“A sleeper is an object that is undervalued at the time it is offered for sale. Experts that are on the look-out for sleepers at auction are sometimes called sleeper spotters. While some sleepers pass through auctions unnoticed, others are spotted by two or more parties and may make a spectacular price over estimate.” https://www.antiquestradegazette.com/glossary/

On Saturday morning, 29th. January 2022——I was delivered of a beautiful heavyweight tome——a 125 year old leather-bound edition of ‘The Woman at Home’ that’s taken years rather than months to arrive. Not because of any delay in dispatch by the seller——to the contrary in fact——but because so often these beautiful old illustrated annual editions are butchered for their plates and articles that are then sold individually.

I know this because I have two such articles——that singly cost more than this entire tome! So hats——nay bonnets off——to Cancer Research Shop online who kept and sold it so wonderfully intact. . . And what an impressive volume it is held in the hand——weighing in at just over five pounds——that’s 2.26796 kg!

“Bound by R.S. Shearer & Son. Stirling”

I’m in awe of it——in reverence——because it feels like holding a big, beautiful, antique leather-bound Bible. . .

“I swear that the evidence that I shall give shall be the truth, the whole truth, and nothing but the truth. . .”

It’s a feeling I put down to the fact that the Editor-In-Chief of ‘The Woman at Home’ was Reverend Sir William Robertson Nicoll —— witness to the ‘lost’ portrait of Emily Brontë——in Haworth in 1879. His witness statement is available to read at the foot of this post. To fully appreciate Sir William’s interconnectedness with the ‘Bonnet Portrait’ —— please read this previous post as there’s an order; it’s ‘The Order of The Bonnet’——as in the way in which the ‘Bonnet’ reveals its secrets all in its own good time! http://somethingaboutdartmoor.com/2022/02/14/the-lost-portrait-of-emily-bronte-where-theres-sir-william-there-is-a-way/

Leafing through my ‘new Bible’ —— I was delighted to find an unexpected bonus; a black and white icon-sized image of an engraving of Queen Victoria after a miniature watercolour on ivory by Sir William Charles Ross. . .

Original pair of engravings of the Royal couple by Henry Thomas Ryall —— published in 1840 by Colnaghi and Puckle (image courtesy of ‘S Werzler’). . .

The royal wedding day of Queen Victoria to Prince Albert was on the 10th. February 1840. Next to the engraving —— is a watercolour copy painted on ‘J Whatman’ watermarked thin card – that I attribute to the hand of Charlotte Brontë. . . 

In 1843, Charlotte’s and Queen Victoria’s paths crossed on the ‘Rue Royale’ in Brussels. Charlotte was in her second year at the Pensionnat Héger in Brussels – whilst the Queen was visiting her Uncle, King Leopold I of Belgium. Charlotte wrote home to Emily about her brush with royalty. . .

   “You ask about Queen Victoria‘s visit to Brussels. I saw her for an instant flashing through the Rue Royale in a carriage and six, surrounded by soldiers. She was laughing and talking very gaily. She looked a little stout, vivacious lady, very plainly dressed, not much dignity or pretension about her. The Belgians liked her very well on the whole. They said she enlivened the sombre court of King Leopold, which is usually as gloomy as a conventicle. . .”

Charlotte’s lasting impression of Queen Victoria is copied from Henry Thomas Ryall’s black and white engraving. In 1840, Ross’s original miniature was for Prince Albert’s eyes only —— hence Charlotte painted the Queen’s dress in ‘Anne Blue’; in Ross’s original miniature the Queen’s dress is red.

The painting has a very faint signature —— written diagonally bottom right; it is barely visible. . . 

There’s more about Charlotte’s lasting impression of Queen Victoria here:

http://somethingaboutdartmoor.com/2021/02/12/the-ingeniiousness-of-charlotte-brontes-lasting-impression-of-queen-victoria/ 

My reason for sourcing an entire copy of ‘The Woman at Home’ 1897 edition (it contains two other Brontë articles) —— was primarily for this particular article, “Mrs Gaskell’s House and Its Memories” featuring this “Pen-and-ink sketch by Charlotte Brontë”. . .‘The Art of the Brontës’ catalogue raisonné  —— queries the authenticity of the “Pen-and-ink sketch” on stylistic grounds but also because the sketch is copied from a print that’s apparently “not the type of print that usually attracted Charlotte“. Co-authors, Christine Alexander and Jane Sellars —— go on to state that “the provenance argues strongly for a Charlotte attribution” hence its inclusion in the official list. The fact that the “Pen-and-ink sketch” was once the property of Mrs Gaskell —— meant that it couldn’t be consigned to the “Dubious Attributions” section even though the authors clearly had their own ideas about its stylistic merit.

Gaskell’s The Life of Charlotte Brontë, published in 1857, was the first biography of Charlotte Brontë.

The authors also query the medium; the article in ‘The Woman at Home’ states that it is a “Pen-and-ink sketch” but ‘The Art of The Brontës’ states that the “illustration suggests watercolour”. They elucidate further —— “The tones suggesting the texture and shadow of the faces are especially close to those in which she used watercolour.”

The original “Pen-and-ink sketch” as featured in ‘The Woman at Home” —— is listed as “location unknown” in ‘The Art of The Brontës’.

All this is an example of connoisseurship in action that just goes to show the importance of provenance but also how incredibly restrictive it is if one happens to have a genuine ‘lost’ artwork by Charlotte Brontë that’s not safeguarded by provenance; the ‘Bonnet Portrait’ drawing has been tossed aside because it doesn’t have any provenance.

I have it in writing (as requested) from Brontë HQ in Haworth —— that the “Bonnet Portrait drawing of Emily Brontë” is officially unauthorised due to its lack of provenance —— however it was rejected on stylistic grounds too; a move I view as the Brontë Establishment’s attempt to put the final nail in the Bonnet Portrait’s coffin —— but ‘E M I L Y’ will not be silenced!!! Since that wholly unhelpful meeting in 2019 —— five more sleepers have come to help the cause. To this day, Tuesday 19th. April 2022 —— all three drawings and two watercolours are uninspected and unjudged by the Brontë Establishment.

This post features only three of them —— two pencil drawings and one watercolour (Queen Victoria).

This next pencil version of the figure on the right of Mrs Gaskell’s “Pen-and-ink sketch” —— is stylistically faultless; it hasn’t got a jot of provenance but it’s certainly got Charlotte’s meticulous hand written all over it. Indeed, it possesses ‘one’ outstanding stylistic idiosyncrasy that Mrs Gaskell’s version lacks. . .

It’s well-documented in ‘The Art of the Brontes’ how Charlotte had a wont to add her own artistic flourishes to the engravings that she otherwise meticulously copied. I think these heart-shaped loops certainly constitute a flourish in the Charlotte style! 

Again, like the watercolour of Queen Victoria —— ‘The Ballad Seller” is on ‘J Whatman’ watermarked paper——Charlotte’s paper maker of choice. . .

‘The Art of the Brontes’ states this about Charlotte’s favoured medium for portraiture —— “She seldom used watercolour and never oils for a portrait; pencil was her forte.” on page 255. The cloak alone must have taken hours and hours to complete; it’s so fine that one feels one could stroke it —— it’s so velvety!

‘The Ballad Seller’ is one of an inseparable ‘pair’ of portraits —— confirmed in writing by the art dealer who sold them separately online in 2020. . .

   “The Handsome Gentleman” and “Study of a Young Woman” do indeed look very similar. They were purchased in the same lot at auction. Whilst I cannot say for sure whether they are by the same hand, I would say it is highly likely, given their style and that they were both purchased together from the same source.” Sulis Fine Art

They were individually listed for sale; unattributed.

The other sleeper “The Handsome Gentleman” bears a marked likeness to Branwell Brontë’s alter ego ‘Alexander Percy’ as portrayed by Charlotte Brontë’s ‘unfinished’ watercolour featured here on page 143 in ‘The Illustrated Brontës of Haworth’ by Brian Wilks.

‘Here’s looking at you kid’ Two portraits surely by the same hand, Charlotte’s hand. And of the same face, that of Branwell Brontë and his alter ego, Alexander Percy! They’re like mirror images. 

In common with several other ‘lost’ pencil sketches and watercolours including the ‘Bonnet’ drawing —— there’s a vestige of the artist’s signature still visible. To me the ‘C’ and ‘B’ in ‘C Brontë’ are visible even in this photograph —— but especially so when held in the hand. 

There is a faint sketch of what looks to be a church with a spire on the left of ‘Branwell’. 

