I've dreamt in my life dreams that have stayed with me ever after, and changed my ideas: they've gone through and through me, like wine through water, and altered the color of my mind.
Emily Bronte
Wuthering Heights

zaterdag 3 december 2016

Study of Noses, pencil drawing.


Charlotte Brontë (1816–1855), Study of Noses, pencil drawing, ca. February 1831. Brontë Parsonage Museum.

Charlotte Brontë: An Independent Will. Reviewed by Ed Voves and Anne Lloyd.



Charlotte Brontë: An Independent Will

The Morgan Library and Museum
September 9, 2016 through January 2, 2017

Reviewed by Ed Voves and Anne Lloyd.

Charlotte Brontë's life was like a Victorian "three-decker" novel. Her incredible rise from obscurity to become a literary sensation with the publication of
Jane Eyre in 1847 was followed by staggering family tragedies, then marriage, brief happiness and early death in 1855.

What sounds like the plot of one of her novels was actually Charlotte Brontë's path to immortality.

The Morgan Library and Museum in New York City has organized an exhibition in honor of the bicentennial of Brontë's birth. With the cooperation of the Brontë Parsonage Museum in Haworth, Yorkshire, and the National Portrait Gallery and the British Library in London, the Morgan's exhibit is worthy of Brontë's life and achievement. 
Charlotte Brontë: An Independent Will sets a standard of curatorial excellence that will be hard to top.

Earlier this year, I reviewed part of this exhibition as it appeared at the National Portrait Gallery. The Morgan's exhibit, drawing upon three international famed institutions, is vaster in scale and superlative in the quality of the objects on display. 

In the earlier post, I focused upon the 1850 portrait of Charlotte Brontë, created by George Richmond. It was a gift to Bronte's father, Patrick, from her publisher, George Smith. In this review, I will comment upon several of the other Brontë treasures on view in the spectacular exhibit at the Morgan.

Born two hundred years ago in 1816, Charlotte Brontë was a product of what used to be dismissively referred to as England's "Celtic Fringe." Her father, the Rev. Patrick Brontë was born in Ireland in 1777, while her mother's family came from Cornwall. Charlotte Brontë was also a strong-willed Yorkshire woman at a time when the northern regions of England were the epicenter of the Industrial Revolution. She also represented, along with her sisters Emily and Anne, the final flowering of the literature of the Romantic Rebellion. Seldom has one little woman embodied so much British history and so much individual achievement in one, very brief life.

And Charlotte Brontë
was a little woman.  In physical stature, that is. According to the joyner who made her coffin, she measured four feet, nine inches.

The first object to greet visitors to the Morgan exhibit is one of Charlotte Brontë's dresses, the so-called "Thackeray dress". Brontë is reputed to have worn this dress to an ill-fated dinner party at the home of William Makepeace Thackeray on June 12, 1850. She almost certainly did not wear the dress to dinner. But the story illustrates the "outsider" position of Brontë - and her sisters - in the British literary scene of the 1840's and 1850's.

The Brontë dress on view at the Morgan is of a type known as delaine dress. The word "delaine" originally referred to woolen dresses. By 1850, the term was used for light-weight dresses made of various printed fabrics, including wool-cotton mix as in the case of this dress.

Historian Eleanor Houghton of the University of Sussex has made a detailed study of this dress. She believes that Charlotte Brontë likely wore the dress for daytime business or social meetings, including one with Thackeray prior to the dinner party. The style was certainly acceptable for daytime use in 1850. But it would have been a laughable blunder to wear it at a dinner party when silk dresses were the norm. Charlotte Brontë was extremely sensitive about her appearance, so much so that she refused to have photos taken of herself when she was married in 1854.

Thackeray's thirteen-year old daughter, Anne, left a vivid account of the dinner party. She described Charlotte Brontë as "a tiny delicate, serious little lady, pale with fair straight hair, and steady eyes. She may be a little over thirty; she is dressed in a little barège dress, with a pattern of faint green moss."

According to Houghton, barège was a mix of woolen and silk threads, very much in fashion for evening dresses in 1850. When it came to fabrics, Charlotte Brontë clearly knew her "stuff."

To focus upon the "Thackeray" dress may seem obsessive, when the Morgan exhibit is bursting with "once-in-a-lifetime" treasures, including the manuscript of Jane Eyre. Yet, it is worth considering this dress along with a famous quote by Brontë who was responding to critics of Jane Eyre. "To you I am neither Man nor Woman - I come before you as an Author only - it is the sole standard by which you have a right to judge me - the sole ground on which I accept your judgement."

Brontë published
Jane Eyre under the nom de plume, Currer Bell. When she and her sisters, Emily and Anne decided to "earn their fortune" as professional writers they chose enigmatic male names, Currer, Ellis and Acton, respectively. The surname "Bell" was, perhaps coincidentally, the middle name of their father's assistant curate and Charlotte's eventual husband, Arthur Bell Nicholls. 

The Brontë sisters tried every form of employment deemed suitable for gentlewomen to earn their bread. Governessing, managing a school of their own, all that was now at an end. Their hearts were not in it and their brother Branwell's erratic behavior forbade housing students even if they could find any.

A legacy left to the sisters by their Aunt Branwell allowed them some financial freedom, but it wasn't a complete answer. In the autumn 1845, during  this time of uncertainty , Charlotte Bronte came across her sister's Emily's poems. They electrified her. Charlotte faced down Emily's fury and insisted that the poems must be put before the public. The rest is history.

