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William Butler Yeats (1865 – 1939) was an English-language Irish poet, dramatist, prose writer and one of the foremost figures of 20th-century literature. A pillar of the Irish literary establishment, he helped to found the Abbey Theatre, and in his later years served two terms as a Senator of the Irish Free State. He was a driving force behind the Irish Literary Revival along with Lady Gregory, Edward Martyn and others.
Yeats was born in Sandymount, Ireland, and educated there and in London. He was a Protestant and member of the Anglo-Irish community. He spent childhood holidays in County Sligo and studied poetry from an early age, when he became fascinated by Irish legends and the occult. These topics feature in the first phase of his work, which lasted roughly until the turn of the 20th century. His earliest volume of verse was published in 1889, and its slow-paced and lyrical poems display debts to Edmund Spenser, Percy Bysshe Shelley, and the poets of the Pre-Raphaelite Brotherhood. From 1900, his poetry grew more physical and realistic. He largely renounced the transcendental beliefs of his youth, though he remained preoccupied with physical and spiritual masks, as well as with cyclical theories of life.
Raised in a creative and intellectually stimulating environment, Yeats was surrounded by artists, writers, and political thinkers from a young age. His father, John Butler Yeats, was a talented painter, and his artistic family nurtured his love for literature and the arts. Early on, Yeats developed a fascination with Irish folklore and the supernatural, which would greatly influence his poetic style.
Yeats co-founded the Rhymers’ Club in 1890, a literary group dedicated to the revival of traditional poetic forms. During this time, he established connections with fellow writers such as Lionel Johnson and Ernest Dowson, who shared his interest in symbolism and aestheticism. These influences would shape the development of his poetic voice.
One of Yeats’ most important poems is “The Second Coming,” written in 1919. This iconic work is a reflection on the tumultuous post-World War I era, where the world seemed to be in a state of chaos and uncertainty. It is widely regarded as a powerful and prophetic portrayal of the troubled times, with its famous lines, “Things fall apart; the centre cannot hold.” The poem explores themes of societal collapse, the loss of spiritual values, and the emergence of a new order.
Another significant poem by Yeats is “Easter, 1916,” written in response to the Easter Rising in Ireland, a pivotal event in the country’s struggle for independence from British rule. Published in 1921, the poem mourns the loss of the leaders of the uprising and reflects on the changing political landscape of Ireland. It captures the conflicting emotions of Yeats as he grapples with his own shifting perspectives and the sacrifice made by those who fought for Ireland’s freedom.
In 1923, he was awarded the Nobel Prize in Literature, “for his always inspired poetry, which in a highly artistic form gives expression to the spirit of a whole nation”. He was aware of the symbolic value of an Irish winner so soon after Ireland had gained independence, and sought to highlight the fact at each available opportunity. His reply to many of the letters of congratulations sent to him contained the words: “I consider that this honour has come to me less as an individual than as a representative of Irish literature, it is part of Europe’s welcome to the Free State.”
W. B. Yeats is considered one of the key twentieth-century English-language poets. He was a Symbolist poet, using allusive imagery and symbolic structures throughout his career. He chose words and assembled them so that, in addition to a particular meaning, they suggest abstract thoughts that may seem more significant and resonant. His use of symbols is usually something physical that is both itself and a suggestion of other, perhaps immaterial, timeless qualities.
Unlike the modernists who experimented with free verse, Yeats was a master of the traditional forms. The impact of modernism on his work can be seen in the increasing abandonment of the more conventionally poetic diction of his early work in favour of the more austere language and more direct approach to his themes that increasingly characterises the poetry and plays of his middle period, comprising the volumes In the Seven Woods, Responsibilities and The Green Helmet. His later poetry and plays are written in a more personal vein, and the works written in the last twenty years of his life include mention of his son and daughter, as well as meditations on the experience of growing old. In his poem, “The Circus Animals’ Desertion”, he describes the inspiration for these late works:
Now that my ladder’s gone
I must lie down where all the ladders start
In the foul rag and bone shop of the heart.
Throughout his life, Yeats remained committed to Irish nationalism and cultural revival. His works served as a rallying call for Irish independence, while also transcending national borders and resonating with readers around the world.
