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  The Beaver Hall Group  

We buy and sell paintings by select artists of the Beaver Hall Group. For a confidential inquiry, please contact our Montreal office (514.284.9339) or our Toronto office (416.233.0339), or e-mail us at

Nora Collyer, Emily Coonan, Prudence Heward, Mabel Lockerby, Mabel May, Kathleen Morris, Lilias Torrance Newton, Sarah Robertson, Anne Savage and Ethel Seath represent the ten women commonly referred to as the Beaver Hall Group or sometimes the Beaver Hall Hill Group or Beaver Hall Women. The name of the group comes from the street in Montreal, Beaver Hall Hill, where in fact a larger group of artists rented studio space at number 305 during the years 1920-22. (Some artists continued renting space in the same building after 1922).There was in fact a first annual exhibition of work of the actual artists participating in the studio at 305 Beaver Hall Hill advertised in Montreal’s The Gazette and La Presse respectively on the 18th and 20th of January in 1921, which according to Barbara Meadowcroft in her excellent book "Painting Friends, The Beaver Hall Women Painters", included the following 19 artists: James Crockart, Jeanne de Crèvecoeur, Adrien Hébert, Henri Hébert, Randolph Hewton, Edwin Holgate, AY Jackson, John Johnstone, Mabel Lockerby, Mabel May, Darrell Morrisey, Lilias Torrance Newton, Hal Ross Perrigard, Robert Pilot, Sybil Robertson, Anne Savage, Adam Sherriff Scott, Regina Seiden, Thurstan Topham. It is indeed interesting to note the number of gentlemen artists who participated as well as the number of women in the popular connotation of Beaver Hall Group artists who were not participants in the origins of the group. At the same time among the gentlemen at 305 Beaver Hall Hill we remark that Albert Robinson, Randolph Hewton and A.Y. Jackson were also featured in the first Group of Seven Exhibition in Toronto the previous year with A.Y. Jackson of course being one of the founding members of the Group and Randolph Hewton along with Robert Pilot and Albert Robinson invited guests exhibiting their inaugural exhibition in May 1920. A reading of Barbara Meadowcroft’s outstanding publication will lead to a discovery that it is in large part due to the mutual encouragement of these ten women artists combined with a genuine sense of purpose that is in a large part responsible for the important legacy of fine painting they produced.

The Klinkhoff family has made a commitment of long-standing to the promotion of the artistic excellence of these important Beaver Hall women artists. In 1964 the gallery hosted an exhibition and sale of paintings by Nora Collyer. For some 40 years our gallery hosted a series of retrospective exhibitions that years later the Montreal Gazette called " . . . museum quality exhibition(s) in which absolutely nothing is for sale . . . The idea behind these exhibitions is to take a look at a Quebec artist who has either slipped from public view or to pay tribute to an artist who never received the recognition that he or she should have received in the first place. Through these exhibitions, the Klinkhoffs have spearheaded a resurgence of interest in the woman artists of the Beaver Hall Hill Group with retrospectives of the work of Anne Savage, Prudence Heward, Sarah Robertson, Ethel Seath and Mabel Lockerby. Dennis Reid once wrote in his Concise History of Canadian Painting that "as a group they were probably the finest figure painters in Canada." Quoting Reid, art critic Anne Duncan added: "Yet, many of those artists had never been given their due until the Klinkhoff shows."

A few years later Henry Lehmann writing about the Klinkhoff Gallery remarked " . . . the gallery has been instrumental in introducing the Beaver Hall Group of Women artists to the public. " This series of museum quality shows, an annual tradition which continues to this day, began in 1974 with a retrospective of the works of Maurice Cullen followed by Clarence Gagnon in 1975 and come 1976 we did our first tribute to one of the Beaver Hall Group women artists by celebrating the work of Kathleen Morris, who although aging and infirm attended the show that Olympic summer. Dr. Barbara Meadowcroft writes, "The invitation for a retrospective exhibition at the Walter Klinkhoff Gallery in 1976 came as a wonderful surprise to Kathleen Morris; she had been devastated the previous year when Charles Hill did not include her in the NGC exhibition Canadian Painting in the Thirties(1975). "I am of course feeling very, very badly about this as it is the end of my Art for good I am afraid," who wrote to her friend Michael Dunn, "as no one will think much of pictures by artists who were not in that marvelous catalogue."

