Enlarged with AI from a smaller original
Four illustrated figures and flowers on an upper arm
Upper arm · Colour · Photo
The tattoo shows four stylised male figures stacked in a pyramid, each with mop-top hair and some with moustaches or glasses. They are surrounded by large flowers, leaves, and circular swirl motifs in a 1960s psychedelic illustration style. Bold outlines and flat areas of bright colour dominate, with the figures set against the arm's curve.
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A story inspired by this tattoo · fiction
Shut the hatch and pass me that ladle, you lot, the stew's not going to stir itself. Right. You want the story of the Marigold Girl, the one my granddad swore by, so listen proper. Winter of nineteen sixty-seven, the fog sat on Hollis Bay for nine days like a wet dog on a doorstep. No boat would put out. Cod was rotting in the hold of every trawler tied up along the quay.
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Then one grey morning a yellow tender came nosing round the breakwater, flaking paint and painted all over with flowers the size of dinner plates. Four lads stood on its foredeck. Dougie Marsh had a moustache like a yard brush and wore a purple cloak with circles stitched on it. Tom Ellery had his specs pushed up his nose and his hair hanging in his eyes. Frankie Vane had the cheek of a bishop, and Ned Coombes, the quiet one at the back, held up two fingers at the gulls like he was blessing them. Nobody knew where they'd come from.
They came aboard the Brightwater that night and didn't ask for a bunk. They sat in my galley playing a squeeze box and a tin whistle until the steam ran down the bulkheads. Next morning the fog had lifted off the bay like a lid. We hauled three tonnes before the tide turned.
When the yellow tender sailed out past the light, the paint on its bow was running in the wet, and what it left on the galley hatch was a little peace sign and a daisy, still there now. Don't you scrub that. It's the only thing on this boat that's ever been lucky.
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