Charlotte Brontë, aka Currer Bell, had the right to insist upon being judged "as an Author only."  Though politically conservative, Charlotte Brontë was in the vanguard of the eminent Victorian women who would stubbornly smash the barriers of the "Old Boy" British establishment.

The "Thackeray" dress, Charlotte Brontë's portable writing desk, the Richmond's portrait and the manuscript of Jane Eyre testify to the front-row place which Charlotte Brontë earned for herself among the "greats" of English literature. But these objects from Brontë's later life can only be understood in terms of the wondrous "little books" and poems which she and her siblings created as children.
On display at the Morgan exhibit is a miniature manuscript book with water color drawings. It is dated to 1828, when the nine-year old Charlotte created this tiny treasure for her younger sister, Anne, later the author of
The Tenant of Wildfell Hall.

There once was a little girl and her name was Ane” reads the opening line of Charlotte Brontë’s first tale, complete with misspelling. Looking at this incredible work of love, one is struck by the unshakable thought that here is “genius" or at least the seed of genius.

The Brontë treasures, currently on view in the gallery of the Morgan Library, certainly testify to one of the great sagas of creativity in human history. Why else would we continue to read
Jane Eyre, Wuthering Heights, Villette and The Tenant of Wildfell Hall? Why else would we throng to an exhibition such as Charlotte Brontë: An Independent Will at the Morgan Library?

dinsdag 29 november 2016

Book lovers, you can now read Jane Eyre in Charlotte Brontë’s original handwriting


To celebrate the bicentenary of Brontë’s birth, Parisian publishing house Éditions des Saints Pères are releasing 1,000 luxury editions of the earliest surviving manuscript copy of Jane Eyre.
Readers will be able to read iconic lines in Brontë’s own hand, from the book’s ominous opening sentence (“There was no possibility of taking a walk that day”) to its famous conclusion: “Reader, I married him”.



The manuscript reveals revisions made by Brontë as she worked, mostly focusing on reshaping Jane’s relationship with Mr Rochester. Brontë frequently struggled during the writing of Jane Eyre, telling her fellow writer and friend Elizabeth Gaskell that:

“It was not every day that she could write. Sometimes weeks or months elapsed before she felt she had anything to add to that portion of her story which was already written. Then, some morning she would waken up, and the progress of her tale lay clear and bright before her, in distinct vision.”



And even on these mornings, Brontë’s obligations as a dutiful daughter sometimes got in the way of her writing. Gaskell recalled that Brontë always had to “discharge her household and filial [daughterly] duties” before she was permitted “leisure to sit down and write out the incidents and consequent thoughts, which were, in fact, more present to her mind at such times than her actual life itself”.

The new gilded edition of Jane Eyre is illustrated with etchings by the 19th century American artist Edmund Garrett, and one tree will be planted for each copy sold. With prices starting at £229, it’s not cheap – but if you fancy seeing the original manuscript for yourself without buying a copy, you can do so at the British Library.

Read more:
editionsdessaintsperes
stylist/jane-eyre-charlotte-bronte-manuscript
psychologies/inside-charlotte-brontes-mind

Éditions des Saints Pères are publishing their facsimile edition of Jane Eyre this Friday December 2nd (remember the price is £229 for preorders as opposed to £249 for orders after that date). A couple of sites feature this gem. Psychologies interviews Jessica Nelson, co-founder of the publishing house.
The 824-page manuscript contains important revisions and corrections centred around the portrayals of Jane's encounters with Mr Rochester. Written in Brontë's elegant hand, it gives readers unprecedented insight into her creative process. The manuscript's publication marks the culmination of this year’s bicentenary celebrations of Charlotte Brontë’s birth.
Each luxury edition is illustrated with etchings by Edmund Garrett and presented in a deluxe slipcase decorated with iron gilding. As well as being printed on environmentally-friendly paper, Éditions des Saints Pères have pledged to plant one tree for each copy sold. [...]

dinsdag 22 november 2016

Anne Brontë, Patrick Branwell, and Emily Jane Brontë.


: The Henry Houston Bonnell Brontë Collection, bequest of Helen Safford Bonnell, 1969

These manuscripts, three in minuscule handwriting, are the work of a group of unusually imaginative teenage siblings. When they were children, the Brontës began inventing characters and scenarios as part of their creative play. Over the years they built a complex web of stories and poems about made-up kingdoms, informed by their extensive reading of literary works and contemporary news. In the notebook on the upper left, Charlotte describes a palace garden with strong echoes from The Arabian Nights. Below left, Branwell describes battles and intrigue in the Angrian chronicle. Above right, Anne's poem is written in the voice of an imprisoned heroine from the kingdom of Gondal. Below right, Emily's poem describes a dream visit from a ghostly figure.

TheMagazineAntiques@AntiquesMag 10 okt.
Miniature manuscript, 1830. In the new show "Charlotte Brontë: An Independent Will"

zaterdag 19 november 2016




THE PURCHASE of a historic book linked with the Brontës has been highlighted by the National Heritage Memorial Fund. The fund showcased the importance of the Haworth-based Brontë Society buying ‘Mrs Brontë’s Book’ in its glossy annual report. The National Heritage Memorial Fund (NHMF) gave the society £170,000 towards the cost of the copy of Robert Southey’s The Remains of Henry Kirke White. Maria Brontë owned the book and it contains annotated scribblings by her daughter Charlotte, author of classic novel Jane Eyre. The book is one of the rare surviving possessions of Maria, and was greatly treasured by the Brontë family while they were living at the parsonage in Haworth.

