Sir William Orpen R.A., R.H.A.

G. C. Beresford Collection;
Private collection, Canada

STRUCTURE The canvas has been strip-lined. A few faint signs of craquelure below her right ear and a few spots of thinning paint to her right cheek - only visible upon close inspection. The work appears in good overall condition, ready to hang. ULTRAVIOLET LIGHT Ultraviolet light reveals an opaque varnish. Areas of retouching are evident across the canvas, including the sitter's face and shawl. FRAME Held in a simple gilt wood frame.
"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."

Anita Jane Craven Bartle (1876-1962) was born in 1876, in Brierley Hill, Staffordshire, the eldest daughter of George Henry Bartle and Rebecca Wood. She was privately educated in Valencia Spain, where her parents lived, and at Clifton, near Bristol.

In the first years of the twentieth century, Anita was employed as a language teacher, whilst making contributions to the Daily Chronicle between 1900-1903, as well as Punch. She then followed up her authorship with various other publications, including; This is My Birthday, October 1902; The Madonna of the Poets, 1906; The Lover's Book of Verse; culled from the Poets of Seven Centuries; and, (with the translator, John Christopher, Ph.D, DLitt), The Akathistos Hymn from the Ancient Greek, 1922.

Letters in the Tate Archive show that Orpen and Anita corresponded for a time, around about 1901 to 1902. The main subject of the correspondence was the purchase, in instalments, by Anita, of a painting, a portrait of his newly wed wife, Grace, The Window Seat, directly from the Artist (sold in these rooms, 11 May 2006).

In 1906 Anita married Aloysius Graham Brackenbury (1881-1952). On this occasion, Orpen gave her, a portrait that he had painted of her, signed and dated 1905, which hung in her bedroom until her death, and now forms part of the Tate Gallery’s Collection. The current work is another version of this portrait, and probably dates to the same time, when Orpen was enthused by his recent trip to Madrid and the Prado. The influence of the Old Spanish Masters, especially Velasquez, was something that could be seen in many of his works dating to this period.

Anita had three children from her marriage, one son and two daughters, but one daughter died in childhood. In 1924 the Brackenburys divorced, and Anita died in Eastbourne Sussex on 16 November 1962, having achieved sufficient kudos to warrant an entry in Who’s Who.

We are grateful to Chris Pearson of the Orpen Research Project for his assistance with the cataloguing of the present work.