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Emily Carr Sold at Auction Prices

Painter, b. 1871 - d. 1945

Emily M. Carr, born 1871, was a Canadian artist famous for her paintings relating to the indigenous people and nature of Canada. When she was 18, Carr went to San Francisco to study art, after which she returned to Victoria. Emily Carr's paintings were originally in her self-named French Style, but were ahead of her time and not popular. Emily Carr's prints are unique because she was one of the only female painters in North America or Europe who created artworks around aboriginal themes.

The most famous ofEmily Carr's paintings feature totem poles and nature scenes. Carr was also a writer, and her autobiography that provided many insights into her life was published after her death. Emily Carr's art is for sale internationally, and her work is displayed in collections around the globe. Purchase vintage landscape paintings at online auction to inspire joy and appreciation for Mother Earth.

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          • Heinz Laffin, small brown bowl
            Sep. 24, 2023

            Heinz Laffin, small brown bowl

            Est: $200 - $300

            Heinz Laffin was born in Germany in 1926 and immigrated to Canada in 1953. He took night classes at the Vancouver School of Art (now Emily Carr University) studying with Robert Weghsteen among others. There he met Wayne Ngan as well as Leonhard Epp. Laffin and Ngan shared a house in Vancouver for several years and then, in 1967, the two friends moved together to Hornby Island. They jointly purchased a parcel of land and planned to build a communal kiln-equipped studio. The two remained close friends. Heinz Laffin made functional pottery throughout his many decades of creating, and sold it from his Hornby studio, just down the road from Wayne Ngan.

            4th Meridian Fine Art
          • Emily Carr "Old Time Coast Village" Vancouver Art Gallery fine art poster
            Jun. 04, 2023

            Emily Carr "Old Time Coast Village" Vancouver Art Gallery fine art poster

            Est: $60 - $80

            Emily Carr "Old Time Coast Village"is owned and reproduced by the Vancouver Art Gallery.

            4th Meridian Fine Art
          • Emily M. CARR (1871-1945), Attribué à Paysage de forêt
            Apr. 29, 2023

            Emily M. CARR (1871-1945), Attribué à Paysage de forêt

            Est: €5,000 - €6,000

            Emily M. CARR (1871-1945), Attribué à Paysage de forêt Huile sur papier, porte une signature en bas droite 61 x 50 cm Provenance : Collection privée, Bruxelles, Belgique Forest. Oil on paper, signed lower right 61 x 50 cm Provenance: Private collection, Brussels, Belgium

            Louiza Auktion & Associés
          • Emily Carr Print, Wood Interior
            Oct. 22, 2022

            Emily Carr Print, Wood Interior

            Est: $40 - $15,000

            Emily Carr Print, Wood Interior. Paper measures 16.75 x 11 inches W.

            Kavanagh Auctions
          • Emily Carr, Canadian (1871-1945), Raven, ceramic sculpted pot, 2 1/2 x 3 3/4 in. (6 x 9 cm)
            Apr. 27, 2022

            Emily Carr, Canadian (1871-1945), Raven, ceramic sculpted pot, 2 1/2 x 3 3/4 in. (6 x 9 cm)

            Est: $4,000 - $6,000

            Emily Carr Canadian (1871-1945) raven ceramic sculpted pot signed "Klee Wyck" to the base 2 1/2 x 3 3/4 in. (6 x 9 cm)

            Maynards Fine Art & Antiques
          • Emily Carr's "Blue Sky" Giclee Canvas
            Dec. 05, 2021

            Emily Carr's "Blue Sky" Giclee Canvas

            Est: $225 - $275

            Emily Carr's "Blue Sky" giclee canvas reproduction. This canvas is in mint condition, comes gallery wrapped, and has never been framed. Art.

            Oakwood Auctions
          • Landscape Painting Signed E.M. Carr Possibly Emily Carr
            Feb. 27, 2021

            Landscape Painting Signed E.M. Carr Possibly Emily Carr

            Est: $3,000 - $6,000

            Landscape painting Signed E.M. Carr, possibly Emily M. Carr (1871- 1945). She was active/lived in British Columbia / Canada. Emily Carr is known for Rain forest landscape, Indian villages and totem pole painting. Frame measure 15" x 19", Canvas Board 10" x 14".

            RB Fine Arts
          • Emily Carr (CA 1871-1945) Totem Poles print
            Jan. 08, 2021

            Emily Carr (CA 1871-1945) Totem Poles print

            Est: $200 - $400

            Emily Carr (Canadian 1871-1945) Totem Poles with Northern lights giclee print on canvas in gilt frame 24 x 32"

            Merrill's Auctioneers & Appraisers
          • Emily Carr's "Blue Sky" Giclee Canvas
            Jan. 02, 2021

            Emily Carr's "Blue Sky" Giclee Canvas

            Est: $390 - $520

            Emily Carr's "Blue Sky" giclee canvas reproduction. This canvas is in mint condition, comes gallery wrapped, and has never been framed. Art.

            Oakwood Auctions
          • Emily Carr's "Blue Sky" Giclee Canvas
            Dec. 07, 2020

            Emily Carr's "Blue Sky" Giclee Canvas

            Est: $390 - $520

            Emily Carr's "Blue Sky" giclee canvas reproduction. This canvas is in mint condition, comes gallery wrapped, and has never been framed. Art.