W. B. Yeats’ legacy continues to endure, with his poetry celebrated for its profound insights, vivid imagery, and evocative language. His two most important poems, “The Second Coming” and “Easter, 1916,” exemplify his ability to capture the spirit of his time and offer timeless reflections on the human condition. Yeats’ contributions to literature and his unwavering dedication to his craft have secured his place as one of the greatest poets of the 20th century.
William B. Yeats is commemorated in Sligo town by a statue, created in 1989 by sculptor Rowan Gillespie. On the 50th anniversary of the poet’s death, it was erected outside the Ulster Bank.
W. B. Yeats – First Editions Identification Guide
A selected Bibliography of William Butler Yeats works.
Year | Title | Publisher | First edition/printing identification points |
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1886 | Mosada | Dublin: Sealy, Bryers, and Walker, 1886 | Light brown paper covers, lined white; stitched. There is no title-page, the above description being taken from the front cover. The frontispiece, reverse blank, is tipped in before the first leaf of text. 100 copies printed. |
1889 | The Wanderings of Oisin and Other Poems | London: Keagan Paul, Trench &Co., 1889 | Dark blue cloth, lettered in gold on front cover. Black endpapers, lined white. 500 copies printed. Notes: Recorded binding variants:
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1891 | John Sherman and Dhoya | T. Fisher Unwin, London, M DCCC XCI | Written under nom de plume "Ganconagh". Two issues, no priority:
ALSO: New York: Cassell Publishing Co., MDCCCXCII. First American edition. Two issues, no priority:
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1892 | The Countess Kathleen and Various Legends and Lyrics | T. Fisher Unwin, London, MDCCCXCII | Two issues, no priority:
Notes: Identical with English edition except for title, altered publisher’s name on spine, and absence of publisher’s device on back cover. In some copies only the title-page differs from the English edition. |
1893 | The Celtic Twilight | London: Lawrence and Bullen, 1893 | Olive-green ribbed cloth, with publisher’s device stamped blind on back cover; white end-papers. Imprint, Richard Clay & Sons, Limited, London & Bungay, at foot of p. 212. Two issues, priority as listed:
ALSO: St. Martin's Lane, London, W. C., MCMII. Revised and Enlarged edition..“Printed 1893 Reprinted with additions 1902” on half-title page. Dark blue cloth with lettering and design in gold on front cover, lettering and design in gold on spine. 2000 copies printed. |
1894 | The Land of Heart's Desire | Two issues, no priority: (A), MDCCCXCIV | Purple-pink wrappers folded over end-papers, lettered in black on front cover, and with Beardsley’s design on left-hand side. Two issues, priority as listed:
ALSO: Portland Maine, Privately Printed, MDCCCCIII. Revised version of the play. Limited to 32 copies on Japan vellum, for presentation, in July 1903. White Japan wrappers. ALSO: Portland Maine, Thomas B. Moser MDCCCCIII. Trade edition of revised version. Three issues, no priority:
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1895 | Poems | Two issues, no priority: (A), MDCCCXCV | Light brown cloth with design and lettering in gold on front cover, spine, and back cover; off-white end-papers. Cover and title page designed by Hebert Granville Fell. ALSO: Boston: Copeland and Day, MDCCCXCV. First American edition. Copeland & Day imported some copies of the English edition to America. Two issues, probable priority:
ALSO: MCMI. Third English edition, revised. Dark blue cloth with design (by Althea Gyles) as in second edition. Notes: No advertisements at end, An Errata slip facing p. 184; this makes three corrections to the text of 'The Land of Heart's Desire'. ALSO: Fourth (MCMIV) and Fifth (1908) English edition. |
1897 | The Tables of the Law. The Adoration of the Magi | Privately Printed, MNew York: Dood Mead & Co., XCVII | Two issues, priority as listed:
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1897 | The Secret Rose | London: Lawrence and Bullen, MDCCCXCVII | Dark blue cloth, with design (by Althea Gyles) stamped in gold on front cover, spine and back cover; white end-papers. Illustrated by J. B. Yeats. ALSO: New York: Dood Mead & Co., MDCCCXCVII. First American edition. Same as English edition, with the original title torn out, after the book was bound, and new title pasted-in on the stub with "DODD & MEAD" as publisher. ALSO: Dublin: Maunsel and Co., 1905. First Dublin (Ireland) edition. Dark blue-green cloth, and also in green paper boards with yellow linen spine. |
