Gouache on paper
24” x 20”
Late 1933
Gouache on paper
24” x 20”
Late 1933
Self-portrait
Oil on canvas
25” x 30”
1934
He said of the painting, “It’s allegorical of a certain experience I had. My devils and me!”
Oil on canvas
13 1/2” x 13 1/2”
1933-34
Oil on canvas
16” x 24”
1934
Oil on canvas
14” x 14”
1933-34
Charcoal on paper
19" x 9"
Mid 1930's
Charcoal on paper
19" x 9"
Mid 1930's
Block print on cork, colour added by hand
Dimensions unknown
Mid 1930’s
Probably gouache on paper
Dimensions unknown
Mid 1930’s
A street scene from Port of Spain
Oil on canvas
19.75” x 15.75”
Mid 1930's
Oil on canvas
16” x 28.5"
Mid-to-late 1930’s
Gouache on paper
Dimensions unknown
Mid-1930’s
Oil on canvas
Late 1930's probably 1939
Dimensions unknown
One of many versions of an Indian woman with a nose stud
Gouache on board
Dimensions unknown
1938
Gouache on board
Dimensions unknown
1939
Gouache on paper
20" x 30"
1938
Probably gouache on paper
Dimensions unknown
1938
Probably oil on canvas
Dimensions unknown
Late 1930’s
Gouache on paper
Dimensions unknown
1939
Oil on canvas
18.5” x 24”
Late 1930’s
Probably oil on canvas
Dimensions unknown
Late 1930’s
Gouache on paper
Dimensions unknown
1939
Gouache on coloured paper
24.5” x 35.5”
1939
Gouache on coloured paper
22” x 15”
1939
Gouache on brown paper
22” x 13”
1939
Charcoal on paper
Dimensions unknown
Late 1930’s
Charcoal drawing on paper
Dimensions unknown
Late 1930’s
Oil on board
10" x 13.5"
Late 1930’s, probably 1939
Oil on board
10" x 13.5"
Late 1930's, probably 1939
Oil on canvas
23” x 28.5"
Early 1940's
Oil on canvas
Dimensions unknown
1940
Oil on board
11” x 15"
1940
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!”
Probably oil on canvas
Dimensions unknown
Probably 1940
Probably 1943 and 1944.
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.”
Likely gouache on paper
Dimensions unknown
Circa 1943-45
Musicians
Oil on canvas
43" x 37"
Mid 1940's
Oil on canvas
27.5" x 33.5"
1943
Likely gouache on paper
Dimensions unknown
Circa 1943
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 mounted on card board
18" x 22.5"
Mid 1940'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.
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
Mid-1940’s
Oil on canvas
Dimensions unknown
Mid-1940’s
Oil on canvas
Dimensions unknown
Mid-to-late 1940’s
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
Dimensions unknown
Mid-1940’s
Oil on canvas
41.5” x 35.5”
1945
Oil on canvas
28” x 24”
1948
There are three versions of this painting each one progressively more abstract.
Oil on canvas
Dimensions unknown
1948
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.
Oil on canvas
36” x 37.5"
1947
Oil on canvas
48" x 42"
1946-48
Oil on canvas
Dimensions unknown
Late 1940’s
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
The male figure is a figure based on Arthur.
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.
Oil on canvas
36" x 42"
Late 1940s
Oil on canvas
18" x 16"
1949
Oil on leather with some repoussé
19.5” x 15.5”
Early 1950’s
Collage, gouache on wallpaper on canvas mounted on masonite
14” x 18”
Early 1950’s
Oil and wallpaper collage on canvas
17.5" x 13.75"
Likely early 1950’s
The wallpaper may be one of his designs from the 1940s.
Oil on canvas
24" x 18"
1950
In this painting the wallpaper designs are painted rather than collage
Oil on canvas
24" x 18"
1950
Oil on canvas
16" x 20"
Early 1950’s
Oil on canvas
16” x 20”
1950
Oil on leather
24" x 16"
It is most likely from the early 1950’s perhaps as early as 1950
He did a number of paintings on leather, which are undated. He may have done them after Daphne visited in 1953 or 1954, or that visit may have simply got him interested in the sculptural properties of leather.
Oil on canvas
23” x 27"
1960
The painting references two or three paintings from the early 1950s
Oil on canvas
19.5” x 16"
1960
The painting Suspense painted in 1950 forms a significant part of this painting.
Gouache on paper
17” x 11.5”
1951
There is another version of this circa 1960-1961.
Gouache on paper
12” x 18.5"
Circa 1952
Gouache on paper
12.25” x 15.5"
Circa 1955
Gouache on paper
16.5” x 12"
1955 or before
One of the works submitted to the Alcoa exhibition in Trinidad in 1955.