The opening of the retrospective was an intensely emotional experience for the octogenarian painter, who was overwhelmed by the warm reception and the joy of being reunited with the works of her youth. There were 55 paintings: images of Montreal streets, Berthierville, the Laurentians, the Ottawa market, and cows at Marshall’s Bay. Although the works were not for sale, the show greatly enhanced Kathleen Morris’s reputation. Claiming that Morris had left "one of the finest testaments to the joy of Canadian life," a critic said: "Her love affair is declared with every bold brush stroke. The happiness and joie de vivre it brought is told with each robust splash of colour."

Continue Reading from the Retrospective Catalog on the Beaver Hall Group

  1. Members of the Group
  2. Beaver Hall Group Facts
  3. Beaver Hall Group and the Klinkhoffs
  4. Beaver Hall Group Exhibitions at Klinkhoff
  5. Montreal Gazette Review of Beaver Hall Exhibition
Read More

Beaver Hall Group Artists

André Biéler
Nora Collyer
Emily Coonan
Adrien Hébert
Henri Hébert
Prudence Heward
Randolph Hewton
Edwin Holgate
AY Jackson
John Young Johnstone
Mabel Lockerby
Mabel May
Kathleen Morris
Lilias Torrance Newton
Hal Ross Perrigard
Robert Pilot
Sarah Robertson
Albert Robinson
Anne Savage
Ethel Seath

In addition to the artists above, the following artists also exhibited with the Beaver Hall Hill Group: James Crockart, Jeanne de Crèvecoeur, Darrell Morrisey, Sybil Robertson, Adam Sherriff Scott, Regina Seiden, Thurstan Topham, Scoop Torrance.

Beaver Hall Group

Original Name: The Beaver Hall Group
Founded: May, 1920
Location of studio: 305 Beaver Hall Hill, Montreal, Quebec, Canada
Founding members:

• Henrietta Mabel May (1877-1971)
• Lilias Torrance Newton (1896-1980)
• Randolph Stanley Hewton (1888-1960)
• Edwin Headley Holgate (1892-1977)
• Mabel Irene Lockerby* (1882-1976)
• Annie (Anne) Douglas Savage* (1896-1971)
• Alexander Young (AY) Jackson** (1882-1974)

*Mabel Lockerby (Secretary) and Anne Savage were invited by the other four members to participate in the studio building they had found and share the rent.
**Jackson, a founding member of the Group of Seven, was elected president of the Beaver Hall Group.

Artists included in the "First Annual" Beaver Hall Group Exhibition in January, 1921:
• Jeanne de Crèvecoeur
• James Crockart
• Adrien Hébert (1890-1967)
• Henri Hébert (1884-1950)
• Randolph Hewton
• Edwin Holgate
• A.Y. Jackson
• John Young Johnstone (1887-1930)
• Mabel Lockerby
• Mabel May
• Darrell Morrisey
• Lilias Torrance Newton
• Hal Ross Perrigard (1891-1960)
• Robert Wakeham Pilot (1898-1967)
• Sybil Robertson
• Anne Savage
• Adam Sherriff Scott
• Regina Seiden
• Thurstan Topham

The original Beaver Hall Group lasted for only two years. According to Randolph Hewton, its collapse can be attributed to financial problems. However, some artists continued to occupy the Beaver Hall Hill studio until 1923-24. Apart from Hewton (and perhaps Edwin Holgate, too), the remaining artists were female. These artists included:

• Nora Frances Elizabeth Collyer (1898–1979) joined after May 1921
• Emily Geraldine Coonan (1885-1971)
• Randolph Hewton
• Edwin Holgate (probable)
• Mabel Lockerby
• Anne Savage
• Mabel May
• Lilias Newton
• Sarah Margaret Armour Robertson (1891-1948) joined the Group in May 1921.

