Trade card for Alex. [Alexander?] Fields, dry goods, silks, dress goods, suits, hosiery, fancy goods, &c., of 253 Grand Street, New York. Featuring a colour illustration of a male figure reading a book, with a sunflower in his lapel and surrounded by daisies: “A very daisy”. Infl
Clothes and dress--Marketing--New York (State)--New York--19th century
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Calling card of “Mr. Sebastian Melmoth, Berneval-sur-Mer, près Dieppe.” Oscar Wilde adopted the name Sebastian Melmoth after his release from Reading Gaol, 19 May 1897.Mounted and framed.
Wilde, Oscar, 1854-1900 | Visiting cards
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Trade card for “J.D. Gilman, Ladies’ & Gent’s Dining Rooms, 50 Summer St., cor Arch, lunch room in basement, Boston.” Influenced by the aesthetic movement.Features a colour illustration of a moustachioed and behatted male figure with a sunflower in his lapel, reading a book, ,an
Restaurants--Marketing--Massachusetts--Boston--19th century
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Postcard by H. Vertigen & Co, London with colourised portrait pictures of the actresses Dora Barton (1884-1966) and Irene Vanbrugh (1872-1949), who created the role of Gwendolen Fairfax.“Serie 6208”; printed in Saxony, made in Germany.
Leading ladies (Actresses) | Vanbrugh, Irene, 1872-1949
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Original autographed manuscript of Lord Alfred Douglas’s poem ‘The Rhyme of F Double E’ (first published 1914), here titled ‘The Ballad of F Double E’. The present draft differs in a number of ways from the printed version, with generally a more venomous feeling in the draft. Co
Wilde, Oscar, 1854-1900
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A trade card for J. & P. Coats’ best six-cord cotton: “Oh! Oscar!” Features a colour illustration of a young boy [Oscar Wilde?], holding sunflowers and lillies, falling backwards over a giant spool of thread, watched by a young girl as a dog chases a bird. Influenced by the aest
Wilde, Oscar, 1854-1900 | J. & P. Coats | Cotton thread--Marketing--19th century
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‘Ise gwine for to wushup dat lily kase it sembles me’, one of a set of trade cards inspired by Oscar Wilde’s journey to America in 1882. It features a barefoot African man wearing an oversized shirt and holding a calla lily. Such trade cards were influenced by the Aesthetic Movem
Wilde, Oscar, 1854-1900 | Aesthetic movement (Art) | Stereotypes (Social psychology) in art--19th century
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Sheet music for the Oscar Wilde Galop, arranged by [F.H.] Snow and published by W.A. Evans & Bro., Boston, New York, Philadelphia, and Chicago. Music for piano, with a caricature portrait of Oscar Wilde sheltering under a huge sunflower. [1882]. Extent: 3 folios, including covers
Wilde, Oscar, 1854-1900--Songs and music
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A trade card featuring a colour illustration of a male figure holding a sunflower, and a quotation from Patience, a satirical opera on the aesthetic movement of the 1870s and '80s in England, by Arthur Sullivan and W. S. Gilbert, : “A Japanese young man, a blue-and-white young ma
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Oscar Wilde’s silver calling card case, a gift from his friend Ada Leverson. Measuring 88.9 x 63.5mm, the case is engraved ‘for Sebastian Melmoth from Sphinx’ and bears the hallmark of silversmiths Thomas Hayes, Bermingham [1897]. Contained in a presentation box with 'Sebastian M
Visiting card cases
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Illustrated programme for first performance of Oscar Wilde’s A Woman of No Importance at the Theatre Royal Haymarket, 29 April [1893]. “Lessee and manager: Mr. Herbert Beerhom Tree”.
Wilde, Oscar, 1854-1900. Woman of no importance | Haymarket Theatre (London, England) | Tree, Herbert Beerbohm, Sir, 1852-1917
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A trade card for Mme Marie Fontaine’s “bosom beautifier for beautifying & enlarging the bust”, featuring a colour illustration of a behatted female figure carrying a wooden pail, and a portrait of a smiling Oscar Wilde, surrounded by sunflowers.Printed? by Cosack & Co, Buffalo, N
Cosmetics--Marketing--New York (State)--New York--19th century | Cosack & Co. | Wilde, Oscar, 1854-1900
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