Also known as Beggarstaff
along with James Pryde, Scottish (1866-1941)
|Plate: NP. 05
|Title: Sada Yacco
A. Original colour lithograph from "Twelve Portraits"
by William Heinemann, London 1899.
Presented in 16 x 20 in. acid free, archival museum mat, with framing
labels. Ready to frame. Shipped boxed flat via Fedex.
Certificate of Authenticity.
See our Terms of Sale
||9 7/8 in x 10 1/14 in
||25 cm x 26 cm
|Price: temporarily out of
(Like many of my most sought after images I am usually able to
locate this for clients. email me for a price estimate, Greg)
Sada Yacco (1871-1946) Sadayakko Kawakami was a Japanese actress
and dancer. Born in Tokyo, Sada Yacco was trained as a geisha and
came to the attention of Ito Hirobumi who took an interest in furthering
her education. In 1894 she married the actor Otojiro Kawakami, to
whom she had been introduced by Hirobumi. Sada Yacco performed in
the company her husband founded, The Kawakami Theatre, when it was
considered improper for women to perform on stage with men.
In 1899, the troupe toured America and Europe, and became the first
Japanese theater company to be seen in the west. Performances were
held in San Francisco, and New York City in the United States, as
well as at the 1900 Exposition Universelle in Paris (with theatrical
lighting there done by Loie Fuller and several
other European cities. Upon the death of her husband in 1911, Sada
Yacco lived with Momosuke Fukuzawa (1868–1938). Their restored home
is now a museum.
After 1918, Sada Yacco ceased touring and opened a textile concern
in Nagoya. She also founded a children's drama school and children's
theater in Tokyo and continued to perform occasionally in Japan. Sada
Yacco died at 75 in Atami, Japan. In America, her performances strongly
influenced the work of American modern dance pioneer Ruth St. Denis.
"Nicholson did this image just after his
association with James Pryde as The Beggarstaff
Brothers had come to an end. But his revolutionary approach to design
which marked the Beggarstaff posters, found further expression in
the small-scale woodcuts on which he then concentrated.
William Nicholson's woodblock prints of the 1890's were amongst the
most revolutionary British print images of the era. They used a treatment
of form, with a stylized simplification of shape, and a handling of
perspective and picture space which had had no precedent in British
art. Influences of Japanese art, and a parallel thinking to, if not
a direct knowledge of, the ideas of Toulouse Lautrec and of the Nabis
painters in Paris at the same period can certainly be felt, although
there is no record that Nicholson had actually studied either at this