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The Living Stream

Warwick Gould

List of Illustrations

Texte intégral

1Cover Image: Thomas Sturge Moore’s cover for The Tower (1928), Private Collection, London. The Yeats Annual fleuron (cover and half-title) is based upon Thomas Sturge Moore’s rose design, as used in his illustrations for H. P. R. Finberg’s translation of Count de 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 (1917), courtesy of the late Riette Sturge Moore.

2Frontispiece: Derry Jeffares beside the Edmund Dulac memorial stone to W. B. Yeats, Roquebrune Cemetery, France, 1986. Private Collection.


41. Between pp. 25-26, Yeats’s holograph revision to ‘The Sorrow of Love’ tipped in to Lady Gregory’s copy of Poems (1895) and misdated, probably by her, in the Robert W. Woodruff Collection, Emory University, Atlanta, GA.

52. Between pp. 25-26, Yeats’s holograph revision in another of Lady Gregory’s copies of Poems, that of 1904, also now in the Woodruff Collection at Emory and altered in 1924 as marked in pencil. This slip is pasted onto a torn-off printed slip bearing a part of line 10, almost certainly from an uncorrected proof of Early Poems and Stories (1925).

63. Between pp. 25-26, top board of Lady Gregory’s white and gold copy of Poems (1904) now in the Robert W. Woodruff Collection, Emory.

74. Between pp. 25-26, close-up of the tipped-in revisions in Plates 1 and 2.

85. Facing p. 40, W. B. Y. listening to Homer’, undated (c. 1887), by Jack B. Yeats, pasted into a copy of The Wind Among the Reeds(1900), in the Woodruff Collection, Emory.

96. Facing p. 45, Yeats’s holograph revisions in the setting copy of ‘The Adoration of the Magi’ for Early Poems and Stories (1925). Berg Collection, New York Public Library.

107. Facing p. 105, Thoor Ballylee, cottage in ruin, river and bridge, a pen and ink drawing by A. Norman Jeffares, 17 x 22.5 cm, private collection. This drawing was the basis of a chapter tailpiece vignette in W. B. Yeats: Man and Poet (London: Routledge, 1949).

118. Facing p. 108, ‘Mrs W. B. Yeats’, by Edmund Dulac, exhibited at the Leicester Galleries, London, June 1920, in the possession of the Yeats family, photograph by Nicola Gordon Bowe. All Dulac images © Marcia Geraldine Anderson, courtesy Hodder and Stoughton Ltd.

129. Between pp. 108-09, Robert Gregory’s design of the ‘Charging Unicorn’ first used on the title-page of Discoveries (1907). Private Collection.

1310. Between pp. 108-09, Gustave Moreau, ‘Les Licornes’ (c. 1885), an unfinished oil on canvas in the Musée Gustave Moreau, Paris, and based on the 15th century tapestries then recently acquired by the Musée de Cluny, Paris (see Plate 12). Photographer unknown.

1411. Between pp. 108-09, ‘Monoceros de Astris’ by Thomas Sturge Moore, title-page of Reveries Over Childhood and Youth (1915). Private Collection.

1512 Between pp. 108-09, Bookplate for George Yeats by Thomas Sturge Moore, showing a round tower struck by lightning, releasing a white unicorn, Senate House Library, University of London.

1613. Between pp. 110-11, Red tapestry, ‘La dame à la licorne’, 15th century, Musée de Cluny, Paris. Photographer unknown, Public Domain.

1714. Between pp. 110-11, ‘Deer and Unicorn’ wood-cut from The Book of Lambspring, as reproduced in A. E. Waite’s The Hermetic Museum, Restored and Enlarged (London, James Elliott & Co., 1893).

1815. Facing p. 117, Edmund Dulac’s pastel caricature of Yeats, 1915, Abbey Theatre, Dublin, photographer unknown.

1916. Facing p. 130, Edmund Dulac’s ‘The Good Chiron Taught His Pupils How to Play upon the Harp’ in Nathaniel Hawthorne’s Tanglewood Tales (London: Hodder & Stoughton, 1918). Private Collection.

2017. Between pp. 139-40, Edmund Dulac’s woodcut of a unicorn in A Vision (1925). Private Collection, London. It also appeared on the title-page of Stories of Michael Robartes and his Friends (1932), and in Last Poems and Two Plays (1939). Copies in Private Collection.

2118. Between pp. 139-40, Charles Ricketts’s endpapers for the 1920s Macmillan Collected Edition of the Works of W. B. Yeats. Private Collection.

2219. Between pp. 139-40, Thomas Sturge Moore’s ‘Candle in Waves’ sigil on the title-page of Michael Robartes and the Dancer (1920). This emblem of ‘the soul in the midst of the waters of the flesh or of time’ also appeared in Seven Poems and a Fragment (1922) and October Blast (1927). Private Collection.

2320. Between pp. 139-40, Yeats’s bookplate, by Thomas Sturge Moore, showing the candle in waves motif above Sturge Moore’s gates, his visual pun on the origins of Yeats’s name in the Middle English and northern and north-midland dialectal word ‘yeat’ or ‘yate’ meaning ‘gate’, Senate House Library, University of London.

2421. Facing p. 197, the biggest rookery in Europe at Buckenham Carr Woods, near Norwich, courtesy Jane Rusbridge, ©Natalie Miller.

2522-24. Facing p. 242, three faces of Derry Jeffares, Unknown contemporary press photographers. Images courtesy of Colin Smythe Ltd. All rights reserved.


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