One sketchbook with 30 drawings by Emily Carr. The drawings are of First Nations designs and landscapes including Alert Bay dating from 1930 to 1939. The drawings are copied from illustrations in Franz Boas, Primitive Art, published in Oslo, Norway, 1927. Carr copied them as a means of familiarizing herself with the forms and artistic conventions of First Nations monumental art of the Northwest Coast of British Columbia. Information matching each sketch to a page in Primitive Art was provided by Carr scholar Dr Gerta Moray and is filed in the documentation file for PDP05647.
One sketchbook comprising 38 sketches made while on a trip to Ottawa in 1927 when she met members of the Group of Seven. Drawings are of objects on display in the collection of the National Museum, particularly those with Northwest Coast aboriginal designs that Carr copied for reference. Carr's notes regarding colours and design aspects are also present on the drawing pages.
Sketchbook with drawings from Carr's 1928 sketching trip. Includes monumental poles, village sites, landscape and forest forms. Geographical areas are the Nass River and Haida Gwaii, with emphasis on Skedans village site.
One sketchbook with 9 pages of drawings both watercolour and graphite. All are untitled so titles are based on subject matter. Originally the sketchbook would have held many more pages. The back cover is not extant.
One sketchbook with 130 drawings by Emily Carr, several pages of written text including lists, poems and commentary. This book appears to primarily document her time in St. Ives in Cornwall, outside the hours of her formal art schooling there.
One sketchbook with 21 drawings by Emily Carr. The drawings include figure studies, cartoon drawings and document activities in 1902 at art school in Bushey, Hertfordshire, England. They do not include her 1901 sojourn in Bushey. Some cartoon sketches may convey domestic incidents while boarding in private homes and include incidents concerning her landladies. One sequence appears to date from after her return to Victoria, 1904. There are also a number of poems written by Carr, notes and text that provide context for these and other sketches in the Carr fonds. The sketches include cartoon drafts for other finished works.
One sketchbook with 32 drawings by Emily Carr and 6 blank pages. The drawings are all untitled and have no dates applied. They have been dated by Carr scholars as between 1930 to 1939. The sketches include brief unfinished graphite impressions, stylistic landscapes and forest interiors and some First Nations subject matter. At times the pages hold more than one sketch.
One sketchbook with 43 drawings by Emily Carr. The drawings appear to have been created on her 1929 trip up the west coast of Vancouver Island to Nootka Sound and another in 1930 to Quatsino Sound. They include sketches of landscapes, settlements, beaches, and stylized interpretations of forests and trees, along with a handful of copies she made of First Nations designs on the Captain Jack pole at Yuquot. Several pages have notations about colour, geographical locations or descriptions of scenery.
One sketchbook containing 54 pages of drawings or sketches by Emily Carr. The drawings and watercolour sketches principally relate to her 1928 trip to the Gitxsan villages of Gitanyow (Kitwancool), Gitwangak (Kitwanga), Kispiox and other locales in the vicinity and include images of totem poles, villages and landscapes, her renditions of First Nations design motifs.
One illustrated journal or "funny book" titled "Sister and I From Victoria to London Memoirs of Ods and Ends" by Emily Carr covering her trip from Victoria B.C. to London, England en-route to art studies in France. The images depict humorous events as the sisters travel by rail across Canada to Quebec City where they board The Empress of Ireland across the Atlantic Ocean to Liverpool, and then on to London. Places in Canada include Victoria, Vancouver, Sicamous, Glacier House, Edmonton, Calgary, Medicine Hat, Winnipeg, Montreal, Quebec City.
One sketchbook comprising 26 sketches made while on a trip to Ottawa in 1927 when she met members of the Group of Seven. Drawings are of objects on display in the collection of the National Museum, particularly those with Northwest Coast Indigenous designs that Carr copied for reference. Carr's notes regarding colours and design aspects are also present on the drawing pages.