Kathleen Morris Sold at Auction Prices

Painter, b. 1893 - d. 1986

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    • Kathleen Moir Morris (canada, 1893-1986)
      Jul. 30, 2022

      Kathleen Moir Morris (canada, 1893-1986)

      Est: $1,000 - $15,000

      Kathleen Moir Morris (canada, 1893-1986) Oil On Board. Board Measures 20 Inches H X 16 W, Framed 24.5 X 20.5 Inches.

      Kavanagh Auctions
    • KATHLEEN MOIR MORRIS, A.R.C.A., POINT LEVY, QUEBEC, CIRCA 1925, oil on panel, 10.25 ins x 14 ins; 25.4 cms x 35.6 cms
      Nov. 21, 2016

      KATHLEEN MOIR MORRIS, A.R.C.A., POINT LEVY, QUEBEC, CIRCA 1925, oil on panel, 10.25 ins x 14 ins; 25.4 cms x 35.6 cms

      Est: $60,000 - $80,000

      KATHLEEN MOIR MORRIS, A.R.C.A.POINT LEVY, QUEBEC, CIRCA 1925oil on panelsigned 10.25 ins x 14 ins; 25.4 cms x 35.6 cms Provenance:Private Collection, HalifaxExhibited:Kathleen Morris (1893-1986), Retrospective Exhibition, Galerie Walter Klinkhoff Inc., Montreal, September 2003, No.19.Literature:Evelyn de Rostaing McMann, The Royal Canadian Academy of Arts: Exhibitions and Members, 1880-1979, University of Toronto Press, Toronto, 1981, page 293, Point Lévis, Quebec (NGC), listed.Frances K. Smith, Kathleen Moir Morris (catalogue), Agnes Etherington Art Centre, Queen’s University, Kingston, 1983, pages 13 and 16.Evelyn Walters, The Women of Beaver Hall: Canadian Modernist Painters, Dundurn Press, Toronto, 2005, page 17 and page 76 for the canvas, Point Levy, Quebec, in the collection of the National Gallery of Canada (acquired by Eric Brown in 1926), reproduced in colour.Barbara Meadowcroft, Painting Friends: The Beaver Hall Women Painters, Véhicule Press, Montreal, 1999, page 87.Note:Kathleen Morris went on regular sketching trips to the Quebec City area. Barbara Meadowcroft quotes Kathleen reminiscing about these trips: “I had a wonderful mother. She would take me off on sketching trips and sit beside me while I painted...” Meadowcroft notes that Kathleen would do two sketches, one in the morning and one in the afternoon, and according to family friend Michael Dunn “never fiddled with them afterwards.” Dunn further added that “She much preferred sketches to large paintings on canvas.” Undoubtedly, Morris would have had to work speedily on winter days, the paint thickening on the brush and becoming increasingly less cooperative in the cold. Her achievement is all the more impressive given that she lived with Cerebral Palsy. Unlike Mabel May (see lot 38), Kathleen unhesitatingly used reds and blacks in her paintings to dramatic effect, enlivening her pictures with “clever dabs and dashes of brilliant orange-red.”While not all sketches Kathleen made were worked up into canvases, this one was (see illustration below for the canvas in the National Gallery of Canada) and it was acquired and exhibited by Eric Brown almost immediately after it was painted. Evelyn Walters credits Eric Brown, the Director of the National Gallery of Canada (1912-1939) and champion of modernism for its extensive collection of Beaver Hall pictures.Estimate: $60,000–80,000

      Waddington's
    • KATHLEEN MOIR MORRIS, A.R.C.A., HORSE DRAWN CARRIAGES, WINTER, oil on canvas, 21.5 ins x 18 ins; 54.6 cms x 45.7 cms
      Nov. 23, 2015

      KATHLEEN MOIR MORRIS, A.R.C.A., HORSE DRAWN CARRIAGES, WINTER, oil on canvas, 21.5 ins x 18 ins; 54.6 cms x 45.7 cms

      Est: $80,000 - $120,000

      KATHLEEN MOIR MORRIS, A.R.C.A.HORSE DRAWN CARRIAGES, WINTERoil on canvassigned 21.5 ins x 18 ins; 54.6 cms x 45.7 cms Provenance:Private Collection, Ontario (acquired as a gift directly from the artist circa 1963)Private Collection, Ontario (by descent)Note:Kathleen Moir Morris was primarily a painter of winter scenes. Born into Montreal’s Anglophone establishment, she studied at the Art Association of Montreal with William Brymner and Maurice Cullen around 1906, sketching outdoors with Cullen and Robert Pilot until 1917. That she worked en plein air in the middle of winter was remarkable considering that she suffered from a congenital condition which impaired her speech and coordination throughout her life. It was at the Art Association that she met Sarah Robertson, Anne Savage, Mabel May and Lilias Torrance Newton who would join together with other artists in 1920 to form the Beaver Hall Group. Morris would be affiliated with the group. Although the group lasted only a short time officially, the women members continued to exhibit together and support each other’s creative endeavours long after the group disbanded in 1922. Their work included landscapes of Quebec, but unlike the wilderness versions painted by the Group of Seven, their landscapes often contained a human presence.This lot is typical of Morris’s subject matter which included urban streets, picturesque Quebec towns, the Laurentians, and the market in Ottawa where she lived from 1923 to 29. In Ottawa she was encouraged by Eric Brown, director of the National Gallery of Canada, who bought one of her pictures for the collection in 1924. Morris’s work captured the culture of everyday life in rural Quebec and later, in the streets of Montreal where she returned to live in 1929. Morris’s post-impressionist style shows the influence of J.W. Morrice (particularly his Quebec scenes) whose work she admired. This canvas is unusual in her oeuvre in that the entire upper half of the canvas is given over to a skillful rendering of the distant landscape. The vertiginous viewpoint may be the result of Morris painting from an upper storey window. She was praised by critics for her use of colour; here, the brightly coloured buildings enliven the composition which is otherwise restricted to various tones of blue and white.In the past, Morris and her work have received less attention than many of her contemporaries; however, she is well represented in The Beaver Hall Group: 1920s Modernism in Montreal, an exhibition held at the Montreal Museum of Fine Arts from October 24, 2015 to January 31, 2016 and continuing to other venues.

