Carr's "Blunden Harbour'Home
| Français | Introduction
by Maria Tippett
Pages 1 | 2
1 New York: G. P.
Putnam's Sons, 1969, p. 208.
2 Ibid., p. 208. For the relationship of photography and art
see Van Deren Coke, The Painter and the Photograph (Albuquerque:
University of New Mexico Press, 1964).
3 Peter Mellen, The Croup of Seven (Toronto: McClelland and
Stewart Ltd., 1970), p. 74.
4 Flora Hamilton Burns, "Emily Carr and the Newcombe
Collection," The Beaver (Summer 1962), pp. 31, 32.
5 British Columbia Provincial Museum, Ethnology , and Archeology
Division, The Newcombe Collection, photograph #258. I am indebted
to Peter Macnair and Dan Savard for their assistance.
6 Tsatsinuchomi is one of six photographs in the Provincial
Museum which can be attributed to Carr for reason of their very
close similarity to specific paintings by the artist.
7 I am thankful to Mr Charles Hill, Assistant Curator of
Post-Confederation Art at the National Gallery of Canada for
informing me of the X-ray.
8 National Gallery of Canada Library, Carr to Brown, 29 April 1928.
9 Ibid., Carr to Brown, October 1928.
10 Special Collections, University of British Columbia, Nan Cheney
Collection, Emily Carr to Nan Cheney, 11 November 1930.
11 No listing of pictures from Carr's 1939 Seattle solo exhibition
is extant in either Seattle newspaper reviews of the exhibition or
in catalogue form from the Seattle Art Museum.
12 Emily Carr, Hundreds and Thousands (Toronto: Clarke, Irwin & Company Limited, 1966), pp. 26, 27.
13 R. H. Hubbard, The Development of Canadian Art (Ottawa:
The National Gallery of Canada, 1964), p. 104; Art Gallery of
Ontario Library, H. Mortimer-Lamb to Barbara Swann, 14 July 1945,
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