Monday, 29 October 2012

...another one! ( and more...)

Click on pictures to see them in full if need be. More added! :-)

Who is this, below? 
It's another dandy gent in the business of the Whitechapel murder and the 'Cleveland Street Scandal,' by Walter Sickert. There was quite a crowd, wasn't there! 
Who is it? 
( That is a waiter style cloth beneath his arm n'est ce pas. Perhaps he waited at a  restaurant above a pub in Chelsea. Not necessarily though. Very poshe features, aren't they.)

Every time I find evidence of yet another character, I'm asking How on earth did Section d Special Branch police manage to wipe out the history of a generation like that.

But anyway, they haven't achieved it. 

Nearly did! 

But as Marjorie Lilly phrased it in 1945, on visiting Walter Sickert's old studio, the studio that had previously been Whistlers', 'The Frith', seeing it had been bombed out: 

' Lost, all lost! But then I remembered, the pictures, the pictures had survived!'  Then I closed the door and made my way down the silent street.'

Here, a Telegraph article on the threat to the pub 'The Cross Keys', also under threat from sleazy  foreign renovators and unscrupulous British merchants who run after foreign money.

"Turner, Whistler and Sargent used to drink there." ( The Cross Keys.)
“It is the last original pub around here,” says Terrence Bendixon, who has lived in the area for 45 years and is part of the Chelsea Society, which works to protect the borough’s history. Despite its location and starry alumni, the Cross Keys is an “ordinary local” and was used as exactly that by residents. They are aghast at the thought of it becoming yet another millionaire’s home."

Oh! Look at that Pelican on the wall of the Cross Keys pub there. That's a Stuart Freemason symbol, rarely displayed in England, as we've seen. ( Here, an earlier post, 'Stuart Hearts' which covers the matter.) In eighteenth and nineteenth century England, pubs were often local Freemason's haunts; different lodges would often own the various drinking places with their various Freemason symbols.  Here is yet more stunning evidence, clear as day, right in our eyes. Evidently the favourite Chelsea drinking haunt of the 'Stuart Masons' of the 'rebel cell'.

So are 'Cross Keys' a Stuart/Jacobite symbol too then, do you think? They certainly are a Papal symbol. Here, the Wiki on the matter.   There's another 'Cross Keys' pub in Ladywood in Birmingham, and it's situated in 'Stewart Street'. ( Some people are calling the location 'Stuart Street'). 

John Singer Sergant was ostensibly a part of a 'Rebel Cell' that often gathered at Whistler's studios. ( Gone into in this post here.) Therefore in all probability, Walter Sickert and Edgar Degas drank at the Cross Keys and the Phene too, the Cross Keys in particular. And of course Oscar Wilde was there, and, presumably, the other 'Stuart Masons', many of whom were artists and era aristocrats with Jacobinism prominently figuring in their ancestry.

Pencil sketch by Singer Sargent in 1887, below, 'Woman with bow.'  This is a very interesting sketch picture isn't it, Whitechapel murder case keenies. Who is this? 

 Look at this. Below, 'A youth', John Singer Sargent  date unknown, c 1880-1920 ( forensic testing needed as with all these revelatory pictures, I am confident as to the testing result.) The son of the woman above? The features are very like.

Who else is it!  Compare this Singer Sargent sketch picture 'A youth' with the picture of Walter Sickert's very personal sketch picture of 'Jo', ( Walter Sickert's study of the lost prince 'Jo', the son of Prince Eddy and Mary Jeanette, link here)
You'll be aware of course that the emergent pictures of 'mother and son' and 'woman and child' ( in all cases referring ostensibly to Marie Jeanette aka Mary Jane Kelly and her son Jo) are personalised by the individual artist that drew or painted  them , and there are ostensibly slight variations between the artists; drawings are more subjective that photographs, even if they are evidence. -----
This Singer Sargent sketch 'Woman seated before a piano', c 1880s, below, is worth comparing with the sketch 'Woman with a bow' above; she seems to be one and the same woman, and she seems to be the mother of the boy in the sketch above. The woman seems to be wearing a shawl of exactly the type described by the witnesses at the 'Mary Kelly' inquest. Isn't this a beautiful, melodic picture? (Is that a letter in her hand or is it some sort of tasseled purse? Or is it the top of the back of a chair.) Beautiful still pathos here.

