Gouache on paper
18.5” x 23.5”
Early 1940's
This is an elegant and later version of one of the principal figures in Sly Mongoose, which was done in the mid-1930s.
Probably painted in 1943 and 1944.
“4th movement: ballet interlude, balance of Mister Bad across the door leading to the toilet! Just a pause a breathing space for “charm” and pleasant reflections spiced with humorous annotations this spirit, as ancient as any, is the one which makes me the youngest of my family, Ma’s last born the pet forgiven every sin before hand. Up to all of Mr. Bad’s bad tricks, his innocence is invulnerable and he gets away with murder, smiling that incipient almost ‘giaconda’ smile which comes from a certain omniscience and accepts knowledge of the wicked joke of it all—of its emptiness.”
Hugh lived at Commerce Street in Greenwich Village from 1943 to 1946. The murals were probably painted in 1943 and 1944.
Notes on the photos: “This gives an idea of the sequence, and as well conveys the corner, a better idea of the space than flat photos. Here I have hung for the moment the large oil of the washerwomen over the door. It was not finished then. I suppose it isn’t now but I don’t care to touch it any more. It is alright not an effort to be ashamed of but I can do much better than that if only I could become sane and quite in mind and especially full of confidence. It is shocking at my time of life to always feel as much a novice at it as a school girl. Ridiculous!
This mocking Satyr is a “salient feature” of the personality of one Jean de B., a thing I have thought also a “salient feature” one, of the universe. As the third movement it enlarges the theme in certain particular aspects. The pastorale is charming and engaging enough but evil after all is not only inevitable also very ”salient” and without which no animation is possible. The thorn in the side, the itch in the night but who would live in the country forever. I like him not but follow him, envy him, hate him. Long to be bad!”
Oil on canvas
18" x 22"
Circa 1943-45
On the back of a photo of it, he says "Abstract version of the washerwomen. I call it Concerto for 2 Washerwomen! the composition is very restless, the colours rich and sonorous" It is the smallest of the three.
Oil on canvas
Approx. 4’ h
Circa 1943-45
Notes from back of photo: “This is a composition of washerwomen, a theme which (as almost all of them do) was suggested to me diverse ideas for visual music. This is the large one in oils and is the most ‘actualistic’. I like the smallest best there are three. P.S. I owe a deep debt of gratitude to tropical vegetation. I don’t know, I do not believe I could ever get the same pleasured satisfaction to suit my taste out of anything else.”
Oil on canvas
50" x 60"
Circa 1943
The largest painting of this group of three, the steel gray figures and the limited pallet may indicate that is later than the other two even the late 40’s
Oil on canvas
41" x 51"
Circa 1943-45
Notes from the back of a photo: “the cocoa symphony! Large quite nice, but not up to expectations “what a contraption” “she” has for a head ! looks like patchwork quilt, something doesn’t it? –what with bits of old pyjamas, shirtings etc!” This was probably written to his mother which may explain these comments as such a modern work would be unlikely to find favour with her and he is anticipating her reaction.
Hugh lived at Commerce Street in Greenwich Village from 1943 to 1946. The murals were probably painted in 1943 and 1944.
Notes on the photos: “This gives an idea of the sequence, and as well conveys the corner, a better idea of the space than flat photos. Here I have hung for the moment the large oil of the washerwomen over the door. It was not finished then. I suppose it isn’t now but I don’t care to touch it any more. It is alright not an effort to be ashamed of but I can do much better than that if only I could become sane and quite in mind and especially full of confidence. It is shocking at my time of life to always feel as much a novice at it as a school girl. Ridiculous!
This mocking Satyr is a “salient feature” of the personality of one Jean de B., a thing I have thought also a “salient feature” one, of the universe. As the third movement it enlarges the theme in certain particular aspects. The pastorale is charming and engaging enough but evil after all is not only inevitable also very ”salient” and without which no animation is possible. The thorn in the side, the itch in the night but who would live in the country forever. I like him not but follow him, envy him, hate him. Long to be bad!”
Gouache on paper
14.5" x 17.5"
1946
In a note to his sister, he said of the painting, “Reaping cocoa- if you can believe it. An old one, about the last I did at Commerce street.”
Oil on canvas
36" x 42"
1946
This is a more abstract version of Reaping Cocoa so this title seems strange, but both paintings have possible sugar cane references.
Oil on canvas
Dimensions unknown, 5’ x 4’ approximately
Mid-1940's
Hugh has written on the back of a photo: “What a thing! I call it Reunion in the Flowering Wilderness! oil, very large. What a joke! I have it rolled up and hidden under the bath because I don’t like it at all!! (the symphony in Minor Madness!)
The painting is largely an assembly of quotations and reworking of images from earlier paintings.
Oil on canvas
28” x 24”
1948
There are three versions of this painting each one progressively more abstract.
Oil on canvas
28 x 36 inches
1947
Unsigned undated
On the back of a photo of this, he says “Done about 1947—and typical of the kind of fate that has been mine! (this is meant to be a Laocoon.)” In 1978- 79 he refers to this as ‘Men with Snakes’ and says it was one of his best he also set about restoring it but its present location is unknown. There is a ‘carnival’ quality to this painting, this is dancing with snakes not being entrapped by them.
Likely gouache on paper
Dimensions unknown
Late 40’s
May be the painting of a horse he sold from his show in Trinidad in April/May 1960.
Oil on canvas
Dimensions unknown
1949
Hugh wrote on the back of a photo “View from the house Dad never built on Coconut Hill! All the figures in most of my paintings are in grey’s. Backgrounds are more or less brilliant colour”. ( Coconut Hill was behind the house at Mon Valmont) This is the same view depicted in the previous painting. The male figure is again based on Arthur.
Oil on canvas
Dimensions unknown
c. 1949
Unsigned, undated, known only through B&W photo.
In his letters, he mentions visiting prostitutes in the 1930s in Port of Spain with a friend (Hugh talked but had no interest in sex) A recollection of those times? Reference to Manet’s version of Olympia, Goya’s Maja Desnuda?
Gouache on paper
16" x 28"
Late 1940's early 1950's
There are three versions one of which Hu calls Diabolique.
