Mikhail Nikolaevich Yakovlev

Original canvases. The third and fourth are loose in the stretcher. Each has a light layer of surface dirt, flecks of paint loss and abrasion to the edges and in patches throughout. There is a light surface scratch to the second approximately 10cm long in the lower left corner. There are some repaired minor tears to the first, third, fourth and fifth canvas. Held in a simple wooden frame. 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."

Mikhail Yakovlev's work with Konstantin Savitsky, Ilya Repin, Mikhail Vrubel' and Nikolai Roerich at Princess Tenisheva's studio along with his experiences as an illustrator of satirical journals and designer at the Bolshoi Theatre all contributed to the organic synthesis of theatrical, decorative and applied art which is manifest in his compositions. This remarkable series five panels from 1913 draw on subjects from Russian fairy tales, byliny and folklore. They are a perfect example of the innovation that developed in early twentieth century Russian art alongside the search for a national aesthetic within pan-European Modernism.

 

These panels underline the originality of the Russian Modernist movement and its close links with Russia's folkloric and literary heritage. They emphasise the unique quality of the artist's vision in national and European contexts, and demonstrate his appreciation of the 'national-romantic' style.

 

The series celebrates the Yakovlev's love for his Motherland, its history and rich cultural inheritance, underlined by his use of tempera which harks back to Russia's traditions of fresco and icon painting and lacquered miniatures. Linked by their thematic and stylistic method, the offered panels are likely to have been created as designs for domestic interiors. They are remarkable examples of the new artistic aesthetic characteristic of early twentieth century Russian decorative art.