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James Edward Hervey Macdonald

Canada (1873 -  1932 ) Wikipedia® : James Edward Hervey Macdonald
MacDONALD James Edward Hervey Algonquin Park

Heffel
Nov 22, 2017
Find artworks, auction results, sale prices and pictures of James Edward Hervey Macdonald at auctions worldwide.
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Variants on Artist's name :

Mac Donald James Edward Hervey

J.E.H. (james Edward Hervey) Macdonald

 

Along with James Edward Hervey Macdonald, our clients also searched for the following authors:
Jack Leonard Shadbolt, William Hadd Mcelcheran, Frederick Grant Banting, Jean Albert Mcewen, Arthur Lismer, Herbert Sidney Palmer, Clarence Alphonse Gagnon
Artworks in Arcadja
176

Some works of James Edward Hervey Macdonald

Extracted between 176 works in the catalog of Arcadja
James Edward Hervey Macdonald - Snowfields, Evening

James Edward Hervey Macdonald - Snowfields, Evening

Original 1913
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Lot number: 326
Other WORKS AT AUCTION
Description:
James Edward Hervey (J.E.H.) Mac Donald ALC CGP G7 OSA RCA 1873 - 1932 Canadian Snowfields, Evening oil on canvas initialed and dated 1913 and on verso signed and titled on a label and inscribed "J.M.'s writing – T.M." 9 x 12 in 22.9 x 30.5cm Provenance: Masters Gallery, Calgary Kenneth G. Heffel Fine Art Inc., Vancouver Private Collection, Edmonton Sold sale of Fine Canadian Art, Heffel Fine Art Auction House, November 18, 1999, lot 81 Private Collection, California Sold sale of Fine Canadian Art, Heffel Fine Art Auction House, May 17, 2012, lot 143 Private Collection, Vancouver Literature: E.R. Hunter, J.E.H. Mac Donald: A Biography and Catalogue of his Work, 1940, catalogued and described page 49 Nancy E. Robertson, J.E.H. Mac Donald, RCA, 1873 - 1932, The Art Gallery of Toronto and the National Gallery of Canada, 1965, similar subject reproduced page 15 Paul Duval, The Tangled Garden: The Art of J.E.H. Mac Donald, 1978, a similar 1912 subject entitled Early Evening, Winter reproduced page 38 J.E.H. Mac Donald’s early works, such as this fine winter scene, are delicate examples of his work in an Impressionist vein. He had been employed as a commercial designer at Grip Ltd. in Toronto from 1907 to 1911, where he produced skilled works. Encouraged by his fellow artists to pursue painting, he began to exhibit professionally in 1908. While Snowfields, Evening is influenced by both Impressionism and Art Nouveau, it also speaks clearly of the direction Mac Donald’s work would take in a few short years. The emphasis on the landscape being part of a vast space, the amount of the composition that is given over to the sky, and the wildness of the scene – all point towards the Group of Seven style that was to come. Mac Donald’s work from this time is often set at night – perhaps because his sketching time was limited by the demands at Grip, but also because these nighttime scenes, particularly those set in winter, had a great appeal to him. Low light, fine, elongated shadows and a peaceful quiet pervade this intimate work.
James Edward Hervey Macdonald - Rock And Cherry Trees, Sturgeon Bay

James Edward Hervey Macdonald - Rock And Cherry Trees, Sturgeon Bay

Original 1931
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Lot number: 146
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James Edward Hervey (J.E.H.) Mac Donald ALC CGP G7 OSA RCA 1873 - 1932 Canadian Rock and Cherry Trees, Sturgeon Bay oil on board initialed and dated September 4, 1931 and on verso signed, titled, dated and inscribed "Georgian Bay near Pt. au Baril" 8 1/2 x 10 1/2 in 21.6 x 26.7cm Provenance: Galerie Walter Klinkhoff Inc., Montreal Loch Gallery, Winnipeg Private Collection, Manitoba Within the Group of Seven, J.E.H. Mac Donald was a champion of their principles – he was an eloquent spokesman and led their early battles against unfavourable critics. He was also a leading graphic designer, a teacher, a poet and a calligrapher. The location of this vivacious oil sketch is pinpointed on verso as Pointe au Baril, on Georgian Bay. Georgian Bay was a destination for many Group members, and Mac Donald first traveled there as early as 1909. In 1911 he was invited to the cottage of Dr. James Mac Callum, a Group benefactor, at Go Home Bay. For many years he visited Mac Callum, and in 1915 he painted decorations for the cottage. The year this work was produced, 1931, marked his last trip to this painting place. Rock and Cherry Trees, Sturgeon Bay captures the fresh atmosphere and open vistas of the area, with its bright blue sky and cumulus clouds rolling over the horizon. There is something delightfully companiable about the wild cherry in glowing autumn colours next to the tree most characteristic of the Georgian Bay area - the windblown pine, an iconic symbol for the Group.
James Edward Hervey Macdonald - Campfire Stories

