Dangos 28 canlyniad

Llyfr torion yn cynnwys torion papur newydd a rhai llythyrau yn ymwneud â'r artist Ceri Richards, ei weithiau a'i arddangosfeydd, [1946]-[1971].

Personal correspondence, 1960-1978, consisting of letters and cards to Alfred & Mary Janes and family, relating to family matters and the death of Vernon Watkins. Correspondents include Ross [Janes]; Elizabeth [Parry]; Frances & Ceri Richards; Vernon Watkins; Marjorie Watkins; Sarah Watkins; Daniel Jones & family; Gwen [Watkins]; Gareth [?Watkins]; Constantine Fitzgibbon; Iorwerth Hughes Jones; Ethel [Ross]; John & Joyce [Parry]; Kenneth Hancock; and John & Christine Nash; together with a number of related papers including programme for memorial service for Ceri Richards, 1971; draft poetry (undated, 1968); four photos labelled ‘Michael’, ‘Christopher’, ‘Tom & Michael’ all 1990; cuttings, 1963, re Dylan Thomas memorial stone; a press cutting, re the death of Iorwerth Hughes Jones, 1972; order of service for memorial of Iorwerth Hughes Jones, 1972; and a copy of the Dulwich College Dramatic Society production programme ‘A Penny for a Song’ 1972. Additionally, the file also contains a catalogue of sale for ‘Porcelain, Art & Furniture’, Bond Street, London, 1949.

Professional correspondence, 1928-1955, consisting mainly of letters to Alfred Janes (with some replies) relating to various matters such as featuring works in galleries and exhibitions, the purchase and shipping of artworks, and the death of Dylan Thomas. Correspondents include Alfred Janes; Charles [Fisher]; Tom Warner; Rex Nan Kivell (The Redfern Gallery); Heinz Koppel; Arthur Giardelli; Cyril Fox (National Museum of Wales); David [Wiseman] (British Institute of Adult Education); R. S. Farrington; F. H. Mayor (The Mayor Gallery); Jan Gordon; Peter Watson; Mervyn [Levy]; Elwyn Evans (BBC); E. M. O’Rooke Dickey (Ministry of Information re Artist’s Advisory Committee); D. H. I. Powell (South Wales Evening Post); Gillian Browse; Margaret Thomas; Michele Guidano; D. Brynmor Anthony (Contemporary Art Society for Wales); Heal & Son Gallery; Joseph E. Donington; Keidrych Rhys (at the Druid Press); Vernon & Gwen Watkins; Arthur R. Howell (St George’s Gallery London); South Wales Art Society; Isabelita Alonso; David Bell (Arts Council of Great Britain); Ceri [Richards]; Margaret S. Taylor (Cyfarthfa Castle Art Gallery & Museum); Cedric Morris; Winifred Coombe Tennant; Irene Bache; Margaret Gunnell (The British Council); John Steepman (National Museum of Wales); Esther Grainger; Bill Price; C. G. Tagholm; Mervyn Rees; Dilys Rowe; C. Joynson (River Towy Fishery Board); W. Harding Edwards; Mr Baker (Dunvant College); A. E. Rees; Dilwyn John (National Museum of Wales); Iorwerth Hughes Jones; A. E. Wade (South Wales Art Society); A. L. Lavender (Swansea Art Society); Gwyneth V. Lewis; R. Gregory Absalom (Newport Museum & Art Gallery); John Petts (Arts Council of Great Britain); Philip James (Arts Council of Great Britain); N. Thomas (Arts Council of Great Britain); Selwyn Jones; War Office; W. Grant Murray (Swansea School of Arts & Crafts); T.S. Bertram Coats; P. J. Barlow (The South Wales Group); Stuart Thomas; David Higham; Jenkyn Jones; Charles Carter (The Art Gallery Aberdeen); B. P. Rees; Rex Nan Kivell (The Redfern Gallery); John Griffiths (BBC); Henry Tonks; and Dan [Daniel Jones]. Additionally the file contains various related papers, 1940-1955, including a receipt for the purchase of the painting ‘Hyacinths’, 1949; BBC invite, talk on ‘What is Modern Painting?’ for Arts Magazine, 1949; receipt for ‘Two Lobsters’, Arts Council of Great Britain, 1949; an invitation for submission of work to Royal National Eisteddfod of Wales, 1950; receipts for packing & shipping paintings, Alfred Stiles & Sons, 1940; a rent book, Alfred Janes, Swansea, 1951-1952; a draft constitution for the South Wales Academy, 1954; and a Swansea street plan, 1954-1955.

Five pocket diaries (1956-1959) belonging to Alfred Janes, including lists, sketches, names & addresses, and appointments. Addressees include Ceri [Richards].

