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Alexander Young Jackson Sold at Auction Prices

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Sep. 22, 2016
ALEXANDER YOUNG JACKSON, O.S.A., R.C.A., NORTHERN EUROPEAN STREET SCENE AT DUSK, oil on canvas, 13 ins x 16 ins; 32.5 cms x 40 cms
Est: -
ALEXANDER YOUNG JACKSON, O.S.A., R.C.A.NORTHERN EUROPEAN STREET SCENE AT DUSKoil on canvassigned 13 ins x 16 ins; 32.5 cms x 40 cms Provenance:Estate of Randolph S. HewtonEstimate: $9,000–12,000
Waddington's
May. 30, 2016
ALEXANDER YOUNG JACKSON, O.S.A., R.C.A., OLD BARN, CHARLEVOIX, oil on panel, 8.5 ins x 10.5 ins; 21.6 cms x 26.7 cms
Est: $25,000 - $30,000
ALEXANDER YOUNG JACKSON, O.S.A., R.C.A.OLD BARN, CHARLEVOIXoil on panelsigned; inscribed “Probably Les Eboulements, about 1928” 8.5 ins x 10.5 ins; 21.6 cms x 26.7 cms Provenance:Watson Art Galleries, MontrealEstate of Theodosia Dawes Bond Thornton, MontrealPrivate Collection, OntarioLiterature:Naomi Jackson Groves, A.Y.’s Canada, Toronto/Vancouver, 1968, page 76 and plate 37 for a closely related drawing, reproduced.Note:Charlevoix County provided a feast of quaint subjects for A.Y. Jackson including picturesque thatched-roof barns, the inevitable extinction of which was of great concern to the artist. Groves writes: ”A.Y.’s lifelong attachment to barns is so self-evident as seemingly to require little comment... Yet he did not like all barns, not by any means. Not even any old barn. There has to be something special about each barn he honours with permanency in his work.”Jackson bestows dignity on the old barn depicted in this lot. The barn and the land that surrounds it are a checklist of traits valued by Jackson: the gently contoured land into which the barn has settled, the furrows and snowdrifts that frame it, the slight hump in the roofline, the silvered and rusty red shingles. These were the artist’s quarry, essential ingredients for a successful picture and therefore highly prized by him.
Waddington's
May. 30, 2016
ALEXANDER YOUNG JACKSON, O.S.A., R.C.A., SUB ARCTIC FAMILY GROUP, oil on canvas, 20 ins x 25 ins; 50.8 cms x 63.5 cms
Est: $40,000 - $60,000
ALEXANDER YOUNG JACKSON, O.S.A., R.C.A.SUB ARCTIC FAMILY GROUPoil on canvassigned 20 ins x 25 ins; 50.8 cms x 63.5 cms Provenance:Dominion Gallery, Montreal Private Collection, MontrealLiterature:Dennis Reid, Alberta Rhythm: The Later Work of A.Y. Jackson, Art Gallery of Ontario, Toronto, 1982, pages 10 and 28.Note:Dennis Reid observed that A.Y. Jackson “loved to be where few others had been, where nothing could interrupt to break the concentration, the communion.” While no situation, no matter how spartan, seemed to have daunted A.Y., the years immediately following the dissolution of the Group of Seven presented Jackson with challenges that could only be overcome by calling up deep reserves of the hearty resilience for which he was known. The passing of J.E.H MacDonald, the sudden death of his sister, disputes with the R.C.A. leading to his resignation and other struggles darkened his notoriously can-do spirit. However, by the late 1930s the opportunity once again to travel to places “where few others had been” propelled him to embark with renewed vigour on the second phase of his career to which this work belongs. Jackson first started painting in northern Alberta in 1937 and travelled north to the subarctic regions of Canada numerous times over the subsequent decades. While Family Group is not dated, it has much in common with major works produced during the first trips to the northwest in the late 1930s as well as the later works of the Tershipei Mountains with scatterings of jagged boulders behind which Jackson crouched in order to shelter from the east wind. Family Group is distinguished by fluid bands of radiant colour. The intensely lateral composition speaks to the “shape” of the northwest and, as Reid points out, does not allow for an easy “in”, unlike the Laurentian roads set within picture postcard snow-laden hills which Jackson favoured in the early years. Still, Jackson thrilled to the sheer magnitude of the northwest with its faraway skies and unfathomable scale and, moreover, seemed to know how to summarize its vastness. Reid maintains that some of the best work of Jackson’s career falls within the period of his northwest trips. He writes: “The primeval nature of the landscape appealed to him, with its vigorous mid-summer life clinging tenaciously to the margins of existence. Nothing extraneous survives. Fundamental values seem clear.” What also seems clear is the metaphor these fundamentals are for the artist himself, summarizing as they do his remarkable career to that point. While this work is not dated, we know with some certainty that it was likely acquired by Dominion Gallery directly from Jackson together with eleven other paintings circa 1955. The painting was sold to a private collector in Montreal in February 1960.