Amy Rowbottom, a member of the curatorial team at the Brontë Parsonage Museum, this week tweeted about the NHMF report. She wrote: “@BronteParsonage thrilled to see the generous grant we received in the NHMF's latest report. Thank you!” She later told the Keighley News that Mrs Brontë’s Book was a significant acquisition by the society.
She added: “We continue to be appreciative that the significance of the book was recognised by the NHMF and that their generosity enabled it to return to the museum where it will go on display next year.”

The book was bought earlier this year with added financial support from the V&A Purchase Grant Fund and the Friends of the National Libraries. Members of the Brontë Society were treated to a first glimpse of the book at their annual summer festival.

The NHMF report stated: “After Mrs Brontë’s early death the book became a treasured family item. “The book contains annotations and sketches by members of the family, as well as an unpublished poem and fragment of prose written by Charlotte Brontë. “The book evidently was shared and valued by the whole family as a memento of their mother. “The book was when Maria Brontë’s possessions were shipwrecked off the Devon coast shortly before her marriage to Patrick Brontë in 1812.

“It contains Latin inscriptions in Patrick’s hand stating that this was “the book of my dearest wife and it was saved from the waves. So then it will always be preserved.” The book was sold at the sale held at the Parsonage following the death of Patrick Brontë in 1861 and spent most of the last century in the USA. Ann Dinsdale, collections manager at the Parsonage Museum, believes Mrs Brontë’s book is one of the most significant Brontë items to come to light in many years.

dinsdag 15 november 2016

Charlotte Bronte rare letter envelopes to friend up for auction.


Two rare envelopes sent by author Charlotte Bronte to her life-long friend are expected to fetch up to £1,200 when they go under the hammer. The handwritten envelopes were addressed to Ellen Nussey in Leeds and would have contained letters. Bronte and Ms Nussey met at Roe Head School, near Mirfield, in 1831 aged 14 and 13 and they wrote to each other until the author's death in 1855.
Both envelopes are to be sold at an auction in Wiltshire on Saturday. Written in brown ink, the first envelope has a Penny Red stamp and postmarked "Leeds Jan 30 1849" and "Barnsley Keighley and Haworth" with the remains of a black seal. Measuring 10cm by 6cm (4in by 2.4in) it bears a black mourning band to the border. Similarly, the second 11cm by 6cm (4.3in by 2.4in) envelope is also written in brown ink with a Penny Red stamp. It is postmarked "Leeds MR 31 1846" on the front and "Bradford and Haworth" on the reverse. A small printed scrap "Attend to Time" on the reverse has been affixed by Bronte.


Auctioneer Andrew Aldridge, of Henry Aldridge and Son, said: "These covers are written to her childhood friend and closest confidante Ellen Nussey, who first met Charlotte Bronte in 1831.
"Anything related to Charlotte is desirable but to have a pair of covers written by her to her closet friend offers an incredible opportunity to a collector or museum." The pair exchanged hundreds of letters during their friendship, 350 of those Bronte penned to Ms Nussey were used by Elizabeth Gaskell as the basis to write her 1857 biography The Life Of Charlotte Bronte. Bronte rejected a marriage proposal by Ms Nussey's brother, Henry. Her friend later went on to witness the author's wedding to her father's curate, Arthur Bell Nicholls. bbc/news/uk-england-leeds

zaterdag 12 november 2016

To Walk Invisible has been finished


The York Press reports that To Walk Invisible has been finished: Now, the BBC has confirmed the one-off drama, which was filmed across Yorkshire, has been completed and a preview screening is being held.  It is not yet clear when the programme will be shown on television. Well, everything points out to it being broadcast this Christmas. Furthermore, the DVD release is announced for next January 2. Nevertheless, the fortunate people of Hebden Bridge will be able to watch it earlier. In Hebden Bridge Times:
It will be shown on BBC One later this year but people in Yorkshire can watch a preview of the programme, and hear from the writer and director Sally Wainwright, at the Hebden Bridge Picture House on December 13.
“I was absolutely determined to give people in Yorkshire a chance to see To Walk Invisible before everyone else because the Brontë sisters are such an important part of the county’s culture and heritage. “I also wanted to than all those people in Yorkshire who were so helpful while we were filming and who contributed to the film. I hope lots of people will join us for the screening.” The evening will be hosted by BBC Radio 5 live presenter Anna Foster, who will interview Sally Wainwright and executive producer Faith Penhale at the start of the screening. Members of the cast are expected to attend too.
Tickets can be requested here: www.bbc.co.uk/showsandtours/shows/to_walk_invisible_13dec16

Beautiful photographes of the Parsonage


Beautiful pictures
Sue Abarca Cardo put on her Facebook page
9 noviembre 2016
Fotos del interior de la casa de las hermanas Brontë en Haworth







dinsdag 8 november 2016

Shirley and the Northern Powerhouse.

From The Telegraph and Argus: Jacqueline Ryder, chairman of the Friends of Red House, said: “This is a very sad time for the Friends. It is particularly disappointing that the council made this decision in the year we are celebrating the 200th anniversary of Charlotte Bronte’s birth. It is not only the end of the museum but also the Friends’ group. However, we are determined to go out on a high, with an extra special Christmas event.”

