It is becoming increasingly apparent as we work our
way through the collections at
Carrick Hill that the paintings are not just an
eclectic gathering of modernist works collected by a discerning eye interested
in modern thought, or an inheritance from a culturally aware upbringing. They
also form a
Hayward travelogue.
A fascination for me is to look at the works not
just as the outstanding pieces that so many of them are, but as markers of Ursula
and Bill’s frequent movement through the world and within Australia. Of course works
by artists like
Stanley Spencer and
Jacob Epstein relate to regular visits to
England. The provenance and history of much of the major modernist collection
is recorded and most works were purchased from a London dealer or directly from
the artists with whom the Hayward's had contact. But there are other works which
have no such associated records and when this happens it is from the item
itself that the story must be extracted.
One such work is a small painting titled in oil by
the artist on its face
Beche de mer
lugger. There is absolutely nothing else on this work that would indicate
who that artist might be, or where on earth (literally) the painting might have
originated.
A lugger is a traditional
style of shallow-draft fishing boat with a simple double masted rig, and
beche de mer means sea cucumber, a
creature that is considered a delicacy in many cultures. This painting shows one
of these luggers moored in a tranquil bay. The crew sit in a relaxed group on
the foredeck. The paint handling is fluid and the palette muted. Stylistically
it fits loosely with the other modern works in the collection and the painting
and its original frame probably date from the late 1930s or early 1940s.
Like a couple of other pieces in the collection,
this painting seems almost like a souvenir. Did these ‘souvenirs’ work as
reminders for the Hayward's of enjoyable stays? Were they gifts to each other or
to them from other people? Beche de mer
lugger has a price written in pencil on the back – £8-8-0 – is that around
about the right price if it was purchased by Ursula or Bill during the war? If it was acquired then, where might they have
got it from? Ursula lived for a time in Brisbane (1942); perhaps she travelled
further north to Cooktown where these luggers had at one time been in use? Bill
served in Papua New Guinea, Borneo, Morotai and Labuan; perhaps he picked it up
during that time? Did they ever visit Vanuatu, another sea cucumber fishing
location?
So many questions unanswered and a mere nibble
around the edges of knowledge concerning this charming painting. Maybe the
archives will divulge something as the search continues.
