Note the artist’s easel, palette and brushes on the table – and open paintbox; no doubt a representation of a ‘G.Blackman’ paintbox no less! And howzabout that blinkered horse head in’t corner of t’room as a metaphor for the unseeing eyes of those in authority I’ve contacted about the ‘lost’ portrait of Emily Bronte…
Above is a timeworn pencil drawing that has all the marks of being another genuine artwork by one of the Brontë Sisters – possibly even Emily herself. It is a drawing that must have taken hours and hours to complete, because all the bold pencil lines are not bold pencil strokes at all but painstaking lines and lines of hidden micro-numbers. Below are just a few micro-numbers I’ve managed to single-out from the table-leg area of ‘The Weeping Sister’ – but as said, the drawing is literally covered – which makes me think only an extraordinary individual could have drawn these two sisters; if the sisters are Charlotte and Anne it can only be by t’middle one!
Lines and lines of Micro-script…
Rotated right – to illustrate some micro-numbers the right way up…51781285…to call out a few that are clearly visible. A magnifying glass is essential viewing equipment – let your eyes adjust to the numbers.
51781285 underlined. Please bear in mind, that mine is an ordinary camera – IMAGINE what a top museum conservation lab could reveal if only they could be asked!
Lines and lines of micro-script…
…with gaps in between.
It’s easy to recognise that this is micro-script and not continuous drawn lines…
I have noticed that many other artworks by all the Brontë siblings have multiple numbers hidden within them – including the famous ‘Pillar Portrait’ of the three sisters by Branwell in the National Portrait Gallery – as does Emily’s drawing of the Brontë’s pet dog ‘Grasper’ and Charlotte’s watercolour ‘Lycidas’ – both in the Brontë Parsonage Museum Collection. I have tried to bring my revelatory ‘micro-script’ number observation to the attention of those ‘concerned’ and failed – hence here I go again…
‘The Weeping Sister’ came from exactly the same source as the ‘lost’ portrait of Emily Brontë – and like the ‘lost’ portrait it too shares hidden clues and hundreds of micro-numbers.
One of the most noticeable giveaways – is the landscape painting on the wall; is it a depiction of ‘Top Withens’? the now derelict farmhouse that is widely credited to be Emily’s inspiration for the setting of ‘Wuthering Heights’ – the Earnshaw’s desolate moorland residence. The ‘painting’ in the drawing definitely is of a moorland landscape – with a huge cumulus cloud rising overhead what looks to be a house on’t side of hill…
‘Top Withens’?
Then there are numerous doodles on verso – that look like they’ve walked straight out of ‘The art of the Brontës’!!! Paper was in short supply in the time of the Brontës – a luxury, hence doodles on both sides…
And then there is the question – who are the two sisters? one consoling t’other. I’d say the seated sister is Charlotte – whilst the sister bending is Anne – as Anne was the only Brontë sister that had an aquiline nose – or ‘Roman nose’…
The final question is – for whom is the seated sister mourning? is she weeping for a lost brother – or a lost sister?
If she weeps for Emily – then how could Emily have drawn the ‘sketch’ from life? My theory is Emily imagined the scene – it’s a vision of her own demise, hence her only novel ‘Wuthering Heights’ hangs on the wall in picture form – as a visual reminder of the absent sister so to speak. The ‘lines’ are very much like those in Emily’s drawing of ‘Grasper’ – hence my attribution to Emily rather than Charlotte although the hovering hand is very Charlotte-ish – then again Charlotte avoided drawing hands as much as possible and there are five hands on this drawing if one counts the hand on verso – so back to Emily…
There is even what looks to be a faint signature – the ‘E’ at the start is clear.
‘E’ for Emily.
If one only considers the presence of micro-numbers – then which Brontë sibling the drawing is by? doesn’t actually matter, as all the Brontë siblings hid multiple numbers in their paintings and drawings – and that’s the real point I’m making – it’s a drawing by a Brontë. If the clutch of drawings that I’ve been researching didn’t have micro-numbers hidden within them – I’d never have thought to check authenticated drawings for evidence of the same phenomena. Because the ‘lost’ portrait of Emily Brontë has no provenance – I’ve had to seek for something ‘other’ to prove the portrait’s authenticity which is pending…
Emily’s ‘Grasper’ is covered in multiple hidden numbers – and micro-script ‘lines’; remember where you heard it first!!!
