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Literary manuscripts of David Jones, with manuscript drafts of In Parenthesis: Seinnyessit e gledyf ym penn mameu; The Anathemata: Fragments of an attempted writing; Epoch and Artist: Selected writings by David Jones; The Sleeping Lord and other fragments; The Dying Gaul and other writings, and The Roman Quarry and other sequences. There is a substantial body of letters to David Jones from friends, editors and others, 1910-1976; draft letters from David Jones to friends, newspaper editors and others, 1929-1982; and letters by David Jones, 1919-1985, published in Dai Greatcoat: A self-portrait of David Jones in his letters. There are some examples of David Jones' art, and material relating to David Jones as an artist, as well as personal documents, financial papers, family papers, photographs, and accumulated research material.

The group comprises drawings and artwork of David Jones found amongst his papers, papers relating to his work as an artist, catalogues of exhibitions by him and others, invitations to exhibitions, and postcards and artwork which he accumulated.

The series comprises 13 files of artistic works by David Jones which were found amongst his papers. There are greeting and Christmas cards, dating from 1905, designed by David Jones and probably printed with the help of his father who was a printer's overseer. There are some original sketches, copies of frontispieces to his books, and copies of sketches, engravings, prints, and pictures.

The file comprises proofs of the frontispiece to T. S. Eliot, A Symposium for his Seventieth Birthday, ed. Neville Braybrook (London, 1958).

The file comprises reproductions of artwork by David Jones: copies of lettering 'Et Hominum in principio...' (4 copies), 'pa geont haeled paet', 'iam redit et virgo...' (1956), 'his mother was like dew...', 'yn y gaeaf oer...'; copies of a self portrait, two different portraits of women, and two different shipping / storm pictures (1931 and undated); and prints of 'Jester and Imps at Brockley School Cantata' (2 copies) Walter Jones 1905; 'Anerchiad' W. David Jones 1912; stable and manger, WDJ 1919; and a deer by David Jones, 1904. David Jones has written behind some of the photographs, and some appear to have been pinned to a wall.

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 examples of work designed by David Jones : 'Anerchiad' signed W. David Jones, Christmas 1912; 'Sic semper tyrannis / The festival of Yule 1918', signed W. David Jones, Private 22579 Royal Welsh Fusiliers, Ireland, 1918; David Jones illustrations dated 1926 to a poem by Shane Leslie entitled 'Fleet Street ', printed by the Curwen press; and a colour copy of lettering by David Jones for a bookplate 'Quemadmodum Desiderata Cervus... Edmund Gray'.

The file comprises copies of a Christmas card designed by David Jones for Faber and Faber in 1961. The front has a colour picture of a woman playing the violin, and the back has lettering 'Syng Hevin Imperiall...'.

The file comprises copies of two booklets, The Winter Solstice (1928) by Harold Monro and The Gum Trees (1930) by Roy Campbell (The Ariel Poems, published by Faber and Faber, London, nos. 13 and 30), both with cover illustrations and frontispieces by David Jones.

Material contained in an envelope on which David Jones has written 'Ships: & the sea'. This material principally consists of photographs of sailing vessels (including several models), most of which have been cut out of newspapers and illustrated periodicals. There are also a few sketches by David Jones of details of rigging, etc.

The file comprises two photographs of a model of a 17th century English warship.

The file comprises photographs of two dry-point engravings by David Jones in the possession of the Victoria and Albert Museum, together with a covering letter from the Deputy Keeper of Circulation at the Museum dated 18 June 1965.

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 reproductions of 'Dewi Dyfrwr gwedia dros Gymru' [1951], 'Optima goreu musa awen veritas gwirioned' [c. 1948], and a ship in a storm, 1931, by David Jones.

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 series comprises material relating to David Jones as an artist, with exhibition catalogues, drafts of letters by David Jones principally relating to art, and lists of paintings.

Manuscript drafts of letters from David Jones, almost all concerning his work as an artist. The addressees are listed on the wrapper. Amongst the subjects to which these letters relate are a proposal to reprint the engravings made by him for the Golden Cockerel Press (1944); the blocks illustrating the Chester Play of the Deluge (1959); the example of his work to be reproduced in the Arrow Press paperback edition of Sir John Rothenstein's book Modern English Painters, Lewis to Moore (1962); 'Panthers', 1931, a drawing in the possession of the Walker Gallery, Liverpool (1968); illustrations for 'Thirty Ways of Drowning in the Sea' by Peter Levi (1969) and 'Lancelot', 1940 (1944).

Page proofs of the revised edition of the catalogue of the Arts Council of Great Britain exhibition of paintings, drawings and engravings by David Jones, 1954-5.

Manuscript and typescript material concerning David Jones's work as an artist, including typescript notes (not by David Jones) on 'The Four Queens' and 'Guenever'; assignments (apparently not executed) by David Jones to Manchester Corporation of the copyright of 'The Leafless Tree' (drawing) and 'Out Tide' (oil painting), 1948-1949; lists of paintings, drawings, engravings and inscriptions, letters to and from David Jones; receipts from the Arts Council of Great Britain for paintings, drawings and engravings received from David Jones, June 1954; two drafts of notes by David Jones on 'The Lamb' (drawing) and a pencil sketch of a seated woman. There are letters from Robin [Ironside] and Arthur [Giardelli].