Léonie Gilmour’s Annotated Reading List

Compiled by Lisa Yin Zhang

This resource brings together and contextualizes the literary and musical references in Léonie Gilmour’s writing. It is an appendix to The Incomplete Chronicle of Léonie Gilmour.

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Adam, Edmond (Juliette Lamber). A Literary Life.

• “I have just had the pleasure of reading Madame Adam’s book ‘My Literary Life’ a book whose scene and time are the splendid stage of French thought and politics in the period just following the democratic outburst of 1848.”¹

Arnold, Matthew. 

• Léonie refers to a quotation on Percy Bysshe Shelley: “Inasmuch as Shelley was a reformer, inasmuch as he wrote with a purpose, it is not just to characterize him as a ‘’beautiful and ineffectual angel beating his wings in the luminous void.’”²

The Bible (Old Testament).

• Ecclesiastes 1:2: “Vanity, vanity, all is vanity, saith Ecclesiastes.”³

Blake, William. 

• This text reproduces “Ah! Sun-flower.”⁴

Bronte, Charlotte. 

• “Charlotte Bronte’s women are quite wonderful—but aren’t they simply lyrical embodiments of her own passionate nature?”⁵

Burns, Robert. 

• “I’m sending on some of the Roycroft productions to-day and hope you will pardon my dilatoriness. I shall try to do better in future. I thought the Burns one fine. I must acknowledge that Bobby was a neer do well, but for a’ that and a’ that I still have a trace of tenderness left for him tho’ no respect.”⁶

Cervantes, Miguel de. Don Quixote. 

• To Isamu: “Yesterday—or was it the day before?—I went to your exhibition. I thought the figure of a man—brushwork—something like Don Quixote, very clever.”⁷

Chaucer, Geoffrey.

• Isamu (written with John Becker): “All my earliest recollections, as I have already said, are in association with my mother. She was in no way a believer, and yet through her I learned about religion, although it was a strange religion for I believed in Apollo and the gods of Olympus before I knew anything else. Greek mythology, however, was freely mixed with Irish Folk Tales and also, at least in my mind, with Chaucer, whom my mother read to me.”⁸
• “The Romaunt of the Rose”
  “‘Dreaming, dreaming ever,’” quoth Marie, stepping in. ‘I ask you, who ever saw such flowers out of a dream ? Look here. The Rose of La Romaunt de la Rose. Pansies from Ophelia’s garden. Lilies of the Valley of the Moon, Narcissus by the fatal pool, ah’—she stammered wordless.”⁹
  

Confucius.

• “To [the Japanese artists] the strut of a courtezan [sic], the strut of an actor, the way of a tendril of vine or a bird stretching its wing, were as important as the maxims of Confucius…”¹⁰

Dickens, Charles. 

• “Thackeray and even more especially Dickens are woefully lacking in good women characters.”¹¹

David Copperfield.

• To Catherine [Catharine] Bunnell: “Isamu sends this message to you: ‘Please wait!’ I hope you’ll understand it as Pegotty did Barkis’ equally significant one. He said, ‘A man shouldn’t marry till he’s 20. That’s about ten—‘leven years. I’m growing pretty tall, and I just might suit her, you know!’”¹²

Douglas, Norman. South Wind. London: Martin Secker, 1917.

• “In Norman Douglas’ brilliant book ‘South Wind’ the old Greek Count Caloveglia also uses the words ‘static’ and ‘dynamic’ to contrast different societies, and again applies the word ‘dynamic’ to America, reserving ‘static’ for the status of the old world peoples, especially the Latino-Greek culture bordering on the Mediterranean. And he insists that only In static society can civilization emerge. That in ‘dynamic’ societies we find progress but not civilisation. He defines the terms thus: ‘Progress is a centripetal movement, obliterating in the mass. Civilisation is centrifugal: it permits, it postulates, the assertion of personality. The terms are not synonymous. They stand for hostile and divergent movements. Progress subordinates. Civilization co­ordinates. The individual emerges in civilization. He is submerged in progress.’ To quote further: ‘Democracy has substituted progress for civilization. To appreciate things of beauty, as do the Americans, a man requires intelligence. To create them, as did the Greeks, he requires intelligence and something else as well: time.’”¹³

Earle, Alice Morse. Old Time Gardens. New York: The Macmillan Company, 1901.