      Waddington's
    • KATHLEEN MOIR MORRIS, A.R.C.A., YELLOW HOUSE AT SAINT SAUVEUR, QUEBEC, oil on panel, 10.5 ins x 14 ins; 26.7 cms x 35.6 cms
      Nov. 23, 2015

      KATHLEEN MOIR MORRIS, A.R.C.A., YELLOW HOUSE AT SAINT SAUVEUR, QUEBEC, oil on panel, 10.5 ins x 14 ins; 26.7 cms x 35.6 cms

      Est: $20,000 - $30,000

      KATHLEEN MOIR MORRIS, A.R.C.A.YELLOW HOUSE AT SAINT SAUVEUR, QUEBECoil on panelsigned (twice) 10.5 ins x 14 ins; 26.7 cms x 35.6 cms Provenance:Private Collection, Ontario (acquired as a wedding gift directly from the artist, 1948)Private Collection, Ontario (by descent)Note:Kathleen Moir Morris painted this charming oil sketch at Saint Sauveur, a community north-west of Montreal on one of her winter sketching trips. Her friend, A.Y. Jackson, told Morris that she was lucky to be painting in Quebec where good subject matter was everywhere to be found. Because of her physical infirmity, Morris would have to be taken by sleigh to the location and left to paint, dressed warmly and standing in the sleigh tracks if the snow was deep. A typical scene would feature a gathering of people outside a church or at market and include waiting horses, covered with brightly coloured blankets against the cold, hitched up to sleighs. The subject of this sketch is less common. Its focus is a typical house in rural Quebec and the winter activities that take place within its ambit (snow shoveling). It has a familiar quality for people living in a northern climate and the topography and bellcast roof identify the location as Quebec. The human quality that characterizes much of the work of the Beaver Hall artists sets it apart from their Group of Seven contemporaries.Undated, the work may have been painted in the 1930s. A work of this title was exhibited in the 1932 Royal Canadian Academy of Arts (RCA) Annual Exhibition, in the 1938 RCA Exhibition and in a four-woman show in the Print Room at the Art Gallery of Toronto in 1941 (with Mabel Lockerby, Pegi Nicol and Marian Scott), where it is dated 1934. Morris was an associate of the Royal Canadian Academy (1929) and also showed at the Art Association of Montreal, with the Ontario Society of Artists and the Canadian Group of Painters.

      Waddington's
    • KATHLEEN MOIR MORRIS A.R.C.A., CAB STAND IN WINTER, QUEBEC CITY, oil on canvas, 18 ins x 24 ins; 45.7 cms x 61 cms
      May. 26, 2014

      KATHLEEN MOIR MORRIS A.R.C.A., CAB STAND IN WINTER, QUEBEC CITY, oil on canvas, 18 ins x 24 ins; 45.7 cms x 61 cms

      Est: $100,000 - $150,000

      KATHLEEN MOIR MORRIS A.R.C.A.CAB STAND IN WINTER, QUEBEC CITYoil on canvassigned 18 ins x 24 ins; 45.7 cms x 61 cms Provenance:Private Collection, OttawaExhibited:Canadian National ExhibitionLiterature:Frances K. Smith, Kathleen Moir Morris, Agnes Etherington Art Centre, Queen's University, Kingston, Ontario, 1983, pages 15-18, and page 18, cat no. 17 for the 1925 oil sketch of this canvas entitled "Old Wall, Quebec City" (Private Collection, Montreal), reproduced.Note:Born in Montreal in 1893, Kathleen Morris started drawing at a very young age and while she would deny that she was a child prodigy, her talent was identified by her cousin by marriage, artist Robert Harris, when she was a mere girl of seven years of age. Limited to some degree by a chronic health problem, Morris' training and experience would not include trips abroad like so many of her cohort. Rather she found her greatest subjects closer to home in the snowy streets and busy markets of Ottawa, Montreal and Quebec City and Cab Stand is the product of one of these painting trips east.It comes as no surprise to learn that Morris admired the work of the great James Wilson Morrice whose paintings she would have known. Indeed, their interpretation of the snowy landscapes populated with thick-coated horses waiting patiently for fares at cab stands have much in common. Frances Smith writes: "Not only is her subject matter similar, but her textured snow has the warmish tones of Morrice which contrast vividly with the cold blues and dazzling whites of Cullen and some others."While Morris seldom ever dated her pictures, we have dated this painting to circa 1925. A label fragment on the reverse shows part of the original title which could be "A bit of Old Quebec". A work by this title was exhibited at the Art Association of Montreal Annual Spring Exhibition in 1925 (no. 191).

