A Tea Party. announced in The Mail Adelaide Saturday 25 March 1916
Miss Heather Hammond invited a few of her friends to Horncliffe, Wakefield street, on Monday afternoon to meet Miss Muriel Parsons, who has lately returned from a trip to England. We gathered in the drawing room, and Miss Heather Hammond gave a very clever impersonation of Mr. Frederick Dennett at the piano. It was wonderfully realistic in dress, attitude, and even the friendly smile’ he gives the andience. *She played the Rachmaninoff prelude in his best style, and was loudly applauded. Miss Parsons sang several songs. Miss Hazel Hammond played the mandolin, and Miss Dorothy Palmer tickled the piano keys with good effect. Mrs. W. G. Hammond hostessed the party. Tea and chatter filled up the rest of the time, and the guests included Mrs. David Power. Mrs. Aapas Parsons. Lady Bray, Mrs. Gavin Gardner, Mrs. G. M. Anstey,. Mrs. Neil Campbell, Mrs. David Paton. Mrs. B. Bevan, Miss Lucy Avers, Miss Harriet Simpson, and Miss Joyce Harrold.’ The Mail
Frederick Dennett was ‘…a dashing young concert pianist who was something of a pop star in the early 20th century.’ The Australian
A few years later there was a press announcement from K. H. Faulding & Co.— ‘A daily artistic calendar. The design is from an original watercolour by Miss Heather O. Hammond, a young Adelaide artist, and shows a very effective ‘treatment of treatment decorative of all Australian flowers — the Sturt Pea.’ The Register (Adelaide) Saturday 18 December 1920
Woolmer Gatty is the pseudonym of Heather Hammond, a writer and illustrator born and bred in Adelaide before moving upon marriage to a tea and rubber plantation in Ceylon. She lived exactly the sort of life one might expect of a female of the period not quite able to shake off the bonds of her class and gender, if admiring of those who do.
Six years later an extract of her first, and as it turned out only, novel appeared in the Adelaide press: The Register (Adelaide) Thursday 5 January 1922
A notice of Tabitha Tries Turkeys (London, Stockwell), appeared two days later in The Register Saturday 7 January 1922. By the time the book appeared she was Mrs Rex Hamer of Kandy, or thereabouts, as J Penn states. After a favourable review, Penn quotes Hammond, who explains her desired, but foiled, anonymity:
Although it has been my ambition to write, I have never wanted my ‘works’ to appear in my own name. I would have kept it a dead secret always. Somehow there is a je-ne-sais-quoi of something not quite nice; almost one might say losing of caste, about a woman writer. It is a result of the long ages of repression we have endured at the hands of men. They make a great a parade of admiring the ‘feminine’ woman, which means to them the woman who stays unobtrusively at home and lets her brain atrophy for want of using, simply because they are afraid of her finding her power and coming into the world and competing with them to their hurt. It is Man who has put this world-side interpretation on the word ‘womanly'; it is he who has lauded all those gentle meaningless attributes that he professes to admire.
So cunning and insidious has been his campaign that women themselves have absorbed the creed, and are almost as vituperative as men in their outcry against the coming woman of brains and personality. And the men, poor shivering souls, are beginning to see their magnificent structure of the ‘womanly’ cult, that subtle protection of their own preserves, tottering at its foundations. Women are no whit more ‘womanly’ in its own right sense, nor do they make less perfect mothers for thus leaving their parasitic estate to make the best of their minds and capabilities.
Mes soeurs, do not let men push you back to dormant life with their specious arguments. It is only their final argument against the inevitable. Henceforth they must fight for their place in the sun.
But for all this theorising, which I have worked out in my own mind, to my own complete intellectual satisfaction, I myself am not really a follower. The prejudice is too strong, the ‘womanly’ germ too deeply imbedded for me to come out of the rut even sufficiently to put my name to a book. I am of the world which will doubtless very soon be called ‘old’. But I will try to sympathise and encourage the coming women doctors, lawyers, architects – particularly architects, for I am sure women would not make the kitchen premises so miserably inadequate as they often are – just to have a soupcon of the courage of the opinions that I feel sure I hold.
