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A typed letter, 18 March 1980, addressed to Michael Bennett from Tony Hyne in which he discusses David Jones's Word & Image exhibition, together with a photocopy of David Jones's chronology from the exhibition catalogue, heavily marked by him.

An autograph letter, 1955, from David Jones, artist and writer, enclosing proof corrections to his article 'History and pre-history' to be published in the literary magazine Dock Leaves.

Correspondence and other papers, 1965, concerning the production of a limited edition of The Fatigue by David Jones to mark the author's seventieth birthday, together with galley and page proofs, heavily corrected by the author, and a few related papers, 1975. The correspondence includes ten letters from David Jones to the printers, Will and Sebastian Carter, Rampant Lions Press, Cambridge (NLW MS 21925E, ff. 25-7, 29-34, 43).

A manuscript draft, [1946], of David Jones's introduction to the BBC radio production of his war poem 'In Parenthesis', first transmitted on the Third Programme, 19 November 1946. The draft contains deletions and revisions in ink and pencil in the hand of the author.
This draft is much closer to the script in its final typescript form (see NLW, David Jones (Artist and Writer) Papers LP5/3, ff. vii-x) than are the other extant drafts (ibid, LP5/4, ff. 1-9). The only significant changes that remained to be incorporated are: a new sentence to replace the line at the beginning of f. 2, the loss of a reference to Brittany (f. 2), the truncation of a section on Maximus the Great (f. 2) and a much expanded ending, with a list of four quotes to be taken directly from the book's introduction substituted with the full quotations (f. 3). The introduction was pre-recorded by Jones; the remainder of the programme was performed live by the cast on 19 November, with a live repeat the following evening.

An uncorrected, bound, proof copy, [?April 1937] of David Jones, In Parenthesis: Seinnyessit e gledyf ym penn mameu (London: Faber & Faber Ltd, 1937).
The proof is effectively identical to the three sets used to produce the corrected proofs now NLW, David Jones (Artist and Writer) Papers LP4/4-6, dated 7-17 April 1937; parts of the subsequent revise (ibid, LP4/8-9) were passed for press. In Parenthesis was published in June 1937, corresponding to the date inscribed on the front cover.

Papers of Thomas Charles Edwards, Ampleforth, 1918, 1935-1976, including fifty-seven letters, in Welsh and English, from Saunders Lewis to him, 1935-1976 (ff. 1-5, 7-11, 13-15, 18, 20-45, 47-48, 50-55, 58-69), to his wife Imelda, 1940-1941, 1950 (ff. 16-17, 19, 49), or to both, 1939 (f. 12), containing personal news and discussing politics, current affairs, the Catholic Church and articles by TCE.
Also included are letters to TCE from David Jones, 17 June 1937, seeking to send Lewis a copy of his 'In Parenthesis' (f. 6), G[riffith] J[ohn] Williams, 16 July 1948, concerning an R. W[illiams] Parry englyn (f. 46) and John B[arrett] Davies, St Dogmaels, 22 October 1962 (ff. 56-57); together with a letter, 19 May 1918, from TCE, Shrewsbury, to his mother (ff. 70-73); a script for Lewis's radio talk 'A Prospect of Wales: 7. Welsh Writers of Today', as transmitted on the Welsh Home Service, 25 April 1961, being the copy sent by Lewis to TCE (ff. 74-84); and seven press cuttings, 1935-1936, mainly relating to Lewis and the burning of the bombing school at Penyberth (ff. 85-91).

