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James Wilson Morrice Auction Price Results

James Wilson Morrice (1865-1924)  Please Register/Login to access your Invaluable Alerts

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JAMES WILSON MORRICE, R.C.A.ALONG THE TOW PATH

Lot 43: JAMES WILSON MORRICE, R.C.A.ALONG THE TOW PATH

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Description: JAMES WILSON MORRICE, R.C.A.ALONG THE TOW PATH, oil on canvas, laid down on board8 3/4 ins x 12 ins; 21.9 cms x 30 cmsPainted circa 1895.Provenance: Studio of the artist. F.R. Heaton Estate, Montreal. Laing Galleries, Toronto. Private Collection, Toronto.

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JAMES WILSON MORRICE, R.C.A.QUAI DE LA SEINE; PARISIENNE, both graphite drawings each 4 ins x 6 ins; 10 cms x 15 cms  Provenance: The Right Honourable Vincent Massey.Walter Klinkhoff Gallery, Montreal.Private Collection, Montreal.

Lot 87: JAMES WILSON MORRICE, R.C.A.QUAI DE LA SEINE; PARISIENNE, both graphite drawings each 4 ins x 6 ins; 10 cms x 15 cms Provenance: The Right Honourable Vincent Massey.Walter Klinkhoff Gallery, Montreal.Private Collection, Montreal.

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Description: JAMES WILSON MORRICE, R.C.A.QUAI DE LA SEINE; PARISIENNE, both graphite drawings each 4 ins x 6 ins; 10 cms x 15 cms $1,500-2,000Provenance: The Right Honourable Vincent Massey.Walter Klinkhoff Gallery, Montreal.Private Collection, Montreal.

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JAMES WILSON MORRICE, R.C.A.SAILING OFF BRITTANY

Lot 89: JAMES WILSON MORRICE, R.C.A.SAILING OFF BRITTANY

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Description: JAMES WILSON MORRICE, R.C.A.SAILING OFF BRITTANY, oil on panel, mounted on a linen liner, with the studio stamp on the reverse5 ins x 6 ins; 12.5 cms x 15 cms

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JAMES WILSON MORRICE, R.C.A.DIEPPE HARBOUR, LOW TIDE

Lot 90: JAMES WILSON MORRICE, R.C.A.DIEPPE HARBOUR, LOW TIDE

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Description: JAMES WILSON MORRICE, R.C.A.DIEPPE HARBOUR, LOW TIDE, oil on panel, mounted on a linen liner, with the studio stamp on the reverse5 ins x 6 ins; 12.5 cms x 15 cms

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James Wilson Morrice

Lot 225: James Wilson Morrice

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Description: Canadian 1865-1924 RCA Study Of Boats Graphite drawing 6 x 4 IN, 15 x 10 CM Provenance: The Hon. Vincent Massey Laing Galleries, Toronto

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James Wilson Morrice

Lot 227: James Wilson Morrice

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Description: Canadian 1865-1924 RCA Figure Study Graphite Drawing 6 x 4 IN, 15 x 10 CM Provenance: The Hon. Vincent Massey Laing Galleries, Toronto

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JAMES WILSON MORRICE (Canadian, 1865-1924) Coastal Vill

Lot 64150: JAMES WILSON MORRICE (Canadian, 1865-1924) Coastal Vill

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Description: JAMES WILSON MORRICE (Canadian, 1865-1924) Coastal Village Oil on board 10-1/2 x 13-1/2 inches (26.7 x 34.3 cm) Signed lower right: J.W. Morrice

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Lot 6: MORRICE, James Wilson (1865-1924, Canadian)

Description: Study of two figures, i.verso pencil dr Works on paper (4x6in).

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JAMES WILSON MORRICE 1865 - 1924

Lot 19: JAMES WILSON MORRICE 1865 - 1924

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Description: JAMES WILSON MORRICE 1865 - 1924 A CAFÉ SCENE ca. 1910-13 oil on panel 14.0 by 17.2 cm. 5 ½ by 6 ¾ in.

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JAMES WILSON MORRICE (1865-1924)

Lot 27: JAMES WILSON MORRICE (1865-1924)

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Description: COUCHER DE SOLEIL, MANCHE (CHANNEL COAST) stamped with "J.W. Morrice Studio stamp" and "Estate of F.R. Heaton" and titled on the reverse oil on canvasboard 15.5 by 22.9 cm. 6 1/8 by 9 in. Manche is situated on the north coast of France between St. Malo and Le Havre. This work was likely executed between 1892 and 1894 during Morrice's early years in France. Although not directly related to a known drawing or painting, this pleasing work typifies Morrice's style of the period, both in compositional arrangement and delicate palette.

