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Yeats’s Legacies

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Warwick Gould

List of Illustrations

Texte intégral

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

Yeats Annual Fleuron (Front Cover, Spine, Dedication Page) 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), this fleuron was created courtesy of the late Riette Sturge Moore.

Front Cover Vignette: The hawk is taken from the top-board of Responsibilities and Other Poems (London: Macmillan, 1916), Private Coll., London, Image Warwick Gould. The design is by Thomas Sturge Moore, showing Yeats’s change of livery when he moved his books to Macmillan as his principal trade publisher. The book was published on 10 October 1916, the same day as that firm issued his Reveries over Childhood and Youth, also with a Sturge Moore cover-design.

Frontispiece W. B. Yeats in the fin de siècle. From pencilled notes on the verso, this hitherto unknown image had been copyrighted to Elliot & Fry, and each reproduction incurred a fee of 14/– to the London Electrotype Agency. A fee of that sum had been paid for Richardson, ‘The World Writers’, perhaps a series in an untraced periodical, and the image had been filed with ‘English Portraits of Yeats’ in some newspaper picture archive. © Private Collection, London, all rights reserved.

Plates

1.

Yeats family snapshot c. 1927, of Thoor Ballylee and its cottages, taken from the ‘acre of stony ground’ or cabbage patch over the road. Image courtesy Private Collection London.

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2.

Plate 1 cropped to approximate the ‘view’ of the tower and cottages depicted in Plate 3. Image courtesy Private Collection London.

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3.

The cropped centre panel of Thomas Sturge Moore’s top board for The Tower (1928). Image courtesy Private Collection, London.

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4.

Yeats family heirlooms as clustered by Sotheby’s, London, for the frontispiece of their Yeats: The Family Collection, the catalogue accompanying the sale of that name on 27 September 2017. Image courtesy Philip Errington, and © Sotheby’s, New Bond St., London, all right reserved.

xlii

5.

Antonio Mancini’s 1908 pastel portrait of W. B. Yeats used as the basis for the frontispiece to Vol. V of The Collected Works in Verse and Prose (1908). Image courtesy Philip Errington, and Sotheby’s, New Bond St., London.

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6.

John Butler Yeats oil portrait of W. B. Yeats in a basket chair, reading in the overgrown garden at 3 Blenheim Rd., Bedford Park, London, c. 1888–1889. Image courtesy Philip Errington, and Sotheby’s, New Bond St., London.

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7–8.

Two images of pages from Yeats’s ‘10 Ashfield Terrace’ sketchbook, lot 70 in the Sotheby’s sale, courtesy Philip Errington, and Sotheby’s, New Bond St., London.

Li

9.

Image of page facing Plate 7 in Yeats’s ‘10 Ashfield Terrace’ sketchbook, lot 70 in the Sotheby’s sale, courtesy Philip Errington, and Sotheby’s, New Bond St., London.

liii

10.

Image of page from Yeats’s ‘10 Ashfield Terrace’ sketchbook, lot 70 in the Sotheby’s sale, courtesy Philip Errington, and Sotheby’s, New Bond St., London.

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11.

Image of fragment of verse in Yeats’s ‘10 Ashfield Terrace’ sketchbook, lot 70 in the Sotheby’s sale, courtesy Philip Errington, and Sotheby’s, New Bond St., London.

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12.

Jack B. Yeats’s drawing ‘MAKE PROVISION FOR YOUR OLD AGE!!!!’ from an undated letter to Lady Gregory as illustrated for lot 416, Figgis Rare Books catalogue, c. 1982–1996 (Private Collection, London). Image courtesy Mr. Neville Figgis, House of Figgis Rare Books, Letterfrack, Co. Galway. Present whereabouts of original unknown.

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13.

Centre fold of Pears’ Annual, 1925, with an illuminated design for ‘“The Cherry Tree”: English Carol by Cecil J. Sharp’. Decorated by (Richard) Kennedy North. Image courtesy Private Collection, London.

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14.

Front Cover, the Irish Independent, 11 October 1927. Image courtesy National Library of Ireland.

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15.

Cuchulain slays the dragon of ‘Tainted Literature: Front Cover of Our Boys Annual 1915. Image courtesy Christian Brothers Province Centre, Dublin.

136

16.

Brother Canice Craven at his Editor’s desk, shining the light of Angelic Warfare onto a waste-paper basket ready to receive ‘devilish literature coming into this country’, with his Editor’s notes below. From Our Boys, 4 September 1924. Image courtesy Christian Brothers Province Centre, Dublin.

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17.

Detail, Plate 14, of the Irish Independent, 11 October 1927. Image courtesy National Library of Ireland.

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18.

The Pears’Annual book-burning as imagined by ‘G. A.’, Our Boys, 5 February 1925, 499, and as preserved in the Evil Literature files, National Archives, Dublin. Image courtesy the National Archives of Ireland, Dublin.

