Last night, New Year’s Eve into New Year’s Day, I finally got round to watching a DVD that I bought on the 9th October 2011 – it was still in its cellophane wrapper! I know exactly when I bought it because I checked my order on Amazon. Every Christmas since – I’ve wanted to watch it but it just hasn’t happened. It’s a rare thing for me to watch anything on the ‘google-box’ so last night was a real treat. And when I say ‘google-box’ – I’m referring to my computer screen not an actual TV as in the thin black thing that gathers dust upstairs. Anyway, I digress! The DVD in question is a 1985 BBC production of ‘Silas Marner – The Weaver of Raveloe’ starring Ben Kingsley in the title role and Patsy Kensit as ‘Eppie’ – the golden-haired child who comes to Silas on New Year’s Eve…
The reason I’m writing this post – is because I want to remember the magic of watching ‘Silas Marner’ AGAIN – on New Year’s Eve into New Year’s Day 2019. It brought back a memory of Gold – of sitting with my dear old Dad by the fireside watching ‘Silas Marner’ when it was first transmitted on the 30th. December 1985. I live in the same house – with the same fireside…
I have a fancy that a ghost from Christmas past came a visiting last night because there was a message in ‘Silas Marner’ that sounded in my ears – as clear as a bell ringing the New Year in. A line that made me pause the DVD and reach for pencil and paper…
Scrawled on the back of a label – the only thing to hand – such was the rush to get it down on paper!
Thank you Master Marner.
“Everything comes to light in the end – all the secrets.”
Or ‘just’ the alchemy of light and shadow and condensation through a Victorian stained glass door on New Year’s Eve.
I said to the man who stood at the gate of the year: “Give me a light that I may tread safely into the unknown.” And he replied: “Go out into the darkness and put your hand into the Hand of God. That shall be to you better than light and safer than a known way.” So I went forth, and finding the Hand of God, trod gladly into the night… From ‘God Knows’ by Minnie Louise Haskins
Slipping out for my last, long walk of 2018…
Wishing YOU a rainbow for the New Year. For everyone that passed this way in 2018 – I hope you come by in 2019… X
It’s New Year’s Eve and time I fetched in a preloved copy of ‘Sister Wendy On Prayer’ that’s been resting a while on the rear-window shelf of my car. It’s been ‘in transit’ since early December when I purchased it from a charity shop. I don’t know why I’ve driven here and there – and to and from work with ‘Sister Wendy’ still in the back seat so to speak – but I feel now is the time to bring the book indoors and search for the meaning between its covers; I see it as a gift, heaven-sent.
Sister Wendy’s enthralling on-screen presence helped inspire my art collecting habit in no small way. Other TV art critics can’t hold a candle to Sister Wendy because she was a natural-born communicator – a one-off! Considering her devotional life path – it is no small miracle that she even entered our rooms, our lives – our hearts. In my house, her benefaction can be seen in the pictures that cover my walls; I can’t imagine life without looking at art everyday. Above – pastel of a Nun – in an ‘Oxford’ frame.
‘Long time, no see!’ I exclaimed quietly – as I removed ‘Sister Wendy On Prayer’ from the bookshelf and held the front cover tight to my chest. Bought Friday, 7th December 2018. To me – the title, ‘Sister Wendy On Prayer’ manifests as a sort of anagram of ‘serendipity’.
Well, I can’t believe it’s Christmas Eve already – wherever did this year melt away to? – all the years for that matter? With two adult sons – my ‘Mother Christmas’ duties are long melted away too – like the trails of size 8 snowy footprints that magically used to appear on our landing at about three o’clock in the morning! I remember the tiredness too.
The reason I find myself reminiscing about Christmases Past is the reappearance of an old friend, a much-loved cuddly that I made for my youngest son when he was nearly one. ‘Mr Snowman’ was made-to-measure to fit his small hand, to the ‘pattern’ of the original ‘Snowman’ by Raymond Briggs.
He’s a bit flat now due to having spent a good seven or eight years squashed beneath my son when he was sleeping. Considering ‘Snowman’ is eighteen years old to the day – and never been washed for fear of washing all that love out – he is still quite white although a few sticky ‘unsavouries’ were pulled from his fur I recall!
It’s funny all these years on, how the hours I spent carefully piecing ‘Mr Snowman’ together and embroidering his cheery face on – come smiling back at me now.
