Isaac Israels

Purchased in the 1960s by the father of the present owner

Original canvas. Under UV light there appear to be two minor spots of retouching to the skirts. Apart from some minor unrestored damage to the surface (visible in the catalogue illustration) notably a 2cm tear in the background in the upper right, a small puncture near the left edge, a light 1.5cm dent to the left of her skirt and some light scuffs and light surface dirt, this work is in good original condition, and its appearance will be transformed with conservation. Held in a brown and gold painted period-style wooden 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."

Israels first went to Paris in 1903. 'The Parisian life so pleased him that he decided to stay there. In fact he was to stay there for the next ten years becoming thoroughly Francophile. Yet although he read widely in French and lived in Montmartre, the centre of artistic life in Paris, he had hardly any contact with other artists working in the city and was hardly affected by any of the artistic developments there. His subjects were the same as in Amsterdam: the Bois de Boulogne now took the place of the Oosterpark; ouvreuses, midinettes and trottins now peopled his canvases; the Champs Elysées, Place Vendôme [where Israels painted the present work], the Tuileries and Longchamp races are all featured... His colours of this period, however, are more 'French', lighter, applied in broad flat strokes, and his pastels are softer. Only the essentials are reproduced and the emphasis is on the interplay of light, colour, line and the movement of the body.' (Quoted in Isaac Israels, Van Voorst van Beest Gallery, exh. cat., The Hague, 1989, n.p.).