Charlotte as well as Emily layered numbers too – so as to look like areas of shading. Charlotte’s watercolour ‘Lycidas’ is an example of her number layering technique – as ‘Grasper’ is an example of Emily’s. Interestingly, Charlotte’s ‘Lycidas’ illustrates the front cover of ‘The art of the Brontës’ by Christine Alexander and Jane Sellars. The grass area isn’t grass at all as in individual blades but layered micro-numbers – I can see numbers even on the front cover!
Number ‘surfacing’ is happening NOW simply because I don’t think there’s ever been a reason to scrutinise the ‘Art of the Brontës’ in quite the way that I do in order to prove without provenance – that the long ‘lost’ portrait of Emily Brontë is the real deal – it is – I swear it IS.
Next, are a sequence of micro numbers that surfaced under infrared in the ‘lost’ Portrait — underlined and highlighted in red for easier detection by an untrained eye…
The ‘Lost’ Portrait of Emily Bronte drawn by Charlotte Bronte. ‘Honi soit qui mal y pense’ roughly means “May he (or she) be shamed who thinks badly of it” – something that ‘those who know who they are’ – ought to heed when next they walk beneath said motto…
That’s not to say ‘those who know who they are’ think badly of the ‘lost’ portrait of Emily Brontë in the literal sense – they don’t – they ‘just’ think nothing of it – even when presented with heaps of plausible, exciting – and revelatory evidence – as in thousands of micro-numbers hidden in the art of the Brontës; ech! ech! they’re as blinkered as a ghostly horse in corner of t’room!!!
Instead, they adhere to a few exceedingly boring and wholly unfounded words of a long-dead literary critic and thus excuse themselves and do nowt; as said, ‘Honi soit qui mal y pense!’ on their heads be it!
To round-up, I’ve finally read ‘Wuthering Heights’ – finished at 1.45 am on Wednesday, 13th February 2019; I promised retired professor of Literature, Christopher Heywood – that I would read Emily’s novel – and have kept to it. Although a couple of chapters in – I felt impelled to read on for myself. Truth be told I couldn’t put ‘Wuthering Heights’ down, I was utterly gripped to ‘The End’!
I conclude, that the genius mind that penned ‘Wuthering Heights’ – also pencilled hundreds and hundreds of minuscule numbers too; micro-numbers in drawings to look as ordinary bold lines until you look through the ‘surface’ of them. Emily’s drawing of ‘Grasper’ is evidence alone of this statement – a seemingly bold statement but TRUE!
Rotated left. ‘Lattice’ detail – click on image to enlarge, then reach for your magnifying glass in order to perceive the unimaginably small micro-script hidden within the drawing. It is so small that it almost defies belief yet it EXISTS. The criss-cross lattice proves that the writing ‘effect’ isn’t caused by something as simple as the texture of the paper; if you scrutinize the enlarged image – you’ll be numberstruck too!
“I’ve dreamt in my life dreams that have stayed with me ever after, and changed my ideas: they’ve gone through and through me, like wine through water, and altered the colour of my mind.”
Wuthering Heights
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Essential listening for ‘the art of thinking in numbers’; fav ambient soundtrack by ‘Tangerine Dream’ – luv it!
‘The ‘Lost’ Portrait of Emily Bronte: The Art of Thinking in Numbers.’ – updated 4th. June 2019.
I wonder, too, if this is a Bronte drawing, and you are VERY convincing, if Charlotte may have been crying over Branwell’s death. Wow. I love your blog!
Thank you Janna! Welcome to ‘Something about Dartmoor’ aka ‘Something about the Bronte Sisters’! It’s wonderful to have you on board. It is a very unusual drawing indeed – in that this particular one is full of teeny-weeny numbers – too small for the naked eye to perceive. If it was put under the microscope – as in the BBC’s ‘Fake or Fortune?’ programme – all would be revealed, I’d stake my life on it! I believe this one is drawn by Emily – it is certainly no ordinary sketch but the work of a genius. As you say, Charlotte grieving for Branwell – with sweet natured Anne – there to comfort her. Where was Emily? X
Emily was also known to have drawn mullioned windows…page 370 of The Art of The Brontës! – Sure you have already seen this!! Brilliant, thoughtful and fascinating post as always xx
…yes, with diamond leaded lights. The picture that you mention on page 370 – is full of numbers; if you can source a better image online you’ll notice them. With magnification – the greyed-out, shaded oblong-shaped area in Emily’s mullion window (right-hand side) – the number ‘shapes’ are even just visible in said book.