Stylistically ‘Branwell’ is very much like the “unsigned and undated” drawing on the left of William Weightman drawn by Charlotte Bronte —— as listed in ‘The Art of The Brontes’ on page 254.

It’s such a pity that these three original artworks featured in today’s post have absolutely no provenance —— but then again if they did have provenance —— it’s unlikely that they would have been ‘lost’ in the first place!!! 

Being in a privileged position to microscopically examine all three featured artworks —— it’s tellingly obvious that they are drawn by the same hand that drew the ‘Bonnet Portrait’. . .

Figuratively speaking, the ‘Bonnet Portrait of Emily Brontë’ portrait ‘type’ has been unfairly distorted over a very long period of time —— effectively cancelled without any proof by five generations of Brontë governing bodies.

As the original drawing only recently came to light in 2016 —— one makes allowances for those in the past that unfavourably judged the ‘Bonnet Portrait of Emily Brontë’—— solely on the basis of these two photogravure reproductions. . .

Published in 1894 and 1896 respectively.

However, the same can’t be said of today’s Brontë Establishment who are ‘blind’ and obstructively critical about the identity of the sitter —— despite the fact that her name is integrally written right through the original sketch from left to right —— in five, big, bold letters that spell-out the subjects identity as ‘E M I L Y’. . .

I ask, who but Charlotte Brontë could have included these five strokes of artistic genius? It’s so ingeniious that it’s easy to overlook what is essentially Charlotte’s ‘signature’ —— until that is —— Emily’s name has been pointed out and then it CAN’T NOT BE SEEN. Yet the Establishment pooh-pooh it’s presence. . .

For clear evidence that identifies the same ‘signature’ technique in an authenticated sketch by Charlotte in the official collection —— please refer to this earlier groundbreaking post. . . http://somethingaboutdartmoor.com/2020/05/02/spelling-it-out-the-art-of-steganography-in-the-art-of-charlotte-bronte/

And so one begins to appreciate why the ‘Lost’ Portrait of Emily Brontë by Charlotte has escaped detection for such a very, very long time; it’s been sleeping for a hundred years plus . . .For the record. . .

In the light of the ‘Bonnet’ drawing —— I consider the way in which the official keepers of the Brontë legacy persist with their established misthought against the Bonnet Portrait of Emily Brontë——as a sin against the Brontë legacy. Sadly, their contradictory opinion has only become established through their ignorance in the absence of the original drawing.

Of course, the most telling evidence is ‘hidden’ microscopically in the pictures themselves; science like that seen on ‘[Fake or Fortune?]’ could prove beyond doubt that they are ALL by the same hand, that of Charlotte Brontë.

Tous pour un, un pour tous. (All for one, and one for all.)

Sir William Robertson Nicoll’s witness statement from The British Weekly —— 5th. November 1896.

   “In the end of July, 1879, I paid a visit to Haworth and stayed the night at the Black Bull Inn, too closely associated with the memory of Patrick Branwell Brontë. . .On the second day I had an interesting interview with Martha Brown, the faithful servant who nursed all the Brontës and saw them all die. She lived for the most part in Ireland, but had a room in Haworth and paid occasional visits to her relatives there. She seemed for her station an intelligent and refined person, and was very ready to converse about the Brontës, for whom she had a warm love. . .She had all the Brontës’ works and a good many relics that Mr. Bronte had left her, but which she had sold some. One of the most interesting was one of the microscopical manuscript magazines in 32 mo. grey paper. She had once had a copy of the Poems by Currer, Ellis and Acton Bell, with an inscription by Emily Brontë, but had sold it for £5 and a new edition. There was also a good many drawings, by which Charlotte’s were much the most careful. There was only one rough sketch by Emily Brontë and Patrick’s drawing’s were unfinished. But the most precious of the whole, one of surpassing interest, was a pencil sketch of Emily Brontë by Charlotte, which was very clearly and boldly drawn, and that which Martha pronounced an excellent likeness. I endeavoured in vain to purchase it. . .

    “On Martha Brown’s death, which occurred sometime after, I endeavoured to procure some of her relics, and especially the drawing of Emily Brontë. What she left was divided among four sisters, with all of whom I communicated, but was unable to procure or even trace it.” 

Sunset walk to ‘Widgery’s Cross’ atop Brat Tor, Dartmoor —— via Arms Tor, Great Links Tor, Dunnagoat Tors, Green Tor and Bleak House Ruins.

Monday, 11th, April 2022.

A more gradual perspective from the A386 —— of Great Links Tor outcrop. Below is Arms Tor. The whale-back of Great Nodden is left. 

Stepping stones over the river Lyd, Brat Tor ahead. . .

A perfectly placed granite seat for me to stop and have a little rest on the way up Arms Tor. It was such a God-given afternoon, I could see all the way to Bodmin Moor; an opportunity to look back at the land of my birth. 

My walking companion, Tom —— taking a picture of Great Links Tor while I took a picture of another horizon.

At Great Links. . . 

Our lengthening shadows on the way to Green Tor. . . 

Under a big sky. Looking back at the Dunnagoat Tors from Green Tor —— above Bleak House ruins.

There are no words here —— only quietude.

The ‘Far Tor’ from the Dunnagoats.

Old bones at Bleak House Ruins. There are always Ravens here but they are very elusive birds and difficult to capture. . .

 An earlier capture from 2014!

Arms Tor at the going down of the Sun. . .

As timeless as a stone circle: Dartmoor ponies on the way to Widgery’s Cross. . .

My shadow.

Widgery’s Cross afire at Sunset.

Back to our favourite gap in Arms Tor for a customary Dairylea tea —— after sunset. Leave no trace.

Darkening sky and a heavy rain shower coming in over Great Links; a Dairylea shoved in a bread roll with cold hands —— never tasted so good!

Back over the stepping stones across the Lyd after nightfall.

Posted on Good Friday.

Sunday afternoon walk —— 20th. March 2022.

11.6 mile.

Starting at Swallerton Gate — Bowerman’s Nose — Kitty Jay’s Grave — Grimspound — Hameldown Tor — Widecombe-In-The-Moor — Natsworthy — Kitty Jay’s Grave (after dark) —  Swallerton Gate — Home!

Bowerman’s Nose. . .

https://www.legendarydartmoor.co.uk/bowermans.htm

Kitty Jay’s Grave. . .

https://www.legendarydartmoor.co.uk/kitty_jay.htm

Hameldown Tor. Dairylea Triangles for tea!

Hameldown Cross.

Over the Moor to Widecombe-In-The-Moor. . .

Last year’s leaves singing on the wire. . . 

https://www.legendarydartmoor.co.uk/beat_chase.htm

Qui êtes-vous Monsieur?

Three of these portraits are instantly recognisable as genuine portraits of M. Héger. Top-left is a detail from a CDV of a mystery Victorian gentleman I found on-line for sale——who looks remarkably like M. Héger – Emily and Charlotte Brontë’s Belgium school teacher. . .

To read about the Brontë Sister’s time at the Pensionnat Héger in Brussels (1842 – 1843) please follow the ‘Brussels Brontë Group’ link immediately below——as the intention of this post is specifically to compare the physical likenesses between the mystery gentleman in the CDV and known portraits of M Héger. . .

https://www.thebrusselsbrontegroup.org/the-brontes-in-brussels/heger/

The CDV is an early one; with square corners and a plain back – it dates from the late 1850’s, 1860’s to early 1870’s. Come the early 1870’s, CDV’s were printed on thicker card and corners changed from square to rounded. M Héger was born in 1809. This means that the mystery gentleman is aged between 50 and early 60’s——which fits with Frederika MacDonald’s description of Constantin Georges Romain Héger. . .

Frederika MacDonald, herself a pupil at the Pensionnat Héger——writes this of M. Héger’s appearance in 1859. . .

Excerpt from ‘The Secret World of Charlotte Brontë’ by Frederika MacDonald——published 1914.

My immediate reaction to this photograph was “Ooh la la! it is Charlotte’s Monsieur Heger!” And just like that, I bought the CDV to add to my small collection of portraits. He’s certainly got a look of “Mr Punch” and he is “inclining towards stoutness”! 

One of Monsieur Héger’s most distinguishing features is that one of his eyebrows is scarred; as one looks at these photographs——it’s the eyebrow on the left, M Heger’s right brow. . .The scar is especially noticeable between this pair of photographs; it looks like half the same eyebrow is missing in both. . .

M Héger also appears to have a few lumps and bumps on his chin (scars) as does the mystery gentleman in the CDV. . .

By the scars on his chinny chin chin! This image can be enlarged in a new window simply by clicking on it!

