Untitled (Black Birds & Stump)

Henry Eric Bergman was a Canadian artist known for his mastery of wood engraving, a technique he refined over decades of dedicated practice. Born in Dresden, Germany, as Heinrich Erich Bergmann, he received formal training at the Art and Trade School of Dresden, earning a Diploma of Merit in 1911. His early career was rooted in commercial wood engraving, primarily for catalog illustration. In 1913, Bergman immigrated to Canada and soon after settled in Winnipeg, Manitoba, where he joined Brigden's Limited, a prominent engraving firm. There, he worked on commercial projects, including engraving for the Eaton's catalogue, while gradually developing his fine art practice.

Encouraged by fellow artists Frederick H. Brigden and Walter J. Phillips, Bergman began to explore printmaking as an artistic pursuit. By the mid-1920s, he had produced his first wood engravings, a medium that would become his primary focus. He abandoned colour woodblock printing in favour of the monochromatic precision of wood engraving, allowing for intricate detail and subtle tonal variations. His subject matter ranged from landscapes and urban scenes to botanical studies, often reflecting a deep appreciation for nature and the Canadian environment. His work was known for its fine craftsmanship, clarity of line, and an ability to convey depth and texture with remarkable precision.

Bergman gained national and international recognition, exhibiting regularly with the Manitoba Society of Artists, the Royal Canadian Academy, and the Society of Canadian Painter-Etchers and Engravers, of which he was a past president. His work appeared in international print exhibitions, and special editions of The Studio featured his engravings in 1927 and 1930. In 1947, his engravings illustrated James A. Roy's book "The Heart is Highland," further cementing his reputation as a skilled printmaker. He was also a charter member of the Winnipeg Art Gallery and an active participant in the Canadian Handicrafts Guild.

Bergman’s engravings from the 1930s and 1940s are considered among his finest works. During this period, he created highly detailed plant studies and atmospheric landscapes that captured the quiet beauty of rural and urban Canadian settings. His later years were dedicated almost exclusively to botanical subjects, which were widely acclaimed for their precision and delicacy. Despite his relatively small output, with most of his editions remaining incomplete, Bergman’s prints remain highly sought after, often appearing in public gallery collections and private holdings.

Beyond his artistic contributions, Bergman was a key figure in Winnipeg’s cultural landscape, fostering the development of printmaking in Canada. His meticulous approach to wood engraving helped preserve and advance the tradition of the medium at a time when commercial wood engraving was becoming obsolete. His legacy endures through his work held in major Canadian institutions, including the Winnipeg Art Gallery, the National Gallery of Canada, and the Glenbow Museum.

Henry Eric Bergman passed away in Winnipeg on February 9, 1958. His work continues to be recognized for its technical excellence and artistic sensitivity, marking him as one of Canada’s foremost printmakers of the early 20th century.