      Waddington's
    • KATHLEEN MOIR MORRIS, A.R.C.A., HORSES GRAZING IN A FIELD, oil on panel, 12 ins x 14 ins; 30.5 cms x 35.6 cms
      Nov. 27, 2013

      KATHLEEN MOIR MORRIS, A.R.C.A., HORSES GRAZING IN A FIELD, oil on panel, 12 ins x 14 ins; 30.5 cms x 35.6 cms

      Est: $20,000 - $25,000

      KATHLEEN MOIR MORRIS, A.R.C.A.HORSES GRAZING IN A FIELD, oil on panel; signed; an unfinished sketch of farm animals on the reverse 12 ins x 14 ins; 30.5 cms x 35.6 cms Provenance: Walter Klinkhoff Gallery, MontrealPeter Ohler Fine Arts Ltd., Vancouver

      Waddington's
    • KATHLEEN MOIR MORRIS, A.R.C.A., DAIRY COWS AT PASTURE, ELLIOTT FAMILY FARM NEAR MARSHALL'S BAY, ONTARIO, oil on panel, 12 ins x 14 ins; 30.5 cms x 35.6 cms
      Nov. 27, 2013

      KATHLEEN MOIR MORRIS, A.R.C.A., DAIRY COWS AT PASTURE, ELLIOTT FAMILY FARM NEAR MARSHALL'S BAY, ONTARIO, oil on panel, 12 ins x 14 ins; 30.5 cms x 35.6 cms

      Est: $15,000 - $20,000

      KATHLEEN MOIR MORRIS, A.R.C.A.DAIRY COWS AT PASTURE, ELLIOTT FAMILY FARM NEAR MARSHALL'S BAY, ONTARIO, oil on panel; signed 12 ins x 14 ins; 30.5 cms x 35.6 cms Exhibited: Kathleen Moir Morris, RCA, Loan Exhibition, Walter Klinkhoff Gallery, Montreal, June 1976, no.4Literature: Frances K. Smith, Kathleen Moir Morris, exhibition catalogue, Agnes Etherington Art Centre, Queen's University, Kingston, 1983, page 22.Note: From the 1920s to the 1970s the artist spent two months each summer at Marshall's Bay near Arnprior at the family cottage. Smith quotes the artist's nephew thus: "...Kay painted the Elliott cows so often she got to know their daily routine...at the same time every day, say noon, they would wander down to the creek for a drink. Then...they would all amble over to one of their favourite spots for an afternoon rest...Kay was always ready to paint the cows during this lazy period." Smith adds, "She herself recollected these years in 1976: 'I love to paint animals. I think cows are just beautiful but they're awfully hard to paint. They've got bumps and lumps. And the flies! They love the smell of paint. They don't go all over the cows, they go all over you!'"This lot is accompanied by a letter from the artist's niece describing the subject and dating the painting to circa 1930.

      Waddington's
    • Kathleen Moir Morris 1893 - 1986 Canadian oil on
      May. 15, 2013

      Kathleen Moir Morris 1893 - 1986 Canadian oil on

      Est: $70,000 - $90,000

      Kathleen Moir Morris 1893 - 1986 Canadian oil on board Byward Market, Ottawa 10 x 13 inches 25.4 x 33 centimeters signed and on verso titled and inscribed ""Miss Maw [or May], 172 Ottawa St, Ottawa"" Literature:A.K. Prakash, Independent Spirit: Early Canadian Women Artists, 2008, page 156 Provenance:Private Collection, Toronto By descent to the present Private Collection, Toronto The history of the Byward Market in Ottawa is the history of working-class folk, of farmers and industry. Although today it is best known for its trendy restaurants and boutiques, this was not always so. The Market area was, until two or three decades ago, simply known as Lowertown, Ottawa's oldest blue-collar neighbourhood and the hub of the city's French inhabitants. York Street was the farmers' street, lined with all sorts of store shops, sidewalk sellers and fruit stands. Kathleen Morris has created a portal to the past in her animated painting Byward Market, Ottawa. A.K. Prakash compliments Morris on her insightful vision, writing that, "Each painting is a window on the past, offering visions of pioneer fortitude to modern generations seeking inspiration and a refuge from the present...she immortalizes her experience through the imagination of a poet." Her vivacious use of colour and detail help us to envision the bustling noise, sights and smells of this lively market scene.

      Heffel
    • KATHLEEN MOIR MORRIS, A.R.C.A. CHILDREN PLAYING ON A WINTER DAY, oil on panel; signed, an unfinished work on the reverse 12 ins x 14 ins; 30 cms x 35 cms Provenance: Private Collection, Charlottetown.
      May. 25, 2012

      KATHLEEN MOIR MORRIS, A.R.C.A. CHILDREN PLAYING ON A WINTER DAY, oil on panel; signed, an unfinished work on the reverse 12 ins x 14 ins; 30 cms x 35 cms Provenance: Private Collection, Charlottetown.

      Est: $12,000 - $15,000

      KATHLEEN MOIR MORRIS, A.R.C.A. CHILDREN PLAYING ON A WINTER DAY, oil on panel; signed, an unfinished work on the reverse 12 ins x 14 ins; 30 cms x 35 cms Provenance: Private Collection, Charlottetown.

