Landscape by James Wilson Morrice
J.W. Morrice
Landscape
oil on canvas on board
J.W. Morrice Studio Stamp on the reverse
9 x 12.25 ins ( 22.9 x 31.1 cms )
Auction Estimate: $30,000.00 - $40,000.00
Price Realized $36,000.00
Sale date: December 6th 2023
Walter Klinkhoff Gallery, Montreal, before 1970 as “Landscape, Trinidad”
Private Collection, Montreal
Christie's, auction, Montreal, 3 May 1974, lot 91 as “Trinidad Landscape”
Private Collection, Ottawa
By descent to the present Private Collection
Between 1888 and 1923, Morrice participated in over 140 exhibitions, which included the infamous Salon d’Automne of 1905. However, by the beginning of the twentieth century, Morrice had already made a name for himself. One of his works had been acquired by the French government, while another had been purchased by the Russian collector, Ivan Morozov.
Despite previous attributions to Trinidad, the work does not depict the Caribbean island, but may depict Le Pouldu, where Morrice painted in the summer of 1906. The work bears some similarities to the country landscapes that the artist painted on canvas board at that time. However, it could also date later, “circa” 1910, when the artist stayed in nearby Concarneau for many months, which had proved an especially productive stay for Morrice.
We extend our thanks to Lucie Dorais, Canadian art historian and author of “J.W. Morrice” (National Gallery of Canada, 1985) for researching this artwork.
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James Wilson Morrice
(1865 - 1924) RCA
Born in Montreal to a prominent family of textile merchants, Morrice spent most of his life abroad, much of it in Paris. He had gone there to enrol in the Academie Julian, the best-known of the private art schools that lured dozens of young Canadian artists to cross the ocean with the promise of technical proficiency and stylistic sophistication. Soon Morrice was studying with the Barbizon painter Henri Harpignies and looking intently at the pictures of the cutting-edge Nabis members. Affable and gregarious, Morrice was well liked in Paris among the local and emigre vanguard, notably his friends the great Henri Matisse and the influential American painter Robert Henri. He did well, showing in the most prestigious exhibitions of new art, including the Salons, and selling to discerning European collections of the highest rank. If he is remembered mostly in Canada today, it may be because Canadian collectors repatriated most of his pictures after his death, leaving Europeans with little to go on. He had been careful to maintain a reputation at home, showing here regularly and returning frequently for Christmas, which would explain why most of his Canadian pictures are winter scenes. Young Canadian artists held him in considerable esteem during his lifetime for his fearless modernism and his success in Europe. A stylistically hybrid artist, Morrice combined a lush and often dusky Post-Impressionist tone with nonchalant brushwork of a plumb assuredness, softening the blunt structures of his Fauvist friends. What results are paintings as complicated as they are straightforward and often redolent with suppressed emotion. Morrice tends to smallish pictures that draw you in, only to surprise you by their resolute diffidence. Irresistible and remote, his pictures ask for intimacy but keep their distance, like nostalgia, like longing. Morrice ran with a fast crowd of glittering cosmopolitans. Alcoholism got the better of him by the end of his fifties; his health ultimately failed while in North Africa where he had painted with Matisse and where he died at fifty-eight.
Source: National Gallery of Canada