• To Catherine [Catharine] Bunnell: “I am reading now “Old June [sic] Gardens” by Alice Morse Earle, which pleases me. It will delight you surely, since it is full of reminiscences of New England.”¹⁴

Eliot, George. 

• “George Eliot has indeed given us good, all-around women.”¹⁵

Emerson, Ralph Waldo.

• “If simplicity is synonymous with the commonplace, with sameness, we should rejoice that one has come to lift us out of the dead level of monotony—even though it be on a winged steed whose swift flight into the dizzy regions of poetry inspires terror and a swooning of the senses in the clinging wretch. “The poet knows that he speaks ade­quately then only when he speaks some­what wildly, or ‘with the flower of the mind,’ says Emerson.”¹⁶

Field, Eugene. 

• “The dango are rice-cakes stuck on the bare twigs of a wintry branch, with tiny oranges similarly stuck on here and there. I think Eugene Field got his idea of the sugar plum tree from this same dango tree—yes, to be sure—there’s a satisfaction in tracing the origin of things.”¹⁷

Ewing, Juliana Horatia. A Country Tale. London: Society for Promoting Christian Knowledge, 1880.

• “Santa Claus arrived with books from Torrance on Feb. 7—and being long looked for was hailed with delight. Isamu likes Daddy Darwin’s Dovecot the best in his’n.”¹⁸

Fouqué, Friedrich de la Motte. Undine. London: T. C. & E. C. Jack, 1811.

• “I took the first occasion after you were gone to go to the Grand Central Galleries and see Undine. She is most lovely and witch-like. Have you read Fouqué’s Undine?”¹⁹

Gregory, Isabella Augusta (Lady Gregory).

• To Catherine [Catharine] Bunnell: “The only interesting book I read lately is Lady Gregory’s book of stories and translations of Dr. Hyde’s plays—which last are splendid—you must read them—and I think that as you are a lady of leisure it behooves you to learn the Irish language while I am imbibing the Japanese and we’ll exchange inspirations.”²⁰

“Griselda.”

• “Now don’t think a house of my own is going to imprison your impatient Griselda forever and ever, my, if there were not a chain around ‘me foot’ (?) I might clap my wings and fly away even now.”²¹

Goethe, Johann Wolfgang von.

• “[Asia] represents the beauty and the joy and the fulness [sic] of life. There is a suggestion of breadth and of the soft strength of motherhood about her that makes one think of Goethe’s ’ewiges Weiblichkeit.’”²²

Hindu philosophy.

• Edward Marx suggests that Léonie’s advice to Isamu “be your own god and your own star” may come from Swami Vivekananda’s “We believe that every being is divine, is God. Stand as a rock; you are indestructible. You are the Self (atman), the God of the universe.”²³

Ibsen, Henrik. 

• “[George Meredith] stands out, too, with Ibsen and Tolstoi and many other thinking men as an earnest student of the problems that beset us in this present day with regard to the relations between men and women.”²⁴

Irish Literature.

• “The book of Irish verse came yesterday. I am happy as seven kings at having a new book of Irish poetry. I’m no less Irish than ever—perhaps more so.”²⁵

Kingsley, Charles. The Heroes, or Greek Fairy Tales. London and New York: Macmillan and Co, 1889.

• “I am so glad you sent him the Greek Heroes. [Isamu] is worshipful of Apollo, but does not know Kingsley’s book.”²⁶

“Masuoka.” (?) 

• “I saw ‘Masuoka.’ You know the story? A certain little prince comes to the throne at the age of eight. He is assessed by many counsellors and advisors, among them his governess Masuoka, a court lady who has a little son of the same age as the Prince. The court is divided into factions, one party, in the service of a wicked relative, plotting to assassinate the Prince. Masuoka, to thrown [sic] sand in people’s eyes, pretends to fall in with a plan of substituting her own boy for the Prince (nominally to put the letter in safety, really to make his asssassination more easy). Masuoka’s boy, who fully understands the case, gladly agrees to his mother’s plan and dies to save the Prince. The two children are dear. The young Prince makes long speeches in a high childish treble. He is fully magnanimity [sic], courage, and all princely qualities. The other boy does not show up so well until the end — when he jumps to his death with the utmost gaiety and sangfroid. I actually cried so at this part I couldn’t see what came next. But everybody got revenged [sic]. Masuoka killed the woman who stabbed her child, and the prince was saved.
  