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19.

Front page of To-Morrow 1:1, August 1924. Private Collection, London. Image courtesy Warwick Gould.

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20.

‘Leda and the Swan’, as printed in To-morrow, August 1924, 2. Private Collection, London. Image courtesy Warwick Gould.

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21.

‘To all Artists and Writers’, manifesto or editorial, as printed in To-morrow, August 1924, 4. Private Collection, London. Image courtesy Warwick Gould.

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22.

‘An Old Poem Re-written’ in its original placement, followed by Oliver St. John Gogarty’s ‘To Some Spiteful Persons’ in The Irish Statesman, 8 November 1924 (266–67). Image courtesy the National Library of Ireland, Dublin.

173

23.

Galley Proofs of Early Poems and Stories (1925), corrected by Yeats. Image courtesy The Henry W. And Albert A. Berg Collection, New York Public Library (Astor, Lenox, and Tilden Foundations).

175

24.

Detail of Plate 23. Image courtesy The Henry W. And Albert A. Berg Collection, New York Public Library (Astor, Lenox, and Tilden Foundations).

176

25.

Further Detail of Plate 23. Image courtesy The Henry W. And Albert A. Berg Collection, New York Public Library (Astor, Lenox, and Tilden Foundations).

177

26 a-b.

The Cherry-Tree Carol’, Cuala Press Broadside version (No. 7, December 1909), illustrated by Jack B. Yeats, the final three stanzas of which are on the following page (detail). Images courtesy Digital http://Library@VillanovaUniversity.

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27.

Douglas Hyde’s parallel text Irish and English versions taken down in Mayo. From Religious Songs of Connacht (1906, 280–81). Private Collection, London. Image courtesy Warwick Gould.

185

28–29.

Two ‘Black Lists’ from the ‘Evil Literature’ papers, a printed and subsequently (26b.) a typed list of ‘Some Objectionable Papers and Periodicals’, showing the addition of Pears’ Annual. Images courtesy the National Archives of Ireland, Dublin.

189

30.

Titian’s ‘Sacred and Profane Love’ (1514), Borghese Gallery, Rome. Image Wikimedia Commons, https://commons.wikimedia.org/wiki/File:Tiziano_-_Amor_Sacro_y_Amor_Profano_(Galer%C3%ADa_Borghese,_Roma,_1514).jpg 195

195

31.

Sketches made by Lady Gregory at Ballylee, 14 August 1895. None of the Cunninghams’daughters are identified as ‘Maud’ on the 1901 Census, so this may have been a nickname or Gregory’s error for ‘Margaret’ (aged about 6 in 1895). Image courtesy Colin Smythe.

217

32.

Possibly Yeats’s first written mention of Ballylee in a manuscript revision of ‘Ballykeele’ to ‘Ballylee’ in the printed text of AE’s poem ‘The Well of All-Healing’, in Lady Gregory’s copy of A Celtic Christmas (The Irish Homestead Christmas No.) 1897. Image courtesy John J. Burns Library, Boston College.

219

33.

‘Mr Brennan singing Great Coole Demesne’ by ‘E. P.’ (probably Lady Gregory’s sister in-law, Eleanor Persse) circa. 1888. Image courtesy the Henry W. and Albert A. Berg Collection (Astor, Lenox, and Tilden Foundations), New York Public Library.

225

34.

Ballylee Castle, detail of sketch by Lady Gregory dated 14 August 1895 (see above, Plate 31). Image courtesy Colin Smythe.

227

35.

The Millwheel and Tower at Ballylee, Sketches by Lady Gregory, n.d. Image courtesy Colin Smythe.

228

36.

Elizabeth Cunningham (c. 1890-d. 1945) late in life. Image courtesy Private Collection, Ireland.

235

37.

Abbey Theatre Programme for King Lear, 27 October 1930 and following nights. Image courtesy James Hardiman Library, NUI, Galway.

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38–39.

Set designs for King Lear, Abbey Theatre, November 1928 by Dorothy Travers Smith. Images courtesy James Hardiman Library, NUI, Galway.

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40.

Detail of typescript letter from W. B. Yeats to F. R. Higgins, December 1938 (HRHRC, Yeats Collection, Box 6, Folder 7). Image courtesy the Harry Ransom Humanities Research Center, Texas.

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41.

Jack B. Yeats: Original Drawing for front cover of On the Boiler, with Jack Yeats’s instruction ‘To Block Maker Please keep original drawing Clean’. Image courtesy Philip Errington, and Sotheby’s, New Bond St., London.

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42.

Constance and Eva Gore-Booth at the opening of the Drumcliffe Co-Operative Creamery c. 1895. Image Courtesy Sligo County Museum and Library.

546

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