Lot 29
  • 29

Kathleen Moir Morris 1893 - 1986

Estimate
30,000 - 50,000 CAD
bidding is closed

Description

  • Kathleen Moir Morris
  • Winter Street Scene
  • signed lower left K.M. Morris
  • oil on panel
  • 30.5 by 35.6 cm.
  • 12 by 14 in.

Provenance

Private Collection, Charlottetown

Literature

A.K. Prakash, Independent Spirit, Early Canadian Women Artists, Richmond Hill, 2008, p. 154

Condition

This painting is in very good condition with minor craquellure in the blue and red coats of the children.
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

Children with their sleds on a winter day is a rare and welcome departure in subject matter from Morris's usual winter scenes of market places, taxi-stands with horses and sleighs in line, church congregations coming or going, and other normal urban sights.  Yet since her subject was most frequently the everyday street life of Quebec's small towns and cities, it is not surprising, but nevertheless gratifying to find such a delightful panel as this.

As a member of the Beaver Hall Group of artists in Montreal, Morris, like her friends Anne Savage, Mabel May, Nora Collyer, Edith Seath, and Sarah Robertson, recorded the domestic world they knew, and were not as drawn to the remote and rugged landscapes that were the specialty of the Group of Seven.  Their world of homes and families, knitting and gardening, markets and street scenes, and still lifes of flowers, were perhaps less exotic, but equally sensitive and strong as paintings.

As A.K. Prakash notes:

Her passion for life and love for her subject matter enlivened her work; the street scenes she celebrated conveyed the 'joie de vivre' that prevailed in the seemingly mundane world of small-town Quebec in the early twentieth century.