Jozef Israels

Acquired from the artist by Mr. E.R. Robson in 1874
Sale: Sotheby’s London, July 29, 1953, lot 54

London, Ben Uri Gallery, 40^th Anniversary Exhibition, 1956

This work is in overall good condition. There is hairline craquelure throughout. There are 5 small spots of paint loss along the lower edge. There is a 3 cm scuff in the upper right corner. Ultraviolet light reveals three repairs - two vertical on either side of the canvas, one of which runs 8 cm through the arm and leg of the piano player, one of which runs 4 cm on the left wall, and one 4 cm horizontal repair in the left curtain. There are few additional spots of retouching in the upper left quarter of the painting.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

This work is accompanied by a letter handwritten and signed by Jozef Israels, dated The Hague (Holland) 16 April 1874 to Eli Robson, Esq. with a note by E. Robson below.

 Ernest M. Namenyi discusses the importance of Jozef Israels oeuvre to European art of this period and notes: “…in another land, Holland, there emerged in this same period one figure who towers above his contemporaries there, and whose influence on European painting in this period was profound. Few artists, indeed, managed to express the generous humanitarian ideals of the time in terms of pictorial realism more faithfully than Jozef Israels … Israels was deeply moved by the simple life of these people [the fisherfolk], and the spirit that he had been able to detect in the works of Courbet and of Millet became part of his own life and art too, though he also assimilated a more powerful and rich influence through his study of the works of Rembrandt…. The humanism of the artist is always present in these compositions, not only providing light, but warmth too, mingling and awakening the elements of life, all tremulous with poetry and mystery.” (Ernest M. Namenyi, “Jewish Impressionists” in Cecil Roth (ed.), Jewish Art- An Illustrated History, Tel Aviv, 1961, pp. 595-599).

In this beautiful, poignant work, two musicians are immersed in their music, each separately merged with their instrument, together creating their unique harmony. The light shining in from the large windows accentuates the romantic ambience of this work. Max Eisler discusses Israëls' "boundless series of interiors where, in the light of the dying day, women sit at the wicker cradle, sewing or even unoccupied, where everything tarries dreamily, listening to the hidden song of the room, which is the hidden song of the soul of Israëls'. Mirth and melancholy, meet here in peace, reconciled one with the other." (Max Eisler, Josef Israëls, London, 1924, pp.21-22).