Gouache on paper
17” x 12”
1955
Gouache on paper
15" x 20.5"
1955
Gouache on paper
11” x 15”
This could be the late 1930’s judging from the signature or the early 1950’s or early 1960’s judged from the style.
Oil on canvas
19.5" x 15.5"
1950
Gouache on cardboard
14” x 17"
Early 1950’s
Oil on canvas
22.75" x 26.75"
1958
Signed Hu '60, but there is a picture of the painting from 1958.
Oil on canvas
28” x 33.5"
Circa 1954
Gouache on paper
4.5” x 5.5"
Mid-1950’s
Gouache on paper
6” x 8"
Mid-1950’s
Gouache on grey paper
6” x 8"
Mid-1950’s
Gouache on cork
5 1/8” x 6 3/8"
Circa 1958
Gouache on cork
5.25” x 6.5”
Circa 1955
Gouache on card board
8” x 10”
Mid 1950’s
A version of this is the backdrop for one of his self-portraits. On back to Daphne “please send this one back – it is the original and in 2 other versions I altered things which I’now not sure I don’t like, and want to restore some of them in a third version.“
Gouache on leather
6.25” x 5"
Probably 1957
A version of this is forms the background for two self-portraits from that year.
Oil on canvas
Dimensions unknown
A gouache version was done in March 1955, this most likely was done after that.
Oil on canvas
Dimensions unknown
1955
Oil on masonite
16" x 20"
February 1957
Gouache on paper
7.5” x 6.2"
1956
Oil on plywood
16" x 12"
Probably 1956 when he had a beard.
Oil on canvas
Winter 1956. Probably 1956 when the other self-portrait with beard was painted.
Also mentioned in a letter of Jan. 7, 1978 ”self-portrait with beard was done with lovely pure, even white light coming through a picture window from a pure thick snow on the ground outside.” (at Trinidale) His painting Tristan & Isolde forms the background.
Gouache on paper
8" x 10"
1956
On back - A Happy Christmas 1957 Hugh. However, it must, in fact, be 1956 since he mentions the card in a letter of Feb. 5, 1957.
Oil on canvas
12.5" x 15.5"
Perhaps 1958 after he shaved his Moustache?
Oil on board
17” x 14"
1957
Gouache on paper
8" x 10"
1957 (?)
Gouache on paper
10” x 7.75“
1957
Oil on plywood
16" x 13.5"
1957
Oil on plywood
16" x 12.5"
1957
Oil on canvas
1958
It is mentioned in letters from the spring of 1958 and may have been sold to a Dr. Wills in San Fernando in 1959. He mentions these flaming Sunflowers in a letter to John Pearce and Iona Swift from Oct 5, 1961.
Oil on canvas
25" x 36"
1958
It was complete in about mid-November of 1958 and was submitted to a show at the Whitney in early Feb. 1959.
Oil on canvas
25" x 34"
1958
Oil on canvas
20” x 24"
1959
Oil on canvas
1958
Submitted to unknown artists show at the Whitney in February 1959.
Oil on canvas
1959
Bought by Senator Marguerite Wyke from Hugh’s show in the fall of 1959. It is in the background of a photo of her and her husband in an article on her that appeared in Ebony in June of 1960. It is also mentioned in a letter (to Daphne) of May 6, 1959.
Oil on canvas
26" x 38"
1958 or 1959
Oil on canvas
28" x 34"
1958
Second of two, possibly three versions, it is signed Hu '72, however, this date was added for the first Duncan Gallery show, on the back is written “Hugh Stollmeyer 'Sea Mystery' 1968,” the 68 is written over 58, It also has a sticker that gives his address as Shrub Oak. The first version was one of his submissions to a show at the Whitney (Februarry 1959)
Gouache on paper
4 5/8” x 5 5/8"
1958
Abstracted leather floral forms.
Gouache on grey paper
4.5” x 5.75"
1958
Abstracted leather floral form
Gouache on coloured paper
7” x 5“
1958
Gouache on coloured paper
6” x 4 7/8"
Probably 1958
He says of it "the oil I made of this is one of the best"
Gouache on coloured paper
5” x 6"
Probably 1958
Gouache on olive-brown paper
5” x 6”
Circa 1958
Gouache on paper
4.4” x 5.5”
1955-58
Gouache on paper
4 5/8” x 5 3/4"
Probably 1958
Gouache on grey paper
8 1/8” x 6 1/8"
1958
Gouache on olive-brown paper
5” x 6”
Circa 1958
Gouache on paper
6 1/4” x 7 3/4”
Circa 1958
There is an oil version.