  There is one delicious scene where the two children are very hungry but Masuoka tells them they must not eat the food which is brought there as she fears poison—so they have to wait until she cooks their dinner herself. They sit down to play a game together, but every once in a while she jumps up and peeks behind the screen to see how things are progressing. When Masuoka brings her hand down on the floor with a whack (which sounds like ‘spank!’) and tells them the son of a samurai should never show his hunger. When it happens to be the Prince who tiptoes up, Masuoka at onces apologizes bowing to the ground. They feed some young sparrows to forget their own hunger. At last Masuoka cries from her sad thoughts. Her little son cries out, ‘If you are crying because I asked you so often for dinner, I will until you and the prince have finished!’ But the mother says she was not crying and dinner is ready at last. They clap their hands and shout for joy like any children.”²⁸

Lamartine, Alphonse de. 

• “I read Lamartine and dipped in faded French sentiment preserved in beautiful prose.”²⁹

“Lilith.”

• To Catherine: “There’s one about Lillith [sic]—I honestly like Lillith [sic]—especially as she didn’t make a fuss about going. I always fancy her eyes to be like yours—that is, no ring about the iris—to symbolize her lack of a soul.”³⁰

Maurier, George du. Trilby. New York: International Book and Publishing Company, 1899. 

• “I’ve steered clear of that book all this time only to fall in love with it more precipitately at last, just as I did with Trilby.”³¹

Meredith, George.

• “He stands out, too, with Ibsen and Tolstoi and many other thinking men as an earnest student of the problems that beset us in this present day with regard to the relations between men and women. He has thrown down his gauntlet as the champion of modern woman. And that not in any sentimental way. He does not tell woman that she is the cause of most of the progress that has been made in the world, that she has a peculiarly exalted moral nature, that her entrance into public life will introduce a high standard in politics. He recognizes woman as weak, as degraded by being prevented the use of her functions, and he bids her arise and throw off her chains. She must fight her own battles, he tells her. Does she wish men to admit her equality with themselves? Let her prove it.”³²

Meredith, George. Evan Harrington. London: Bradbury & Evans, 1861. 

• “Among less admirable women but admirably treated may be mentioned the Countess in ‘Evan Harrington,’ a sort of second Becky Sharp, though not really wicked—simply a very clever intriguer. What a cleverly arranged thing that book (“Evan Harrington”) is, by the way, from the mere point of view of tech­nique. As a general thing, Meredith’s technique is good. The stories are well arranged as to plot, there is sufficient incident to make them interesting from that point of view alone, and his manage­ment of plot and incident, as a means of bringing out character is splendid. ‘Evan Harrington,’ as I have said, is particularly clever. The book is full of incidents. The plot centers in the at­tempts of the Countess to conceal her origin—she is a tailor’s daughter who has married a Spanish nobleman—and to act the grand lady. We laugh at her languid affectation of aristocratic man­ners, her assumed foreign accent, her choice vocabulary culled from the long­est words in ‘Johnson’s Dictionary.’ We are forced to admire her talent for intrigue, the indefatigable energy with which she pushes her plans, the way in which she rises to every occasion and manages to extricate herself from the most hopeless entanglement of circum­stances. There is not so much philoso­phizing in this book as in most of the others, and very little description. The characters are brought out chiefly by incidents and in the conversation.”³³

Meredith, George. Diana of the Crossways. New York: The Modern Library, 1931]. 

• “Diana Warwick is perhaps the greatest of his women creations, surely a favorite with him. She is certainly a glorious type of womanhood, with her superabundant vitality, her fresh, strong intellect, her delightful wit and humor and the general warmth of tone of her whole nature. Meredith has here at­tempted the difficult task of creating a witty and clever woman who really says witty and brilliant things—and he has succeeded. The dialogue is splendid. The racy Irish wit, the overflowing humor, steeped in emotion, the nervous concentration and vividness of language are sustained throughout.”³⁴

Meredith, George. Sandra Belloni [originally Emilia in England], London: Chapman & Hall, 1864. 

