Illustration study of Page [64] "Sanctuary in the Wilderness" for The Holy Experiment: Our Heritage from William Penn, 1644-1944 [Philadelphia: Cogslea Studio, 1950]
Date
c. 1950Medium
Graphite on traing paper with framing lines in graphiteCredit Line
Gift of the Pennsylvania Academy of the Fine Arts, 2015Dimensions
14 3/4 x 18 1/2 in.Description & Inscriptions
[lower right in graphite]: models [to the right of "models" in graphite]: Cyrus Wicker / Reba Whelens [?] / Aurelio Giorni / Edith Emerson / Mary Nixon / Geo d T; [below the names of models in graphite: calculations of hours, time and days]
Three of the individuals noted as models are not names frequently associated with Oakley. It is likely she drew upon earlier recollections of them for this drawing.
Born in Michigan, Cyrus French Wicker (1882-1968) was educated at Yale, New York Law School and Oxford as a Rhodes Scholar. Wicker served as private secretary to the American Ambassador to Germany in 1909 and then spent the next two years in Morocco, in diplomatic service and then as a member of the country’s Board of Public Works. By 1913, Wicker returned to diplomatic work, serving as secretary of the U.S. legation to the Pan-American Union. In later years, he pursued his hobbies of aviation and recovering sunken treasures. Oakley’s acquaintance with Wicker extended back at least to 1913. That year she showed her portrait drawing of him at the 11th Annual Water Color Exhibition held at PAFA.
Reba Whelen is likely Rebecca H. Whelen (b. 1877), a daughter of Kingston G. and Mary H. Whelen, of Merion, London and Philadelphia. Her father was a partner in a public accounting and auditing firm in Philadelphia and was on the board of PAFA. Rebecca was herself part of the art world. She wrote at least one article for the Fine Arts Journal (May 1913)—an extensive review of PAFA’s annual exhibition of paintings and sculpture. Oakley participated in the show and received Whelen’s praise for “The Tragic Muse,” her portrait of Florence Earle Coates. Whelen described the painting as “free and original in treatment—a departure from the hackneyed portraiture style of work.” (p. 321) Whelen herself was the subject of a portrait by PAFA instructor Thomas Anschutz, and entitled “A Rose” (1907)
Florence Earle Coates is likely the link between Oakley and Aurelio Giorni (1895-1938). Giorni was an accomplished pianist and composer. Born in Italy, he immigrated to the United States in 1914, where he first settled in Philadelphia. Although New York City would become his primary residence, Giorni also kept a home in Philadelphia, for the convenience of teaching the many students he had there. He also maintained a relationship with Coates. She provided the words to four of his songs.
Three of the individuals noted as models are not names frequently associated with Oakley. It is likely she drew upon earlier recollections of them for this drawing.
Born in Michigan, Cyrus French Wicker (1882-1968) was educated at Yale, New York Law School and Oxford as a Rhodes Scholar. Wicker served as private secretary to the American Ambassador to Germany in 1909 and then spent the next two years in Morocco, in diplomatic service and then as a member of the country’s Board of Public Works. By 1913, Wicker returned to diplomatic work, serving as secretary of the U.S. legation to the Pan-American Union. In later years, he pursued his hobbies of aviation and recovering sunken treasures. Oakley’s acquaintance with Wicker extended back at least to 1913. That year she showed her portrait drawing of him at the 11th Annual Water Color Exhibition held at PAFA.
Reba Whelen is likely Rebecca H. Whelen (b. 1877), a daughter of Kingston G. and Mary H. Whelen, of Merion, London and Philadelphia. Her father was a partner in a public accounting and auditing firm in Philadelphia and was on the board of PAFA. Rebecca was herself part of the art world. She wrote at least one article for the Fine Arts Journal (May 1913)—an extensive review of PAFA’s annual exhibition of paintings and sculpture. Oakley participated in the show and received Whelen’s praise for “The Tragic Muse,” her portrait of Florence Earle Coates. Whelen described the painting as “free and original in treatment—a departure from the hackneyed portraiture style of work.” (p. 321) Whelen herself was the subject of a portrait by PAFA instructor Thomas Anschutz, and entitled “A Rose” (1907)
Florence Earle Coates is likely the link between Oakley and Aurelio Giorni (1895-1938). Giorni was an accomplished pianist and composer. Born in Italy, he immigrated to the United States in 1914, where he first settled in Philadelphia. Although New York City would become his primary residence, Giorni also kept a home in Philadelphia, for the convenience of teaching the many students he had there. He also maintained a relationship with Coates. She provided the words to four of his songs.
