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Alexander Young Gould

(1882 -  1974 )
GOULD Alexander Young Winter Morning

Heffel /Nov 26, 2015
210,837.10 - 351,395.17
Not Sold

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Variants on Artist's name :

Jackson Alexander Young

 

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Artworks in Arcadja
556

Some works of Alexander Young Gould

Extracted between 556 works in the catalog of Arcadja
Alexander Young Gould - Sub Arctic Family Group

Alexander Young Gould - Sub Arctic Family Group

Original
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Lot number: 43
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Description:
Lot 43 ALEXANDER YOUNG JACKSON, O.S.A., R.C.A. SUB ARCTIC FAMILY GROUP oil on canvas signed 20 ins x 25 ins; 50.8 cms x 63.5 cms Provenance: Dominion Gallery, Montreal Private Collection, Montreal Literature: 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.
Alexander Young Gould - Notre Dame De La Salette, Que.

Alexander Young Gould - Notre Dame De La Salette, Que.

Original 1966
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Lot number: 408
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Description:
Alexander Young (A.Y.) Jackson ALC CGP G7 OSA RCA RSA 1882 - 1974 Canadian Notre Dame de la Salette, Que. oil on board signed and on verso signed, titled, dated October 1966 and inscribed "Hunterford" 10 1/2 x 13 1/2 in 26.7 x 34.3cm Provenance: The Morris Gallery, Toronto Private Collection, Toronto
Alexander Young Gould - October, Northern Ontario

Alexander Young Gould - October, Northern Ontario

Original
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Starting price:

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Lot number: 316
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Description:
Alexander Young (A.Y.) Jackson ALC CGP G7 OSA RCA RSA 1882 - 1974 Canadian October, Northern Ontario / Church and Yard (verso) double-sided oil on board signed and on verso signed and inscribed "October, Northern Ontario" and "Studio Bldg., Severn St., Toronto" 10 x 13 1/2 in 25.4 x 34.3cm Provenance: Private Collection, Toronto
Alexander Young Gould - Winter Morning

Alexander Young Gould - Winter Morning

Original 1924
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Lot number: 113
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Description:
Alexander Young (A.Y.) Jackson ALC CGP G7 OSA RCA RSA 1882 - 1974 Canadian Winter Morning oil on canvas 1924 signed 21 1/8 x 26 in 53.7 x 66cm Provenance: Dr. Harold M. Tovell, Toronto, 1925 Ruth Massey Tovell, Toronto, 1947 Freeman and Rosita Tovell, Ottawa, 1949 By descent to the present Private Collectors Literature: Augustus Bridle, "'School of Seven' Exhibit Is Riot of Impressions," Toronto Star Weekly, January 10, 1925 Peter Mellen, The Group of Seven, 1970, page 119 Charles C. Hill, The Group of Seven: Art for a Nation, National Gallery of Canada, 1995, a similar 1924 work entitled Morning reproduced page 164 Exhibited: Art Gallery of Toronto, Group of Seven Exhibition of Paintings, January 9 - February 2, 1925, catalogue #34 Albright Art Gallery, Buffalo, Exhibition of Paintings by Canadian Artists, September 14 - October 14, 1928, catalogue #26 A.Y. Jackson loved winter. Nicknamed “Father Snowshoes,” he was undaunted by cold or snow, and as a result we have many images by him, such as this important work from 1924 that records the beauty of our long and varied Canadian winters. Winter Morning hung in the 1925 Group of Seven exhibition, and was selected for inclusion in the important Exhibition of Paintings by Canadian Artists show that traveled to Buffalo, New York, in 1928. It is a fine example of Jackson's Group period works, and depicts a rural scene in Baie-Saint-Paul, Quebec. Jackson was especially fond of this region and it was one of his regular haunts. We can see that the snow was still deep enough to require the use of a sleigh, which we see harnessed to a horse that looks towards the home, anticipating the driver's approach. The bright orange-red sleigh is a perfect contrast to the varied palette of colour that Jackson has used to depict the snow, painted in delicious blends of pink, blue and white. In an article in the Toronto Star Weekly in January of 1925 when the work was first shown, Augustus Bridle urged readers to attend the show, writing, "If life has become for you a monotonous slate-coloured grey; if you have been defeated at municipal elections, jilted in love...if you are suffering from complexes and reflexes, repressed emotion and colour blindness; if you imagine there is no red paint left in the world and that the coming solar eclipse will throw a perpetual pall of blackness on this planet, there is only one cure for you. Go to the exhibition of the school of seven, which opens today at the Grange." He goes on to discuss Jackson's work, praising his natural style and honest approach, "If you go to the show to get furiously indignant at the insults these nature mystics hurl at nature, don't look at Mr. Jackson. He makes nature, even that eccentric northern nature look natural, with a real red sleigh in the very centre of the road." The effect of sunlight on snow, in all of its variations, was something that Jackson understood from first-hand experience. Arthur Lismer stated: "He paints from visual contact with nature, and his selective range and summarizing technique is amazingly alert and vigorous. It comes from a prodigious experience of analysis and rejection, and of using pigment or the medium of paint as an emotional instrument itself to express the textures, the plastic forms, and environmental character of things seen. He solves most of his problems on the spot from experience, not from theory or fashion." Jackson's rendering of the shadows in the snowbanks in Winter Morning is particularly appealing, as swirls of blue and pink curl their way down the hillside to the farm below. The dormant forest breaks through the snow in places at the top of the hillside, and the trees below the hill remain leafless. Jackson painted a number of important winter scenes that now belong to some of the most prominent art institutions in Canada. A Quebec Village, from 1921, is in the collection of the National Gallery of Canada, along with Frozen Lake, Early Spring, Algonquin Park, from 1918. Lismer, in his comments on Jackson's visual record of rural Canada, further noted: "He is not a city artist, he reflects no studio introspections, no quick decisions to produce a painting in terms of any mechanical, psychological or abstract echo of something theoretic or of some social commentary. This is no reflection of the vitality and meaning of contemporary painting. It means that Jackson is not that kind of painter. He has an out looking eye not an in looking mind." Jackson's paintings capture images of Canada with the authenticity of an ethnographer. In his work, he faithfully and accurately records the details of the homes and villages, sleighs and wagons, wooden snake fences and wayside crosses. During his life, he bemoaned the straightening of roads and the loss of the picturesque wooden barns that he so loved; they were being steadily replaced by modern structures that Jackson found far less interesting. It was old rural Quebec that he sought to paint, thus works like Winter Morning serve as an evocative and heartfelt testament to a bygone time.
Alexander Young Gould - Patterson Sugar House, Lachute, Que, March

Alexander Young Gould - Patterson Sugar House, Lachute, Que, March

Original 1965
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Gross Price
Lot number: 41
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Description:
ALEXANDER YOUNG JACKSON, O.S.A., R.C.A. PATTERSON SUGAR HOUSE, LACHUTE, QUE, MARCH 1965 oil on panel signed; also signed, titled, dated and inscribed “Reserved for Mrs. Porter” on the reverse 10.5 ins x 13.5 ins; 26.7 cms x 34.3 cms Provenance: Lawrence T. Porter Collection Sale, Joyner Fine Art, November 1987 Private 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, page 56. William R. Watson, Recollections of a Montreal Art Dealer , Toronto, 1974, page 49. Dennis Reid, Alberta Rhythm: The Later Work of A.Y. Jackson , Art Gallery of Ontario, Toronto, 1982, page 98.
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