• “One might find a list of heroines that would compare with Shakespeare’s. Emilia, with her passionate intensity of feeling, her childlike simplicity and straightforwardness of soul, (droiture d’ame) matches Juliet, Shakespeare’s ‘loveliest girl figure.’”³⁵

Meredith, George. The Egoist: A Comedy in Narrative. London: Kegan Paul & Co, 1879.

• “And Clara Middleton in ‘The Egoist’ might be compared with [Shakespeare’s] Rosalind. There is an exquisite reserve in the treatment of Clara Middleton—of the elusive lights and half lights of her character. The lighter touches too are good. ‘She had the look of the nymph that has gazed too long on the faun and has unwittingly copied his lurking lip and long, sliding eye.’”³⁶

Momotarō.

• “The Japanese man of fifty has not forgotten the story of Momotaro nor the vivid freshness of the fantastic pictures that adorned the tale in the books of his childhood; the very words and turns of expression linger in his mind as a nursery rhyme that sings itself.”³⁷

Moses, Theo. “Rose of Erin.”

• Calls Catherine [Catharine] Bunnell “My Rose of Erin.”³⁸

Mosher, Thomas B. The Bibleot. Portland, Maine: Thomas B. Mosher, 1900. 

• “Have just re-read the Bibelot about Leonardo da Vinci—Arthur Symons essay. It is one of my favorites. I enjoy having the Bibelot. That and Shakespeare are the chief of my diet at present.”³⁹

Nitobé, Inazo. Bushido: The Soul of Japan, 1904.

• To Yone, regarding bringing Isamu to Japan: “I believe there is much that is rarely (?) lovely and precious in Japanese character (I have read ‘Bushido’)—also some defects.”⁴⁰

Noguchi, Yone.

• “I have cast the world and think me as nothing. Still I feel hot in summer and cold in winter. According to a Japanese poem.”⁴¹

O’ Neill, Moira. 

• “Baby’s name? ‘Ailes Gilmour’‘Ailes was a girl that stepped on two bare feet’ in Moira O’ Neill’s poem. Believe it’s a Keltic version of Alice.”⁴²

Okakura, Kazukō. The Book of Tea.

• “Let us dream of evanescence, and linger in the beautiful foolishness of things.”⁴³

“The Passing of the Prince” (?)

• “The Passing of the Prince is charming.”⁴⁴

Peabody, Josephine Preston. The Piper: A Play in Four Acts. Boston; New York: Houghton Mifflin Company, 1910.

• “Have been reading ‘The Piper’ to [Isamu] (Miss Peabody) but a misery in my eyes stopped all reading and writing for a few weeks.”⁴⁵

Pourtales, Guy. La Vie de Franz Liszt. Paris: Librairie Gallimard, 1927. 

• “What am I doing?… Incidentally, reading The Life of Liszt in French and enjoying it greatly. He had certainly a full life. There is a Life of Chopin by the same author, Guy de Pourtales, which I hope to read sometime.”⁴⁶

Pyle, Howard. The Merry Adventures of Robin Hood. New York: Scribner’s,1883.

• “Well, you see, it’s been two weeks of holidays up to today, and every blessed time I thought I had a moment of leisure to take my pen in hand, a voice at my elbow would pipe up ‘Now read some more Robin Hood’?”⁴⁷

“Rock a bye-Baby.”

• Isamu: “Our house was on a hill as I remember it, and there were two huge cherry trees so big I could not put my arms around them. Their height filled me with foreboding, associating it as I did with my mother’s singing. ‘When the wind blows, the cradle will rock.’”⁴⁸

Rostand, Edmond. “Cyrano de Bergerac.”

• “Her long, fine pointed nose went before her, like Cyrano’s, and was so disconcertingly conspicuous that one hardly saw the rest of her face, which was small, childishly small, and painfully sunburnt, especially the end of her nose that was like a flame brightest at the tip.”⁴⁹

Sand, George.

• See Léonie Gilmour, “Draft of “The Georgics of George Sand,” undated manuscript, undated. The Noguchi Museum Archives, MS_FAM_050_014.

Schiller, Friedrich. “Das Lied von der Glocke. [‘The Song of the Bell.’]” 1798.

