Emily Carr Victorian-era journal up for auction

A humorous, illustrated account of Queen Victoria's funeral proceedings, created by Canadian art icon Emily Carr, is one of the more unusual lots up for auction this spring in Vancouver.

A lot simply titled The Queen's Funeral capturing the monarch's funeral procession in a journal of seven simply illustrated pages is estimated to sell for more than $10,000, but thats a modest sum for a work by the iconic WestCoast artist.

The illustrations show thatCarr, living in London at the time, was not the typicalgenteel Victorian lady. Meanwhile, the journal itself offers clues into Carrs personal life at the time.

Its a fascinating look into her life and history, said Robert Heffel, vice-president of Heffel Fine Art Auction House.

B.C.-born Carrhas always been a collected and beloved Canadian artist for her striking totem pole paintings and enchanting illustrations of her travels abroad. But a lesser known fact is that Carr was also a talented writer, as seen in this humorous journal narrating one memorable day in London.

The journal comes from theClarke family, which founded the publisher Clarke, Irwin and Company and released several of the artist's books. According to Heffel, the family acquired the journaldirectly from Carr or Carrs estate. Though the firm never published the journalin its entirety, it did use one illustration for the first edition of Carrs novelGrowing Pains.

From Victoria to Victorian London

Carr made the journal when she was studying art and living at a ladies boarding house in London in 1901, the year of Queen Victoria's death.

According to the rhyming prose in the journal, Carr left the boarding house with her roommate, Kendal, to try to see the funeral procession, but it's a day when nothing goes according to plan. The pair are kicked off a trolley for not paying the fare, then engage in a fight with a police officer.

"Kendalpounded the poorBobbeywith all her puny might, Carr writes.

When they finally reach the procession grounds, the friends turn out to be too short to see over the massive crowds and, ultimately, are only able to spot onefuneral pall and the Kaiser.

After a day of standing in the cold streets, Carr returned home sick. In the journal, she vows: mid a crowd in London, we would never go again.

A Second Copy

"These types of journals fit into her overall career, even though they are more rare. They are a part of putting her life into context, said Heffel.

Though rare, it turns out The Queen's Funeral isn't quite one of a kind but the second to come to light in recent years.

Unknown to Heffel, anotherjournal with nearly identical drawings and inscriptions was brought to the Royal BritishColumbia Museum two years ago after decades on the other side of the world.

That journal belonged to Beatrice Hannah Kendal, the roommate with whom Carr spent that memorable day. Kendal gave it to her niece in Zimbabwe, who eventually brought it to Vancouver for an Emily Carr exhibit.

''If Carr liked what shed done ...it wasnt beyond her to repeat it in a close fashion and give it to someone else. And thats probably what happened withTheQueens Funeral-IanThom, Vancouver Art Gallery

Heffel wasn't the only one unaware of the practically identical journals. It was also a surprise to IanThom, senior curator at the Vancouver Art Gallery.

However, Thom who knewof Kendal's version says thatmaking copies of paintings or illustrations wasnt uncommon for the artist.

If Carr liked what shed done or felt that it was accessible, it wasnt beyond her to repeat it in a close fashion and give it to someone else. And thats probably what happened with The Queens Funeral, he told CBC News.

Still, this is a unique case because Carr was known to replicate paintings, not journals, he added.

Unlike many of her other journals, The Queens Funeral is quite short and would have been easy for Carr to replicate. But she must have valued her roommate a great deal if she madeKendal a version, Thom said.

Despite subtle differences in the illustrations and text in the twin journals, it is virtually impossible to tell which is the original and which is the copy.

Heffel suggested that Carr may have made both journals at the same time. Thom said he believed the journal from the Clarke family (the one up for sale) would have been the one used in Growing Pains.

As for authenticity, Heffel has no doubts that both were created by Carr and isnt concerned the existence of a copy will depreciate the value of the journal at auction.

"For me, it adds to the history. I think its fascinating, in a good way, Heffel said.

"The fact that ones in a museum continues to make both pieces rare.