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The Case of Cruise Ship Art: Part 2
The Case of the Archangel Michael Defeating Satan

The Case of Cruise Ship Art: Part 2
The Case of Cruise Ship Art: Part 2

The Case of Mary Most Holy Mother of Light
The Case of Mary Most Holy Mother of Light

The Case of Leni and the Nuba
The Case of Leni and the Nuba

The Case of the Seductive Souvenir
The Case of the Seductive Souvenir

The Case of the Irish Surrealist
The Case of the Irish Surrealist

The Case of the Developing Dalí
The Case of the Developing Dalí

The Case of Nano-D Technology
The Case of Nano-D Technology

The Case of Dabatable Donations
The Case of Debatable Donations

Edgar Heap of Birds
The Case of the Long-tailed Monkey

Edgar Heap of Birds
The Case of Edgar Heap of Birds

Silent Song
The Case of the Silent Song

The Case of Alex and the Art Aficionado

The Case of the Privacy of the Publicity Photo

The Case of the Potter's Portraits

The Case of the Coy Cornelius Krieghoff

The Case of the Political Portraitist

The Case of the Reconsidered Revolution

The Case of the Anabiotic Abbey

The Case of the Phoney Picasso

The Case of Setsuko Piroche

The Case of being on the Forest Edge with Vern Simpson

The Case of Being at the End of the Storm with Loren Adams

The Case of Being: Under the Table with Thomas

The Case of Wyland's Whales on Walls

The Case of A.Y. Jackson's Smart River (Alaska)

The Case of Red Fish with Blue Breasts

The Case of Looe Poole

The Case of Camaldoli

The Case of MS

The Case of the Misattributed Emily Carrs

The Case of the Doubtful Dürer

The Case of the Purloined Picasso

The Case of the Defrocked Duchess of Devonshire

The Case of the First Wife

The Case of the Dodford Priory

The Case of the Unknown Actor

Art Services & Materials

Confessions Back

Practical Art History
(or Confessions of a Fine Art Appraiser)

by Jim Finlay
James Finlay Fine Art Appraisals

Chapter 8. The Case of A.Y. Jackson's Smart River (Alaska)

Some years ago, I was researching a serigraph a client had purchased for $5 at a 1946 fund-raising event in the interior of B.C. The 19.50 x 26.25 inch serigraph (silkscreen or screen print) was of A.Y. Jackson's oil on board painting, Smart River (Alaska). Jackson had contributed the 10.5 x 13.5 oil painting (based on his earlier pencil sketch) to the Federation of Canadian Artists for a silkscreen series the Federation produced between late 1945 and 1948 with the Toronto printing firm, Sampson-Matthews.

A.Y. Jackson

A.Y. Jackson, Smart River (Alaska), circa 1940-1945, serigraph (silkscreen or screen print)

Jackson's pencil sketches date back to the war years when he travelled the Alaska Highway on a second expedition sponsored by the National Gallery of Canada, and facilitated by the U.S. Army. Such expeditions were an attempt by the Federal Government to offer support to the United States for their war effort, and for the U.S. Army's Alaska Highway construction project.

My client's serigraph is listed on page 10 of a 1948 publication issued by the Department of External Affairs entitled Federation of Canadian Artists Series, Catalogue of Canadian Colour Reproductions. An image of the oil painting illustrated the magazine article, “Sketching the Alaska Highway,” in the February/March 1944 edition of Canadian Art. And, an image of the original sketch was reproduced on page 187 in Naomi Jackson Groves' study of Jackson's sketches in A.Y.'s Canada.

Further research revealed that in May of 1990, a Canadian auction house listed a "tempera" painting (20 x 26.50 inches) by A.Y. Jackson with the title Smart River, Alaska Highway 1940. The listing stated that a "coloured serigraph (silkscreen print), also based on this subject, was produced by Sampson-Matthews". This piece sold for $12,000 even though the pre-sale estimate was set at $20,000-$25,000.

As far as I know, tempera is not a common medium in the serigraph process because of inherent problems with water solubility and pigment size relative to screen mesh size. A recognizable characteristic of the process is the loss of fine detail as the paint required to develop detail sometimes get trapped in the fine screen mesh and does not pass through onto the paper.

A knowledgeable collector of Canadian art suggested to me that the ‘tempera’ painting was a ‘mock-up’ painted to serve as the template for production of the silkscreen images, but this would be unusual given that images are drawn or transferred directly onto the screen. The image printed in the auction catalogue appears to be exactly the same as my client’s serigraph. Both have the identical characteristic loss of fine detail in exactly the same locations.

On a further note, another serigraph of this Jackson work was sold at a 2004 Vancouver auction for approximately $1,100.

When considering an art purchase, it is important to undertake a thorough investigation to ensure that there are no discrepancies in the information presented by the auction house. There is an obligation on the part of the seller to exercise due diligence, but the onus falls on the buyer to seek satisfactory verification prior to making a purchase commitment.

Caveat emptor - let the buyer beware.

Next: The Case of Wyland’s whales on walls

 Sun, Nov 11, 2007