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An autographed letter from 7-year-old Victoria, future queen of England, to her uncle, 1826.
An autographed letter from 7-year-old Victoria, future queen of England, to her uncle, 1826.
Collection of Pedro Corrêa do Lago

New Museum Exhibition Shows Off Rare Handwritten Letters From History’s Most Famous Figures

An autographed letter from 7-year-old Victoria, future queen of England, to her uncle, 1826.
An autographed letter from 7-year-old Victoria, future queen of England, to her uncle, 1826.
Collection of Pedro Corrêa do Lago

There’s something special about seeing the handwriting of one of your heroes. Just ask anyone who has gotten a celebrity’s autograph. The unique power a signature holds is at the center of an upcoming exhibition at the Morgan Library and Museum in New York City, The Magic of Handwriting: The Pedro Corrêa do Lago Collection.

As part of the display, the museum features drawings, signed photos, and rare letters from figures throughout history—from line drawings Michelangelo used to order marble for the facade of a basilica he was contracted to build in Florence to a previously unpublished, signed photo of Rasputin.

A line drawing with a marble order from Michelangelo
Michelangelo Buonarroti (1475–1564). Pen and ink drawing with autograph instructions for a marble order for the facade of San Lorenzo, [Florence, 1518]. Collection of Pedro Corrêa do Lago.

The materials on display are just part of the collection of Pedro Corrêa do Lago, a Brazilian art historian and author who started writing to prominent celebrities when he was 12 years old, asking for their autographs. Over the next 50 years, he assembled a massive collection of autographs, manuscripts, and other handwritten materials that date back to 1140. The 140 items on display at the Morgan make up just a tiny fraction of the 100,000 autographs he owns.

The items are divided up into several different categories: art, history, literature, science, music, and entertainment. Many of them have never been shown before in a public exhibition.

Handwritten mathematical equations by Albert Einstein
Albert Einstein (1879–1955). Autograph mathematical manuscript, ca. 1940s. Collection of Pedro Corrêa do Lago.

The exhibition includes treasures like a 12th century papal bull signed by four different medieval popes (three were cardinals at the time of signing) and a Catholic saint, Guarinus of Palestrina. There are documents and letters signed by royalty, including Richard III and Elizabeth I of England and Mary, Queen of Scots; there is a rare letter from Leon Trotsky to Frida Kahlo, written as the two were ending their affair; and an autographed draft of a letter Jean-Paul Sartre wrote to the Swedish Academy in 1964, asking them not to give him the Nobel Prize (they awarded it to him anyway). There is a draft of a poem William Butler Yeats wrote on the back of a letter, and a signed mathematical manuscript from Albert Einstein.

Below is a handwritten bill for 20 therapy sessions with Sigmund Freud. Freud charged American neurologist Roy Grinker 100 Austrian schillings per hour, or the equivalent of $20 or $25 at that time, for psychoanalysis sessions.

A handwritten note on stationary from Dr. Freud
Sigmund Freud (1856–1939). Autograph invoice signed, to Roy Grinker, written on a personal correspondence card, Vienna, 30 June 1934. Collection of Pedro Corrêa do Lago.

Artist René Magritte sent this letter to photographer and filmmaker Francis Lee, suggesting Lee make use of the sequence of drawings included (of a man removing his gloves, hat, and head) in a film:

A two-page letter with drawings of men in top hats
René Magritte (1898–1967). Autograph letter signed, to Francis Lee, Brussels, 22 January 1946. Collection of Pedro Corrêa do Lago. © 2018 C. Herscovici / Artists Rights Society

This is one of two surviving letters from Oscar Wilde to Bram Stoker. Wilde wanted Stoker, who worked at London’s Lyceum Theatre, to set aside a ticket for him that night:

A handwritten letter from Oscar Wilde
Oscar Wilde (1854–1900). Autograph letter signed, to Bram Stoker, London, [1879 or 1880]. Collection of Pedro Corrêa do Lago.

