Portrait of a Killer: Jack the Ripper - Case Closed

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Portrait of a Killer: Jack the Ripper - Case Closed Page 43

by Patricia Cornwell

Schweder, Andrina

  Scotland Yard

  Central Finger Print Bureau

  foundations, torso found in

  public views of

  Scots Observer

  “Scotus”

  Scrapbook of Ripper clippings

  Searle, Percy Knight

  Secret rooms

  Secret studios

  Self-portraits of Sickert

  Seminal fluid, absence of

  Serial killers

  Servant of Abraham: Self Portrait, The (painting), Sickert

  Sexual activity, evidence of

  Sexual frustration

  Sexuality, Victorian views

  Sexually transmitted diseases

  Sickert and

  Shakespeare, William

  Hamlet

  Henry V

  Shaw, Bertram John Eugene

  She (play)

  Sheepshanks, Anne

  Sheepshanks, Richard

  Shulgin, Irene

  Sickert, Bernhard (brother)

  Sickert, Christine Angus (wife)

  Sickert, Ellen Cobden (wife)

  character traits

  divorce from Walter

  DNA tests

  feminism of

  letters

  marriage relationship

  psychic pain

  purchase of knives

  separation from Walter

  wedding of

  See also Cobden, Ellen Melicent Ashburner

  Sickert, Helena “Nellie” (sister)

  and Walter’s fistula

  Sickert, Johann Jurgen (grandfather)

  Sickert, Leonard (brother)

  Sickert, Nelly (mother)

  See also Henry, Eleanor Louisa Moravia

  Sickert, Oswald Adalbert (father)

  and Walter

  and Walter’s surgery

  writings of

  Sickert, Oswald Valentine (brother)

  Sickert, Robert (brother)

  Sickert, Walter Richard

  as actor

  aliases

  alibis

  alleged visit to Normandy

  appearance

  art criticism

  associates of

  Camden Town murder

  Chapman murder

  character traits

  childhood

  Cornwall connection

  and crime scenes

  death of

  and death of Christine

  Dimmock murder

  divorce

  DNA of

  education

  family of

  fear of diseases

  fingerprints

  fistula surgeries

  health problems

  identity issues

  and Jack the Ripper

  knowledge of anatomy

  knowledge of forensic science

  letters

  papers written on

  libel suit

  marriage of

  to Christine Angus

  to Thérèse Lessore

  murders by

  motivation for

  unacknowledged

  as murder suspect

  and music halls

  and neckerchiefs

  and newspapers

  old age

  and paper

  peculiar behavior

  penile malformation

  and poetry

  police viewed by

  and prostitutes

  psychological problems

  psychopathology of

  remarriage

  secret rooms

  sexual frustration

  sexual incapacity

  stage name

  studio models

  studios of

  secret

  and Terry, Ellen

  travel

  and uniforms

  wanderings

  and watermarks

  and Whistler

  and women

  writing on walls

  See also Artworks, by Sickert

  Sickert Trust

  Simmons, George (police constable)

  Single-donor (clean) profile

  Sirhan, Sirhan

  Sitwell, Osbert

  Sketches by Sickert

  in Cornwall guest book

  murder scenes

  music-hall performances

  nude males

  paper of

  See also Artworks, by Sickert

  Skinner, Keith, Jack the Ripper: Letters from Hell

  Slade School of Fine Art, London

  Slaughterhouse transvestite

  Sloper, Ally

  Smith, Emma

  Smith, Henry (police commissioner)

  From Constable to Commissioner

  Smith, Howard

  Smith, William (police constable)

  Social class of Sickert’s models

  Social reform, Victorian ideas

  Soldier, unidentified, and Tabran’s murder

  Southport, murdered boy

  Southport Visiter

  Souvenirs, of psychopathic crimes

  Spitalfields, London

  doss-houses

  Spratling, John (police inspector)

  Spying, psychopaths and

  “Square Mile.” See City of London

  Stabbings

  Stage name, “Mr. Nemo”

  Stalking, by psychopaths

  Stamps, difficulty in testing

  Star newspaper

  Stationery, watermarks

  Stealing, Sickert and

  Steer, Wilson

  Stephenson, W. H.

  Sternum, penetration of

  Stevenson, Robert Louis, The Strange Case of Dr. Jekyll and Mr. Hyde

  Stocks, Mr. and Mrs. Dimmock (landlords)

  “Stone Ginger, A.” Sickert, article in The New Age

  Stowe, Harriet Beecher

  Strange Case of Dr. Jekyll and Mr. Hyde, The, Stevenson

  See also Dr. Jekyll and Mr. Hyde (play)

  Strangulation

  Stratton, Charles Sherwood (Tom Thumb)

  Stride, Elizabeth “Long Liz”

  murder of

  Stride, John Thomas

  Studios

  secret

  Suicides

  Druitt

  medieval era

  of women, Victorian views

  Sulzbach, Edward

  Summer Night ( Nuit d’Été) (painting), Sickert

  Sun (London)