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JAMES WILSON MORRICE
1865 - 1924

Lot 30: JAMES WILSON MORRICE 1865 - 1924

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Description: MARKET SCENE, ST. MALO, BRITTANY signed with studio stamp on the reverse: Studio JW MORRICE; titled on a label: Market Scene, St. Malo, Brittany

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JAMES WILSON MORRICE 1865 - 1924

Lot 37: JAMES WILSON MORRICE 1865 - 1924

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Description: JAMES WILSON MORRICE 1865 - 1924 SCHOOLGIRLS AND A NUN IN THE PARK stamped J.W. MORRICE STUDIO on the reverse and inscribed 10/25 Laing 51 on the frame oil on panel 9.5 by 15.2 cm. 3 ¾ by 6 in.

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JAMES WILSON MORRICE 1865 - 1924

Lot 39: JAMES WILSON MORRICE 1865 - 1924

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Description: JAMES WILSON MORRICE 1865 - 1924 SEATED FAMILY IN A PARK unsigned oil on panel 15.2 by 9.5 cm. 6 by 3 ¾ in.

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JAMES WILSON MORRICE 1865 - 1924

Lot 41: JAMES WILSON MORRICE 1865 - 1924

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Description: JAMES WILSON MORRICE 1865 - 1924 PAYSAGE, PAYS DE GALLES inscribed Paysage, Pays de Galles par J.W. Morrice and appartenant à Gabriel Thompson, 16 Avenue Maine, Paris on a label on the reverse and another label denotes provenance oil on canvas laid down on board 22.9 by 31.8 cm. 9 by 12 ½ in.

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Lot 42: MORRICE, James Wilson (1865-1924, Canadian)

Description: Dejeuner, s. studio st.verso panel Oil Painting (5x6in).

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JAMES WILSON MORRICE (1865-1924)

Lot 44: JAMES WILSON MORRICE (1865-1924)

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Description: TUNIS signed with the studio stamp and titled on a label on the reverse oil on panel 13.3 by 17.2 cm. 5 1/4 by 6 3/4 in. Morrice spent the winters of 1911 and 1912 in Tunis and Morocco, a large part of the time in the company of Henri Matisse. Matisse recollects: "I passed two winters in Tangiers in company with Morrice. You know, the artist with delicate eye, so pleasing with a touching tenderness in the rendering of landscapes of closely allied values".

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Lot 45: MORRICE, JAMES WILSON (1865-1924)

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Description: Walking along a country road Oil/canvas/board 8.1x11.1 in (20.6x28.1 cm) Studio stamp.

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Lot 46: MORRICE, JAMES WILSON (1865-1924)

Description: Arab girl Oil/panel 13x9 inches (33x24 cm) signed (Upper Left).

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JAMES W. MORRICE (CANADIAN, 1865-1924), LANDSCAPE, TRINIDAD, HAND PULLED SILKSCREEN - LIMITED EDITION OF 100, PULBLISHED BY THE NATIONAL GALLERY OF CANADA (Image, 21

Lot 51: JAMES W. MORRICE (CANADIAN, 1865-1924), LANDSCAPE, TRINIDAD, HAND PULLED SILKSCREEN - LIMITED EDITION OF 100, PULBLISHED BY THE NATIONAL GALLERY OF CANADA (Image, 21" x 26")

Description: JAMES W. MORRICE (CANADIAN, 1865-1924) LANDSCAPE, TRINIDADHAND PULLED SILKSCREEN - LIMITED EDITION OF 100, PULBLISHED BY THE NATIONAL GALLERY OF CANADA (Image, 21" x 26")Estimate: $100-150

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JAMES WILSON MORRICE 1865 - 1924

Lot 62: JAMES WILSON MORRICE 1865 - 1924

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Description: JAMES WILSON MORRICE 1865 - 1924 HORSE AND CART AT SIDE OF THE RIVER signed lower left J.W. Morrice; stamped with the Morrice studio stamp and inscribed From J.W. Morrice's studio, Guaranteed by W. Scott and Sons and the number M360 on the reverse oil on canvas laid down on board 21.6 by 29.2 cm. 8 ½ by 11 ½ in.

