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Oscar Wilde: First Editions Identification Guide

Oscar Wilde: The Collector’s Guide to First Editions, Rare and Collectible Books

Oscar Wilde
Oscar Wilde

Early Life and Brilliant Beginnings

Oscar Fingal O’Flahertie Wills Wilde was born on October 16, 1854, in Dublin, Ireland, into a remarkable family. His father, Sir William Wilde, was a celebrated eye surgeon, while his mother, Jane Francesca Elgee, was a revolutionary poet who wrote under the pseudonym “Speranza.” From both parents, Wilde inherited a love of language, a flair for the dramatic, and a disdain for convention. He attended Trinity College Dublin on a scholarship and then Magdalen College, Oxford, where he distinguished himself as a classics scholar and a wit. At Oxford, he fell under the influence of the aesthetic movement, particularly the writings of Walter Pater, who argued that art should be lived as intensely as it was created. Wilde graduated with first-class honors in 1878 and moved to London. He had no steady income, but he had something better: a personality. He wore velvet breeches, silk stockings, and long flowing hair. He decorated his rooms with peacock feathers and lilies. He cultivated the reputation of a genius and a dandy. Within a few years, he was the most quoted man in London, even though he had published almost nothing of substance.

The American Triumph and the First Successes

In 1882, Wilde embarked on a lecture tour of the United States, a year-long journey designed to promote Gilbert and Sullivan’s operetta Patience, which satirized the aesthetic movement. He arrived in New York and famously told a customs officer, “I have nothing to declare except my genius.” The tour was a sensation. Wilde lectured on art, beauty, and interior design to audiences across the country. He met Walt Whitman, drank with miners in Leadville, and impressed everyone with his wit and stamina. He returned to England and married Constance Lloyd, a wealthy Irish heiress, in 1884. The couple had two sons. For a few years, Wilde settled into conventional respectability, editing a women’s magazine and writing fairy tales for his children. The stories, collected in The Happy Prince and Other Tales (1888), are among his most beautiful and heartbreaking works, influencing later writers of literary fantasy such as Lord Dunsany and Hope Mirrlees.

The Masterpieces of the 1890s

The Picture of Dorian Gray - Oscar WIlde 1891
The Picture of Dorian Gray – First Edition, 1891

Wilde’s greatest creative period began in 1890 with the publication of The Picture of Dorian Gray, his only novel. The story of a beautiful young man who remains ageless while his portrait bears the scars of his sins scandalized Victorian reviewers. The novel’s exploration of duality, hidden self, and the aesthetic of evil directly influenced later works such as Robert Louis Stevenson’s The Strange Case of Dr Jekyll and Mr Hyde (already published, but Wilde deepened the theme) and, decades later, Vladimir Nabokov’s Lolita, which shares Dorian Gray’s fascination with beauty beyond morality. Wilde then turned to the theater. Between 1892 and 1895, he produced a string of brilliant comedies: Lady Windermere’s Fan, A Woman of No Importance, An Ideal Husband, and The Importance of Being Earnest. The last is widely considered the finest comedy of manners in the English language. Wilde’s dialogue—sparkling with paradoxes, epigrams, and reversals of conventional wisdom—directly influenced the witty, urbane style of Noël Coward, P. G. Wodehouse, and later Tom Stoppard.

The Trials and the Fall

In 1891, Wilde met Lord Alfred Douglas, the young, spoiled son of the Marquess of Queensberry. The two began an intense romantic relationship. Queensberry, enraged by his son’s association with Wilde, left a calling card at Wilde’s club inscribed “For Oscar Wilde, posing somdomite” [sic]. Wilde, urged by Douglas, made a catastrophic decision: he sued Queensberry for criminal libel. The trial revealed Wilde’s private life in excruciating detail. Queensberry was acquitted, and Wilde was arrested. He endured two criminal trials for gross indecency. The first jury hung. The second convicted him. He was sentenced to two years of hard labor. He emerged from prison bankrupt, broken, and exiled. He wrote his final masterpiece, The Ballad of Reading Gaol, about a hanged prisoner, and then lived quietly in France under the assumed name Sebastian Melmoth. He died of cerebral meningitis on November 30, 1900, in a shabby Paris hotel. He was forty-six years old.