And just maybe ‘Monsieur Héger’ has Charlotte Bronté’s ‘Jane Eyre’ or ‘The Professor’ —— or ‘Villette’ in his hand. . .

Please read my previous post about another found CDV——that has a Brontë connection. . .

The Bronte Sisters they are NOT! They are the same three women posing as the Bronte Sisters in the well-known and much-talked about ‘Daguerreotype’.

Bonnet, Cloak and Daguerreotype! Another Brontë Mystery Solved By Yours Truly.

‘Bonnet, Cloak and Daguerrotype!’ —— because the sitter’s name ‘E M I L Y’ —— is enfolded in her cloak. . .

En route to unfolding the Truth about ‘E M I L Y’ —— I recently came across a carte de visite (CDV) of three instantly recognisable Victorian women —— who could easily be mistaken for ‘The Brontë Sisters’ of Haworth——unless that is one knows better. . .

CDV’s weren’t invented until the year before Charlotte Brontë died; the carte de visite photographic format was patented by André Disdéri in 1854.

For the record, Emily Brontë died in 1848, Anne Brontë in 1849 —— and Charlotte in 1855; the carte de visite in question is circa 1860 to 1867. The photographer was W. G. Smith of 11, Upper Prospect Place, Southampton. . .

11, Upper Prospect Place, Southampton——was the studio address of W. G. Smith until 1867 at the latest; as ‘Cardomania’ wasn’t widely popular in Britain until the late 1850’s —— I’d confidently date this CDV of three ‘nameless’ Victorian women to the 1860’s. . .

And like it says on’t tin (verso) “PHOTOGRAPHED FROM LIFE”

A plain card with no text on the front plus its square-shaped corners (as opposed to rounded corners) —— are all indicative of an early carte de visite.

A trio of Victorian CDV’s from the Southampton studio of W.G. Smith. . .

It’s all in the detail; note the highlighted areas in purple that feature the same moulding in the background.

And just so that I could believe my own eyes! —— I did a double-take of the three women to be sure I had recognised their faces correctly. . .

Charlotte Brontë ???

Emily Brontë ???

Anne Brontë ???

I propose they are the same three women, in the exact same order —— as those posing as the ‘Brontë Sisters’ in the well-known ‘Daguerreotype’. For anyone reading this post who isn’t familiar with the ‘Brontë Sisters’ Daguerreotype —— it can be viewed and read about in great detail here: https://brontesisters.co.uk. . .

As ever, my findings are dedicated to the memory of Professor Christopher Heywood and ‘his’ beloved ‘Bonnet Portrait’ of Emily. . .

Meanwhile, Charlotte’s ‘lost’ portrait of Emily——promises to stop at nothing because it IS genuine.

And whilst ‘E M I L Y’ quietly continues to bide her time —— my hunt for clues (and apparently other ‘Bonnet Portraits’ I didn’t know I was looking for!) goes on. . .

Side-by-side. Undeniably ‘E M I L Y’ and CDV together. 

‘W. Robertson Nicoll LL.D. Editor and Preacher’ A Biography by Jane T. Stoddart —— 1903.

In the same way I’m drawn to the ‘Brontë Story’——I’m drawn to the ‘Robertson Nicoll Story’ too——indeed the two entities are indivisible in ‘my book’! Their common denominator is this small pencil portrait on ‘J Whatman’ watermarked paper——coincidentally Charlotte Brontë’s paper of choice.

I intuitively know that this drawing is the ‘lost’ portrait as seen by Sir William Robertson Nicoll——because for starters, it’s microscopically signed ‘C Brontë’. . .And as small as Charlotte’s signature undoubtedly is——it could be scientifically proven that my story——this non-fictional narrative to get to the Truth isn’t just based on my intuition!

I steadfastly believe in the title of this post, ‘Where There’s Sir William There IS a Way!’——because Sir William Robertson Nicoll——is my strength, my faith, my purpose! His unfinished task——his “chief desideratum” has been passed to me; I will not cast aside the ‘Bonnet Portrait’ in the cavalier way that the ‘Brontë Society’ has cast it out for more than a century!

Indeed, it’s such a shame that today’s Brontë Society doesn’t take a page out of Sir William’s book——a former early president of the Brontë Society. . .
    “It is proposed to establish a Bronte Society… The chief desideratum is the excellent pencil sketch of Emily Bronte, drawn by Charlotte, which was in the possession of Martha Brown, the old servant of the family, and is now lost.” I saw it thirteen years ago, and vainly endeavoured to purchase it. I have vainly endeavoured to trace it since.”
Sir William Robertson Nicoll, ‘The Sketch’ 13 December 1893.

I don’t claim to have read these sought-after books cover-to-cover——instead I have a tendency to read ‘between the lines’——gleaning their pages for clues——light-bulb flashes of enlightenment that resonate with my awareness of the ‘lost’ portrait. To me——these precious, biographical and autobiographical books represent the backbone of my Quest; they are Sir William’s own Truth——about his successful life as a Methodist Minister, Bookman, Journalist.

Lady Catherine Robertson Nicoll’s ‘Under The Bay Tree’ paints a picture that’s warm still——of their successful married life from 1897 to 1923. All told, Sir William Robertson Nicoll comes across as a highly principled man who showed great integrity in all his professional and personal dealings. He definitely wasn’t the type of journalist that would have put his good name to a fake scoop about a bogus Brontë portrait; it’s evident he thought much too highly of Charlotte Brontë for that. Indeed, his two favourite novelists were Walter Scott——and Charlotte Brontë.  

The portrait I write about——and the ‘missing’ portrait seen by Sir William in 1879 are One and The Same portrait——I know it! Not least because there’s evidence in plain ‘black and white’ that supports its authenticity; the title of the portrait in contrast to Charlotte’s microscopical signature is anything but small. . .

As a simple and honest exercise – I have edited out the grey areas in order to make clear the identity of the sitter. . .

I continue to defy the so-called experts who claim they can’t see the sitter’s name is an integral part of the portrait; ‘E M I L Y’ it says from left to right in big, bold pencil lines that the artist has ingeniiously masked as folds in the drapery. I don’t think it’s coincidence either that Sir William’s portrait choice for his own obituary edition of ‘The Bookman’ stylistically follows the same sketchy lines as ‘E M I L Y’. . .

Bodily, both portraits are sketchier in style – whilst facially they’re detailed drawings. . .

Robert John Swan’s clearly and boldly drawn pencil portrait of Sir William Robertson Nicoll featured on the front cover of ‘The Bookman’ magazine to mark the passing of its indomitable Editor-In-Chief; working from home——Sir William continued with his editorial work almost to the day he died. So it strikes me as significant that he chose a humble pencil portrait to feature on the front cover of his own farewell edition rather than use a photograph of himself from which there are evidently quite a few——including this handsome one of Sir William in his Knighthood regalia. . .

November 1909. Sir William Robertson Nicoll – page 216 from ‘William Robertson Nicoll Life and Letters’ by T. H. Darlow

Sir William Robertson Nicoll died on the 4th. May 1923.

Robert John Swan (1888 – 1980) studies at the Royal Academy from 1909 to 1914. He enjoyed a long and successful career as a portrait painter. . .

I love how this utterly ‘priceless’ edition of ‘The Bookman’ found me; befittingly preserved in timeworn brown paper as old as the publication itself. . .

I’ve a fancy that the original keeper wrapped it up and preserved it for this point in time.

All of my sought after books are invaluable —— because together they’ve enabled me to formalize my own picture of Sir William Robertson Nicoll. And even though I have had to search as faraway as an online antiquarian bookseller in Alabama, USA —— in order to receive just one of them——I view them collectively as manna sent direct from Heaven; that’s how they feel held in the hand. One by one, they have sustained my belief in ‘E M I L Y’. . . 

Ninety-nine years after they were published——all twelve “personal impressions and recollections” of esteem and great affection from Sir William’s literary, political and journalistic friends——only serve to strengthen my conviction that Sir William knew exactly the portrait ‘type’ he saw in 1879; Mr. William Canton, put’s it like this——about Sir William’s photographic memory. . .

And undoubtedly pictures too!

Evidentially speaking, the Brontë Establishment have nothing against the ‘Bonnet Portrait’ photogravure that first appeared in ‘The Woman at Home’ magazine. Indeed, their loathing of the portrait ‘type’ is based on their established thought ONLY——not hard-headed evidence! They’d much rather go on idolising——and idealising——the wrong ‘lost’ portrait of ‘Emily Brontë’ painted by Branwell in the National Collection——that on evidence is a portrait of Anne Brontë! In that respect, there’s something about the Brontë Establishment’s total apathy towards the original drawing of the ‘Bonnet Portrait’ that doesn’t ring true. 