In 1924, the rent at 305 Beaver Hall Hill became too cumbersome and the artists had to abandon the building. With the exception of the reclusive Emily Coonan, the women remained close and formed a support network, which expanded to include three additional female artists:

• Efa Prudence Heward (1896-1947)
• Kathleen Moir Morris (1893-1986)
• Ethel Seath (1879-1963)

The current understanding of the Beaver Hall Group as a group of Montreal-based women painters can be traced back to Nora McCullough’s (National Gallery of Canada liaison to Western Canada) 1966 traveling exhibition called "The Beaver Hall Hill Group". Her goal, according to the resources of Barbara Meadowcroft, was to expose the talent of Quebec's women artists to western Canada. Anne Savage and A.Y. Jackson had told her about the original Beaver Hall Group and the name of the group became somehow confused with the name of the street, which is how the exhibition got its name. Her inclusion in this exhibition of paintings by only ten women artists also explains how the popular understanding of the Beaver Hall Group came about.

The Beaver Hall Women Painters:

• Nora Collyer
• Emily Coonan
• Prudence Heward
• Mabel Lockerby
• Mabel May
• Kathleen Morris
• Lilias Torrance Newton
• Sarah Robertson
• Anne Savage
• Ethel Seath

According to Charles Hill (National Gallery of Canada), Albert Robinson, Andre Bieler, and Scoop Torrance also participated in Beaver Hall Group exhibitions at one point or another.

Sources: Barbara Meadowcroft and Charles Hill
© Copyright Galerie Alan Klinkhoff Inc.

The Beaver Hall Group and The Klinkhoffs

The Montreal Gazette on June 16 1976 wrote the following about our Kathleen Morris exhibition:

"The 82-year-old woman, handicapped since childhood, has left to posterity one of the finest testaments to the joy of Canadian life. ...From looking at her paintings one wonders if any could love Quebec more that Kathleen Morris. Even the hard grey winters seem faultless I her eyes. The paintings of one of Canada’s finest artists have been collected for an exhibition which ends Saturday at the Walter Klinkhoff Galleries, 1200 Sherbrooke St. W. Not one is for sale. All have been borrowed from private collections and museums. Therefore this retrospective of a painter who was a contemporary and friend of the Group of Seven is a rare treat for students of Canadian art."

Since our intention in this series had not originally been to focus exclusively on the Beaver Hall women but more generally on Canadian artists active here in Quebec of significance, we honoured Suzor-Côté, Sam Borenstein and Marc-Aurèle Fortin before we next produced an eye-popping collection of Prudence Heward paintings in 1980. In her introduction to Painting Friends Barbara Meadowcroft wrote, "One bright September day in 1987, I stood in the Walter Klinkhoff Gallery in Montreal, absorbed in a painting by Ethel Seath, ‘The Gardener’s House’ (c. 1930) that took me back to my school days. The old grey stone building it represented was the view from the art room of The Study, where Miss Seath had taught for forty-five years. Looking round at the works assembled for the Ethel Seath Retrospective, I realized what a fine painter she had been. In a few days the paintings would be taken down. And then what? Would she just be forgotten?"(5) The quality evidenced in the best of Ethel Seath seen for the first in any quantity to the present generation of art collectors, museum curators and academics was to assure that for posterity Ethel Seath’s fine contribution to the Beaver Hall Group of artists and to Canadian art of her generation.

