Lot 375
  • 375

ISAAC ISRAELS | Javanese Prince

Estimate
450,000 - 680,000 HKD
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Description

  • Isaac Israels
  • Javanese Prince
  • Signed
  • Oil on canvas
  • 80 by 53.5 cm; 31 1/2  by 21 in.

Provenance

Acquired by the previous owner in 1944 in The Netherlands, thence by descent
Private Collection, USA

Condition

This work is in good overall condition as viewed. Evidence of light wear to the edges of the work due to abrasions with the frame, but this does not affect the overall image. Upon close examination there are pinhole sized losses at the background and the figure's neck, under his lip. There is some fine craquelure primarily at the lower half of the composition but this is consistent with the age of the work. Examination under ultraviolet light reveals minor areas of restoration primarily in the center upper quadrant and left quadrants in the background, at the forehead, neck and collar of the figure's top. However this is only visibly under ultraviolet light. The canvas has been relined. Framed.
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.

Catalogue Note

Often compared to the likes of great masters Degas and Manet, Isaac Israels holds the venerable status as one of Amsterdam’s most formidable Impressionists. Internationally exhibited during his lifetime, Israels’ works are highly coveted for the artist’s loose, charming approach to the nuances of light, shade and color, capturing each quality with a buoyant geniality. Israels distinguished himself from his Dutch contemporaries with his brightly lit body of work, a pointed departure from the grey hues typically identified with his alma mater, The Hague.[1] A painter of resounding individuality, the maverick embarked on an illustrious career that captivated audiences. Taken from one of the most eminent periods in Israels’ opus, the present lot is a mesmerizing rarity from the portraitist’s brief time in Java. His time in the sunlit landscape was incredibly productive for Israels, who found the diverse population and endless light a welcome escape from the overcast European climate. Javanese Prince is an arresting portrait that features a native male dancer illustrated in Israels’ charismatic form, adorned in a resplendent costume of gold and dark burgundy.

Since the beginning of his prolific career, Israels avoided the romantic lyricism of The Hague, choosing to present an unadulterated reality with exacting precision.[2] The artist did not seek a photographic reproduction of reality, but one that could instantly capture his subject in rapturous, immediate detail. This candid sentiment is repeated in Javanese Prince, the portrait presenting the man’s idiosyncrasies with his evocative brushwork, underpinned by Israels’ keen understanding of body mannerisms. In the stilled moment, the dancer’s energy is restrained under Israels’ brush, the indistinct and relaxed strokes imparting his body with a gentle cadence. His gaze is averted from the viewer, accompanied by raised brows that impresses his cavalier countenance. Crowned with a regal headgear, the man bears similitude to an imperious royal. Dressed in deepened tones of wine, his attire is in consummate harmony with the rustic scene, the rich palette synonymous with the sultry warmth of the Javanese island. Even in the darkened atmosphere, the portrait is suffused with Israels’ effulgent light, embracing the dancer’s bronzed skin in a soft glow. The gilded necklace glints in the brief light, elevating his costume into one of palatial wear. The Javanese dancer exudes a distant, aloof persona that emanates throughout the piece, demonstrating Israels’ proficiency in capturing the subtleties of body language with meticulous certainty. 

The strength of Israels’ works lies in his efficacy- the maestro was unparalleled in his ability to articulate the persona of his sitters with an eloquent fluency. It remains as one of his most salient and beguiling aspects from his expansive collection of portraits, closing the gap between the sitter and viewer through his veritable lens.

[1] Dolf Welling, Isaac Israels: The Sunny World of a Hague Cosmopolitan, The Hague 1991, xxxi.

[2] Ibid., xxx.