      Waddington's
    • Kathleen Moir Morris 1893 - 1986 Canadian oil on
      May. 17, 2012

      Kathleen Moir Morris 1893 - 1986 Canadian oil on

      Est: $15,000 - $20,000

      Kathleen Moir Morris 1893 - 1986 Canadian oil on board Church in the Country, Ottawa 10 1/8 x 13 3/4 inches 25.7 x 34.9 centimeters signed and on verso titled indistinctly and inscribed ""172 O'Connor"" on a partial Art Association of Montreal label and ""$50.00"" / ""386"" / ""153"" Provenance:Private Collection, Vancouver After the official break-up of the Beaver Hall Group in Montreal in 1922, Kathleen Morris moved to Ottawa in 1923, living at 172 O'Connor Street, as the inscription on verso confirms. She lived there with her mother until 1929, and while there her artistic career was encouraged by the National Gallery of Canada's director Eric Brown; he ensured that the gallery acquired one of her works. While in Ottawa she painted street scenes, often of its vital marketplace and churches. In the winter she took sketching trips to Quebec City, the Laurentians or Berthierville, and in summer to the country surrounding Ottawa, as seen in this charming depiction of a country church. Typical of her style, this work is defined with bold brush-strokes and vibrant colour. The warm atmosphere of this unpretentious and peaceful place of worship with its distinctive spire, together with the radiance of a summer's day, make this an alluring image.

      Heffel
    • Kathleen Moir Morris 1893 - 1986 Canadian oil on
      May. 17, 2012

      Kathleen Moir Morris 1893 - 1986 Canadian oil on

      Est: $18,000 - $22,000

      Kathleen Moir Morris 1893 - 1986 Canadian oil on board The Seminary, Quebec 10 x 14 inches 25.4 x 35.6 centimeters signed and on verso titled on a label Provenance:Continental Galleries, Montreal Private Collection, Toronto Kathleen Morris was one of the pioneering women artists who were part of the Beaver Hall Group in Montreal founded in 1920. One of her important subjects was the religious and social rituals of Quebec, and in her Ottawa, Montreal and Quebec City streetscapes she often depicted churches, cathedrals and seminaries. Morris's family was from Montreal's Protestant elite, and her mother, a defender of women's rights, staunchly supported her pursuit of an artistic life. Although Morris had a physical impairment, she vigorously pursued painting out of doors in winter, traveling by sleigh to her painting destinations to sketch on the spot. In this atmospheric winter sketch, Morris's simplified forms and bold brushwork expertly capture the mass of the building. Its imposing presence is crowned by the bell tower and cross, which pull the eye to the sky, a reminder of the ethereal purpose of its inhabitants. In this fresh and vibrant sketch, Morris warms the scene with the inclusion of people passing to and fro, and enlivens the earthy tones of the building's surface with bright strokes of orange, green, blue and mauve.

      Heffel
    • KATHLEEN MOIR MORRIS1893 - 1986
      Nov. 28, 2011

      KATHLEEN MOIR MORRIS1893 - 1986

      Est: $15,000 - $18,000

      MORIN HEIGHTS, QUE. signed lower right; titled on the artist's label on the reverse oil on panel 30.4 by 35.5 cm. 12 by 14 in.

      Sotheby's
    • KATHLEEN MOIR MORRIS1893 - 1986
      Nov. 28, 2011

      KATHLEEN MOIR MORRIS1893 - 1986

      Est: $12,000 - $14,000

      SHEEP AND ROAD signed lower left oil on panel 30.5 by 35.5 cm. 12 by 14 in.

      Sotheby's
    • Kathleen Moir Morris 1893 - 1986 Canadian oil on
      May. 17, 2011

      Kathleen Moir Morris 1893 - 1986 Canadian oil on

      Est: $25,000 - $35,000

      Kathleen Moir Morris 1893 - 1986 Canadian oil on panel Château Frontenac from Rue Ste-Anne 14 x 10 inches 35.6 x 25.4 centimeters signed Provenance:Private Collection, Ontario Around the time of World War I, societal changes were underway for women, including securing their right to vote in Canada. Greater prosperity brought expansion in art institutions, and women's roles were finding new paradigms. Arising from this creative ferment was an important pioneering network of women artists, including Kathleen Morris, that first met while part of the Beaver Hall Group in Montreal in 1920. Morris's family was part of Montreal's Protestant elite, and her mother, a staunch defender of women's rights, supported her daughter in her career as an artist. Morris's urban streetscapes of Ottawa, Quebec City and Montreal, painted en plein air, with their simplified form and lush brushwork, radiate warmth and charm. This splendid sketch depicting Quebec City's landmark Château Frontenac strikes a balance between architectural detail and the warmth of human presence. Ochre and pink tones in the sky, reflected back in the snow, envelop the scene with a unique winter light. Morris's importance was acknowledged when the National Gallery of Canada acquired her work in the 1920s, and recognition of her fine oeuvre continues to expand in contemporary times.