For the catalogue accompanying the 50 paintings in our 1987 Ethel Seath Retrospective we engaged the services of Roger Little who at that date was a history student at McGill University and was agreeable to undertaking the important research necessary to write even a modest essay about Ethel Seath. Roger Little is today in his own right an artist of growing recognition. Little produced an accomplished overview of her painting and teaching career. He wrote:

"For over sixty years, Ethel Seath (1879-1963) was a familiar figure on the Montreal art scene. Selfless, earnest, and sincere, she was a pioneer among the artistic women of her generation. She implicitly challenged the conventions of Victorian propriety with a soft-spoken but resilient independence. At the Art Association of Montreal, she had studied under William Brymner, Edmond Dyonnet and Maurice Cullen, later reflecting their example of a native and forward-looking art. Following a career of two decades as a commercial illustrator, she found her métier as an inspired art teacher at ‘The Study School’. As a founding member of the Beaver Hall Hill Group and of the Canadian Group of Painters, Ethel Seath contributed to exhibitions at home and abroad.

In this retrospective exhibition at the Walter Klinkhoff Gallery, fifty works have been assembled in the first comprehensive review of Miss Seath’s career. These paintings include still-life and landscape compositions in oil and watercolour. The untroubled lyricism of her art is an intimate exploration in colour and design. This collection is a sensitive and charming testament of one woman’s creative impulse and vision. "

With an interlude of a Robert Pilot Retrospective in 1988, Eric Klinkhoff selected Mabel May for the fall of 1989, A.Y. Jackson in 1990, then Sarah Robertson and Anne Savage in 1991 and 1992 respectively. Each successive Beaver Hall Group exhibition served to cultivate a growing audience for our exhibitions and particularly academics and collectors wanting to know and see more about them. Our acquaintance with Dr. Meadowcroft and knowledge of her interests suggested to us that, perhaps like Roger Little had previously, she might be willing to do for us some original research to serve as text for the modest catalogues we had only begun to publish for these non-selling shows. Dr. Meadowcroft wrote, "My involvement in the retrospectives of Mabel Lockerby (1989) and Sarah Robertson (1991) at the Walter Klinkhoff Gallery convinced me of the need for a book on these painters." Her book Painting Friends The Beaver Hall Women Painters is a must read for anyone interested in the Beaver Hall women artists.

This Sarah Robertson catalogue by Dr Meadowcroft was incredibly informative:

In 1920 a group of Brymner’s students, past and present, banded together to form the Beaver Hall Hill Group. Undoubtedly, the example of the Toronto-based Group of Seven, which held its first exhibition in May, 1920, provided a powerful incentive to the Montreal artists. Encouraged by A.Y. Jackson, whom they elected president, the Beaver Hall artists held their first annual exhibition at their studios on Beaver Hall Hill. Both the Gazette and La Presse gave generous coverage to the vernissage, which took place January 17, 1921. In his opening speech, Jackson emphasized the right of the artist to paint what he feels. "Schools and ‘isms’ do not trouble us", Jackson maintained, "individual expression is our chief concern".

One of the striking features of the new group was that, unlike the Group of Seven, it included women. Eight of the nineteen members, as cited in the Gazette and La Presse, were women. Although Sarah Robertson’s name is usually mentioned as one of the founding members of the Beaver Hall Group, the name that appears in both newspapers is that of Sybil Robertson, a portrait painter, who contributed to the AAM Spring Exhibitions (1920-23; 1945-47). Were the newspapers mistaken? Possibly not. In a taped interview with Charles Hill (September 11, 1973), Lilias Torrance Newton, a founding member of the Beaver Hall Group, states specifically that Sarah Robertson was not one of the original members. It therefore seems likely that Sarah joined a few months later, possibly at the same time as her friend, Prudence Heward.