Correspondence and papers relating to the artists: Colin Allen, Charles I'Anson, Vera Baker, Connor Barrett, Dilwyn Barrette, Alfred E. Bestall (the illustrator of Rupert the Bear), Andre Bicat, Diana Blatton, Martin Bloch, Rosemary Bramley and Frank Brangwyn, 1955-1997. The folder on Martin Bloch includes a letter from Ceri Richards to John Petts concerning the potential purchase of works by Bloch.

Some hundred letters, 1929-80 (correspondents N-W), to Ceri and Frances Richards, many of them concerned with their work as artists. The correspondents include John Ormond (11) [?1940s]-1976 (with typescript and autograph drafts and fair copies of poems, and typescript text of a radio broadcast by him, 1954, entitled 'Rest and Unrest: the Art of Ceri Richards'), Victor Pasmore (1) 1969, Peter Pears (8) [1960s-70s], Sir John Rothenstein (2) 1958-68, Roberto Sanesi (12) 1961-76, Stephen Spender (2) 1962, Graham Sutherland (3) [?1941]-56, Vernon Watkins (10) 1960-7 (see note 544, below), with one autograph and one typescript poem.

Some eighty-two letters, 1937-1977, to Vernon Watkins, with a few addressed to Mrs Gwen Watkins, from various correspondents (surnames P-R), including Keidrych Rhys (22, with one copy letter from Vernon Watkins) 1937-1956, and Ceri Richards (26, together with six of Watkins's replies) [c. 1948]-1967.

Article by Tony Curtis for inclusion in Planet magazine titled 'Playing it Cool: Poetry & Jazz in Britain', with email of response, 2003, to Curtis from John Barnie, then editor of Planet.

Copy of essay by Tony Curtis, titled 'That Golden Decade - David Jones, Ceri Richards, Merlyn Evans and Josef Herman: the four Gold Medal winners at the Welsh National Eisteddfod in the 1960s', to be included in a portfolio, published July 2008, of commissioned essays and a set of original prints to celebrate the Contemporary Art Society for Wales (CASW)'s seventieth anniversary. Essay annotated 'FINAL' in Curtis's hand, presumably indicating the final draft of the work.
Together with letter, 2007, to Tony Curtis from architect and planning consultant Eldred Evans, giving permission for Curtis to reproduce a painting titled 'The Refugees' by her father, painter, printmaker and sculptor Merlyn Evans, as part of the published essay.
See also under heading Talks and lectures by Tony Curtis.
For the Contemporary Art Society for Wales, see also April 2018 papers under heading Contemporary Art Society for Wales (CASW) .

Press cuttings relating to a talk given by Tony Curtis at the opening of an exhibition of painter Ray Howard-Jones's works at Tenby Museum and Art Gallery. The cuttings also show Tony Curtis's wife Margaret and Dr Kathy Talbot, then honorary curator of the museum and gallery. See also https://www.tenby-today.co.uk/news/successful-talk-on-ray-howard-jones-at-tenby-museum-456403.

Two copies of a lecture given, 16 November 2004, by Tony Curtis to the Contemporary Art Society for Wales (CASW) titled 'Four Gold Medals - The 1960s', which references the four Gold Medals for Visual Art awarded by the National Eisteddfod of Wales to artists Ceri Richards, Josef Herman, David Jones and Merlyn Evans.
See also under heading Articles and essays by Tony Curtis.
For the Contemporary Art Society for Wales, see also April 2018 papers under heading Contemporary Art Society for Wales (CASW) .

Draft and fair-copied copies of paper, titled 'Charles Burton: The Painting's in the Pity', given by Tony Curtis at a conference on the work of artist Ivor Davies ('Burnt Poetry': Ivor Davies and Destruction/Creation in Art and Word) held at Cardiff University, 27 February 2016 (see under section titled 'Hen Galan' at https://cardiffmemori.wordpress.com/page/4/). Drafts annotated/amended in the hands of Tony Curtis and that of his wife, Margaret Curtis.

Script of Foundation Course lecture on the theme of 'War', given by Tony Curtis as a tutor at, most probably, the then Polytechnic of Wales or, as it subsequently became known, the University of Glamorgan (now the University of South Wales).

Miscellaneous printed material relating to the artist Ceri Richards (1903-71), comprising items formerly in his possession and others compiled by his family, including an advertising booklet for SS Orion, 1935; a copy of Tywysydd y Plant, July 1954, containing an article on the artist by Iorwerth Hughes Jones; a programme, [c. 1963], for the screening of Dudley Shaw Ashton's film, La Cathédrale Engloutie, based on Ceri Richards's paintings; publicity material for the artist's work, 1954-65; certificate of Honorary PhD awarded to him by the University of Wales, 1961; programme for his memorial service, 15 Dec. 1971; and press cuttings, 1960-83.