(o;
Love this version of ‘Walking In The Air’ by former Keane frontman, Tom Chaplin…
Those that know me – know I have a bit of a mania for collecting old prints, drawings and paintings – especially religious and allegorical ones. For what my acquisitions lack in condition and monetary worth they invariably make up for in other ways; ways that money CAN’T buy.
‘Demeter’ – detail from ‘The Return of Persephone’ by Frederic Leighton.
One such ‘painting’ came to me from ‘out of the blue’ a week ago – Thursday, 13th December 2018.
Gift of Light.
The ‘painting’ was given to me by a man who occasionally comes into ‘our’ recycle shop. We talk a bit and that’s how he’s got to know about my mania!
“When you’ve got a spare minute – come out to my car – as I’ve got something on the backseat you might like to have for your collection. It’s a gift if you want it?” He said.
A man of few possessions – he lives in a caravan in an apple orchard. From what I know of him, I think he’s a bit of a modern-day hermit on the quiet.
I was told that this particular ‘Persephone’ hadn’t seen the light of day for thirty years at least – as the ‘painting’ was sealed in the back of another picture – as a backboard. He’d got rid of the frame and ‘other contents’ a while back – but had kept hold of the ‘backboard’ as he liked the picture stuck to the reverse – simple as that!
The ‘painting’ is not in the best condition – including a nasty gouge to poor Persephone’s eye – as if she hasn’t suffered enough!However, its flaws pale into insignificance because I look beyond them; I’m thrilled and touched that he should want to give his ‘painting’ to me – especially as he has so few possessions to give away. He’s more or less down to nothing he tells me; the goal he’s aiming for.
No sooner had I taken ‘hold’ of the frame-less masterpiece – a strong gust of wind snatched the ‘painting’ away! I covered my eyes – as I hardly dared look at what catastrophic damage had befallen ‘Persephone’s Return’. Through open fingers, I recoiled in horror as the fragile ‘painting’ slammed to a halt at the side of my own parked car; in hindsight, I think it must have known it was coming home. Thank the Gods, the ‘painting’ was okay apart from two broken corners to the glue-stained border – which is no loss.
Still in one piece – phew!
The ‘painting’ is in fact a beautiful old Victorian PRINT – ‘The Return of Persephone’ by Frederic Leighton.
It captures THE MOMENT when ‘Hermes’ – messenger of the Gods – delivers Persephone back from the Underworld to the wide-open arms of her mother, Demeter. ‘The Return of Persephone’ heralds the return of Spring and ALL that Spring symbolises…
As I go about framing the ‘painting’ – I’m thinking what a wondrous, magical, beautiful——symbolic gift it is to be given just afore Winter Solstice…
I notice the hint of apple blossom that’s just visible outside the cave mouth…
To my eyes, Frederic Leighton was an alchemist – as well as a painter; someone who could turn particles of pigment into particles of Light at a brushstroke. Click HERE for some of Frederic Leighton’s ‘Light Therapy’ – to marvel at the brilliance of the original, courtesy of the ‘Leed’s Art Gallery’ in Yorkshire.
This weekend – I intend to set about preserving ‘The Return of Persephone’ behind glass for thirty odd years at least – only now the ‘painting’ will be facing out. I’ve found a frame that ‘fits’ – I’ve just got to make a mount…um it will be made from soft blue velvet methinks…
Click HEREto read the ‘other’ story behind the painting; how Persephone became ‘Queen of the Underworld’…
Saturday, 22nd December 2018.
That two extra minutes of daylight made all the difference – job done!
Whether I’m gathering kindling for the fire – something that I do almost daily… or ‘searching out’ sculptural pieces for keeps – I love collecting bits of old ‘misshapen’ wood. ‘Livin’ Wood’ as I call my numerous pieces…
‘Molar’ – gathered from ‘Raven’s Haven Dartmoor.
‘Tarka’ – found on ‘Crow Point’ beach near Braunton, North Devon.
‘Otter’ detail.
Sometimes it’s not the piece of wood in itself – but light and shadow that render it magical.
‘The Stag’s Head’
‘The Mistletoe Man’ – resurrected from the heart of a large clump of Mistletoe from ‘Christmas Past’. He could so have easily gone for green-recycling had I not spotted his anthropomorphic shape hiding in the middle.
