James Henderson: Wicite Owapi Wicasa, the man who paints the old men, documents the first thoroughly researched retrospective of works by the artist and is available for purchase at the Gallery Shop. The 223-page book, priced at $60, traces Henderson’s life and times, and is lavishly illustrated with the artist’s portraits and landscape paintings. Please direct all purchase inquiries to the Gallery Shop at (306) 975 7616.

Texts:

JAMES LANIGAN
Chronology of the Life, Career, Art, and Legacy of James Henderson

DAN RING
James Henderson: A Reflected Life

NEAL MCLEOD
Rethinking Indigenous History: James Henderson’s Paintings As Mnemonic Icons

LYNN ACOOSE
Qu’Appelle, circa 2009

LINDA MANY GUNS
SpiritWarriors of the High Plains

SHERRY FERRELL-RACETTE
Plains Cree Men’s Clothing (1895 – 1926)

SUSAN MCARTHUR
Profiles of Standing Buffalo, Tatanka Najin (1833–1871)

JAMES LANIGAN
Note on James Henderson’s materials and signatures

Publication credits & information:

Directed funding for the research, production, circulation of this exhibition and this book was provided by Museum Assistance Program of the Department of Canadian Heritage,  John M. and Ethelene Gareau, Calgary and PotashCorp. This support is gratefully acknowledged.

© Copyright Mendel Art Gallery, 2010. Essays © copyrighted to publisher and authors.

Editor: Fine Line Editing, Morna Greuel, Saskatoon

Design: Susan Chafe, Winnipeg, MB

Printer: Freisens, Altona MB

Library and Archives Canada Cataloguing in Publication

Henderson, James, 1871-1951
        James Henderson : wicite owapi wicasa / curators, Dan
Ring, Neal McLeod ; essays by Dan Ring … [et al.].

Catalogue of a travelling exhibition held first at the Mendel
        Art Gallery from Sept. 25, 2009 to Jan. 8, 2010.
Includes bibliographical references.
Text in English and French; includes some text in
        Blackfoot, Cree and Dakota.
ISBN 978-1-896359-70-0

        1. Henderson, James, 1871-1951–Exhibitions.  2. Indians of
North America–Canada–Folklore.  3. Indians in art.  I. Ring, Dan
II. McLeod, Neal  III. Mendel Art Gallery  IV. Title.

ND249.H45A4 2009                    759.11                      C2009-903973-7E

This exhibition is the first comprehensively researched retrospective of James Henderson’s portraits, landscape paintings, and commercial illustrations. To paraphrase his earlier biographers, Henderson was fascinated by two subjects: the Indigenous peoples and the landscape of Western Canada, particularly that of the Qu’Appelle Valley where he spent most of his life. This exhibition presents Henderson’s work from the Qu’Appelle Valley, and also from Scotland, British Columbia, Ontario, and Alberta.

Framed by James Lanigan’s comprehensive chronology of Henderson’s life, which will be included in the exhibition catalogue and web site, this exhibition maps a set of aesthetic, social, and historical sketches of Henderson’s life, times, and work. It enables us to understand better our relationship to the construction of history and identity in the Canadian West, and how this understanding is transformed and valued by different generations through time. This project looks at history not just to recover our past but also to inform our present and shape our future. By connecting Henderson’s portraits of Indigenous people and his landscape paintings of the Qu’Appelle Valley and elsewhere to the memories of those who remain, and to the landscape of our times, we retrieve memory and connect the past to the present. Considered in this way, Henderson’s artwork has an enduring social and aesthetic value, and its message never ceases to evolve. It serves as a touchstone for the transformation of knowledge of self, society, and place.
 