1899 | The Wind Among the Reeds | London: Elkin, Matthews, 1899 | Dark blue cloth with design (by Althea Gyles) stamped in gold on front cover, spine and back cover; white end-papers. Notes: An unspecified number of copies of The Wind Among the Reeds were issued in full vellum binding with the design stamped in gold. It is possible, therefore, that copies in vellum may belong to the first, second, third or fourth editions; they were still advertised in Elkin Mathews’s list in the 1904 edition of The Tables of the Law. ALSO: John Lane, The Bodley Head, New York and London, 1899. First American edition. "Printed at the University Press Cambridge, U.S.A., MDCCCXCIX" stated on © page. Similar binding to the English edition. No errata slip. ALSO: London: Elkin, Matthews, MDCCCC. Third English edition. Two bindings, no priority:
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1900 | The Shadowy Waters | London: Hodder and Stoughton, MCM | Dark blue ribbed cloth with design in gold on front cover, lettering in gold on spine; white end-papers. ALSO: New York: Dood Mead & Co., 1901. First American edition. Two issues, priority as listed:
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1902 | CathLondon: Elkin, Matthews,n Ni Houlihan | The Caradoc Press, MDCCCCII | Cream paper boards with leather spine; lettered in brown on front cover; 4 extra blank leaves are bound in at each end, the outer leaf being pasted down to the board. |
1902 | There are Seven that Pulled the Thread | London: Novello & Co, [1902] | Grey paper covers, printed in black inside ornamental design, advertisements on inside covers and on back cover. "COPYRIGHT, 1902, BY NOVELLO AND COMPANY, LIMITED." stated on © page. |
1903 | Ideas of Good and Evil | London: A.H. Bullen, MCMIII | Green paper boards with dark green cloth spine; white label printed in black inside green rule border; white end-papers. 1490 copies printed of which 520 copies are for American with American imprint. ALSO: The Macmillan Company, New York, MCMIII. First American edition. Ribbed blue cloth, lettered in gold on front cover and on spine. |
1903 | In the Seven Woods | The Dun Emer Press, MCMIII | Off-white linen, white label in red. ALSO: The Macmillan Company, New York,. First American edition. Dark blue ribbed cloth, lettered in gold on spine; white end-papers. |
1903 | Where There is Nothing | Samhain, 1902 | Issued as a special supplement to The United Irishman, November 1, 1902. The supplement is the same size as the newspaper and measures 32 1/2 X 13 1/2, but is paginated separately, pp. 1-4. The text is printed in three columns to the page. ALSO: John Lane, MCMII. First American edition. Grey paper covers, the front cover printed from types of the title-page. ALSO: Privately printed, MCMII. Large paper edition. Limited to 30 copies. Pale green paper boards with white labels printed in black on front cover and spine; duplicate labels inserted loose at end; white end-papers. No publisher’s name on title and without imprint on verso of title below copyright, and with some errors corrected. ALSO: London: A. H. Bullen, 1903. First English trade edition. Two issues, no priority:
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1903 | The Hour Glass | WM. Heinemann, 1903 | The title-leaf forms the cover. All edges trimmed. This edition, made for copyright purposes . Twelve copies, of which 6 went for English copyright. ALSO: The Macmillan Company, New York, 1904. First American edition.Two issues, no priority:
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1904 | The King's Threshold | Printed for Private Circulation, 1904 | Grey paper boards, title stamped in gold on spine; cream end-paper. Enclosed in grey cardboard slip case. Limited to 100 numbered copies . ALSO: Same as above. Enlarged edition. Limited to 75 numbered copies. ALSO: London: A.H. Bullen, 1904. First English trade edition. Grey paper boards with green linen spine; white label printed in black within green rule border on spine; white end-papers |
1905 | Stories of Red Hanrahan | The Dun Emer Press, MCMIV | Blue paper boards with buff linen spine; label, printed in black, carrying title and author’s name, pasted on front cover; label, printed in black, carrying title only, pasted on spine; blue endpapers matching binding. 500 copies printed. |
