Artwork by Lawren Stewart Harris,  Shacks

Lawren Harris
Shacks

oil on panel
signed lower right
10 x 13 ins ( 25.4 x 33 cms )

Auction Estimate: $80,000.00$60,000.00 - $80,000.00

Price Realized $103,500.00
Sale date: May 31st 2016

Provenance:
Paul Hahn, Toronto
By descent to the current Private Collection, Toronto
One of seventeen children, Paul Hahn immigrated to Canada from Stuttgart, Germany in 1888. A gifted musician, Hahn was recognized as a renowned cellist, extensively touring Ontario and New York state. Working for the Nordheimer Piano Company for nearly twenty years, Hahn fulfilled a dream and opened his own piano company on September 13, 1913. Paul Hahn and Company has served Toronto families for more than a century, with the third generation of the family currently owning and operating the Yonge Street fixture, providing sales and restoration of pianos to the community.

Paul Hahn was an active and tireless supporter of culture in Toronto, providing encouragement directly to family and friends in the arts. Hahn financed the education of his brother, celebrated Canadian artist Emanuel Hahn, allowing him to study in Germany and further his abilities as a sculptor and designer. Paul Hahn was a recognized authority on extinct and vanishing birds, researching, writing and hosting lectures on the subject. Celebrated as a patron of the Royal Ontario Museum, Hahn donated sixty-eight passenger pigeon specimens as well as his extensive stamp collection to the institution.

A patron of various arts groups and associations, Paul Hahn was a resident member of the Arts and Letters Club, along with his brothers Emanuel and Gustav, and members of the Group of Seven, including Lawren Harris. Actively purchasing artwork from Toronto artists, it is believed that Hahn acquired “Shacks” directly from Harris, the painting descending through the Hahn family since its purchase almost a century ago.

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Lawren Stewart Harris
(1885 - 1970) Group of Seven, Canadian Group of Painters

Lawren Harris was born in Brantford, Ontario and at the age of 19 went to Berlin for academic training. His first two years included study in pencil, charcoal and watercolours. He took instruction in the studio mornings, out-of-doors sketching in the slums of Berlin afternoons, and sketching figures in the studio evenings in watercolour and drawing media. His last two years were spent in the study of portraits and figures in oils. Two of his teachers were Mr. Wille and Mr. Schlabitz. Schlabitz accompanied him in the summer on a walking tour of the Austrian Tyrol where Harris did some sketching. After his study in Germany Harris travelled in Palestine and Arabia with Norman Duncan where he did illustrations. He then visited lumber camps in Minnesota where he made illustrations for Harper’s magazine.

By 1910 Harris was back in Toronto where he saw everything with fresh eyes. His work had more vigour and sensitivity to colour and form. His first studio was located over Giles grocery store, north of Bloor and Yonge Streets. His attraction for the poorer areas of town gained him the reputation of socialist painter. His “house portraits” brought a storm of criticism against him. In Toronto the Arts and Letters Club had been formed only two years before Harris’ return and it was not long before he was an active member. It was at the Arts and Letters Club that Harris first saw the attractive sketches of J.E.H. MacDonald in 1911. Harris and MacDonald became good friends and shared an appreciation of the arts in depth. They visited Buffalo together in January of 1913 to see the exhibition of Scandinavian art which had been reviewed in art magazines. This exhibition made a deep impression on both artists. Harris took sketching trips with MacDonald in 1912 at Mattawa and Timiskaming and in 1913 they went to the Laurentians. Harris met other artists at the Arts and Letters Club. Many of them like MacDonald were working for the Grip Engraving Company as commercial artists.

In 1914 Harris and Dr. James MacCallum conceived the idea of building a studio building which could accommodate Canadian artists of ability who could devote their full attentions to painting, free from the pressures of commercialism. Many Canadian artists were drifting south to the U.S. and it was Harris’ and MacCallum’s hope that such a plan would prevent the loss of all of Canada’s most talented painters. Harris was well off through his connection with Massey-Harris (his grandfather was a founder of the firm) and so was Dr. MacCallum. They realized their plan and the Studio Building was erected on Severn Street in Toronto.

Harris became the driving force behind the Group of Seven. A.Y. Jackson claimed: "Without Harris there would have been no Group of Seven. He provided the stimulus; it was he who encouraged us always to take the bolder course, to find new trails." By 1918 Lawren Harris had travelled to the Algoma region in the company of MacDonald and Johnston. In 1920 they held an exhibition at the Art Museum of Toronto (Art Gallery of Ontario). Harris wrote “The group of seven artists whose pictures are here exhibited have for several years held a like vision concerning art in Canada. They are all imbued with the idea that an art must grow and flower in the land before the country will be a real home for its people…” Harris made his first trip to the North Shore of Lake Superior in 1921.

His search for a deeper spiritual meaning eventually took him to the stark landscapes of the far north. By the late 1920s the artist's work strove to capture the spiritual essence of the bold landforms of the Rockies and the Arctic. Throughout the ensuing decade Harris continued to simplify and abstract his landscapes until his subjects became non-representational. Lawren Harris worked as a member of the Transcendental Group of Painters in Santa Fe, New Mexico for two years, returning to Canada in 1940 and settling in Vancouver for the remainder of his lifetime.

Source: "A Dictionary of Canadian Artists, Volume II”, compiled by Colin S. MacDonald, Canadian Paperbacks Publishing Ltd, Ottawa, 1979