Alexander Evgenievich Yakovlev

A.Iacovleff, Le Théatre Japonais (Kabuki), Paris, 1932, pl. 22, illustrated

The sheet has discoloured and there is foxing throughout.There is a triangular area of paper loss in the lower left corner. There are a number of minor tears along left horizontal framing edge,a minor tear in the upper right edge and a series of creases along the right edge and in a few places elsewhere. There are a few minor flecks of dirt. Held in a modern gold painted 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."

Intrigued by the union of modernity and tradition of Oriental drama, Alexander Yakovlev was a regular visitor to Asian theatres where he made many drawings and paintings from life. 'I should like to express and to explain the attraction of [Eastern] dramatic art and the importance which I attribute to it' wrote Yakovlev in 1922. 'It was in Peking, whose countless walls, one after the other, reveal the phantoms and ancient mysteries of the autocratic East, where the profane hands of the traveller may touch the abandoned throne of the Celestials...that I attempted to understand and comprehend the charm of her thousand-year-old culture' (Jiajin Zhu et al., The Chinese Theatre, London: John Lane, 1922).

Benten Kozo Kikunosuke is the protagonist of the 1862 Kabuki play Aoto Zoshi Hana no Nishiki-e by the famous playwright Kawatake Mokuami. It centres around a band of five thieves (shiranami), based on real criminals of the Edo period in Osaka. The climax of the play occurs during Act III when Benten Kozo, a young thief in the group, disguises himself as a high-ranking woman and enters a shop, pretending to buy wedding clothes. A scuffle ensues with the shop owner, who accuses Benten Kozo of stealing. Kozo dramatically reveals himself as a man, showing his elaborately tattooed arm, and begins one of the most popular monologues in all Kabuki repertoires.