One hundred and twenty-four autograph letters, 1959-1974, from painter-poet David ('Dafydd') Jones, all addressed to Valerie ('Elri') Wynne-Williams (née Price), with the exception of two to her husband Michael ('Mihangel') (ff. 54, 112-113) and one to them both (ff. 55-56), discussing a variety of topics including his, and her, health and living conditions, his work, his friends, the Welsh language and Welsh history and politics. Some letters are illustrated with coloured pencil, pen and ink drawings, mainly of animals and flowers (ff. 8, 32, 33, 45 verso, 46 verso-47, 48 verso, 76, 103, 104 verso, 152), inscriptions (ff. 9, 34, 124 verso, 128, 136 verso) and sketch maps of Harrow (ff. 143, 144).
There are references throughout to friends and correspondents including Saunders Lewis (ff. 2-11 passim, 42-188 passim), Harman Grisewood (ff. 4-192 verso passim), René Hague (ff. 42 verso-187 passim), David Blamires (ff. 160, 186, 190 verso, 192), Louis Bonnerot (ff. 123, 186 verso), Tom Burns (ff. 13, 14 verso, 48, 64 verso, 68 verso, 77, 85 verso, 86 verso, 89 verso, 110, 116, 140 recto-verso, 188 verso), Douglas Cleverdon (ff. 68 verso, 160 verso, 162, 163 verso, 187), Aneirin Talfan Davies (ff. 9 verso, 11, 14 verso, 16, 33 verso, 63 verso, 71 verso, 123, 124, 128, 129 verso, 154 verso, 162), Clarissa Eden (f. 107 verso), T. S. Eliot (ff. 51 recto-verso, 62 verso, 67 verso, 69 verso, 71, 73, 74, 85), Gwynfor Evans (ff. 29 verso, 31, 131-192 verso passim), Illtud Evans (f. 6, 11 recto-verso, 37, 46 verso, 57, 61), Arthur Giardelli (ff. 150, 151 verso, 171 verso, 186), Eric Gill (ff. 45 verso, 66, 67 verso, 68 verso, 121), Stanley Honeyman (ff. 84, 140, 154 verso, 159 verso), Morag Owen (ff. 59, 98, 140), Catherine Rousseau (née Ivainer) (ff. 36 verso-127 passim), Stephen Spender (ff. 81 verso-82, 83 verso, 91), Bill Stevenson (f. 158 verso) and Helen Sutherland (ff. 68, 97 verso, 157). There are also occasional references to Desmond Chute (f. 120 verso), Idris Foster (ff. 60 verso, 63 verso), Philip Jones Griffiths (ff. 1, 131), David Lloyd George (ff. 108 verso-109, 127 verso), Megan Lloyd George (ff. 18 verso, 20, 21-22), J. D. Innes (f. 49 verso), Augustus John (f. 85 verso), Alun Oldfield-Davies (ff. 37, 77), Tristram Powell (ff. 142 recto-verso, 144), Caradog Prichard (ff. 19 verso, 77, 108), Kathleen Raine (f. 59 verso), Keidrych Rhys (ff. 6 verso, 8, 9, 16, 30 verso, 36 verso), Meic Stephens (ff. 171, 175), Vernon Watkins (ff. 47, 128 verso), D. J. Williams (f. 106 recto-verso), Kyffin Williams (ff. 49, 63, 77) and R. O. F. Wynne and his family (ff. 61, 62, 63, 64 verso, 67 verso, 81, 94 verso, 96 verso¸ 98, 130 verso), and brief reminiscences of his experiences during the First World War (ff. 70 recto-verso, 76, 79 recto-verso, 108 verso-109, 130 recto-verso, 151 verso, 164). Also included is a copy of his letter, dated 10 August 1959, to Megan Lloyd George (f. 21; for her reply see NLW, David Jones (Artist and Writer) Papers CT3/3, f. 247); cuttings of letters to the Times by David Jones, Valerie Price and others, 1958 (ff. 193-196); and a copy of a 1959 photograph of the two by Philip Jones Griffiths (f. 197). The letter of 23 September 1973 (ff. 178-179 verso) was published under the title 'Yr Iaith' in Planet, 21 (January 1974), 3-5.

