Helen Galloway McNicoll was born in Toronto in 1879 and moved with her family to Montreal as a child. At the age of two, she lost her hearing due to scarlet fever, but this did not hinder her art. She navigated the social aspects of the art world using lip reading and help from relatives and friends. In 1899, she took part in programs at the Mackay Institution for Protestant Deaf Mutes, though she did not appear in the official records, and her deafness was not recorded in the 1901 census, reflecting contemporary misunderstandings of deaf culture in North America.
A l'ombre de l'arbre, c 1910 by Helen McNicoll
Supported financially by her family and their connections to prominent art collectors, McNicoll was able to dedicate herself entirely to painting, which was an unusual choice for women in this era. She likely first encountered art through her parents, as her father made sketches while traveling for work on the railway, and her mother painted on china and composed poetry. McNicoll’s familial status supported her career in several ways, most importantly by giving her the freedom to focus on painting without needing to earn a living through sales or teaching. They also connected her with leading Montreal art collectors, notably William Van Horne, who was then president of the Canadian Pacific Railway, where McNicoll’s father served as director.
Picking Flowers, c 1912, oil on canvas by Helen McNicoll
In 1902, McNicoll travelled to London, England, to study at the Slade School of Fine Art with Philip Wilson Steer, where she was immersed in contemporary European painting trends. This was a progressive school known for treating female students equally, therefore it was a popular school for Canadian female painters. Students at the school were taught to paint directly from nature, embracing an en plein air, realistic approach. Her time abroad brought her into the vivid colour palette of French and British Impressionism. She often painted alongside fellow Impressionist painter Dorothea Sharp. While studying at the Slade School, McNicoll became close friends with British painter Dorothea Sharp, and they affectionately nicknamed each other “Nellie” and “Dolly.” The pair traveled extensively, shared workspaces, and served as models for one another’s paintings, and Sharp can be seen in the painting The Chintz Sofa. For McNicoll, Sharp’s companionship was especially important in overcoming the challenges of her hearing impairment. She also relied on Sharp’s guidance when working with models, particularly children.
Sur la plage (On the Beach), 1912, oil on canvas by Helen McNicoll
McNicoll later relocated to England to study in St. Ives, Cornwall. In 1905, she enrolled at Julius Olsson’s School of Landscape and Marine Painting, where she trained under Algernon Talmage.
The Bean Harvest, oil on canvas by Helen McNicoll
She began training at the Art Association of Montreal in 1906, another progressive school that permitted female students to study the nude figure. She studied under the guidance of William Brymner, an important teacher in Canadian art who encouraged his students to work en plein air, who also taught Clarence Gagnon, Edwin Holgate, A.Y. Jackson, Marc-Aurèle de Foy Suzor-Coté, Prudence Heward, Arthur Lismer, Robert Pilot and Lilias Torrance Newton. Brymner was among the first Canadian artists to study in Paris and was a strong advocate for women pursuing professional art careers, likely offering encouragement to McNicoll as well.
The Children’s Playground, oil on canvas, 1912 by Helen McNicoll
McNicoll’s subjects were drawn from everyday life; women sewing in gardens, children playing in fields, people walking along the seashore. She had a particular gift for capturing sunlight filtering through leaves or reflecting across white fabric, using these effects to bring her paintings to life. Her work offered a modern vision of women in active, outdoor spaces, and the images she portrayed subtly challenged societal norms of the time.
The Little Worker, c 1910, oil on canvas by Helen McNicoll
During her short career, McNicoll earned significant recognition both in Canada and abroad. She was elected an associate member of the Royal Canadian Academy of Arts in 1914 and exhibited widely in London, Montreal, and Toronto. In 1914, she received the Women’s Art Society Prize at the Art Association of Montreal for her oil painting Under the Shadow of the Tent. Her paintings received consistent praise for their freshness, vitality, and sophisticated handling of light and colour.
Under the Shadow of the Tent, 1914, oil on canvas by Helen McNicoll
McNicoll had a studio in London and continued to travel across Europe from 1908 until her passing. She continued to paint prolifically until her untimely death from complications due to diabetes in Swanage, England, in 1915, at the age of just 35. Despite her brief career, she left behind a body of work that remains an important part of Canadian art history. In her obituary, McNicoll was quoted as “one of the most profoundly original and technically accomplished of Canadian artists."
Buttercups, c 1910, oil on canvas by Helen McNicoll
McNicoll’s work continued to receive recognition long after her death. In 1925, the Art Association of Montreal held a memorial exhibition featuring 150 of her paintings. The Art Gallery of Ontario has mounted several shows of her work, including a 1999 exhibition, The Open Door: Mary Hiester Reid and Helen McNicoll in 2021, and Cassatt — McNicoll: Impressionists Between Worlds in 2023, which examined her alongside Mary Cassatt. In 2024, the Musée national des beaux-arts du Québec presented Helen McNicoll: An Impressionist Journey, showcasing over 65 of her works, including 25 from Pierre Lassonde’s collection, highlighting the influence of travel on her art. In 2025, the Art Gallery of Hamilton presented Helen McNicoll: An Impressionist Journey, the most comprehensive solo exhibition of her work since 1925.
Consignment at Rookleys
At Rookleys Canadian Art, we are actively seeking works by Helen McNicoll for consignment, offering consignment rates far lower below what auction houses charge. If you have a McNicoll painting to consign, please contact us at info@rookleys.com to discuss these opportunities further.
The Farmyard, c 1908, oil on canvas by Helen McNicoll
References
Burton, Samantha (2017). Helen McNicoll: Life & Work. Art Canada Institute. ISBN 978-1-4871-0152-7.
"Exhibitions". www.mnbaq.org. MNBAQ.
"Helen McNicoll: A Canadian Impressionist". Art Gallery of Ontario.
"McNicoll, Helen Galloway". Canadian Women Artists History Initiative.