Thank you friend, I always appreciate your in-depth knowledge of the Sisters – as well as your ongoing support for my research and the ‘Bonnets’. X
yoom right on top Raven, first to see inside Em & C’s ‘illustrations’- yep, at every opportunity, full o symbols an mystery.. my fav in C’s *’Bolton Abbey’, the hidden romance in her drifting heron, gliding towards embrace with Landseer’s heron in the same view (dated 1830-’35 evidently before ’34) informal sketch not seen in public until 1874, except it seems by C. The ‘art of’ book associates the drawing with Turner, rather than the visit the previous summer, hosted by enigma/tic ‘E’. The wing of C’s just visible bird inscribed ‘heron’. *massive significance and social consequence ‘missed’ by ‘art of’ authors, family met some of closest, most endearing and influential friends, C exploded tradition, with a not exceptional, finely incremental memento from the previous summer when they joined the Nusseys (Joseph pal of 6th dk owner, and fellow of dk’s ‘Bolton Bachelors’ elite, included C’s correspondent 1850’s 7th earl Carlisle, still bachelor, and Edwin Landseer, members swore never to marry under present law, all stood for women’s liberty.
The most intriguing, insightful ‘secret’ in the racy, fragile butterfly ‘Lycidas’, or ‘girl with a bad leg’, is the double, diagonal row of pucker-marks, or suture-holes, just below her right knee. The same ugly gash is admitted in 1830 w/c loosely based on Landseer’s ‘Hours of Innocence’. Arriving at Roe, C is recounted walking awkwardly, ‘as if one with early hip trouble.’ C may have been implicated in the ‘horrific accident’ and Maria’s ‘severe’ head injury Cowan Bridge. The same, unusual and debilitating diagonal scar partly explains the [voyeurist] naked calf, knee and thigh, on reverse of Landseer’s impeccable, irrefutable and at last uncontested triple likeness 1838, and impudent message; ‘We Will Write’. RA have firmly attributed a ‘Romanesque’ figure-drawing on underside of lining to Landseer, probably made they say, when he (the fantastic feminist pioneer) was duty evening ‘life class’ tutor at RA 1837. The Landseer authority R Ormond CBE concedes the portrait is within the technical and social scope of Landseer, but refutes the artist knew the Brontes. On contrary, Patrick’s piety and poetry persuaded Wilberforce to sponsor the waif, he and chum Wordsworth and chum, polymath John Landseer exchanged sonnets and poems- in 1824 Edwin and ‘uncle’ Wilberforce founded the (R)SPCA, in 1827 Wilberforce and John Landseer were guests for supper at Heydon’s studio, in 1833, when, letter proves, Landseer was in residence at Bolton Abbey, who would Patrick consent Branwell to drive siblings and precious Nussey to be received, entertained and hosted by who? (who Francis Leyland, brother of Bran’s ‘best friend’, calls ‘E’. The piano, made by John Green, inventor and purveyor of Landseer’s double-ended drawing implement, invented the ‘compact’ piano with extended bass in 1829, still cutting-edge 1834 catered to local market, how did the fragile, valuable thing get to Haworth? Summer 1834 Landseer’s painting ‘Bolton Abbey in Olden Times’ was delivered to London and exhibited. The dk’s empty wagon on return journey would have provided a perfect solution- and perhaps made the exceptionally kind and significant plot feasible. Extraordinary, and murky, no mention of the piano, it’s anticipation, arrival or celebration, or reverence to generous benefactor, only the mention of Em’s practice, Dec 1834. Have lots of ‘mazin facts can email if you have time. v.best, James
Thank you for getting in touch James! It’s pleasing to hear that my research into the ‘Bonnet Portrait’ resonates with your research into the Landseer portrait of the Bronte Sisters – we evidently share the same passion for ‘our’ individual pictures! You are very welcome to share any ‘mazin facts ‘here’ – with myself and other like-minded, open-minded Bronteites that are interested in the ‘Bonnet Portrait’ – and the Brontes’ ‘shading by numbers’ technique. Please feel free to comment on any of my other Bronte related posts – see drop-down menu. Here’s a link to a post about a self-portrait by Charlotte – note the similarity to the Charlotte in Landseer’s group portrait of the sisters. http://somethingaboutdartmoor.com/2020/04/04/theres-another-day-tomorrow-a-portrait-of-charlotte-bronte/
Thank you for following!
