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The Lady Eccles Oscar Wilde Collection The Lady Eccles Oscar Wilde Collection Andrea Lloyd Mary Viscountess Eccles’s celebrated collection of books, manuscripts, works of art and memorabilia relating to Oscar Wilde was bequeathed to the British Library in 2003. A philanthropist and anglophile, Lady Eccles was one of the library’s most munificent benefactors of recent years. Born Mary Morley Crapo in Detroit on 12 July 1912, Lady Eccles was an avid book collector and bibliophile of international repute. She was the first woman elected to the Roxburghe Club, and one of the first to join the Grolier Club in New York City, of which she was later elected president. Together with her first husband Donald Hyde (1909-1966), she built up what is widely considered to be the world’s finest collection of rare books and manuscripts relating to Samuel Johnson and his biographer and friend, James Boswell. After Donald Hyde died, it was her interest in the world of books which brought her into contact with her second husband, Viscount Eccles (1904-1999), Chairman of the British Library from 1973 to 1978. The collection was housed in a purpose built library in her New Jersey home, Four Oaks Farm, to which she readily granted access to researchers, writers and scholars from all over the world. Her collection fed her own research interests, and she contributed some important scholarly works on a variety of subjects. She also built close relationships with other collectors and interested parties, and generously loaned her collection to exhibitions and museums to allow others to appreciate its richness, including the British Library centenary exhibition Oscar Wilde: a life in six acts (10 November 2000 – 4 February 2001). About the Wilde collection Mary and Donald Hyde’s bibliophily was not limited to the eighteenth century. They also developed an Oscar Wilde collection which is second only in size to that of the University of California, containing over 2000 items. The foundations of the collection were laid when they acquired Wilde’s correspondence with his friend Reginald Turner. Their interest in Wilde’s life and writings thus fuelled, acquisitions of related material rapidly followed. The importance of the collection was elevated considerably in 1962, through the purchase of H. Montgomery Hyde’s Wilde collection. Later additions from the libraries of Mortimer L. Schiff and Lord Alfred Douglas, and acquisitions from Wilde’s bibliographer Christopher Millard (alias Stuart Mason), his literary executor and friend Robert Ross and his son Vyvyan Holland among others, contributed to the creation of the largest Wilde collection in private hands.1 Oscar Fingal O’Flahertie Wills Wilde (16 October 1854 – 30 November 1900) was an Irish playwright, poet and author. In addition to becoming one of the most successful playwrights of the late Victorian era, his natural wit and charm helped him to become one of the greatest celebrities of his age. His works have endured to this day and continue to be widely performed and adapted. Wilde’s celebrity status turned to notoriety after he was found guilty of gross indecency and sentenced to two years hard labour. On his release from prison he went directly to France, where he died in poverty two years later. 1 H. Montgomery Hyde, ‘Oscar Wilde’, in Gabriel Austin (ed.), Four Oaks Library (Somerville, NJ, 1967), pp. 85-92. 1 eBLJ 2010, Article 3 The Lady Eccles Oscar Wilde Collection The Lady Eccles Oscar Wilde collection complements the British Library’s existing holdings in this area, giving prominence to some of the extraordinary items already in the collection. Enormous attention to detail has been paid to compiling the collection, with the acquisition parameters set wide to encompass works pertaining to Wilde, his friends and family and the literary and artistic world of late nineteenth- and early twentieth-century Great Britain. Although it covers a broad range, the collection can be divided into three categories: manuscripts, printed books and ephemera (or ‘Wildeana’, which includes newspaper cuttings, playbills, posters, leaflets, music scores, LPs and even a set of postage stamps). The printed collection The printed collection comprises over 1500 volumes, covering a broad sphere, including translations of his works into languages ranging from Armenian to Esperanto. Wilde has gradually grown in popularity and marketability since his death, which has given rise to an incalculable number of editions of his works, both in Great Britain and abroad. This, combined with the scandal associated with his name and the deficiency of international copyright rules in the nineteenth century, has resulted in a large number of unauthorized editions and privately printed pamphlets, all of which provide rich pickings for the modern first edition collector. Oscar Wilde’s literary opus contains an eclectic mix of genres and artistic styles, including