Gouache on coloured paper
8” x 6"
Circa 1958
Oil on canvas
24” x 30”
Probably late 1950’s
Oil on canvas over masonite
25” x 36"
1959
Oil on canvas
32” x 20.5"
1959
Oil on canvas
17” x 28“
1959
Oil on canvas
25” x 36"
Fall 1959
Gouache on paper
10 1/4” x 7 1/2”
1959
Gouache on paper
10 1/4” x 7 1/2”
1959
Oil on canvas
23 3/4” x 14 3/4"
1959 or 1960
Oil on canvas
Dimensions unknown
Painted in January 1960 as a commission for Conrad Stollmeyer. There is another version, probably from the 1930’s.
Oil on canvas
22” x 26 1/2”
1959 or 1960
Oil on canvas
32” x 29"
1960
Oil on canvas
23" x 28"
1960
There is a work similar to this dated 1944, and another probably painted in the mid-1950’s.
Oil on canvas
25" x 35"
1960
It looks back to drawings of the late 1930’s
Oil on canvas
23 1/2” x 28“
1961
Mentioned in a letter to John Dec. 5, 1961, as one of two truly original works done since he returned to Trinidad in the spring.
Gouache on paper
8” x 10”
1961
Gouache on paper
9” x 12”
1960
Gouache on paper
9.5" x 12"
1960
Leticia brought vegetables to Mon Valmont and she would sit in the kitchen ‘visiting’, which is probably were Hugh sketched her.
Gouache on paper
9” x 12"
1960
Oil on canvas
23 1/2” x 28 1/4”
1961
There is also a gouache version
Gouache on canvas
9 1/2” x 12”
1960 - 61
Gouache on paper
10” x 12”
1961
There is an oil version from 1961
Oil on canvas
16" x 24"
1960-61
Mentioned in a letter to Daphne from late March 1961. There are also two gouache versions.
Gouache on paper
10” x 13 1/8"
1961
Oil on canvas
30” x 40”
1961
Oil on canvas
Dimensions unknown
1962
Gouache on paper
10 1/2” x 13"
1961
Gouache on paper
8 1/2” x 13” approximately
1961
Oil on canvas
36” x 32” approximately
1961
Oil on canvas
Dimensions unknown
1961
Shown in the Trinidad art society show of November 1961 and singled out for particular scorn by Derek Walcott.
Watercolour on card
5” square approximately
Xmas 1961 for John and Iona, this is one of a series of animals he did at this time (purple cow, yellow horses) which he refers to as children’s pictures. They eventually were incorporated in a design for wallpaper.
Gouache on paper
5 1/4” x 5”
1961
Oil on canvas
21” x 25”
Sketches done in November and December 1961
This oil was not shown in his one-man show opening on the 20th of January 1962 and was probably done shortly after the show opened.
Oil on canvas
Dimensions unknown
Late 1961 or early 1962
It was shown at Government House during independence celebrations.
Gouache on paper
10 1/2” x 13"
January 1962
One of two versions
Gouache on paper
9” x 11 1/2“
1962
Gouache on paper
9” x 11 1/2”
1962
Oil on canvas
30" x 36"
1962
Oil on canvas
18” x 24”
Signed Hu ’70 (it is not clear in the photo)
It could be one of his re-datings for his Duncan Gallery show. The photos would suggest the late 1950’s, but he also mentions masks in 1962 although he does not say when he painted them.
Oil on canvas
18 1/2” x 29”
1962
Gouache on paper
6 1/2" x 15"
1962
Gouache on paper
20" x 15"
Circa 1962
Gouache on paper
20" x 18 1/2"
1960-62
Gouache on paper
11" x 14"
1964
Oil on canvas
20 1/2" x 30 1/2"
May 1964
This is one of the first oils he completed in the spring of 1964 after returning to NYC.
Oil on canvas
25 1/2” x 36"
1964
Hugh refers to this painting in a letter from mid to late June ’64 (he may be talking of the Gouache version at this point).
Oil on canvas
36" x 26"
1964
Oil on canvas
20" x 36"
1964
The centre horse is very similar to one painted in the late 1940’s. Mentions that he has a plan for the painting in a letter from August 19, 1964.
Oil on canvas
36" x 30"
1964
Oil on canvas
15" x 30"
1964
Oil on canvas
36” x 26”
1965
He mentions that he has finished the painting in a letter to Daphne dated Jan 4, 1965. He was very likely referring to the gouache version as he said he immediately set out to enlarge it.
Wallpaper
Wilton Owen sold Hugh’s design to the NYC firm Scalamandre in 1964. It is unclear if it was designed at that time. It looks back to the botanical studies from 1959-62.
Wallpaper
Sold to Scalamandre by Wilton Owen in November of 1964, Hugh would have designed it after 1962 when he made small paintings of the animals included in the design.
Gouache on paper
14 1/2" x 18"
1965
Oil on canvas
Dimensions unknown
1965
Oil on canvas
21” x 33”
1966
Oil on canvas
29" x 15"
1966
It may be based on photographs from Scientific American.
Gouache on paper
13” x 20”
1966