• “[William Young’s “Wishmakers Town] has… something on the style of Schiller’s ‘Die Glocken’—a medley of little snatches just long enough to make you wish for more. Here’s some lines that stuck:
  
  Myrtle and eglantine
  For the old love and the new.
  And the columbine with its cap and bells, for folly.
  And daffodils for the hopes of youth
  And the rue for melancholy.”⁵⁰

Shakespeare, William.

• “[The Bibelot] and Shakespeare are the chief of my diet at present.”⁵¹
• “I confess your remark about his enjoying Shakespeare didn’t impress me much. I can do that same myself.”⁵²

___.The Tragedy of Coriolanus. c.1605.

• “I always thought of her as Vergilia, Coriolanus’ ‘gracious silence.’”⁵³

Sharp, William. 

• “As I have not yet read all of [my Christmas present books]—William Sharp I like to savor slowly—”⁵⁴

Shelley, Percy Bysshe.

• See Léonie Gilmour, “Draft of Shelley: A Glance at His Philosophy,” undated manuscript.  The Noguchi Museum Archives, MS_FAM_037_007. 
• Léonie copied “Song of Proserpine” in Gilmour, Léonie. “Draft of ‘Song of Proserpine,’” poem, undated. The Noguchi Museum Archives, MS_FAM_035_005.

Smythe, W. E. The Conquest of Arid America. New York: Harper, 1900.

• Léonie’s review in  Léonie Gilmour, “Leonie Gilmour notebook,” manuscript, c. 1906–11. The Isamu Noguchi Museum Archives, MS_FAM_014_001, 17.

Synge, John. 

• To Catherine: “Have you seen the plays of John Synge? I am going to get some.”⁵⁵

Symons, Arthur.

• “Have just re-read the Bibelot about Leonardo da Vinci—Arthur Symons essay. It is one of my favorites. I enjoy having the Bibelot. That and Shakespeare are the chief of my diet at present.”⁵⁶
• “Say, I was interested in Arthur Symon’s [sic] Prelude to Life — and I did enjoy Morris County Walk—I kept thinking of you when I read it.”⁵⁷

Thackeray, William Makepeace.

• “Thackeray and even more especially Dickens are woefully lacking in good women characters.”⁵⁸

Tolstoy, Leo. 

• “[George Meredith] stands out, too, with Ibsen and Tolstoi and many other thinking men as an earnest student of the problems that beset us in this present day with regard to the relations between men and women.”⁵⁹

Toussenel, Alphonse. 

• “For intellectual events there is no more stirring period in French history—I venture to say in the history of the world. It was the day of salons, of great women—‘By the rank of the female you may judge the superiority of the species’ to quote Toussenel’s motto of the falcon.”⁶⁰

Wadsworth, Henry. “The Song of Hiawatha.” Chicago: M. A. Donohue & co. 1898.

• To Catherine: “As Isamu says, we were extremely surprised to find our books by our pillows about two weeks after we supposed Santa Claus had departed for the land of reindeer and white Rabbit. (We are reading Hiawatha). Ailes carries hers about her everywhere, and has made me read it aloud at least 40 times.”⁶¹

Westcott, Edward Noyes. David Harum. New York: Appleton and Company, 1898. 

• “‘There’s as much human natur in some folks as in other if not more’ and a good deal of it in David Harum. Have you read it? You orter. I’ve steered clear of that book all this time only to fall in love with it more precipitately at last, just as I did with Trilby. Not that ‘falling in love’ is exactly the term to express my feelings either. It just goes to the right spot, as a good salt pickle does sometime. I’ve read 275 pages of it without stopping. And gotten considerably good chucklement thereof”⁶²

Wieland, Cristoph Martin.

• “We have from the kind Creator a variety of mental powers to which we must not neglect giving their proper culture in our earliest years, and which cannot be cultivated by logic or metaphysics, Latin or Greek. We have an imagination before which, since it should not seize upon the very first conceptions that chance to present themselves, we ought to place the fittest and most beautiful things, and thus to accustom and practise the mind to recognise and love the beautiful everywhere.”⁶³

Wordsworth, William. “I Wandered Lonely as a Cloud.”