James Edward Hervey Macdonald - Campfire Stories

Original 19th century
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Starting price:

Price: Not disclosed
Lot number: 1289
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Description:
J. MACDONALD (American, 19th century) "CAMPFIRE STORIES" ILLUSTRATION FOR HARPER'S WEEKLY. Description: Watercolor en grisaille. Housed in a wood frame matted under glass. Signed and dated lower right "J. Macdonald-85-", titled and inscribed on label affixed to verso "Campfire Stories" artist J Mac Donald Falmouth Hotel, Portland, ME. owner-esp Skillin-1912-.". . Note: Illustration for Harper's Weekly March 21, 1885, Vol. XXIX-No. 1474, page 185. Original issue included with this lot SIZE: 11-3/4" x 17-1/2". Overall: 24" x 29" CONDITION: Very good, not examined out of frame 52880-2
James Edward Hervey Macdonald - Algonquin Park

James Edward Hervey Macdonald - Algonquin Park

Original 1914
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Lot number: 149
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James Edward Hervey (J.E.H.) Mac Donald ALC CGP G7 OSA RCA 1873 - 1932 Canadian Pines, Algonquin Park oil on panel circa 1914 on verso signed, titled and inscribed "acquired from Thoreau Mac Donald, Thornhill, Ont., May 1950. W. Colgate" and "Certified my father's work. Thoreau Mac Donald. Nov 8 x 10 in 20.3 x 25.4cm Provenance: Collection of Thoreau Mac Donald Acquired from the above by William Colgate, May 1950 Sold, Pinney's Auctions, September 26, 1989, lot C127 Private Collection, Montreal Literature: Paul Duval, The Tangled Garden: The Art of J.E.H. Mac Donald, 1978, page 83 J.E.H. Mac Donald’s first trip to Algonquin Park was in 1914 with J.W. Beatty. They joined A.Y. Jackson, who had already been there for a month, and while there Mac Donald produced numerous sketches. Mac Donald was friends with artist Tom Thomson, who was famously associated with Algonquin Park, and Mac Donald returned to the park in 1917 to assist with the memorial for Thomson, who had died under mysterious circumstances there that year. This is a classic Group of Seven subject – sun raking across snowdrifts in a forest – and Mac Donald handled it with great skill and sensitivity. Among the Group members, Mac Donald was known as a romantic dreamer and poet. His lines of poetry feel as though they directly apply to this fresh, on-the-spot sketch: “Sunshine and snow, - clear beauty without mar” and [shadows] “Netting with blue the rippled drifts below.” A sketch by Mac Donald with a similar subject entitled Snow, Algonquin Park is in the Mc Michael Canadian Art Collection. It is likely that the former owner of this work, W. Colgate (also referred to in the inscription) is William Colgate, author of Canadian Art: Its Origin and Development, 1943.
James Edward Hervey Macdonald - Georgian Bay