The many interviews—with Henderson’s family members, friends, and those who remember the subjects of his Indigenous portraits—complement the archival research, and have become an integral component of the exhibition. Many of the oral histories based on Henderson’s portraits and landscapes of the Qu’Appelle Valley and at the Siksika Nation in Alberta where he painted Blackfoot portraits are presented in the podcasts, web site, and other interpretive materials. Visitors can use web-enabled devices and the interpretive stations in the exhibition space to get inside the art and gain in-depth access to the oral histories, interviews, and comments on individual pieces.
—Dan Ring, Chief Curator, Mendel Art Gallery

Together with a team of researchers, we gathered the narratives of the kêhtê-ayak from various Indigenous nations. Henderson’s portrait paintings became entry points for exploration, and gave us the opportunity to rethread the past through the words of our storytellers. We hope that the stories of the people who James Henderson painted will animate the exhibition with rich details that have been held for generations. Just as his paintings helped create empathy among Canadians of his era, we hope that Henderson’s artwork, layered with the narratives we have collected, will create an awareness of the strength of Indigenous leaders from the past, and that our young people will draw upon this strength to fashion a vibrant future.

Henderson’s artwork provides us with an opportunity to reflect upon the history of Indigenous people and the history of the land, specifically kâ-têpwêwi-sipiy.The classical narrative of mistasiniy (the story of Grandfather Buffalo) and paskwa-mostos awâsis (Buffalo Boy), shared with us by Wes Fineday, marks kâ-têpwêwi-sipiy in Indigenous memory. The story of mistasiniy also threads people to the land through kinship ties and allows us to examine the paintings through an Indigenous lens.

Without the help of the following people, we would not have been able to present the Indigenous oral history in the way that we did: Linda Many Guns, Susan McArthur, Ken Goodwill, Noel Starblanket, Wes Fineday, Max Fineday, Beverly Hungry Wolf, Cecil Crowfoot, Charlie Bigknife, Larry Oakes, Mike Pinay, Hugh Dempsey, Pauline Dempsey, Sherry Farrell-Racette, Glen Gordon, Delbert Pasqua, Agnes Cyr, Clayton Cyr, the kêhtê-ayak from Pasqua First Nation, Stan Cuthand, Connie Grey-Bellegarde, Tanya Harnett, the late Beatrice Lavallee, Natasha Beeds, Wavell Starr, Sandy McArthur, Ken Stowell, Donald McArthur, Hazel McArthur, Horace Bull Bear, Cory Generoux, David Miller, Merelda Fiddler, Alison Brown, Preston LeCaine, Thomas Roussin, Adrian Stimson, Sheila Stevenson, and Annette Cyr. I apologize in advance to anyone I may have omitted inadvertently.
—Neal McLeod, Associate Professor of Indigenous Studies, Trent University

Part 1 (17m 29s)

Dan Ring offers insight into the life and work of James Henderson, exploring his influences and situating his practice in a National art context. James Lanigan refers to a “suite” of Henderson landscape paintings titled, October in the Valley, to illustrate Henderson’s working method in the studio.

Part 2 (8m 58s)

Using the Portrait of Shot Both Sides as a starting point, Linda Many Guns reveals the history of the noted Blackfoot leader and the history of his people.

Part 3 (9m 05s)

Neal Mcleod outlines the historical context of Henderson’s work from an indigenous perspective and reflects on the connection between the Henderson portraits and indigenous memory. Dan Ring and James Lanigan muse on the portrait of Standing Buffalo, one of Henderson’s early portraits and the individual who bestowed upon Henderson the title of Wicite Owapi Wicasa.

Part 4 (5m 42s)

Neal Mcleod provides some information on the process of painting the portraits. He shares information uncovered through his research about Eliza Rider and Oho Owasis.

Part 5 (4m 22s)

James Lanigan outlines the history and provenance of the Portrait of Sitting Bull.

Part 6 (8m 53s)

Linda Many Guns offers insight into the portraits, commenting on the images in regards to historical accuracy and shares stories about the history and exploits of such notable Blackfoot leaders as Crowfoot, Many Chiefs, Big Kidney, Sun Walk, and Weasel Calf.

Part 7 (15m 08s)

The group responds to questions from the public and touch on a range of topics including the University of Saskatchewan commission, portraiture, and the humourous adventures on horseback while conducting research in the Qu’appelle valley.

The research for this exhibition included a great deal of historical research in Canada and Scotland. It included interviews with Henderson’s relatives, conversations with descendents of his portrait subjects, and meetings with elders of the Pasqua First Nation near Regina. While much of the research consisted of scouring books and news archives, the curators also explored the coulees of the Qu’Appelle Valley on foot and on horseback to identify the locations of Henderson’s landscape paintings.