• Reproduced in Léonie Gilmour, “Cherry Blossoms in Tokyo,” Christian Science Monitor, April 28, 1921. The Isamu Noguchi Museum Archives, MS_FAM_022_001.

Yeats, William Butler. “Plays for an Irish Theatre.”⁶⁴

Young, William. “Wishmakers’ Town.”⁶⁵

¹ Léonie Gilmour, “Draft of ‘In the Days of the Empire: A Glimpse Into the Life of a Charming and Talented Frenchwoman of Bygone Days,’” undated manuscript. The Noguchi Museum Archives, MS_FAM_058_001.

² Léonie Gilmour, “Draft of Shelley: A Glance at His Philosophy,” undated manuscript. The Noguchi Museum Archives, MS_FAM_037_007. 

³ Léonie Gilmour, “Untitled draft [‘Let us dream of evanescence…’],” undated manuscript. The Noguchi Museum Archives, MS_FAM_062_001.

⁴ Léonie Gilmour, “Draft of “The Sunflower,” undated manuscript. The Noguchi Museum Archives, MS_FAM_050_007.

⁵ Léonie Gilmour, “George Meredith—A Study.” In “Leonie Gilmour notebook,” manuscript, c. 1906–11. The Noguchi Museum Archives, MS_FAM_014_001, 4. 

⁶ Léonie Gilmour, “Letter to Catherine [Catharine] Bunnell from Leonie Gilmour [APPENDED MATERIAL],” May 4, 1900. The Noguchi Museum Archives, MS_COR_381_002. 

⁷ Léonie Gilmour, “Letter to IN from Leonie Gilmour,” December 17, 1932. The Noguchi Museum Archives, MS_COR_375_012.

⁸ “Isamu Noguchi: A Visual Autobiography Written with John Becker,” manuscript, c. 1960. The Noguchi Museum Archives, MS_PUB_052_001, 9.

⁹ Léonie Gilmour, “Draft of ‘Nenufars,’” undated manuscript. The Noguchi Museum Archives, MS_FAM_033_003.

¹⁰ Léonie Gilmour, “Untitled draft [‘Let us dream of evanescence…’],” undated manuscript. The Noguchi Museum Archives, MS_FAM_062_001.

¹¹ Leonie Gilmour, “George Meredith—A Study,” in “Leonie Gilmour notebook,” manuscript, c. 1906–11. The Noguchi Museum Archives, MS_FAM_014_001, 4.

¹² Léonie Gilmour, “Letter to Catherine [Catharine] Bunnell from Leonie Gilmour,” November 29, 1913. The Noguchi Museum Archives, MS_COR_378_012.

¹³ Léonie Gilmour, “Untitled draft [‘When the Editor of Liberty asked me to write an article…’],” undated manuscript. The Noguchi Museum Archives, MS_FAM_060_001.

¹⁴ Léonie Gilmour,“Letter to Catherine [Catharine] Bunnell from Leonie Gilmour,” October 30, 1904. The Noguchi Museum Archives, MS_COR_378_001. 

¹⁵ Léonie Gilmour, “Leonie Gilmour notebook,” manuscript, c. 1906–11. The Noguchi Museum Archives, MS_FAM_014_001, 4.

¹⁶ Ibid., 6.

¹⁷ Léonie Gilmour, “Letter to Catherine [Catharine] Bunnell from Leonie Gilmour,” January 15, 1912, The Noguchi Museum Archives, MS_COR_383_005. 

¹⁸ Léonie Gilmour, “Letter to Leonie Gilmour from Catherine [Catharine] Bunnell,” February 20, 1917. The Noguchi Museum Archives, MS_COR_385_001.

¹⁹ Léonie Gilmour, “Letter to IN from Leonie Gilmour,” April 21, 1927. The Noguchi Museum Archives, MS_COR_408_005.

²⁰ Léonie Gilmour, “Letter to Catherine [Catharine] Bunnell from Leonie Gilmour,” January 20, 1906. The Noguchi Museum Archives, MS_COR_378_004.

²¹ Léonie Gilmour, “Letter to Catherine [Catharine] Bunnell from Leonie Gilmour,” January 8, 1914. The Noguchi Museum Archives, MS_COR_379_001.