Correspondence and other papers, 1952-1990, of Morag Owen (née McLennan; later married name Bulbrook), relating to her friend the painter-poet David Jones, including eighteen letters and cards to her from Jones, 1952-1973 (ff. 1-15, 17-25), and one to her first husband Richard Owen, 28 July 1965 (f. 16), mostly concerning personal matters, Jones's health, Welsh grammar and placenames and the 'Old North'.
Four of the items are photographic reproductions of Jones's inscriptions, sent as Christmas, and other, cards (ff. 1, 3, 9-10); in three instances Jones has altered the photographs with the addition of further painted inscriptions (ff. 3, 9-10). A copy of the 1961 Faber Christmas card, designed by Jones, was sent by him as a ' Spring 1962' card (ff. 11-12; for a clean copy of the same card see ff. 39-40). Also included are letters to Morag from Barbara, [Countess of] Moray, 31 August 1977 (f. 26), Diana L. Austin, Oxford, April-May 1978 (ff. 27-31), and Thomas Dilworth, University of Windsor, Ontario, 1986-1990 (ff. 33-35), all concerning David Jones, as well as two draft inscriptions, presumably by Jones (ff. 36-37), a photograph of him, [1950x1970] (f. 38), a pencil drawing by Jones of a young woman in profile, [c. 1967] (f. 41), and press cuttings of three book reviews from The Times, 15 May 1978, p. 12 (f. 44), The Tablet, 3 June 1978, pp. 532-3 (ff. 45-46) and The Sunday Times, 18 June 1978, p. 40 (f. 47).

Correspondence, 1937, 1959-1974, of Louis Bonnerot, Professor of English Literature at the Sorbonne, Paris, comprising twenty-two letters, 1960-1974, from the poet and artist David Jones, Harrow, mostly concerning Bonnerot's translations of Jones's poems into French (ff. 1-47), together with four draft and copy letters from Bonnerot to Jones, 1959-1974 (ff. 49-54), a letter, 24 August 1974, from Jones to Luce Bonnerot, following her husband Louis's death (f. 48), and a typescript letter, 25 December [1937], to Bonnerot from C[ecil] Day Lewis (f. 55).
Jones answers Bonnerot's questions about specific turns-of-phrase used in his poems as well as giving detailed corrections to printers' errors in editions of his work; he also discusses reviews and lectures by Bonnerot, articles in British magazines concerning Jones's work, and the history of Wales and Roman Britain. An illustration of a 'pacing-stick' is on f. 11 verso. There are occasional annotations in pencil by Bonnerot (ff. 29, 29 verso, 32, 33 verso, 36, 36 verso, 38, 38 verso, and 43), together with a transcript by Bonnerot of most of Jones's letter of 9 October 1972 (ff. 56-61).

Seven letters, 1937-1964, from artist and writer David Jones, Harrow, to the Catholic author and editor Donald Attwater, in which he discusses In Parenthesis and The Anathemata (ff. 23, 24, 28 recto-verso, 29 verso, 32), Welsh history (ff. 24 verso, 27 recto-verso), Welsh place names (ff. 26 verso-27, 29 recto-verso, 30 recto-verso), Cornwall (ff. 29 verso, 30 verso), the Biblical place name Calvary or Golgotha (ff. 30 recto-verso), the attitude of the French authorities to the Breton language (ff. 31 recto-verso), and his inability to learn languages, in particular Welsh (ff. 25, 31 verso).

A letter, dated 10-11 July 1967, from the artist and writer David Jones, Harrow, to the novelist [Anthony] Powell, mainly discussing Welsh genealogy and history. Jones also refers to the anniversary of his involvement in the battle of Mametz Wood, 10-11 July 1916, the subject of part 7 of his poem In Parenthesis (London, 1937) (f. 16 verso).
The letter contains references to the recent 'David Jones Special Issue' of Agenda, 5.1-3 (Spring-Summer 1967), Powell's television producer and director son Tristram, with whom Jones was acquainted, Kenneth Jackson, Saunders Lewis, and Jones's knowledge of Welsh (all f. 16), and the Eliseg Pillar inscription (f. 16 recto-verso).