Saturday, 8th. December 2018 – saw my annual, Winter pilgrimage to the Avalon Orchard, Glastonbury. Not to gather kindling or Mistletoe—or even any apples – as this year there were no windfalls to be gleaned from the rain-sodden grass as in previous years…
On a Winter’s day at dusk – ‘The Avalon Orchard’ is a magical place to BE.
…and get a different perspective of ‘St Michael’s Tower’ atop the Tor.
A trip to Glastonbury always involves a visit to ‘St John The Baptist’s’ in the main thoroughfare…
A lucky sighting while ‘touching wood’ under ‘The Holy Thorn’ in the churchyard.
Inside, I saw more rainbow colours…
…through the olde, higgledy-piggledy stained glass of ‘The South Sanctuary Window’ – my must-see!
Detail – ‘The Arms of Joseph of Arimathea’ – (bottom-right in the image above.)
Affirmation – ‘centrepiece’ in ‘The South Sanctuary Window’
My essential purchases from ‘Star Child’ and ‘The Cat and Cauldron’ .
One of the most extraordinary pieces of ‘Livin’ Wood’ I have ever stumbled upon originates from Glastonbury – although it wasn’t found in any of the town’s colourful souvenir shops on Saturday. It has no provenance other than what’s written on the label.
Of course, there are skeptics like my brother – who feel the need to point out – that the label is probably fake in his eyes, along with the cross-section of wood to which it names. And that there are probably dozens more of these money-making slices selling online to mugs like me. I say, “Ye of little faith dear Brother!” and tell him that I’ve found just ‘The One’ to date – even though I haven’t been searching – nor did I.
What he doesn’t get, IS what I love. That a kindred spirit thought to save a precious piece of ‘Holy Thorn’ behind glass; it’s something I’d do. The simple reliquary – or container – is relatively old – while the relic within is ancient in terms of lineage. Descendants of the‘Holy Thorn of Glastonbury’ trace their roots back 2000 years…
Crataegus monogyna ‘Biflora’ – has a life expectancy of roughly one-hundred years – so it is reasonable to guess that the heart-shaped, amber-coloured disc of wood contained within the reliquary – was cut from a specimen that fell naturally within the Abbey’s hallowed grounds last century. It may even be a cross-section from a fallen branch blown down in a gale…
I tell my brother that my faith in the cross-section is unquestioning – and that I absolutely believe, that if I unsealed the reliquary – removed the ‘wooden heart’ and then planted it in the ground – it would take root and sprout – just as ‘Joseph of Arimathea’s’ staff did on the side of Wearyall Hill over two millennia ago. Needless to say I don’t feel the need to prove it; the reliquary remains tightly sealed.
I got a bit wet on tonight’s walkabout – so I’m sitting here watching Gene Kelly in suitably wet clothing. If my mother could see me now she’d be fretting about me catching a chill, so just as well she can’t! The reason I’m watching ‘Singing In the Rain’ on repeat – is because of Robin Red Breast! He was singing his little heart out when I went out – and a good hour-and-a-half later he was still at it. Sitting in a neighbour’s tree, beneath a street lamp, singing in the dark, in the rain – to passing cars and ‘me’! I haven’t watched Gene Kelly singin’ and dancin’ in the rain for years – and if it wasn’t for uploading my short film of ‘tonight’s performance’ I’d not be sitting here now – in wet clothes, with a smile on my face – lovin’ Gene Kelly, he just magically came on after watching my video play. So cheers little birdie, and I’m sorry if it was because of me you flew away…
There’s LIGHT everywhere even on the gloomiest of days – Sunday 2nd December 2018
A couple of days ago now – I got ‘stopped in my tracks’ by a small portrait of a kindly, gentleman peering out at me from the bottom corner of a page – in a daily newspaper I was ‘reading’; his name is John Henry Newman, Cardinal John Henry Newman to be precise, soon to be canonised. And when I say noticed – I literally mean he lit up the page, the whole newspaper in fact; no small miracle amid the doom and gloom – and trivia – I’d previously skipped on my way to reading my stars!
The portrait featured is by Emmeline Deane – an oil on canvas that’s in the National Portrait Gallery – one of thirty-seven portraits of Cardinal Newman in the NPG; Emmeline’s is my favourite though. I just love that long slender hand; the hand that penned ‘Lead, Kindly Light’ – one of the most inspirational poems Ever written.
