Alexander Evgenievich Yakovlev

Collection of Georges-Marie Haardt
Maître Blache Versailles, La Croisière Noire: Peintures-Dessins-Croquis par A. Iacovleff, 23 May 1967, lot 6
Acquired at the above sale by the parents of the present owner

Paris, Galerie Jean Charpentier, Alexandre Iacovleff: Exposition de peintures et dessins, 7-23 May 1926, no.106
Brussels, Cercle Artistique et Littéraire, Waux Hall du Parc, Alexandre Iacovleff Peintre attaché à l'Expédition Citroën Centre-Afrique, 26 April - 10 May 1927, no.83
Les Sables d'Olonne, Musée de l'Abbaye Saint-Croix, Alexandre Iacovleff, les Croisières Citroën, December 2012 - March 2013

Exhibition catalogue Alexandre Iacovleff: Exposition de peintures et dessins, Paris, 1926, no.106 listed
C.Haardt de La Baume, Alexandre Iacovleff, les Croisières Citroën, Editions Fage, 2012, p.43 and p.60 illustrated

The sheet has discoloured and there is a layer of surface dirt. There are rust stains throughout but they are most concentrated at the edges. The top right corner and bottom edges show signs of possible water damage. Held in a metal 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."

Lasting from October 1924 to June 1925, the Citroën Central African expedition (known as La Croisière Noire), led by Georges-Marie Haardt, crossed the African continent from Algeria to Madagascar on eight half-tracks. Despite the difficulties encountered during the journey, Alexander Yakovlev managed to bring home close to four hundred paintings and drawings which met with phenomenal success on his return to Paris.

In November 1924, the explorers reached Niamey, the gateway to the land of black sultans, where great feasts were held in their honour. They were welcomed by three statuesque Djerma horsemen on caparisoned mounts. Their kapok armour, decorated with brightly-coloured geometric patterns dominated by an orangey-red, is reminiscent of that of mediaeval crusaders with their plumed copper helmets. Yakovlev paints a portrait of Jarou, the most impressive and majestic amongst them.

These magnificent horsemen made a lasting impression on the members of the Croisière Noire, to the point that a sequence was dedicated to them in Léon Poirier’s film and their photograph was printed as a Citroën postcard. At the Croisière Noire exhibition at the Louvre, one of their saddles was even exhibited. Haardt and Louis Audouin-Dubreuil dedicate several pages to them in the book La Croisière Noire (Editions Plon, 1927) and draw a comparison between them and a famous ballet by Igor Stravinsky: ‘At last, were are in Niamey. We arrive amidst a loud and colourful crowd. The rhythm of the drums, the sound of the buccin horns, the loud cries of women, the vigorous fofo (greetings) of the Djerma, all recalling a performance of a Russian ballet in  the style of Petrouchka.’

We are grateful to Caroline Haardt de La Baume for providing additional catalogue information. This work will be included in the forthcoming Alexander Yakovlev catalogue raisonné currently being prepared by Caroline Haardt de La Baume.