The Friends are working with staff at the museum to plan the Red House Christmas event which will take place on Sunday, December 11, from noon to 4pm. The house will be dressed for a Victorian-style Christmas and there will be live music and festive refreshments. The Friends group had appealed to the council to allow them to stay open until Christmas so they could host the traditional event one last time. [...]

The process for gathering expressions of interest to take over the running of the buildings will start soon, with an information pack going online before the end of the month. The Council confirmed it expects to make decisions on expressions of interest in the spring. But if nobody from the community is willing to take over the running of the buildings, they will be put up for sale on the open market. Councillor Graham Turner, cabinet member for resources said: “Nobody wants to close museums but we do need to react to these times of austerity and make savings.” (Jo Winrow)

The Brontës. A Family Writes.

This is a companion book for the Morgan Gallery & Museum's exhibition on Charlotte Brontë:

The BrontësA Family WritesChristine Nelson
ISBN: 9781785510601
Scala Publishers
Binding: Paperback
Pages: 96
Images: 75

The Brontës of Haworth were a prodigiously imaginative literary family. From the earliest manuscripts of Charlotte, Branwell, Emily and Anne – written with a quill pen in a minuscule hand designed to mimic the printed page – to explosive novels, such as Wuthering Heights and Jane Eyre, written in adulthood by Emily and Charlotte, the family’s writings continue to fascinate. This elegantly designed, fully illustrated publication provides an intimate portrait of a singular family of writers through the manuscripts, rare printed books, personal documents, and private letters preserved in the Brontë collection of the Morgan Library & Museum, one of the world’s finest. It accompanies a major exhibition at the Morgan from 9 September 2016 to 2 January 2017. bronteblog

maandag 7 november 2016

Closure of the Red House Museum scheduled for December 21st.


BBC News features the closure of the Red House Museum scheduled for December 21st.
Kirklees Council said the Dewsbury Museum and Red House closures are part of its museums service reorganisation, which will save £531,000. The council will now see if anyone is willing to take over the running of the building and a decision will be announced next year. However, if no-one comes forward with a viable plan the building may be sold on the open market. Councillor Graham Turner said: "The council did not want to be in this position. Nobody wants to close museums but we do need to react to these times of austerity and make savings.

"I am sorry people will no longer be able to access these museums, but I can assure you we will do everything possible to look after the collections."
He added: "Museums are not just about buildings, it's about using the collections to tell the story of our past and how they influence what we do today."
The thing about the Red House Museum is that it is mostly about the building. If it is eventually sold as private property and turned into flats the whole point of it will be lost. Not to mention the stained glass windows. bronteblog

Red House and Charlotte Bronte

Red House in Gomersal, a village south of Bradford was once the home of Charlotte Brontë's close friend Mary Taylor. This former cloth merchant's residence is beautifully furnished as a family home of the 1830s, from the elegant parlour to the stone flagged kitchens. Charlotte often stayed there in the 1830s and the Taylors appear as the "Yorkes" and the house as "Briarmains" in her novel "Shirley".

Information and photographes of the Red House friendsofredhousegomersal

zondag 6 november 2016

“Mystery is irksome, and I was glad to shake it off”.

George Richmond: Charlotte Brontë, 1850

What the Brontës Made

Francine Prose


Even those who think they know all there is to know about the Brontë family will likely be surprised by many of the documents and artifacts included in “Charlotte Brontë: An Independent Will,” currently on view at New York’s Morgan Library.

Curated by Christine Nelson, the exhibition reinforces our notions of Charlotte Brontë’s daring, ambition, and courage, and of the tragic circumstances over which she prevailed. In one letter, Charlotte describes the 1848 visit to London during which she and her sisters Emily and Anne revealed to her publishers that the novels they had submitted under male pseudonyms (Currer, Acton and Ellis Bell) had in fact been written by women (“Mystery is irksome, and I was glad to shake it off”). The publisher was initially surprised, but nevertheless decided to show the sisters around London, introducing them not as authors but as his “country cousins” the Misses Brown. Read all: nybooks/what-the-brontes-made

Charlotte Brontë from the Beginnings.

Charlotte Brontë from the Beginnings
New Essays from the Juvenilia to the Major Works

Edited by Judith E. Pike, Lucy Morrison
Routledge
ISBN 9781472453686

Composed of serialized works, poems, short tales, and novellas, Charlotte Brontë's juvenilia merit serious scholarly attention as revelatory works in and of themselves as well as for what they tell us about the development of Brontë as a writer. This timely collection attends to both critical strands, positioning Brontë as an author whose career encompassed the Romantic and Victorian eras and delving into the developing nineteenth century's literary concerns as well as the growth of the writer's mind. As the contributors show, Brontë's authorship took shape among the pages of her juvenilia, as figures from Brontë's childhood experience of the world such as Wellington and Napoleon transmuted to her fictional pages, while her siblings' works and worlds both overlapped with and extended beyond her own. bronteblog

zaterdag 5 november 2016

Jane Eyre facsimile manuscript to be published for 'Brontë bibliophiles'.

