Lawren Stewart Harris 1885 - 1970

Bess Harris, 1950

Lawren Philip Harris, Ottawa

Private Collection, Toronto

Toronto, Lawren S. Harris, Urban Scenes and Wilderness Landscapes, 1906-1930, 1978, cat. no. 12, illustrated, p. 42

Jeremy Adamson, Lawren S. Harris, Urban Scenes and Wilderness Landscapes, 1906-1930, Toronto, 1978, pp. 41-42

Peter Larisey, Light For A Cold Land, Harris's Work and Life, An Interpretation, Toronto, 1993, pp. 24-25, fig. 3.10, illustrated, p. 25

This painting is in pristine condition with no apparent issues under UV.
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.

In 1908, after more than three years studying and travelling in Europe and the Middle East, Harris went to the Laurentians with Fergus Kyle, a fellow member of the newly formed Arts and Letters Club.  This first encounter with Canada's wilderness made an indelible mark on Harris.  This brilliant (and historic) oil sketch shows the artist's initial response to what became the chief subject of his entire life - the Canadian landscape.

Although this work has been dated 1911 or 1912 on the reverse, and later scratched out, the proper date is 1908. Jeremy Adamson compared this sketch to another Laurentian scene from the same year:

 ...this is a more expressive picture and the rather concise handling and atmosphere consistency, makes it an important example of Harris' earliest landscape style.  Within a very limited range of muted warm and cold earth tones, the artist has translated the natural qualities of colour and light of a dull fall day.  The brushwork is vigorous...indicating both the rugged character of the landscape and an increased painterly interest.   

Adamson also notes that this work was signed with Harris's earliest form of signature, the block-like initials, LSH, which is no longer visible on the work.