²² Léonie Gilmour, “Draft of Shelley: A Glance at His Philosophy,” undated manuscript. The Noguchi Museum Archives, MS_FAM_037_007, 11.

²³ Léonie Gilmour, “Letter to IN from Leonie Gilmour,” June 14, 1930, The Noguchi Museum Archives, MS_COR_375_002.

²⁴ Edward Marx, Leonie Gilmour: When East Weds West (Santa Barbara, CA; Matsuyama, Japan: Botchan Books, 2013), 351. 

²⁵ Léonie Gilmour, “Leonie Gilmour notebook,” manuscript, c. 1906–11. The Noguchi Museum Archives, MS_FAM_014_001, 6.

²⁶ Léonie Gilmour, “Letter to Catherine [Catharine] Bunnell from Leonie Gilmour,” June 13, 1909, The Noguchi Museum Archives, MS_COR_378_007.

²⁷ Léonie Gilmour, “Postcard to Catherine Bunnell from Leonie Gilmour,” January 15, 1913. The Noguchi Museum Archives, MS_COR_383_008. 

²⁸ Léonie Gilmour, “Letter to Catherine [Catharine] Bunnell from Leonie Gilmour,” April 4, 1908. The Isamu Noguchi Museum Archives, MS_COR_378_006.

²⁹ Léonie Gilmour, “Draft of ‘Nenufars,’” undated manuscript. The Noguchi Museum Archives, MS_FAM_033_002.

³⁰ Léonie Gilmour, “Letter to Leonie Gilmour from Catherine [Catharine] Bunnell,” February 20, 1917. The Isamu Noguchi Museum Archives, MS_COR_385_001.

³¹ Léonie Gilmour, “Letter to Catherine [Catharine] Bunnell from Leonie Gilmour [APPENDED MATERIAL],” May 4, 1900. The Isamu Noguchi Museum Archives, MS_COR_381_002.

³² This essay was later published in Léonie Gilmour, “George Meredith—A Study,” National Magazine, c. 1905–6, in “Leonie Gilmour notebook,” c. 1901–11, 2–9. The Noguchi Museum Archives, MS_FAM_014_001, 29. Léonie’s name was incorrectly published as “Leonie Gilman.”

³³ Léonie Gilmour, “Leonie Gilmour notebook,” manuscript, c. 1906–11. The Isamu Noguchi Museum Archives, MS_FAM_014_001, 6.

³⁴ Ibid., 5.

³⁵ Ibid., 4. 

³⁶ Ibid., 4. 

³⁷ Léonie Gilmour, “Some Thoughts on the Subject of Language Study,” manuscript, c. 1906. The Noguchi Museum Archives, MS_FAM_020_001.

³⁸ Gilmour, Léonie. “Letter to Catherine [Catharine] Bunnell from Leonie Gilmour,” January 20, 1906. The Isamu Noguchi Museum Archives, MS_COR_378_004.

³⁹ Léonie Gilmour, “Letter to Catherine [Catharine] Bunnell from Leonie Gilmour,” May 3, 1911, The Noguchi Museum Archives, MS_COR_383_003].

⁴⁰ Léonie Gilmour, “Letter to Yone Noguchi from Leonie Gilmour,” February 24, 1906. The Isamu Noguchi Museum Archives, MS_COR_371_001.

⁴¹ Léonie Gilmour, “Letter to Catherine [Catharine] Bunnell from Leonie Gilmour,” January 15, 1912. The Isamu Noguchi Museum Archives, MS_COR_383_005.

⁴² Léonie Gilmour, “Letter to Catherine [Catharine] Bunnell from Leonie Gilmour [APPENDED MATERIAL],” July 2, 1912. The Isamu Noguchi Museum Archives, MS_COR_383_007.

⁴³ This quote from The Book of Tea appears as the epigraph in Léonie Gilmour, “Untitled draft [‘Let us dream of evanescence…’].” The Noguchi Museum Archives, MS_FAM_062_001.

⁴⁴ Léonie Gilmour, “Letter to Leonie Gilmour from Catherine [Catharine] Bunnell,” February 20, 1917. The Isamu Noguchi Museum Archives, MS_COR_385_001.