But hey ho, I have just cause to believe that the portrait I have found IS Charlotte’s ‘lost’ portrait of E M I L Y——found nearly one-hundred and fifty years after it went missing in 1880. In real terms, that equates to five generations of Brontë fans that have been systemically poisoned against the ‘Bonnet Portrait’ photogravure that was first published under Sir William Robertson Nicoll’s editorship in 1894.

Statement ’69’ in The Brontë Society’s official catalogue of the ‘Bonnell Collection’ – seriously put paid to the ‘Bonnet Portrait’ in 1932; this is what Charlotte’s original drawing of ‘E M I L Y’ is up against today; historic, systemic sabotage. Sir William Robertson Nicoll had been in his grave nearly ten years by the time this statement was made official in 1932. . .

And because the pencil drawing of the ‘Bonnet Portrait’ has absolutely no provenance the Brontë Establishment are content that it remains conveniently ‘lost’. Science though——could one-hundred percent prove that the drawing is not bogus at all. . .

The so-called expert that judged ‘E M I L Y’ in the flesh – remarked that she thought her “grotesque”; this is exactly the type of visceral reaction that’s neither helpful or nonpartisan. And ‘never mind’ the fact that the expert’s ‘evaluation’ is transparently untrue; the pencil drawing is a beautiful portrait!   

Sir William Robertson Nicoll’s wife, Lady Catherine—— wrote a glowing character reference of her late-husband in ‘Under The Bay Tree’——published for private circulation in 1934. It’s a unique record of their married life together between 1897 – 1923. I consider myself very lucky to have a copy of this rare edition on my top shelf. I don’t think it was for no good reason that Lady Catherine chose to repeat Sir William’s recount of seeing the ‘lost’ portrait of Emily Brontë drawn by Charlotte Brontë——more than a decade after her husband died. . .

From page 301 ‘Under The Bay Tree’

Because Charlotte’s portrait of Emily struck such a chord with Sir William——’Appendix 1′ is surely Lady Catherine’s way of keeping her husband’s memory of the picture alive? Although publicly Sir William chose to remain mostly silent about the missing portrait——his wife and confidante would have been acutely aware of his unceasing “regret” in the matter. . .

    “I shall never cease to regret that I did not buy the portrait she had of Emily Bronte, though I got a few other things. I did not buy it because I could not well afford it, and it has been irrevocably lost.” —— lamented Sir William in 1908 in his own newspaper ‘The British Weekly’. . .

Two other excerpts that stepped out of the pages of Lady Catherine’s ‘Under The Bay Tree’. . .

From page 154 ‘Under The Bay Tree’. Was there something about the ‘lost’ portrait of Emily that struck a chord with Sir William’s only mental picture of his Mother —— i.e. their Bonnets?  

From page 155 ‘ Under The Bay Tree’. Ask yourself, why would a “lifelong Bronte student” have printed a picture of Emily if he knew that it wasn’t a true likeness by Charlotte?

Lady Catherine was Sir William’s second wife. His beloved first wife, Isa —— died in 1894 after an operation——leaving Sir William as the lone-parent of their two young children. Following Isa’s death, Nicoll wrote ‘The Key of The Grave’ that opens with a soul-searching question:

    “What are we to do when it is dull and cold and weary weather with us, when our hearts hunger after vanished faces night and day, when our lives seem to be broken at the centre, and behind and before we see nothing but failure and defeat?”.

Words of comfort for the bereaved from one who knew the ‘unbearable’ pain of loss; of his Mother when he was a child of eight, of his Father, his first Wife, his infant child, all his siblings. . .

‘The Key of The Grave’ was published in 1894——the same year his sister, Maria Nicoll died —— leaving Sir William doubly bereft——and the sole surviving child of five children.

And it was in July 1894 under William Robertson Nicoll’s editorship——that this portrait of “Emily Brontë” first stepped out of the page. . .

Maybe this “hitherto unpublished” portrait printed in an 1894 edition of the ‘Woman at Home’ boldly titled “EMILY BRONTË” —— helped its bereft editor-in-chief turn to life again; it’s almost certainly Sir William’s key to the identity of Charlotte’s ‘lost’ portrait of Emily. . .

Left of ‘Under The Bay Tree’——is another ‘gift’ of a book —— a signed copy of Lady Catherine’s first book ‘Bells of Memory’; again published “For private circulation only” in 1931. It is dedicated to her Grand-daughters as a lasting “record of when Granny was a little Girl”. . .

From the opening pages of ‘Bells of Memory’. 

“The Authoress, 1904” Lady Catherine Robertson Nicoll ‘Bells Of Memory’

The last chapter is a joy to read! —— about Lady Catherine’s and Sir William’s wedding day——by all accounts a bright, Heaven-sent day in early May 1897. In the spirit of that happy far-off day——I’ve married up this pair of books on my top shelf——both inscribed by their authors. . .

In 2022——there’s nothing remotely musty or airless about leafing through chapter ‘W.R.N’; only wafts of sweet scented Heather——and wedding bells pervade.

Sir William and Lady Catherine were happily married for twenty-six years. . .

One day, I intend to take the ‘lost’ portrait to Sir William’s grave in Highgate Cemetery; I believe it will be the closest the ‘lost’ portrait has physically been to Sir William since 1879——just eight feet away! —— which is nothing in terms of a world without end. . . 
‘Claudius Clear’ was Sir William Robertson Nicoll’s pen name. In the last chapter of ‘Letters on Life’ he talks about how every human being has an “Innermost Room” in their soul – a refuge where one goes to be alone with one’s thoughts——it’s a room that no other human being may enter – not even one’s nearest and dearest. After death our secrets in the Innermost Room die with us. . .

It’s interesting how Charlotte Brontë’s name is brought up in this context——because even Sir William was guilty of wanting a piece of Charlotte. He purchased Charlotte’s pencil sketch of Anne Brontë and one other pencil drawing——now both housed in the Bronte Parsonage Museum in Haworth——but his most treasured portrait of the three he took with him. . . 

If only it were possible to open the door just a jar to Sir William’s innermost room and let just a chink of light in. . .

I’ve a fancy it would look something like this.

If I had to choose one book from my top shelf to underscore the message of this post – it would be Rev. William Robertson Nicoll’s first book, ‘Calls To Christ’ published in 1877. . .This slim, green volume paved Sir William’s way. . .Rev. W. R. Nicoll’s early ministerial calling——was fundamentally at the heart of his long and successful literary calling——as a Christian Journalist and ‘BOOKMAN’. So it’s on this rock, this foundation —— that the ‘Bonnet Portrait’ as featured in the ‘Woman at Home’ fixes us with her gaze and begs the question; was Sir William Robertson Nicoll as founder and Editor-in-Chief of the ‘Woman at Home’ culpable of printing fake news? I absolutely think NOT.  

On his deathbed, he whispered to his nurse, “I believe everything I have written about immortality.” 

I hear you Sir William!    

There’s been a special addition to my top shelf——not a book but a different portrait ‘type’ of Emily Brontë. It was a recent gift——given in the true spirit of friendship by top Bonneteer supporter, EmilyInGondal. . .

This stunning new/old, mixed media portrait of Emily Brontë created by EmilyInGondal —— stands with ‘The Robertson Nicolls’ on my top shelf.

And because I’ve listened to ‘Cornfield Chase’ by Hans Zimmer several times over whilst compiling this post——here it is; the extended version. . .

It’s the feelings of eternalness when the church organ starts to play. . .  

Today —— Tuesday 1st. February 2022, I received an exceptionally well-packaged item in the post! Standing nearly one foot tall——it’s a hefty piece of hand-crafted Devon sculpture in the recognisable form of a very familiar Dartmoor granite cross. I know because I’ve touched a few over the years. . . Bennett’s Cross is probably one of Dartmoor’s most accessible wayside crosses——because it stands in plain sight at the edge of the B3212. So I love that this very well-made replica of an old friend is now in plain sight on my mantelpiece. Thank you to local artist, Heather Devona —— for making my day!   

Wednesday, 2nd. February 2022. Just like how the real monk’s crosses on Dartmoor guide walkers across the Moor – I have been guided on a journey of discovery to a most beautiful place; a piece of music composed by musician, Heather Devona——maker of The Cross. The instrumental piece is called, “Dartmoor: Realm of The Tors” —— that has the power to send me straight to the tops of Dartmoor’s Tors but with no effort at all on my part.

Be entranced too by some pure Dartmoor magick. . .

https://heatherdevona.bandcamp.com/track/dartmoor-realm-of-the-tors

Revised Sunday, 23rd. January 2022——due to misbehaving links!!!