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Lot 66: MORRICE, James Wilson (1865-1924, Canadian)

Description: On Humber River, near Toronto, s. Oil Painting (10x8in).

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JAMES WILSON MORRICE 1865 - 1924

Lot 67: JAMES WILSON MORRICE 1865 - 1924

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Description: JAMES WILSON MORRICE 1865 - 1924 TWO LANDSCAPES FROM AN AUTOGRAPH BOOK; MORRICE BY G. BLAIR LAING, A LIMITED EDITION BOOK, 8/42, WITH AN ORIGINAL DRAWING BY MORRICE, A FIGURE, VENICE two works on paper, the first signed and inscribed Yours truly, J.W. Morrice, Montreal; the second is titled on a label on the reverse watercolour; pencil on paper mounted on card 12.7 by 7.7 cm; 9.3 by 11cm 5 by 3 1/8 in.; 4 ½ by 3 5/8 in.

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JAMES WILSON MORRICE
1865 - 1924

Lot 69: JAMES WILSON MORRICE 1865 - 1924

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Description: TREFRIW, NORTH WALES signed l.r.: J.W. Morrice; inscribed on the reverse: Trefriw, North Wales

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Lot 70A: Artist: JAMES WILSON MORRICE [1865-1924] Canadian

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Description: Artist: JAMES WILSON MORRICE [1865-1924] Canadian Title: Montreal, Que. Media: oil on wood panel 10 x 13.25 in. / 25 x 34 cm. Dated: 1913 Notes: bears artist's name lower right; signed and inscribed 'Montreal, Que. 1913' verso; framed Reference: Morrice, by Kathleen Daly Pepper, Pub.: Clarke, Irwin and Company; Toronto book included with lot Provenance: ex-collection noted Canadian author Albert H. Robson who was the author of the important Canadian Landscape Painters published in 1932; was good friends with numerous artists including member of the Group of Seven and the Archive of Modern Conflict, Toronto, now has his correspondence

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Lot 77: MORRICE, James Wilson (1865-1924, Canadian)

Description: Beach on French coast, panel Oil Painting (6x5in).

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Lot 80: MORRICE, James Wilson (1865-1924, Canadian)

Description: Effet de neige, s. painted c.1898 prov.exhib.lit. Oil Painting (36x23in).

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Lot 88: MORRICE, James Wilson (1865-1924, Canadian)

Description: Venetian studies, pencil dr executed c.1909 Works on paper (4x6in).

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Lot 105: MORRICE, James Wilson (1865-1924, Canadian)

Description: By the Seine, Paris, i. graphite Works on paper (6x4in).

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Lot 109: MORRICE, James Wilson (1865-1924, Canadian)

Description: Pastorale, s.d.91 W/C Works on paper (9x11in).

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James Wilson Morrice 1865 - 1924 Canadian oil on

Lot 114: James Wilson Morrice 1865 - 1924 Canadian oil on

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Description: James Wilson Morrice 1865 - 1924 Canadian oil on panel Café - Paris 5 1/4 x 6 3/4 inches 13.3 x 17.1 centimeters on verso titled in graphite, inscribed ""Collection, 1934, Andre Bieler"" and stamped Studio J.W. Morrice Literature:Nicole Cloutier, James Wilson Morrice 1865 - 1924, The Montreal Museum of Fine Arts, 1986, essay by John O'Brian, page 90 Charles C. Hill, Morrice: A Gift to the Nation, National Gallery of Canada, 1992, page 22 Provenance:Estate of the Artist Andre Bieler, Montreal, 1934 Galerie Walter Klinkhoff Inc., Montreal Private Collection, Vancouver Island James Wilson Morrice is universally regarded as a pivotal figure in Canadian art, and his influence on later Canadian art and artists cannot be underestimated. An admirer of Morrice, fellow Canadian artist Andre Bieler once had Café - Paris in his own collection. As a young artist Morrice moved to Paris, and John O'Brian states that Morrice's "love of Paris.....[is] closely bound up with the qualities and characteristics of his art." Like many artists of his generation, Morrice rejected the classical mythologies and historical narratives of academic art for the pleasures and activity of contemporary Parisian life. Café - Paris is an example of Morrice's use of small, transportable wooden panels called pochades employed to execute oil sketches of urban subjects. Morrice tended to leave part of the panel visible and thus the wood becomes a tonal element juxtaposed with the subtle colour effects. Despite the pochade's modest scale, Morrice's affectionate feeling for street life is fully manifested within Café - Paris and shows the artist at his most accomplished.