I’m not a member of the Catholic Church (if you’re wondering) – but my grandmother was——is; faith seemingly goes on. To that effect, I’m certain that ‘Granny Day’ taps me on the shoulder’ every once in a while…
Granny Day, my Mum and uncle Johnnie – and ‘Darling Bruce’ the dog. Mum tells me – she’s hanging on to her plait because the wind had blown her ribbon clean away. I like to imagine that somewhere up on the Sussex Downs there’s a lost ribbon still blowing around somewhere…if anyone should ever find it – leave it there please.
” A Heavenly Day” – a facsimile of Granny Day’s inscription on the back of the original photograph – 1947.
One such ‘tap on my shoulder’ was when I walked away – from an old ‘Sacred Heart’ print I’d picked up and put back down in a charity shop; the glass was so dirty I could hardly see through it!
Suitably renewed in Moire Silk and gold-coloured Velvet…
Following my grandmother’s intervention, I couldn’t walkaway. I went back into the shop and brought the picture home to re-frame; it cost just five pounds.
I have a feeling my Grandmother is deLIGHTed ‘up there’.
There’s a half-broken statuette too. It hasn’t moved since it was unpacked from its box – and unceremoniously dumped on the living room table. I just love him where he rests amidst my general clutter…
The statuette on my table reminds me of a one-off overnight stay in my grandmother’s small flat in Brighton – when I was a girl. I remember her ‘Sacred Heart’ statuette standing in the middle of her dressing table surrounded by ‘Light’. In the daylight hours it was just a triptych mirror that surrounded the figure – but by night the whole dressing table seemed to magically light up. It’s an image that’s still afire in my head even though ‘Granny Day’ died in 1978.
Granny Day loved her ‘Sacred Heart’ statuette – it had been given to her by the nuns at the convent school she attended. I don’t know where mine came from – other than it arrived here from France; I mean I don’t know its provenance. But it must have been loved – as much as my Grandmother’s statuette – as it has been broken clean in half – then stuck back together again. He’s got a broken nose too and multiple chips – just like Life itself; I bought him like that.
A more recent acquisition is an old Victorian print (above) called ‘Lead, Kindly Light’ – inspired by the words of the great man himself, John Henry Newman. From his poem ‘The Pillar of the Cloud’ – better known as the beautiful hymn – ‘Lead, Kindly Light’.
Whilst touring Italy as a young priest – Newman fell gravely ill and almost died. Following weeks of convalescence and soul-searching – he recovered well-enough to travel home to Oxford, England – with a renewed determination to continue God’s work; his illness and seemingly miraculous recovery were confirmation of the path that lay ahead…
John Henry Newman was a leading member of The Oxford Movement – along with John Keble. ‘Keble College’ is named after John Keble and the Chapel is where the ultimate ‘Light’ painting can be found – how vibrational is that! ‘Vibrational’ is a ‘Yaffle’ term meaning interconnectedness.
‘The Light of the World’ by William Holman Hunt.
The words of ‘Lead, Kindly Light’ came to John Henry Newman on the voyage home – during an enforced becalment in the ‘Straits of Bonifacio’.
It’s often the way – that when there’s no alternative than to be still a while – that profundities surface.
Newman’s poem has universal, multi-faith appeal…
Mahatma Gandhi was an advocate of the ‘Lead, Kindly Light – one step enough for me’ approach to life – and look where the ‘Light’ led him; a Nation! He said of Newman’s poem “In my daily prayers I earnestly pray to God to lead me from untruth to truth. Isn’t the same idea conveyed in ‘Lead kindly Light’?”
I agree. Believe in whatever it is you believe in and don’t falter; to me – the woman in green – is ‘Emily’.
“O’er moor and fen, o’er crag and torrent…”
“One step enough for me…”
Lead, kindly Light, amid the encircling gloom, Lead thou me on! The night is dark, and I am far from home, Lead thou me on! Keep thou my feet; I do not ask to see The distant scene, one step enough for me.
I was not ever thus, nor prayed that thou Shouldst lead me on: I loved to choose and see my path, but now Lead thou me on! I loved the garish days, and, spite of fears, Pride ruled my will: remember not past years.
So long thy power hath blessed me, sure it still Will lead me on; O’er moor and fen, o’er crag and torrent, till The night is gone; And with the morn those angel faces smile Which I have loved long since, and lost awhile.