This draft of the opening of Swann's Way differs slightly from what Proust eventually published. Notably, it doesn't include what would become the first sentence: “For a long time I used to go to bed early."

A ripped page from a Proust manuscript
Marcel Proust (1871–1922). Swann’s Way (Du côté de chez Swann), autograph manuscript draft of the opening passage, ca. March–April 1913. Collection of Pedro Corrêa do Lago. Image used with permission of the Proust Estate.

The Magic of Handwriting: The Pedro Corrêa do Lago Collection will run from June 1 to September 16, 2018 at the Morgan Library and Museum in New York City.

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An autographed letter from 7-year-old Victoria, future queen of England, to her uncle, 1826.
(c) Field Museum, CSZ5974c, photographer Carl Akeley, used with permission.
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Animals
The Time Carl Akeley Killed a Leopard With His Bare Hands
(c) Field Museum, CSZ5974c, photographer Carl Akeley, used with permission.
(c) Field Museum, CSZ5974c, photographer Carl Akeley, used with permission.

Carl Akeley had plenty of close encounters with animals in his long career as a naturalist and taxidermist. There was the time a bull elephant had charged him on Mount Kenya, nearly crushing him; the time he was unarmed and charged by three rhinos who missed him, he said later, only because the animals had such poor vision; and the time the tumbling body of a silverback gorilla he'd just shot almost knocked him off a cliff. This dangerous tradition began on his very first trip to Africa, where, on an otherwise routine hunting trip, the naturalist became the prey.

It was 1896. Following stints at Ward’s Natural Science Establishment and the Milwaukee Public Museum, Akeley, 32, had just been appointed chief taxidermist for Chicago’s Field Museum of Natural History, and he was tasked with gathering new specimens to bolster the 3-year-old museum's fledgling collections. After more than four months of travel and numerous delays, the expedition had reached the plains of Ogaden, a region of Ethiopia, where Akeley hunted for specimens for days without success.

Then, one morning, Akeley managed to shoot a hyena shortly after he left camp. Unfortunately, “one look at his dead carcass was enough to satisfy me that he was not as desirable as I had thought, for his skin was badly diseased,” he later wrote in his autobiography, In Brightest Africa. He shot a warthog, a fine specimen, but what he really wanted was an ostrich—so he left the carcass behind, climbed a termite hill to look for the birds, then took off after a pair he saw in the tall grass.

But the ostriches eluded him at every turn, so he returned to camp and grabbed the necessary tools to cut off the head of his warthog. However, when he and a “pony boy” got to the spot where he’d left the carcass, all that remained was a bloodstain. “A crash in the bushes at one side led me in a hurry in that direction and a little later I saw my pig's head in the mouth of a hyena travelling up the slope of a ridge out of range,” Akeley wrote. “That meant that my warthog specimen was lost, and, having got no ostriches, I felt it was a pretty poor day.”

As the sun began to set, Akeley and the boy turned back to camp. “As we came near to the place where I had shot the diseased hyena in the morning, it occurred to me that perhaps there might be another hyena about the carcass, and feeling a bit ‘sore’ at the tribe for stealing my warthog, I thought I might pay off the score by getting a good specimen of a hyena for the collections,” he wrote. But that carcass was gone, too, with a drag trail in the sand leading into the bush.

Akeley heard a sound, and, irritated, “did a very foolish thing,” firing into the bush without seeing what he was shooting at. He knew, almost immediately, that he'd made a mistake: The answering snarl told him that what he’d fired at was not a hyena at all, but a leopard.

The taxidermist began thinking of all the things he knew about the big cats. A leopard, he wrote,

“... has all the qualities that gave rise to the ‘nine lives’ legend: To kill him you have got to kill him clear to the tip of his tail. Added to that, a leopard, unlike a lion, is vindictive. A wounded leopard will fight to a finish practically every time, no matter how many chances it has to escape. Once aroused, its determination is fixed on fight, and if a leopard ever gets hold, it claws and bites until its victim is in shreds. All this was in my mind, and I began looking about for the best way out of it, for I had no desire to try conclusions with a possibly wounded leopard when it was so late in the day that I could not see the sights of my rifle.”

