This painting was completed in Jamaica near Black River where Tuke was staying with the explorer F. A. Mitchell-Hedges, Lady Richmond Brown and Miss Macbeth, a cousin of Dr Gann, a Mayan archaeologist who was to join the party later. They had set off from Avonmouth on 26 November 1923 and arrived in Port Royal, Kingston on 10 December. Three days later Tuke and the ladies went by car to the Black River, a journey of about 100 miles.

Tuke had met Mitchell-Hedges and Lady Richmond Brown in Falmouth at a lecture Hedges gave on his travels abroad and was invited by them to join their expedition to Jamaica and British Honduras (Belize). Lady Richmond Brown was a wealthy woman who funded the expedition but also participated in the collecting of specimens of rare fish which was the main purpose of the trip. Tuke was happy to join in with the fishing and went on several excursions with Mitchell-Hedges up the Black River.

Tuke was, however, mainly interested in painting both the surrounding landscape and the locals. This painting features two of his most regular models, Ralph and Samuel (known as Samwell), who used to help out on the many fishing trips for Mitchell-Hedges. Tuke described Samwell (seated on the left in this painting) as 'an interesting type. Looks like a fierce savage and is gentle as a dove.'
Tuke describes painting this picture in his diary of Wednesday 9 January 1924 'Went out in the boat with Samwell and Ralph about a couple of miles along the coast westward and did a difficult study of them both at the oars. We were moored forward and tied to a mangrove branch aft, throwing a good shadow over me and partly over Ralph, trees and mountain in the distance.'

He went back the next day and continued with the painting of the two Jamaican boys – noting that they nearly caught a small shark with a paddle. On the third day, Friday 11 January, he wrote 'Took out Wednesday’s study again and carried it on with some success.' This last diary entry implies Tuke finished the painting in his rooms.

The painting maintains its fresh plein air quality and is a fine example of Tuke’s bold impressionist technique in oils. The colours of the Caribbean light are reflected in his use of cobalt blue and aqua green in the water which is repeated in flecks in the trees on the river bank behind the central figures. The hills on the horizon are painted in mauves and blues against a pale blue sky which is reflected in the water in the foreground and on the shirts and skin of the men at the oars.

This painting was exhibited at the Royal Academy in 1925 along with another from Jamaica, The Mangrove Swamp.

We are grateful to Catherine Wallace for her assistance in preparing this catalogue entry.