To the memory of Violet Marie Graveley –
‘Granny Day’
1907 – 1978
* * * * * * * * * * * * * *
Another light-filled kinda day – Tuesday 27th November 2018.
Congratulations to my teacher son – Archie.
Bristol – City of Unicorns and Light…
…even on the gloomiest of days.
Vibrational sighting of the day! One of a pair of beautiful Unicorns atop City Hall, Bristol – situated on College Green – right opposite the Cathedral. Lead, Kindly Light…
For an old soldier I’m proud to call my Dad. He was lucky to live all his life; he died at home at the age of 93, 6th January 2017.
Called up at 19. Fought at Monte Cassino.
If he hadn’t come home like so many didn’t – I wouldn’t have known what it feels like to be me… a sobering thought on such a God-given day, when the November sky is blue and the House-Sparrows are chirping ever so sweetly…
Armistice Day from one corner of England, Britain, The World.We Will Remember Them…
As a one-time Chelsea Pensioner.
* * * * * * * * * * * * * * * * *
Boys will be boys…
From out of the blue… Dad as a boy with three, wild, live lizards clinging to his face – c1938 on holiday on Exmoor with cousins Julian and Paul. Dad loved reptiles and was a champion lizard catcher and snake catcher! (Stills from cine film by Frank Bartlett) Added on the 17th November 2018; I saw ‘Dad The Boy’ for the first time Ever on the 16th. Thanks Julian for sharing; seeing Dad in action – laughing, playing, being silly – is MAGIC X
With cousins Julian…
and Paul.
* * * * * * * * * * * * * * * * *
My Dad used to sing ‘D Day Dodgers’; so pleased I found this on YouTube – because he was an Eighth Army ‘D Day Dodger’.
Curiouser and curiouser – NOT spuriouser and spuriouser; The ‘Bonnet’ portrait of Emily Brontë by Charlotte Brontë continued…
Bicentenary newspaper cuttings from the ‘The Times’ and ‘The Guardian’ – and ‘The Sun’ – the so-called ‘spurious’ bonnet portrait of Emily Bronte continues to illustrate articles about Emily – in favour of the ‘Gun group’ portrait of Emily by Branwell – that hangs in the National Portrait Gallery – that more people believe – based on EVIDENCE – is a portrait of Anne Bronte…
For more than a century, the ‘Bonnet’ portrait of Emily Brontë – has been unfairly dubbed as an “entirely spurious” portrait.
It was literary critic Clement Shorter – who coined the term “entirely spurious” even though he had no evidence whatsoever to write-off the photogravure reproduction in the ‘Woman at Home’…
“The supposed portrait which appeared in The Woman at Home for July 1894 is now known to have been merely an illustration from a ‘Book of Beauty,’ and entirely spurious.” Clement Shorter
In Shorter’s day – there was ONLY the illustration – NO original portrait to go on – so it’s easy to understand how ignorance prevailed more than a century ago – but not so today – by those that persist on quoting him in the face of plausible new evidence. Anyone would think Shorter’s term “entirely spurious” had been written in blood rather than plain ink – as a curse – that must be unquestionably obeyed. I for one don’t subscribe to it.
Clement Shorter died in 1926 – the same year that Henry Houston Bonnell died; Bonnell was a serious collector of Brontëana – who bequeathed his large, impressive collection to the Brontë Society. Among those items bequeathed, was an original drawing in red contë crayon – listed on page 23 of The Brontë Society’s official ‘Catalogue of the Bonnell Collection in the Brontë Parsonage Museum – Haworth 1932’ as – “A spurious portrait of “Emily Brontë” which was reproduced in “The Woman at Home” July, 1894, p.285. Artist unknown.”.
The red conté version of the ‘Bonnet’ portrait has remained in the BPM – largely unseen since 1932 at least – indeed ‘lost’ to all intents and purposes – until it appeared in July’s issue of ‘Brontë Studies’ – 2018 – in an article by lead ‘Bonnet’ champion – Christopher Heywood.
I think if Clement Shorter, Henry Houston Bonnell and ‘lost’ portrait witness – Sir William Robertson Nicoll, were alive today – they would be as keen as they ever were to determine the origin of the photogravure reproduction in the 1894 ‘Woman at Home’…
“It is proposed to establish a Brontë Society… The chief desideratum is the excellent pencil sketch of Emily Brontë, 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.” William Robertson Nicoll, 1893.