Akeley beat a hasty retreat. He’d return the next morning, he figured, when he could see better; if he’d wounded the leopard, he could find it again then. But the leopard had other ideas. It pursued him, and Akeley fired again, even though he couldn’t see enough to aim. “I could see where the bullets struck as the sand spurted up beyond the leopard. The first two shots went above her, but the third scored. The leopard stopped and I thought she was killed.”

The leopard had not been killed. Instead, she charged—and Akeley’s magazine was empty. He reloaded the rifle, but as he spun to face the leopard, she leapt on him, knocking it out of his hands. The 80-pound cat landed on him. “Her intention was to sink her teeth into my throat and with this grip and her forepaws hang to me while with her hind claws she dug out my stomach, for this pleasant practice is the way of leopards,” Akeley wrote. “However, happily for me, she missed her aim.” The wounded cat had landed to one side; instead of Akeley’s throat in her mouth, she had his upper right arm, which had the fortuitous effect of keeping her hind legs off his stomach.

It was good luck, but the fight of Akeley’s life had just begun.

Using his left hand, he attempted to loosen the leopard’s hold. “I couldn't do it except little by little,” he wrote. “When I got grip enough on her throat to loosen her hold just a little she would catch my arm again an inch or two lower down. In this way I drew the full length of the arm through her mouth inch by inch.”

He felt no pain, he wrote, “only of the sound of the crushing of tense muscles and the choking, snarling grunts of the beast.” When his arm was nearly free, Akeley fell on the leopard. His right hand was still in her mouth, but his left hand was still on her throat. His knees were on her chest and his elbows in her armpits, “spreading her front legs apart so that the frantic clawing did nothing more than tear my shirt.”

It was a scramble. The leopard tried to twist around and gain the advantage, but couldn’t get purchase on the sand. “For the first time,” Akeley wrote, “I began to think and hope I had a chance to win this curious fight.”

He called for the boy, hoping he’d bring a knife, but received no response. So he held on to the animal and “continued to shove the hand down her throat so hard she could not close her mouth and with the other I gripped her throat in a stranglehold.” He bore down with his full weight on her chest, and felt a rib crack. He did it again—another crack. “I felt her relax, a sort of letting go, although she was still struggling. At the same time I felt myself weakening similarly, and then it became a question as to which would give up first.”

Slowly, her struggle ceased. Akeley had won. He lay there for a long time, keeping the leopard in his death grip. “After what seemed an interminable passage of time I let go and tried to stand, calling to the pony boy that it was finished.” The leopard, he later told Popular Science Monthly, had then shown signs of life; Akeley used the boy’s knife to make sure it was really, truly dead.

Akeley’s arm was shredded, and he was weak—so weak that he couldn’t carry the leopard back to camp. “And then a thought struck me that made me waste no time,” he told Popular Science. “That leopard has been eating the horrible diseased hyena I had killed. Any leopard bite is liable to give one blood poison, but this particular leopard’s mouth must have been exceptionally foul.”

He and the boy must have been quite the sight when they finally made it back to camp. His companions had heard the shots, and figured Akeley had either faced off with a lion or the natives; whatever the scenario, they figured Akeley would prevail or be defeated before they could get to him, so they kept on eating dinner. But when Akeley appeared, with “my clothes ... all ripped, my arm ... chewed into an unpleasant sight, [with] blood and dirt all over me,” he wrote in In Brightest Africa, “my appearance was quite sufficient to arrest attention.”

He demanded all the antiseptics the camp had to offer. After he'd been washed with cold water, “the antiseptic was pumped into every one of the innumerable tooth wounds until my arm was so full of the liquid that an injection in one drove it out of another,” he wrote. “During the process I nearly regretted that the leopard had not won.”

