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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).

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, 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).

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).

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).

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).

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).

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, 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).

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.