One of Edmund Garett’s illustrations to Jane Eyre.
Illustration: Courtesy of the British Library and Éditions des Saints Pères

Jane Eyre by Charlotte Brontë
Editions des Saint Pères
Each book is hand numbered from 1 to 1,000
To be released on 2 December 2016
ISBN: 979-10-95457-30-5.
Cover: Avorio
Paper: Fedrigoni Avorio Luxury Paper
Published for the first time


A facsimile of Charlotte Brontë’s 1847 manuscript of Jane Eyre, written in the author’s flowing hand, will be published for the first time in December. This edition of the earliest surviving copy of Brontë’s classic joins a roster of facsimiles published by the French press Éditions des Saints Pères, including Madame Bovary, Les fleurs du mal and The Hunchback of Notre-Dame. The reproduction is accompanied with etchings by Edmund Garrett from an edition published in 1897. According to the publisher, the fair copy is “neat, with most notable revisions and corrections centred around her portrayal of Jane’s encounters with Mr Rochester”.

This 824 page manuscript of Charlotte Brontë’s elegant and nimble handwriting is one of the British Library’s most precious treasures. Because of the great technical challenge that the task of reproducing it presents, the manuscript has remained unpublished until today. Les Saints Pères has taken on the challenge. An edition limited to 1,000 hand numbered copies

Set in Northern England, during the reign of George III. From the heroine’s turbulent childhood  to her discovery of love and all its tragic implications, to the birth of her first son: Jane Eyre is one of the greatest bildungsromans of all time. In August 1847, Charlotte Brontë received a letter from the publisher Smith and Elder, rejecting her first novel but adding, ‘that a work in three volumes would [be met] with careful attention’. She then sent them this unique manuscript—no earlier drafts are known to survive today. Published in October 1847, the novel was an immediate success.

The three volumes of this manuscript, reproduced using only the finest materials, are presented together in a deluxe slipcase. Included: etchings by Edmund Garrett from an 1897 edition of the novel.

Each volume is hand assembled, bound and sewn with end-band and bookmark. Each book is printed on luxury paper. The slipcase and book cover ornamentations are made using gilded iron. Our books are printed with vegetal ink, on environment friendly paper.

Éditions des Saints Pères co-founder Nicholas Tretiakow hailed the novel as “a compelling gem of English literature, a novel so many of us hold close to our hearts”. “We wanted to rise to the challenge and offer this beautiful and rich manuscript to the public for the very first time,” he said.

Tretiakow’s co-founder Jessica Nelson said that the pair were inspired to set up the press after attending an exhibition of manuscripts and first drafts in Paris 10 years ago. “We were totally moved and astounded by what we saw. We already had a passion for literature but we were astonished,” she said. “Nicholas said that in 10 years’ time we would create our own publishing house and specialise in the production of manuscripts, and that’s what we’ve done.”

According to Nelson, print runs are limited to 1,000 or 2,000 copies per book, with reproductions aimed at bibliophiles, collectors and those passionate about a particular author. The Jane Eyre copies will be priced at more than £200, and Éditions des Saints Pères plans to follow the novel’s release with further titles in English next year. (Alison Flood)

maandag 24 oktober 2016

New film reveals Brontë sisters' forgotten Lancashire links.



In Brontë Footsteps: Tracy Chevalier visits Wycoller from Fully Formed Films on Vimeo.

THE BRONTË siblings’ wanderings around the moors above the Haworth parsonage sometimes took them across the border into Lancashire. And now a short film has been made to spotlight the Red Rose County’s little-known Brontë connections. keighleynews

dinsdag 18 oktober 2016

Charlotte Brontë at The Morgan Library & Museum's Charlotte Brontë: An Independent Will exhibition



Kimberly Eve of Victorian Musings is telling about

America finally meets Charlotte Brontë at The Morgan Library & Museum's Charlotte Brontë: An Independent Will exhibition September 9, 2016 through January 2, 2017

Read more: kimberlyevemusings

The Fashions Of Anne Brontë And Her Sisters.


Nick Holland is telling on his weblog Anne Bronte
about The Fashions Of Anne Brontë And Her Sisters

Gawthorpe Hall and Charlotte Bronte.



The Kay-Shuttleworth family who lived at the Hall in the 19th century came to hear about Charlotte Bronte, who was becoming a well known author, and invited her to stay, which she did on a couple of occasions.

Vesna Armstrong visited the Hall. On her weblog you can see photographes of the Hall and the garden, the Great Barn and the entrances. Vesna Armstrong/gawthorpe-hall-and-charlotte-bronte

donderdag 13 oktober 2016

13 October 1843 Charlotte writes to Ellen Nussey from Brussels.


13 October 1843
Charlotte writes to Ellen Nussey from Brussels:

'It is a curious position to be so utterly solitary in the midst of numbers - sometimes this solitude oppresses me to an excess'. She continues to describe how she was driven to give her notice to Mde Heger, but upon hearing this Mon Heger 'sent for me the day after - and pronounced with vehemence his decision that I should not leave ... so I promised to stay a while longer ... I have much to say Ellen ... which I do not like to trust to a letter, but which one day perhaps or rather one evening - if ever we should find ourselves again by the fireside at Haworth or at Brookroyd with our feet on the fender - curling our hair - I may communicate to you'.

dinsdag 11 oktober 2016

Visit the Manuscript of 'Jane Eyre' in New York.


