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List of Illustrations

Note: All enquiries regarding copyrights in individual plates should be made c/o the editor at Warwick.gould@sas.ac.uk.

Cover Images: The Yeats Annual fleuron on the spine is based upon Thomas Sturge Moore’s rose design, as used in his illustrations for H. P. R. Finberg’s translation of Count Villiers de L’Isle Adam’s Axel with Yeats’s preface (London: Jarrolds Publishers, Ltd., 1925), and elsewhere on cover designs for Yeats’s books, most notably that for Per Amica Silentia Lunae (1918), courtesy of the late Riette Sturge Moore. The heraldic device is taken from Althea Gyles’s top board design for the revised and enlarged The Celtic Twilight (London: A. H. Bullen, English edition only, 1902; Wade 35), her last cover design for Yeats.

Frontispiece: W. B. Yeats and T. S. Eliot in the United States, December 1932. © private collection, London, All rights reserved.

Plates

1.

W. T. Horton’s Caricature of Yeats among his books and William Blake’s alchemical equipment and astrological grimoires, from The Academy, 59:1418 (8 July, 1899) 28. Private collection, London.

9

2a, b.

Top boards of Speeches from the Dock, 48th edition and alternative cover emblem, showing Shamrocks, Harp, Shield with Red Hand of Ulster, and Spear, from the 53rd edition. Private collection, London.

13

3.

Spirit of the Nation, 50th edition, 1876. Private collection, London.

13

4.

Review copy of Mosada: A Dramatic Poem (1886) with bookplates, including those of John Quinn (centre, by Jack B. Yeats), Major William van R. Whitall (top), and Milton McC. Gatch (bottom), Courtesy of Maggs Bros., London.

16

5.

A detail of Yeats’s inscription on the frontispiece page of Quinn’s copy of Mosada. Courtesy of Maggs Bros., London.

17

6.

J. B. Yeats’s frontispiece drawing of W. B. Yeats, from Mosada (1886). Courtesy Colin Smythe.

19

7a.

J. B. Yeats’s pastel portrait of W. B. Yeats as King Goll. Private collection, Ireland. Courtesy Colin Smythe.

19

7b.

J. B. Yeats’s portrait of W. B. Yeats as King Goll, The Leisure Hour, September 1887. Private collection, London.

19

8a, b.

Inscriptions by W. B. Yeats [n.d.] and George Yeats (March, 1949) in Yeats’s working copy of The Wanderings of Oisin and Other Poems (1889). © and courtesy of The Morgan Library, New York, PML 134657. Bequest of Gordon N. Ray, 1987.

25

8c.

W. B. Yeats’s inscription of March 1904 in John Quinn’s copy of The Wanderings of Oisin and Other Poems (1889), now Copy 4 in the Berg Collection, New York Public Library. © the Henry W. and Albert A. Berg Collection, and the Astor, Lenox and Tilden Foundations, New York Public Library. All rights reserved.

27

9.

Edwin J. Ellis’s Frontispiece of Niam [sic], St Patrick and Oisin, in The Wanderings of Oisin. Dramatic Sketches, Ballads & Lyrics (1892). © private collection, London. All rights reserved.

28

10.

Top board of wraparound covers by H. Granville Fell for W. B. Yeats’s Poems (1895). Private collection, London.

32

11.

Althea Gyles’s wraparound design for The Secret Rose (1897), first state, ribbed cloth. Private collection, London.

35

12a.

Decorated Initial Letter from the Sacramentary Fleury, early eleventh century, attributed to Nivardus of Milan, MS. Ludwig v, 1, f. 9. Tempera colours, gold, silver and ink on parchment. Courtesy of the Getty Museum, California.

35

12b.

Front board of Muley Zidan’s Qu’ran (El Koran, Códikce Árabe Llamado de Muley Cidan, Rey del Marruęcos (Library of the Escorial, Spain). Private collection, London, from a copy of Museo Español de Antigüedades (Madrid, 1872–80, vol. 3 [1874]).

35

13.

Althea Gyles’s abandoned frontispiece (c.1897) for The Wind Among the Reeds. Courtesy of the Trustees of the British Museum. All rights reserved.

39

14.

Althea Gyles’s wraparound design for the vellum-bound 4th edition issue of The Wind Among the Reeds (London, 1903). Image © private collection, London. All rights reserved.

40

15.

Althea Gyles’s wraparound design for Poems (1899). Private collection, London.

43

16.

Althea Gyles’s top board design on a parchment copy of Poems (1904). Courtesy of the Rose Library, Emory University, Atlanta Georgia.

45

17a, b.

T. Sturge Moore’s designs for the Macmillan (New York) and Macmillan (London) editions of Reveries over Childhood and Youth (1916). Images courtesy of and © Senate House Library, University of London. All rights reserved.

47

18.

The American Reveries over Childhood and Youth cover design by Thomas Sturge Moore as adapted and reused on the cloth issue of the Macmillan, New York edition of Selected Poems (1921). Private collection, London.

48

19.

Generic design for copies of Yeats’s various American editions, including an alternative design for books with thicker spines by Thomas Sturge Moore, c.1917–18. © Senate House Library, University of London. All rights reserved.

