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Lot Essay
Via his friend Thérèse Schwartze (1852-1918), Israels became acquainted with the management of the Amsterdam fashion house Hirsch & Co. around 1900. Here he was given the opportunity to draw and paint within the exclusive domain of high fashion. This subject matter did not remain limited to Hirsch. In April 1903 Israels left Amsterdam for Paris, where he had his studio on the second floor of Boulevard de Clichy no. 9 in the quartier Montmartre, the bustling and artistic hub of Paris, which he would keep until 1925. Through his connections at Hirsch, he was also granted access to the most prominent Parisian fashion houses. In this way Israels was given the chance to work within the renowned Parisian fashion stores Drécoll and Paquin, on the Place de l'Opéra and the Rue de la Paix respectively. Here he could continue this artistry, deploying the subject of women with fashion. While in Paris, his pastel techniques reached great heights.
As Isaac was granted permission to perform his work at the fashion houses, he primarily busied himself with glamorous portrayals of the wealthy clientele, stylish mannequins and fashionable essayeuses (fitting models). However, he wasn't exclusively drawn to this glamorous side of the fashion house industry. The present lot shows that his fascination also covered others parts of the fashion house enterprise. It is a fine example of seamstresses in textile workshops of the maisons de couture, offering us an alternative insight into the luxurious and decadent fashion houses. Israels turned his attention to the diligent labour of the midinettes (seamstresses and shop-assistants at the fashion houses) in the sewing ateliers.
Robustly yet sensitively executed with loose strokes of pastel, Isaac has here beautifully recorded a young seamstress with rustling hands, bent in concentration over her work, tirelessly creating new garments with luxurious fabrics. Isaac's use of charcoal lines and swift application of pastel for the depiction of the hands and garments contrasts the soft and graceful execution of the face. On many occasions, Israels' models thus seem not to be aware of the spectator's presence, as they appear to be fully absorbed into their own world. This much recurring theme is shown throughout his entire oeuvre, which gives many of his works a nearly voyeuristic dimension.
As Isaac was granted permission to perform his work at the fashion houses, he primarily busied himself with glamorous portrayals of the wealthy clientele, stylish mannequins and fashionable essayeuses (fitting models). However, he wasn't exclusively drawn to this glamorous side of the fashion house industry. The present lot shows that his fascination also covered others parts of the fashion house enterprise. It is a fine example of seamstresses in textile workshops of the maisons de couture, offering us an alternative insight into the luxurious and decadent fashion houses. Israels turned his attention to the diligent labour of the midinettes (seamstresses and shop-assistants at the fashion houses) in the sewing ateliers.
Robustly yet sensitively executed with loose strokes of pastel, Isaac has here beautifully recorded a young seamstress with rustling hands, bent in concentration over her work, tirelessly creating new garments with luxurious fabrics. Isaac's use of charcoal lines and swift application of pastel for the depiction of the hands and garments contrasts the soft and graceful execution of the face. On many occasions, Israels' models thus seem not to be aware of the spectator's presence, as they appear to be fully absorbed into their own world. This much recurring theme is shown throughout his entire oeuvre, which gives many of his works a nearly voyeuristic dimension.