How did Charlotte Brontë go from scribbling in secret to one of England’s (and literature’s) most famous names? Look for the answer in a passage in Jane Eyre, in which her famously plain heroine tells her husband-to-be that she is a “free human with an independent will.” That bold declaration is at the center of a new exhibition at the Morgan Library & Museum in New York—one that celebrates the author’s 200th birthday with a look at the forces that turned her into a writer.
Brontë has been at the center of literary legend since her first published novel, Jane Eyre, appeared under a pseudonym in 1847. The book was immediately loved and loathed for emotions that flew in the face of convention and courtesy, and the identity of its author became a much-contested question. But even after Brontë was discovered to be the person behind the pen name Currer Bell, myths about her childhood, her family members and the atmosphere in which she became an author have persisted. Read all the article; smithsonianmag



vrijdag 7 oktober 2016

'A remarkable, gritty quality'

Source
The Daily Mail features Sally Wainwright and her forthcoming To Walk Invisible.
Sally Wainwright, who wrote TV hits Happy Valley and Last Tango In Halifax, has slammed period shows for projecting a ‘very sanitised, 21st-century television view of history’.
Wainwright made the comments while discussing her new BBC film To Walk Invisible, about the Bronte siblings — Charlotte, Emily, Anne and brother Branwell — and their clergyman father Patrick, who is played by Jonathan Pryce.
I noted that the marvellously acted movie, which will be shown on BBC1 later this winter, has a remarkable, gritty quality to it.
‘Well, I really didn’t want to create a Sunday evening chocolate box thing,’ she said. ‘We have a slightly manicured view of what the past was like.
‘Often history is about wealthy rich people — and about men. We get so many costume dramas, which are very popular and people love them.
‘But they’ve all got very white teeth! They’re all immaculate,’ she complained of the period programmes on both the BBC and ITV.
‘It’s a very sanitised, 21st- century television view of history. When I watch certain period dramas, I often feel it wouldn’t be weird if someone whipped out a mobile phone. It wouldn’t look out of place, because everything is so clean and slick and polished — and healthy and hygienic.
‘I don’t want people to feel like that,’ she added.
Sally Wainwright, a daughter of Yorkshire — raised in Sowerby Bridge ten miles from Haworth, home of the Brontes — said that Charlotte and Emily both had poor teeth
Wainwright, a daughter of Yorkshire — raised in Sowerby Bridge ten miles from Haworth, home of the Brontes — said that Charlotte and Emily both had poor teeth.
The portrait that Wainwright presents in her film, which she also directed, certainly feels authentic. I was struck by how the actors captured the sense of a proper family: one who argued, and swore at each other — yes, even in the 1840s.
Wainwright established a kind of Bronte boot camp at a rented house on the moors at Haworth, where cast members Finn Atkins (Charlotte), Chloe Pirrie (Emily), Charlie Murphy (Anne) and Adam Nagaitis as Branwell did Bronte things for a week.
‘I wanted them together, so they’d feel like a family,’ she explained.
They were shown around the Bronte Parsonage Museum by principal curator Ann Dinsdale; and one evening they had dinner with Juliet Barker, who wrote a biography of the Brontes in 1995.
‘And somebody came and told them how to write with ink. We had a whole afternoon of getting our fingers covered in ink,’ Wainwright recalled gleefully.
‘By the end of the week they were so bonded.’
The film’s focus is about how well Branwell bonded with alcohol and opium — and how his sisters had to tip-toe around him for much of the time, ‘probably half-loving and half-hating him’.
But somehow, the sisters managed to produce great works of literature, including Jane Eyre and Wuthering Heights; while Branwell, who had undeniable talent, produced nothing and has, Wainwright said, become famous ‘for failing’. (Baz Bamigboye)
bronteblog 

donderdag 6 oktober 2016

Photographs of the exposition in The Morgan Library in New York. In honor of Charlotte Brontë 's 200th birthday


I am happy to show you these photographes from Anne Lloyd

She visited the exposition in The Morgan Library in New York
Here's what Anne is blogging about it

""In honor of Charlotte Brontë 's 200th birthday, The Morgan Library in New York is having, what can only be called an historic exhibit.  On display, for the first time in American, are both the George Richmond 1850 portrait of Charlotte and the famous " column"  portrait of the three sisters by their brother Branwell.

I  never expected they would leave the UK. Branwell's  portrait of his  three sisters is usually always on display at the National Portrait Galley in London. But because it is subject to fading, the 1850  chalk  portrait of CB  Richmond is not normally on display even in the UK...but here it is in New York!. Read more  on
stayathomeartist


