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Robert J. Wickenden (1861-1931) and the Late Nineteenth-Century Print Revival

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Robert J. Wickenden (1861-1931) and the Late Nineteenth-Century Print Revival Robert J. Wickenden (1861-1931) and the Late Nineteenth-Century Print Revival Susan J. Gustavison A Thesis in The Department of Art History Presented in Partial Fulfillment of the Requirements for the Degree of Master Arts at Concordia University Montréal, Québec, Canada July 1989 © Susan J. Gustavison, 1989 CONCORDIA UNIVERSITY Division of Graduate Studies This is to certify that the thesis prepared By: Susan J. Gustavison Entitled: Robert J. Wickenden (1861-1931) and the Late Nineteenth-Century Print Revival and submitted in partial fulfillment of the requirements for the degree of Master of Arts (Art History) complies with the regulations of this University and meets the accepted standards with respect to originality and quality. Signed by the final examining committee, October 11, 1989 Robert J. Wickenden (1861 - 1931) and the Late Nineteenth-Century Print Revival Page ii A thesis by Susan J. Gustavison, July, 1989, Concordia University, Montréal – transcribed by Ken Watson, 1998 ABSTRACT Robert J. Wickenden (1861-1931) and the Late Nineteenth-Century Print Revival Susan J. Gustavison Despite an extensive exhibition history, favourable critical reception, the respect of his peers in the art establishment, and fruitful relationships with collectors such as Charles Lang Freer, James E. Scripps and Sir William Van Horne, Robert J. Wickenden (1861-1931) has remained a minor artist unclaimed by any of the national histories (British, Canadian or American) to which he has been linked in biographical entries. Robert Wickenden was a paradigm of a minor late nineteenth-century artist. His activity as a printmaker and painter of portraits and landscape was supplemented, and at times supported by his role as a collector, dealer and historian in the late nineteenth-century print revival. Although he remained essentially itinerant throughout his career, the nature and the success of Wickenden’s career strategies was determined by his domicile in each of three countries - France, Canada, and lastly, the United States. These three periods are considered chronologically to demonstrate the interweaving of his material production, primarily his printmaking, with the distribution of art from the late nineteenth century. Although his role as a collector, historian and connoisseur has left some traces in history, his role as a dealer and its impact on collections, both major and minor has remained anonymous. His role as a critic is treated in relation to his own artistic practice. Appendices include a catalogue raisonné of his print production, a brief chronology, and an exhibition list of his works. Robert J. Wickenden (1861 - 1931) and the Late Nineteenth-Century Print Revival Page iii A thesis by Susan J. Gustavison, July, 1989, Concordia University, Montréal – transcribed by Ken Watson, 1998 NOTES ABOUT THIS COMPUTER TRANSCRIPTION In term of content, this copy is true to the original. The text was scanned and then scanning errors (mostly French accents and underlined sections) were manually corrected, proofed and the document manually reformatted. As far as can be determined, originally formatting in terms of underlined and italized sections has been preserved. Original typos have also been for the most part preserved. There may be a few transcription errors still lurking about. The pictures appendixed to the end of the thesis have been placed in a separate file. Font size was reduced so page numbering is NOT consistent with the original (this copy is smaller). The table of contents reflects the revised page numbering. Headers and footers, which were not present in the original, have been added for the sake of clarity. The copy of the thesis from which this copy was made is the property of Martha (Wickenden) MacKellar who graciously lent it to me for my genealogy research. The computer copy was made so that it can reside in the family files and be easily distributed to other family members who may wish to know the details of the career of Robert J. Wickenden. Ken Watson Elgin, Ontario 1998 Robert J. Wickenden (1861 - 1931) and the Late Nineteenth-Century Print Revival Page iv A thesis by Susan J. Gustavison, July, 1989, Concordia University, Montréal – transcribed by Ken Watson, 1998 ACKNOWLEDGEMENTS Research and study, by their inherent nature require many hours of solitary reading, reflection, interrogation, analysis and eventually, writing. These activities do not occur in a vacuum but rather are often instigated and modified by external stimuli. I would like to thank Laurier Lacroix, Associate Professor in Art History at the Université du Québec at Montreal for first introducing me to Robert J. Wickenden. It was his interest in Wickenden’s prints that led me to delve into the career of this paradigmatic artist. I appreciate his supervision of my thesis, his patient and thorough reading