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JAMES WILSON MORRICE1865 - 1924

Lot 116: JAMES WILSON MORRICE1865 - 1924

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Description: EVENING STROLL, VENICE signed lower right oil on canvas 50 by 61 cm. 19¾ by 24 in.

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Lot 119: MORRICE, James Wilson (1865-1924, Canadian)

Description: Fishing boats, Concarneau, s. Oil Painting (29x24in).

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Lot 121: MORRICE, James Wilson (1865-1924, Canadian)

Description: Ferry to Levis, from Quebec City, s. Oil Painting (18x13in).

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Lot 123: MORRICE, James Wilson RCA (1865-1924) "The Circus"

Description: MORRICE, James Wilson RCA (1865-1924) "The Circus" Photo-Lithographie Cachet des Éditions Mark Graff en bas à gauche "The Circus" Photo-Lithograph Stamp from the Mark Graff Prints on the lower left 66x90cm - 26x35.5"

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James Wilson Morrice 1865 - 1924 Canadian oil on canvas Régates à Saint-Malo

Lot 123: James Wilson Morrice 1865 - 1924 Canadian oil on canvas Régates à Saint-Malo

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Description: James Wilson Morrice 1865 - 1924 Canadian oil on canvas Régates à Saint-Malo 20 x 24 1/4 inches 50.8 x 61.6 centimeters signed Literature:"Show of Morrice Paintings on View", The Gazette, Montreal, April 6, 1932, mentioned in a list of works for the W. Scott & Sons exhibition Donald W. Buchanan, James Wilson Morrice, A Biography, 1936, titled as The Regatta at Cancale (dimensions listed are incorrect), listed page 161 Reynald, "Le Canada d'hier et d'aujourd'hui", La Presse, Montreal, May 23, 1936, review of W. Scott & Sons exhibition John Lyman, Saturday Night, Toronto, March 6, 1937, reproduced page 10 Robert Ayre, "A Distinguished Exhibition Affirms the Genius of James Wilson Morrice", The Gazette, Montreal, February 27, 1937, listed "Works by Morrice Gain High Prices", The Gazette, Montreal, April 11, 1938, re: sale of W. Scott & Sons works at Fraser Bros. and sale of Régates à Saint-Malo for $1,200 William R. Watson, Retrospective, 1974, mentions that he has it in his gallery's inventory in early 1947, page 65 Provenance:André Schoeller, Paris, before 1924 W. Scott & Sons, Montreal Fraser Bros., sale of works from W. Scott & Sons, Montreal, April 9, 1938, titled as Regatta at Cancale, lot #280 Estate of F.R. Heaton Watson Art Galleries, Montreal Collection of Mr. François Dupré, February 20, 1947 Exhibited:Grand Palais, Paris, Salon d'Automne, 1924, special section for recently deceased members, including 14 canvases from Paris Private Collections, five from André Schoeller, titled as Régates a Honfleur, catalogue #2511 London and French Galleries, British and Foreign Artists, with a Special Selection of the Work of the Late James W. Morrice, April 1925, all works from W. Scott & Sons, Morrice's executors W. Scott & Sons, Montreal, James Wilson Morrice, Exhibition of Paintings, April 1932, titled as The Regatta, traveling to The Art Gallery of Toronto, May 1932, catalogue #25 W. Scott & Sons, Montreal, Panorama du Canada d'hier et d'aujourd'hui, 1936 W. Scott & Sons, Montreal, Exhibition of Paintings by J.W. Morrice, March 1937, titled as The Regatta at Cancale, catalogue #5 Literature continued: G. Blair Laing, Morrice, A Great Canadian Artist Rediscovered, 1984, a similar, but slightly earlier, composition, probably the model for this work, circa 1902, entitled Yachting Near St. Malo reproduced page 177 The vogue of nautical sport, which first started in England, was already well established in France by the middle of the nineteenth century. Argenteuil on the Seine River near Paris was known for its regattas. The Cercle de la Voile de Paris, established at Argenteuil, also organized competitions on the beaches of Brittany and Normandy, and the regattas of Saint-Malo were well known. The Impressionists were attracted to this subject matter. Work was never a subject that held a great interest for them; they painted people at leisure - in a café, at a restaurant, on the beach, strolling in a park - almost never at work. A regatta was a perfect subject in that sense. You could be participating in it like Gustave Caillebotte, who won a competition at Saint-Malo in 1893, or you could just watch it from the bank of a river or the seashore. Caillebotte shared his enthusiasm for sailing with his friends, including, among others, Paul Signac. Claude Monet, who lived in Argenteuil, was often a witness of the regattas on the Seine nearby. His Régates à Argenteuil, circa 1872, in the collection of the Musée d'Orsay, Paris, is famous. He even encouraged Auguste Renoir to paint the same subject, and the National Gallery in London has in its collection Régates à Argenteuil, painted by Renoir in 1874. J.W. Morrice loved the seashore and visited such places as Dinard, Le Pouldu, Dieppe and, of course, Saint-Malo. The real challenge for him in dealing with this theme was not the novelty of the subject, but to find a new angle, a new point of view on the scene, in order not to simply repeat what his predecessors had done. That is what he succeeded in doing here in this marvelous painting from the François Dupré collection, which was exhibited at the Ritz-Carlton Hotel in Montreal. Saint-Malo is famous for its ramparts, which were also often painted by Morrice. Beneath the Ramparts, St. Malo, circa 1898 - 1900, in the collection of the Montreal Museum of Fine Arts, is a good example of this subject. One can see in this painting an opening giving onto a balcony in one of the towers on the right. It is probably from there that Morrice saw from the top of the ramparts the small group of people we see in the bottom left of his picture. They are all looking intensely at the regatta, and we are invited to participate in their pleasure, since they turn their backs to us and occupy in the front of the scene practically the same position we have in front of the painting. This is a very unusual framing of the scene, probably inconceivable before photography. The painter is above and has a transcendent view of the whole scene: the sea with the sailboats, the strong wind, the sky with clouds and this small group of onlookers. For that reason also, he is less interested than Monet was, for instance, in the squally conditions of the water, which broke the reflection of the boats on the surface of the Seine and gave him the idea of the "fragmented touch" which was so typical of Impressionism. Morrice's touch is more fluid, more unified and creates a rather subtle effect on the surface. It takes what Lucie Dorais calls an obligatory "meditation-time" in front of the picture, if one wants to appreciate all its subtlety. Needless to say, the appearance of a Morrice painting of this quality on the market is a rare occurrence. We thank François-Marc Gagnon of the Gail and Stephen A. Jarislowsky Institute of Studies in Canadian Art, Concordia University, for contributing the above essay. We thank Lucie Dorais for her assistance in researching this lot. Dorais is currently compiling a catalogue raisonné on the work of James Wilson Morrice.