For the present my turkeys afford me simple occupation; and for odd moments, these intricacies that are called knitted socks. The Register
Now and again Adelaide newspapers report on her life in that privileged upper-class white position in Ceylon, this one upon a visit back to Adelaide by her.
LIFE IN CEYLON News Tuesday 15 July 1924
Mrs. Hamer Enthusiastic
WANTS A PET ELEPHANT
If one desires a foretaste of Paradise one must go and live at Kladuganuawa. 10 miles from Kandy, in Ceylon. This was the impression gained during: a chat with Mr. and Mrs. Rex Hamer….She looks the picture of health, and speaks ecstatically of the fascination of life on her husband’s estate, which is planted with two thirds tea and one-third rubber. “Kandugannawa is situated ideally,” said Mrs Hamer. “It is away up in the hilly country, and our bungalow is built on a hill. The view in every direction is marvellously beautiful.
“How do I spend my days? I get up at 6 every morning,. because it is too wonderful outdoors not to enjoy every moment of the exhilarating air. We have early tea at 7, then I interview Appu, the head boy, concerning meals and so on. He really is a wonderful being, always dependable and most efficient. “Sometimes when I am in Kandy I send him a wire that I am bringing six friends out to dinner, three of whom will stay the night. When I arrive he has a delicious meal prepared and bedrooms ready for the visitors. No fuss or bother, and I do not have to worry at all. But about my day. After early tea I feed my chickens and potter round until noon when we have what we call breakfast. Everybody has a sleep after breakfast, and then comes tea at 4.30, followed by tennis or a walk, then dinner, which we have at 8 o’clock or 8.30.
(picture of Mrs Rex Hamer which unfortunately I can’t reproduce)
“Planters lead a quiet life,” said Mrs. Hamer, “and it appeals to me tremendously. Three days in Colombo are quite long enough; then I want to get back to my bungalow in the hills. Of course we have the cheeriest week-end parties, with dances, music, and tennis to our hearts’ content. “These shoes,” Mrs. Hamer said, displaying footgear smart and uncommon in pale tan and black crocodile skin; “they were grown on the estate.” “‘Do you keep pet crocodiles?” Mrs. Hamer laughingly replied:-“No; but the chap whose skin furnished these shoes was trying to break in and steal chickens. He was a cabragoya – a small species of crocodile.’
(and so it goes on, ending with):
Mrs Hamer said she as not written another novel since “Tabitha Tries Turkeys,” but she’had” had articles published from time to time, and this beauty of the district has constrained her to express herself in verse, some of which may be seen in the near future. The News
Aus Lit records one poem by her under the name Woolmer Gatty published in The Bulletin vol. 44 no. 2261 14 June 1923, but that was before this interview.
Pictures appeared in an exhibition in Perth in 1928 prompting this review:
PEN AND INK DRAWINGS The Daily News (Perth) Wednesday 14 November 1928
Work of Heather Hamer
‘ In the Booklovers’ yesterday afternoon an exhibition was opened of some un usual black and white drawings, the work of an Adelaide woman, who is now with her husband living in Ceylon. As
Heather Hammond. Mrs. Hamer was well known in Australia, more especially in Adelaide, her home city, by her literary work and her graphic illustrations. The pictures now showing manifest
some entirely new features. They are entirely imaginative, and remarkable effects of color and form are produced simply by line. Eastern subjects predominate, one, ‘The Reading of the Mahawansa,’ being especially striking, although each sample of her work shows new and individual treatment, and the expression by a Western mind of the mysticism of the East. Except in a few instances, they are not pictures which one would choose to live with, or to hang in one’s favorite room, but they express new ideas in illustrative work and are well worth a visit, especially from those who are associated with any form of art. Musicians will be interested in her line interpretations of some of the modern composers. In the ‘Cathedrale Engloutie’ mermaids below the surface of the water swim lazily In and out of the submerged archways of the building. The ‘Danse Macabre’ of Saint-Saens shows marked originality and extremely fine work, and MacDowell’s ‘Sea Pictures’ are finely Interpreted. The less pleasant subjects are strongly depicted, ‘Avarice,’ from Oscar Wilde’s poem, being most clearly expressed in the lines and pose of the figure. Mrs. Hamer has also some fine examples of bookplates, which in designing she has stamped with the personality of the owner of the plate. The collection is a comparatively small one, but very representative, and will on view for some days, during which all lovers of art will find a short visit will be time well spent, even if filched from some other activity.