1906 | The Poetical Works of William B. Yeats | The Macmillan Company, New York, 1906 | Two volumes. First American edition, preceed the English edition, 1907. Dark blue cloth, lettering and design in gold on spine, the design being that used on Poems, 1899. |
1907 | Deirdre | London: A.H. Bullen, 1907 | Grey paper boards with green cloth spine; white label printed in black within green rule border on spine; white end-papers. |
1908 | Discoveries. Edmund Spencer. | Shakespeare Head Press, MCMVIII | Quarter vellum binding with grey linen sides, lettered in gold on front cover and on spine; white endpapers. |
1908 | The Golden Helmet | John Quinn, New York, 1908 | Grey paper boards with white label lettered in black on front cover. Limited to 50 numbered copies. |
1908 | The Unicorn From the Stars | The Macmillan Company, New York, 1908 | Blue wrappers; title page repeated in black lettering on front cover. Notes: Published in very small quantity for copyright purpose. ALSO: The Macmillan Company, New York, 1908. Trade edition. Dark blue cloth, lettered in gold on spine. 1200 copies printed. |
1910 | The Green Helmet and Other Poems | The Cuala Press, MCMX | Grey paper boards with linen spine; lettered in black on front cover. An erratum slip is inserted loose: this is headed an error and reads “By a slip of the pen when I was writing out the heading for the first group of poems, I put Raymond Lully’s name in the room of the later Alchemist, Nicolas Flamel. W. B. Yeats. These poems have been copyrigighted in America." 400 copies printed. ALSO: New York: R. Harold Page, 1911. First American edition. Green paper covers, lettering in black on front cover; no end-papers. "Copyright, 1911, by William Butler Yeats" stated on © page. |
1911 | Synge and the Ireland of his Time | The Cuala Press, MCMXI | Grey paper boards with white linen spine; title printed in black on front cover; no label on spine. Limited to 350 copies. |
1912 | The Cutting of an Agate | The Macmillan Company, New York, 1912 | Green paper boards, white label printed in red and green with decorated initial “T” and ornamental frame on front cover, label printed in green on spine. |
1913 | Poems Written in Discouragement | The Cuala Press, 1913 | Dark grey paper covers, lettered in black on front cover; stitched with red silk cord. 500 copies printed, not for sale. |
1914 | Responsibilities: Poems and a Play | The Cuala Press, MCMXIV | Grey paper boards with white linen spine, lettered in black on front cover, no label on spine; grey end-papers matching binding. Limited to 400 copies. ALSO: The Macmillan Company, New York, 1916. First American edition. Grey paper boards with buff linen spine, design by Sturge Moore in black on front cover. |
1915 | Reveries Over Childhood and Youth | The Cuala Press, MCMXV | Grey paper boards with white linen spine, lettered in black on front cover, no label on spine; grey end-papers matching binding. Limited to 425 numbered copies. ALSO: The Macmillan Company, New York, MCMXVI. First American edition. Buff cloth, design by Sturge Moore printed in black on blue-grey paper and pasted on front cover and on spine. ALSO: Macmillan, London, 1916. First Endglish trade edition. Dark blue cloth with design in gold, signed Sturge Moore, on front cover and on spine; white end-papers. 1000 copies printed. Note: There was a second impression in March 1917. |
1916 | Egiht Poems | The Morland Press Ltd. [1916] | "London | January | 1916 " stated on p. 22. Three issues, no priority:
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1916 | Easter 1916 | Privately Printed, [1916] | Green paper covers lettered in black, as title-page, on front cover, within black rules; stitched with green silk cord. |
1917 | The Wild Swans at Coole | The Cuala Press, MCMXVII | Dark blue paper boards with buff linen spine, lettered in black on front cover as on title-page, white label printed in black on spine; dark blue end-papers matching binding. 400 copies printed. |
1918 | Per Amica Silentia Lunae | Macmillan and Co., London, 1918 | Dark blue cloth with design in gold, signed Sturge Moore, stamped on front cover and on spine; white end-papers. 1500 copies printed. Note: Some copies, though not the earliest issued, contain an errata slip, facing p. 8. ALSO: New York: The Macmillan Co., 1918. Blue paper boards, lettering and design, signed Sturge Moore, on front cover and on spine; white end-papers. "Special Limited Edition" stated on verso of the half-tile page. Unknown number of copies, unnumbered. |