Waddington's
May. 25, 2015
ALEXANDER YOUNG JACKSON, O.S.A., R.C.A., GEORGIAN BAY, oil on divided panel, 10.5 ins x 13.5 ins; 26.7 cms x 34.3 cms
Est: $15,000 - $20,000
ALEXANDER YOUNG JACKSON, O.S.A., R.C.A. GEORGIAN BAY oil on divided panelsigned 10.5 ins x 13.5 ins; 26.7 cms x 34.3 cms Provenance:Mrs. Arthur Matthewman, Picton, OntarioPrivate Collection, Quebec City, QuebecLiterature:A.Y. Jackson, A Painter's Country: The Autobiography of A.Y. Jackson, Clarke, Irwin & Company Limited, Toronto/Vancouver, 1958, page 74 and the colour plate opposite page 161 for a closely related work entitled Islands, Georgian Bay 1954, reproduced in colour.Note:Jackson travelled to Georgian Bay to paint its many islands for decades and he never tired of it as a subject. Part of the appeal later in life when he travelled there were the sharp memories such visits would conjure of camping trips taken with painting friends long gone and greatly missed including J.E.H. MacDonald and Tom Thomson. Looking back, Jackson recounts: "Go Home Bay and the outer islands are filled for me with happy memories of good friends and of efforts, more or less successful, that I made to portray its varying moods." Canoeing was among his favorite pastimes and he had, over the years, become very adept at it. Jackson remarked: "Half the fun of camping is to find a good campsite, and the smooth rocks of Georgian Bay were ideal." One cannot help but imagine Jackson seated on his camp stool, sketch box at his side and brush in hand trying to capture yet again those elusive and "varying moods" of Georgian Bay.
Waddington's
May. 25, 2015
ALEXANDER YOUNG JACKSON, O.S.A., R.C.A., ALGOMA LAKE, AUGUST 1955, oil on panel, 10.5 ins x 13.5 ins; 26.7 cms x 34.3 cms
Est: $20,000 - $30,000
ALEXANDER YOUNG JACKSON, O.S.A., R.C.A. ALGOMA LAKE, AUGUST 1955 oil on panelsigned; also signed, titled and dated on the reverse 10.5 ins x 13.5 ins; 26.7 cms x 34.3 cms Provenance:Private Collection, OntarioLiterature:Dennis Reid, Alberta Rhythm: The Later Work of A.Y. Jackson, Art Gallery of Ontario, Toronto, 1982, page 96.Note:In 1955, after many years its resident, Jackson vacated the Studio Building in Toronto and settled in a new live-in studio in Manotick near Ottawa. However, he continued to revisit his favourite stomping grounds and in July of that year sketched in Georgian Bay. August would find him on the east shore of Lake Superior and in September near Sault Ste. Marie.
Waddington's
May. 25, 2015
ALEXANDER YOUNG JACKSON, O.S.A., R.C.A., ROCKS, 1914, oil on panel, 8.5 ins x 10.5 ins; 21.6 cms x 26.7 cms
Est: $20,000 - $25,000
ALEXANDER YOUNG JACKSON, O.S.A., R.C.A. ROCKS, 1914 oil on panelsigned; also signed, titled and dated "Sept. 1914" on the reverse 8.5 ins x 10.5 ins; 21.6 cms x 26.7 cms Provenance:Private Collection, WaterlooLiterature:A.Y. Jackson, A Painter's Country: The Autobiography of A.Y. Jackson, Clarke, Irwin & Company Limited, Toronto/Vancouver, 1958, pages 37-38.Note:In the fall of 1914, Jackson and Tom Thomson were painting together in Algonquin Park.Jackson writes: "That autumn was wonderful with sunny days and frosty nights and after the mountains (Jackson had been painting in the Rocky Mountains prior to this) the intimate landscape appealed to me. We camped first below Tea Lake Dam... Then we moved on to Smoke and afterwards Ragged Lake... We worked on little 8 1/2 x 10 1/2- inch birch bark panels; travelling by canoe and living in a tent made it impossible to work on larger sizes."As the weather turned colder and the autumn colours began to fade, Jackson returned to Toronto. The war, which everyone had optimistically predicted would be a short one, continued and soon after returning to the city, Jackson travelled to Montreal to enlist.