plays, stories, poems, essays and a novel. This is in addition to his superb academic credentials and profitable journalistic career. Despite this, at the time of his death, Wilde’s writing was considered by some to be relatively unremarkable, when compared to the work of his contemporaries, such as Walter Pater. His works were labelled unintellectual and mediocre, falling way below the scholarly standard required for an author’s works to endure.2 However, over time his popularity has flourished, his works have never been out of print, and his quips, one-liners and epigrams are continually quoted. A variety of scholarly editions of his works are now available, in addition to the inordinate quantity of popular, illustrated, small collections or private press editions that have been published over the last 100 years. The Eccles collection contains examples of all his works, represented in a range of formats, including monographs and literary periodical contributions. The collection contains a wealth of author’s presentation copies. All of the significant people in Wilde’s life are honoured with personal inscriptions, which demonstrate his relationship to them and the fondness or gratitude he felt towards them. Wilde’s colourful character is recognizable even in the few short lines he has written in each volume, such as his inscription to his wife Constance, in Poems (1882), ‘To a poem from a poet’, or a few years later, after events had taken a more solemn turn in The Ballad of Reading Gaol (1898): ‘Willie Callan, in affection and admiration, from his friend, who wrote this Ballad of Pain. Paris, ’98’ (fig. 1). Other recipients of inscribed presentation copies include Lady Wilde (Wilde’s mother), Bosie (Lord Alfred Douglas, with whom Wilde had an intimate and devastating relationship), Lionel Johnson (who introduced Wilde to Douglas) and even Robert Browning, whom Wilde greatly admired. In addition to the unique author presentation and association copies held in the collection, there are several extremely rare editions of limited print runs, such as Vera; or the Nihilists (1880), of which only two copies are known to survive. The Eccles’ Vera is an acting edition, inscribed by the author to Genevieve Ward, a celebrated nineteenth-century singer and actress – highlighting Wilde’s connections to many fashionable individuals of his day.3 2 For a summary of the various criticisms see Merlin Holland, ‘Introduction to the 1994 edition’ of Complete Works of Oscar Wilde (Glasgow, 1994), pp. 1-6. 3 Vera is a melodramatic tragedy set in Russia. It was the first play that Wilde wrote. It ran in New York in 1882 but was not a success and folded after just a week. 2 eBLJ 2010, Article 3 The Lady Eccles Oscar Wilde Collection (1898). Eccles 9. The Ballad of Reading Gaol An author-inscribed copy of copy An author-inscribed Fig. 1. 3 eBLJ 2010, Article 3 The Lady Eccles Oscar Wilde Collection Practically every new edition of Wilde’s work published during and shortly after his lifetime has some manner of interesting story behind its publication. They are not just books but reflections of a brilliant, controversial author’s life and as such represent so much more than the words printed on their pages. One of the highlights of the collection is Wilde’s first edition of poems. Published at his own expense, he presented a copy to the Library of the Oxford Union, with his manuscript inscription dated Oct. 27th 1881, only for them to refuse the gift on the grounds of it being immoral and derivative (this is the only authorial presentation copy which the Oxford Union has ever refused).4 The Picture of Dorian Gray (1891) caused a measure of controversy when it was first published, due to its focus on hedonism and allusions to homosexuality. First published in Lippincott’s Monthly Magazine in June 1890, and appearing in revised and extended book form a year later, published by Ward, Lock and Co. (fig. 2), it resulted in a frenzied press debate about art and morality, despite Wilde’s curtailing of some of the more homoerotic overtones in the 1891 edition. Shortly afterwards, Salome (1891), a tragedy based on the New Testament, was banned from being performed in London by the Lord Chamberlain’s licenser on the basis that it was illegal to depict Biblical characters on the stage. An English translation of the original French text, with illustrations by Aubrey Beardsley, was published in 1894, but was shrouded in complications. Lord Alfred Douglas originally translated the text, but the result was so unsatisfactory that Wilde ended up translating it himself and Douglas’s name was removed from the title page to the dedication. In addition, the publisher John Lane expressed concerns over Beardsley’s lascivious illustrations, which featured caricatures of Wilde’s face in some of the scenes and displayed overtly sexual references, which highlighted the homoerotic and sexual subtexts of the play.
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