1918 | Nine Poems | Clement Shorter, 1918 | Green stiff paper covers, lettered in black, as title-page, within black rules, on front cover; stitched with black silk cord; white endpapers. Privately printed, limited to 25 copies. |
1919 | Two Plays for Dancers | The Cuala Press, MCMXIX | Green paper boards with buff linen spine, lettered in black on front cover, white label printed in black on spine; green end-papers matching binding. 400 copies printed. |
1920 | Michael Robartes and the Dancer | The Cuala Press, MCMXX | Blue paper boards with buff linen spine; lettered in black on front cover, paper label printed in black bearing the words Michael robartes on spine; blue end-papers matching binding. 400 copies printed. |
1921 | Four Plays for Dancers | Macmillan and Co., London, 1921 | Decorated grey paper boards printed in black with black cloth spine; design by Sturge Moore, grey label with black lettering on spine; white end-papers. Illustrated by Emund Dulac. 1500 copies printed. ALSO: New York: The Macmillan Co., 1921. First American edition. Grey cloth printed with black design, signed T.S.M. Del., on front cover. |
1922 | Later Poems | Macmillan and Co., London, 1922 | Light green cloth with design (by Charles Ricketts) stamped blind on front cover and on spine, lettered in gold on spine; white end-papers with design of unicorn etc. in black inside front and back covers. 1500 copies printed. Notes: This forms the first volume of Macmillan’s Collected Edition of the Works. This volume was also issued in the Cardinal Series, bound in crimson ecrase morocco . ALSO: New York: The Macmillan Co., 1924. First American edition. Two issues, no priority:
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1922 | The Player Queen, play | Macmillan and Co., London, 1922 | White paper covers; lettered in green on front cover, title and author’s name inside panel formed by green rules, price printed outside panel at foot of cover, lettered also in green on spine. 1000 copies printed. |
1922 | Plays in Prose and Verse | Macmillan and Co., London, 1922 | Uniform binding with Later Poems (1922) and with uniform decorated end-papers. 1500 copies printed. ALSO: New York: The Macmillan Co., 1924. First American edition. Two issues, no priority:
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1922 | The Trembling of the Veil | T. Werner Laurie, 1922 | Light blue paper boards with cream parchment half-binding; paper label, lettered in brown, on spine; blue end-papers matching binding. Privately printed. Limited to 1000 numbered copies signed by the author. |
1922 | Seven Poems and a Fragment | The Cuala Press, MCMXXII | Grey paper boards with buff linen spine; lettered in black on front cover; no label on spine; grey end-papers matching binding. 500 copies printed. |
1923 | Plays and Controversies | Macmillan and Co., London, 1923 | Uniform binding with Later Poems (1922) and with uniform decorated end-papers. 1960 copies printed. ALSO: New York: The Macmillan Co., 1924. First American edition. Two issues, no priority:
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1924 | The Cat and the Moon, and Certain Poems | The Cuala Press, MCMXXIV | Blue paper boards with buff linen spine, lettered in black on front cover, white label, printed in black, on spine; blue end-papers matching binding. 500 copies printed. |
1924 | Essays | Macmillan and Co., London, 1924 | Uniform binding with Later Poems (1922) and with uniform decorated end-papers. 2240 copies printed. ALSO: New York, The Macmillan and Co. First American edition. Two issues, no priority:
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1925 | A Vision: An Explanation of Life | T. Werner Laurie, 1925 | Privately printed. Pale blue paper boards with parchment half-binding; white paper label, printed in brown, on spine; pale blue end-papers matching binding. Limited to 600 numbered copies, signed by the author. |
1926 | Autobiographies of William Butler Yeats | Macmillan and Co., London, 1926 | Light green cloth with design (by Charles Ricketts) stamped blind on front cover and on spine, lettered in gold on spine; white end-papers with design of unicorn etc. in black inside front and back covers. 2820 copies printed. ALSO: New York: The Macmillan Co., 1927. First American edition. Two issues, no priority:
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1926 | Estrangement | The Cuala Press, MCMXXVI | Blue paper boards with buff linen spine; lettered in black on front cover, white paper label, printed in black, on spine; blue endpapers matching binding. 300 copies printed. |