…especially in light of the fact, there are four other original versions of the ‘Bonnet Portrait’ that have come to light since their day…
A watercolour miniature. Charlotte had ideas of becoming a miniaturist before becoming a novelist.
A Watercolour painting attributed to John Hunter Thompson——Branwell Brontë’s studio companion – now in a private collection. “In a handwriting resembling Charlotte’s, an inscription on the back of the ‘Bonnet’ portrait names the sitter as ‘Emily Bronté | Sister of Charlotte Bronté | Currer Bell’” from an article by Christopher Heywood, Brontë Studies Vol 43, 2018 issue 3. ‘Charlotte’s Copies of Emily Brontë’s Bonnet Portrait’
A drawing in red conté crayon – bequeathed to the Brontë Parsonage Museum by Henry Houston Bonnell after his death in 1926. It is listed on page 23 under ‘PORTRAITS’ – in ‘The Catalogue of the Bonnell Collection’ as item 69 – “A spurious portrait of “Emily Brontë” which was reproduced in “The Woman at Home” July, 1894, p.285. Artist unknown.”
The Book that contains an unfounded OPINION rather than a verified TRUTH. Page 23 – item 69 – “A spurious portrait of…”.
The Bonnell Catalogue also lists two other red crayon drawings in its portrait section, copies of –
“67. Richmond’s Portrait of Charlotte Brontë.”
“68. Charlotte Brontë’s drawing of Anne Brontë.”
Versions of all three drawings in the BPM ‘Bonnell Collection’ – nos 67, 68 and 69 – have all been reproduced in print – which is telling in itself, as reproductions of all three entries – were sold in a lot at Sotheby’s in 1933.In defiance of its entirely UNFAIR and UNPROVEN ‘entirely spurious’ tag – The ‘Bonnet’ portrait goes on being reproduced as illustrated by the newspaper cuttings at the top of this post. The irony of this year’s bicentenary celebrations to mark Emily Brontë’s birth on the 30th. July 1818 – is that the real headliner never got reported. It should have read – ‘THE LOST PORTRAIT OF EMILY BRONTË – FOUND?’ Pending scientific analysis of course – which would remove the need for the question mark permanently.
If the ‘lost’ portrait was clearly signed or had provenance – it would never have been ‘lost’ or overlooked in the first place. It’s how ‘known’ artworks get ‘lost’ – then turn up years later in uncatalogued lots at auction – especially when executed on a scrap of J. Whatman paper measuring no more than 131 mm x 107 mm. The drawing above – duly turned up – in 2016; no small miracle.
William Robertson Nicoll predeceased both Shorter and Bonnell; he passed away on the 4th May 1923. So none were around to bid fora small portrait of Emily Brontë drawn by sister Charlotte – when it came up for auction at Sotheby’s – on Monday, 18th December 1933…
Courtesy of ‘The British Library’.
Annotated page from Sotheby’s Catalogue – courtesy of ‘The British Library’.
The portrait sold for 30 shillings to a buyer called, ‘Halliday’ – which was a generous bid considering the 1930’s Great Depression. It’s easy to see how without Bonnell, Nicoll or Shorter – no longer around – the portrait once again slipped into obscurity without trace.
Of course – there is nothing to say that the ‘Bonnet’ pencil drawing and the drawing sold at Sotheby’s are one and the same portrait – but commonsense tells me that they ARE – because a “photogravure of the same” was also sold in lot 115. ———And there’s only ever been one reproduction of a portrait of Emily by Charlotte – and that is the photogravure illustration in the ‘Woman at Home’ known as the ‘Bonnet’ portrait; really it’s a complete no-brainer!
In the spirit of the other ‘lost’ portrait – the red conté crayon ‘Bonnet’ portrait tucked away in the Parsonage in Haworth – symbolist artist and fellow BRONTËite and BONNETite Yulia Pankova from Ottawa – has sent me a most beautiful, drawing as a gift. It portrays ‘Emily’ staring out across windswept Haworth Moor towards the Light on the horizon. Yulia tells me she has even hidden some secret letters somewhere in the soft red lines of the drawing – for me to decipher…
I haven’t deciphered them yet but I fancy I can hear “…the soft wind breathing through the grass…” as in Emily’s final lines in ‘Wuthering Heights’.