Influence and Legacy

Wilde’s influence on later writers is vast and various. His trial and imprisonment became a touchstone for gay writers, particularly in England, where the stigma of his conviction lingered for decades. E. M. Forster, who could not publish his gay novel Maurice during his lifetime, wrote openly about his debt to Wilde’s courage. The French writer André Gide, who met Wilde in Paris, carried his example forward into openly homosexual fiction. In the 1960s, the obscenity trial over D. H. Lawrence’s Lady Chatterley’s Lover was argued in the shadow of Wilde’s fate. Beyond sexuality, Wilde’s aestheticism—the belief that art serves no purpose but beauty—influenced the modernists, particularly Virginia Woolf and James Joyce, who rejected the moral didacticism of the Victorian novel. His epigrammatic wit shaped the prose of Dorothy Parker and S. J. Perelman. His fairy tales influenced J. R. R. Tolkien and C. S. Lewis. And his tragic life story became a myth in itself, inspiring countless biographies, plays, and films, including the 1997 film Wilde starring Stephen Fry. Oscar Wilde transformed from a cautionary tale into a martyr and, finally, into a saint of queer literature. His voice—witty, defiant, and heartbreaking—still speaks.

Oscar Wilde – First Editions Identification Guide

A Complete Bibliography of Oscar Wilde: Novels, Rare Books & First Editions

Oscar Wilde - - First Editions Identification Guide
YearTitlePublisherFirst edition/printing identification points
1878RavennaOxford: Thos. Shrimpton & Son, 1878First edition. Pamphlet, grey paper wrappers printed in black. On the front the lettering of the title-page (with a smaller design of the University arm') is printed within a single-line border with floriated points. On both sides of the back of the wrapper are lists of the winners of the Newdigate Prize Poem (1840 to 1877) and the Gaisford Prize for Greek Prose (1857 to 1876), with the publishers’ imprint at the foot.
1880Vera; or, the NihilistsLondon: Ranken & Co, 1880First edition. Grey paper wrappers with the lettering of the title page printed within a double-ruled border, above which is [Strictly Private.], all printed in black. 52 copies printed.
Note: Only two copies of this edition are known.
ALSO: No publisher, printed in America, where Wilde was lecturing during the greater part of 1882. Grey paper wrappers with the lettering of the title page printed within a double-ruled border, above which is [Strictly Private.], all printed in black.
Notes: In this edition the Prologue, pp. [5-11], is printed for the first time, and the text throughout shows many variations from the edition of 1880. The reverse of pp. 10 and 59 is blank.
1881PoemsLondon: David Bogue, 1881First edition. Covers of white parchment lettered on the back Poems | Oscar Wilde | at the top and David Bogue at the foot, the intervening space being filled with a design in gilt of a prunus blossom. In the top outer corner of each cover is stamped in gilt a similar design within a rectangle. Dutch hand-made paper, watermarked Van Gelder; top edges gilt, others uncut.
Notes: The first printing (June 1881) consisted of 750 copies, of which only 250 copies were used for the first edition, the remaining 500 being equally divided between the second and third editions.
ALSO: London: David Bogue, 1881. Second edition. "Second Edition" stated on title page. Same as above. The prunus blossom design on the sides is larger than in the first edition.
ALSO: London: David Bogue, 1881. Third edition. "Third Edition" stated on the title page. For this edition a printing of 250 copies of a new title-page [pp. iii-iv] was made on September 26, the remainder of the book being part of the first printing in June. ALSO: Boston: Roberts Brothers, 1881. First American edition.
ALSO: Elkin Mathews & John Lane, 1892. Author's edition. Limited to 220 numbered copies. Pale violet cloth boards with gilt lettering and designs and decorated end-papers, all by Charles Ricketts. Green, yellow or brown cloth, gilt, lettered; decorated end-papers.
1883The Dutchess pf PaduaPrivately Printed as Manuscript.First edition. Grey-green paper wrappers without any lettering. There is no headline to the pages, the name of the play appearing only on the title-page (where the words Duchess of Padua and Oscar Wilde are printed in red) and on the last page of text.Twenty copies for use in the theatre are said to have been printed, of which only four are known to exist.