            Oakwood Auctions
          • Decor Art - "Misty Leaves" on Barn Board
            Dec. 07, 2020

            Decor Art - "Misty Leaves" on Barn Board

            Est: $200 - $250

            This is a great piece of a close up of a tree and a fence. This has been produced to have texturization throughout the piece, and has a lot of eye appeal. This would work very well in a living room, or a dining room. This does not need a frame, and is ready to hang. This has been done on barn board.

            Oakwood Auctions
          • Emily M. CARR (1871-1945), Attribué à Lac de forêt
            Oct. 24, 2020

            Emily M. CARR (1871-1945), Attribué à Lac de forêt

            Est: €5,000 - €6,000

            Emily M. CARR (1871-1945), Attribué à Lac de forêt Technique mixte sur papier, signée en bas droite 46,5 x 64 cm Provenance : Collection privée , Bruxelles, Belgique Forest lake . Mixed media on paper, signed lower right 46,5 x 64 cm .Provenance : Private collection, Brussels, Belgium.

            Louiza Auktion & Associés
          • M. EMILY CARR, DOGFISH POT, painted ceramic, 2.25 ins x 3.5 ins x 3.5 ins; 5.7 cms x 8.3 cms x 8.3 cms
            Sep. 17, 2020

            M. EMILY CARR, DOGFISH POT, painted ceramic, 2.25 ins x 3.5 ins x 3.5 ins; 5.7 cms x 8.3 cms x 8.3 cms

            Est: $10,000 - $15,000

            M. EMILY CARR DOGFISH POT painted ceramic signed "Klee Wyck" 2.25 ins x 3.5 ins x 3.5 ins; 5.7 cms x 8.3 cms x 8.3 cms Provenance: Private Collection, Ontario Lack of money was a chronic condition for Emily Carr. Gerta Moray writes that “the comforts of material affluence” were never something that the artist enjoyed, explaining that beginning in 1924, “in her search for ways to eke out a living, Carr turned to craft production, taking up rug making and pottery as media through which her interest in native imagery could find a market.” Carr signed her pottery “Klee Wyck” which meant Laughing One, a nickname bestowed upon her by the First Nations people of Ucluelet. Carr writes about her experience as a potter extensively in her autobiography Growing Pains. She herself foraged for the clay, loading it into a pram to take home. There she would build up her objects by hand, losing many during the firings. She describes every moment of the firing as “agony, suspense and sweat.” Carr recalled “The small kiln room grew stifling. My bones shook, anticipating a visit from police, fire chief, or insurance man. The roof caught fire. The floor caught fire. I kept the hose attached to the garden tap and the roof of the kiln shed soaked.” Carr aimed to produce pottery in quantity, as the venture was a commercial one. However, given how difficult it was for her to make them and how few survived the firings, it is not surprising that so few of these objects remain available to present day collectors. The dogfish is a small variety of shark that inhabits the waters of Haida Gwaii. “Dogfish Woman” is a crest belonging to many of the Haida clans, and is related to a story of a female ancestor who could transform herself into a dogfish. This serves as a fitting design for pottery, a craft which requires so much earth and water to create. Literature: Emily Carr, The Complete Writings of Emily Carr, Douglas & McIntyre, Vancouver/Toronto, 1993, page 439. Gerta Moray, Unsettling Encounters: First Nations Imagery in the Art of Emily Carr, UBC Press, Vancouver/Toronto, 2006, pages 277-280. Estimate: $10,000–15,000

            Waddington's
          • Emily Carr, The Pine Tree
            Jul. 26, 2020

            Emily Carr, The Pine Tree

            Est: $50 - $60

            Reproduced from The Pine Tree by Emily Carr, 1935 oil on paper. This piece is currently part of the permanent collecton at the Art Gallery of Hamilton.

            4th Meridian Fine Art
          • EMILY CARR
            Jun. 24, 2020

            EMILY CARR

            Est: $200 - $500

            Serigraph on board. "Church in the Woods". 38 x 24".

            Dominion Fine Art & Antique Auctions
          • Emily Carr's "Blue Sky" Giclee Canvas
            Jun. 02, 2020

            Emily Carr's "Blue Sky" Giclee Canvas

            Est: $390 - $520

            Emily Carr's "Blue Sky" giclee canvas reproduction. This canvas is in mint condition, comes gallery wrapped, and has never been framed. Art.

            Oakwood Auctions
          • Emily M. CARR (1871-1945) Lac de forêt
            Mar. 28, 2020

            Emily M. CARR (1871-1945) Lac de forêt

            Est: €5,000 - €6,000

            Emily M. CARR (1871-1945) Lac de forêt Technique mixte sur papier, signée en bas droite 46,5 x 64 cm Provenance : Collection privée , Bruxelles, Belgique Forest lake . Mixed media on paper, signed lower right 46,5 x 64 cm .Provenance : Private collection, Brussels, Belgium

            Louiza Auktion & Associés
          • Emily Carr's "Blue Sky" Giclee Canvas
            Dec. 28, 2019

            Emily Carr's "Blue Sky" Giclee Canvas

            Est: $390 - $520

            Emily Carr's "Blue Sky" giclee canvas reproduction. This canvas is in mint condition, comes gallery wrapped, and has never been framed. Art.

