Subseries

This subseries contains correspondence between Clarence A. Gagnon and Montreal art dealer William Robinson Watson. There are a total of 37 letters, 18 of which are written by Watson. There is 1 handwritten letter from Gagnon, while the other 18 are typed copies of letters he sent. The correspondence covers the period from August 12, 1925, to December 27, 1935.

Although the two men appear friendly, their correspondence primarily concerns professional matters. When Gagnon was living in Europe, Watson passed on the latest news of the Canadian art scene, discussing current exhibitions and the other artists in his circle. Gagnon's letters often addressed technical matters. For example, he very carefully explains how to clean his paintings that have been in storage for a long time, without damaging them. He also takes a great interest in how his works are framed and complains about the poor quality of the art materials he finds in Europe. In addition, he makes recommendations about how to hang and illuminate the paintings on display at Watson's gallery.

In a larger sense, the correspondence between Gagnon and Watson chronicles the new direction that the latter was trying to take his gallery. Initially specialized in European works, Watson began promoting Canadian art in the 1910s. His letters illustrate that these efforts were bearing fruit as he recounts selling several paintings by artists like Marc-Aurèle de Foy Suzor-Côté, Robert Pilot, Frederick S. Coburn and Maurice Cullen. They also reveal that, as part of this extensive project, he relied heavily on the paintings provided by Gagnon. Several letters report bank transfers carried out following the sale of Gagnon's works. Similarly, Watson's correspondence documents him encouraging the artist to get away from the excitement of life in Paris and its numerous attractions, like lively evenings at the Café du Dôme, in order to find a peaceful environment more conducive to work. A poem sent by Gagnon describes the spirit of this legendary café, a meeting place for artists and art connoisseurs in the Montparnasse district. Furthermore, in their correspondence, the two men reminisce about the memorable evening they enjoyed there during one of Watson's visits to Paris.

As an established artist, Gagnon stayed in contact with Canadian institutions. This correspondence shows that he acted as an intermediary, looking for works of potential interest to what he calls the Toronto Museum (probably the Art Museum of Toronto, today the Art Gallery of Ontario) and the National Gallery of Canada. Gagnon also recounts an incident in which he clashed with Philippe Roy, Canada's High Commissioner to France in Paris, who wanted to hire him to decorate the lobby of the House of Canadian Students, a commission the artist refused after Roy failed to offer adequate compensation.