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Lot 123a: MORRICE, James Wilson (1865-1924)

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Description: Paris, quai des Grands-Augustins sous la neige, or On the Quays, Paris Exhib.: Paris, Salon de Beaux-Arts, 1905, No. 928 Oil/canvas 190,9 x 28,7 inches (485.0 x 73.0cm) Signed lower right Illustrated.

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James Wilson Morrice 1865 - 1924 Canadian oil on panel Boats in the Harbour

Lot 130: James Wilson Morrice 1865 - 1924 Canadian oil on panel Boats in the Harbour

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Description: James Wilson Morrice 1865 - 1924 Canadian oil on panel Boats in the Harbour 6 x 5 inches 15.2 x 12.7 centimeters signed and on verso titled on the Dominion Gallery label, inscribed with the Dominion Gallery inventory #B4216 and stamped Studio J.W. Morrice and with the Dominion Gallery stamp Provenance: Private Collection, Montreal Dominion Gallery, Montreal, January 29, 1970 Collection of Mrs. François Dupré, March 12, 1970 James Wilson Morrice was Canada's master Impressionist. He spent most of his life abroad, principally in France, receiving a great deal of international exposure for his work. He participated in more than 140 exhibitions between 1888 and 1923, including the Salon d'Automne in 1905. Based in Paris, he painted its street scenes, also traveling to seaside towns in Brittany and the south, capturing the essence of a period dominated by the Impressionists' perceptions of light and colour. Part of Paris's artistic and intellectual milieu, he knew Somerset Maugham (who based his poet Cronshaw in Of Human Bondage on Morrice), and painted with Henri Matisse after meeting him in 1908. In 1896 Morrice began to use small wood panels of these dimensions for his oil sketches or pochades, painted en plein air, such as in this richly pigmented work. Renowned for his sensitivity to atmosphere, here Morrice captured the brilliant light of the sunwashed harbour, defining form and reflection with assured brush-strokes. We thank Lucie Dorais for her assistance in researching this lot. Dorais is currently compiling a catalogue raisonné on the work of James Wilson Morrice.

