Isaac Israels

Leslie Smith Gallery, The Hague (by 2001)
Private collection, The Netherlands (purchased from the above; sale: Christie's, Amsterdam, 25 April 2007, lot 197)
Simonis & Buunk, Ede
Purchased from the above by the present owner in 2011

Rotterdam, Kunsthal, Isaac Israels, Hollands Impressionist, 1999-2000, no. 169, illustrated in the catalogue

The canvas has not been lined. With the exception of some minor, isolated spots of cosmetic retouching in the centre of the extreme upper edge, in the blue dress of the girl in the background and four pin-head sized spots in the far corners, visible under ultra-violet light, this work appears to be virtually in original condition and is ready to hang. Presented in a decorative gilt 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."

Painted circa 1905, shortly after the artist relocated to Paris from Amsterdam, the present work is a particularly harmonious scene of urban leisure in the turn-of-the-century city. After initially staying at the Hôtel Le Peletier, Israels then moved definitively to his Montmartre studio at no. 9 Boulevard de Clichy. The artist received an introduction to the Paris fashion world thanks to the Amsterdam couturier Hirsch, so it was natural that he was drawn to the fashion houses Paquin and Drécoll near the Opéra Garnier, exploring afresh subjects which had captivated him in Amsterdam (see lot 3).

Just as Israels had found inspiration in the daily life of the Oosterpark in Amsterdam, the Bois de Boulogne became one of his favourite subjects after moving to Paris. The composition evokes quintessential scenes of Parisian leisure in late nineteenth-century art, including A Sunday on La Grande Jatte by Georges Seurat of 1884. Under the influence of Impressionism Israels' palette became more luminous, and the absence of horizon, energetic execution and not least the déjeuner sur l'herbe subject of the present work are all hallmarks of Impressionism. Painting wet-on-wet with broad, bold brushstrokes, Israels masterfully captures the scene with a great economy of means. At the same time he succeeds in giving his figures a tangible presence, not least in the anatomy of the seated man cutting bread.