            Oakwood Auctions
          • Emily Carr's "Blue Sky" Giclee Canvas
            Oct. 27, 2019

            Emily Carr's "Blue Sky" Giclee Canvas

            Est: $390 - $520

            Emily Carr's "Blue Sky" giclee canvas reproduction. This canvas is in mint condition, comes gallery wrapped, and has never been framed.

            Oakwood Auctions
          • Emily Carr's "War Canoe" Giclee Canvas
            Sep. 08, 2019

            Emily Carr's "War Canoe" Giclee Canvas

            Est: $360 - $480

            Emily Carr's "War Canoe" giclee canvas reproduction. This canvas is in mint condition, comes gallery wrapped, and has never been framed.

            Oakwood Auctions
          • Emily Carr's "Autumn Woods" Giclee Canvas
            Sep. 08, 2019

            Emily Carr's "Autumn Woods" Giclee Canvas

            Est: $360 - $480

            Emily Carr's "Autumn Woods" giclee canvas reproduction. This canvas is in mint condition, comes gallery wrapped, and has never been framed.

            Oakwood Auctions
          • Attributed to Emily Carr, 33 x 41 3/8 in. (83.8 x 105.1 cm)
            Jul. 10, 2019

            Attributed to Emily Carr, 33 x 41 3/8 in. (83.8 x 105.1 cm)

            Est: $700 - $900

            Attributed to Emily Carr, a hooked rug depicting a Thunderbird, c. 1915. 33 x 41 3/8 in. (83.8 x 105.1 cm)

            Maynards Fine Art & Antiques
          • Emily Carr's "War Canoe" Giclee Canvas
            May. 18, 2019

            Emily Carr's "War Canoe" Giclee Canvas

            Est: $360 - $480

            Emily Carr's "War Canoe" giclee canvas reproduction. This canvas is in mint condition, comes gallery wrapped, and has never been framed.

            Oakwood Auctions
          • Emily Carr's "Red Cedar" Giclee Canvas
            May. 18, 2019

            Emily Carr's "Red Cedar" Giclee Canvas

            Est: $390 - $520

            Emily Carr's "Red Cedar" giclee canvas reproduction. This canvas is in mint condition, comes gallery wrapped, and has never been framed.

            Oakwood Auctions
          • Emily Carr's "Blue Sky" Giclee Canvas
            May. 18, 2019

            Emily Carr's "Blue Sky" Giclee Canvas

            Est: $390 - $520

            Emily Carr's "Blue Sky" giclee canvas reproduction. This canvas is in mint condition, comes gallery wrapped, and has never been framed.

            Oakwood Auctions
          • Emily Carr's "Autumn Woods" Giclee Canvas
            May. 18, 2019

            Emily Carr's "Autumn Woods" Giclee Canvas

            Est: $360 - $480

            Emily Carr's "Autumn Woods" giclee canvas reproduction. This canvas is in mint condition, comes gallery wrapped, and has never been framed.

            Oakwood Auctions
          • Emily Carr Cedar Forest Interior Gouache
            Dec. 02, 2017

            Emily Carr Cedar Forest Interior Gouache

            Est: $30,000 - $50,000

            Carr, Emily (Canadian, 1871-1945) Cedar forest interior, gouache on paper, measuring 34 by 22.75 inches, in a painted wood frame measuring 41 by 29 inches. Provenance: Purchased by Rebecca Frances “Penna” Drew Taylor, Pittsburgh, PA from Dr. Max Stern, Dominion Gallery, Montreal, Canada.

            Concept Art Gallery
          • M. Emily Carr, KLEE WYCK
            Jun. 27, 2017

            M. Emily Carr, KLEE WYCK

            Est: $100 - $150

            M. EMILY CARRKLEE WYCK8vo., first edition, with signed note, brown cloth boards, Oxford University Press, Toronto, 1941Note:Includes a handwritten note in pencil from Emily Carr to the owner of the book.218 St. Andrews St., Victoria, B.C.Dear Mrs. Mackie,Will you please thank the members of the association in Toronto for their kind wishes and congratulations which I very much appreciated as I appreciate yearly the membership card they send me.I have not sent an exhibit list for some time. Mounting years and poor health make the seeing to shipping details burdensome but I have had a one man show in the Vancouver Art Gallery for the last four successive years so you see I still work in spite of war and indifferent health. Again thank you. Sincerely, Emily CarrEstimate: $100—150

            Waddington's
          • M. EMILY CARR (CANADIAN, 1871-1945)HUNDREDS AND THOUSANDS: THE JOURNALS OF EMILY CARRBOOK (10.8” x 7.8” x 1.5”) - THE EDITION IS LIMITED TO 1000 COPIES, THIS BEING NUMBER 42 (Also included are 12 reproduction prints (Each sheet, 10.5” x
            Feb. 02, 2017

            M. EMILY CARR (CANADIAN, 1871-1945)HUNDREDS AND THOUSANDS: THE JOURNALS OF EMILY CARRBOOK (10.8” x 7.8” x 1.5”) - THE EDITION IS LIMITED TO 1000 COPIES, THIS BEING NUMBER 42 (Also included are 12 reproduction prints (Each sheet, 10.5” x