  Do you notice that the woman in the sketch 'Woman seated before a piano' and the youthful boy in 'A youth' are in exactly the same pose, with the right hand back in exactly the same way? The two sketches are from two different Singer Sargent collections. John Singer Sargent c 1905  must have decided to sketch the youth, 'Jo', in the same pose as he had once sketched (and possibly painted) his young mother Marie Jeanette 'before the piano' in the early 1880s.  You can see a trace of reconstructed piano keys in the sketch picture 'A youth.' Beautiful. ( The two sketch pictures were not done in the same sitting, were they; the materials used and the approach to canvas were different for the two pictures.)

To have gone to the lengths of emotive perfection and then to keep silent on secret history . Each one of these artists.

Mendelssohn was the favorite of 'Jo's great grandmother when she was young ( Victoria.) The composer visited the palace.

Here, below, a very helpful 1888 newspaper artist's picture of 'The murdered woman's room', referring to the room at Miller's court, no 13, where Marie Jeanette often lived in the 1880s,  where the body of a woman purporting to be 'Marie Jeanette Kelly' or 'Mary Jane Kelly' was found in November 1888. ( Marie was not there continuously in 1888, according to  Inquest witnesses.) Notice that in said room, there is, just behind the bed, a writing desk, washstand, or piano like the one in the picture 'Woman before a piano',  and  two chairs that appear to be exactly like the one on which the woman in the Singer Sergant picture  is seated.
There is certainly no reason to conclude that there wasn't a piano in the room at 13 Miller's court at some point in the 1880s. We can see from the newspaper drawings of 1888 that the room was large and that it was 'shabby genteel', 'rag tag and bob tail dandy': suggestive more of aristocratic poverty than anything else. And we know that Marie Jeanette loved to sing-  she was heard singing  ' A violet from mother's grave', a music hall ditty, ( apparently sung for her son) on the night she either died or was removed from Miller's court, never to return to the East End of London. 

Below: 'A lost woman in Miller's court' - contemporary picture by a newspaper artist ( unknown artist, but it's very helpful isn't it. He deserved a little credit). Bear in mind though, that this artists impression below will be less accurate than the impressions drawn and painted by Walter Sickert and his artist associates who knew Marie Jeanette personally..or is it much less accurate? It depends on the quality of the forensic artist doesn't it, if he asked around the witnesses for a likeness he will have been capable of producing at least a reasonable one.. 

Below, another 1888 newspaper picture of 'Mary Kelly', not nearly so good as the one above ( which ostensibly interested Sickert), but it does suggest that the buttoned up, frumpy stoic back street outfits that lovely Marie Jeanette wore in Whitechapel ( which amounted to disguise in her case, really) could have a bit of a 'dowdy' effect on her otherwise lovely appearance. __

The many other pictures of dite 'Mary Kelly' can be found via the links on the side bar. Below, my favorite of Walter Sickert's pictures of her, from his secret and personal sketch collection:

And how about this?
These Singer Sargent sketches below also interest me very much, for reasons apparent. The eighteenth century costume, the angel herald, the pen and the letter, ( or is it a pencil and  sketch paper, yes I think it is...) the woman and her baby child. 

It's a shame there has been so much abuse of my work and my life- if my work had been ready and completed, instead of suffering delays from all the interference that I have received, it could of course have helped with issues such as the Phene and Cross Keys pub matter. This continuous desecration of historic artifacts of great relevance to intriguing secret history and history of art, must be fought. It is quite apparent that the Phene and the Cross Keys must have been confederate artists' and aristocrats' meeting places in the 'Lost Epoque', the 1880s. (As for modern day "'sloanes' and fiancees" and so on, who apparently frequent the pubs, are they a historic beauty?)

Still the  research serendipity continues, this secret history is definitely meant to come out isn't it. I'm grateful for this. 

More Singer Sargent. Is this Elizabeth Stride? Titled 'heads'. She looks like a Whitechapel lady.