Together, these offer a full retrospective of the work and life of the artist, and provide an in-depth look at the Indigenous context of Henderson’s art. The exhibition will be presented at the MacKenzie Gallery and edited for presentation at the Glenbow Museum and the Blackfoot Crossing Historical Park Interpretive Centre in Alberta.

Photography by Eve Kotyk

Wes Fine Day video excerpt

Max Fineday discusses the importance of traditional stories for young people using the classical narrative of mistasiniy (the story of Grandfather Buffalo) and paskwa-mostos awâsis (Buffalo Boy), shared with us by his father, Wes Fineday. Visitors can access the oral histories and interviews within the exhibition space.

Capitol Studio, 1745 Scarth Street, Regina
Indian Chiefs, Lebret Historical Pageant, August 15th, 1925
Vintage gelatin silver print
18.0 x 71.0
Collection of Saskatchewan Archives Board, Regina SK. R-D178

L-R: Little Sioux, also called Apeschepwot; The Dog, also called Achim; Bangs; White Eagle, also called Wahbikewew; Moneghan; Sugar, Saulteaux, also called Seeseebasquat; Nahpaynin; Standing, also called Nanapowais; Sits in a Heap, also called Squatipew; George Gopher, also called Mistaniquatchas; Rock Thunder, also called Assinniwipeyes; The Bear, also called Masqua;  Red Dog , also called Meekwowachim; T. Fisher, also called Mowmayesew; Day Walker, also called Keeseekowpimotah; The Flag, also called Squahun; The Floor, also called Moostatik; The Swamp, also called Muskego; Frog Leg, also called Ayikepewan; Buffalo Bow, also called Kamostosachappew; The Owl, also called ohôw awâsis.

Read the following article by Sherry Farrell Racette and the archival document from the Regina Leader for more information.

DOWNLOAD Plains Cree Men’s Clothing (1895–1926) by Sherry Farrell Racette

ARCHIVAL NEWSPAPER ARTICLE

La Verendrye Monument In Reply to Challenge

REQUEST OF REDMEN, DURING PAGEANT AT LEBRET UNDER BAR ASSOCIATION AUSPICES, IS ACCEPTED—COMMITTEE IS NAMED BY COL. J. A. CROSS

(Special to The Leader)
(By Staff Reporter)

LEBRET, Sask., Sept. 2. – Deeply interested throngs gathered and watched the touching and dramatic staging of the La Verendrye [page]ant here Saturday, Hugonard Day, at the Industrial School grounds. Many notables of the legal world, Europe, the British Isles, the United States and Canada were there, the guests of the Canadian Bar Association, under whose auspices the historic event was held. More than 1,000 people attended the fete.

Issuing a challenge to their white brethren to erect a monument to Chevalier La Verendrye and their chiefs, the Red Men paved the way for the greatest dramatic incident and climax of the day. Jack Fisher, one of the Metis farmers in the Qu’Appelle Valley, declared the issue on behalf of the Indians and his chief, Chief Rock Thunder, of the Saulteaux tribe. Joe LaRochque interpreted.
‘It will protect the Red Man from being forgotten like the buffalo,’ Mr. Fisher asserted.

Accepts Dictum
J. A. Cross, K.C., M.L.A., former Attorney General, in full ‘big chief’ regalia accepted the dictum of the natives. Col. Cross appeared on behalf of Colonel James McAra, Mayor of Regina, who was unable at the last moment to attend.
Colonel Cross read the acceptance:
‘You Indian braves have spoken well. This day brings home to the palefaces our racial responsibility to the heroic past—both of Redmen and whites in this American continent.

‘Taking up your challenge, Redmen of the Prairies, I submit that this monument to La Verendrye and your chiefs be erected in Regina and in this all-Canadian gathering, I nominate a provincial committee whose duty it will be to organize this monument on a national scale and see the monument erected by 1932.
‘I nominate for this committee, Hon. Judge James McKay, Norman MacKenzie, K.C.; W. M. Graham, Indian Commissioner; George H. Barr, K.C; Father Athol Murray, and myself (meaning the mayor.)’