  Surgery, nineteenth century

  for fistula

  Surgical skills, alleged

  Suspects in Ripper case

  Sutton, Denys

  Swanson, Donald (chief inspector)

  Swift, Jonathan

  Tabran, Henry Samuel

  Tabran, Martha

  murder of

  Tanner, Elizabeth

  Teasing of police

  Telephone

  Tempera paint

  Terry, Ellen

  Theater, Victorian era London

  See also Music halls, Victorian London

  Themes in Sickert’s art

  Thief-takers

  Thompson, John (police surgeon)

  Throat, cutting of

  Time of death, determination of

  Times, The (London)

  art student story

  letters to

  and murders

  and photography

  “Titine” (Madame Villain)

  Tom Thumb (Charles Sherwood Stratton)

  Tool marks

  Torso, female

  East End discovery

  Tower of London

  Tower Subway

  Trace evidence from Ripper murders

  Traps

  Travel

  Treuherz, Julian

  Treves, Frederick

  Trial by ordeal

  Trollope, Anthony

  Trophies of psychopathic crimes

  Turner, Henry

  Two Studies of a Venetian Woman’s Head (sketch), Sickertr />
  Uncatalogued Sickert artworks

  Uncles and Aunts (play)

  Unidentified victims

  Uniforms, military, Sickert and

  Union Jack, The (play)

  United States, death investigation standards

  Unsolved murders

  Unwin, T. Fisher

  Uremia (kidney failure)

  Urinary tract infections

  Uteri, human, purchase attempt

  Vacher l’Eventreur et les crimes sadiques, Lacassagne

  Valentine’s School, Blackheath

  Vanbrugh, John

  Venereal disease

  Victims, blaming of

  Victoria (queen of England)

  Villain, Madame (“Titine”)

  Violence

  in Sickert’s art

  Violent crimes

  disguises and

  Virginia, murder investigations

  Virginia Institute of Forensic Science and Medicine

  Von Recklinghausen disease

  Voyeurs, psychopaths as

  Waddle, William

  Wainright, Henry and Thomas

  Wales, Edward, Prince of

  Wall, Joseph

  Wall writing, Ripper message

  Walter Sickert: Drawings, Robins

  Wandering:

  by Oswald Sickert

  by Walter Sickert

  Warren, Charles (Metropolitan Police commissioner)

  Watching

  Sickert and

  Watermarks

  Watkins, Edward (police constable)

  Weapons for murder

  Webb, Beatrice

  Weekly Dispatch (London)

  West Sussex Public Record Office

  Whirlwind, The

  Whistler, Beatrice, death of

  Whistler, James McNeill

  death of

  destruction of artwork

  DNA tests

  Sickert and

  letters

  studio of

  Whitechapel, London

  Whitechapel Workhouse mortuary

  Wilde, Oscar

  Wildore, Frederick

  Wilson, Elizabeth

  Winter, Caroline

  Witness statements

  conflicting, in Chapman murder

  Kelly murder

  Tabran murder

  Woman, Ripper as

  Women:

  Sickert and

  nude paintings of

  Victorian views

  Women’s suffrage, Sickert and

  Wood, Robert

  Workhouses

  World Health Organization (WHO), and sociopathy

  World War I

  World War II, records destroyed during

  Wren, Christopher

  Writing, on wall

  Writings:

  of Oswald Sickert

  of Walter Sickert, violence in

  Y profile of paper

  BK4173 PORTRAIT OF KILLER FRAUX

  Frau Sickert, Walter Sickert’s great-grandmother.

  Tate Gallery Archive, Photograph Collection.

  Eleanor Louisa Moravia Sickert, Walter Sickert’s mother, in 1911.

  Tate Gallery Archive, Photograph Collection.

  Oswald Adalbert Sickert, Walter Sickert’s father.

  Tate Gallery Archive, Photograph Collection.

  Walter Sickert with his flaxen curls, age two, about 1862.

  Tate Gallery Archive, Photograph Collection.

  Walter, age nine, after his three surgeries, about 1869.

  Tate Gallery Archive, Photograph Collection.

  Walter the actor, on tour in Liverpool at age twenty.

  Tate Gallery Archive, Photograph Collection.

  Ellen Cobden, the daughter of a famous politician and first wife of Jack the Ripper. She divorced Sickert in 1899. By courtesy of the trustees of the Cobden Estate, with acknowledgments to West Sussex Record Office.

  Walter at age twenty-four, James McNeill Whistler’s apprentice, about 1884. Tate Gallery Archive, Photograph Collection.

  One of Sickert’s self-portraits, one of Sickert’s many looks.

  Ashmolean Museum, Oxford.

  Drawing of a man stabbing a woman to death, and a second of a brute lunging for a woman. Both are in the collection of Oswald Sickert. walter’s father, who was a professional artist, but some believe that these were drawn by Walter as a youth. Collection of Islington Libraries, London.

  Mary Ann Nichols, the second victim, is pictured here in the mortuary after her autopsy, her wounds discreetly covered.

  Public Record Office, London.

  Sickert sketch Venetian Studies brings to mind the murdered Mary Ann Nichols, whose eyes were wide open when her body was discovered.

