Sir William Orpen, R.W.S., N.E.A.C., R.A., R.H.A.

Agnew & Sons, London, where purchased by the father of the present owner circa 1965-70

The sheet has not been laid down but adhered to the backing card with two small pieces of tape at the top edge. The sheet has discoloured slightly about the edges, otherwise it appears in good original condition, and the crayon remains strong. Held under glass in a simple wood frame with a beige mount.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The present drawing is one of a series of studies of an Irish model named ‘Mr Green’ who posed for works such as The Saint of Poverty (Glasgow Museums), St Patrick (Potteries Museum) and The Flycatcher (private collection), all works of 1905.

Orpen’s characteristic handling of materials in the present work – crayon washed with watercolour - is evident in the fine modelling of the head, and is seen elsewhere in other studies of Green and in those of Lottie Stafford (Art Gallery of New South Wales). Green’s sunken eyes and cropped hair is unmistakable. Bruce Arnold (Orpen, Mirror to an Age 1981, p. 202) surmises that he could almost have been Lottie’s father, such are the technical similarities between the works during this period. It may however be more important to note that following his visit to the Prado in the autumn of 1904, Orpen’s choice of Chelsea costers and vagabonds reflected his fascination for the humble saints and hermits of ‘Golden Age’ Spanish painting.

Kenneth McConkey