Before the end of 1921, the Beaver Hall Group ran into serious financial difficulties which necessitated relinquishing the studios. The men went their own ways; but most of the women remained in close touch with each other.
In 1966 when Norah McCullough organized an exhibition at the National Gallery, called The Beaver Hall Hill Group, she included on women. The ten she selected were Mabel May, Lilias Torrance Newton, Mabel Lockerby, Anne Savage, Sarah Robertson, Prudence Hedward, Kathleen Morris, Ethel Seath, Nora Collyer, and Emily Coonan. Although only the first four were founding members of the Beaver Hall Group, McCullough was undoubtedly right in placing these painters together. In Sarah’s letters to A.Y. Jackson, these women’s names keep cropping up – with the exception of Emily Coonan. Although Emily Coonan had a studio in the Beaver Hall house, she kept to herself, according to Lilias Torrance Newton, and by 1930 had become completely isolated. The other nine painters remained in touch for over thirty years. They formed what we would today refer to as a network. They supported each other in times of trouble, shared news of the art world, and encouraged each other to exhibit. As Anne Savage recalls in here interview with Calvin, "There was a remarkable spirit. We telephoned one another. "Have you got anything? What are you doing? Can I come up and see it? Could you come down?’"

Sarah Robertson was at the hub of the group. She was, in Anne Savage’s words, "a bureau of information for her friends – who would come to her for help and discussion . . .concerning their work." Prudence Heward, in particular, relied on Sarah’s criticism, and always showed her paintings to Sarah before any one else."

The Saturday September 14, 1991 issue of the Montreal Gazette announced this exhibition with a byline; "Klinkhoff honors overlooked painter Montrealer Robertson deserved a better fate." Anne Duncan began her coverage writing, "Montreal painter Sarah Robertson has all but fallen through the cracks of history. After all, it has been 40 years since she was accorded her only solo exhibition."(9) Reviewing the 56 works of art Eric Klinkhoff had orchestrated bringing together Anne commented, "… the current Robertson retrospective at the Galerie Walter Klinkhoff proves that she deserves a better fate than as just a footnote in some obscure art book."

"She managed to paint only two or three canvases a year because of poverty, ill-health and a demanding, invalid mother who absorbed much of her time. Robertson was so hard up that Jackson used to buy her work so that she could afford to go to Toronto to see exhibitions that included her paintings. And one of the paintings in the Klinkhoff show – the gallery’s annual public-service exhibition in which nothing is for sale – was purchased by Jackson and then given to Art Gallery of Ontario.

‘"The quality of the work is amazing given that she had so little time to paint and given that she had so little encouragement,’ Klinkhoff said.

"As with most women artists during the 1920s and 1930s, Robertson was often dismissed as a dilettante, a Sunday painter who was merely dabbling in art", said Barbara Meadowcroft, who wrote the exhibition catalogue. "This was not something they did in their spare time," Meadowcroft said of Robertson and her fellow female artists, such as Prudence Heward, Anne Savage, Ethel Seath, and Kathleen Morris. "This was their purpose in life."

Dr. Meadowcroft also penned an excellent essay to accompany the 1992 Anne Savage Exhibition. Her essay concluded as follows:

"When I began writing about Savage, I wondered how she managed to combine her two careers and also fulfill the responsibilities, largely self-imposed, of her personal life. I now recognize that her various roles were interdependent. She drew strength from many sources, including the example of Minnie Clark, the friendship of the Beaver Hall women, and her affectionate relationship with A.Y. Jackson. But her greatest source of strength lay within. Anne Savage believed in art as the expression of what was highest in the human spirit. Whether she was painting or awakening others to the beauty around them, she worked with self-abandonment, intensity, and joy."

For this exhibition too Anne Duncan of the Gazette proved to be an ally in bringing art afficianados to study our exhibition by publishing an article headed, "Galerie Klinkhoff honors Anne Savage":

"Over the past several years, the Klinkhoffs have concentrated on showing the work of many of the original members of the Beaver Hall Hill Group.

