Portrait of a Killer: Jack the Ripper - Case Closed
Page 43
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), Sickert
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.