            Est: -

            M. EMILY CARR (CANADIAN, 1871-1945), HUNDREDS AND THOUSANDS: THE JOURNALS OF EMILY CARR, BOOK (10.8” x 7.8” x 1.5”) - THE EDITION IS LIMITED TO 1000 COPIES, THIS BEING NUMBER 42 (Also included are 12 reproduction prints (Each sheet, 10.5” x 7.5”) PUBLISHED BY CLARKE, IRWIN AND COMPANY LTD. CANADA, 1966

            Waddington's
          • Emily M. Carr, Canadian (1871 - 1945), A Forest Landscape, charcoal, image size: 15 1/4 x 12 1/4 in. (38.7 x 31.1 cm)
            Oct. 19, 2016

            Emily M. Carr, Canadian (1871 - 1945), A Forest Landscape, charcoal, image size: 15 1/4 x 12 1/4 in. (38.7 x 31.1 cm)

            Est: $25,000 - $35,000

            signed and dated 1929 on verso

            Maynards Fine Art & Antiques
          • Emily Carr (1871-1945) Giclee 'Red Cedar' 18x12 unframed with C.O.A. - Folio
            Aug. 20, 2016

            Emily Carr (1871-1945) Giclee 'Red Cedar' 18x12 unframed with C.O.A. - Folio

            Est: -

            Emily Carr (1871-1945) Giclee 'Red Cedar' 18x12 unframed with C.O.A. - Folio

            Auction Network
          • Emily Carr (1871-1945) Giclee "Odds and Ends". Limited Edition with C.O.A. Approx. 12x18" Unframed with Original Issue Folio and Story.
            Aug. 17, 2016

            Emily Carr (1871-1945) Giclee "Odds and Ends". Limited Edition with C.O.A. Approx. 12x18" Unframed with Original Issue Folio and Story.

            Est: -

            Emily Carr (1871-1945) Giclee "Odds and Ends". Limited Edition with C.O.A. Approx. 12x18" Unframed with Original Issue Folio and Story.

            Auction Network
          • Emily Carr (1871-1945) Giclee "Trees in the Sky". Limited Edition with C.O.A. Approx. 12x18" Unframed with Original Issue Folio and Story.
            Aug. 17, 2016

            Emily Carr (1871-1945) Giclee "Trees in the Sky". Limited Edition with C.O.A. Approx. 12x18" Unframed with Original Issue Folio and Story.

            Est: -

            Emily Carr (1871-1945) Giclee "Trees in the Sky". Limited Edition with C.O.A. Approx. 12x18" Unframed with Original Issue Folio and Story.

            Auction Network
          • Emily Carr (1871-1945) 'The Klee Wyck Suite' and 'Into the Light' Edge of the Forest, Haida Village, Grizzly Bear Totem, Trees in the Sky. Matched #2/45 L.E. Complete with Presentation Folio with C.O.A. Image: 16x24" Estimated: $500-$1000.00
            Aug. 16, 2016

            Emily Carr (1871-1945) 'The Klee Wyck Suite' and 'Into the Light' Edge of the Forest, Haida Village, Grizzly Bear Totem, Trees in the Sky. Matched #2/45 L.E. Complete with Presentation Folio with C.O.A. Image: 16x24" Estimated: $500-$1000.00

            Est: -

            Emily Carr (1871-1945) 'The Klee Wyck Suite' and 'Into the Light' Edge of the Forest, Haida Village, Grizzly Bear Totem, Trees in the Sky. Matched #2/45 L.E. Complete with Presentation Folio with C.O.A. Image: 16x24" Estimated: $500-$1000.00

            Auction Network
          • M. EMILY CARR, BEAVER POT, painted ceramic, 3 ins x 3 ins; 7.6 cms x 7.6 cms
            May. 30, 2016

            M. EMILY CARR, BEAVER POT, painted ceramic, 3 ins x 3 ins; 7.6 cms x 7.6 cms

            Est: $10,000 - $15,000

            M. EMILY CARRBEAVER POTpainted ceramicsigned “KLEE WYCK” 3 ins x 3 ins; 7.6 cms x 7.6 cms Provenance:Private Collection, OntarioLiterature:Emily Carr, The Complete Writings of Emily Carr, Douglas & McIntyre, Vancouver/Toronto, 1993, page 439.Gerta Moray, Unsettling Encounters: First Nations Imagery in the Art of Emily Carr, UBC Press, Vancouver/Toronto, 2006, pages 277-280.Note:Gerta Moray writes that “the comforts of material affluence” were never to be something that Emily Carr would experience. Lack of money was a chronic condition for the artist. Moray writes, beginning in 1924: “In her search for ways to eke out a living, Carr turned to craft production, taking up rug making and pottery as media through which her interest in native imagery could find a market.” Carr signed her pottery “Klee Wyck” which meant Laughing One, a nickname bestowed upon her by the First Nations people of Ucluelet. Carr admitted to being conflicted about appropriating native designs and symbols for her pottery. Moray notes “the greatest reward it brought was probably the excuse it gave her to spend time studying and working with First Nations designs.”Carr writes about her experience extensively in her autobiography Growing Pains. She foraged for the clay, loaded it into a pram and trundled home with it. There she built up her objects by hand and lost many to shrinkage during the firings. She describes every moment of the firing as “agony, suspense and sweat.” Carr recalled “The small kiln room grew stifling. My bones shook, anticipating a visit from police, fire chief, or insurance man. The roof caught fire. The floor caught fire. I kept the hose attached to the garden tap and the roof of the kiln shed soaked.” While she aimed to produce these pottery pieces in quantity as the venture was a commercial one, given how difficult it was for her to make them and how few survived the firings, it is not surprising that so few of these objects remain available to present day collectors.

