picture of

Uncensored, Unfiltered, and Illustrated

Oscar Wilde
Illustrated by Gustavo Magalhães

Experience Oscar Wilde’s most famous work as he originally intended it. Wilde’s original 1889 typescript restores the artistic vision that shocked readers on both sides of the Atlantic. Seventeen original oil canvasses by Gustavo Magalhães beautifully illustrate this remarkable restoration of Wilde’s words and spirit.

collector's edition

Limited edition of 1000 hand-numbered copies; printed using a sophisticated 5-color process on Munken Pure and Munken Print White paper; bound in a hardcover with an exposed, sewn spine, adorned with hand-painted accents on all four edges. Features one exclusive Fine Art print of one of the masterpieces by the visual artist and painter Gustavo Magalhães, created exclusively for these editions; accompanied by a dust jacket that unfolds into a remarkable 619x520mm poster; closed format measuring 158x220mm.

£ 248

artist's edition

Limited print run up to 10,000 copies; meticulously crafted with a dynamic 5-color printing process on Coral Book Ivory and Munken Print White paper; bound elegantly in a hardcover with a sewn and exposed spine, adorned with a touch of decadent yellow hand-painting along all four edges; enclosed within a compact format measuring 158x220mm.

£ 129

Basil Hallward is what I think I am; Lord Henry is what the world thinks of me Dorian Gray what I would like to be - in another age perhaps.

what is new and special?

To highlight the censorship suffered by the author in two crucial moments of the editorial process (1890-1891), we have opted to graphically indicate not only “when”, but “where” and “how” this censorship took place:

learn more

Oscar Wild originally conceived The Picture of Dorian Gray as a deeply personal meditation on beauty, art, and the primacy of experience over abstract morality. It is both his most famous work and his most intimate, at once a bold statement of Wilde’s philosophy, an acknowledgement of its limitations, and a study of the forces thar constrain and confine us.

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Wilde’s 13-chapter version of Dorian Gray is presented here as he first wrote it, along with his amendments to the original typescript. His editors at Lippincott’s Monthly Magazine made their own changes and removed nearly 500 words, most of them dealing with sexual content. This version was still deemed unacceptable by booksellers in the UK, the largest of whom refused to stock the July 1890 edition of Lippincott’s, in which the novel first appeared. A final version added several new chapters, further rounding off Wilde’s original language and intent in an effort to gain the approval of publishers and booksellers. In a cruel twist, this “purged version” was introduced as evidence at Wilde’s trial for gross indecency, which resulted in a sentence of two years’ hard labor, after which he left for France and wrote only two more works of note
The Picture of Dorian Gray represents a vital place in the history of the Gothic novel. By the end of the 18th century, Ann Radcliffe had achieved international fame for her chilling tales of imprisoned orphans and sinister villains. Later authors took the genre in different directions, some heightening the romantic nature of Gothic fiction, others adding elements of horror. Mary Shelly’s Frankenstein marked a turning point for Gothic fiction, breathing into its gripping and sensational legacy a spirit of philosophical investigation. Edgar Allen Poe and the Brontës continued this more sophisticated and reflective strain of Gothic fiction, which Oscar Wilde advanced even further in The Picture of Dorian Gray. Following the publication of Bram Stoker’s Dracula in 1897, Gothic fiction fell largely out of favor among serious writers until its renaissance in the United States, led by authors including William Faulkner, Flannery O’Connor, and Shirley Jackson
Playwright, poet, epigrammist, and novelist Oscar Wilde (1854-1900) was raised in Dublin and studied classics at Trinity College and Oxford, where John Ruskin was his tutor. A popular lecturer on art and aesthetics, Wilde also wrote a tepidly received book of poetry and worked as a journalist before turning his attention to the longer works that established him as one of the world’s great playwrights and authors. Following the tortuous publication of The Picture of Dorian Gray, Wilde devoted himself largely to the stage; Lady Windermere’s Fan, his first major success as a playwright, debuted in 1892. Wilde’s defamation suit against the Marquess of Queensbury revealed his affair with Alfred, Lord Douglas, leading to his estrangement from his wife and two sons and to his eventual trial and imprisonment for gross indecency. After two years of hard labor and three years in jail, Wilde lived in France for the final three years of his life. Largely impoverished, he produced just one major work while in exile, The Ballad of Reading Gaol. Wilde died of meningitis in 1900.

Gustavo Magalhães (1998-), is a Visual Artist hailing from Goioerê/PR, who currently resides and works in Curitiba/PR. He holds a degree in Visual Arts Education from FAP/UNESPAR and has been producing in the field of Painting since 2013.
In 2018, he began researching and developing the series "violence" (2018-), with works exhibited at CUBIC 4 (Circuito Universitário da Bienal Internacional de Curitiba) in 2019. In 2022, he received an honourable mention for the work "fome" (2021) at the 5th Visual Arts Salon of Pinhais. Also in 2022, his work "untitled" from the series "violence" (2018-) became part of the museum collection at MAR - Museum of Art of Rio. In 2023, his first solo exhibition called "ATELIÊ ABERTO" took place, transforming the apartment where he lived at the time into an ephemeral exhibition space. Later in the same year, his second solo exhibition, "The Unportrayable," curated by Rafael Rodrigues, was held at Soma Gallery.
Through the appropriation and decontextualization of images and the collection of materials from precarious sources, he creates works that address social issues such as race, identity, and violence, as well as issues inherent to the language of painting.

Index is a design studio shared by creative partners Ana Santiago (São Paulo, BR) and Asad Pervaiz (NYC, US).

Commissioned by Jhambo Ink to design our publications, their innate love of books is complemented by more than 20 years of experience designing for publishers such as Rizzoli, August Editions,  Carambaia, Fósforo, Ikrek Edições, Editora Olhares and Todavia.

Their designs reside in the archives of both the Museum of Modern Art (MoMA - New York) and The British Library (London) and have received awards from Art Directors Club, Graphis and the American Institute of Graphic Arts.