A feisty, Informal group

This was a feisty, short-lived, rather informal group of painters who started meeting in May 1920 in a studio on Beaver Hall Hill to paint together, discuss art and provide moral support for each other during a time when most people were indifferent, if not downright hostile, toward Canadian Art. Strangely enough for the times, many of the members were women. And among the most talented and single minded of these was Savage, Klinkhoff said.
Of Savage’s art, fellow artist Arthur Lismer once predicted: "Give that girl a chance and she would be on of the finest artists in Canada."
But Savage was also widely known and loved in Montreal as a teacher, Klinkhoff said. For 28 years, she taught art at Baron Byng High School, where her students included the likes of artists Rita Briansky, Moe Reinblatt, Tobie Steinhouse and Alfred Pinsky, Concordia University art professor Leah Sherman (Pinsky also teaches at Concordia), and author Mordecai Richler.
"She was a rare kind of teacher," Richler said during a phone interview Wednesday. "She was a very cultivated and gracious lady, and she really cared about her students."
In those days, Richler said, Baron Byng was a rough school, full of tough kids. "But she never had any trouble. We responded to her kindness and consideration."
Savage’s influence wasn’t only restricted to the classroom, he said, "Baron Byng looked like a dungeon, but she filled the halls with murals."
Savage was so supportive of his efforts that she arranged for some sort of scholarship or bursary for him to study with Lismer at the Montreal Museum of Fine Arts, recalled Richler, whose drawing days have long since passed.
And as a sign of the sort of loyalty and admiration that she inspired in her students, Richler said he will try to make it to today’s exhibition opening, along with the likes of Shirley Thomson, director of the National Gallery of Canada."
Dr. Meadowcroft authored another paper this one published to accompany our 1995 Lilias Torrance Newton Retrospective Exhibition. She introduced Lilias Torrance Newton writing:
"In many ways the story of Lilias Torrance Newton – portrait painter, art teacher, abandoned wife, and mother – reads like a story of the 1990s. But what seems banal today was exceptionally sixty years ago when divorce was frowned upon and married women were not expected to work outside the home. Few of the women that Lilias Torrance Newton met in art school tried to combine marriage with a professional career. Regina Seiden, a fellow student, gave up painting soon after marrying painter Eric Goldberg in order to devote herself to her husband’s career. Of the ten women who are know today as the Beaver Hall Group, Lilias Torrance Newton was the only one who married."
This exhibition caught the attention of Jennifer Couëlle writing in Montreal's Le Devoir who in the edition of Saturday/ Sunday September 16, 17 wrote:
‘"In the early 1920s, says the art historian, Esther Trépanier, ‘Torrance Newton was already hailed by critics as one of Montreal’s young modern artists. However, unlike her contemporaries, for example Anne Savage, Marian Scott and Prudence Heward, she is not well-known by the current Montreal public. We therefore applaud the Walter Klinkhoff Gallery for their exhibition!
Furthermore, as remarked by Mme Trépanier, ‘taking into account the fact that the Montreal Museum of Fine Arts presents relatively few exhibitions of historical nature by Montreal artists, we should be delighted that a private gallery somehow undertakes that mission"’.
The Montreal Gazette art critic of the day Anne Duncan was also generous in her coverage of our exhibition of Lilias Torrance Newton aiding enormously the attendance with an article headed "Klinkhoff finds another undeservedly neglected talent ". Rereading Ann's piece reminds me of the important selection of paintings we had on view." There is a wonderfully sensitive rendering of a serene looking Mrs. Brooke Claxton (circa 1936) propped up against cushions because she was at the time recovering from a serious illness. There are also portraits of fellow artists- fellow Beaver Hall Group member Prudence Heward, Louis Muhlstock and AY Jackson. The painting of Muhlstock earned her acceptance into the Royal Canadian Academy in 1937 - she was only the third woman to be so honored - while Jackson painted in the background of her portrait of him..."

Four years later we produced in the gallery an exhibition of truly outstanding paintings by each and all of the Beaver Hall Group of women artists. That was a particularly special event. One will recall that the first Beaver Hall woman artist we honoured was Kathleen Morris in 1976. In part because over the ensuing quarter century in her work had grown enormously and also back then we had not published a catalogue we decided to honour Kathleen Morris again in 2003 to a new and admiring generation. Finally, in 2007 Mary MacDonald Trudel was completing a degree in art history at Bishop’s University, its completion in part contingent on organizing an art exhibit, her theme of choice being these Beaver Hall women painters. It was a memorable pleasure that Galerie Walter Klinkhoff was the Montreal venue where we exhibited an important selection of works by all the Beaver Hall women, albeit for too short a time at the end of April.