            Waddington's
          • EMILY CARR LANDSCAPE PAINTING
            May. 22, 2016

            EMILY CARR LANDSCAPE PAINTING

            Est: $6,000 - $8,000

            CARR, Emily, (Canadian, 1871-1945): Wilderness Landscape by Stream, Oil/Canvasboard, 10" x 14", signed lower right M.E. Carr, framed, 15" x 19". Carr is one of Canada's leading artist's and who worked with an Expressionist painting style on native subject matter. This was considered ground-breaking because it focused on capturing images of the vanishing First Nations culture of British Columbia. She studied art and was an independent spirit in an era where that was not expected of a woman.

            Burchard Galleries Inc
          • EMILY CARR
            Jun. 02, 2015

            EMILY CARR

            Est: $2,000 - $3,000

            Canadian, 1871-1945, Thunderbird Bell, Polychrome painted red clay, signed "Klee Wyck" in paint, on the underside of the clapper; Restored, 3.5 in, 9 cm, high 3.5 in, 9 cm, diameter

            Walker's
          • M. EMILY CARR, FOREST CLEARING, oil on paper, 36 ins x 24 ins; 91.4 cms x 61 cms
            May. 26, 2014

            M. EMILY CARR, FOREST CLEARING, oil on paper, 36 ins x 24 ins; 91.4 cms x 61 cms

            Est: $150,000 - $200,000

            M. EMILY CARRFOREST CLEARINGoil on papersigned 36 ins x 24 ins; 91.4 cms x 61 cms Provenance:Private Collection, OntarioNote:Carr painted wooded landscapes in oil on regular excursions from her studio in Victoria. Working on manila paper, which was inexpensive and transportable, Carr created sketches like Forest Clearing in oil paints diluted with gasoline to the consistency of watercolour. She also invented a folding drawing board which simplified the handling of her materials. Happy with the results of this method, she remarked that she was "unafraid to slash away because the material scarcely counts. You can just paint and there's no loss with failures. I try to do one almost every day." Carr perfected this technique by 1934, her sketches also brightening in colour considerably. Sketches were finished in one sitting while perched on a camp chair and were not touched up afterward. Forest Clearing exemplifies these exercises, with its tall and wispy trees watching over the clearing and its optimistic colours suggesting that regeneration is near and inevitable. Every inch of the sketch is activated; something for which Carr strove throughout the later 1930s.After 1937, her reputation as a painter in eastern Canada steadily increased as a result of her participation in 14 solo shows prior to her death in 1945. Final significant sketching trips were undertaken in 1938 and 1942 when Carr's health was already failing. Forest Clearing thus dates from the height of the artist's achievements in painting.

            Waddington's
          • EMILY CARR
            Dec. 04, 2013

            EMILY CARR

            Est: $500 - $800

            CANADIAN, 1871- 1945; The Art of Emily Carr; Doris Shadbolt, 1980, Published by Clarke, Kirwin/Douglas & McIntyre. Special edition, cloth boards, leather bound spine with gilt-stamped title, contained in a fitted walnut box, the top inlaid with a carved portrait cartouche of Emily Carr, also included are six offset lithographs of Emily Carr drawings printed by Herzig Somerville in an edition of 250 copies of which this is number 216, signed by Doris Shadbolt. 15 x 17 x 3.5 in, 38 x 43 x 9 cm dimensions of box.

            Walker's
          • Emily Carr Dogfish Motif
            Sep. 22, 2013

            Emily Carr Dogfish Motif

            Est: $1,500 - $2,000

            Dogfish Motif

            Westbridge Fine Art Auction House
          • Emily Carr (Attrib.) Dogfish Motif
            Jul. 18, 2013

            Emily Carr (Attrib.) Dogfish Motif

            Est: $1,500 - $2,000

            Dogfish Motif

            Westbridge Fine Art Auction House
          • EMILY CARR (CANADIAN, 1871-1945)
            Jun. 27, 2013

            EMILY CARR (CANADIAN, 1871-1945)

            Est: $200 - $300

            EMILY CARR (CANADIAN, 1871-1945) INDIAN CHURCH; SAMPSON-MATTHEWS SILKSCREEN; SIGNED IN IMAGE LOWER RIGHT; ALSO SIGNED BY A.J. CASSON LOWER RIGHT (Cond. noted: spotted stains, scratch, tear - see photos) 40" x 25.3" - 101.6 x 64.3 cm.