⁴⁵ Léonie Gilmour, “Postcard to Catherine [Catharine] Bunnell from Leonie Gilmour,” January 15, 1913. The Isamu Noguchi Museum Archives, MS_COR_383_008. 

⁴⁶ Léonie Gilmour, “Letter to IN from Leonie Gilmour,” August 3, 1927. The Isamu Noguchi Museum Archives, MS_COR_377_002.

⁴⁷ Léonie Gilmour, “Letter to Catherine [Catharine] Bunnell from Leonie Gilmour,” January 8, 1914. The Isamu Noguchi Museum Archives, MS_COR_379_001.

⁴⁸ Isamu Noguchi, “4th draft of ‘A Sculptor’s World,’” undated manuscript. The Isamu Noguchi Museum Archives, MS_PUB_065_001, 5. 

⁴⁹ Léonie Gilmour, “Draft of ‘Waraji,’” undated manuscript. The Noguchi Museum Archives, MS_FAM_036_001.

⁵⁰ Léonie Gilmour, “Letter to Catherine [Catharine] Bunnell from Leonie Gilmour [APPENDED MATERIAL],” April 25, 1900, The Isamu Noguchi Archives, MS_COR_381_005.

⁵¹ Léonie Gilmour, “Letter to Catherine [Catharine] Bunnell from Leonie Gilmour,” May 3, 1911. The Isamu Noguchi Museum Archives, MS_COR_383_003.

⁵² Léonie Gilmour, “Letter to Catherine [Catharine] Bunnell from Leonie Gilmour,” August 23, 1914. The Isamu Noguchi Museum Archives, MS_COR_379_002.

⁵³ Léonie Gilmour, “Draft of ‘Matsuba,’” undated manuscript. The Isamu Noguchi Museum Archives. MS_FAM_038_001.

⁵⁴ Léonie Gilmour, “Letter to Leonie Gilmour from Catherine [Catharine] Bunnell,” February 20, 1917. The Isamu Noguchi Museum Archives, MS_COR_385_001.

⁵⁵ Léonie Gilmour, “Letter to Catherine [Catharine] Bunnell from Leonie Gilmour,” June 13, 1909. The Isamu Noguchi Museum Archives, MS_COR_378_007.

⁵⁶ Léonie Gilmour, “Letter to Catherine [Catharine] Bunnell from Leonie Gilmour,” January 15, 1912. The Isamu Noguchi Museum Archives, MS_COR_383_005.

⁵⁷ Léonie Gilmour, “Letter to Catherine [Catharine] Bunnell from Leonie Gilmour [APPENDED MATERIAL],” July 2, 1912. The Isamu Noguchi Museum Archives, MS_COR_383_007.

⁵⁸ Leonie Gilmour, “George Meredith—A Study,” in “Leonie Gilmour notebook,” manuscript, c. 1906–11. The Noguchi Museum Archives, MS_FAM_014_001, 4.

⁵⁹ Ibid, 6.

⁶⁰ Léonie Gilmour, “Draft of ‘In the Days of the Empire: A Glimpse Into the Life of a Charming and Talented Frenchwoman of Bygone Days,’” undated manuscript. The Isamu Noguchi Museum Archives, MS_FAM_058_001.

⁶¹ Léonie Gilmour, “Letter to Catherine [Catharine] Bunnell from Leonie Gilmour,” undated. The Isamu Noguchi Museum Archives, MS_COR_382_006. 

⁶² Léonie Gilmour, “Letter to Catherine [Catharine] Bunnell from Leonie Gilmour [APPENDED MATERIAL],” April 25, 1900, The Noguchi Museum Archives, MS_COR_381_005.

⁶³ This quote from Wieland (as quoted by Goethe) appears as the epigraph for Léonie Gilmour, “Some Thoughts on the Subject of Language Study,” undated manuscript. The Noguchi Museum Archives, MS_FAM_020_001.

⁶⁴ Léonie Gilmour, “Letter to Sister Rose de Lima from Leonie Gilmour.” November 5 1905. The Isamu Noguchi Museum Archives, MS_COR_396_001.

⁶⁵ Léonie Gilmour, “Letter to Catherine [Catharine] Bunnell from Leonie Gilmour [APPENDED MATERIAL],” April 25, 1900. The Isamu Noguchi Museum Archives, MS_COR_381_005.