James Henderson | Wicite Owapi Wicasa » Early Works

CPR Locomotive in Winter

admin — Tue, 27 Oct 2009 15:25:33 +0000

By fall of 1910, Henderson was providing illustrations for a monthly magazine, The Trail, first published in Regina, and then in 1911, in Winnipeg. The Trail was profusely illustrated and featured political articles related to farm and industrial concerns, fiction, including murder mysteries and tales with dramatic Western themes, as well as articles on Indiginous peoples, poetry and humour. A typical magazine of its time, The Trail focused on Western development and Boosterism; many of the full-page advertisements were for real estate and boomtown expansion. Henderson’s first signed graphic work appears in the September, 1910 issue and continues until late 1911, when the magazine ceased publication. During that time, he was the chief graphic artist, contributing colour covers, frontispieces and the majority of the lithographed illustrations, which were, with few exceptions, in black and white. Henderson’s colour covers for The Trail, such as the dramatic winter train scene for the February, 1911 issue, were initially rendered in gouache and then produced as an offset lithograph for the magazine.

-Dan Ring

James Henderson (from left)

CPR Locomotive in Winter, c. 1910-11
gouache on card
27.5 x 20.0 cm
Collection of James Lanigan, Calgary, Alberta.

CPR Locomotive in Winter (Cover of The Trail magazine, February 1911), 1911
modern print
Courtesy of the Manitoba Legislative Library, Winnipeg.

Plan for Winnipeg

admin — Thu, 03 Sep 2009 17:53:42 +0000

This small halftone image was found in Henderson’s studio. The original, which has not been located, was a 60 x 48 in. presentation drawing, most likely by Henderson for the Regina architectural firm of Clemeshaw and Portnall, the firm awarded the design contract for the new Winnipeg City Hall in 1913; however, this building was never built due to the war. Both architects were Henderson’s close friends and colleagues in Regina and this plan was likely connected to their projects in Winnipeg from 1912–13, which also included the competition for the new Legislative Buildings, in which their design placed second. This drawing would have been done in 1912 or 1913, and was most likely used as a reference for discussion in meetings to further the architects’ proposals. The image shows an incredible level of detail and in its use of a bird’s eye view and incorporation of multiple vanishing points, it embodies both the principles of Boosterism and the City Beautiful movement, which favoured axial planning with careful management of vistas and buildings in the style of the École des Beaux-Arts. These buildings or bridges were picturesque, situated at the dramatic termini of wide, tree-lined boulevards. Essentially, this drawing is an architectural fantasy that has as its focal point the Legislative Buildings, which were started in 1913 but not built until 1920. These buildings are approached by a grand boulevard and flanked by two major streets. Between these streets and the main approach are what appear to be large symmetrical oval halls, which are very much like the winning plan by Clemeshaw and Portnall for City Hall, minus the tower. Behind these buildings are two circular structures and a neo-gothic church and office buildings. The plan also depicts actual buildings, such as Union Station and the Fort Garry Hotel, clearly seen at the left. Behind them the great city spreads in all directions to the horizon, bound by the snaking Assiniboine River with plumes of smoke arising in the distance, symbols of commerce and industry that was the basis of the city’s wealth.
-Dan Ring

James Henderson
Winnipeg under the proposed scheme will become one of the most superb capitals of Canada, c. 1913
Newspaper clipping
15.5 x 17.7 cm
Courtesy of Diane Morris, Fort Qu’Appelle, SK.

Regina Beach

admin — Fri, 11 Sep 2009 15:37:13 +0000

Regina Beach, 1915, represents the newly developed resort town of Regina Beach, 30 kilometres north of Regina. This work, like his commercial work for The Trail magazine, was initially rendered in gouache that could then be easily translated into commercial prints or posters through the offset process. Its flat forms, clear bright colours, and highly detailed rendering suggest that it may have been intended for a promotional poster for the development of Regina Beach, which could be easily reached by rail from Regina. The bustling sunny scene is characteristic of the boosterism mentality of the period and reflects Henderson’s commercial training and the interests he served. Although further comparative research from photographic documents of the same scene is necessary, it is not out of the question that this work is less a documentary of an existing place than a promotional fantasy. The subtext of this work is less cheerful than the scene itself. The reality was that a railway spur was run from Regina to Regina Beach to provide for the expanding demand for leisure time and space for the growing population of Regina. In the process, Reserve land was appropriated, further displacing the people who had once lived here for centuries and effectively cutting them off from the resort area.
-Dan Ring

Regina Beach, 1915
Gouache on paper
71.1 x 95.3 cm
Collection of Dr. Lloyd Barber and Muriel Barber, Regina Beach, SK.

The Camera Products, Vancouver, BC
Regina Beach, Regina, Saskatchewan, c. 1915
Postcard
9.0 x 14.0 cm
Courtesy of James Lanigan, Calgary, AB.

Address to the Prince of Wales from the Province of Saskatchewan

admin — Fri, 11 Sep 2009 14:20:44 +0000

In 1919, Henderson completed two more important commissions, one for the Province and one for the City of Regina. These are dated October 4, 1919, and commemorate the visit of Edward, Prince of Wales, to Regina. The City commission features the heraldic shield of Britain, and the text is flanked on the left by a drawing of Britannia holding a British flag. At bottom centre is the heraldic shield of the Province of Saskatchewan, with an allegorical figure of plenty with a cornucopia on the right and industrial workers, soldiers and Regina City hall on the left. The text includes such sentiments as, ‘It is our ambition and our pride to create here a virile British citizenry worthy of the product of our soil [referring to hard wheat], loyally devoted to their gracious majesties.’ The provincial document is even more elegant, with the text and figures framed by a finely drawn architectural frame with a base and pilasters. At the top, a semi-circular pediment encloses a group of figures including ‘grain growers, mixed farmers, soldiers, munition workers, Red Cross, women’s organizations, and all of them are grouped around Britannia, whose figure rises from the centre of the group,’ evoking the Great War and the sacrifices of the Dominion. At the bottom, in niches in the base, are two drawings: on the left, an Indigenous man riding bareback and chasing the buffalo over the plains, and on the right, settlers farming with machinery. These twinned themes—past and present, the progress of western civilization, and the evocation of a romanticized past—are key to Henderson’s aesthetic and to his later career as painter of Aboriginal portraits. The newspaper article quote below gives a detailed picture of these two manuscripts and their importance at the time.
-Dan Ring