This blogpost serves as a quick ‘Insta’ round-up of my most memorable Moor walks in 2021.

They start in reverse order——looking through a ’round window’ —— at my first Moor walk of the New Year to Prewley’s windswept Beeches —— Tuesday, 4th January 2022 —— then it’s a gentle amble back through the Old Year that was —— eventually arriving back at the ‘start’ at ‘Teign Gorge’ in April-time —— after the longest Winter lockdown.

‘Windswept Beeches at Prewley and New Moon Rising Over Sourton Tors’ https://www.instagram.com/p/CYUso8fMZaV/

‘Fogbound Hameldown —— Sunday 19th. December 2021’ https://www.instagram.com/p/CXrefZWsWAK/

‘High Willhays and Lints Tor’ —— Sunday, 28th. November 2021′ https://www.instagram.com/p/CW1mIWIosV8/

‘Prewley Moor Beeches again —— Saturday, 9th October 2021’ https://www.instagram.com/p/CU0uQu8sKUh/

‘The Thurlestone at Watern Tor —— Sunday, 19th. September 2021’ https://www.instagram.com/p/CUBcWkoITw-/

‘Ted Hughes Memorial Stone —— Tuesday, 14th September 2021’ https://www.instagram.com/p/CT00GMqIDa6/

‘Tour Of Britain flypast at The Warren House Inn car park —— Monday 6th. September 2021’ https://www.instagram.com/p/CTgIJgHIhk1/

‘Telling The Bees —— Monday 6th. September 2021’ https://www.instagram.com/p/CThfgDWMhAy/‘Lints Tor – The Sphinx Of Dartmoor —— Tuesday, 31st. August 2021’ https://www.instagram.com/p/CTQizD4I6su/

‘Watching Dragonflies at Yennadon Down’s Watering-Hole —— Tuesday, 24th. August 2021’ https://www.instagram.com/p/CTAj_nNIlxk/

‘Bowerman’s Nose and Grimspound —— Saturday, 14th. August 2021’ https://www.instagram.com/p/CSk6Kz5IOMY/

‘Cranmere Pool Letter Box —— Tuesday, 10th. August 2021’ https://www.instagram.com/p/CSae0YuowQU/

‘Around Burrator —— Saturday, 31st July 2021’ https://www.instagram.com/p/CSCMPtRMEr7/

‘Blackator Copse —— Saturday, 26th. June 2021’ https://www.instagram.com/p/CQmrtSgn_up/

‘Grimspound and Hameldown —— Tuesday, 22nd. June 2021’ https://www.instagram.com/p/CQcHJSAn8m7/

‘Lampyris noctiluca —— Wednesday, 16th. June 2021’ https://www.instagram.com/p/CQOSIjRH9ww/

‘Teign Gorge —— St. George’s Day, 23rd. April 2021’ https://www.instagram.com/p/COBkAeunq41/

I celebrate my Dartmoor round-up of 2021 —— with a special, much-treasured Christmas gift that I was given by my talented embroideress niece, Araminta. https://www.instagram.com/p/CYIqo0ZoO2Z/And finally, a fab album I bought on eBay last year that’s fast become my driving CD these days when heading for the Moor —— as well as homeward bound – especially love #01 La Maison. It’s such a jaunty instrumental piece that’s perfect for bucketing along the country roads to and from Dartmoor!

Guardian to The Cabinet of Curiosities! —— totemic Raven —— whittled into shape from a piece of fallen wood I found back in the Summer in Blackator Copse, Dartmoor —— Saturday, 26th June 2021.

Blacktor Copse is one of only three ancient high-altitude woodlands on the Moor.

Link to an earlier Instagram post featuring the copse. . .

https://www.instagram.com/p/CQmrtSgn_up/?utm_medium=copy_link

Does a picture paint a thousand words? or in the case of Emily Brontë’s ‘Wuthering Heights’ —— 107,945.

Ever since ‘Wuthering Heights’ was published in 1847 —— there’s been ongoing debate about Heathcliff’s ethnicity, particularly the question; was he Black?

So is it any wonder then, that the second I set eyes on an 1844 engraving entitled ‘The African Prince’ —— a certain ‘Bell’ rang in my head; I wondered could the engraving have been the original seed thought for Heathcliff and Catherine? because date wise it’s a possibility. The origin of ‘Heathcliff’ the name —— got me thinking too. . .

‘Heathen’ is a non-believer in the Christian faith——or any other widely held religion. By the closing lines of ‘Wuthering Heights’ it’s clear that Heathcliff does not subscribe to a conventional idea of Heaven —— or Hell; he’s a heathen by definition, not because of the eternal, unanswerable question relating to his ethnicity. Maybe Heathcliff’s heathenism is the reason why Emily Brontë put the ‘Heath’ in Heathcliff? 

Cover: ‘Othello, the Moor of Venice’ – portrait of the actor, Ira Aldridge, by James Northcote. 

Because of my wont to trawl the Internet – looking at 18th and 19th century engravings —— searching for that seemingly non-existent “fashion-plate”; the one cited by literary critic Clement Shorter as the outright reason for dismissing the ‘Bonnet Portrait’ —— I happened upon ‘The African Prince’ in February 2021.

And because where the ‘Bonnet Portrait’ is concerned ‘Perseverance’ is my second name! —— I also happened upon a hitherto unknown fact about the ‘Woman In Leopard Fur’ a painting by Charlotte Brontë; that it’s a copy of an engraving after James Northcote. http://somethingaboutdartmoor.com/2021/01/11/the-woman-in-leopard-fur-by-charlotte-bronte-a-bronte-mystery-solved/ 

It’s quite obvious that the ‘Bonnet Portrait’ originates from an 18th century engraving ‘Wood-Nymph’ after an original painting by Samuel Woodforde https://www.woodforde.org/samuel-woodforde-ra/

The above engraving of Samuel Woodforde’s ‘Wood-Nymph’ was published on the 12th February 1787. . . 

An engraving that literary critic, Clement Shorter (he was no art expert!) – almost certainly wasn’t aware of when he wrongly damned the ‘Bonnet’ reproduction in the ‘Woman at Home’. 

On the subject of the Brontës’ wont to meticulously copy engravings, it’s important to read the following quote from Mrs Gaskell! —— in order that one gets a better grasp of their engraving obsession also!

 “It is singular how strong a yearning the whole family had towards the art of drawing. Mr. Bronte had been very solicitous to get them good instruction; the girls themselves loved everything connected with it —— all descriptions or engravings of great pictures; and, in default of good ones, they would take and analyse any print or drawing which came in their way, and find out how much thought had gone to its composition, what ideas it was intended to suggest, and what it DID suggest.” 

Please bear in mind the above excerpt from Mrs. Gaskell’s ‘The Life of Charlotte Brontë’ Chapter VII —— when considering this engraving entitled ‘The African Prince’. . .

Painted by H Meyer. Engraved by R.Hicks. (To see detail —— click on engraving to open in a new window)

‘The African Prince’ was published by Fisher, Son & Co London in 1844 —— in ‘A Gallery of Engravings’ Volume I —— edited by Rev’d George Newenham Wright. 

In common with Patrick Brontë, patriarch of the Brontë family —— George Newenham Wright was also an Irish Anglican clergyman. Because of his credentials —— I should think that his set of three volumes, stuffed full of engravings —— were right up the Brontës street——Main Street, Haworth!   

   “George Newenham Wright (c. 1794–1877) was an Irish writer and Anglican clergyman. He was born in Dublin; his father, John Thomas Wright was a doctor. He graduated B.A. from Trinity College Dublin in 1814 and M.A. in 1817, having been elected a Scholar of the College in 1812. He married Charlotte Mulock in 1819.

He held several curacies in Ireland before moving to St Mary Woolnoth, London.

By 1851, he was a teacher of classics, resident in Windsor with his wife. In 1861 he noted having a number of pupils boarding with him at Frome. By 1863 he was master of Tewkesbury Grammar School.

He died on 24 March 1877 at Pierrepont Street, Bath.

From the 1820s to the 1840s some minor topographical works and schoolbooks on subjects ranging from the Greek language to biography and philosophy by Wright were published . There were several on Ireland.” From Wikipedia, the free encyclopedia.

Crucially, ‘The African Prince’ —— was published in 1844, three years prior to the publication of ‘Wuthering Heights’ —— therefore from a timeline point of view, it’s perfectly conceivable that Emily Brontë might have seen it —— whereupon, the seeds of Catherine and Heathcliff may have been sown? 

