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Harris was born the first of two sons into a wealthy family (of the Massey-Harris farm machinery company) in Brantford, Ontario and was lucky enough to receive a good education, travel, and to be able to devote himself to art without having to worry about earning a living.

He studied art in Berlin from 1904-1908, returned to Canada at age nineteen and supported his fellow artists as well as creating studio space for himself and others.

Collectors may prefer final artist's proofs even when they are identical to the main edition In the late 1950s there started to appear other additional prints in excess of the Arabic numbered edition, such as hors commerce (H. Other editions, on different paper or with changes of ink color, appeared and were callee E. These "refinements" are some of the ways artists and publishers devised to multiply the actual total quantity of an edition of prints, yet retain the illusion of a small limited edition by keeping the hand-inscribed numbers low. These "proofs" started appearing on the market as part of editions; they are another method to extend the edition beyond the stated number of prints.

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Example: "2/30" - "Beasts" - "Picasso signature" This is a practice that started during the latter part of the nineteenth century. By 1915 the size of the edition was indicated on the print like we do today, "1/100,", 2/100," 3/100," etc., showing both the number of the print and the total number of prints in the edition. Traditionally, Artist Proofs were an impression of a print taken in the printmaking process to see the current printing state.

At the request of publishers, some artists started numbering certain editions of their prints, which were numbered "No. Unfortunately, the numbering sequence does not necessarily reflect the order of printing as the prints are placed to dry in racks without any specific order and days or weeks later removed for the signing and numbering, which happens haphzardly. Today, an Artist Proof is a good impression of the finished work that is identical to the numbered copies.

“If we view a great mountain soaring into the sky, it may excite us, evoke an uplifted feeling within us.

There is an interplay of something we see outside of us with our inner response.

Harris also lived in Santa Fe, New Mexico, home to O' Keeffe, for a time, where he worked with Dr.

Emil Bisttram, leader of the Transcendental Painting Group, which Harris also helped found in 1939.(3) Both Harris and O' Keefe were also interested in eastern philosophy, spiritual mysticism and theosophy, a form of philosophical or religious thought based on mystical insight into the nature of God.Harris began to simplify and reduce the forms to the point of complete abstraction in later years following the dissolution of the Group of Seven in 1933, searching for the universal in simplicity of form."His paintings have been criticized as being cold, but, in fact, they reflect the depth of his spiritual involvement." (5) Harris's paintings prove yet again that it is always better to see the actual original painting in person.Harris's work from the 1920's on is similar to O' Keeffe's in both scale and style.Both O' Keeffe and Harris simplified and stylized the shapes of the forms they saw in nature.Lisa Marder is an artist and educator who studied drawing and painting at Harvard University.

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