Dangos 594 canlyniad

The file comprises manuscript drafts of different versions of the Mass poem, with notes by René Hague and Harman Grisewood. They are arranged in the following order: manuscript draft for typing (numbered 108-119) with a copy of The Kensington Mass published by Agenda Editions in 1975 annotated by René Hague, and typescript and proofs for Agenda corrected by David Jones; manuscript draft of the beginning of the Kensington Mass (numbered 120-122); manuscript draft of the Kensington Mass (numbered 123-154); draft letter by David Jones discussing the Mass poem (numbered 155-156); manuscript draft of the Kensington Mass and the BBC Mass (numbered 156-165); manuscript draft of the BBC Mass (numbered 166-180); manuscript draft which is the source of the Kensington Mass (numbered 181-234); and manuscript notes for a poem callled 'The Mass' which is not the Kensington Mass (numbered 235-241).

The file comprises manuscript drafts of the Mass poem, with notes by René Hague. They are arranged in the following order: manuscripts reproduced as facsimiles A-O in The Kensington Mass by Agenda Editions in 1975 (numbered 242-255); manuscripts and photocopies of manuscripts of the Mass and the Kensington Mass continuation (numbered 256-277, 278-282, 283-289, 290-319, 320-324).

The file comprises typescript and carbon copies of letters from David Jones to René Hague, and occasionally to his wife, Jean Hague, 1933-1974, selected for Dai Greatcoat.

The file comprises a xerox copy of a letter from David Jones to Jim Ede, 1935, which is at Kettle's Yard Cambridge, in which he lists his biographical information 'D. J. life for Jim Ede'; typescript copies of letters from David Jones to Jim Ede and Helen Ede, 1927-1929, 1933-1936; notes to René Hague from Harman Grisewood for the contents of The Dying Gaul and The Roman Quarry, 1976; and a sketch possibly of the last supper by David Jones.

The file comprises copies of work by David Jones: a photograph of a Jaguar at London Zoo, 1931, a photograph of lettering 'A daeth y gair yn gnawd...', and a proof of an engraving of a woman at the foot of the cross. The two photographs were returned to David Jones from the features editor of the Irish Times.

The file comprises a drawing of a chair by A. S. Hartrick, David Jones' art master; a reproduction of David Jones' self-portrait, 'Human Being 1931'; and a photograph of two objects which were always in his room, a knife with 'Ste Paul / O.P.N' carved into the handle and a stone with 'Elri / Cymru' carved into it. (See a letter to Harman Grisewood, 1959, published in Dai Greatcoat, pp.176-178, in which David Jones says that 'I know that an involvement in "Welshness" has an awful lot to do with my intrication with Elri' [Valerie Wynne-Williams]).

The file contains 5 Christmas cards designed by David Jones: 'We wish you a Happy Christmas', W. D. Jones, 1904; 'Greetings. May all Christmas Joys be Yours, a Blwyddyn Newydd da i chwi', Walter Jones, 1907-1908 (2 copies); 'Ye Good Olde Christmas Time. Wishing You ye Good Olde Christmas Wish', W David Jones, 1908-1909; 'Greeting. Nadolig Llawen', W. David Jones, 1918, New Barracks, Limerick, and 1961 Christmas card made for Faber and Faber of a woman playing the violin.

The file comprises two copies of a map or game labelled 'David Jones, Umpire', a sketch of a ship by David Jones, a drawing of Conway castle by T. Wood, a sketch of a design for a chimney kettle handle possibly by Eric Gill, a post card of sculpture of St Sebastian by Eric Gill, a manuscript salvage map dated 1917, and miscellaneous printed engravings and pictures. There are also postcards to David Jones from his father James Jones, 'Mike' (1946), Arthur [Giardelli, 1956], and 'Kathrin'.

The file comprises exhibition catalogues (some annotated by him) listing David Jones's works, 1927-1963, including the exhibition catalogue of Eric Gill and David Jones at St George's Gallery, London, 1927 (2 copies); 'David Jones watercolours and drawings', The Goupil Gallery, London, 1929; 'The Contemporary Welsh art exhibition', National Library of Wales, 1935; 'Water colours by David Jones' ... et al. at the Redfern Gallery, 1936 (2 annotated copies); 'Watercolours by David Jones' at the Redfern Gallery, 1940; Tate Gallery wartime acquisitions, 1942; Tate Gallery exhibition at Vienna 1946; Festival of Britain loan exhibition at Bristol, 1951; Arts Council of Great Britain Welsh Committee, David Jones exhibition, 1954; Brighton Art Gallery Autumn exhibition, 1956; and 'The Englishness of English painting', Crane Kalman Gallery, London, 1963. Also typescript lists of David Jones' pictures at Redfern Gallery 1936, 1941 and 1945; and two sales catalogues listing David Jones's engraved wood blocks, 1959 and undated.

The file comprises six linocuts by O. Pollack, Buenos Aires, sent to David Jones with an accompanying letter, 1948.

The file comprises a map of Poo-Tung presented to Mr James Jones, David Jones' father, Chinese lettering, and various pencil sketches and drawings of Chinese scenes, some made by a student of Ningpo [Missionary] College.

The file comprises official documents relating to David Jones as soldier, including certified copy of attestation, 1915, voting card for discharged men, 1919, Out of work donation policy, 1919, and information from the Regimental paymaster, Shrewsbury.

The file comprises an early manuscript draft of Part III 'Star-light order', numbered by David Jones 57-118 and foliated 1-172 in the Library. The file also includes a cover.

The file comprises an early manuscript draft of Part V 'Greatcoats folded', numbered by David Jones 179-208/216 and foliated 1-260, 258-260, 261-300 in the Library. The file also includes a conversion table with comments by P.W. Davies, NLW (5 ff.), and a cover.

The file comprises manuscripts of a dedication (1 f.); a preface numbered by David Jones I-XVI, with an index to the typesetting signs used by him (18 ff.); and a prologue numbered by David Jones 238-9, 247-9, 259-60, 264, 268-9 (11 ff.). There are sketches by David Jones of a girl's face (f. 22v) and of a soldier's face (f. 28v). Also included are notes on the final manuscript draft by Harman Grisewood and Daniel Huws (f. i-iv).

The file comprises a final manuscript draft of Part IV 'King Pellam's Launde' numbered 119-129, 129-131, 131 cont, 132-149, 149 i-iii, 150-177 by David Jones.

The file comprises fragments of letters, sketches etc. taken from the In Parenthesis drafts. They include incomplete letters written from Brockley in 1933 to Helen [Ede], a note by David Jones certifying to his illness, a note written from a hotel in Sidmouth, and five sketches.

The file comprises a carbon copy of the 1935 typescript draft of the Preface, dated Christmas 1935 in the typescript, but with significant manuscript revisions by David Jones dated March 1st 1937. The corrections are similar but not the same as those in LP3/3. The 1937 typescript was made from this version.

The file comprises a complete set of proofs, page i-xxii, 1-225, revise of proof No. 2., entitled 'Faber and Faber's Readers Corrections'. The corrections marked in ink are made by Faber and Faber's reader, with further corrections marked by David Jones in pencil, red crayon and red ink,