Who was the hero with the donkey?
Simpson and his Donkey, Henderson and his Donkey, Sapper and his Donkey, The Man and his Donkey — by whatever name, the image of a wounded soldier being assisted from the slopes of Gallipoli is probably the most famous Anzac image of World War I.
In Australia, Tuakau man Murray Reid said the image was known as Simpson and his Donkey, and was honoured with a watercolour painting in the National War Memorial Museum in Canberra. In New Zealand it was known as Henderson and his Donkey, with a near identical painting having pride of place in the Auckland War Memorial Museum.
Both the Auckland and Aigantighe (Timaru) galleries also displayed smaller versions of the painting.
It was possible there were four or more paintings, all of which appeared to be the work of New Zealander Horace Moore-Jones.
“There is also a statue on display at the National War Memorial in Wellington, also based on the Jackson photograph, and sculpted by Paul Walshe in 1990,” Mr Reid said.
“The question remains, what is the origin of these paintings, and who are the subjects?
“At the outbreak of World War I an Englishman in Perth, and a New Zealander in Auckland, both signed up to defend King and Country. They were among the first ashore at Gallipoli in April 1915.
“John Simpson Kirkpatrick was an Englishman, who jumped ship in Australia in 1910. He signed up in Perth using Simpson as his surname, expecting a free trip home.
“En route to Europe his troop convoy was diverted to the campaign in Turkey.
“Simpson, as he was known, soon became famous as a stretcher bearer, as he brazenly carried wounded soldiers from the battlefield to the shore.
“He seemed immune to the risks as he carried the men down on a donkey he called Murphy.
“As a boost to morale, the Australian command used his exploits back home to good effect.
“Unfortunately his luck did not last and at the age of 23 he was killed, on May 19, 1915, only three weeks after the landing.
“Richard A Henderson, a trainee teacher from Auckland was only 19 when he signed up. Born in Waihi, he was also a stretcher bearer, having arrived in Gallipoli with the first wave of Anzac soldiers. Following Simpson’s death he took over the task of carrying the wounded down from the heights, using Simpson’s donkey.
“According to NZ military records, others were also involved in this task.”
‘Dick’ Henderson (who was awarded the Military Medal) survived Gallipoli, going on to serve in France, at both the Somme and Passchendaele. He continued teaching when he returned home, but retired early due to blindness, the result of being from being gassed on the Western Front.
He died in Auckland in 1958.
Mr Reid said Pvt James G Jackson, from Dunedin, took a photograph of Henderson with a patient on a donkey at Gallipoli, while Moore-Jones, who landed at Gallipoli as a soldier, was quickly recognised for his artistic ability, and was given the task of creating maps for military use. It was believed that he observed Simpson at work.
He was wounded and repatriated to England to recover, and on his return to New Zealand he saw the Jackson photograph (in 1917) and was inspired to produce the paintings.
“He probably believed Simpson to be the subject of the photo, and named the works accordingly,” Mr Reid said.
“Moore-Jones applied some artistic licence in his works. Interestingly, they all differ from the photo, and each other, to some degree. All the paintings, however, depict the donkey and the stretcher bearer almost exactly, as in the photo. The stretcher bearer is most certainly Henderson.
“The photograph shows a soldier wearing a brimmed hat, sitting upright astride the small donkey. He has a wounded left leg. The ground is level with a background of shrubbery.
“All the paintings depict the group high on a steep narrow ledge with the sky background dominated by an artillery burst. The wounded soldier has bandaged legs with his head to one side. The donkey has a red cross on its halter.
“The painting held by the Auckland War Memorial Museum shows the head of the wounded soldier further forward and resting on the shoulder of the orderly. The colouring of the paintings also differs.”
Mr Reid’s studies had led him to the conclusion that the painting in the Aigantighe Gallery was likely to be the original, painted as a trial before Moore-Jones completed the full-size versions. As the Canberra copy was a reproduction, the Auckland version should be recognised as the most authentic.
“It is interesting to note how Australians revere their version of the painting, and how a campaign to have Simpson recognised for a VC has been mounted,” he added.
“Should New Zealanders be encouraged to better recognise Richard A Henderson?”