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JAMES WILSON MORRICE1865 - 1924

Lot 132: JAMES WILSON MORRICE1865 - 1924

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Description: VENICE oil on panel, mounted on board 12.4 by 15.2 cm. 4¾ by 6 in.

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JAMES WILSON MORRICE (1865-1924)

Lot 133: JAMES WILSON MORRICE (1865-1924)

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Description: BOAT LEAVING THE PIER signed watercolour on board 26.7 by 36.2 cm. 10 1/2 by 14 1/4 in. Although the date and location of this watercolour are unknown, its composition is strikingly similar to The Ferry, Quebec, in the collection of the National Gallery of Canada.

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James Wilson Morrice 1865 - 1924 Canadian oil on

Lot 140: James Wilson Morrice 1865 - 1924 Canadian oil on

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Description: James Wilson Morrice 1865 - 1924 Canadian oil on canvas on board Boats by a Promenade 9 x 12 1/2 inches 22.9 x 31.7 centimeters signed and on verso inscribed ""8533"" Provenance:Ernest E. Poole, Edmonton By descent to the present Private Collection, Vancouver One of Canada's finest Impressionist painters, James Wilson Morrice lived abroad for most of his life, principally in France. Consequently, he was internationally well known, exhibiting in the Paris Salons and throughout Europe and England, participating in over 140 exhibitions between 1888 and 1923. While Paris was his main centre, he loved the Brittany coast and often sketched in small seaside towns such as Dinard, Concarneau, Le Pouldu and Saint-Malo. Morrice was drawn to scenes of beaches with people at leisure, sailing regattas and boat harbours, and depicted their atmospheres with great sensitivity, as he did here in Boats by a Promenade, with its reflection of the row of boats rippling in the water. Morrice's Impressionist vision of colour and light is depicted here with a fluid and unified approach in his brush-strokes, with details such as the onlooker on the promenade with a parasol adding to the mood of leisurely contemplation of this delightful harbour scene. We thank Lucie Dorais for her assistance in researching this lot. Dorais is currently compiling a catalogue raisonné on the artist's work.

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Lot 145: James Wilson Morrice 1865 - 1924 Canadian oil on

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Description: James Wilson Morrice 1865 - 1924 Canadian oil on panel Gondoliers, Venice A07F-E05019-001 6 1/4 x 3 7/8 inches 15.9 x 9.8 centimeters signed Provenance:Private Collection, Quebec

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JAMES WILSON MORRICE1865 - 1924

Lot 145: JAMES WILSON MORRICE1865 - 1924

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Description: AVIGNON, LE JARDIN signed lower left; signed and titled on the stretcher oil on canvas 61 by 50 cm. 24 by 19¾ in.

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Lot 146: James Wilson Morrice 1865 - 1924 Canadian oil on

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Description: James Wilson Morrice 1865 - 1924 Canadian oil on board Figure and Landscape, France A07F-E05269-022 11 1/2 x 7 inches 29.2 x 17.8 centimeters on verso titled on a label, inscribed inscribed 4146 / #B105 and stamped with the F.R. Heaton Estate stamp Provenance:F.R. Heaton Estate, Montreal Galerie Walter Klinkhoff Inc., Montreal By descent to the present Private Collection, Montreal Morrice first traveled to Paris from Montreal in 1890, and it became his artistic and spiritual home. He became one of Canada's first international artists - he exhibited widely, was collected by museums both in Europe and America, and received almost unanimous praise from art critics of the time. F.R. Heaton was Morrice's dealer in Montreal at W. Scott and Sons, and was the son-in-law of William Scott, the founder of the gallery.

