Sold for: $58,500

PROVENANCE
Galerie Royale, Vancouver
Private Collection, Vancouver
Sold sale of Fine Canadian Art, Heffel Fine Art Auction House, Novemeber 28, 2013, lot 142
Private Collection, Vancouver

Experiencing social and artistic stagnation in Victoria, which at that time did not have an art gallery or art society, Emily Carr leapt at the chance when she was offered a teaching post at the Vancouver Ladies’ Art Club in 1906. Vancouver, although greatly occupied with the growth of commerce, at least had an art association, and exhibitions were being held through the Studio Club. Vancouver’s harbour was bustling with prosperity, and the shores of Burrard Inlet and Coal Harbour were crowded with docks, shipping facilities and packing houses. As it turned out, Carr was too much of an individualist to tolerate the genteel approach that society ladies expected in her teaching, so she soon left, opening a studio at 570 Granville Street where she gave her own lessons. She also taught at two private schools in North Vancouver. These ventures turned out to be a rollicking success, and Carr derived much satisfaction from her teaching. However, the teaching cut into her painting time in the city, although she sometimes painted alongside her students, or on summer holidays in locations around Vancouver such as Stanley Park. Thus watercolours from this period are rare.

The response to Carr’s painting in Vancouver was positive, and in 1908 she joined other artists to form the British Columbia Society of Artists, exhibiting with them regularly, and her work was purchased by collectors. Carr remained in Vancouver until July 1910, when she left for a pivotal trip to France.

A very fine work from this time, Gore Avenue Slip (the street is named after an owner of the Vancouver Improvement Company) has strong colour, shimmering reflections in the water, an atmospheric sky over the North Shore mountains and a dock replete with interesting details. A tugboat, sailboats, horses with a cart and a group of workers, possibly Asian fishermen, gathered in one of the boats reflect everyday activities at the dock. As well as being an accomplished and detailed watercolour, it is a historical document – the North Shore is as yet sparsley populated, the wooden sheds on the dock indicate the simplicity of structures on the waterfront at this time, and the painting reflects Vancouver’s history of immigrant workers. Colouration is bright and fresh, with cool and warm contrasts included in Carr’s palette. Washes are deftly handled, capturing the coastal atmosphere in this superb watercolour.

All prices are in Canadian Dollars