Alexander Young Gould

(18821974 ) - Artworks
GOULD Alexander Young North Pine / Landscape

Heffel /Feb 26, 2015
2,068.68 - 3,447.80
Not Sold

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Variants on Artist's name :

Jackson Alexander Young

 

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Artworks in Arcadja
509

Some works of Alexander Young Gould

Extracted between 509 works in the catalog of Arcadja
Alexander Young Gould - Pont Royal, Paris

Alexander Young Gould - Pont Royal, Paris

Original -
Estimate:

Price:

Lot number: 39
Other WORKS AT AUCTION
Description:
ALEXANDER YOUNG JACKSON, O.S.A., R.C.A. PONT ROYAL, PARIS oil on panel signed; 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. Slade Bradford Trust 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, 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.
Alexander Young Gould - Grey Day, Port Au Persil

Alexander Young Gould - Grey Day, Port Au Persil

Original 1947
Estimate:

Price:

Lot number: 99
Other WORKS AT AUCTION
Description:
Alexander Young Jackson Canadian CGP, G7, OSA, RCA [1882-1974] GREY DAY, PORT AU PERSIL; 1947 oil on panel 8.5 x 10.5 in. (21.6 x 26.7 cm) signed, titled & dated Among the many places AY Jackson painted, his sketches of rural Quebec are by far the most celebrated facets of his work. Beginning in 1921, following a trip to the South Shore with A.H. Robinson, Jackson devoted more than 25 years to this countryside and it would come to define his contribution to Canadian art. In the natural rhythms of its landscape and among its picturesque villages he found his ideal painting place. “Here we are in Christmas card country”, he wrote in letter to JEH upon arrival to Baie St.Paul in 1924, “I see cards waiting to be done.” Grey Day, Port-au-Persil, is a superb testament to Jackson’’’’s natural ability in capturing the aura of Quebec in winter. Here we see the village of Port-au-Persil resting on the North Shore of the St. Lawrence in Charlevoix county. It is among the province’’’’s most idyllic hamlets. The Port-au-Persil chapel seen in the distance is still today one of the most iconic photo sites in Canada. Jackson paints the homestead in the foreground with a scattering of houses which serves to balance the composition harmoniously. He uses the curvilinear pathways and hillocks to suggest a rhythmical movement throughout leading us through its snow covered paths as if he were our personal guide. Across the St. Lawrence River is the palpable atmosphere and reality of the day’’’’s weather. In true ‘Group’’’’ fashion, Jackson painting en-plein-air, has given us exactly what he saw that moment, an honest and compelling sketch of his beloved Quebec in winter.
Alexander Young Gould - Vintage Of 1930 (christmas Card)

Alexander Young Gould - Vintage Of 1930 (christmas Card)

Original
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Gross Price
Lot number: 126
Other WORKS AT AUCTION
Description:
ALEXANDER YOUNG JACKSON (1882-1974), CANADIAN VINTAGE OF 1930 (CHRISTMAS CARD) Colour silkscreen heightened with watercolour on blue wove paper; signed and titled in blue pen and ink, a folded card opening with Jackson’’ s handwritten annotation: “To Chuck and Dorothy/ with best wishes/ from Alex Jackson... When Christmas cards used to be Canadian” in blue pen and ink. Unframed. Image 3.25" x 3.75" — 8.3 x 9.5 cm. Christmas card sent to Chuck (Charles) and Dorothy (Matthews) from the artist in 1930
Alexander Young Gould - North Pine / Landscape

Alexander Young Gould - North Pine / Landscape

Original
Estimate:

Price:

Lot number: 235
Other WORKS AT AUCTION
Description:
Alexander Young (A.Y.) Jackson ALC CGP G7 OSA RCA RSA 1882 - 1974 Canadian North Pine / Landscape (verso) double-sided graphite on paper signed and titled and on verso inscribed "verso" 8 1/2 x 11 1/2 in 21.6 x 29.2cm Provenance: Acquired directly from the Artist By descent to the present Private Collection, Vancouver
Alexander Young Gould - Algonquin Park Near Canoe Lake

Alexander Young Gould - Algonquin Park Near Canoe Lake

Original 1910
Estimate:

Price:

Gross Price
Lot number: 208
Other WORKS AT AUCTION
Description:
Alexander Young (A.Y.) Jackson ALC CGP G7 OSA RCA RSA 1882 - 1974 Canadian Algonquin Park near Canoe Lake oil on panel signed and on verso titled and inscribed "4489" 8 3/8 x 10 1/8 in 21.3 x 25.7cm Provenance: Private Collection, Quebec Acquired from the above in the late 1950s by the present Private Collection, USA Literature: A.Y. Jackson, A Painter's Country: The Autobiography of A.Y. Jackson, 1958, pages 28 and 31 In January of 1914 Jackson moved into the Studio Building in Toronto, sharing space with Tom Thomson. In Jackson's autobiography he relates that Thomson "talked of his beloved Algonquin Park so much that I decided to see it for myself. I arrived there late one night in February [1914] and was met at the railway station by Shannon Fraser, who ran the boarding house on Canoe Lake where Thomson made his headquarters. It was forty-five degrees below zero. Next morning it was milder, only twenty below, so I put on my snowshoes and went off exploring. I saw a patch of spruce woods that looked interesting, but I did not investigate it; a pack of wolves which had killed a deer started howling from the edge of the woods..." This was Jackson's first trip to Algonquin, and the fact that Thomson was already well known in the area provided him with all the connections he needed. Later that same year in September and October, he returned to Algonquin with Thomson for a six-week sketching trip. They traveled by canoe, camping at various lakes and painting. As the season drew on, Jackson wrote, "The maple, the birch and the poplar ran their gamut of colour and finally the tamarac tinted to shimmering gold; falling leaves and snow flurries made us aware that the sketching season was over." Jackson has been documented as returning to Algonquin Park in May of 1941 to appear in the National Film Board's documentary West Wind and much later in July of 1964 to Canoe Lake. However, considering the season depicted and the qualities of the work itself, the painting most likely dates from one of his 1914 trips. Jackson's brush-strokes are fluid, adept and assured, and his keen awareness of colour is in full play in the snow, with its delicate tones of pink, pale green, blue and mauve. It is a fine, fresh sketch executed out-of-doors, capturing the essence of this painting place which was so important to Thomson and members of the Group of Seven.
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