———Speaking of sounds – there have been unquiet rumblings from the quiet earth. Otherworldly noises that I imagine are Henry Houston Bonnell, William Robertson Nicoll – and even ole Shorter – all turning in their graves at the apathy of those ‘today’ – that are content to let be; say nothing, do nothing and hope the ‘bee in the bonnet’ – that is the ‘Bonnet’ portrait – will simply go away again. Of course – without provenance ‘Emily’ can’t return from whence she came – she can only go on and WILL…
Why those that I have contacted in authority on the subject of the genuine nature of the ‘Bonnet’ drawing – prefer to take the word of Clement Shorter – face value, no questions asked – I really can’t imagine? Their reasons are never forthcoming other than “Clement Shorter said…”!!!
“The supposed portrait which appeared in The Woman at Home for July 1894 is now known to have been merely an illustration from a ‘Book of Beauty,’ and entirely spurious.” Shorter knew no such thing!
——Essential reading about the sort of ‘gentleman’ Clement Shorter was; read hereand here.
Yes, the ‘Bonnet’ drawing has no provenance – but that should not be allowed to obscure the fact that the photogravure that appeared in the ‘Woman at Home’ in 1894 – clearly states beneath it – that the reproduction of the ‘Bonnet Portrait’ is from a portrait of Emily Brontë by her sister, Charlotte. Sir William Robertson Nicoll – was the Editor of the ‘Woman at Home’ in 1894 – that featured the ‘Bonnet’ portrait photogravure reproduction.
There is absolutely no proof whatsoever that the statement printed beneath the photogravure reproduction is false.
Clearly and boldly drawn pencil sketch of the ‘Bonnet Portrait’ of Emily Bronte by sister, Charlotte – dated 1844 – next to the photogravure reproduction in the 1894 ‘Woman at Home’ – titled, “Emily Bronte. From a painting by Charlotte Bronte, hitherto unpublished.”
Sir William Robertson Nicoll was an eminent scholar – a Christian gentleman – a collector of ‘Bronteana’ – and a true friend to Martha Brown. As Editor of the ‘Woman at Home’ in 1894 – he was surely better placed to state facts – and the truth therein – rather than the spurious statement made by Clement Shorter – which continues to be regarded as holy writ to this present day; there is something very wrong somewhere in all this. An interminable situation that keeps a genuine portrait of Emily Brontë by her sister Charlotte, permanently in the dark; but not if I have anything to do with it!
‘Red Light’. The portents were there on the approach into Haworth! If you click on the image to open in another window – you can see the clock tower of ‘St Michael and All Angels’ up thar on’t hill.
Bronte Parsonage Museum, Haworth. Monday, 15th April 2019.
The ‘Bonnet’ portrait drawing – along with four other original artworks – remaining in the dark. Completely overshadowed by the SPECTRE of a few entirely spurious words written by Clement Shorter a long, long time ago. His damnable words have haunted the ‘Bonnet Portrait’ ever since – and take on many forms – three on this occasion; no names, no pack drill! Apparently, this rather dimly lit room is the ‘Research Library’.
When nowt goes RIGHT …
⇐ go LEFT! There are other ways.
I wonder how anyone could ever imagine that this is not the face of Emily Bronte? or the work of Charlotte’s own hand?
I know who I take my lead from——Sir William Robertson Nicoll. I have every faith in his integrity – and in his professionalism as Editor of ‘The Woman at Home’. Oh, and from the artist and sitter.
The Drawing. Date 1844.
The Painting. Date 1837.
The Miniature. Date circa 1833. All three versions contain micro-script numbers; the common denominator with authenticated artworks in the Bronte Parsonage Museum and the National Portrait Gallery.
Because I have not been able to source any references regarding the presence of ‘hidden’ micro-script numbers in the art of the Brontes – one must assume that this is a practice by all the Bronte siblings hitherto undiscovered———until now.
How I wish I could summon up the great spirit of Sir William Robertson Nicoll today…
“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.” William Robertson Nicoll, 1893.
My Quest for Truth and Light continues…
PS…
When I get weary of ‘banging my head’ against the proverbial brick wall – I go for a walk and talk to the trees… This one is ‘Emily’ – although sometimes she’s ‘Charlotte’ – and other days she’s ‘Anne’…today 9th October 2018 – she’s Three in One.
One of the three newspaper articles – featuring the ‘Bonnet’ portrait – free to read online –
