Many of the nudes and other female subjects have bare necks with black lines around them, as if to suggest a cut throat or decapitation. Some dark areas around a figure's throat are intended to be shadows and shading, but the dark, solid, black lines I refer to are puzzling. They are not jewelry, so if Sickert drew and painted what he saw, what are these lines? The mystery grows with a picture titled Patrol, dated 1921 - a painting of a policewoman with bulging eyes and an open-neck tunic that reveals a solid, black line around her throat.
What is known about Patrol is vague. Sickert most likely painted it from a photograph of a policewoman, possibly Dorothy Peto of the Birmingham police. Apparently, she acquired the painting and moved to London, where she signed on with the Metropolitan Police, to which she eventually donated the life-size Sickert portrait of herself. The intimation of at least one Metropolitan Police archivist is that the painting may be Taluable, but it is disliked, especially by women. When I saw Patrol, it was hanging behind a locked door and chained to a wall. No one seems quite sure what to do with it. I suppose it's another Ripper "ha ha" - albeit an accidental one - that Scotland Yard owns a painting by the most notorious murderer the Yard never caught.
Patrol isn't exactly a tribute to women or policing, nor would it appear that Sickert intended it to be anything other than another one of his subtle, scary fantasies. The frightened expression on the policewoman's face belies the power of her profession, and in typical Sickert fashion, the painting has the patina of morbidity and of something very bad about to happen. The wooden-framed 741A-by-461/4-inch canvas Patrol is a dark mirror in the bright galleries of the art world, and references to it and reproductions of it are not easily found.
Certain of his paintings do seem as secret as Sickert's many hidden rooms, but the decision to keep them under cover may not have been made solely by their owners. Sickert himself had a great deal to say about which of his works were to be exhibited. Even if he gave a painting to a friend - as is the case with Jack the Ripper's Bedroom - he could have asked the person to lend it to various exhibitions, or keep it private. Some of his work was probably part of his catch-me-if-you-can fun. He was brazen enough to paint or draw Ripperish scenes, but not always reckless enough to exhibit them. And these unseemly works continue to surface, now that the search is on.
Most recently, an uncatalogued Sickert sketch was discovered that seems to be a flashback to his music-hall days in 1888. Sickert made the sketch in 1920, and it depicts a bearded male figure talking to a prostitute. The man's back is partially to us, but we get the impression that his penis is exposed and that he is holding a knife in his right hand. At the bottom of the sketch is what appears to be a disemboweled woman whose arms have been dismembered - as if Sickert is showing the before and after of one of his kills. Art historian Dr. Robins believes the sketch went unnoticed because, in the past, the notion of looking for this sort of violence in Sickert's works was not foremost on the minds of people such as herself, and archival curators, and Sickert experts.
But when one works hard and begins to know what to look for, the unusual turns up, including news stories. Most people interested in news accounts of Jack the Ripper's murders rely on facsimiles from public records or microfilm. When I began this investigation, I chose The Times as the newspaper of record and was fortunate to find copies of the originals for 1888- 91. In that era, newsprint had such a high cotton fiber content that The Times papers I own could be ironed, sewn together, and bound, good as new.
I have continued to be surprised by the number of news publications that have survived for over a hundred years and are still supple enough for one to turn their pages without fear. Having begun my career as a journalist, I know full well that there are many stories to a story and that without looking at as many bits and pieces of reportage as I can find I can't begin to approach the whole truth. Ripper journalism in the major papers of the day is not scarce, but what is often overlooked are the quiet witnesses of lesser-known publications, such as the Sunday Dispatch.
One day, my dealer at an antiquarian bookshop in Chelsea, London, called to tell me he had found at auction a ledger book filled with, quite possibly, every Sunday Dispatch article written about the Ripper murders and others that might be related. The clippings, rather sloppily cut out and crookedly pasted into the ledger, were dated from August 12, 1888, through September 29, 1889. The story of the book continues to mystify me. Dozens of pages throughout the ledger were slashed out with a razor, enormously piquing my curiosity about their contents. Alongside the clippings are fascinating annotations written either in blue and black ink or with gray, blue, and purple pencils. Who went to all this trouble and why? Where has the ledger been for more than a century?
The annotations themselves suggest that most likely they were written by someone quite familiar with the crimes and most interested in how they were being worked by the police. When I first acquired the ledger, I fantasized that it might have been kept by Jack the Ripper himself. It seems that whoever cut out the clippings was focused on reports of what the police knew, and he agrees or disagrees with them in his notes. Some details are crossed out as inaccurate. Comments such as "Yes! Believe me" or "unsatisfactory" or "unsatisfactory - very" or "important. Find the woman" - and most peculiar of all, "7 women 4 men" - are scribbled next to certain details in the articles. Sentences are underlined, especially if they relate to descriptions witnesses gave of men the victims were last seen with.
I doubt I will ever know whether an amateur sleuth kept this ledger or whether a policeman or a reporter did, but the handwriting is inconsistent with that of Scotland Yard's leading men, such as Abberline, Swanson, and other officers whose reports I have read. The penmanship in the ledger is small and very sloppy, especially for a period when script was consistently well formed, if not elegant. Most police, for example, wrote with a very good and in some instances beautiful hand. In fact, the handwriting in the clippings book reminds me of the rather wild and sometimes completely illegible way Walter Sickert wrote. His handwriting is markedly different from the average Englishman's. Since the precocious Sickert taught himself to read and write, he was not schooled in traditional calligraphy, although his sister Helena says he was capable of a "beautiful hand" when it suited him.
Was the ledger Sickert's? Probably not. I have no idea who kept it, but the Dispatch articles add another dimension to the reportage of the time. The journalist who covered crime for the Dispatch is anonymous - bylines then were as rare as female reporters - but had an excellent eye and a very inquisitive mind. His deductions, questions, and perceptions add new facets to cases such as the murder of Mary Ann Nichols. The Dispatch reported that the police suspected she was the victim of a gang. In London, at that time, roving packs of violent young men preyed upon the weak and poor. These hooligans were vindictive when they attempted to rob an Unfortunate who turned out to have no money.
The police maintained that Mary Ann had not been killed where her body was found, nor had Martha Tabran. The two slain women had been left in the "gutter of the street in the early hours of the morning," and no screams were heard. So they must have been murdered elsewhere, possibly by a gang, and their bodies dumped. The anonymous Dispatch reporter must have asked Dr. Llewellyn if it was possible that the killer had attacked Mary Ann Nichols from the rear and not the front, which would have made the killer right-handed - not left-handed, as Dr. Llewellyn claimed.