Emily Brontë doesn’t directly state Heathcliff’s racial identity —— instead his ethnicity is left to the reader own interpretation. This passage in chapter VII —— when Nelly Dean consoles young Heathcliff, intimates that he was certainly not of Anglo-Saxon descent!  

   “A good heart will help you to a bonny face, my lad,’ I continued, ‘if you were a regular black; and a bad one will turn the bonniest into something worse than ugly. And now that we’ve done washing, and combing, and sulking—tell me whether you don’t think yourself rather handsome? I’ll tell you, I do. You’re fit for a prince in disguise. Who knows but your father was Emperor of China, and your mother an Indian queen, each of them able to buy up, with one week’s income, Wuthering Heights and Thrushcross Grange together? And you were kidnapped by wicked sailors and brought to England. Were I in your place, I would frame high notions of my birth; and the thoughts of what I was should give me courage and dignity to support the oppressions of a little farmer!”  Chapter VII ‘Wuthering Heights’. 

When one factors in that Heathcliff was found in Liverpool —— one of the main British ports for slave trading, the likelihood that he was Black is amplified by Nelly Dean’s narrative. . .

A swarthy or Moorish looking Heathcliff on this ‘Pan Classics’ paperback edition. 

‘Wuthering Heights’ is set in the mid-to-late-eighteenth century.

The Slave Trade Act was passed by Parliament in 1807—— just eleven years before the birth of Emily Brontë in 1818, but in practice —— Emily was virtually an adult by the time slavery was abolished in most of the British Empire —— by 1833.

Emily’s humanitarian father, Rev’d Patrick Brontë —— spoke out against slavery —— to the extent that he was a friend of William Wilberforce, the leader of the movement to abolish slavery. So it’s no wonder then —— that an online image of ‘The African Prince’ stopped me dead in my tracks; I can well imagine that if Emily saw the exact same image only in it’s original format 177 years earlier – the engraving of ‘The African Prince’ might have had more than a passing effect on her too.

And though the Brontë Sisters lived most of their lives sequestered away in a remote Yorkshire Parsonage – their imaginations were off the page! The Sisters and their brother, Branwell —— lived vicariously through Literature —— and through Art.

Emily Brontë imaginatively depicted ‘Between Worlds’ —— an original painting in my art collection by visionary Ottawan artist Yulia Pankova. http://fineartjulia.com/biography/

To reiterate the words of Mrs Gaskell, “They would take and analyse any print or drawing which came in their way, and find out how much thought had gone to its composition, what ideas it was intended to suggest, and what it DID suggest.”

The engraving of ‘The African Prince’ depicts real people that lived. . .

   “The accompanying plate exhibits two interesting and real portraits. One, of an African Prince, who was brought to this country some years ago; the other of a young lady, daughter of a gallant officer, a relative of the late Sir Stamford Raffles.” —— from ‘The Gallery of Engravings’ Vol I. 

The woman is depicted clutching a small Bible in her left hand – which suggests she is teaching the man ‘The Lord’s Prayer’. There is a poem that accompanies the engraving that confirms this —— and can be read in full HERE. Click on the appropriate link on the ‘List of Plates, and Contents’ page —— courtesy of Google Books.

“Whatever our souls are made of, his and mine are the same.” the immediate thought that entered my head when I set eyes on the engraving. . .

Because of the angle——and way the woman is looking towards the man with a look of pure love in her eyes — my first impression was that they’re not praying——but avowing their soul connection by touching hands. It’s something about the way his right forearm seamlessly transforms into the her right forearm before one’s very eyes! —— and it doesn’t matter how long I look at what is an optical illusion——I can’t not see them as soulmates ‘fused at the elbow’ so to speak!

Again, the engraving was published in 1844 —— ‘Wuthering Heights’ in 1847. . .

In the spirit of ‘Wuthering Heights’! —— detail from a genuine coffin plate of the period; bearing D.O.D ‘1847’. ‘1847’ from an original photograph by ‘Moonshot_72’.  

When I gaze upon the significance of ‘1847’ on the re-burnished coffin plate above —— that ‘as we speak’ quietly rests in peace——atop a coffin, inside a vault —— I’m caused to marvel at how the ‘Bonnet Portrait’ leadeth me to the most unexpected places——and individuals——dead——and alive.

Detail from the ‘lost’ portrait of Emily Brontë —— a portrait ‘type’ formally recognised as the ‘Bonnet Portrait’.

So I wonder what Emily Brontë would have made of the 1844 engraving —— how would she have interpreted it —— IF indeed she ever set eyes on ‘The African Prince’? As said, it’s just a thought. . .

In the light of #BlackLivesMatter —— I hope the engraving’s subject matter is viewed in the context of this post —— as it is not my intention to cause offense by expressing ‘a thought’ about it. A thought that occurred to me the moment ‘The African Prince’ stepped out of the page. 

Cue ethereal Kate Bush in my favourite Kate Bush video! “Stepping out of the page” —— in her own inimitable, captivating, thought-inducing way. . .

UPDATE:

‘A Short Tale of The Unexpected’ —— Sunday, 23rd. January 2022.

About a hard-to-find copy of ‘The People’s Gallery of Engravings’ Volume I —— bought from ‘Oxfam Online’ on the 8th. January 2022.

To me, this particular copy feels providential —— not because it’s a copy of the actual volume that contains the engraving ‘The African Prince’. . .But because the original bookseller’s handwritten ticket is still attached——something I only discovered on receipt.

‘Thomas Fenteman & Sons’ were Theological and General Booksellers. . .Thomas Fenteman was a deeply religious man who was an early patron of up-and-coming Leeds artist, John Atkinson Grimshaw (1836 – 1893) —— under the strict proviso that the artist didn’t work on his paintings on the Lord’s Day!

Thomas Fenteman & Sons’ premises are listed on page 67 A General and Commercial Directory of the Borough of Leeds 1839 —— as 13 Central Market, Duncan Street, Leeds. Atkinson Grimshaw’s father, David Grimshaw——a policeman in 1839 is also listed in the same directory——page 82. A little later, Fenteman’s moved to 42 Boar Lane as per the ticket.

The famous twelve wooden soldiers that Rev’d Brontë gave Branwell were bought in Leeds——indeed there’s an article in ‘Brontë Studies’ the Brontë Society’s own academic journal——telling how all the Brontë family loved to shop in Leeds. See page 362 below —— about how Charlotte wrote to her best friend Ellen Nussey and told how she bought a Bonnet of all things —— from ‘Hunt & Hall’s’ on the corner of Boar Lane!

Charlotte to her best friend, Ellen Nussey. Excerpt from an article in Bronte Transactions part 69/No.4/Volume 13/1959 ‘The Brontes In Leeds’ by Mary L Stollard.

‘The People’s Gallery of Engravings’ Volume I —— was published in 1844 —— I just love how buying this timeworn book has an unforeseen link to the Art World——to one of my favourite artists of the Victorian era John Atkinson Grimshaw——one couldn’t make it up!

Must see —— beautiful YouTube video shared below – a gallery of John Atkinson Grimshaw’s nocturnal world set to Debussy’s ‘Clair de Lune’. . . 

Thomas Fenteman’s patronage of Atkinson Grimshaw’s earlier works is mentioned in this article about the artist in The Yorkshire Post. https://www.yorkshirepost.co.uk/heritage-and-retro/retro/serenade-arts-master-yorkshire-moonlight-1839127   

A walk to Meldon Viaduct along ‘The Granite Way’ from Okehampton Station to Meldon Quarry —— and another walk to Yes Tor and High Willhays —— Devon’s own rooftop. . . 
1. Firstly, a riveting walk to Meldon Viaduct, Tuesday 1st June 2021. . .

Out with the old, in with the new. Heaps of old, wooden railway sleepers from the newly reinstated Dartmoor Line —— Okehampton to Exeter. Due to open late 2021.

A moment to stand in awe of the Victorians who built Britain.

Lovely, old sun-warmed rolling stock at Meldon Quarry… 

Shadows from the past. Old Water Tower, Meldon Quarry. 

View of Meldon Dam.

Feeling happily blown away on the viaduct —— and by a rainbow halo helping to heal my bad eye. 

And some very contented Cows and Bull on the way back. . .

2. Walk to Yes Tor and High Willhays, Saturday 5th June 2021. ‘I’m a Square Peg In a Round Hole’ type!

Yes Tor! Under a heavenly sky.

Den Brook Wind Farm from Yes Tor!

Granite Outcrop – near High Willhays.

A pretty green stone that caught my eye en route to High Willhays —— to put on the cairn. . .

But because I’m a bit of a ‘square peg in a round hole’ type —— I decided to leave it all on its ownsome in a ‘purpose made hole’ on top of an outcrop of layered granite —— atop High Willhays, the very rooftop of Devon no less. . .

