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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.

The series comprises invitations David Jones received to art exhibitions, 1940-1970, in the Tate Gallery, Redfern Gallery and various other galleries, along with printed images and postcards accumulated by him.

The series comprises manuscript, typescript or proof copies of articles written about David Jones by David Blamires, Harman Grisewood, Nicolette Gray, Aneirin Talfan Davies, Eric Gill and others.

The series comprises broadcast scripts, articles, plays, poems, lectures, and essays found amongst David Jones' papers. Many appear to have been sent to David Jones by the authors.

The series comprises a contract for In Parenthesis with Faber and Faber, a copy of the introduction, reviews, publicity, notes and correspondence.

The series comprises galleys, page proofs, revised page proofs and second revise page proofs.

The series comprises reviews of and commentaries on The Anathemata, correspondence relating to the book, most importantly from David Jones to Desmond Chute, and related material.

The series comprises material for A Commentary on The Anathemata of David Jones by René Hague, published by Christopher Skelton in 1977. There are typescript drafts of the Commentary with manuscript comments by David Jones, and related correspondence.

The series comprises a copy of the articles for the printers, proofs, corrections, correspondence, publishers agreement and reviews.

The series comprises three files of manuscript drafts.

The series comprises three manuscript drafts of the poem.

The series contains a manuscript draft of the introduction by Harman Grisewood, with notes on the contents of the volume for Fabers and an early typescript list of contents with seventeen pieces.

The series comprises manuscript and typescript drafts of various autobiographical writings, collected together by Harman Grisewood while preparing the article published as 'In illo tempore'.

The series comprises a typescript draft entitled 'Art in relation to war and our present situation', dated 'c. 1942' by David Jones on the first page, and dated '1942-3, 1946' in The Dying Gaul.

The series comprises a manuscript draft and a typescript draft of 'The Roman Quarry'.

The series comprises manuscript and typescript drafts of 'The Agent'.
David Jones writes about 'The Agent' in a letter to Harman Grisewood in 1962, stating that he is trying to 're-write a thing I did in 1940 (or thereabouts) about a conversation between Judas and Caiaphas'.

The series comprises manuscript and typescript drafts of 'The Book of Balaam's Ass'.
Part of Balaam's Ass was printed in The Sleeping Lord. David Jones began working on 'Balaam's Ass' before In Parenthesis was ready for the press, but he abandoned the project.

The series comprises letters from various people relating to exhibitions, drawings, publications, radio broadcasts, and personal correspondence.

The series comprises material actually published in Dai Greatcoat, including copies of David Jones' letters, drafts and settings copies of the book, and related material.

The series consists of final manuscript drafts of In Parenthesis parts I-VII, with dedication, prologue, preface, notes, and miscellaneous fragments.-- A complete draft of In Parenthesis, completed at Pigotts 18 Aug. 1932. Portions of Part I and Part II are typescript, carried over from an earlier draft. The remainder is in manuscript. There are substantial additions, sometimes involving the rewriting of complete pages or runs of pages, the earlier versions being discarded, and much revision. Much of the rewriting and revision was very likely after 1932. -- Insertions at the end of Part VII do not appear in the 1935 typing, they were made presumably before David Jones had received the typescript. Others may also have been made after the draft had been sent for typing, but in time for the typist to include them. -- The preface is dated Sidmouth, Christmas 1935. Although the text of this draft is very close indeed to that of the first typescript, the typescript must be derived from a lost intermediate source, probably a fair copy of the present draft rather than a typescript.