1888The Happy Prince and Other TalesLondon: David Nutt, 1888First edition. Japanese vellum boards, on the front side being a design in black by Jacomb Hood and red text. Illustrated by Walter Crane and Jacomb Hood. Two issues, no priority:
  • (A) Large paper edition, 4to. Limited to 75 copies on hand-made paper, numbered and signed by the author & the publishers.
  • (B) Regular edition, 8vo. Limited to 1000 copies, unnumbered.
ALSO: London: David Nutt, 1889. Second edition. "Second Edition January 1889" stated on © page. Japanese vellum cover printed in red and black.
ALSO: Boston: Robets Brothers, 1888. First American edition. Blue-green or yellow cloth boards, with coloured decorated end-papers.
1891Lord Arthur Savile's Crime and Other StoriesLondon: James R. Osgood, McIlvaine & Co, 1891First edition. Salmon-coloured paper boards printed in dark red with lettering and design by Charles Ricketts.
Note: Of this edition 2000 copies were printed, including 500 which were issued in America with the imprint of Dodd, Mead and Co., New York.
ALSO: Dodd, Mead and Co., New York, 1891. Pale pink buckram boards, lettered in dark green, with decorations in dark green and yellow.
1891A House of PomegranatesJames R. Osgood, London, MDCCCXCIFirst edition. Cream-coloured linen boards with moss-green linen back. The front side is printed in light red and stamped with gilt designs of a peacock, a running fountain and a basket of split pomegranates. On the back are some small designs with the title, etc., in twelve lines; the designs, lettering and decorated end-papers all being by Charles Ricketts.
Note: Of this edition 1000 copies were printed. Some of these were issued in America by Dodd, Mead and Co. early in 1892, price $5.00.
1891IntentionsJames R. Osgood, London, MDCCCXCIFirst edition. Moss-green cloth boards, on the front side being the titles of the four essays with a design below. On the back is the title of the book with the names of the author and the publishers in six lines, all stamped in gilt from designs by Charles Ricketts.
Note: Of this edition 1500 copies were printed, including 600 which were issued in America with the imprint of Dodd, Mead and Co., New York.
ALSO: Dodd, Mead and Co., New York, MDCCCXCI. First American edition. Pink canvas boards.
ALSO: Osgood, McIlvaine, MDCCCXCIV. Second edition. Light green cloth boards with lettering and design by Charles Ricketts as in the first edition.
Note: Of this edition 1000 copies were printed, including 500 which were issued in America with the imprint of Dodd, Mead and Co., New York.
ALSO: Dodd, Mead and Co., New York, MDCCCXCIV. Yellow buckram boards, lettered in brown on the front side with the title, etc., in six lines as on the title-page.
1893Lady Windermere's FanLondon: Elkin Mathews & John Lane, 1893First edition. "Copyright, October 1893" stated on © page. Light brown-red linen boards, gilt lettering, boards designed by Charles Shannon. 500 copies printed.
1893SalomeLondres: Elkin Mathews et John Lane, 1893First edition. "Acheve d’imprimer le 6 fevrier 1893" stated on © page. First published in French. Bright purple paper wrappers lettered in silver. Two issues, no priority:
  • (A) Limited edition of 50 copies on Van Gelder hand-made paper.
  • (B) Limited edition of 600 copies (500 are for sale.)
ALSO: London: Elkin Mathews & John Lane, 1894. First English edition. Two issues, no priority:
  • (A) Limited edition of 100 copies. Green silk boards, gilt, with lettering and designs as in the trade edition.
  • (B) Trade edition. Limited edition of 500 copies. Rough blue canvas boards, gilt, stamped on both sides with a design by Aubrey Beardsley; lettered in gilt.
1894A Woman of No ImportanceLondon: Elkin Mathews & John Lane, MDCCCXCIVFirst edition. Two issues, no priority:
  • (A) Limited edition of 50 copies on hand-made paper. Light brown-red linen boards, gilt lettering. Boards designed by Charles Shannon.
  • (B) Regular edition. Light brown-red linen boards, gilt lettering. Same design as above.
1894The SphinxLondon: Elkin Mathews & John Lane, MDCCCXCIVFirst edition. Full vellum boards, gilt, with designs on the back and on both sides by Charles Ricketts, whose monogram CR appears in the bottom left-hand corner of the front cover, in the bottom left-hand corner of the under cover being the monogram of the binders, Leighton, Son and Hodge. Two issues, no priority:
  • (A) Limited edition of 25 copies on large paper.
  • (B) Trade edition. 250 copies printed of which 50 are for sale in America.