            Waddington's
          • Emily Carr 1871 - 1945 Canadian oil on paper on
            May. 15, 2013

            Emily Carr 1871 - 1945 Canadian oil on paper on

            Est: $50,000 - $70,000

            Emily Carr 1871 - 1945 Canadian oil on paper on board Forest Interior 22 3/4 x 16 inches 57.8 x 40.6 centimeters signed and on verso titled on the Dominion Gallery label and inscribed with the Dominion Gallery inventory #D4178 Literature:Doris Shadbolt, The Art of Emily Carr, 1979, a similar circa 1936 Untitled oil on paper work, in the collection of the Maltwood Art Museum and Gallery, University of Victoria, reproduced page 214 Emily Carr, Hundreds and Thousands, The Journals of Emily Carr, 2006, pages 265 and 273 Provenance:Dominion Gallery, Montreal The Collection of Dr. John A. MacAulay, Winnipeg Private Collection, Vancouver Emily Carr's depictions of inner forests ranged from solemn to tender and joyous, such as in this fluid, energized oil on paper work. In Forest Interior, painted in a free and expansive manner, Carr is attuned to the pulse of life. The foreground is lush forest undergrowth, which she described in her journal as "a sea of sallal [sic] and bracken, waving, surging, rolling towards you. Green jungle...solid, yet the very solidity full of air spaces." With her technique of oil washes on paper, Carr could work directly in the forest. She captured what she perceived with sweeping brush-strokes, finding "themes everywhere, something sublime...or joyous, or calm, or mysterious. Tender youthfulness laughing at gnarled oldness. Moss and ferns, and leaves and twigs, light and air, depth and colour chattering, dancing a mad joy-dance, but only apparently tied up in stillness and silence. You must be still in order to hear and see." This beautiful painting was once owned by the prominent Winnipeg collector Dr. John MacAulay, whose collection included the extraordinary Carr canvas Wind in the Tree Tops, which Heffel sold for a record price in June of 2009.

            Heffel
          • Emily Carr 1871 - 1945 Canadian oil on paper on
            May. 15, 2013

            Emily Carr 1871 - 1945 Canadian oil on paper on

            Est: $50,000 - $70,000

            Emily Carr 1871 - 1945 Canadian oil on paper on board BC Forest 16 1/2 x 22 3/8 inches 41.9 x 56.8 centimeters signed and on verso inscribed in graphite ""Miss Flora Burns $20.00"" and ""103"" circled Literature:Emily Carr, Hundreds and Thousands, The Journals of Emily Carr, 2006, page 185 Provenance:Private Collection, Victoria, possibly Flora Burns, friend of the Artist Galerie Agnès Lefort, Montreal Private Collection, Ontario Emily Carr's body of forest work is like an opera, sometimes with deep, serious tones, sometimes with light, high passages. In BC Forest, Carr chose to include an open foreground and view of the sky, and to make us aware of the atmosphere of the day. The playful wind makes itself known through the rollicking rhythms in the trees, diagonal lines in the sky and the bent-over tree in the upper left. In the open ground Carr delineates more directional movements - and the whole painting strikes a fine balance between vertical and horizontal rhythms. The whirling gesticulation of the gathering of small conical evergreens creates a joyous atmosphere. Carr wrote in her journals about the "frivolous pines, very bright and green...The wind passes over them gaily, ruffling their merry, fluffy tops and sticking-out petticoats. The little pines are very feminine and they are always on the swirl and dance in May and June." Whatever the mood of the forest setting she sketched in, she strove to strike the true chord of its expression, as nature was as a cathedral to her that she worshipped in.

            Heffel
          • Emily Carr 1871 - 1945 Canadian oil on canvas
            May. 15, 2013

            Emily Carr 1871 - 1945 Canadian oil on canvas

            Est: $80,000 - $120,000

            Emily Carr 1871 - 1945 Canadian oil on canvas Storm Over Grey Forest 16 x 20 inches 40.6 x 50.8 centimeters signed with the estate stamp and on verso signed twice with the estate stamp on the tacking edge and titled on the Dominion Gallery label Literature:Doris Shadbolt, Emily Carr, 1990, the related 1930 charcoal drawing Untitled (landscape with "eye" in sky), in the collection of the Vancouver Art Gallery, reproduced page 165 Provenance:Dominion Gallery, Montreal, inventory #B150 Kastel Gallery, Montreal Sold sale of Fine Canadian Art, Heffel Fine Art Auction House, November 24, 2005, lot 193 Private Collection, USA Emily Carr's small sketchbook drawings of 1929 and 1930 formed the basis for a group of contemporaneous larger drawings that consolidated her ideas for canvases, including the precursor to this work, Untitled (landscape with "eye" in sky). Doris Shadbolt noted that Carr "was still under the spell of the Indian presence and in several of these drawings she expressed the underlying correspondence that she had discovered between the natural environment and the Indian carvings in which eyes, or eyelike shapes, appear between totemlike sections of foliage." In this dramatic work, the eye is present more abstractly - an aperture of light piercing through the storm over the dark forest. The compression of the storm is visible, the wind whipping the branches into wave-like formations. Much of Carr's work in the 1930s was done in oil on paper, which allowed a tremendous freedom of movement. Storm Over Grey Forest embodies that freedom in a rare and thrilling oil on canvas, in which her expressionistic brush-strokes captured the essence of the intangible - the storm's energy, the vapour-laden air and the sensation of intensity in the forest.