Close up of CB's dress


Charlotte Brontë 's writing desk



dinsdag 4 oktober 2016

Red House Museum will close by 31 March 2017


So Kirklees Council voted to close the Red House Museum. Shame on you. No budget adjustment, no austerity fundamentalism can justify to sell your own history.  From The Telegraph and Argus:
A final decision has been taken today to close a museum with strong links to the Brontës amid cuts to the museums and galleries budget in Kirklees.
Red House Museum in Gomersal is one of two museums that will close by the end of March next year at the latest as Kirklees Council centres on retaining three museum venues under its new vision for culture in the district.
The authority’s museums and galleries budget is being cut by half from April next year, and plans were therefore drawn up to restructure the service.
The decision was taken yesterday by the council’s cabinet to close historic Red House, where Charlotte Brontë was a frequent visitor, immortalising the house in her second novel, Shirley, as well as Dewsbury Museum. [...]
Last week, John Thirwell, chairman of the Brontë Society, said it was “concerned and saddened” to learn of the likely closure of Red House, but said it would continue conversations with the authority to explore how the Brontës’ links with the building could be maintained.
But, during yesterday’s meeting, Graham Turner, cabinet member for Creative Kirklees, said the society were “not interested” in taking on the site.
He said: “We have spoken to many organisations in the museums and heritage sector, and no-one has expressed an interest in taking on any of the sites.”
On Red House, he said: “We have spoken to the Brontë Society, they are not interested.”
He said that cuts to Government funding had led to the budget for the museums service being cut by £531,000.
“No-one in this chamber wants to cut the museums service,” he said.
“But, this is not a statutory service, we didn’t have to do a consultation but we went out of our way to engage with the public.
“If anyone has any ideas on how we can save these services, then please speak to us, immediately.” (Rob Lowson)
BBC News reports it as well:
A museum with close links to the Brontës is set to close under plans to restructure museums and galleries in an area of West Yorkshire.
Kirklees Council voted to close Dewsbury Museum and Red House Museum in Gomersal at a cabinet meeting. [...]
Opponents said the Red House Museum building should be protected because of its history and links to the Brontës.
Charlotte Brontë often visited Red House and featured it in her novel Shirley.
As well as an exhibition in honour of the author, the museum, which was once home to a cloth merchant, charts what life was like in the 1830s.
Supporters of Dewsbury Museum, which has recently been renovated, urged officials to keep it open.
The town's museum is the oldest in the district, opening to visitors in 1896.
It features a toy gallery and a recreation of a classroom in the 1940s.
The Labour-led authority said its hands were tied due to austerity measures, and Dewsbury and Red House would close by 31 March 2017.
It said it was willing to hold talks with any group, or interested parties about future uses for the museum buildings.
Both museums have seen a sharp fall in visitors in recent years.
In 2011-12, Red House had 26,665 visitors, compared to 6,679 in 2015/16
March 31 being the anniversary of the death of Charlotte Brontë. bronteblog

zondag 11 september 2016

List of what the Morgan CB show have on exhibit.


I received this message from Anne Lloyd

She had a press preview for the Morgan CB show!Here's a list of what she saw on exhibit 

List of what the Morgan CB show have on exhibit 

Branwell's column painting of his sisters

The CB Richmond portrait

CB 's 1850 dress/ little blue flower print

CB's boots

a 1856 copy of CB's birth registry

Patrick's copy of of the certificate of registry for CB's marriage
(church copies of the documents in their records)

CB and ABN's Marriage license

CBN's will

Letters from CB to William S. William about the passing
of Branwell and Anne's decline

An copy book from Charlotte's Brussels school days

The famous water color portrait of Anne in profile done by CB

The Misses Bronte's Establishment handout

Funeral cards for Branwell, Emily and Charlotte

PB's cottage poems

Currer, Ellis and Acton Bell poems

CB's handwritten manuscript of " Jane Eyre"

CB's handwritten manuscript of " The Professor"

CB's earliest known production...1829 " book for Ann"

A manuscript of Anne's poetry

A manuscript of Emily poetry

A story in Branwell's hand

Oldest photo of the Parsonage

CB's Roe Head diary

CB's list of " what I written so far" "
Tales of the Islanders" etc.

CB's Writing desk

CB's Paint box

Mary Taylor's personal copy of Jane Eyre, CB sent
to New Zealand and Mary's letter to CB about it

Contemporary published editions of all the sister's books

sermon notes of PB from 1811 based on Mathew 3:11

A good many drawings

little men magazines

CB's Atlas

Photo of Arthur Bell Nicholls

Photo of Rev Bronte

Rev Bronte's copy of the book of Common Prayer

One of Patrick 's letters where he sent snippets of CB 's
hand writing upon request


Wow, this really is a very good collection
I wished I could see it




zondag 28 augustus 2016

Bodice and gloves from Charlotte Bronte.


Charlotte Bronte was tiny: 4’10”. This is her bodice, so small a 10 yr old couldn’t fit it today
Twitter/Tracy_Chevalier


Here are some tiny gloves embroidered w places Charlotte travelled

Brontë stones initiative.

More news on the Brontë stones initiative in The Telegraph & Argus:
Plans to install a commemorative stone celebrating the life of Charlotte Brontë at her Thornton birthplace have been submitted to Bradford Council.
The stone will mark the bicentenary of the birth of the older of the literary Brontë sisters, and is part of a wider project to create memorials to younger sisters Emily and Anne, as well as their brother Branwell. 
The Brontë Stones project has been developed by the Bradford Literature Festival, and this application has been submitted by writer Michael Stewart. 
The first stone will be installed on the outside of the Brontë birthplace, 72 - 74 Market Street in Thornton. 
The project is being supported by both Bradford Council and the Arts Council, and will involve high profile writers composing words for the four stones - which will eventually create a trail from Thornton to Haworth.
The planning application, submitted this week, says: “The stones will be inscribed with specially commissioned writing from some of the most prominent writers in the world. “This will generate a lot of positive publicity for Bradford and visitors.” (...) A decision on the application is expected in October. (Chris Young)