Waddington's
May. 25, 2015
ALEXANDER YOUNG JACKSON, O.S.A., R.C.A., GITSEGUKLA, oil on panel, 8.5 ins x 10.5 ins; 21.6 cms x 26.7 cms
Est: $25,000 - $30,000
ALEXANDER YOUNG JACKSON, O.S.A., R.C.A. GITSEGUKLA oil on panelsigned; titled and inscribed "See Plate 72, A.Y.'s Canada" on the reverse 8.5 ins x 10.5 ins; 21.6 cms x 26.7 cms Provenance:Private Collection, U.S.A.Literature:Naomi Jackson Groves, A.Y.'s Canada: Drawings by A.Y. Jackson, Clarke, Irwin & Company Limited, Toronto/Vancouver, 1969, page 153, plate 72 for Mount Gitsegyukla on the Upper Skeena River, B.C., October 1926, reproduced.Marcia Crosby, "T'emlax'a: An Ada'Ox" in The Group of Seven in Western Canada, Key Porter Books, Toronto, 2002, page 99.Note:Jackson was painting in Skeena Crossing, B.C. (Gitsegukla) in 1926 as part of a project developed by anthropologist Marius Barbeau who invited artists to record symbols of native culture - villages and their totems poles - which were rapidly disappearing.Jackson produced a number of oil sketches and paintings on this theme of the tragic decline of a once proud people. And while many such works include totem poles, villages and their inhabitants in keeping with Barbeau's agenda, this work does not. Instead, Jackson here elects to focus exclusively on a landscape devoid of any reference to human geography. Perhaps his choice to do so was influenced by the fact that he did not view the totems as authentic Indian art. Crosby quotes Jackson in his biography thus: "The poles were not ancient in origin, having been made possible only when the white man's tools became available to the Indians." Referring to the closely related drawing, reproduced in her book and referred to on the verso of this lot, Jackson Groves describes "the grandiose theme of clear-cut peak behind wide-rolling middle ground with a hint of the village in the foreground left." In this oil sketch, the hint referred to by Jackson Groves, is noticeably absent, the artist choosing conspicuously to emphasize the untamed character of the terrain.
Waddington's
May. 25, 2015
ALEXANDER YOUNG JACKSON, O.S.A., R.C.A., PONT ROYAL, PARIS, oil on panel, 8.5 ins x 10.5 ins; 21.6 cms x 26.7 cms
Est: $25,000 - $30,000
ALEXANDER YOUNG JACKSON, O.S.A., R.C.A. PONT ROYAL, PARIS oil on panelsigned; inscribed "Pont Royal" on the reverse 8.5 ins x 10.5 ins; 21.6 cms x 26.7 cms Provenance:Caleb Arnold Slade (purchased directly from the artist in France)Estate of C.A. SladeBradford TrustPrivate Collection, U.S.A.Literature:A.Y. Jackson, A Painter's Country: The Autobiography of A.Y. Jackson, Clarke, Irwin & Company Limited, Toronto/Vancouver, 1958, pages 18-24.Note:In his lifetime, Jackson would travel to France many times, but in 1911 he did so in the company of fellow-painter Albert Henry Robinson and together they spent spent approximately four months in and around St. Malo. When Robinson left to return home, Jackson stayed and in the spring of 1912 went to Paris and produced a number of urban scenes such as this one. However, Jackson notes, "few people liked what I brought home from Europe. The French Impressionist influence in it was regarded as extreme modernism." In fact at that time, it was the Dutch school that was viewed by Canadian collectors, as a good investment. Jackson continues: "While we in Canada were cautiously buying sound and sane art, so called, the Americans were acquiring the work of the modern French school to such an extent that today there are probably as many great examples of it in the U.S. as there are in France." It is interesting to note that this work has been consigned to us by an American collector.
Waddington's
Nov. 26, 2012
ALEXANDER YOUNG JACKSON, O.S.A., R.C.A.MOONLIGHT, BAIE ST. PAUL, 1924, oil on panel; signed 8.5 ins x 10.5 ins; 21.3 cms x 26.3 cms Provenance: Lawren Harris (gift from the artist).G. Blair Laing Limited, Toronto.Private Collection, Ontario.
Est: $40,000 - $60,000
ALEXANDER YOUNG JACKSON, O.S.A., R.C.A.MOONLIGHT, BAIE ST. PAUL, 1924, oil on panel; signed 8.5 ins x 10.5 ins; 21.3 cms x 26.3 cms $40,000-60,000Provenance: Lawren Harris (gift from the artist).G. Blair Laing Limited, Toronto.Private Collection, Ontario.
Waddington's

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