signed and on verso titled, dated March 1932 and inscribed "reserved A.D.S. [Anne Douglas Savage]

Provenance:
A gift of the Artist to Anne Savage
By descent to the present Private Collection, Quebec
Heffel Auction, November 24, 2007 - Sold for $69,000
Private Collection, Vancouver
Private Collection, Ontario

Literature:
Anne McDougall, Anne Savage: The Story of a Canadian Painter, 1977, pages 17 and 18

Jackson and Savage, both natives of Montreal, were good friends for about 50 years, and they also corresponded when Jackson was away on his painting expeditions. In 1974 (Savage died in 1971), a group of 300 letters from Jackson were found in her home. McDougall writes of this correspondence, "Between them they bring back the excitement of early discoveries in painting techniques, the thrill of sketching trips...the story that emerges from the letters of A.Y. Jackson and Anne Savage brings back some of the poignant and gutsy struggle of painters who were just finding their feet in a society that barely accepted anything called 'Canadian art'." With their close association, Savage would have had the pick of Jackson's best paintings, exemplified by this fine work.

Alexander Young Jackson CC CMG RCA LL.D. (October 3, 1882 – April 5, 1974) was a celebrated Canadian painter and a founding member of the Group of Seven. Jackson's influence was pivotal in the development of Canadian art, bridging the artistic communities of Montreal and Toronto. His career spanned various roles, including serving as a war artist during World War I (1917–19) and teaching at the Banff School of Fine Arts (1943–1949). In his later years, he was the artist-in-residence at the McMichael Canadian Art Collection in Kleinburg, Ontario.

 Born in Montreal, Jackson was the son of Eliza Georgina (Young) and Henry Allen Jackson. After his father abandoned the family, young Jackson worked at a lithograph company, which sparked his interest in art. He took evening classes at the Art Association of Montreal in 1902. In 1905, Jackson traveled to Europe, studying Impressionism in France and attending the Académie Julian in Paris. His work was first recognized when his painting Paysage Embrumé was accepted by the Paris Salon in 1908.

Upon returning to Canada, Jackson settled in Sweetsburg, Quebec, where he painted works like Edge of the Maple Wood. His fortunes changed after J. E. H. MacDonald and Lawren Harris took interest in his work, leading Jackson to move to Toronto and join the Studio Building, a hub for Canadian artists. There, he developed a close friendship with Tom Thomson, which inspired many painting trips to places like Algonquin Park. Jackson served with the Canadian Army during WWI and was later appointed as an official war artist.

Post-war, Jackson returned to the Studio Building and became a central figure in the Canadian art scene. He was instrumental in forming the Beaver Hall Group in Montreal, emphasizing individual expression over formal art schools.

In 1919, Jackson and six colleagues founded the Group of Seven, aiming to depict the rugged Canadian landscape in bold new ways. Their work was initially controversial but eventually recognized as groundbreaking. Jackson also contributed to the Canadian Group of Painters in 1933, continuing his influence on Canadian art. Jackson's later years were marked by extensive travel and painting expeditions across Canada, including the Yukon and the Northwest Territories. He played a key role in the Canadian War Art Program during WWII and was part of the Sampson-Matthews silkscreen print program. Jackson retired from the Studio Building in 1955, moving to Manotick near Ottawa. His autobiography, A Painter's Country, was published in 1958, dedicated to J. E. H. MacDonald. After a stroke in 1965 ended his painting career, Jackson moved to the McMichael Conservation Estate in Kleinburg, where he passed away in 1974. He is buried on the grounds of the McMichael Canadian Art Collection. A.Y. Jackson's legacy endures through his contributions to Canadian art, his role in the Group of Seven, and his dedication to capturing the essence of the Canadian landscape. His works remain a testament to his vision and influence, celebrated in galleries and collections across Canada.