Parsonage

Parsonage

Charlotte Bronte

Presently the door opened, and in came a superannuated mastiff, followed by an old gentleman very like Miss Bronte, who shook hands with us, and then went to call his daughter. A long interval, during which we coaxed the old dog, and looked at a picture of Miss Bronte, by Richmond, the solitary ornament of the room, looking strangely out of place on the bare walls, and at the books on the little shelves, most of them evidently the gift of the authors since Miss Bronte's celebrity. Presently she came in, and welcomed us very kindly, and took me upstairs to take off my bonnet, and herself brought me water and towels. The uncarpeted stone stairs and floors, the old drawers propped on wood, were all scrupulously clean and neat. When we went into the parlour again, we began talking very comfortably, when the door opened and Mr. Bronte looked in; seeing his daughter there, I suppose he thought it was all right, and he retreated to his study on the opposite side of the passage; presently emerging again to bring W---- a country newspaper. This was his last appearance till we went. Miss Bronte spoke with the greatest warmth of Miss Martineau, and of the good she had gained from her. Well! we talked about various things; the character of the people, - about her solitude, etc., till she left the room to help about dinner, I suppose, for she did not return for an age. The old dog had vanished; a fat curly-haired dog honoured us with his company for some time, but finally manifested a wish to get out, so we were left alone. At last she returned, followed by the maid and dinner, which made us all more comfortable; and we had some very pleasant conversation, in the midst of which time passed quicker than we supposed, for at last W---- found that it was half-past three, and we had fourteen or fifteen miles before us. So we hurried off, having obtained from her a promise to pay us a visit in the spring... ------------------- "She cannot see well, and does little beside knitting. The way she weakened her eyesight was this: When she was sixteen or seventeen, she wanted much to draw; and she copied nimini-pimini copper-plate engravings out of annuals, ('stippling,' don't the artists call it?) every little point put in, till at the end of six months she had produced an exquisitely faithful copy of the engraving. She wanted to learn to express her ideas by drawing. After she had tried to draw stories, and not succeeded, she took the better mode of writing; but in so small a hand, that it is almost impossible to decipher what she wrote at this time.

I asked her whether she had ever taken opium, as the description given of its effects in Villette was so exactly like what I had experienced, - vivid and exaggerated presence of objects, of which the outlines were indistinct, or lost in golden mist, etc. She replied, that she had never, to her knowledge, taken a grain of it in any shape, but that she had followed the process she always adopted when she had to describe anything which had not fallen within her own experience; she had thought intently on it for many and many a night before falling to sleep, - wondering what it was like, or how it would be, - till at length, sometimes after the progress of her story had been arrested at this one point for weeks, she wakened up in the morning with all clear before her, as if she had in reality gone through the experience, and then could describe it, word for word, as it had happened. I cannot account for this psychologically; I only am sure that it was so, because she said it. ----------------------She thought much of her duty, and had loftier and clearer notions of it than most people, and held fast to them with more success. It was done, it seems to me, with much more difficulty than people have of stronger nerves, and better fortunes. All her life was but labour and pain; and she never threw down the burden for the sake of present pleasure. I don't know what use you can make of all I have said. I have written it with the strong desire to obtain appreciation for her. Yet, what does it matter? She herself appealed to the world's judgement for her use of some of the faculties she had, - not the best, - but still the only ones she could turn to strangers' benefit. They heartily, greedily enjoyed the fruits of her labours, and then found out she was much to be blamed for possessing such faculties. Why ask for a judgement on her from such a world?" elizabeth gaskell/charlotte bronte



Poem: No coward soul is mine

No coward soul is mine,
No trembler in the worlds storm-troubled sphere:
I see Heavens glories shine,
And faith shines equal, arming me from fear.


O God within my breast.
Almighty, ever-present Deity!
Life -- that in me has rest,
As I -- Undying Life -- have power in Thee!


Vain are the thousand creeds
That move mens hearts: unutterably vain;
Worthless as withered weeds,
Or idlest froth amid the boundless main,


To waken doubt in one
Holding so fast by Thine infinity;
So surely anchored on
The steadfast Rock of immortality.


With wide-embracing love
Thy Spirit animates eternal years,
Pervades and broods above,
Changes, sustains, dissolves, creates, and rears.


Though earth and man were gone,
And suns and universes ceased to be,
And Thou wert left alone,
Every existence would exist in Thee.


There is not room for Death,
Nor atom that his might could render void:
Thou -- Thou art Being and Breath,
And what Thou art may never be destroyed.


--
Emily Bronte

Family tree

The Bronte Family

Grandparents - paternal
Hugh Brunty was born 1755 and died circa 1808. He married Eleanor McClory, known as Alice in 1776.

Grandparents - maternal
Thomas Branwell (born 1746 died 5th April 1808) was married in 1768 to Anne Carne (baptised 27th April 1744 and died 19th December 1809).

Parents
Father was Patrick Bronte, the eldest of 10 children born to Hugh Brunty and Eleanor (Alice) McClory. He was born 17th March 1777 and died on 7th June 1861. Mother was Maria Branwell, who was born on 15th April 1783 and died on 15th September 1821.

Maria had a sister, Elizabeth who was known as Aunt Branwell. She was born in 1776 and died on 29th October 1842.

Patrick Bronte married Maria Branwell on 29th December 1812.

The Bronte Children
Patrick and Maria Bronte had six children.
The first child was Maria, who was born in 1814 and died on 6th June 1825.
The second daughter, Elizabeth was born on 8th February 1815 and died shortly after Maria on 15th June 1825. Charlotte was the third daughter, born on 21st April 1816.

Charlotte married Arthur Bell Nicholls (born 1818) on 29th June 1854. Charlotte died on 31st March 1855. Arthur lived until 2nd December 1906.

The first and only son born to Patrick and Maria was Patrick Branwell, who was born on 26th June 1817 and died on 24th September 1848.

Emily Jane, the fourth daughter was born on 30th July 1818 and died on 19th December 1848.

The sixth and last child was Anne, born on 17th January 1820 who died on 28th May 1849.

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