The pencil sketch of Kalugwis is likely the only Carr work of that village that survives* and it provides an important reference for Phillips' House of the Gulls and Shacks on the Beach.
To add to the viewer's challenge, Phillips woodcuts are mirror images of his field sketches. He would have been sketching from a position in the lower right field of Carr's drawing.
One work of Carr's which is labeled "tribe Klowatsis Village Karlukwees" is actually the house of Sam Charlie at 'Mi'mkwamlis. This house is also the subject of Phillips' Mamalilicoola.
Chief Jack Peters, Da'naxda'xw tribe. Macnair, personal communication, Victoria 1978
*Two finished oils of a welcome figure (see Doris Shadbolt, The Art of Emily Carr: "The Welcome Man" and "Silhouette No.2", figures 64 and 65) are attributed to Kalugwis village. Photographs reveal that this figure actually stood at tide level on the beach at 'Mi'mkwamlis.
"Karlukwees provided many subjects for painting. In fact, never have I seen a more delectable sketching ground. We had penetrated an arm of the sea, the open sea seemed far away, for its flowed only in narrow channels, between an immense number of islands. I regretted leaving the coast, and I long to return."
Phillips Wet Paint, n.d.:106
"That's my village, Kalugwis! You see that leaning pole with the ladder against it? When we gave a potlatch a man, our Counter, stood at the top and counted the blankets that we gave to the Chiefs so that all would know how many we gave away. I know the names of all the houses and the Chiefs who own them. "
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Chief Peter S. Smith,
Lawit'sis tribe, when he saw Phillips' colour woodblock print; Macnair, personal communication, Victoria 1969.
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