‘On Top of The World!’

Three mini cairns made by walkers who did it their way! 

Sheep on the move —— High Willhays.

A small bunch of cotton-grass gathered from the foot of Yes Tor to put on my table.

Until next time ‘S1765’! —— flush bracket on Yes Tor Trig Point.

And finally, ‘back to the start’ with a different perspective of Meldon Viaduct from the heights of Yes Tor; Meldon Viaduct is conveniently framed between these mini cairns. 

This video of the track layer in action is so fascinating to watch —— truly an amazing piece of kit!

“Balfour Beatty automatic track layer operating on the Okehampton line, laying track at Sampford Courtenay” Oke Rail.

And this ‘Round-up video’ by Network Rail is magnificent too – I’ve watched it quite a few times! Use this link…

Round-up video

This is how an attack of ‘Ophthalmic Shingles’ manifests itself. . .

It’s affected the very eye that knows that the ‘Bonnet Portrait’ drawing is signed ‘C Bronte’ in the sitter’s left eye. Even afflicted by ‘Varicella Zoster Ophthalmicus’ —— my right eye can still see Charlotte’s minuscule signature through a jeweler’s eye-loupe. When one is still able enough to read —— authentication is as uncomplicated as that; unfortunately though my eyewitness account —— counts for nowt.

Charlotte’s micro-script signature is ‘smile-shaped’ between the red highlights. 

Small is best because the writing is so small.

The searing, sudden nature of a full-on Shingles attack in the trigeminal nerve in the right-side of my forehead —— doesn’t compare to the long, slow burn of knowing that one is right about the authenticity of a long ‘lost’ Brontë portrait —— but isn’t able to prove it because the drawing came with no provenance. That said, there’s plenty of supportive evidence —— to say nothing of the presence of the artist’s micro-script signature, ‘C Brontë’; the smallness of it alone is so Charlotte!

‘The Establishment’ and ‘The Powers That Be’ —— are collective nouns for the organisations —— and the representatives therein —— that I’ve contacted to help verify the drawing’s authenticity. If I was to make an analogy between my efforts and the reception the drawing has received to date —— it would be this classic tale. . . 

It really ought not to matter if Charlotte’s drawing of her sister —— doesn’t appeal to the sensitivities of all but a few Brontëphiles; least not to the expert who judged it in person —— who deemed the drawing too “grotesque” to be by the hand of Charlotte —— and ‘God forbid’ a portrait of Emily! The expert’s opinion of the drawing was neither professional —— or impartial —— or helpful, however I’m glad I have it in writing (as requested!). . .

In light of my findings —— it evidently wasn’t good enough for said expert —— to lump the ‘Bonnet Drawing’ in with four other artworks in a gloomy room – and say that “stylistically” it’s not correct. Particularly as the drawing wasn’t handled —— or looked at under any form of magnification or bright light. Needless to say, my opinion of connoisseurship sunk to an all time low on Monday, 15th April 2019 —— and has remained at rock-bottom ever since.    

The expert’s dismissal of the drawing was not wholly unexpected as I do get the importance of provenance —— but the identity of the sitter as ‘EMILY’ ‘can’t be denied’ because it’s an integral part of the portrait. It’s a unique trait —— a sort of 19th century ‘WordArt’ before its time; that’s evident not only in the drawing —— but also in an authenticated artwork by Charlotte Brontë —— in the official collection in Haworth.

To be sure, “My Kindred” is a term of endearment used by Charlotte to describe her best friend Ellen Nussey; Charlotte has ‘secretly’ woven “My Kindred” through Ellen’s hemline —— in exactly the same way that she has cleverly disguised ‘EMILY’ as folds in the sitter’s cloak. . . 

It’s no surprise then I’m seeing red! —— especially having read the lengths ‘The Brontë Society’ is prepared to go to —— to secure the ‘Honresfield Library’ from ending up in a private collection (they’ve even asked the Government to step in) —— yet they don’t give a fig about what is almost certainly ‘The ‘Lost’ Portrait of Emily Brontë’ drawn by Charlotte —— or that it stays in a private collection! 

Charlotte’s other best friend was Mary Taylor of ‘The Red House’ in Gomersal —— who once said of Charlotte “She would study an engraving for a long time and could tell us much about it that we had not noticed.” The same could be said of me and the ‘Bonnet Drawing’. . .

This blog-post is a summing-up of a week in the life of a ‘Bonneteer’! —— starting with the remote, online auction of the ‘Bonnet Painting’. . . As I sat and watched the final countdown —— I thought surely the ‘Bonnet painting’ of Emily Brontë —— couldn’t possibly sell for less than what Professor Christopher Heywood —— originally paid for the painting in 2011? Alas, it sold for less than a third on the night, Sunday 23rd May 2021. Though I know —— that Christopher’s investment in ‘Emily’ can’t be gauged in terms of money. . .

It may have taken a decade for Christopher’s beloved portrait of ‘Emily’ to have seemingly depreciated overnight —— but that’s only in money terms; intellectually and spiritually the painting has been immeasurably enriched by Christopher’s ownership —— something no amount of money could buy – the buyer truly got a bargain. Professor Heywood has left his mark for posterity —— in the form of two ënlightened articles in ‘Brontë Studies’; articles that indelibly identify the sitter as ‘Emily Brontë’ —— in accordance with the timeworn inscription on the back of the painting. . .

“Emily Bronte/sister of Charlotte/Currer Bell”

As the virtual hammer silently fell —— I was left feeling deflated and sad for Christopher —— for all that the painting meant to him. Ever since Christopher’s passing in February, I’ve found it hard to keep even a flicker of interest in the ‘Bonnet’ alight. From my perspective, the remote sale of what was once Christopher’s —— sounded the final death knell for the ‘Bonnet Portrait’ in general —— but that was ‘yesterday’. . .

Within seconds of the auction ending —— a chain reaction occurred that reignited my fire:

1. Sunday 23rd May 2021 —— a ‘new’ ‘Bonnet Portrait’ dated ‘1855’. 

2. Monday 24th May 2021 —— a full on attack of Ophthalmic Shingles in my right eye.

3. Wednesday 26th May 2021 —— a newspaper article that made me see red for reasons I’ll explain further down!Of course, the fourth thing in this chain of happenstances is that Christopher’s painting was sold to an unbeknownst buyer —— who evidently thought enough of the likeness, the inscription on the back, and Christopher’s articles about the ‘Bonnet Portrait(s)’ —— to part with a substantial amount of e-cash. On quiet reflection, I think Sunday’s hammer price was no mean validation of the painting’s authenticity.

The painting was destined to be on the front cover of Christopher’s magnum opus, ‘Emily Brontë: Life, Mind and Art’ —— his last book that to my knowledge sadly remains unfinished. That’s how much he loved, valued and believed in the ‘Bonnet Portrait’; where Christopher was concerned it was never about how much he paid for ‘Emily’ – but about the painting’s authenticity —— and an exclusive green dust jacket!

“Proposed cover image on the book ‘Emily Brontë: Life, Mind and Art’. Green for Ireland, Irish eyes thinking of Hugh…”  
Christopher Heywood Mon, 23 Oct 2017 9:10

From day two of our friendship – Christopher entrusted me with the knowledge that he was the owner of the painting, a confidence I kept until after his passing. Ours was a special and unique bond —— an alliance —— that can only be understood by the hundreds of emails that to’d and fro’d between us, indeed there’s a book in them; not about the portraits per se —— but because of them. They were our ‘twinnies’ —— Christopher’s pet name for them…As the virtual hammer fell on Christopher’s ownership of the painting, my screen automatically refreshed itself. Suddenly and unbelievably —— an icon-sized image of yet another ‘Bonnet Portrait’ flashed up – a suitably wistful version in a modern frame signed ‘J. W. Moore 1855’ —— to be auctioned at ‘Claydon Auctioneers’ on Friday 28th May 2021. With a reserve at £40 —— ‘Lot 1918’ was in my price range and attainable with luck!

SOLD.

In the moments of emptiness that followed the remote sale of Christopher’s ‘Twinnie’ – I suddenly found solace in the prospect of bidding for Lot 1918. It wasn’t only the subject of J.W. Moore’s version of the ‘Bonnet’ that spoke to me —— but the date that he created it. Charlotte Brontë died on the 31st March 1855 – the very same year as the date on the painting. . . Lot 1918’s timely appearance on Sunday —— gave me a sense of closing the gap —— the void —— that exists around the origin of the ‘Bonnet Portrait’ drawing. Of the eternal —— occasionally infernal —— yet ultimately irrefutable connection the drawing has with Charlotte and Emily Brontë because the ‘proof of the pudding’ is all there in minute detail in the Emily’s left eye. . .

