William Morris (‘Billy’) Hughes

Hughes was often satirised for his distinct appearance. His slight frame, large head and deeply creased face, made him the target of political cartoonists in Australia and abroad.

See the caricature of Billy Hughes in the National Portrait Gallery collection.

The designer George Cartlidge created the portrait tile for J. H. Barratt & Co. Ltd. All of his work was signed with his interlocking monogram, ‘GC’.

What is the difference between an artist’s monogram and a signature?

The portrait of Hughes is based on an existing photograph that has been transferred onto the ceramic tile by the following process:
1. A block of light-sensitive gelatine is exposed through a photographic negative.
2. The gelatine is rinsed with water, washing away the areas exposed to light and preserving a relief image.
3. A lead mould is made from the relief and the tiles pressed from this mould.
4. A translucent glaze that melts in the kiln is applied to the tile, leaving the higher areas of the design exposed.

Fine cracks on the surface of the tile, known as ‘crazing’, is a result of variable cooling temperatures between the ceramic and glaze over time.

A story often told is that when one of Hughes’ portrait painters promised him justice he replied, ‘My man, I don't want justice, I want mercy.’

How do you interpret this statement from Hughes?

Do you think this portrait delivers justice or mercy?