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| Image | Sale date | Auction house | Location | Sale name | Lot No. | Estimate | Price Sold | Condition | Title |
|---|---|---|---|---|---|---|---|---|---|
Nov 26, 2014 | Bonhams | London | The Russian Sale | 41 | Estimates not disclosed | Loge de Théâtre à Pekin |
paintings
107.5 x 118 cm (42.32 x 46.46 in)
tempera on canvas
inscribed in Chinese 'Yakovlev. Painted by a Russian in China. Beijing. 1918' (on banner within painting); applied paper label inscribed 'Iacovleff/Baron Lambert/9 ru de la Baume/non payé' (on verso)
Baron Lambert de Rothschild, c. 1928.,George Lebert, Belgium (acquired from the above). ,
Private collection, Belgium (gift from the above, c. 1972).,Thence by descent
Paris, Galerie Barbazanges, Alexandre Iakovleff, dessins et peintures d'Asie, 18 April 1 May, 1920. ,London, Grafton Galleries, Catalogue of paintings and drawings by Alexandre Iacovleff, Mary MacLeod, C.S. Meacham, E.LL. Norris, S.P. Wood., T.P. Wood, 28 May-19 June, 1920, no. 104. ,Paris, Galerie La Boëtie, Exposition des artistes russes à Paris en 1921, 1921. ,Brussels, Le palais des Beaux-Arts de Bruxelles, Exposition d'Art Russe Ancien et Moderne, May-June 1928, no. 719.The present painting is the brilliant culmination of Yakovlev's experiences from his pivotal artistic journey through the Far East. Although Yakovlev continued to travel extensively for the rest of his life, no trip affected him as profoundly as did his first visit to China. He never returned to Russia, ultimately settling Paris. In 1920, Yakovlev the paintings inspired by his trip through China at the fashionable Galerie Barbazanges. The exhibition drew tremendous acclaim from the public, and Yakovlev's paintings were quickly acquired by various collectors. A visitor to the show praised the artist's ability to depict the Chinese culture:, ,Without any attempt at neo-Orientalism, with no endeavor to imitate or evoke Eastern art forms, the pictures...represented Chinese scenes and people: the spectators at the play, actors and dancers, faces hallucinatingly disguised or the sad, wrinkled features of the peasantry and the poor, the life of the streets and of the country, figures and landscapes. Purity in execution, the uncompromising character of the masterly drawing, the clean intensity of the vivid colors, the absence of light and shadow opposition and of everything illusory or accidental, brought the fifteenth century masters of Italy, Germany and Flanders to mind at once. No concession of the slightest order was made to chance, no claim made on any faculty save that of sheer accomplishment (M. Ciolkowska, 'IacovleffCivilized Painter, 'International Studio, 1922, pp. 159-160)
Catalogue of paintings and drawings by Alexandre Iacovleff, Mary MacLeod, C.S. Meacham, E.LL. Norris, S.P. Wood, T.P. Wood, exh. cat., 1920, p. 7, under no. 104. ,Victor Golubev, Les Dessines et Peintures d'Extrême-Orient d'Alexandre Iacovleff, Paris, 1922, pl.15. ,Tchou-Kia-Kien, Le Théâtre Chinois: Peintures, Sanguines et Croquis d'Alxandre Iakovleff, Paris, 1922. ,Chu-Chia Chien and Alexandre Iacovleff, The Chinese Theatre, London, 1922, illus. p. 4 as 'Peking Men's Box.' ,Exposition d'Art Russe Ancien et Moderne, exh. cat., Brussels, 1928, p. 73, under no. 719
