orpen - At Paris

Original 1924
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Lot number: 19
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Description: Sir William Orpen RA RI RHA (1878-1931) AT PARIS, 1924 pen and ink dated [11/12/29] upper centre; signed lower right h:10.30 w:8.30 in. The recipient of this letter is possibly (Ballincurrig) Cork born "British eccentric prankster" and brother-in-law of Neville Chamberlain, Horace de Vere Cole (1881-1936). Cole was a friend of Augustus John who attended the Slade with Orpen. Cole's second wife and widow Mavis Wright bore a child by Augustus John while still married to Cole. He died in poverty in France.
William Orpen - Portrait Of Vivien St George

William Orpen - Portrait Of Vivien St George

Original 1918
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Lot number: 106
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Sir William Orpen, R.W.S., N.E.A.C., R.A., R.H.A. 1878-1931 PORTRAIT OF VIVIEN ST GEORGE signed l.l.: ORPEN oil on canvas 86.5 by 62cm., 34 by 24½in. Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice Provenance Mrs Evelyn St George, thence by descent to the present owner Catalogue Note The present work, painted in 1918, is the only known portrait by Orpen of Vivien, his daughter who resulted from his love affair with Mrs Evelyn St George. She is depicted aged six in a green bridesmaid dress for the wedding of her half-sister, Gardenia St George. It was painted during a brief interlude when Orpen had returned to London from his official duties as a war artist for his exhibition War, held at Agnew’’s in May 1918. By the beginning of July, Orpen was back on the Western Front. Orpen’’s affair with Evelyn St George is well-documented, and was certainly the subject of social gossip at the time. Evelyn was a wealthy American, the eldest child of George Fisher Baker, founder and President of the First National Bank of America. Against her father’’s wishes, Evelyn married Howard St George, an Irish land agent from County Kilkenny, in 1891. They moved to Clonsilla Lodge, off Phoenix Park, Dublin in 1905 after which the St Georges were shortly introduced to Orpen. Eight years older than Orpen, and a foot taller, they made a visually odd couple (a fact which delighted Orpen’’s humour, recorded in a number of witty sketches), yet there is no doubt of their genuine affection for one another. The love affair began in 1908, and resulted in a series of remarkable paintings by Orpen, his talents enthusiastically encouraged by Evelyn. Most famously are the full-length ‘swagger’’ portraits of Evelyn herself, such as Mrs St George (sold in these rooms, 16 May 2003, lot 57 for £924,000). Evelyn also commissioned Orpen to paint her third child, and at this time only daughter, Gardenia, over a number of years from 1906, including the magnificent Portrait of Gardenia St George with Riding Crop, (sold in these rooms 19 May 2001, lot 92 for £1,983,500). With her red hair and pointed chin Vivien was, as Bruce Arnold wrote, ‘an Orpen’’ (Orpen, Mirror to an Age, 1981, p.242). Despite the circumstances of her parents, she enjoyed a close relationship with her father, who remained friendly with her and Evelyn long after their love affair. In her memoir to her mother, A Mirror for Mama, Vivien wrote with obvious adoration for Orpen, and the many affectionate sketches that exist of her by Orpen reciprocate the feeling. Gardenia St George, later Lady Gunston, claimed too that, ‘without any doubt she was Orpen’’s child’’ (Bruce Arnold, op. cit.,p.242), and one gains that sense in the tender portrayal of the present work. See More See Less
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