Another report in the same paper commented:
Another Australian woman apparently is to arouse interest in the world of art. We were privileged yesterday afternoon to see some of the work of Heather Hamer….The work, which is purely line drawing, is distinctly unusual, and will shortly be placed on exhibition in Perth. It Is imaginative and, although black and white, strongly, suggests color, especially in her Oriental drawings, where draperies and curtains are of rich texture….One art critic has taken some Omar Khayyam drawings of Heather Hamer’s to London, and predicts the Issue of a new edition of that work as a result. The Daily News (Perth) 31 October 1928
The exhibition’s opening was covered:
Charmingly tracked in navy crepedechine with an Oriental scarf and biscuit Bangkok hat, Lady James opened the exhibition of black and white drawings by Heather Hammond (Mrs. Rex Hamer) in the Booklovers’ yesterday. She was very proud, she said, that except for etchings, the best, black and white drawings, done in Australia had been thus far the work of women. In thanking Lady James, Mr. G. Temple-Poole highly praised the work of Mrs. Hamer and wished the artist every success. The Daily News (Perth) Tuesday 13 November 1928
We can see another long notice about an exhibition of her work, this time in Adelaide eight years later.
UNIQUE DISPLAY OF ILLUSTRATIONS The Advertiser (Adelaide) Tuesday 21 April 1936
Sinhalese History And Legends
By H. E. FULLER
The exhibition of imaginative illustrations in black and white, by Mrs. Bex Hamer (better known, perhaps, as Heather Hammond), to be opened this afternoon by Lady Bonython at the gallery of the Royal South Australian Society of Arts, is unique and intensely interesting. To an extensive knowledge of Sinhalese history and legend. Mrs. Hamer has been able to add her undoubted gifts of facile freehand drawing, and a correct sense of perspective and proportion, as well as a sensitive gradation of line, and contrast in blacking in. To the uninitiated, the effect secured by an ordinary mapping pen, and a brush, will be surprising, as will also be the amount of detail devoted to costumes and their varied motifs. This work particularly has to be as carefully executed as it would be in the woven material itself, and Mrs. Hamer has been very successful through her careful and clean draughtsmanship, in securing a general effect of reality, though never monotonous in its details. The artist has a vivid imagination and versatility, which have inspired her to express on paper her love for the symbolism of her adopted country. The collection has been divided into four sections, all equally pleasing. In Nos. 1 and 11. ‘Sleep, Baby, Sleep,’ the figures are well drawn, and the posing quite natural. In No. 3, ‘Nina, Carry ing Pots,’ is a fine specimen of perspective, and No. 4, ‘My Son, Why Are You Crying?’ shows good expressions and careful handling of the drapery. In No. 9. ‘Our Mother Gave Birth To Seven,’ the variety of type and expression has been well developed. No.7. ‘On the Surface, the Lotus Blooms,’ is delightfully simple in line, except for the luscious bloom itself, which has all the wealth it needs; and in No. 6, ‘Grandfather. Shall I Pluck a Coconut?’ the difference in expression of young and old is well defined, and the palm tree well drawn.
Impressions Of Music This section is most original hi its conception and Inspiration. No. 25, ‘Danse de Puck,’ is delightful in its simple lines, and graceful suggestions, while in Nos. 24. ‘Barcarolle,’ and 26, ‘La FlUe au Cheveux de Lin,’ the delicate and intimate detail is well executed. In No. 20, ‘Sea Pieces,’ the bold sweep of waves is very fine, and No. 17, ‘Caprice,’ has much variety and Intimate* work: the peacock’s coloring is suggested cleverly, and the costumes are fun of originality. In No. 18, ‘Carnival,’ the peacock again attracts the eye, while the various figures and types of faces are full of interesting work.