      Heffel
    • Kathleen Moir Morris 1893 - 1986 Canadian oil on
      May. 17, 2011

      Kathleen Moir Morris 1893 - 1986 Canadian oil on

      Est: $30,000 - $40,000

      Kathleen Moir Morris 1893 - 1986 Canadian oil on panel Corpus Christi Procession 14 x 10 1/8 inches 35.6 x 25.7 centimeters signed and on verso titled and inscribed ""Berthier en haut, Que. / $50"" on a label Literature:Evelyn Walters, The Women of Beaver Hall: Canadian Modernist Painters, 2005, a 1927 canvas with a view of the same cathedral entitled After High Mass, Berthier-en-Haut in the collection of The Montreal Museum of Fine Arts reproduced page 77 Provenance:Private Collection, Ontario One of the prominent subjects for this important early female artist was the religious and social rituals of Quebec. The inscription indicates that the setting is Berthier-en-haut - now known as Berthierville - which was a favourite painting location for Kathleen Morris. Here she depicts the pomp and ceremony of a traditional Roman Catholic procession for the Eucharist, a symbolic re-enactment of Christ's Last Supper. The piety of attendees can be seen in the small group to the right, who kneel in respect. In this beautiful sketch, Morris fascinates the eye with the procession carrying its sacred objects under a canopy and banners along the curving path towards the massive church. She uses a rich colour palette; sumptuous reds, golds and bright yellow in the robes and objects displayed are contrasted with luscious greens of trees and grass. Morris captures the power of ritual at a time in which the church was a dominant part of life in Quebec. The Montreal Museum of Fine Arts has a large 1927 canvas in their collection entitled After High Mass, Berthier-en-haut, a scene in front of this same church.

      Heffel
    • Kathleen Moir Morris 1893 - 1986 Canadian oil on
      May. 17, 2011

      Kathleen Moir Morris 1893 - 1986 Canadian oil on

      Est: $15,000 - $20,000

      Kathleen Moir Morris 1893 - 1986 Canadian oil on board Towheys House, Marshall's Bay 12 x 14 inches 30.5 x 35.6 centimeters signed and on verso titled on the artist's label Provenance:A gift from the Artist in the 1930s to the present Private Collector, Ontario This lot and lot 149 in the sale were a gift from Kathleen Morris to one of her art students, whose family had a cottage down the road from the Morris family cottage in Marshall's Bay near Arnprior in Ontario. Throughout her life, Morris spent summers at this simple cottage (there was no running water or electricity until 1950) which belonged to her grandparents and had been in the family for over 100 years. As a child, she fished and swam there, and later, when an accomplished artist and a member of the Beaver Hall Group, the cottage was a studio base where Morris developed her winter oil sketches into larger canvases. She also made painting forays into the surrounding farms and countryside, where she produced this serene oil sketch. Lush, assured brush-strokes vigorously define this pastoral scene, while the warm light flooding the house, together with the closeness of the blue sky with its flotilla of white cumulous clouds, creates a nostalgic longing for the dream-like peace of the countryside.

      Heffel
    • Kathleen Moir Morris 1893 - 1986 Canadian oil on
      May. 17, 2011

      Kathleen Moir Morris 1893 - 1986 Canadian oil on

      Est: $20,000 - $30,000

      Kathleen Moir Morris 1893 - 1986 Canadian oil on panel The Winter Road 10 3/8 x 14 inches 26.3 x 35.6 centimeters signed Literature:Barbara Meadowcroft, Painting Friends, 1999, page 87 Provenance:Private Collection, Ontario While training at the Art Association of Montreal, Kathleen Morris participated in student sketching trips organized by Impressionist Maurice Cullen, who imparted his love of painting outdoors to his students. Morris's discovery of painting en plein air was at the core of her work during her involvement with the Beaver Hall Group in Montreal in the early 1920s and after they disbanded. Although Morris suffered from a nervous disorder, her self-confidence was attributed to her family's support, with her mother often accompanying her on her outdoor sketching trips. Morris possessed stamina and determination and, as Barbara Meadowcroft relates, "On the coldest days, Kathleen went alone. She was dropped off by sleigh, and painted standing in the sleigh tracks, wearing an apron over an old fur coat. She did two sketches, one in the morning and another in the afternoon, and 'never fiddled with them' afterwards." That freshness and spontaneity is clearly visible in this exquisite winter vista with its delicate colour tones and jaunty traffic of horses and sleighs on snowy roads. Morris loved animals, and horses were often featured in her paintings, both urban and rural, as in this classic Quebec winter scene.

      Heffel
    • KATHLEEN MOIR MORRIS 1893 - 1986
      Nov. 23, 2010

      KATHLEEN MOIR MORRIS 1893 - 1986

      Est: $30,000 - $50,000

      KATHLEEN MOIR MORRIS 1893 - 1986 WINTER STREET SCENE signed lower left K.M. Morris oil on panel 30.5 by 35.6 cm. 12 by 14 in.