Photographer unknown
Address to the Prince of Wales from the City of Regina, 1919
Vintage silver gelatin print
25.3 x 20.3 cm
Collection of the MacKenzie Art Gallery, Regina, SK.

from an uncited newspaper article, October 1919:

Addresses to Prince Shown in City Now

Government Parchment Attracts Much Interest

DISPLAYED IN GLASGOW HOUSE

J. HENDERSON, LOCAL ARTIST, WORKS OUT DESIGN IN LARGE PANELS

Keen interest is being created by the addresses to be presented to His Royal Highness the Prince of Wales by the provincial government and the city of Regina. Both addresses were placed on display in the Glasgow House windows today where they are exciting the admiration of large numbers of people.

Artist Congratulated
The addresses have been illuminated in most artistic designs by J. Henderson, the well-known local artist, the central idea in both of them being the war efforts of the province and the city. The ideas have been elaborately worked out in groups of figures painted with a master’s hand. Mr. Henderson has lavished his work and talent on the addresses, and from many who have examined them he has been the recipient of warm congratulations. It is only by a close examination of the details that one can arrive at any idea of the vast amount of work which has been involved in their preparation, and Mr. Henderson has brought credit upon himself as well as upon the province and city in turning out such artistic addresses, which it is conceded will rank with any that have been prepared in any other city of the Dominion.

Striking Panels
The address to be presented by the government is a bold idea brilliantly executed. At the bottom there are two panels, one showing the prairie as it was before the white man came. This panel depicts an Indian riding in pursuit of a buffalo, the coloring being rich blends of reds and browns. The other panel represents the prairies today and shows a binder at work in a field of wheat. Between the two is the coat of arms of the province. Arising on either side is a pillar representing stability, while at the top centre is a group of figures typical of the war efforts of the province. The figures represent grain growers, mixed farmers, soldiers, munition workers, Red Cross, women’s organizations, and all of them are grouped around Britannia, whose figure rises from the centre of the group. On one side of the group is the Royal Arms of the Prince of Wales, while on the other side the ‘feathers’ are painted. The details and coloring of the heraldry are correctly worked out, and Mr. Henderson has taken great pains to have the royal arms faithfully reproduced. Like that of the city, the address to be presented by the government is mounted on white silk, backed by blue calfskin. The lettering is worked out in old English letters over a watercolor surface. The whole effect is a well-balanced design of stability done in an artistic blending of colors.

Quoted from an uncited newspaper article, October 1919, found in a collage of articles in Henderson’s studio by his housekeeper, Rosie Riess.

Address to John Fletcher Leopold Embury…

admin — Fri, 11 Sep 2009 14:44:48 +0000

An excellent example of Henderson’s illuminated addresses. This work, dated October 30, 1920, was commissioned by the ‘surviving officers and other ranks, original members of the 28th Battalion, Canadian Expeditionary force to Brigadier General John Fletcher Leopold Embury’. Both text and image are framed within a drawing of architectural elements reminiscent of Renaissance tomb architecture. Set within this frame are provincial shields and laurel leaves framing the text while above are the heraldic symbols and regimental flags of the 28th Battalion over a bleak landscape of ruined buildings. Below the text is a battle scene in no-man’s land, with exploding shells; this is flanked by the names of major battles, such as Vimy Ridge, Passchendaele, and Mons, on the left of the image and the names of cities in Saskatchewan and Manitoba on the right, linking the sacrifice of the Great War to the fate of Empire and the Dominion.
-Dan Ring

Attributed to James Henderson
Address to John Fletcher Leopold Embury from the Surviving Officers of the 28th Battalion, Canadian Expeditionary Force, Oct. 30, 1920, 1920
Vintage gelatin silver print on paper of an original illuminated address by James Henderson
21.7 x 12.8 cm
Collection of the MacKenzie Art Gallery, Regina, SK.

Illustrated Manuscript for Mr. and Mrs. Starr

admin — Wed, 02 Sep 2009 17:52:34 +0000

The colour and freshness of Henderson’s illuminated addresses can be seen in the only original in the exhibition, a 1920 testimonial to Mr. and Mrs. J. C. Starr, commissioned by the members of the Qu’Appelle Methodist Church. While it is a minor example of this type of Henderson’s addresses, compared to those he did for visiting royalty, it is nevertheless carefully done, with text in italicized script with gold ink separating the paragraphs. The workmanship is exquisite and highly detailed, combining calligraphy with highly skilled drawing and painting done with a fluid hand and using bright clear colours in gouache. The text refers to the Starrs’ faithful service to the church and their good deeds while the images evoke their pioneer life. The text is framed by a sky blue border with a landscape and clouds and brightly coloured vignettes of prairie life, including a man holding an axe beside a yoked ox overlooking the Qu’Appelle Valley, a church enclosed in a circle and an angel above with hands folded in prayer as if to bless the scenes below, indicating the importance of religion for the settlers of the time.
-Dan Ring

Illustrated Manuscript for Mr. and Mrs. Starr, 1920
Ink, watercolour and gouache on paper
47.6 x 36.2 cm
Collection of the Fort Qu’Appelle Historical Society, SK.