Here, below,  the mortuary photo of Elizabeth Gustafsdotter aka  Stride, regrettably the only photo we have: with mortuary photos of course you don't always have the exact life likeness- if the throat was cut there will be a certain sagging of the skin and flesh round the face that appears in a mortuary photo - and you can see that poor Elizabeth's mouth was tampered with by her assassin too. The face in the Singer Sargent picture above is more likely to be exact. The right ear ( the woman in the picture's right ear) seems exactly representative of Elizabeth's, and it is quite particular. The cheekbones are exactly like, too ( very important). I find that Singer Sargent's woman does have a Swedish air, would you agree?

Witness contributions from prominent 1880s artists associated with Walter Sickert are very helpful in terms of acquitting Walter Sickert of the accusation that he was the 'Whitechapel murderer' ( which is not my only aim, obviously!) and pointing the finger of blame for the monstrosity at Special Branch police and Hanoverian Freemasonry, where it belongs. The mainstay of the accusation leveled at the artist Walter Sickert is that he clearly knew about the murders and all the characters involved in the matter. Well: so, clearly, did all his artist associates, including Degas, Whistler, Renoir, Wilde and Singer Sargent! And furthermore, they are all telling the same story! ( The Special Branch police attack on a Jacobite confederacy and a secret letter delivery service which was intercepted, Special Branch police killed the women couriers working for the service). Which is exactly what you would expect if Walter, and inevitably, his artist associates too, were witnesses to British State corruption and murder.
We could do with some evidence that Walter Sickert and John Singer Sargent sketched together. Is there any? It seems there is, and that the sketches might have occurred during tuition from Jimmy Whistler. Look at Singer Sargent's sketch book page titled 'men', here below:

And look here, below, at these sketches from Walter Sickert's secret and personal sketch collection:

And here's a lovely picture of a woman sweeping, also from Walter's secret and personal sketch collection:

 This may be evidence that while under Whistler's tution, Walter Sickert also took some tution from Singer Sergant.

Alternatively this may simply be evidence that both artists took example and tuition from Whistler, helpful nonetheless. The sketches look like exercises in body form and activity to me. The sketching is very similar, it looks as if both artists studied during the same session.

 How reasonable is that ( cravat) bow, below?

Singer Sergant's picture of William Butler Yeats, whose socialism followed that of William Morris, who -according to the Special Branch police ledgers - was followed all about by Special Branch police, particularly while giving lectures in the 'Berner Street Working Men's Club', outside which Prince Eddy and Marie Jeanette's courier Elizabeth Stride was found assassinated in August 1888. 
How reasonable is this Yeats poem, 'The Secret Rose'?  

William Morris, leading confederate socialist of the 1880s. I love this historical person. Special Branch police hounded him endlessly, out of the country on several occasions, to the point he had to abandon his home - to an artist who considered himself finer, who'd taken his wife. Special Branch police very likely caused William's early death. They were particularly interested in spying on him heading up the Berner Street Club meetings. It was a confederate rebel hub.

And I love his ( unfinished) blackbirds and roses designs. They're the best.

Walter Sickert's picture of William Morris and the little prince, Jo. 

William Butler and William Morris - Jacobite confederates, yeees, and I can't help thinking they're two British socialist classics. One's a supreme poet who lead an absolute plonker of a young life with an angry tired looking frump who didn't give much for him, mundane at best, and the other, devoted and genuine, born before his time, was dogged and hounded, as sidelined and kicked around as his fiery ideas were marvelous. 

Below, 'The pelican in her piety' , by Sir Edward Croley Burne Jones, 1st Baronet. ( Pre Raphaelite associate of William Morris, click here for more information. 

This is a major issue here on these blog pages, ( and in the files of my work which I have not yet published) rendered stunning not by me, but by the artists whose work I put forward. It will break through at some point, I know, the pompous resistance to the discoveries ( which I have encountered in many institutions ) will have to break down.  Isn't it tragic the way Europe disrespects secret history and anything an artist has to say about his or her own life. I said to my son, "I have to live on air and water. You'll find me lying in a pauper's grave like Mozart, with my feet sticking up in the air" :-) xx 

The outline of the current situation in respect of the libel campaign against me and the legal stuff (click).