Jozef Israels (Dutch, 1824-1911)

Paysans a table; The peasant's mealtime

Lot 100 / Sale 2499
paysans a table; the peasant's mealtime

Price Realized f.312,000
($166,223)
Sales totals are hammer price plus buyer’s premium and do not reflect costs, financing fees or application of buyer’s or seller’s credits.

Estimate
    f.200,000 - f.300,000
  • ($106,553 - $159,830)

Sale Information Sale 2499
NINETEENTH CENTURY ART
24 April 2001
Amsterdam

Lot Description Jozef Israels (Dutch, 1824-1911)
Paysans a table; The peasant's mealtime
signed 'Jozef Israels' (lower left), signed again and inscribed with title on a label on the stretcher
oil on canvas
130 x 149 cm.

Special Notice Christie's charge a buyer's premium of 20.825% of the hammer price for lots with values up to NLG 200,000. If the hammer price exceeds the NLG 200,000 then the premium is calculated at 20.825% of the first NLG 200,000 plus 11.9% of any amount in excess of NLG 200,000.

Provenance J.T. Cremer, The Hague, 1891.
E. Cremetti, 1910; from whom purchased at the Venice Bienale by John Reid, Glasgow, 1910.
Anon. Sale, Christie's Laren, 28 October 1975, lot 77.

Literature Jan Veth, Jozef Israels en zijn kunst, Arnhem/Nijmegen, 1904, no. 24, ill.
Frederick W. Morton, 'Jozef Israels's Art from an Analytical Viewpoint', Brush and Pencil, 13 (1904), pp.333-346.
Catalogue of the Collection of Pictures of the British, French & Dutch Schools Belonging to John Reid with notes by James L. Caw, Glasgow 1913, p.141, ill.
Max Eisler, Josef Israëls, London 1924 (springedition of the Studio), p.30.
Max Eisler, 'Herinneringen aan Jozef Israëls bij zijn honderdsten geboortedag'. Elsevier's Geïllustreerd maandschrift, 34 (1924), pp 90-99, p.21.
De Haagse School. De collectie van het Haags Gemeentemuseum, 1988, pp. 138-141, ill.
Marijke van der Heijden,'Boerenfamilie aan de maaltijd. De verkoop van een Israëls', Kunstschrift, 34, 1990, III, p. 19, ill.
Dieuwertje Dekkers, 'The Frugal Meal', in Louis van Tilborgh, The Potato Eaters by Vincent van Gogh, Zwolle, 1993 (Cahier Vincent 5), p. 79.
Dieuwertje Dekkers, Jozef Israels, een succesvol schilder van het vissersgenre, diss. Universiteit van Amsterdam, 1994, p. 430, ill.

Exhibited Paris, Exposition universelle de 1889, April-October 1889, no. 70. Amsterdam, Arti et Amicitiae, Tentoonstelling van 10 werken van Jozef Israels, 1890.
Berlijn, Verein Berliner Künstler, Exposition internationale des Beaux-Arts, May 1891, no. 2728.
Rotterdam, Rotterdamsche Kunstkring, Israëls-Tentoonstelling, 1894, no. 7.
Den Haag, Pulchri Studio, 1904.
Amsterdam, Kunsthandel François Buffa & Zonen, Israels-Tentoonstelling ter gelegenheid van zijn 85ste verjaardag, 1909.
Venice, Venice Bienale, IX Esposizione Internationale d'Arte della città di Venezia, 1910, no.4.
Rotterdam, Kunsthal Rotterdam, De Haagse School, October 1997-January 1998, p.42, ill.
Groningen, Jozef Israëls, Meester van het Sentiment, Groninger Museum, Groningen, 19 December 1999-2 April 2000, p. 222, no. 46, ill.

Lot Notes Jozef Israels was already an internationally renowned artist when he painted the present lot of a peasant family at their meal. The painting cannot be dated exactly but it has been recognized as a relatively late work, probably painted around 1889. At this time Israels' style had become somewhat looser, resulting in a less detailed finish. He seems to be using colour and light effects to create a certain atmosphere in the interior thereby emphasizing the sentiment of the scene. It was for these qualities that the picture was mostly well recieved in the press of the 1890's.
The present lot was regularly entered in exhibitions at home and abroad. At the Venetian Biennale of 1910 it won a large gold medal and it exchanged hands from J.T. Cremer from Santpoort, The Netherlands to John Reid from Glasgow, Scotland. The deal was negotiated between the secretary of the first eleven Bienialle exhibitions, Mr. Fradeletto, who acted on behalf of Israels and two dealers, Edward Brandus and Eugene Cremetti. The art critic, Max Eisler, wrote that Israels thought that the price paid for the picture was ridiculously high. But also noted that the artist was enjoying the fame that his work was bringing him. Eisler wrote: "It was in the late autumn that our friendship began. Israels had had a good summer: he had been to Venice, where his works had had a room to themselves in an international exhibition. Also there he had had visible evidence of the honour done to him and it had been a great joy" (Max Eisler, Jozef Israels, London, 1924, p.30).
The present lot can be compared to two other works with the same subject: a painting excecuted in 1882 now in the Van Gogh Museum in Amsterdam and a watercolour from 1889 now in a private collection (see D. Dekkers, Jozef Israels 1824-1911, Zwolle, 1999, p. 222, cat.no. 46a and 46b).

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