Hiyo Raven, hey: Your portrait drawing distinctively and undoubtedly is of Charlotte, the artist has observed subtle asymmetry of parting, offset, always, slight to her left, our view right, as respected in your ‘weeping’ drawing, and NPG’s disgraced (since semi-reprieved- check update) w/c ‘Miss Vickers’, some/all irrefutable new photos and Landseer’s impeccable triple miniature, tho apologies, am unconvinced of authorship, or supposed date, she am sure is younger (for example NPG’s ‘Miss Vickers’ made FOR Heger Nov ’42/Jan ’43 by William Henry Hunt (met Leeds 1834)- collected in a hurry, or to a schedule cos unfinished left cuff- tho may be on purpose help tell/time the story. Brill work you doin- did you notice the diagonal twin rows of tiny suture-holes below ‘Lycidas’ rt knee? Warm an Happy New Year meanwhile xjam
Thank you James! And a very Happy New Year to you too!
As well you know, Charlotte’s ‘Lycidas’ is on the front cover of ‘The Art of The Brontes’ – but all I see on the cover of my copy are literally hundreds of tiny numbers, sorry no suture-holes. Numbers are all over her leg, on the sole of her foot, the sitter’s blue outfit consists entirely of them, numbers are in the grass, indeed they are everywhere all over Charlotte’s watercolour ‘Lycidas’. One day it will be proven I’m right; Charlotte shaded by numbers. If you have a copy of the book to hand – look at it closely – and the numbers will reveal themselves.
Follow this link to view a painting of Charlotte that I believe is a self-portrait – dated 1842 verso. http://somethingaboutdartmoor.com/2020/04/04/theres-another-day-tomorrow-a-portrait-of-charlotte-bronte/ – I think Charlotte in Landseer’s painting bears a very strong likeness to this self-portrait.
Thank you for your interest in my research – and thank you kindly for your compliment and belief in my quest for the truth about the ‘Bonnet Portrait’ of Emily Bronte – The ‘Lost’ portrait.
THere is no way any of these drawings are Bronte related. If they were we would know and not be guessing at Cryptic numbers hidden in the drawing. Just saying oh this random drawing looks Bronte related; it means nothing. I know we wish we had more drawings of the sisters but lets not push it. Also the Bonnet drawing is not Emily Bronte. It looks nothing like her. And the drawing of Emily barefoot is simply a recreation done by a fan in the modern day. You cant honestly believe that Emily Bronte would have drawings done of herself wearing a dress that goes far above the knee and barefoot?! Like give me a break noone dressed like that in those days
Thank you for your interest in the portraits. For what it’s worth, I have approved your message so that it can be openly seen and read.
Thanks. I am a huge fan of the Bronte Sisters and especially Emily. The Lycidias painting may be legitimate. I think I need to do more research however it does seem a bit unusual for the time period. Im sorry if im wrong on anything I said, but I just feel like lots of stuff gets attributed to the Sisters when its not true. I would love to see more of the drawings of Charlotte and the others but ive never been to the Bronte museum and im really really interested in this subject and identifying works of art that can legitimately be attributed to them. But I worry about false attributions when we should be able to know atleast for the most part that this with relative certainty was made by Charlotte or Emily etc.
‘Lycidas’ as featured on the front cover of ‘The art of the Brontes’ is 100% genuine; the original painting is in the official collection in Haworth.
‘The Lost’ Portrait of Emily Bronte: The Art of Thinking In Numbers’ is an earlier post; my more recent posts are essential reading if you are to make any sense of my research. Thank you for corresponding, I welcome your thoughts about the portraits I curate. And I hope you get to visit the Bronte Parsonage one day.