Eastern Subjects Turning to No. 32. ‘There Was a Door,’ is good in its detailed drawing, and the figure is well modelled; and No. 35, ‘Saliroga and Asokamau’ is well grouped, and the detail simple in outline. No. 40. ‘Perahura,’ a picture of an Indian festival, is particularly well drawn, and bold in its construction, full of life and with much variety; the caparisoned elephant stands out well in all Its importance. ‘ No. 42, ‘Come, Fill the Cup,’ is also most interesting.
Miscellaneous. This small section contains much patient work, very successfully handled. So. 53, ‘London Bridge is Broken Down,’ is a medley of living figures, which, though crowded, allows each one its foil value. Medieval and modern faces are easily recognised, from Henry Vm. and Shakespeare to those of later times. No. 51, ‘At the King’s Pleasure,’ is a clever drawing of the same king, and his six wives: the different types show in pictorial form his evident desire for variety. No. 46, ‘Fairy Tales,’ a delightful study of a child, surrounded by pictorial representation of favorite stories, and No. 48, ‘Lady Godiva,’are well drawn; and No. 54, Rapunzal, the character In Grimm’s tales, who drew up her princely lover by her strands of hair, is graceful in outline, and yet strong. Mrs. Hamer, who is to be heartily congratulated on her work, has also a book of nursery rhymes, from the old Sinhalese, in which she has translated the words, as well as drawn the quaint illustrations. The Advertiser
In the 1990s this book of nursery rhymes was reprinted in India.
Hammond had a close relationship with Perth, as this 1919 newspaper report reflects:
At the present moment one of the most popular items of the English Pierrots is the delightful “Quakers,” as interpreted by Miss Langley and Mr. Austin, which was written and the music also composed by that chic little lady Miss Heather Hammond, of Adelaide, at present staying at the Esplanade Hotel, but whose visit to Perth will be all too brief for her many friends. Miss Hammond, who is veritably the lucky possessor of “all the talents” (as she shines as a black-and white artist with a very sure touch and an original style of her own) is besides a clever journalist and story-writer.
Miss Hammond and Mrs. Mortlock were amang the notables from the Eastern States present at the Pageant Bali at Government House on Monday, the latter stately in black shadow lace embroidered with jet, with an underdress of black satin. The younger lady was piquante in a costume that flashed sunrise upon us – an exquisite creation, with diaphanous angel sleeves of flame-colored cloudy gauze, disposed over an underdress of dawn pink, brilliants as dewdrops circled the corsage over the swathes of misted mauve and gold embroidery, and the morning touch of golden dawn was reflected in the veritable fairy shoon. Sunday Times (Perth) Sunday 12 October 1919
It may not be surprising, therefore, to see this report, much later, in 1940, a press report suggesting that she was settling in Perth. The report announces a small publication
OUR local Red Cross Society is to benefit by the proceeds of the sale in Perth of 50 copies of a delightful book entitled “Garden in Ceylon,” which was published last year in Ceylon, where it raised 100 guineas for the local Red Cross organisation. The author and illustrator is Heather Hamer who, with her husband, Mr. Rex Hamer, reached Perth from Colombo several weeks ago and Mrs. Heather Hamer intends settling here. Mrs. Hamer, who is a South Australian, has visited Perth on several occasions and some years ago, it will be remembered, exhibited a number of her black and white drawings at an exhibition arranged by Mrs. Temple Poole and opened by the late Lady James….In her “Garden in Ceylon” she writes of old and new Eastern gardens, and relates legends associated with them and with their trees and flowers. Her illustrations, which reveal her as a black and white artist of no mean talent, reflect in their exotic character her lengthy sojourn in the East. A foreword in verse by the Governor of Ceylon (Sir Andrew Caldecott) is an interesting feature. The 50 copies to be sold in Perth are the residue of the first edition published in Ceylon. They are available at the Red Cross,shop in London Court and also at the Booklovers’ and Franceska Libraries. The West Australian (Perth) Monday 30 September 1940
One wonders what is left, if anything, of her pictorial work. This same report says that ‘Two of her pictures are in the Adelaide Art Gallery and another is in the possession of Lady Gowrie, while an exhibition which she held in Bond Street, London, a few years ago met with considerable success and won her warm Press tributes.’ It’s hard to believe it could all have disappeared. Perhaps there are still private homes in Adelaide hanging her work. A report in The Australian Women’s Weekly Saturday 16 May 1936 says ‘Mrs. Hamer had intended to display
her work in Sydney shortly, but her exhibition in Adelaide has been so successful she has not enough pictures left’.