1927 | October Blast | The Cuala Press, MCMXXVII | Light blue paper boards with buff linen spine, lettered in black on front cover, white paper label, printed in black, on spine; light blue end-papers matching binding. 350 copies printed. |
1927 | Stories of Red Hanrahan and the Secret Rose | Macmillan and Co., London, 1927 | Dark blue cloth, design in gold on front cover, design and lettering in gold on spine; white end-papers. Illustrated edition. Illustrated by Norah McGuiness. 1885 copies printed. |
1928 | The Tower | Macmillan and Co., London, 1928 | Olive green cloth with design and lettering in gold, signed T S[turge] Moore] DEL., stamped on front cover and on spine. 2000 copies printed. ALSO: New York: The Macmillan Co., 1928. Green cloth with design in gold on front cover and on spine; green end-papers. |
1928 | The Death of Synge, and Other Passages from an Old Diary | The Cuala Press, MCMXXVIII | Grey paper boards with buff linen spine, lettered in black on front cover, white paper label, printed in black, on spine; grey endpapers matching binding. 400 copies printed. |
1928 | Sophocles' King Oedipus | Macmillan and Co., London, 1928 | White paper covers folded over white end-papers, lettered in green, inside double rule panel. 2000 copies printed. ALSO: New York: The Macmillan Co., 1928. First American edition. Dark green cloth, stamped in gold on front cover and on spine; white end-papers. |
1929 | A Packet for Ezra Pound | The Cuala Press, MCMXXVIV [sic] | Pale blue paper boards with buff linen spine, lettered in black on front cover, white paper label, with title only, printed in black, on spine; pale blue end-papers matching binding. 425 copies printed. |
1929 | The Winding Stair | New York, The Fountain Press, MCMXXIX | Dark blue cloth, pattern in gold stamped on front cover, title stamped in gold on spine; two small red leather labels, lettered in gold. YEATS and FOUNTAIN PRESS respectively pasted on spine at head and foot; purple end-papers, flecked with gold and lined white. Limited to 640 copies of which 600 numbered copies are signed by the author. |
1929 | Three Things | London: Faber & Faber, 1929 | Light blue paper boards, lettered in gold. Large paper edition. Limited to 500 numbered copies, signed by the author. |
1931 | Stories of Michael Robartes and His Friends | The Cuala Press, Dublin MCMXXXI | Dark blue paper boards with buff linen spine, lettered in black on front cover, white paper label printed in black; dark blue end-papers matching binding. 450 copies printed. |
1932 | Words for Music Perhaps, and Other Poems | The Cuala Press, Dublin, MCMXXXII | Dark blue paper boards with buff linen spine, lettered in black on front cover, white paper label, printed in black, dark blue end-papers matching binding. 450 copies printed. |
1933 | Collected Poems | New York: The Macmillan Co., 1933 | Dark blue cloth, design [by Charles Ricketts] stamped blind on front cover, lettering in gold between gold bands on spine; white end-papers. ALSO: Macmillan and Co., London, 1933. First English edition. Published two weeks after the American edition. Two bindings, no priority:
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1933 | The Winding Stair and Other Poems | Macmillan and Co., London, 1933 | Olive green cloth with design and lettering in gold, signed T S[turge] Moore] DEL., stamped on front cover and on spine. 2000 copies printed. ALSO: New York: The Macmillan Co., 1933. First American edition. Dark blue cloth, design by Sturge Moore stamped blind on front cover, design stamped blind, lettering in gold between gold bands on spine. "Published October 1933" stated on © page. |
1934 | Collected Plays | Macmillan and Co., London, 1934 | Purple red cloth, design in gold and blind on spine, lettering in gold on spine; white end-papers. 2000 copies printed. ALSO: New York: The Macmillan Co., 1935. First American edition. Dark blue cloth, design [by Charles Ricketts] stamped blind on front cover, lettering in gold between gold bands on spine; white end-papers |
1934 | The King of the Great Clock Tower | The Cuala Press, Dublin MCMXXXIV | Blue paper boards with buff linen spine, lettered in black on front cover, white paper label printed in black; blue end-papers matching binding. 400 copies printed. ALSO: New York: The Macmillan Co., 1935. First American edition. Light yellow-green boards with black cloth spine, lettered in gold on spine; white end-papers. |