The file comprises letters to David Jones from various people including T. Charles Edwards, Margaret Aeron-Thomas (3), Moelwyn Merchant, William Cookson (3), William Blissett (4), Douglas B. Hague (2), Ruari McLean, Helen Kapp (2), Illtud Evans (2), Aneirin Talfan Davies, Michael Fussell, John Lehmann, Roland Mathias, Bruce Griffiths, Nicholas Jacobs (2), Peter Orr (2), Bernard Bergonzi, Gerald Morgan, Ffransis Payne, Stuart Piggott (2), Ruth Nanda Anshen, John Russell (2), Tudor David, John H. Johnston (4) Ceri Richards, Arthur Giardelli (2, 1 incomplete), René Hague (3), Donald Nicholl (incomplete), Keidrych Rhys, Vernon Watkins (6, 3 incomplete) and Walter Shewring.

Professional correspondence, 1953-1967, consisting of letters to Alfred Janes (with replies by Alfred Janes) relating mainly to exhibitions, portrait commissions, and the sale of artworks, including the sale of Janes’s 1953 Dylan Thomas portrait to the University of Texas. Correspondents include Esther Grainger; W. Gerald Thomas (Bishop Gore Grammar School); Ifan ab Owen Edwards; David Bell (Glynn Vivian Art Gallery); John Petts (Arts Council of Great Britain); Patrick L. Phillips (The Leicester Galleries London); Elis Jenkins; R. E. Griffith (Urdd Gobaith Cymru); Tal L. Jones; the Archbishop of Wales; Heather M. Salisbury; Myra Owen (Arts Council of Great Britain); Philip Jones (Arts Council of Great Britain); David Peters (Arts Council of Great Britain); Raymond Garlick (Anglo-Welsh Review); G. J. Powell (Western Mail); P. J. Barlow (The South Wales Group); Howard Hill (South Wales Spectator); T. Mervyn Jones (Contemporary Art Society for Wales); Wilfred Sirrell (London Welsh Association); J. H. Parry; Ernest, Brown & Phillips; T. Cross (Arts Council of Great Britain); Rosina Gastrell; Robin [H. Jones]; Dennis James; H. C. Lloyd Davies (Swansea Art Society); Blaise Gillie; Tegwyn Harris; Margaret S. Taylor; D. Brynmor Anthony (Contemporary Art Society for Wales); Marjorie Scammell; L. J. Drew; Ann Landers; Warren Roberts (University of Texas), together with a typescript of a scene titled ‘A Painter’s Studio’ featuring Alfred Janes, Dylan Thomas, Wynford Vaughan-Thomas, and Vernon Watkins; Kathleen Armistead (Glynn Vivian Art Gallery); Monty Bryan Smith (Temple Gallery Llandrindod Wells); James Bourlet & Sons; The Dillwyn Gallery Swansea; Howard Roberts; Ceri Richards; Colonel W. R. Crawshay; Kim Taylor (University of Texas); David & Margaret Thomas; Richard Jones; J. R Webster (Arts Council of Great Britain); Roy Slade; Tom [Warner]; Ivor Williams; Glyn Davies; Bert [?Trick]; Rollo Charles (National Museum of Wales); Michael Siggins; Leslie Moore (Glamorgan Education Authority); Barbara Fenwick (South Wales Group); Ray Howard-Jones; Jack Howells; Mervyn Levy; Margaret Aeron-Thomas; Roberto [Sanesi]; Margrit Jaunch (New Gallery London); Edgar Lewis (Swansea & District Tape Recording Society); Iorwerth J. Watkins; Roger Webster (Arts Council of Great Britain); W. E. Davies (Eisteddfod Genedlaethol Frenhinol Cymru); Bill Read (Boston University); A. L. Lavender (Swansea Art Society); Charles Gimpel (Gimpel Fils Gallery London); W. F. Houghton; Gabriel Pustel; Isobel Beissel; H. M. Green (Contemporary Art Society for Wales); Clifford Lloyd Richards; Gwyneth Thomas; Ethel [Ross]; A. E. Barnett (Croydon College of Art); Derek Trimby (BBC); J. Marchbank Salmon (Croydon College of Art); R. D. McLean (BBC); Dorothy [?Leonard Thomas] (The Dillwyn Gallery); Lionel Irwin (Archer Gallery London); J. W. M. Thompson (The Spectator); G. Blackmore (Arts Council of Great Britain); and Cedric Morris. Additionally, the file includes a number of related papers such as invoices for returns and sales of artworks, 1960-1965; receipts for subscription to Swansea Art Society, 1953-55; a copy of Art Gallery Monthly Guide, 1962; and a list of paintings and exhibitions shown in Wales, 1962-1963.