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MAURICE BRAZIL PRENDERGAST (1861-1924)Sunday Morning in Parissigned

Lot 147: MAURICE BRAZIL PRENDERGAST (1861-1924)Sunday Morning in Parissigned

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Description: Prendergast, 1.1. - - oil on panel9 3/8 x 6 1/8 in. (23.9 x 15.7 cm.)PROVENANCEThe artistCharles PrendergastMrs. Charles PrendergastJohn Koch, New YorkKraushaar Galleries, New YorkEXHIBITEDKatonah, New York, Katonah Gallery, Maurice Prendergast: American Painter, 1859-1924, Oct.-Nov., 1962, no. 8 (as a watercolor)New York, New York Cultural Center, Collectors Anonymous: Four Private New York Collections, June-Sept., 1972New York, Davis & Long Company, Charles Conder, Robert, Henri, James Morrice, Maurice Prendergast: The Formative Years, Paris, 1890, May, 1975, no. 34, illus.LITERATUREC. Clark, W. M. Mathews and G. Owens, Maurice Brazil Prendergast, Charles Prendergast: A Catalogue Raisonne, Williamstown, 1990, p. 213, no. 13, illus.Painted circa 1892-94.

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Lot 153: MORRICE, JAMES WILSON (1865-1924)

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Description: Paquebot dans les glaces oil/panel 5x6 inches (12x15 cm) Cachet.

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Lot 154: MORRICE, James Wilson (1865-1924, Canadian)

Description: Country landscape, studio st.verso board Oil Painting (13x9in).

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James Wilson Morrice 1865 - 1924 Canadian oil on

Lot 160: James Wilson Morrice 1865 - 1924 Canadian oil on

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Description: James Wilson Morrice 1865 - 1924 Canadian oil on canvas on board Figure and Landscape, Capri 11 1/2 x 7 inches 29.2 x 17.8 centimeters on verso titled as Figure and Landscape, France on a label, inscribed ""4146"" and ""#B105"" and stamped with the F.R. Heaton estate stamp Provenance:F.R. Heaton Estate, Montreal Galerie Walter Klinkhoff Inc., Montreal By descent to a Private Collection, Montreal Private Collection, Vancouver In this figure study - a rare subject for James Wilson Morrice, who preferred to express himself through atmospheric landscapes - a clothed figure is sitting in a relaxed position, the head looking away from us, with the background almost abstract. A simple image it would seem, but not so easy to decipher. What is she looking at? And what about the grey form behind the figure - is it a small building, or perhaps a painting on an easel? The related drawing, which is in The Montreal Museum of Fine Arts, Sketchbook #12, Dr. 1973.35, on page 24, is almost as challenging to interpret; if the figure is the same, the background is slightly different, and no easier to understand. It is only by perusing the sketchbook that we realize we are, surprisingly, on the sunny island of Capri in the Bay of Naples. The figure is probably a hatless woman sitting on a low stone wall, and we can now read the grey block behind her as a small building, for storage usage rather than a dwelling. A few leaves at the right border belong to one of the many small trees that border the trails of Capri. Morrice had brought two sketchbooks on this Italian trip: Sketchbook #12 deals mostly with Capri, with a few Venice subjects near the end, while another sketchbook - now dispersed and impossible to put back in order - appears to deal mostly with Venice, with some Capri sheets; the concordance of subjects in both sketchbooks prove that they were used together. We do not know when Morrice visited the extremely popular tourist spot, but the style of his Capri drawings is very similar to that of some sketchbooks used around 1894. Using the sketchbooks and a few paintings as a travelogue, we learn that the artist stayed in the town of Anacapri, high above the sea; we can follow him in the streets of the village, down to the harbour and along some of the picturesque trails radiating from the town center. Everything, it seems, catches his interest: the white buildings with pergolas, the small boats and the fishermen, the little girls solemnly posing and the lovely myrtle trees bordering the trails. One particular building, a crenelated tower (medieval Torre Materita?) held a special attraction for him, appearing in no less than four drawings and one small painting, The Black Goat (Capri), in the collection of the National Gallery of Canada, gift of G. Blair Laing. Our figure study seems to have been painted closer to Anacapri, on the road that overlooks the northern plunging slope before leading down to the village of Capri and its landing port, Marina Grande; the curve of the shore is very similar, especially when it is partly obscured by the morning mist, which would also veil the whitewashed houses down below. The woman's clothing, a brown blouse and a blue skirt, coupled with the absence of a hat, could identify her as a local woman, were it not for the presence, in at least five pages from the two Capri-Venice sketchbooks, of a mysterious woman. She is always shown, as here, with her face turned away, and in other works, wearing a cape and a flowered hat, whether she visits Venice or sits overlooking the harbour in Capri; a tourist, not a local woman. Only once do we see her full profile, but alas, only in silhouette. However, when she takes her hat off on a boat in Venice (from a loose sheet, in a private collection), we can see some resemblance in both hairdo and the shape of the face with our painting's model. If she is indeed the same woman, she was probably Morrice's companion on his Italian trip; his insistence in hiding her face could suggest a close relationship, which would make this painting a rare window into the artist's private life. Its early date, however, means that she is not his longtime companion Léa Cadoret. Whatever memories this trip held for Morrice, he never returned to Capri, while his long-lasting love for Venice was kindled during the same voyage. Perhaps the nostalgic northern city was more in tune with his Anglo-Saxon moods than the quasi-oriental, whitewashed southern paradise of Capri. We thank Lucie Dorais for her assistance in researching this lot and for contributing the above essay. Dorais is currently compiling a catalogue raisonné on the artist's work.