A holograph copy, [1971], of David Jones's poem 'A, a, a, Domine Deus', signed 'D.J. c. 1938 & 1966'. The manuscript contains a few minor variants to the final published text, most notably the substitution of 'signum' for 'symbol' (line 5). A substantial marginal note relates to 'certain motifs & the title'.
The poem is written in black ink with the title and certain words in red ink. An early version of the poem was published in the essay 'Art and Sacrament', in Catholic Approaches, ed. by Elizabeth Pakenham (London, 1955), pp. 143-182 (p. 181), and collected in David Jones, Epoch and Artist (London, 1959), pp. 143-179 (p. 179). In its final form it first appeared in Agenda, 5.1-3 (Spring-Summer 1967), 5, and was collected in David Jones, The Sleeping Lord and Other Fragments (London, 1974), p. 9.

A letter, 26 October 1969, from the artist and poet David Jones, Harrow, to Ann Sidgwick of the Ganymed Press, London, giving permission to transfer the reproduction rights in Ganymed Press's facsimile of Jones's watercolour 'The Chapel in the Park' to a potential buyer (f. 6). Sidgwick's draft reply, 29 October 1969, is also included (f. 7).
The letter is written in reply to Sidgwick's of 29 September 1969 (now NLW, David Jones (Artist and Writer) Papers CT4/13, ff. 29-32).

An autograph letter, 27 May 1961, from the artist and poet David Jones, Harrow on the Hill, to Geoffrey Robinson, general editor at publishers Barrie & Rockliff, thanking him for the page proofs for his foreword (on pp. vii-ix) to R. W. Barber, Arthur of Albion: An Introduction to the Arthurian Literature and Legends of England (London: Barrie & Rockliff, 1961), and suggesting a very few minor emendations.

A letter, 1 March 1972, from David Jones, artist and writer, to Alun R. Jones, Professor of English at UCNW, Bangor (f. 1), enclosing a typescript draft of sleeve notes, prepared by the latter, for a gramophone record entitled Poets of Wales: David Jones (Argo, 1972), with copious manuscript notes and corrections by David Jones (ff. 2-9).
David Jones' notes include comments on his poems 'A, a, a, Domine Deus' (ff. 1 verso, 5), 'The Sleeping Lord' (ff. 1 recto-verso) and 'The Tribune's Visitation' (ff. 6-7). Also included is a revised typescript draft of the sleeve notes (ff. 10-17).

Five letters, 1942-1943, from the artist and writer David Jones to the art historian and critic Robin Ironside, relating to the preparation of Ironside's illustrated booklet David Jones (Harmondsworth, 1949).
Jones discusses painting from nature and the selection of paintings for the volume. A sketch of a balcony view is on f. 4.

A letter, November 1954 (dated 'Calan Gaeaf MCMLIV' [1 November 1954] but completed at a later date), and decorated with a coloured inscription, from the artist and writer David Jones to the dramatist, poet and critic Saunders Lewis.
The letter contains personal news and refers to the Lewis's contribution to a radio broadcast about David Jones transmitted on the Welsh Home Service, 29 October 1954 (see NLW, Alun Oldfield-Davies Papers 27 for a copy of the script).

Nine letters and one card, 1953-1967, from David Jones, artist and writer, to Stuart Piggott (d. 1996), Abercromby Professor of Prehistoric Archaeology, University of Edinburgh, 1946-77 (ff. 1-11); together with a photocopy, 1996, of a journal entry by the latter, 16 June 1967, describing a visit to David Jones (ff. 12-14).

Ten letters, 1953-1964, from David Jones, artist and writer, to the painter and engraver Richard Shirley Smith and his artist wife Juliet Wood, mostly written, 1960-1961, while the latter were abroad studying in Italy. The letters, containing comments on David Jones's work and that of the recipients, were published in a limited edition, David Jones, Ten Letters ..., ed. by Derek Shiel (London: Agenda Editions, 1996); copy no. 1/150 was acquired with the letters and is filed with them.

Five letters, 1949-51, from David Jones to Mildred Mary Ede, mother of Jim Ede, founder of Kettle's Yard, Cambridge. The letters refer mainly to the painting 'Vexilla Regis' purchased by Mrs Ede and now at Kettle's Yard. Also included is a letter, 1951, from David Baxandall of the Manchester City Art Gallery, concerning a proposed exhibition.