Did O'Donnell name some of the passengers he remained in touch with at all?
Only one American couple in first class died that boarded in Southampton, those being Ida and Isidor Straus who were noted philanthropists in their old days. While I can't rule them out I have to look into other options too first.
In the letters section of the book, the following surnames are mentioned, with O’Donnell explaining that he only selected a few:
- G.T. Noel, Finisterre, France
- L. Odell, Stiek House, Lime Regis, Dorset
- R.W. May, Gresham Road, Brixton, S.W.
Mr. May is the brother of Mrs. Odell and the uncle of Jack Odell.
In a letter dated 20 April 1912, R.W. May wrote to Browne:
"[…] do you happen to know the names of the lady and gentleman at your left at the table and whether they are among the saved?” (p. 119).
This suggests that Browne dined at the same table as his fellow cross-channel passenger Richard May, who was very likely accompanied by the other members of his traveling group: Lily Odell, Stanley May, Jack Odell, and Kate Odell. This leaves only two empty seats at the table for eight. Judging by May’s letter, those seats appear to have been occupied by our mystery couple.
It would make logistical sense if this couple included another cross-channel passenger, Mrs. Nichols, who was traveling with a colleague of her late husband,
Richard William Smith. Mrs. Nichols disembarked at Queenstown, so it is possible that she and Mr. Smith asked Browne over dinner to keep Mr. Smith company on the third leg of the maiden voyage. Smith perished when the ship sank, which could explain why this trace went cold.
Another piece of circumstantial evidence supporting this theory is a portrait Browne took on the morning of 11 April. The photograph shows a “couple,” who, as some speculate, could be Mrs. Nichols and Mr. Smith (although this is debated). Considering the very friendly expressions of the pair, they must have been acquainted with Browne. Furthermore, Browne—like many amateur photographers—did not appear to take portraits of people he hadn’t previously interacted with.
This brings me to another point that may be helpful to this thread's topic: the portrait of the “couple” is a double exposure, meaning Browne accidentally exposed the same negative twice, likely forgetting to wind the film to the next frame. Based on my collection of popular cameras from the era, such mistakes were easily made.
The second exposure appears to be a photograph of Mrs. Charlotte Cardeza’s suite. Contrary to claims made by some sources, this photograph could only have been taken after Cardeza boarded in Cherbourg, as the other exposure was also taken on the morning of 11 April. The scene in the photo and the focal length of an average lens from the 1910s suggest that Browne was inside the suite, rather than taking a candid shot from the corridor. It seems unlikely that Browne would have photographed someone else’s cabin without being invited in. So perhaps he befriended Cardeza in the lounge after dinner, while “listening to the White Star orchestra playing the Tales of Hoffmann and Cavalleria Rusticana selections […]” (p. 101).
Cardeza formed a “couple” with her son so she could be another answer to our little quest, although I find the theory about Ms Nichols and Mr Smith more likely!