      Sotheby's
    • KATHLEEN MOIR MORRIS, A.R.C.A.AWAITING THE TRAIN, BERTHIERVILLE, QUEBEC
      Nov. 22, 2010

      KATHLEEN MOIR MORRIS, A.R.C.A.AWAITING THE TRAIN, BERTHIERVILLE, QUEBEC

      Est: $100,000 - $150,000

      KATHLEEN MOIR MORRIS, A.R.C.A.AWAITING THE TRAIN, BERTHIERVILLE, QUEBEC, oil on canvas, signed24 ins x 30 ins; 60 cms x 75 cms

      Waddington's
    • KATHLEEN MOIR MORRIS, A.R.C.A.THE SEMINARY, QUEBEC
      Nov. 22, 2010

      KATHLEEN MOIR MORRIS, A.R.C.A.THE SEMINARY, QUEBEC

      Est: $20,000 - $30,000

      KATHLEEN MOIR MORRIS, A.R.C.A.THE SEMINARY, QUEBEC, oil on panel, signed10 1/4 ins x 14 ins; 25.6 cms x 35 cmsProvenance: Private Collection, Toronto.

      Waddington's
    • Kathleen Moir Morris 1893 - 1986 Canadian oil on
      May. 26, 2010

      Kathleen Moir Morris 1893 - 1986 Canadian oil on

      Est: $100,000 - $150,000

      Kathleen Moir Morris 1893 - 1986 Canadian oil on canvas At Beauport, Quebec 20 1/8 x 22 1/8 inches 51.1 x 56.2 centimeters signed and on verso titled on a label Provenance:Private Collection, Quebec Exhibited:Art Association of Montreal, 41st Spring Exhibition, 1924 Kathleen Morris was included in the important Beaver Hall Group network of women in Montreal in the early 1920s. Accompanied by her mother, she went to Ottawa to live from 1923 to 1929. Morris had a nervous ailment, but worked with complete confidence due to her family's boundless love and encouragement. Eric Brown, Director of the National Gallery of Canada in Ottawa during that time, was a supporter, and the National Gallery acquired one of her works. During this period, she sketched the Quebec landscape as well as local markets and streets of cities and surrounding towns. She was especially captivated by the visual richness of these towns in winter, and among her favourite places to sketch were Berthierville and Quebec city, as depicted here - Beauport being a borough of the City. Morris became known for her Quebec street scenes, and At Beauport, Quebec, with its horse and sleigh winding up the road through the town, is a superb example of this subject matter. She effortlessly captures the atmosphere of the town, using the details of everyday life, such as the men shovelling snow, depicted with vibrant colour and vigorous brush-strokes.

      Heffel
    • Kathleen Moir Morris 1893 - 1986 Canadian oil on
      Nov. 26, 2009

      Kathleen Moir Morris 1893 - 1986 Canadian oil on

      Est: $8,000 - $10,000

      Kathleen Moir Morris 1893 - 1986 Canadian oil on panel Chippy "12 x 14 inches 30.5 x 35.6 centimeters signed Provenance:Mr. and Mrs. David Taylor, Montreal By descent to the present Private Estate, British Columbia Kathleen Morris, from a prominent Montreal family, was encouraged as an artist by her mother. Morris joined the Beaver Hall Group that formed in 1920 and was particularly known for her fine street and market scenes of Quebec City and Ottawa. She also became involved in the cause of prevention of cruelty to animals, and her affection for creatures can clearly be seen in this tender depiction of a chipmunk surrounded by richly-hued autumn leaves. "

      Heffel
    • Kathleen Moir Morris 1893 - 1986 Canadian oil on
      Nov. 26, 2009

      Kathleen Moir Morris 1893 - 1986 Canadian oil on

      Est: $25,000 - $30,000

      Kathleen Moir Morris 1893 - 1986 Canadian oil on canvas Summer Country House "20 x 24 inches 50.8 x 61 centimeters signed Literature:Evelyn Walters, The Women of Beaver Hall: Canadian Modernist Painters, 2005, page 73 Provenance:Mr. and Mrs. David Taylor, Montreal By descent to the present Private Estate, BC Each summer, the Morris family spent two months at their small cottage near Marshall's Bay, Ontario. As in the winter months, Kathleen Morris spent much of her time sketching and painting out of doors, and the fields, farm animals and country homes provided the inspirational sustenance required to fuel her creative needs. As Morris was physically disabled by a nervous system disorder, her mother enrolled her in piano lessons as a very young girl to improve her coordination. Once able to hold a paintbrush, however, Morris abandoned music and immersed herself in recording her beloved Canadian surroundings with a relentless fervour. One is overwhelmed by the unrestrained joie de vivre communicated in this canvas. Morris's fearless play of colour and bold contrast between light and shadow produces a composition that vibrates with the vivid lushness of the season. It was her unconcealable pleasure, expressed in dramatic works such as Summer Country House, that attracted the attention of Eric Brown, director of the National Gallery of Canada, who secured a number of her most important paintings for the gallery's collection. "

      Heffel
    • Kathleen Moir Morris 1893 - 1986 Canadian oil on
      Nov. 26, 2009

      Kathleen Moir Morris 1893 - 1986 Canadian oil on

      Est: $25,000 - $35,000

      Kathleen Moir Morris 1893 - 1986 Canadian oil on canvas Fishing by the Cathedral "20 x 24 inches 50.8 x 61 centimeters signed Provenance:Mr. and Mrs. David Taylor, Montreal By descent to the present Private Estate, BC Kathleen Morris began painting when she was a very young girl. Encouraged by her family, she took classes at the Art Association of Montreal between 1907 and 1917 under William Brymner and Maurice Cullen. Every year Cullen would take his students on spring sketching trips to the countryside, and these excursions instilled in Morris a love for painting out of doors. It was also through the Art Association of Montreal that she met and befriended many of the women who would later form the Beaver Hall Group. She exhibited with this diverse and successful group of women throughout her life, and their enthusiasm for expressing the Canadian identity provided her with constant encouragement and inspiration. Like many of the Beaver Hall women, Morris's quiet yet remarkable landsca es are a product of her fierce nationalism, and the proud streets, towns and fields in her compositions reflect her devotion to Canada. In Fishing by the Cathedral, Morris's passionate brush-strokes and bold colour honour the simple elegance of the cathedral and its lush surroundings. This fine canvas is an example of Morris's most distinctive and compelling work. "