  Current location and ownership of original unknown.

  Annie Chapman in the mortuary, her savage wounds hidden from view. She was the third of the Ripper’s highly publicized murders. (I say “highly publicized” because the six murders were not the only ones he committed.)

  Material in the Public Record Office, London, in the copyright of the Metropolitan Police is reproduced by permission of the Metropolitan Police Authority.

  The Ripper’s mutilation of Elizabeth Stride, the fourth victim, was interrupted by a pony cart turning into the yard.

  Material in the Public Record Office, London, in the copyright of the Metropolitan Police is reproduced by permission of the Metropolitan Police Authority.

  The violence escalates. Less than an hour after Stride’s murder, the Ripper slashed Catherine Eddows almost beyond recognition and took her uterus.

  Material in the Public Record Office, London, in the copyright of the Metropolitan Police is reproduced by permission of the Metropolitan Police Authority.

  Sickert’s painting Putana a Casa resembles mortuary photographs of Eddows and is suggestive of the mutilations to the right side of Eddows’s face.

  Collection of Patricia Cornwell.

  Catherine Eddows’s facial mutilations included cuts through her lower eyelids, her nose almost severed from her face, and an earlobe slashed off.

  Material in the Public Record Office, London, in the copyright of the Metropolitan Police is reproduced by permission of the Metropolitan Police Authority.

  Sickert’s sketch He Killed His Father in a Fight displays a violent imagination and a similarity to the Mary Kelly murder scene, especially with its wooden bed frame. The Whitworth Art Gallery, The University of Manchester.

  With the murder of Mary Kelly, the Ripper’s violence turns to frenzy. The young, attractive Mary Kelly’s face is obliterated, her breasts, genitals, and organs removed, including her heart.

  Material in the Public Record Office, London, in the copyright of the Metropolitan Police is reproduced by permission of the Metropolitan Police Authority.

  Persuasion is from Sickert’s Camden Town Murder series. In 1907, a prostitute named Emily Dimmock was murdered about a mile from Sickert’s house. Bristol Museums and Art Gallery.

  A map of the Whitechapel area, the Ripper’s East End killing ground during the summer, fall, and early winter of 1888.

  Public Record Office, London.

  Metropolitan Police notice, September 30, 1888. After the double murder of Elizabeth Stride and Catherine Eddows, the increasingly frustrated police posted notices throughout London. With kind permission of the Metropolitan Police Service.

  Cover art from Famous Crimes and the beginnings of the sensational Ripper legend that would continue for more than a century.

  Collection of

  Patricia Cornwell.

  In October 1888, a female torso was found at the construction site of the new Scotland Yard building. With kind permission of the Metropolitan Police Service.

  Punch or The London Charivari, September 22, 1888, page 130. Londoners criticized and blamed the police for not catching the Ripper.

  Collection of Patricia Cornwell.

  “Dear Boss.” Many of the Ripper letters were addressed to Metropo
litan Police Commissioner Charles Warren. Collection of Patricia Cornwell.

  Falsely accused: The Duke of Clarence. His response to blackmail was money, not murder. Collection of Patricia Cornwell.

  Telegram from the Ripper to Inspector Abberline. Sickert was extremely fond of sending telegrams—and so was the Ripper. Public Record Office, London.

  A view of the Royal London Hospital Patient Record Book. The hospital was the only one in the East End. I believe that none of the Ripper’s victims survived long enough to be admitted. Royal London Hospital Archives.

  Pages 44 and 45 of Inspector Abberline’s private clipping book. Abberline headed the Ripper investigation, but never revealed how he worked the cases or how he felt about failing to solve the most notorious crimes of his career. With kind permission of the Metropolitan Police Service.

  Some art experts recognize a professional artistic hand and Sickert’s technique in what may at first glance appear to be crude drawings in these three Ripper letters. Public Record Office, London.

  Art and paper experts now believe that what was once assumed to be blood in Ripper letters is actually consistent with etching ground that was finger painted or applied with a paintbrush. Public Record Office, London.

  Ripper letter written with a paintbrush. Public Record Office, London.

  The “Dr. Openshaw” Ripper letter (right) with a watermark that matches the watermark in a “Dear Jimmy” letter Sickert wrote to Whistler (above). Right, Public Record Office, London; above, Permission of Special Collections Department, Glasgow University Library.

  The oldest DNA ever tested in a criminal investigation yielded a mitochondrial DNA sequence from the backs of stamps on the Dr. Openshaw letter’s envelope that is a component of mitochondrial DNA sequences found on another Ripper envelope and two Sickert envelopes. Royal London Hospital Archives.

  The Ripper’s fingerprints, on a letter mailed to the Metropolitan Police in 1896. Public Record Office, London.

  A Ripper letter on a torn bit of cheap paper, with the note that he can’t afford stationery. Public Record Office, London.

  Jack the Ripper’s Bedroom, painted by Sickert in 1908. It is a view of his bedroom in the house where he was living at the time Emily Dimmock was murdered.

 

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