1934 | Wheels and Butterflies | Macmillan and Co., London, 1934 | Bright green cloth, lettered in gold on spine, design of masks in gold on front cover; white end-papers. 3000 copies printed. ALSO: New York: The Macmillan Co., 1935. First American edition. Light green cloth, design of masks in gold on front cover, lettering in gold on spine; white end-papers. |
1934 | The Words Upon the Window Pane | The Cuala Press, Dublin MCMXXXIV | Blue paper boards with buff linen spine, lettered in black on front cover, white paper label, printed in black, on spine; blue end-papers matching binding. 350 copies printed. |
1934 | The Singing Head and the Lady | Privately Printed | Different patterned paper covers with white or gold labels printed in black on front cover] a duplicate label is tipped in at end; stitched with different coloured silk cords. Twenty copies, of which: six on Orland paper, numbered 1-6; six on Dresden paper, numbered I-VI; six on rice paper, numbered a-f; and two on Imperial vellum numbered A and B. |
1935 | Dramatis Personae | The Cuala Press, Dublin MCMXXXV | Blue paper boards with buff linen spine, lettered in black on front cover, white paper label, printed in black, on spine; blue end-papers matching binding. 400 copies printed. |
1935 | A Full Moon in March | London, Macmillan & Co, 1935 | Dark green cloth, lettered in gold on spine; white end-papers. 2000 copies printed. |
1937 | A Vision | Macmillan and Co., London, 1937 | Decorated black and brown paper boards with black cloth spine, lettered in gold on spine; white end-papers. 1500 copies printed. ALSO: The Macmillan Co., Nyew York 1938. First American edition. Black cloth with light green cloth spine, lettered blind on front cover, lettering in silver on spine; white end-paper. 1200 copies printed. |
1937 | Essays 1931 to 1936 | The Cuala Press, Dublin, 1937 | Blue paper boards with buff linen spine, lettered in black on front cover, white paper label, printed in black, on spine; blue end-papers matching binding . 300 copies printed. |
1937 | A Speech and Two Poems | The SIgn of the Three Candles, 1937 | Grey paper covers, lettered (in dark-green), as on title-page, on front cover; stitched. Limited edition of 70 numbered copies. |
1938 | Autobiography | New York: The Macmillan Co., 1938 | Green cloth, lettered in gold inside gold panel on front cover, lettered in gold between two gold bars on spine; white end-papers. |
1938 | The Herne's Egg | London, Macmillan & Co, 1938 | Maroon cloth, lettering and design in gold on spine; white end-papers. 1600 copies printed. ALSO: New York: The Macmillan Co., 1938. First American edition. Black cloth, lettering and design in silver on front cover and on spine; off-white end-papers. |
1938 | New Poems | The Cuala Press, Dublin, MCMXXXVIII | Blue paper boards with buff linen spine, lettered in black on front cover, white paper label, printed in black, on spine; blue end-papers matching binding. 450 copies printed. |
1939 | Last Poems and Two Plays | The Cuala Press, Dublin, MCMXXXIX | Blue paper boards with buff linen spine, lettered in black on front cover, white paper label, printed in black, on spine; blue end-papers matching binding. 500 copies printed. |
1939 | On the Boiler | The Cuala Press, Dublin, [1938] | Light blue-green covers, lettered and with reproduction of a drawing by Jack B. Yeats, R.H.A. in black on front cover. ALSO: Second edition. "Printed by Alex. Thom & Co." stated on the title page. Blue paper covers, lettered and with a reproduction of a drawing by Jack B. Yeats, R.H.A., on front cover. |
1940 | Last Poems & Plays | London, Macmillan & Co, 1940 | Green cloth, design, signed Sturge Moore del, stamped blind on front cover, design and lettering in gold on spine; white end-papers. 2000 copies printed. ALSO: New York: The Macmillan Co., 1940. First American edition. Same binding as above. |
1940 | If I Were Four-And-Twenty | The Cuala Press, Dublin, MCMXL | Blue paper boards with buff linen spine, lettered in black on front cover, white paper label, printed in black, on spine; blue end-papers matching binding.Limited to 450 numbred copies. |
W. B. Yeats – First Printing Dust Jackets Identification Guide
Gallery of First state Dust Jackets of ‘s works. Only includes the first appearance in book form, of the UK or US edition and does not include later printings.
Reference:
- Wikipedia
- Allan Wade: A Bibliography of the Writings of W. B. Yeats, 3rd edition.