      Heffel
    • "Kathleen Moir Morris 1893 - 1986 Canadian oil on
      Nov. 26, 2009

      "Kathleen Moir Morris 1893 - 1986 Canadian oil on

      Est: $30,000 - $35,000

      "Kathleen Moir Morris 1893 - 1986 Canadian oil on panel Market in Winter, Berthierville, Quebec" "9 x 12 1/4 inches 22.9 x 31.1 centimeters signed Provenance:Mr. and Mrs. David Taylor, Montreal By descent to the present Private Estate, BC Exhibited:Galerie Walter Klinkhoff Inc., Montreal, Kathleen Morris, Loan Exhibition, June 1976, catalogue #56 Kathleen Morris's streetscapes were painted directly from life - with the artist bundled in furs, working en plein air - which is often unexpected, considering the tranquil languor of her compositions. We are inclined to imagine we are viewing an illusory landscape or the image of a precious memory, not the loud and busy towns in which Morris loved to sit and paint. She was truly a master composer, simplifying her compositions to include only the indispensable; allowing the viewer to concentrate on the joyous colour, abridged form and, above all, the undisturbed serenity of her scenes. Berthierville was especially beloved by Morris, who took seve al extended sketching trips to the town during the 1920s. The central market and taxi stand recur in her most distinguished paintings, examples of which are owned by the National Gallery of Canada and the Montreal Museum of Fine Arts. Bold and spontaneous brush-strokes in this delightful panel define Morris's high esteem for her subject of drifting snow banks, noble horses and timeless Québécois streets. This oil sketch was later used by Morris to produce the important, large format canvas of this scene, formerly in the private collection of Kenneth G. Heffel. "

      Heffel
    • Kathleen Moir Morris 1893 - 1986 Canadian oil on
      Jun. 17, 2009

      Kathleen Moir Morris 1893 - 1986 Canadian oil on

      Est: $20,000 - $30,000

      Kathleen Moir Morris 1893 - 1986 Canadian oil on canvas White Flowers 21 x 18 inches 53.3 x 45.7 centimeters signed Literature:Natalie Luckyj, Helen McNicoll: A Canadian Impressionist, 1999, page 23 Provenance:A gift from a family member of the Artist By descent to the present Private Collection, Montreal Kathleen Morris came from the privileged elite of Montreal society, and received first class instruction from William Brymner while a student at the Art Association of Montreal. Brymner was of pivotal importance to Morris's development as an artist since she had her most formal and academic instruction under his tutelage. As Natalie Luckyj writes, "Brymner's willingness to permit his female students to develop the foundational skills often denied to aspiring women artists was matched by his openness to the newer impressionist style of painting." This floral still life is a fine example of Morris's technique, colour and compositional rendering. The attention to light and shade, along w th the beauty of the white flowers in full bloom, lends a plein air feeling to this work even though it depicts an interior setting. Both this canvas and lot 142 in this sale were given as gifts directly from a family member of the artist to the aunt of the present owner in Montreal. On verso is a letter signed by the artist's niece confirming the authenticity and provenance of this work.

      Heffel
    • Kathleen Moir Morris 1893 - 1986 Canadian oil on
      Jun. 17, 2009

      Kathleen Moir Morris 1893 - 1986 Canadian oil on

      Est: $10,000 - $15,000

      Kathleen Moir Morris 1893 - 1986 Canadian oil on panel Flowers in a Vase 12 x 14 inches 30.5 x 35.6 centimeters signed Literature:Evelyn Walters, The Women of the Beaver Hall: Canadian Modernist Painters, 2005, page 79 Provenance:A gift from a family member of the Artist By descent to the present Private Collection, Montreal This beautiful floral still life by Kathleen Morris reveals her ability as a colourist. Her composition is well organized and the scene exudes a sense of joy and life that is felt in many of Morris's canvases. Her compositions are loosely impressionistic, as it was her teachers Maurice Cullen and William Brymner that largely influenced her as a young artist in Montreal. Morris was a member of the Beaver Hall Group which formed in 1920 in Montreal. Evelyn Walters writes that it was the "simplified forms and bold brush-strokes of vibrant colour [that] mark her style." In a review of her work in a 1962 show at the Montreal Arts Club, Dorothy Pfeiffer praised Morris's work, writing, "Particularly remarkable is the woman painter's sense of joie de vivre; her clever use of dabs and dashes of brilliant orange-red livens every canvas." This work is no exception, for the bright vibrancy of the flowers and the contrasting background draw the viewer's eye into the frame. Both this painting and lot 143 in this sale were given as gifts directly from a family member of the artist to the aunt of the present owner in Montreal. There is an unfinished view of Montreal Harbour on verso that has been crossed out by the artist. On verso is a letter from the artist's niece confirming the authenticity and provenance of this work.