Exhibition catalogues, leaflets and pamphlets for exhibitions featuring works by Alfred Janes and others, including Ceri Richards (University College Swansea), 1984; ‘Alfred Janes: A Retrospective’ (Attic Gallery, Swansea), 1995; ’25 Years On’ (Attic Gallery Swansea), 1987; Glynn Vivian ‘Art Gallery News’ (1999-2000); ‘An Exhibition of New Work by Twelve Artists’ (Greenwich Theatre Gallery, London), 1980-1981; ‘Contemporary Art Society for Wales 50th Anniversary Exhibition’ (National Museum Wales), 1987; ‘Easter ’88’ (Attic Gallery, Swansea), 1988; ‘Alfred Janes 1911-1999: A Retrospective’ (Glynn Vivian Art Gallery, Swansea), 1999; Swansea Art Society ‘Exhibition of Work by Past Members’ (West Glamorgan County Hall), 1986; ‘Artean Osatasuna: La Integridad Del Arte’ (Museo de Bellas Artes, Bilbao), [?1980s]; The Dylan Thomas Society (Llanerch Hall, Swansea), 1992; ‘Work and Play: Paintings of South and West Wales’ (National Library of Wales, Aberystwyth / Oriel Myrddin), 1999; and a programme for ‘Present Laughter: A Comedy by Noël Coward’ (Greenwich Theatre), 1981.

Papers relating to the South Wales Group art collective, consisting of commentaries on the ‘Exhibition of Fine Art’ at the National Eisteddfod, Caerphilly by members of the Selection Committee, including Ceri Richards, Cedric Morris and George Mayor-Marton, 1950; an invitation to a South Wales Group exhibition, National Museum of Wales, 1949; a list of artist members, undated; a form for submission of works to the South Wales Group Open Exhibition, 1958; and a list of members’ addresses, 1959.

Loose papers relating to art exhibitions, consisting of a letter from Kettle’s Yard, University of Cambridge [?1982]; an invitation to a Ceri Richards exhibition, Tate Gallery, undated; a letter from Isabel Alonso relating to a photo of Alfred Janes’s Dylan Thomas portrait, undated; and a list of works and valuations for ‘An Exhibition of New Work by Twelve Artists’ (Greenwich Theatre Art Gallery), 1980.

Miscellaneous personal papers belonging to Alfred Janes which were collected for his memorial service in 1999, consisting of a copy of Alfred and Mary Janes’s marriage certificate, 1940; a copy of ‘Rules for the Conduct of Life’ for Freemen of the City of London, undated; two photos of the wedding of Kitty Jones (daughter of Daniel Jones), undated; a seating plan for Court of Common Council, undated; a wallet of photos of Hilly Janes and Kate Parry, 1982; postcard prints of Janes’s 1934 Dylan Thomas portrait (undated); and a postcard from Frances & Ceri [Richards] (undated); together with a programme and card for ‘A Celebration of the Life and Work of Alfred Janes’, Royal Society of Arts, London, 1999.

The file consists of correspondence and papers relating to the artist: Ceri Richards, 1953-1996.

Autograph and typescript notes and drafts, 1947-1967, for talks and lectures by Vernon Watkins on subjects including the translation of poetry, poetry in English, including his own, and the art of Ceri Richards.

A letter, [1943], from the artist Frances Richards addessed to hitherto unidentified friends ('Nell & Alfred'), discussing the recent work of both herself and her husband, Ceri Richards.

Nineteen letters, notes and postcards to Dylan Thomas, 1952-1953, mainly concerning work, publications and his last trip to America (ff. 1-19), and copies of contracts, 1951-1953 (ff. 20-28).
The correspondents include John [Brinnin], September-[October] [1953], J[ohn] D[avenport], 23 June 1953, Francis Dillon, 22 September 1953, John Griffiths, 21 September 1953, David [Higham], 9 October 1952, Fred [Janes], [13] August 1953, Donald A. Kershaw, 16 June 1953, Arabel J. Porter, 28 September 1953, Liz Reitell, 4 June [1953], Ceri Richards, [?April] 1953, Amos Vogel, June-August 1953, Boris [Watson], [early 1953], and Oscar [Williams], 31 July 1953. There is also a note, 19 October 1953, from 'Evelyn', suggesting he contact the film director Edgar G. Ulmer (f. 5), and a note from Pearn, Pollinger & Higham to Caitlin Thomas, 30 June 1953 (f. 13). There are miscellaneous notes by Dylan Thomas on ff. 1 verso, 4 verso, 8 and 11 verso. The contracts relate to the proposed publications 'American Journal', 19 December 1951 (ff. 20-21), 'Welsh Fairy Tales and Legends', 23 February 1953 (ff. 22-24), and 'Under Milk Wood', 24 July 1953 (ff. 27-28), and to a recording session for Caedmon Publishers, 17 May 1953 (ff. 25-26). Also included is a bank statement, 22 June 1953 (f. 29), and his Temporary Entry Permit into the USA, 20 October 1953 (f. 30).