Eager cries of, ‘Aye, aye!’ answered the question of Colonel Cross: ‘Is the declaration of the mayor your pleasure?’

Indian Statues
Figures on the monument will be Star Blanket, Night Hawk and Sitting Bull, three of Western Canada’s former conspicuous Indian chiefs, along with the renowned explorer-agriculturist, La Verendrye. That the success of the scheme is a foregone conclusion and a matter of time, was intimated Saturday by one of the members of the provincial committee.

Wascana Park, Regina, which is as yet devoid of historic interest, is the spot favored for the monument, it was said. According to present plans, the unveiling of the memorial will be held in conjunction with the World’s Grain Congress, in Regina in 1932.

Leaving the Hotel Saskatchewan at 9:30 o’clock Saturday morning the party, which included members of the Canadian Bar Association and their distinguished guests, proceeded to Lebret by Indian Head, and returned by Fort Qu’Appelle.

Honored at Luncheon
Arrived in Lebret, the bar members were the guests of honor at the Hugonard Day luncheon. It was served in ‘a quaint wee church, no longer given to divine service.’ It is the oldest Christian edifice in Saskatchewan, and was erected by Archbishop Tache on the shores of Qu’Appelle Lake. The church dignitary also erected the cross on the Lebret bluff, a cross similar to that of Cartier’s at Tadoussac, and Maisonneuve’s on Mount Royal.

Just before the pageant began Lord Advocate H. P. McMillan, of Scotland, made the acquaintance of Chief Red Dog, the son of the famous chief Star Blanket.
Withdrawing to the sheltered green where is the monument of Pere Hugonard, Alan Polmaise opened the pageant with his ‘Mots de Bienvenue,’—a word of welcome. Like Le Habitant, so typical in Drummond’s poetry, Polmaise impersonated, with wonderful effort, the French settler and his brother English. Soft strains arose simultaneously from a violin, which an Indian lad was playing.

Colorful Display
Forming a semi-circle, with the monument as the pivot, Indian chiefs and squaws presented a colorful display of the nomadic garb of days long forgotten. They formed a background to the chiefs of the three tribes, who stood out in front, tall, erect, warlike: Chief Red Dog, of the Crees; Chief Rock Thunder, of the Saulteaux, and Chief Ctanding [sic] Buffalo, of the Sioux.
Shortly after Polmaise’s prelude, the chiefs issued their challenge to the white men. They made another request. Chief Pem-O-Tah, brother to the late Chief Star Blanket asked that a reserve be made in the Qu’Appelle Valley for buffalo. This should be done to honor the braves in the ‘Hunting Grounds,’ and the days of war and song.

Indian Lad Plays
Immediately after the acceptance of the challenge by the white men, the Indian lad thrummed on his violin the ever-popular Indian air, ‘There Once Was An Indian Maid.’

Tekahionwake, a beautiful Indian maiden, then recited the thrilling poem of Pauline Johnson (Takahionwake), ‘As Redmen Die.’ Her voice was clear and crisp, and every word was easily heard. That Saskatchewan owns a real Tekahionwake, a double of the immortal Pauline, was a fact brought home very vividly to everyone there. The youthful elocutionist was a bright light in the program. A catchy line was, ‘Whose wigwams sprinkled Katepwe’s shores.’
Turning to the life-size statue of Pere Hugonard, the renowned old Saskatchewan missionary, she paid homage to him in French and English. The braves nearby cast furtive, longing glances at the cold figure, as she chanted,
‘Oh Redman’s Friend, so kind and true;
In whose brave hearts thou livest yet.’

Second Part of Pageant
Moving from the Hugonard monument to the campus of the industrial school, the spectators gazed on the second part of the pageant.

Alan Polmaise carried his listeners back over a vista of years to the first coming of Pere Hugonard. Speaking the philosophy of the French-Canadian heart of the day, Polmaise said of the priest, ‘He’s got so young look on face. She’s pretty tough place, is old Lebret.’ It was feared that the cleric would interfere with reveling frontiersmen, who had ‘Jus’ ’nough to drink, make ’em act like fool … But Pere Hugonard he never say notting.’ With dramatic power, Polmaise held his audience, and the last wish of the Indian evoked applause.