      Heffel
    • Kathleen Moir Morris 1893 - 1986 Canadian oil on
      Jun. 17, 2009

      Kathleen Moir Morris 1893 - 1986 Canadian oil on

      Est: $25,000 - $35,000

      Kathleen Moir Morris 1893 - 1986 Canadian oil on panel Market in Winter, Berthierville, Quebec 10 1/2 x 13 3/4 inches 26.7 x 34.9 centimeters signed and on verso inscribed ""$30.00"" Literature:Evelyn Walters, The Women of Beaver Hall, Canadian Modernist Painters, 2005, a similar oil sketch entitled Waiting, in the collection of the National Gallery of Canada, reproduced page 72 and a similar oil on canvas entitled Waiting at the Old Church, Berthierville, Quebec reproduced page 75 Provenance:By descent to the present Private Collection, Victoria An important early Canadian woman artist, Kathleen Morris became a member of the Beaver Hall Group in Montreal in 1920. From 1922 to 1929 she lived in Ottawa, taking sketching trips to Quebec City and the surrounding countryside. The town of Berthierville, on the north shore of the St. Lawrence, was a favourite painting place for Morris during the early 1920s, and both the National Gallery of Canada and the Montreal Museum of Fine Arts have similar works painted at that location in their collections. For several winters, she and her mother stayed there for a month to six weeks, and she was delighted by the visual richness of the town in winter with its churches, buildings and horse-drawn sleighs. Morris would sketch en plein air, even on the coldest days, working quickly to capture all the details of the groupings of people and horses before they dispersed, sometimes adding snow and backgrounds later. One can feel the spontaneity and joy present in such works. In this splendid painting, Morris used rich colour, bold brush-strokes and simplified forms to capture the unique atmosphere of this lively town.

      Heffel
    • KATHLEEN MOIR MORRIS, A.R.C.A. THE SEMINARY,
      May. 26, 2009

      KATHLEEN MOIR MORRIS, A.R.C.A. THE SEMINARY,

      Est: $30,000 - $40,000

      KATHLEEN MOIR MORRIS, A.R.C.A. THE SEMINARY, QUEBEC, oil on panel; signed 10 1/4 ins x 14 ins; 25.6 cms x 35 cms

      Waddington's
    • KATHLEEN MOIR MORRIS A.R.C.A HORSE AND SLEIGH ON A
      Nov. 25, 2008

      KATHLEEN MOIR MORRIS A.R.C.A HORSE AND SLEIGH ON A

      Est: -

      KATHLEEN MOIR MORRIS A.R.C.A HORSE AND SLEIGH ON A WINTER STREET

      Joyner
    • KATHLEEN MOIR MORRIS, A.R.C.A. COTTAGE SCENE, oil on panel 9 ins x 12.5 ins; 22.5 cms x 31.3 cms E4000-6000 Provenance: Private Collection, Montreal
      May. 31, 2005

      KATHLEEN MOIR MORRIS, A.R.C.A. COTTAGE SCENE, oil on panel 9 ins x 12.5 ins; 22.5 cms x 31.3 cms E4000-6000 Provenance: Private Collection, Montreal

      Est: -

      KATHLEEN MOIR MORRIS, A.R.C.A. COTTAGE SCENE, oil on panel 9 ins x 12.5 ins; 22.5 cms x 31.3 cms E4000-6000 Provenance: Private Collection, Montreal

      Waddington's
    • KATHLEEN MOIR MORRIS, A.R.C.A. BARN YARD SCENE, oil on panel, signed unframed 8.75 ins x 12.5 ins; 21.9 cms x 31.3 cms E4000-6000 Provenance: Private Collection, Montreal 130 one of three
      May. 31, 2005

      KATHLEEN MOIR MORRIS, A.R.C.A. BARN YARD SCENE, oil on panel, signed unframed 8.75 ins x 12.5 ins; 21.9 cms x 31.3 cms E4000-6000 Provenance: Private Collection, Montreal 130 one of three

      Est: -

      KATHLEEN MOIR MORRIS, A.R.C.A. BARN YARD SCENE, oil on panel, signed unframed 8.75 ins x 12.5 ins; 21.9 cms x 31.3 cms E4000-6000 Provenance: Private Collection, Montreal 130 one of three

      Waddington's
    • MORRIS, Kathleen Moir, A.R.C.A., 1893-1986. "The Fruit Stall". Huile sur panneau, signee. Oil on board, signed. Exp./Exhib.: Art Association of Montreal, spring exhibition 1924, #175. 10.5in x 13. 5in - 26.5cm x 34.2cm.
      Dec. 10, 2002

      MORRIS, Kathleen Moir, A.R.C.A., 1893-1986. "The Fruit Stall". Huile sur panneau, signee. Oil on board, signed. Exp./Exhib.: Art Association of Montreal, spring exhibition 1924, #175. 10.5in x 13. 5in - 26.5cm x 34.2cm.

      Est: $25,000 - $35,000

      MORRIS, Kathleen Moir, A.R.C.A., 1893-1986. "The Fruit Stall". Huile sur panneau, signee. Oil on board, signed. Exp./Exhib.: Art Association of Montreal, spring exhibition 1924, #175. 10.5in x 13. 5in - 26.5cm x 34.2cm.

      Les Encans Pinney's
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