James Edward Hervey Macdonald - Georgian Bay

Original 1914-1915
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Gross Price
Lot number: 47
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Description:
Lot 47 JAMES EDWARD HERVEY MACDONALD, O.S.A., R.C.A. GEORGIAN BAY, CIRCA 1914-1915 oil on panel inscribed \“Dr. Mac Callum\” in pencil on the reverse 4 ins x 6 ins; 10.2 cms x 15.2 cms Provenance: Estate of Dr. James Mac Callum, Toronto Kaspar Gallery, Toronto Private Collection, Toronto Literature: Nihls Ohlsen, \“Reflections of Scandinavian Painting in the Work of Tom Thomson and the Group of Seven,\” in Painting Canada: Tom Thomson and the Group of Seven, Dulwich Picture Gallery, Dulwich, England, 2011, page 50. Charles C. Hill, Art for a Nation: The Group of Seven (catalogue), National Gallery of Canada, Ottawa, 1995, pages 48 and 59. Bruce Whiteman, JE.H. Mac Donald, Quarry Press, Kingston, 1995, pages 9-10, 29. Paul Duval, The Tangled Garden: The Art of J.E.H. Mac Donald, Cerebrus/Prentice-Hall, Scarborough, Ontario, 1978, page 45. E.R. Hunter, J.E.H. Mac Donald: A Biography and Catalogue of his Work, The Ryerson Press, Toronto, 1940, pages 9-10. In the canon of Canadian painting there is no shortage of research and reverie about James Edward Hervey Mac Donald (1873-1932), the poet-painter and co-founder of the Group of Seven. Nor is there any lack of strong sentiment for Georgian Bay, the playground of the Toronto Establishment and, as such, a good subject for artists who recognize the benefit of predictable patronage. Nonetheless, this diminutive landscape dated to 1914 belies an even greater story that began with Mac Donald in the early teens of the twentieth century and impacts Canadian landscape painting to this day. As Charles Hill points out in his seminal work, The Group of Seven: Art for a Nation, by 1914 the new movement in Canadian painting which would become known as the Group of Seven had coalesced. Mac Donald had met and knew all members of the Group as well as Tom Thomson. These painters socialized at the Arts and Letters Club on Elm Street in Toronto, exhibited their work in OSA shows and painted together - mostly on weekends - both in the field and in the newly erected Studio Building on Severn Street in the Rosedale Ravine. But it was in January 1913 that Mac Donald and Lawren Harris had visited the Albright-Knox Gallery in Buffalo to view a unique exhibition focusing on the work of Scandinavian painters. The trip gave shape to the nascent ideas the friends had been formulating. As a result of this visit and exposure to counterparts from northern Europe, Mac Donald realized he shared \“associated ideas\” with them and was encouraged with Harris to forge a distinct path to a purely Canadian art movement. Mac Donald, with Harris, had become the disruptors of their generation. Mac Donald was and is known for his exceptional talent with design. C.W. Jefferys writing about him in a review in the LAMPS (the publication of the Arts & Letters Club) emphasized not just the application and style of paint and painting but, specifically, the design of his work. Mac Donald\’s \“selection and arrangement\” was what impressed him most. Jefferys wrote: \”I fancy that his method lays quite as much stress upon the selection of the point of view and arrangements that best express the sentiment and character of these as it does upon the expression itself.\” In Georgian Bay, what lies around the curve of the shoreline remains mysterious and creates a loaded, even romantic, tension. Writing about Scadinavian painting of the two decades after 1890, Nils Ohlsen references Stimmungsmalerei (mood painting) \“in which the painted landscape represents the landscape of the soul.\” He continues: \“Such idealised images, conceived and constructed around a certain mood, typically feature transitions from day to night for example, or from autumn to winter or sunlight to stormy weather. Nature appears as a locus of an emotional experience, inviting empathetic immersion in a mood more than physical exploration in the mind\’s eye. Reflections, for instance can function as echoes of psychological states, distant mountain ranges as focuses for longing. These thematic, compositional and atmospheric aspects of Scandinavian landscape painting recur in the work of Thomson and the Group of Seven.\” Certainly, mood is as much the subject of this lot, as geography, a universal feeling evoked by Mac Donald\’s composition trumping any specific associations we may have with the place. On the reverse of this painting is the name \“James Mac Callum\” written in pencil. By 1911 Mac Donald knew Dr. Mac Callum, a successful Toronto opthamologist, who had a cottage in Georgian Bay at Split Rock Island. It was Mac Callum, who, with Lawren Harris, had persuaded Mac Donald to leave his position as a graphic designer and devote his whole time to painting. According to Paul Duval, Mac Callum first invited Mac Donald to his cottage in 1912. E.R. Hunter, considered to be Mac Donald\’s first biographer, notes that often a \“feeling of being overwhelmed at first is noticeable in Mac Donald\’s works when he faces a change of country.\” It is true that it took time for Mac Donald to master his subject and we see evidence of this in other phases of his career, most particularly in his mountain pictures. Mac Donald\’s handling was about to change dramatically when the Group began travelling further north – Mac Donald in particular would forever be associated with the body of work he produced in Algoma. But Georgian Bay should not be read as a dress rehearsal for these later works. Like a chrysalis, this work contains within it the ingredients of what was to come not only from Mac Donald\’s brush but from that of his confrères. Like the major works that followed, such as Solemn Land, 1921, whose secret, says Bruce Whiteman \“lies in part in the masterly balance Mac Donald has achieved between design and spiritual tone\”, Georgian Bay, 1914 shows a mastery of mood, colour, composition, design, balance and selection that results in a titanic emotional reaction that seems steeped both in memory and pure feeling.
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