It may go without saying, but with certain sense of pride I shall say it anyway, we as a gallery have also celebrated numerous other artists of the same generation of the Beaver Hall women, many of whom were closely linked to the Group at one time or another. Specifically among those not previously discussed at length, are Albert Robinson, Randolph Hewton (this was a Hewton Estate exhibition and sale in 1962), André Biéler whose paintings we purchased from him through the late 1970s, Edwin Holgate , who sold Dad paintings from time to time, Arthur Lismer, Maurice Cullen, Goodridge Roberts and Adrien Hébert, to whom we dedicated non selling retrospective exhibitions.

Galerie Walter Klinkhoff worked directly with the following Beaver Hall Group artists and/or their Estates: André Bieler, Nora Collyer, Prudence Heward (her Estate), Randolph S. Hewton (his Estate), Edwin Holgate (and his Estate), A.Y. Jackson, Mabel May, Kathleen Morris (and her Estate), Lilias Torrance Newton (her Estate), Robert W. Pilot, Albert H. Robinson, Anne Savage (and her Estate).

These Canadian artists have been and continue to be our experience, our expertise and our passion.
© Copyright Galerie Walter Klinkhoff Inc. Footnotes available upon request.

Galerie Alan Klinkhoff
Countryside (probably Rockliffe Village), 1934
Oil on canvas 22" x 25"
Galerie Alan Klinkhoff
The Guide Millette, 1939
Oil on canvas 24" x 20"
Galerie Alan Klinkhoff
The Blue Sleigh, c. 1924
Oil on panel 8 1/2" x 11 1/2"
Galerie Alan Klinkhoff
ANNE SAVAGE, A.R.C.A. (1896-1971)
Quebec Farm, ca. 1935
Oil on canvas 24" x 30"
Galerie Alan Klinkhoff
KATHLEEN MORRIS, A.R.C.A. (1893-1986)
Marché à Saint-Roch, Québec, c. 1925
Oil on canvas 18" x 24"
Galerie Alan Klinkhoff
EMILY COONAN (1885-1971)
Girl and Cat, 1920
Oil on canvas 28" x 22"
Galerie Alan Klinkhoff
ETHEL SEATH (1879-1963)
Looking Along Belmont Street
Oil on panel 16" x 12"
Galerie Alan Klinkhoff
NORA COLLYER (1898-1979)
Afternoon, the Village of Cap-à-l'Aigle Overlooking the St. Lawrence River, 1950 (recto),
Oil on canvas 28" x 30"
Galerie Alan Klinkhoff
MABEL LOCKERBY (1882-1976)
Summer Shadows,
Oil on panel 9" x 12"
Galerie Alan Klinkhoff
Autumn, Near Shawbridge
Oil on panel 12" x 14"
Galerie Alan Klinkhoff
ANNE SAVAGE, A.R.C.A. (1896-1971)
Laurentian Landscape (probably near Lake Wonish), ca. 1935
Oil on canvas 31" x 34"
Galerie Alan Klinkhoff
KATHLEEN MORRIS, A.R.C.A. (1893-1986)
McGill Cab Stand
Oil on canvas 18" x 24"
Galerie Alan Klinkhoff
Sleighs in Winter, Québec, c. 1927
Gouache 17 1/2" x 35 1/2"
Galerie Alan Klinkhoff
ETHEL SEATH (1879-1963)
Still Life
Oil on canvas 19" x 20"
Galerie Alan Klinkhoff
EMILY COONAN (1885-1971)
Children Playing by the Water
Oil on canvas 22 1/4" x 27 1/4"
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