1895The Soul of Man under SocialismLondon: Privately Printed, MDCCCXCVFirst edition. Light brown paper wrappers printed on the front side only, with lettering and designs of the title-page in red. Limited edition of 50 copies.
1898The Ballad of Reading GaolLondon: Leonard Smithers, MDCCCXCVIIIFirst edition. "Copyright January 1898" stated on © page. Cinnamon colour linen with white linen back. Two issues, no priority:
  • (A) Limited edition of 30 numbered copies on Japanese vellum.
  • (B) Trade edition. 800 copies printed on Dutch hand-made paper watermarked Van Gelder, of which 400 were printed on January 24, 1898 and 400 on on February 8. The later are lettered in gilt on boards.
ALSO: London: Leonard Smithers, MDCCCXCVIII. Second edition. "Copyright February 1898" and "Second edition" stated on © page.
ALSO: Third edition. "Copyright February 1898" on the limitation page. Purple linen with white linen back lettered as in the earlier editions. In the top right-hand corner of the front side is a leaf-design by Charles Ricketts, stamped in gilt. Limited to 99 numbered copies signed by the author.
1899An Ideal HusbandLondon: Leonard Smithers, MDCCCXCIXFirst edition. "Copyright, July 1899." stated on © page. Light brown-red linen boards, gilt lettering, with designs by Charles Shannon. Two issues, no priority:
  • (A) Limited edition of 12 numbered copies on Japanese vellum, signed by the author. Bound in vellum, gilt lettering. Presentation copies.
  • (B) Limited edition of 100 numbered copies on Dutch hand-made paper, watermarked Van Gelder Zonen, signed by the author.
  • (C) Regular edition. 1000 copies printed.
1899The Importance of Being EarnestLondon: Leonard Smithers, MDCCCXCIXFirst edition. "Copyright, December 1898" stated on © page. Light red-brown linen boards, gilt lettering, with designs by Charles Shannon. Three issues, no priority:
  • (A) Limited edition of 12 numbered copies on Japanese vellum for presentation, signed by the author. Bound in vellum, gilt lettering and designs.
  • (B) Limited edition of 100 numbered copies on Dutch hand-made paper, watermarked Van Gelder Zonen, signed by the author.
  • (C) Trade edition. Limited edition of 1000 numbered copies, unsigned.
ALSO: London, New York: Samuel French, 24, West 22 nd Street. "Copyright, October 1893" (Error in copyright date). Acting edition issued in New York. Wrapper, wired. The front wrapper is headed “ The Dramatic Works of Oscar Wilde.” No. 1. In later impressions “ No. 1 ” is omitted; the publishers’ London address on the title page is changed to 26, Southampton Street, Strand; and three preliminary leaves are added at the beginning, including half-title, particulars of fees payable, etc., the book being sewn instead of wired.
1905De ProfundisLondon: Methuen & Co, [1905]First edition. "First published in 1905" stated on © page. Three issues, no priority:
  • (A) Limited edition of 50 copies on Japanese vellum. Limp vellum, gilt, with overlapping fore-edges, the lettering and designs by Charles Ricketts.
  • (B) Limited edition of 200 copies on English hand-made paper, watermarked Unbleached Arnold. White buckram boards, gilt lettering and designs by Charles Ricketts.
  • (C) Regular edition. Blue buckram boards, gilt lettering and designs by Charles Ricketts. 10, 000 copies printed.
ALSO: London, Muethen & Co., 1905. Second edition. "Second Edition, 1905" stated on © page.
ALSO: New York: The Knickerbocker Press, 1905. First American edition. Grey paper boards, gilt, with dark blue linen back, on which is pasted a strip of grey paper, showing a dark blue edging on either side, lettered in Old English characters. Issued with a loose outer wrapper of grey paper printed in dark blue, on the back being a publisher’s advertisement.
1891The Picture of Dorian GrayWard Lock & Co, London, [1891]First edition. Rough grey bevelled boards, gilt lettered, boards designed by Charles Ricketts. Buff-coloured outer wrappers with the designs and lettering printed in brown. On p. 208, eight lines from the bottom, is a small misprint, the first letter being dropped from the word “ and.” Two issues, no priority:
  • (A) Dated 1891 on title page. Limited edition of 250 copies on large paper, numbered and signed by the author.
  • (B) Trade edition, undated.
ALSO: Ward Lock & Bowden, London, [1895]. Second edition. 8 pages of ads at the end.
ALSO: Paris: Charles Carrington, 1901. Light blue boards, gilt, lettered on the back DORIAN GREY (sic)

Reference:

  • Stuart Mason – Bibliography of Oscar Wilde
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