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James Wilson Morrice 1865 - 1924 Canadian oil on

Lot 160: James Wilson Morrice 1865 - 1924 Canadian oil on

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Description: James Wilson Morrice 1865 - 1924 Canadian oil on panel Boulevard des Batignolles, Paris 6 1/4 x 8 3/4 inches 15.9 x 22.2 centimeters signed and on verso titled on the Laing Galleries label Provenance:Laing Galleries, Toronto Private Collection, Toronto By descent to the present Private Collection, Ontario Montreal-born James Wilson Morrice left Canada and settled in Paris in 1891. Establishing himself in French art circles, he was one of the few Canadian artists at the turn of the century who was able to navigate the challenges of working in both the Canadian and European art worlds. In Quebec he painted with Maurice Cullen, and in North Africa he shared a studio with Henri Matisse - such was his ability to move between these two distant worlds. His imagery included coastal scenes, villages near water, harbours bustling with activity, markets and town squares. A restless seeker of new stimuli, he also traveled to Venice, Cuba, Tangiers and Tunis, but often came home to Canada in the winters, bringing his work with him. At a time when international travel was not so easily accomplished, Morrice's scenes of exotic places with foreign architecture and dress were postcards from afar from a native son. Despite his close contact with the many pivotal art movements unfolding in Europe while he was there, Morrice always remained true to his own unique style. He was a school of one, and thus is perhaps Canada's best-loved expatriate painter.

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James Wilson Morrice 1865 - 1924 Canadian oil on panel Café, Tangiers at Night

Lot 161: James Wilson Morrice 1865 - 1924 Canadian oil on panel Café, Tangiers at Night

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Description: James Wilson Morrice 1865 - 1924 Canadian oil on panel Café, Tangiers at Night 4 7/8 x 5 7/8 inches 12.4 x 14.9 centimeters Provenance:W. Scott & Sons, Montreal Kastel Gallery Inc., Montreal A Prominent Montreal Collector Sold sale of Canadian Art, An Outstanding Collection, The Property of a Prominent Montreal Collector, Fraser Bros., Montreal, Thursday, October 23, 1986, lot #68 Galerie Walter Klinkhoff Inc., Montreal A Prominent Montreal Collection In 1890, James Wilson Morrice moved from Montreal to Paris for "the love of paint"; he loved to travel, but soon got addicted to his daily drink. Not surprisingly, many of his sketches are painted from café tables, but never, it seems, "under the influence" - Morrice painted first and drank later. That is certainly the case for this carefully composed, but rapidly painted, panel. The Arab garb links it to Morrice's Tangiers sojourns of 1912 - 1913; Henri Matisse stayed at the same hotel, and his bright colours are echoed in Morrice's sketches of the nearby market. But Morrice's drinking was by then so heavy (according to painter Charles Camoin, who was also there), that it is hard to explain a 'nocturne' painting. The riddle is solved by a circa 1904 drawing of three people at a café in Marseille or Avignon (sketchbook #18, Montreal Museum of Fine Arts); the figures and the tree are exactly the same, but the right background element (here a calèche) is an advertising column; the style of the present sketch, still recalling Whistler, corresponds to this period. Why Morrice, with a few pencil marks and brush-strokes, transformed it into a North African scene, and when, is just another mystery that adds to his legend. We thank Lucie Dorais for her assistance in researching this lot and for contributing the above essay. Dorais is currently compiling a catalogue raisonné on the work of James Wilson Morrice.

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Lot 161: MORRICE, James Wilson (1865-1924, Canadian)

Description: The Paris Canal scene, s. i.verso prov.lit. Oil Painting (24x19in).

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