            Heffel
          • Emily Carr 1871 - 1945 Canadian oil on paper on
            May. 15, 2013

            Emily Carr 1871 - 1945 Canadian oil on paper on

            Est: $100,000 - $150,000

            Emily Carr 1871 - 1945 Canadian oil on paper on board Strait of Juan de Fuca, BC 22 1/4 x 35 3/4 inches 56.5 x 90.8 centimeters signed and on verso titled on the Watson Galleries label Literature:Paula Blanchard, The Life of Emily Carr, 1987, a similar circa 1936 oil on paper entitled Strait of Juan de Fuca in the McMichael Canadian Art Collection, reproduced, unpaginated plate Emily Carr, Hundreds and Thousands, The Journals of Emily Carr, 2006, pages 54 and 55 Provenance:Watson Art Galleries, Montreal By descent to a Private Collection, Montreal Sold sale of Fine Canadian Art, Heffel Fine Art Auction House, November 24, 2005, lot 139 Private Collection, USA In the 1930s Emily Carr began to use oil on paper, precipitating a new freedom in her work. She mixed her oil paint with turpentine - and even gasoline - to achieve a variety of effects, from the thinness of a watercolour wash to a greater density approaching undiluted oil. The medium's fluidity allowed her to use sweeping brush-strokes, which expressed the sense she had of the movement of a divine energy through nature, whether forest or shore. In 1931, she wrote, "This evening I aired the dogs and took tea on the beach.....all the world was sweet, peaceful, lovely. Why don't I have a try at painting the rocks and cliffs and sea? God is in them all. Now I know that is all that matters." In Strait of Juan de Fuca, BC, there is a sculptural strength in the looming rocky headland, yet through the use of transparent oil washes there is also a quality of dematerialization like that of the surrounding water and atmosphere. In this transcendent seascape, Carr shows her mastery of the medium, permeating form with glowing light and energy.

            Heffel
          • Emily Carr 1871 - 1945 Canadian oil on paper on
            May. 15, 2013

            Emily Carr 1871 - 1945 Canadian oil on paper on

            Est: $150,000 - $250,000

            Emily Carr 1871 - 1945 Canadian oil on paper on board British Columbia Forest 33 1/4 x 22 1/2 inches 84.4 x 57.1 centimeters signed Literature:Doris Shadbolt, The Art of Emily Carr, 1979, a similar circa 1937 - 1940 oil on canvas entitled Sombreness Sunlit, in the collection of The Province of British Columbia, Provincial Archives, reproduced page 131 Charles C. Hill, Johanne Lamoureux, Ian M. Thom et al, Emily Carr, New Perspectives on a Canadian Icon, National Gallery of Canada, 2006, a similar circa 1938 canvas entitled Forest, in the collection of Victoria University at the University of Toronto, reproduced page 232 Emily Carr, Hundreds and Thousands, The Journals of Emily Carr, 2006, pages 263 and 273 Provenance:Mrs. V. LaFontaine, Montreal G. Blair Laing, Toronto Private Collection, Toronto Sold sale of Fine Canadian Art, Heffel Fine Art Auction House, November 24, 2005, lot 138 Private Collection, USA Before 1933, Emily Carr's sketching trips to the woods around Victoria to sites such as Metchosin, Sooke, Cedar Hill and Goldstream Flats had been based in cabins, summer cottages or even a derelict hunting lodge belonging to others. But in 1933 Carr bought a caravan, which she named the Elephant, that she outfitted to suit her needs - with a bed, shelving, boxes for her dogs and monkey, oil stove and a canvas tarp for a cooking shelter. She could then have it towed to various woods and seashore locations around Victoria as a base for her sketching excursions. Not only did this give her more freedom of choice, but more of a sense of immersion in her beloved woods - she wrote of the sensual joys of the sound of rain on the roof and wind in the trees and the sweet scents of cedar and pine. Her favourite seasons to paint in the woods were spring and fall as, in the summer, she found the forest "too leafy" and invaded by people. In the spring of 1935 she was in the Elephant at Albert Head. In September of that same year, she went into the forest again with the Elephant, and experienced warm days and cool ights, with mornings dewy and sometimes foggy. Setting out into the woods to sketch, she would choose a spot, set up her campstool and paints, and wait until form, light and the energy of the woods coalesced into an inspired composition in her vision. Using an innovative medium of oil thinned with turpentine or gasoline, she would capture what she saw and felt with great sweeping brush-strokes. Carr built a vocabulary of form to define the elements of her paintings - such as curves, rings, or spirals - and in British Columbia Forest she used a distinctive horizontal web of whitish strokes in the upper part of the trees, as well as short strokes in the centre right tree trunk, likely indicating broken-off lower branches. This distinctive treatment can be seen in a number of other 1930s works in public collections, such the canvas Sombreness Sunlit, in the collection of The Province of British Columbia, Provincial Archives, and the canvas Dancing Sunlit, in the McMichael Canadian Collection. The foregrou d in this work creates, with its strong but light strokes of paint, the sensation that Carr perceived as a rushing sea of undergrowth. In her journals, Carr strove to express her overwhelming feeling of being a part of the pulse of life in the forest, writing, "There is a robust grandeur, loud-voiced, springing richly from earth untilled, unpampered, bursting forth...an awful force greater in its stillness than the crashing, pounding sea...It is life itself, strong, bursting life." In her striving to capture the essence of energy that she felt pervaded everything she saw in the forest, Carr was dissolving form through her expressionist brush-strokes. Carr had been in contact with Group of Seven painter Lawren Harris, who by this time had turned from landscape to abstraction, and he was encouraging her to do the same. Both artists were highly spiritual, Harris following the tenets of Theosophy while Carr was Christian, and ideas were exchanged about this as well. However, Carr discovered that she was not comfortable with Theosophy and that, for her, abstraction was not the final liberation. It was nature that sustained her spiritually and artistically as nothing else could, so in the end she would never relinquish it.