The date ‘1855’ on the Claydon/Moore version certainly proves beyond doubt that the ‘Bonnet Portrait’ in all its versions – are not copies of the 1894 and 1896 photogravure. . . 

A line of ‘reasoning’ —— that’s been all too easily cited by the ‘Bonnet Portrait’ critics – nay haters! Indeed, it’s their stock answer for dismissing the ‘Bonnet Portrait’ outright —— along with “Clement Shorter said. . .”

What the hell did Clement Shorter actually —— truthfully know about the origins of the ‘Bonnet Portrait’??? Precisely nothing is the short answer! Indeed, Clement Shorter wasn’t even alive in 1855 – when J.W. Moore painted his version of the ‘Bonnet Portrait’.

It’s become apparent that where there are question marks hanging over Brontë portraits – Clement Shorter is invariably at the centre! Considering Clement Shorter was the henchman of arch Brontë villain, T. J Wise (T.J. Wise is mentioned in the Daily Mail newspaper article) – I find it odd why Shorter is held in such high esteem by the Brontë Society today —— and why his utterly baseless opinion about the ‘Bonnet Portrait’ even matters???

I digress. Back to Sunday’s auction. . .

“Why doesn’t the bloody ‘Bonnet portrait’ leave me be?” —— I blasphemously thought out loud as I clicked on the link to Friday’s auction! To use the ‘hand through the window’ scene in Emily’s ‘Wuthering Heights’ as a metaphor – that’s what it felt like! The ‘Bonnet Portrait’ literally haunts me —— nay taunts me —— and will not let go of its grip on me!

“Grrrrrrrrr —— go away!” I growled at the ‘Girl in a Bonnet’ —— but her large, melancholy eyes bored into mine. . .

“Bid for me —— Bid for me!” she called out. 

Strange how the turn of an internet page had the power to turn the ‘Bonnet’ embers incandescent again —— thanks to a portrait ‘type’ that few recognise as ‘Emily Brontë’ —— and that on the day, Friday 28th May 2021 —— nobody wanted to buy save for me! No doubt there will be more about this latest ‘Bonnet’ —— as and when she arrives home.

Now to the newspaper article about the latest ‘lost’ Brontë hoard to come to light. . .

Newspaper cutting from The Daily Mail Wednesday, May 26, 2021.

Anyone up to speed with the ‘Bonnet Portrait’ —— will hopefully understand why this article gets my goat! 

At the top of this blog is a menu header titled: ‘Emily_Bronte_In_The_Frame’ —— where there are plenty of pointers that more than suggest that the ‘Bonnet Portrait’ is an authentic portrait of ‘Emily Brontë’ drawn by Charlotte, yet as far as ‘The Establishment’ is concerned —— the portrait ‘type’ remains persona non grata. Indeed, they don’t give a damn if the drawing remains in a private collection! A second newspaper article in ‘The Guardian’ about the ‘Honresfield Library’ —— made me doubly smart! https://www.theguardian.com/books/2021/may/28/priceless-bronte-manuscripts-could-be-lost-to-private-buyer-warn-experts

One line of my ‘Bonnet’ research —— relates to the significance of the ‘Gypsy-Straw’ type hat (as worn by ‘Emily’ in the ‘Bonnet Portrait’) in Samuel Richardson’s novel ‘Pamela’. I’ve highlighted ‘The Daily Mail’ newspaper cutting (rather fittingly in red!) – where it mentions the importance and artistic influence of ‘Bewick’s History of British Birds’ in the Brontë household – and how Charlotte even made mention of the very book in the opening chapter of ‘Jane Eyre’ —— at the start of the paragraph directly after ‘pages of Pamela’ underscored in blue here. . .‘Pamela —— or Virtue Rewarded’ by English writer, Samuel Richardson —— is the very book that gave rise to the popularity of the ‘Gypsy-Straw’ hat during the Romantic period, 1798 to 1837. Indeed, the Gypsy-Straw ‘look’ was made fashionable by the heroine of Samuel Richardson’s 1740 novel —— ‘Pamela’, hence the style of hat’s formal name ‘The Pamela Hat’. . .In chapter 19 of ‘Jane Eyre’ – the significance of the ‘Pamela Hat’ or “Gipsy-Straw” in Charlotte Brontë’s prose —— gets an actual name credit. . .The bit where she describes the “handkerchief under the chin” as “striped” —— perfectly describes the exact same handkerchief as seen tied under the chin in the ‘Bonnet Portrait(s)’. It’s obvious from these clues in Charlotte Brontë’s prose, that wannabe miniaturist Charlotte was well acquainted with the ‘Pamela Hat’ fashion —— as well as the ‘Bonnet Portrait’ as a portrait ‘type’ —— or how else did she write such an exact description of the ‘Bonnet’ handkerchief? She surely knew of it! I’m in no doubt at all —— that Charlotte also painted at least one of these ‘Bonnet Portraits’ too. . .As a portrait ‘type’ it’s clear that the ‘Bonnet Portrait’ per se —— is derived from a 1787 engraving of the ‘Wood-Nymph’ after the original by Samuel Woodforde R.A.. It’s true to say, Charlotte Brontë copied engravings —— but it’s also evident from a number of her pencil and watercolour studies in ‘The art of the Brontës’ (that are copied from known engravings) —— that she had a wont to make significant changes too —— thereby, affirming a degree of originality in some of her drawings and paintings. In my opinion —— words such as ‘slavish’ and ‘meticulous’ don’t exclusively apply to Charlotte’s modus operandi with a pencil (or paintbrush) – particularly in light of the obvious differences between the ‘Bonnet Drawing’ and this 1787 hand-coloured, stipple engraving of Samuel Woodforde’s ‘Wood-Nymph’. . .

In her third novel ‘Shirley’ —— Charlotte specifically mentions the hat ‘type’ ——— “gipsy-straw” again. . .The significance in ‘Shirley’ —— is that the “mistress” Charlotte refers to is the title character ‘Shirley Keeldar’ —— based on her sister, Emily.

Just as ‘Bewick’s History of British Birds’ was one of the biggest artistic influences in the Brontë household —— then why not Samuel Richardson’s ‘Pamela’ on Charlotte? —— for the reasons that I have highlighted and underscored. Particularly as there are obvious parallels to be drawn between the subservient roles of ‘Jane’ and ‘Pamela’ to their respective masters —— ‘Mr Rochester’ and ‘Mr B’.

All things considered —— it’s no wonder that Charlotte Brontë afforded ‘Pamela’ the first shout-out in Chapter One of ‘Jane Eyre’. I must say though, I didn’t arrive at the ‘Bonnet Portrait’ through reading Charlotte Brontë’s novels (or Samuel Richardson’s for that matter!) —— instead I arrived through reading Charlotte’s Art. . . The significance of how the ‘gipsy-straw’ bonnet —— got it’s formal name ‘Pamela Hat’ —— is the shaping force for today’s argument —— as I find it’s essential not to underestimate even the smallest of clues in Charlotte’s prose —— because so often they’re Charlotte’s biggest giveaways! Add to that, Charlotte Brontë’s specialism —— ‘The Art of Micro-Script’; a form of writing too small to be read with the naked eye but possible with magnification —— brings me to today’s conclusion. . .

That it’s utterly absurd to suggest that the ‘Bonnet’ drawing was drawn by anyone other than the person whose name is in the sitter’s left eye; ‘C Brontë’ it says —— in teeny-weeny micro-script writing.

I shall keep on trying to capture Charlotte’s tiny signature because I know the camera never lies —— I only need a more powerful lens. . .

‘A certain slant of light’ —— Initials in the eye E. J. B. for Emily Jane Brontë.

To round off this long post, I shall finish with a reminder of Sir William Robertson Nicoll’s 1879 eyewitness account of the true lost portrait of Emily Brontë. His words in no uncertain terms —— do not describe Branwell Brontë’s portrait in the National Portrait Gallery —— that for too long has been purported to be the lost portrait seen by Robertson Nicoll. . .

Sir William Robertson Nicoll’s eyewitness account is accurately transcribed in this 1981 edition of ‘Brontë Society Transactions’ —— highlighted here in blue (and red). . .   

Sir William Robertson Nicoll was the Editor of the ‘Woman at Home’ and ‘The Bookman’ —— responsible for the publication of this hitherto unpublished reproduction of the ‘Bonnet Portrait’ —— which speaks volumes. . . 

Be sure to click on the images to read the small print.