It seems evident, that although her novel had been well-received and she could have been encouraged to write more, that her forte was with the brush, not the pen. Perhaps the fact that she felt able to put her name to her art, but not to her prose, had something to do with it. Hence in an early piece published in WA ‘Little-Son-Galah’ Western Mail Thursday 4 December 1919 the story is attributed to Woolmer Gattey (sic), whilst the picture is by Heather Hammond. You can see it here.
In 1947 The Advertiser (Adelaide) Monday 12 May 1947 says she is living in England. Just a few weeks later an obituary for her father appeared:
Mr. William Gatty Hammond, who died at the home of his daughter, Mrs. G. R. Williams, of Old Beach road. Brighton, on Thursday, celebrated his 98th birthday on May 1. Well known in Adelaide amateur theatrical circles. Mr. Hammond once gave concerts for the purchase of a pipe organ at old Chalmers (Scots) Church. North terrace, city. He came to Adelaide with his wife in 1882 and for a time was associated with G. &R. Wills. Mr. Hammond left two daughters — Mrs. Rex Hamer, of England, and Mrs Williams. The Advertiser (Adelaide) 22 May 1947
There is no indication that Heather came back for her father’s funeral, though she did attend her mother’s much earlier in the 1920s:
Mrs W. G. HAMMOND.
Mrs. W. Gatty Hammond, whose death at Brighton occurred on November 8, had lived at Brighton since 1924, and made many friends there. She came to Adelaide with her parents (Mr. and Mrs. T. G. Drown) when she was about two years of age, in the sailing ship Irene, and made two visits to England when a girl in the days of sailing clippers. Later she paid another visit to the old country with her husband and children, and was wrecked in the Oroya in the Bay of Naples on the return voyage. During the last few years, in spit of advanced age, she twice went to Ceylon, to see her elder daughter, Mrs. Rex Hamer. All her journeyings were a source of entertainment to her friends on her , return, as she frequently gave interesting lectures on her trips. As a hostess she was full of charm, and was never happier than when entertaining her exceptionally wide circle of friends. She gave many entertainments to assist church work and in aid of charities. Mrs. Hamer will leave for Ceylon to-day. Chronicle(Adelaide) Saturday 12 November 1927
The last trace I have so far been able to find of Heather Hammond is talks she gave on radio in Australia during the war years such as ‘Personality in the Home’ and ‘Eastern Gardens’ during which time she is presumably still living in WA, perhaps Albany. Then the war ends, she is reported to be living in England and we never hear another thing about her. I hope to be able to fill in the missing pieces at some later point.
Bibliography of works by Heather Hammond/Heather Hamer/Mrs Rex Hamer excluding poetry and stories published in newspapers.
Tabitha Tries Turkeys
Author Woolmer Gatty
Published London, England: Stockwell, 1921 157p.
Garden in Ceylon / by Heather Hamer ; with a foreword by His Excellency the Governor, Sir Andrew Caldecott, K.C.M.G., C.B.E. .
Author Hamer, Heather.
Published Kandy, Ceylon : Millers Ltd., 1939.
Physical Description 24 p,  leaves of plates. : ill. ; 28 cm.
Old Sinhalese nursery rhymes and folk songs / collated and illustrated by Heather Hamer ; with a foreword by Solomon Dias Bandaranaike.
Author Hamer, Heather.
Published Ceylon : Colombo Apothecaries, 1935.
Physical Description 1 v. [36 p.] : ill. ; 29 cm.
reprinted in India in the 1990s