One By One

Oscar-1

In a recent post I highlighted the difference between an illustration and a photograph of Oscar Wilde in the same pose—the result being that the photograph was the more authentic.

But what happens when there are differences between two versions of the same photograph?

In this case the image is Sarony No. 1—the famous iconic headshot of Wilde. The one on the right is the more familiar.

They do not quite look the same. But which one is a good egg, and which one is a Wilde goose chase?

Let us take a gander.


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False Bottom

Here we see an illustration and a photograph of Oscar Wilde in the same pose.

In a recent post I drew attention to the photograph (which is from the collections of the Harry Ransom Center, The University of Texas at Austin), as it has recently taken its place among the list of known Sarony photographs of Oscar Wilde.

The reason for the photograph’s belated addition to the canon is that it does not appear to have been previously published, nor was there any digital example online—so it is true to say that it had never been widely, if at all, circulated.

And yet, its existence should not come as a complete surprise to Wilde scholars. To understand why, we must consider the part played by the corresponding illustration.

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Sarony 3A

New Sarony Photograph Identified

A rarely seen image of Oscar Wilde has recently been added to the series of photographs taken by Napoleon Sarony on January 5th, 1882.

Its rarity is evidenced by the fact that it does not appear to have been been published in any publicly available print medium to date, nor anywhere else previously online.

However, a proof print of it has lain dormant in the extensive Wilde holdings of the Harry Ransom Center, The University of Texas at Austin—in the James McNeill Whistler collection to be precise—and their copy might be the only extant print.

To see how this photograph re-emerged and how it affects the total count of known Sarony images of Oscar Wilde, let’s start the ball rolling.

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The Rest Is History

Oscar Wilde by Napoleon Sarony, 1882

There is a pleasing symmetry in the idea of the flamboyant Napoleon Sarony photographing Oscar Wilde because they were both specialists in posing—albeit from opposing perspectives. So it is not surprising that they also had parallel views about it.

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Bridgeton, NJ


—ANOTHER DISCOVERED LECTURE—

In verifying Oscar Wilde’s tour of America, one occasionally come across previously unrecorded lectures, such as the ones at the seaside resort of Narragansett Pier, RI, a second talk given by Wilde in Saratoga Springs, and another he gave for the YMCA in Yorkville, New York City [1].

This last lecture in New York redefined what biographers thought had been Wilde’s final lecture in North America at St. John, in New Brunswick, Canada.

Now another lecture has emerged which also post-dates Wilde final Canada visit.

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I Can Wait (Revisited)

Lotos Club New York.jpg

Oscar Wilde’s After-Dinner Rebuke to his Press Critics

Originally published in 2015 now as rewritten for the Oscar Wilde Society newsletter. For membership go to: oscarwildesociety.co.uk/membership/

It is pleasing to see that recent Wilde studies continue to highlight the emergent nature of Oscar’s American experience, during which time he nurtured the art of public speaking, conducted his first press interviews, staged his first play, had his iconic photographs taken, and stockpiled—to use an American word—material for his future epigrams and works.

But there is a crucial American beginning for Oscar that has been under-appreciated: I refer to his first brush with literary society. It occurred during an event at 149 Fifth Avenue in New York City, the then home of an organisation of journalists known as the Lotos Club.

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Oscar’s Oyster Supper

An Oyster Supper, 1852-1853. Hand-colored lithograph by Elijah Chapman Kellogg . Oysters were a popular food in Connecticut during the 19th century..jpg

Eating oysters in Connecticut is a big thing; and when in Hartford, CT, there was only one place to go: Honiss’ Oyster House. In 1981 the New York Times ran an article about the famous old place, now long since gone:

It isn’t every restaurant in Connecticut that can claim – as the Honiss Oyster House Company does – to have served Mark Twain, Babe Ruth, Andre Previn and Steve Martin, or to have the very booth where Buffalo Bill Cody ate regularly when he was in town with his Wild West Show.

Honiss’s dimly-lit basement walls are crammed with photographs of customers past. There are more than a thousand pictures in all, dating to the 1880’s, when Thomas Honiss and Fred Atchinson purchased the then-40-year-old restaurant downstairs in the United States Hotel.

What the newspaper did not mention, and possibly because the restaurant also failed to realize it, is that Oscar Wilde also partook of Honiss’ famous oysters while residing at the United States Hotel in 1882.

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