of drafts of the text, his suggestions of bibliographic sources and people to contact, and the queries in the margins that helped to clarify my own thoughts and analysis, often when doubt and discouragement were creeping forward. I would also like to thank Brian Foss of Concordia University and Claudette Hould of Université du Quebec à Montréal for their pertinent suggestions and thoughtful reading of the thesis. Thanks are also due to curatorial and research staff at the New York Public Library, Musée du Séminaire du Québec, Musée du Québec, The Montreal Museum of Fine Arts, and the Art Gallery of Ontario among other institutions for making documents and/or art works available to me for consultation. I am also grateful to Gail Flicker, InterLibrary Loans Clerk at Concordia University for her help and patient processing of my many requests for study material. A thesis has a single author but it is not a solitary act. Robert J. Wickenden (1861 - 1931) and the Late Nineteenth-Century Print Revival Page v A thesis by Susan J. Gustavison, July, 1989, Concordia University, Montréal – transcribed by Ken Watson, 1998 TABLE OF CONTENTS Introduction 1 Notes to Introduction 8 Chapter 1. France: The Formative Years 1883-1886 12 Notes to Chapter 1 17 Chapter 2. France: Selling and Creating, Two Aspects of the Late Nineteenth-Century Print Revival 1886-1896 20 Notes to Chapter 2 42 Chapter 3. Canada: New Strategies 1896-1906 55 Notes to Chapter 3 73 Chapter 4. The United States: Prints in Print 1906-1931 84 Notes to Chapter 4 92 Conclusion 99 Notes to Conclusion 101 Bibliography 102 Appendix A. Catalogue Raisonné of the Prints of Robert J. Wickenden 119 Appendix B. Robert J. Wickenden Chronology 132 Appendix C. Robert J. Wickenden Exhibition List 143 Illustrations 180 Robert J. Wickenden (1861 - 1931) and the Late Nineteenth-Century Print Revival Page vi A thesis by Susan J. Gustavison, July, 1989, Concordia University, Montréal – transcribed by Ken Watson, 1998 List of Illustrations LIST OF ILLUSTRATIONS Note: The use of “catalogue” refers to illustrations for the entries in Appendix A, the Catalogue Raisonné of Prints by Robert J. Wickenden. All other illustrations are referred to as “figure”. Height precedes width in the citation of dimensions. FIGURE NUMBERS 1. Ulpiano Checa, Les Deux Ages, n.d., lithograph, dimensions unknown. Montreal, private collection. 2. Robert J. Wickenden, Le Défricheur Canadien/The Canadian Woodsman, 1900, oil, 97.7 x 30.5 cm. Quebec, Musée du Québec (P.2881). (Photo: Musée du Quebec). 3. Robert J. Wickenden, Sir William Van Horne, 1906, oil, 36 x 32 in. St. Constant, Quebec, Canadian Railway Museum (83.681). Photo: Canadian Railway Museum. 4. Robert J. Wickenden, James E. Scripps, 1904, oil, 147.32 x 91.44 cm. Detroit, Detroit Institute of Arts (07.2). (Photo: Detroit Institute of Arts). CATALOGUE NUMBERS 1. Robert J. Wickenden, Approach of Evening/L’Approche du Soir, 1891, transfer lithograph, 13 x 21.8 cm. Detroit, Detroit Institute of Arts (09.1S1249). (Photo: Detroit Institute of Arts) 2. Robert J. Wickenden, A Twilight Pastoral, 1891, transfer lithograph, 14 x 20.2 cm. Montreal, private collection. 3. Robert J. Wickenden, Song of the Adriatic, c.1891, lithograph, 31.2 x 21.2 cm. Montreal, private collection. 4. Robert J. Wickenden, La Fileuse/The Spinner. c. 1891, lithograph 19 x 14.6 cm. Montreal, private collection. 5. Robert J. Wickenden, La Mère Panneçaye, 1893, transfer lithograph, 26.2 x 19.8 cm. New York Public Library (48/50). 6. Robert J. Wickenden, Frederick Keppel, 1893, transfer lithograph, 33.9 x 25.1 cm. New York Public Library. 7. Robert J. Wickenden, Madame Karl Daubigny, 1893, lithograph, 25 x 21.3 cm. Montreal, private collection. Robert J. Wickenden (1861 - 1931) and the Late Nineteenth-Century Print Revival Page vii A thesis by Susan J. Gustavison, July, 1989, Concordia University, Montréal – transcribed by Ken Watson, 1998 List of Illustrations 8. Robert J. Wickenden, Bernard Daubigny, c.1893, lithograph, 30.2 x 27 cm. Montreal, private collection. 9. Robert J. Wickenden, Madame Bégon, 1893, transfer lithograph, 25 x 21.6 cm. New York Public Library (38146). 10. Robert J. Wickenden, La Rentrée du Troupeau/The Return of the Flock, 1893, lithograph, 21.3 x 33.8 cm. Paris, Bibliothèque Nationale. (Photo: Bibliothèque Nationale) 11. Robert J. Wickenden, The Rise of the Harvest Moon/La Lune de la Moisson, 1893, lithograph, 27 x 41.5 cm. Montreal Museum of Fine Arts (Gr.1979.8). (Photo: Montreal Museum of Fine Arts) 12. Robert J. Wickenden, Le Père Jorelle, 1893, transfer lithograph, 29.4 x 23.3 cm. New York Public Library (38147). 13. Robert J. Wickenden, Self-Portrait, 1894, lithograph, 18 x 16 cm. Montreal, private collection. 14. Robert J. Wickenden, Self-Portrait, n.d., lithograph, 18.3 x 15.8 cm. Montreal, private collection. 15. Robert J. Wickenden, Monsieur le Docteur Pierre Vanier, 1894, lithograph, 25.8 x 20.8 cm. New York Public Library (38149). 16. Robert J. Wickenden, Philip Gilbert Hamerton, 1894, transfer lithograph, 46.1 x 34.5 cm.
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