Isaac Lazarus Israels

Sale 126 Lot 126 ** Isaac Israels 1865-1934 (Dutch) Portrait of Beulah Watson, 1928 oil on canvas h:101 w:65 cm. signed and dated lower right Provenance: Important collection. Other Notes: Beulah Watson was the wife of General L. Roy Watson. Estimate $ 25,000-30,000 Back Inquiry Email Lot Bid Now Bid Live

Isaac Israels (1865-1934) Selling vegetables at Kramgasse, Bern signed 'Isaac Israels' (lower left) oil on canvas 59 x 40.5 cm. Painted circa 1915-1916. Provenance Kunsthandel Frans Buffa & Zonen, Amsterdam. Anonymous sale, Sotheby Mak van Waay, Amsterdam, 22 April 1980, lot 389. Acquired by the present owner in 1996. Exhibited Amsterdam, Kunsthandel Frans Buffa & Zonen, Tentoonstelling van schilderijen en aquarellen: Bern, Fribourg en Londen door Isaac Israels, 1915-1916, no. 5 (illustrated).

Isaac Israels (1865-1934) An elegant lady reading in the Bois de Boulogne, Paris signed 'Isaac Israels' (lower right) watercolour on paper 48 x 33.5 cm. Executed circa 1906-1910. Provenance L. van Gigh-van Crefeld, Amsterdam. Literature Anna Wagner, Isaac Israels, Rotterdam, 1967, no. 80. p. 57 (illustrated, dated 1906-1910). Jacob H. Reisel, Isaac Israels: portret van een Hollandse impressionist, Amsterdam, 1967, p. 159 (illustrated p. 158).

Isaac Israels (1865-1934) Stoffenverkoopster aan de toonbank l.o. get. pastel op papier, 62x48 cm Herkomst: Kunsthandel P.B. van Voorst van Beest, Anna Paulownastraat, Den Haag, 1986 Tentoonstelling: Museum Het Paleis, Huiskamers/Schatkamers, 2 december 2000 t/m 4 febr. 2001, cat. nr. 60 Veiling: Christie's 25 april 2007, lot nr.198

Lot Description Isaac Israels (1865-1934) Ippy and Gertie posing at fashion house Hirsch, Amsterdam signed 'Isaac/Israels' (lower right) oil on canvas 79.5 x 51 cm. Painted circa 1916. Lot Condition Report I confirm that I have read this Important Notice and agree to its terms. View Condition Report Provenance Anonymous sale, Sotheby's, Mak van Waay, Amsterdam, 4 November 1985, lot 203. Anonymous sale, Glerum, Amsterdam, 28 April 1999, lot 88. Leslie Smith Gallery, Wassenaar. Acquired from the above by the present owner. Pre-Lot Text Property of a Private Dutch Collector Literature Saskia de Bodt (a.o.), Isaac Israels: Hollands Impressionist, Schiedam, 1999, no. 120, p. 88 (illustrated). Hans te Nijenhuis, Ietse Meij, Isaac Israels: Mannequins en mode, Wijk en Aalburg, 2002, p. 144 (illustrated, dated circa 1916). John Sillevis, Jozef en Isaac Israëls: vader & zoon, Zwolle, 2008, p. 102 (illustrated). Exhibited Rotterdam, Kunsthal, Isaac Israels: Hollands Impressionist, 4 September 1999 - 9 January 2000, no. 120. The Hague, Gemeentemuseum, Isaac Israels in de mode, 7 December 2002 - 9 March 2003, no. 120. The Hague, Gemeentemuseum, Jozef en Isaac Israëls: vader & zoon, 20 September 2008 - 8 February 2009. View Lot Notes › Isaac Israels is the painter of modern life at the fin-de-siècle in The Netherlands. Around 1900 his fascination with bustling nightlife extended to the fashionable and elegant world of Haute Couture, when his childhood friend and painter Thérèse Schwartze (1851-1918) introduced him at the Amsterdam fashion house of Hirsch, which opened at the Leidseplein in 1881 and was one of the leading fashion establishments by the turn of the century. Via his connections here, Israels was then introduced to Parisian fashion houses such as Drécoll on the Place de l'Opéra and Paquin in the Rue de la Paix several years later when he moved to the French capital in 1904. Israels was allowed to go behind the scenes and thus his interest was not only focussed on the wealthy customers of the sewing ateliers, but also on the hardworking seamstresses. Instead of glamorous images of high fashion, he mainly produced stubbornly naturalistic depictions of the reality. Like his father Jozef Israels (1824-1911), one of the founders of The Hague School, who ideally depicted his indoor scenes in grey and brown tones, Isaac was very careful with the use of colour in this genre. The backgrounds of his paintings are often dark and the dresses and coats of the depicted mannequins contrast only in a few exceptional cases, like in the present lot. The painter often reserved colours for details; to accentuate pursed lips or blushing cheeks. The present lot shows the twin sisters Ippy (1895-1964) and Gertie (1895-1975) Wehmann, posing in front of a sand-coloured wall, probably in 1916. The girls modeled for Hirsch in the period between 1916 and 1918 and frequently appeared in articles on the fashion house. In these years Israels painted Ippy and Gertie various times and often together as in the present lot. With fluid, dynamic brushstrokes Israels depicted the models standing close together, with their faces turned towards each other. It seems if the sisters were having a secret conversation. The contrast of the intensely black and scalding pink of their dresses illustrates Israels' high-key colours, normally used in his outdoor scenes, far removed from the muted palette he was so fond of using in his portraits.