48

20.

Design for top board of The Green Helmet and Other Poems (New York, 1912), designer unknown. © private collection, London. All rights reserved.

51

21a.

Top board of The Cutting of an Agate (London, 1919), designed by Thomas Sturge Moore. Private collection, London.

51

21b.

Top board, Responsibilities (London 1916) by Thomas Sturge Moore. Private collection, London.

51

22a.

Table centre design for the Yeats Family by Thomas Sturge Moore, featuring the Lion of St Mark. © Senate House Library, University of London. All rights reserved.

52

22b.

A Tracing after f. 75 of the Evangéliaire de saint Willibrord (Bibliothèque Nationale, Paris, B. N. Latin 9389) by Thomas Sturge Moore, with the title RESPONSIBILITIES blocked in on bottom r.h.s. © Senate House Library, University of London. All rights reserved.

53

23a.

The Tower (1928), top board design by Thomas Sturge Moore. © private collection, London. All rights reserved.

55

23b.

Photograph sent by Yeats to Sturge Moore of Thoor Ballylee, to be used as the basis for the design in Plate 23a. © Senate House Library, London. All rights reserved.

55

24a.

Thomas Sturge Moore’s preliminary sketch for the top board of Byzantium (later The Winding Stair and Other Poems). © Senate House Library, London. All rights reserved.

55

24b.

Thomas Sturge Moore’s dust jacket for The Winding Stair and Other Poems (1933). © private collection, London. All rights reserved.

55

25a.

Proof of design for bookplate for Mrs Yeats, by Thomas Sturge Moore. © Senate House Library, London. All rights reserved.

58

25b.

Design for top board and spine of Villiers de L’Isle Adam’s Axel by Thomas Sturge Moore. © Senate House Library, London. All rights reserved.

58

26.

Top board and spine of published Axel. © private collection, London. All rights reserved.

58

27.

Frontispiece and title page of Villiers de L’Isle Adam’s Axel by Thomas Sturge Moore.© private collection, London. All rights reserved.

59

28a.

Attendant God of Wisdom and Writing from the Temple of Nabu at Nimrûd, c.810–800 BC, British Museum, London. © The Trustees of the British Museum. All rights reserved.

59

28b.

Colossal statue of a winged lion from the North-West Palace of Ashurnasirpal II (883–859 BC), excavated by Austen Henry Layard c.1845–51. © The Trustees of the British Museum. All rights reserved.

59

29.

Frontispiece and title page by Norah McGuinness for Stories of Red Hanrahan and the Secret Rose (1927). © private collection, London. All rights reserved.

65

30.

Top board design by Norah McGuinness for Stories of Red Hanrahan and the Secret Rose (1927). © private collection, London. All rights reserved.

66

31.

Final vignette of the two woven ash trees over the graves on Insula Trinitatis, Lough Key, for ‘Proud Costello, MacDermot’s Daughter, and the Bitter Tongue’ in Stories of Red Hanrahan and the Secret Rose (1927). © private collection, London. All rights reserved.

67

32.

Constance Gore-Booth’s drawing of W. B. Yeats. © Sligo County Library, Ireland and courtesy of the County Librarian, Dónal Tinney. All rights reserved.

170

33.

Frontispiece portrait of W. B. Yeats by John Butler Yeats (1886) in John Quinn’s copy of Mosada: A Dramatic Poem with W. B. Yeats’s 1904 inscription. Courtesy of Maggs Bros., London.

243

34.

Yeats’s inscription in his presentation copy to Frederick J. Gregg of Mosada: A Dramatic Poem. Image © Colin Smythe and courtesy of private collection. All rights reserved.

248

35.

Yeats’s inscription in his presentation copy to John O’Leary of Mosada: A Dramatic Poem. Image © the Henry W. and Albert A. Berg Collection, and the Astor, Lenox and Tilden Foundations, New York Public Library. All rights reserved.

251

36.

Henrietta Alma Pollexfen’s copy of Mosada: A Dramatic Poem. © William Andrews Clark Memorial Library, University of California, Los Angeles. All rights reserved.

252

37.

Grace Yeats’s copy of Mosada: A Dramatic Poem. © the National Library of Ireland. All rights reserved.

253

38.

Dublin City Library copy of Mosada: A Dramatic Poem. Image © and courtesy Colin Smythe. All rights reserved.

255

39.

Frontispiece to Captain Marryat’s The Phantom Ship (1839; rpt. London: Richard Bentley, 1847) engraved by J. Crowse. Private collection, London.

265

40.

Illustration from The Phantom Ship (London: George Routledge & Sons, 1874). Private collection, London.

268

41.

Illustration from The Phantom Ship (London: George Routledge & Sons, 1874). Private collection, London.

269

42.

John Butler Yeats’s illustration for ‘The Rose of Shadow’ in W. B. Yeats’s The Secret Rose (1897). Private collection, London.

279

43.

John Butler Yeats’s frontispiece portrait of W. B. Yeats, in Poems (2nd ed., London: T. Fisher Unwin, 1899). Private collection, London.

341

44.

The Elliott and Fry image of W. B. Yeats, said to be of 1899. Private collection, London.

341