When that was done, Akeley was taken to his tent, and the dead leopard was brought in and laid out next to his cot. Her right hind leg was wounded—which, he surmised, had come from his first shot into the brush, and was what had thrown off her pounce—and she had a flesh wound in the back of her neck where his last shot had hit her, “from the shock of which she had instantly recovered.”

Not long after his close encounter with the leopard, the African expedition was cut short when its leader contracted malaria, and Akeley returned to Chicago. The whole experience, he wrote to a friend later, transported him back to a particular moment at the 1893 World’s Columbian Exposition, which he’d visited after creating taxidermy mounts for the event. “As I struggled to wrest my arm from the mouth of the leopard I recalled vividly a bronze at the World’s Columbian Exposition in Chicago, depicting the struggle between a man and bear, the man’s arm in the mouth of the bear,” he wrote. “I had stood in front of this bronze one afternoon with a doctor friend and we discussed the probable sensations of a man in this predicament, wondering whether or not the man would be sensible to the pain of the chewing and the rending of his flesh by the bear. I was thinking as the leopard tore at me that now I knew exactly what the sensations were, but that unfortunately I would not live to tell my doctor friend.”

In the moment, though, there had been no pain, “just the joy of a good fight,” Akeley wrote, “and I did live to tell my [doctor] friend all about it.”

Additional source: Kingdom Under Glass: A Tale of Obsession, Adventure, and One Man's Quest to Preserve the World's Great Animals

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An autographed letter from 7-year-old Victoria, future queen of England, to her uncle, 1826.
Public Domain, Wikimedia Commons // Nigel Parry, USA Network
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crime
Meghan Markle Is Related to H.H. Holmes, America’s First Serial Killer, According to New Documentary
Public Domain, Wikimedia Commons // Nigel Parry, USA Network
Public Domain, Wikimedia Commons // Nigel Parry, USA Network

Between staging paparazzi photos and writing open letters to Prince Harry advising him to call off his wedding, Meghan Markle’s family has been keeping the media pretty busy lately. But it turns out that her bloodline's talent for grabbing headlines dates back much further than the announcement that Markle and Prince Harry were getting hitched—and for much more sinister reasons. According to Meet the Markles, a new television documentary produced for England’s Channel Four, the former Suits star has a distant relation to H.H. Holmes, America’s first serial killer.

The claim comes from Holmes’s great-great-grandson, American lawyer Jeff Mudgett, who recently discovered that he and Markle are eighth cousins. If that connection is correct, then it would mean that Markle, too, is related to Holmes.

While finding out that you’re related—however distantly—to a man believed to have murdered 27 people isn’t something you’d probably want to share with Queen Elizabeth II when asking her to pass the Yorkshire pudding over Christmas dinner, what makes the story even more interesting is that Mudgett believes that his great-great-grandpa was also Jack the Ripper!

Mudgett came to this conclusion based on Holmes’s personal diaries, which he inherited. In 2017, American Ripper—an eight-part History Channel series—investigated Mudgett’s belief that Holmes and Jack were indeed one in the same.

When asked about his connection to Markle, and their shared connection to Holmes—and, possibly, Jack the Ripper—Mudgett replied:

“We did a study with the FBI and CIA and Scotland Yard regarding handwriting analysis. It turns out [H. H. Holmes] was Jack the Ripper. This means Meghan is related to Jack the Ripper. I don’t think the Queen knows. I am not proud he is my ancestor. Meghan won’t be either.”

Shortly thereafter he clarified his comments via his personal Facebook page:

In the 130 years since Jack the Ripper terrorized London’s Whitechapel neighborhood, hundreds of names have been put forth as possible suspects, but authorities have never been able to definitively conclude who committed the infamous murders. So if Alice's Adventures in Wonderland author Lewis Carroll could have done it, why not the distant relative of the royal family's newest member?

[h/t: ID CrimeFeed]

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