Alexander Evgenievich Yakovlev

Sotheby's London, The Russian Sale, 31 May 2006, lot 127
Acquired at the above sale by the present owner

The sheet has been laid down on canvas which is slightly slack on the stretcher. There appears to be a very fine incision running across the figure's right shoulder which is not visually distracting. There are some minor losses to the paper in the lower left corner as well as some minor scattered losses and pinholes elsewhere. The sheet has discoloured unevenly with the lighter areas corresponding to the stretcher. There is a layer of surface dirt and paper debris is caught between the work and the glass. There are some scattered spots of foxing. There are water stains to the corners and in places along the edges. There are further stains to the background to the right of the figure as well as to the cape and his right hip. Held in a gold painted wooden frame behind glass. Unexamined out of frame.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Theatre was a major theme in Alexander Yakovlev’s work throughout his career. Arriving in Paris in 1919 after an extended stay in East Asia, he brought with him countless drawings and paintings inspired by Japanese Kabuki and Chinese theatre. Many of these were exhibited at his first show in France the following year. He published a volume on Chinese theatre in 1922, the same year he executed the present work. European theatrical traditions, particularly the Commedia dell'arte, also left their mark on Yakovlev’s work. While still a student at the Imperial Academy, he and his close friend Shukhaev painted themselves as Pierrot and Harlequin in their famous double self-portrait from 1914, now at the State Russian Museum in St Petersburg.