Sir Cedric Lockwood Morris, 9th Baronet (11 December 1889 – 8 February 1982) was a British artist, art teacher and plantsman.

His mother had studied painting and was an accomplished needlewoman; on his father's side he was descended from Sir John Morris, 1st Baronet, whose sister Margaret married Noel Desenfans and helped him and his friend, Francis Bourgeois, to build up the collection now housed in the Dulwich Picture Gallery.

Having failed the entrance exams for an army commission, at the age of 17 he set out on a steamship to Canada, to work on a farm in the province of Ontario.

After a succession of jobs, including as a dishwasher and bellboy in New York City, he returned to South Wales, and then entered the Royal College of Music, London, to study singing.

But he gave up singing for painting, and went to Paris, where from April 1914 he studied at the Académie Delécluse in Montparnasse before the interruption of World War I.

During the war he joined the Artists' Rifles, but before embarking for France was declared medically unfit for action in consequence of the effects of a failed operation during his childhood.

At the end of the 1920s Morris became involved with much commercial work designing textiles for Cresta Silks with Paul Nash and posters for Shell and BP.

Early in 1929 Morris and his companion took the lease of Pound Farm, Higham, Suffolk, and in February 1930 they gave up the London studio.

[7] In late 1937 Morris and Lett-Haines joined the Hadleigh Labour Party after attending a meeting addressed by Professor Catlin.

Dating from the 16th century, the house is reputed to have been designed by Sir Peter Cheyney and since 1950 it has been Grade II* listed.

[8] Morris was intolerant of cruelty to animals and at Benton End had a running feud with a local gamekeeper who shot cats and dogs – until the latter tripped over his shotgun and killed himself.

Discussing his Peregrine Falcons (1942), he explained he was attempting to "provoke a lively sympathy with the mood of the birds which ornithological exactitude may tend to destroy.

His grave, near that of Arthur Lett-Haines, in Friar's Road Cemetery, Hadleigh is marked by a Welsh slate headstone cut by Donald Simpson.

[14] Cedric Morris had a distinctive and often rather primitive post-Impressionist style, and painted portraits, landscapes and very decorative still lifes of flowers and birds.

"[15] As a portrait painter he produced notable studies of subjects such as Arthur Lett-Haines (1919; 1925; 1928), Anita Berry (1920), Hilaire Hiler (1920), John Banting (1923), Rupert Doone (ca.

1923), Mary Butts (1924), Barbara Hepworth (1931), Arthur Elton (1931), Rosamond Lehmann (1932), Audrey Debenham (1935), The Sisters [F. Byng Stamper and C. Byng Lucas] (1935), Gladys Hynes (1936), Millie Gomersall/Hayes (1936; 1966), Lucian Freud (1940) (who painted him in the same year (National Museum of Wales)), Richard Chopping (1941), Mrs Ernest Freud (1942?

Gertrude returned to her native America, and the two men spent the rest of their lives together, although both had affairs, Morris with the painter John Aldridge and artist Paul Odo Cross (1898-1963, who financed the purchase of Benton End) and Lett-Haines with Stella Hamilton and Kathleen Hale.