Lot #2

Emily Carr
Pot

painted ceramic
incised on underside “Klee Wyck”
1 x 2.75 x 2.75 ins ( 2.5 x 7 x 7 cms ) ( overall )

Sold for $2,300.00
Sale date: November 23rd 2017

Provenance:
Pinney’s, Montreal
Private Collection, Ottawa
Literature:
Maria Tippett, Emily Carr: A Biography, New York, 1982, pages 167 and 176
Emily Carr, The Emily Carr Collection: Four Complete and Unabridged Canadian Classics, Toronto, published posthumously, 2002, pages 17, 27 and 34
Russell J. Harper, Painting in Canada: A History, Toronto, 1977, pages 307-08
Emily Carr created unique ceramics inspired by her time on a Ucluelet Native reserve in British Columbia on the west coast of Vancouver Island, home to the Nuu-chah-nulth people, then commonly known to English speaking people as 'Nootka'. As a young person, Carr was embraced by the community where she was given her Native name, “Klee Wyck,” which loosely translates as “Laughing One.” The small scale, reduction of design to minimalist aesthetics and simple colour palette all give nod to Carr's exposure to and influence of the Nootka People's traditions and artistic expression on her own practice.

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Emily Carr
(1871 - 1945) Canadian Group of Painters

Carr was raised as the youngest of three sisters in a traditional Anglo-Saxon household in Victoria, B.C.. Despite Carr's notoriety for being a strong-willed eccentric, she gained the respect and admiration of Group of Seven members, especially Lawren Harris. Carr and Harris exchanged letters often and she felt he was one of the only people who she could speak freely with about art, nationalism, theosophy and spirituality. Along with several members of the Group of Seven, Carr was one of the founding members of the Canadian Group of Painters.

Educated at the San Francisco School of Art (1889-1895), Westminster School of Art in London (1899-1904), and in Paris (1910-11), Carr introduced French Modernism to British Columbia. The fauvist aesthetic Carr had adopted while abroad was far from the traditional landscape paintings that dominated the western Canadian art scene at the time. Her use of bright colours and her disinterest in detail was so new to Victoria that she did not gain much local appreciation until her later years. Despite her lukewarm praise at home, Carr received generous reviews in Paris and this kept her motivated. English teacher Ira Dilworth, American abstract painter Mark Tobey, and art dealer Max Stern were some of Carr's key supporters and who recognized her contribution to the Canadian art scene. Eventually, the inspiration she drew from European avant-gardism melded with the graphic simplicity and symbolism of Native American totems to create some of her best known artworks.