‘When I die and go from earth to the hunting ground, I wish de old cure be with me there.’

Spirit Lives Again
Pauline Johnson’s spirit lived again in the Qu’Appelle Valley with her beautiful Indian poetry which is at once a defence and a historic picture of her race. Polmaise gave a rendition of Tekahionwake’s masterpiece, ‘The Legend of Qu’Appelle.’ Attired in designed buckskin, Polmaise gave a masterly recitation of the Indian classic.

Teepees to the number of 14, in circular line, formed a background. Various Indian designs and legendary sketches on the canvas of the typical braves’ abodes stood out in bold relief.

On northeast hill, where up to a few months ago stood the shrine, a white horse, silhouetted on the skyline, grazed peacefully. A white cross stood thee too, supplanting the razed chapel. Smoke curled up, then flames broke forth atop the sister hill to the north, as Polmaise completed the love poem of Tekahionwake.
At the lake shore, the principals depicted the coming of La Verendrye. Out on the lake four canoes were discerned approaching the shore. The canoes were laden with pigments, ochres and visualized heathen monstrosities that were daubed over the hardy birch bark. These had been designed for the occasion by the master, James Henderson, Fort Qu’Appelle, who was assisted by Edward Sworder, of Fort Qu’Appelle also.

La Verendrye Lands
Decked out in dark velvets and raiment characteristic of the French explorer of the day, La Verendrye was the centre of interest as he landed. The braves welcomed him. He bowed to kiss the earth, and then he and his fellows erected a cross. During this time, one of the voyageurs held upright the flag with a blue field and the fleur de lys. To complete the ceremony, La Verendrye carried a shield, and tacked it to a nearby tree. It bore the inscription, ‘Vive la France.’
Singing songs of their native France, the party cheered, ‘Vive la France,’ ‘Vive le Canada,’ and ‘Vive La Verendrye,’ and the pageant was ended.
Throughout the pageant, the 24 members of the Royal Canadian Mounted Police and six officers facilitated the carrying on of the great life play. J. F. Bryant and W. M. Graham, Indian commissioner, attended to the tourists and the Indians respectively.

Tea was served at Lebret school. The distinguished visitors enjoyed the hospitality of Lebret village folk. The day served to remind Saskatchewan that the Qu’Appelle Valley is the unique treasure trove in the West for Indian folklore. In addition, the valley is the background that will retain for all time to come the memory and spirit of Tekahionwake, Pauline Johnson.

Following the refreshments, the visitors were taken to the new church, an edifice of fieldstone. Inscriptions of welcome were written in French, and contributed to the atmosphere of the day. The inscriptions in the old chapel was the centre of interest during the luncheon. It afforded the legal authorities the opportunity to ‘brush up’ on their knowledge of French.

An incident of the pageant that brought the Redmen memories of the days when the buffalo roamed over the vast plains was the distribution of pemmican from two carcasses Friday night.

Throughout Saturday, the braves, their squaws, papooses, and older children, feasted on the ‘piece de resistance’ of the Redmen of yesteryears, and some of them even dreamed of the day that is to come, according to popular legend among the old men of the tribe, when buffalo will again roam in large herds over the lands that was their ancestors’.

The Leader Post (Regina), September 2, 1925, from a collage of newspaper articles created by Henderson’s housekeeper, Rosie Riess. Courtesy of Diane Morris, Fort Qu’Appelle, SK.

Who calls?
No romantic figure heroically paddles there now.
There’s always an end to this journey,
Always an end of the trail.

poetry then loved the Indian dead
the pastoral gently painted us out

for the sake, in the name of beauty
we die or we disappear

extinguishment by the canon
can take seven generations

seven generations to get to this place…
wintering ground
harvesting common
fishing station
hay flats and picket stands
cottage lots and land claims

time enough to silence the spirits that lived
within our sacred stories
long enough that we can say their names for pay

WE ARE the ones who once belonged to this land,
    Had heard the voices of the spirits and listened to their laws.
Lived upon our mother so that future generations could survive
    And kept the stories that told us how to stay alive.

Lynn Acoose, 2009