            Heffel
          • Emily Carr 1871 - 1945 Canadian oil on canvas Old
            May. 15, 2013

            Emily Carr 1871 - 1945 Canadian oil on canvas Old

            Est: $400,000 - $600,000

            Emily Carr 1871 - 1945 Canadian oil on canvas Old Timer 27 x 20 inches 68.6 x 50.8 centimeters signed and on verso titled and inscribed ""$50"" on a label Literature:Doris Shadbolt, Emily Carr, National Gallery of Canada, 1990, listed in the catalogue addendum Emily Carr, Hundreds and Thousands, The Journals of Emily Carr, 2006, page 49 Provenance:Donated by Emily Carr to a charity auction at the Vancouver Art Gallery in aid of the Red Cross in the Second World War, 1942 Acquired from the above by Alice Hemming, Vancouver, 1942, then to London, England, 1944 By descent to the present Private Collection, London, England Exhibited:National Gallery of Canada, Ottawa, Emily Carr, June 29 - September 3, 1990, catalogue #134 Inscribed on verso ""Old Timer by Emily Carr"" and ""Given by Emily Carr for auction (written bids) by the Vancouver Art Gallery in aid of the Red Cross in the Second world war - 1942 - and bought by Alice Hemming at that sale. (E.C. was pleased about this) (She was a regular listener to the CBC programme 'A Morning Visit with Alice Hemming')"" In 1927, Emily Carr's work was included in the Exhibition of Canadian West Coast Art: Native and Modern. The exhibition marked her debut in the larger world of Canadian art and re-launched her career as an artist. In the exhibition she showed a selection of her 1912 First Nations canvases, some of her ceramics and her rag rugs. This recognition of Carr as an artist was of critical importance for her career. She was welcomed as an important participant in the modernist movement in Canadian art and met members of the Group of Seven including Frederick Varley, A.Y. Jackson, Arthur Lismer and, most importantly, Lawren Harris. The reception her work received from fellow artists encouraged her to return full force to painting and subsequently, in the late twenties and early thirties, produced some of her most memorable totemic canvases, such as Totem and Forest and Big Raven, both in the collection of the Vancouver Art Gallery. Harris and Carr began a lengthy correspondence that was a major source of inspiration and support to Carr, working as a relatively isolated figure in Victoria. Harris, while enthusiastic about Carr's totemic work, encouraged her to focus more on the landscape of her native province. Her approach to the landscape was shaped by advice from both Harris and the young American artist, Mark Tobey, with whom she had a workshop in the fall of 1928. Likely at the suggestion of Tobey, Carr devoted a significant period of time to drawing the forests of the province in a series of charcoal drawings that helped her to define spatial volumes more convincingly and paved the way for the series of major landscape canvases beginning in the late twenties and early thirties. These works are among the most abstract and mysterious of her landscapes: Grey, 1929 -1930, in a private collection, Tree Trunk, 1931, and the magisterial Forest, British Columbia, 1931, both in the collection of the Vancouver Art Gallery. These canvases see her grappling with volume, colour and light with a new conviction and power. The last factor, light, was critical for Carr in conveying the inner life of the forest and is key to the success of Old Timer. This exceptional work pulsates with a vibrant light that silhouettes the structure of the tree, defines the volumes of the foliage and makes vividly sculptural the central tree. The whole canvas has a strong upward surge, which reflects the rich abundance and life of the coastal forest. Carr celebrates the continued vitality of this magnificent old tree. We see the 'Old Timer' within what Carr herself described as "A forest done in simple movement, just forms of trees moving in space." Clearly, however, the whole is more than the sum of the parts, more than "forms of trees moving in space". In this exceptional canvas, Carr takes command of her subject matter - the landscape of her beloved province - like no other artist before or after her. Old Timer is a magnificent canvas that reveals the profound beauty and spiritual power of the forests of British Columbia and Carr's special place in helping define our relationship to them. This radiant canvas was generously donated by Carr to support the Red Cross in World War II, and was purchased by Alice Hemming, a radio host at the Canadian Broadcasting Corporation. As the inscription on verso indicates, Carr listened to Hemming's daily radio programme, ""A Morning Visit with Alice Hemming", and was pleased to learn that she was the purchaser. Hemming was also familiar with Carr through their mutual friend Ira Dilworth, who was also a long-term employee at the CBC and a very important figure in Carr's later life - as confidante, literary editor and co-executor of her estate. This rare painting has been passed down within the family until its consignment to Heffel and its return to Canada this year.

            Heffel
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