James Edward Hervey MacDonald 1873 - 1932

Estimate

100,000 - 150,000 CAD

bidding is closed

Description

James Edward Hervey Macdonald
AFTER SUNSET, GEORGIAN BAY
signed with incised signature and dated lower right J.M. '31; signed, titled and dated Aug. '31, inscribed with the names of the previous owners, further inscribed N.F.S. on the reverse
oil on board
21.6 by 26.7 cm.
8 ½ by 10 ½ in.

Provenance

Private Collection, Toronto

Literature

Bruce Whiteman, J.E.H. MacDonald, Kingston, 1995, p. 79

Condition

This work has been viewed under UV and it is in pristine condition. We would like to thank "In Restauro Conservart Inc." for examing this painting and their original notes are available upon request to Sotheby's.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Catalogue Note

J.E.H. MacDonald was celebrated for his nocturnal scenes early in his career and later, in August, 1931, he has crafted a study that is graphic, thoroughly modern and poetic. Thrusting a golden slash across the sky, the clouds are haloed by the rays of twilight whilst the serene water ripples with a supernatural radiance.

This moment in After Sunset, Georgian Bay, is rendered as a heroic scene and makes this a challenging work in both theme and style. In front of this painting, one cannot help but read the silhouette of the tree as a figure confronted by vast space.

MacDonald painted this nocturne three months before the stroke that was to disable him and it was likely painted at Dr. McCallum's cottage, his refuge away from his duties at the Ontario College of Art.

Even at this stage in his life, MacDonald had not lost any of his verve as an artist and was able to create startling, evocative masterpieces such as this one. His contention remained "that to paint from nature is to realize one's sensations, not to copy what is before one."