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This edition of The Picture of Dorian Gray, illustrated by Benjamin Lacombe and published in the Papillon Noir collection by Gallimard, is simply stunning. The complete text includes the originally censored passages that Oscar Wilde had to remove when the book was published, although they were present in the first appearance of the story in Lippincott’s Monthly Magazine. These passages are restored here, translated in french and printed in grey, allowing readers to follow what was cut at the time. It is both fascinating and beautifully presented.
Benjamin Lacombe’s illustrations are magnificent. Some span across double-page spreads, perfectly centered within the sewn sections and positioned near the relevant passages, without ever giving too much away. There is one exception, a visual clue that slightly anticipates Basil Hallward’s fate. Small sepia-toned illustrations are also scattered throughout the text, enhancing the atmosphere of the novel.
The end of the book offers a wonderful surprise. The transformation of the infamous portrait is depicted across four transparent sheets, reminiscent of tracing paper, which can be layered and compared. It is visually powerful and exceptionally well thought out.
Another detail that shows the care given to this edition is the fact that the sections are sewn, which allows the book to open completely flat without resistance. The layout is equally remarkable, worthy of a collector’s edition, with clear, spacious text and generous margins that offer real reading comfort.
Among the most striking additions is a letter from Oscar Wilde to his former lover, illustrated in a comic book style at three points in the story. Dorian Gray is depicted with the features of this young man. Many small visual details are hidden throughout the images, such as butterflies (likely an echo to the name of the collection Papillon Noir) and golden flowers, echoing the design of the first hardcover edition of the novel. In addition to the illustrations, the book includes a selection of sketches in the appendix.
Throughout, Benjamin Lacombe’s signature style is unmistakable. His world feels gently fantastical and dreamlike, with soft colors that convey an elegant melancholy, like a dream you never quite wake up from.
The only aspect that might raise a concern is the use of fabric to cover the spine of the book. In other editions illustrated by Benjamin Lacombe, the gold lettering on this type of material tends to wear off rather quickly. And as many bibliophiles know, fabric spines generally do not hold up well to light exposure, especially sunlight, which can cause fading over time.
This is a refined and graceful edition that fully honors the original work. With the Papillon Noir collection, Gallimard marks the return of the illustrated book. I look forward to discovering more titles in this series.
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