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Some one hundred and thirty letters, 1936-1938, to William Ronald Rees Jones (Keidrych Rhys) from over forty contributors and supporters, mostly covering issues 1-3 of 'Wales'. Some of the most notable correspondents are Roy Campbell (1), Idris Davies (6), Rhys Davies (6), Caradoc Evans (3), George Ewart Evans (5), Margiad Evans (3), Ll. Wyn Griffith (2), Nigel Heseltine (8), Richard Hughes (1), Augustus John (1), Glyn Jones (20), John Lehmann (1), Cedric Morris (2), Mervyn Peake (1), A. G. Prys-Jones (1), Goronwy Rees (2), Ernest Rhys (1), Dylan Thomas (10) and Vernon Watkins (7). Many of the letters are accompanied by manuscript and typescript drafts of poetry and prose, mostly published in 'Wales' nos 1 - 3 (1937). Also included are a few notes and press cuttings compiled by Keidrych Rhys.

Manuscript and typescript draft, 1974, of Vernon Watkins (Cardiff, 1974), part of the Writers of Wales series. Also included are typescript copies, with some manuscript amendments, [1969]-[1979], of various articles and a talk by Roland Mathias about Vernon Watkins; and additional notes, letters, photocopies and cuttings, [1960]-1984, pertaining to Vernon Watkins.

First edition of poet and translator Vernon Watkins's collection of poems Cypress and Acacia, published by Faber & Faber in 1959, the frontispiece inscribed in Watkins's hand: 'for Maurice Zarb, a true friend of unfailing kindness, in gratitude [signed] Vernon'.
Together with:

Letter, 1959, from Vernon Watkins to Maurice Zarb, which references Watkins's family, the poems titled 'A Man with a Field' and 'The Scythe' (both of which appear in the enclosed volume) and Watkins's and Zarb's work at Bletchley Park (see note below) during the Second World War. For Cypress and Acadia see, for example: https://www.amazon.co.uk/Cypress-Acacia-Vernon-Watkins/dp/0571036872.

(Undated) photocopied typescript of a critical analysis by Vernon Watkins titled 'The Poetry of Wilfred Owen'. According to a note which originally accompanied this sub-archive, this item was given to Tony Curtis by Vernon Watkins in 1966 when Watkins was tutor to Curtis at the then University College, Swansea (for further material relating to Curtis's period of study at University College, Swansea, see April 2016 papers under heading University College, Swansea).

Papers mainly relating to an untitled article by Alfred Janes paying tribute to Dylan Thomas, dated 1981, including typescript and manuscript drafts; a programme for ‘Under Milk Wood’, Swansea Little Theatre, 1986; a copy of ‘Swansea and the Arts’ featuring Dylan Thomas, Vernon Watkins, Alfred Janes, Daniel Jones and John Prichard, 1949; and a typescript of a tribute to Dylan Thomas written in 1953.

A copy of Jane L. McCormick's MA thesis 'The Prose of Vernon Watkins' (Simon Fraser University, British Columbia, Canada, 1969)

The file comprises over 160 letters to David Jones relating to his pictures, exhibitions and reproductions of his pictures from The Redfern Gallery, The Tate Gallery, The Arts Council, The British Council, the Golden Cockerel Press, CEMA and many other galleries, museums, firms and organisations. There are also letters from Frances Richards, Margaret Aeron-Thomas and others with an introduction to an exhibition of the '56 group' by Vernon Watkins.

The file comprises scripts which all appear to be radio broadcasts, including manuscript drafts, 1945-1982 (with gaps), a number of which are reviews by Glyn Jones of various books. Included are scripts of a tribute to Idris Davies, 'I was born in Rhymney', [1953], 'The dream of Jake Hopkins', 1953, (with a cutting and image relating to the work), 'The misfortunes of Princess Heledd', 1954, an excerpt from The learning lark, 1958, tributes to Henry Treece, 1966, Vernon Watkins, 1967, and Aneirin Talfan Davies, 1980, and an interview regarding Selected poems, 1976. In addition, the file includes scripts of a talk by Gwyn Thomas, 'Present indicative', 1955; and 'Anglo Welsh writing. The bells of Rhymney - Idris Davies' which includes comments by Glyn Jones, 1982; and an undated Welsh translation by Glyn Jones of a script delivered by Jack Jones.

Draft and fair-copied typescript prose material by Tony Curtis, some items annotated, largely relating to the visual and literary arts in Wales, comprising:

Article titled '"Life's miraculous poise between light and dark" - Ceri Richards and the poetry of Vernon Watkins'.

Review by Tony Curtis of Ceri Richards by Mel Gooding (Cameron & Hollis, 2002) (https://pallantbookshop.com/product/ceri-richards/).

Piece titled 'Peter Prendergast: the Spiritual Painter', most likely the essay Tony Curtis contributed to The Painter's Quarry: the art of Peter Prendergast (Seren Books, 2006); together with proposal details, June 2002, for the book, including a list of potential contributors, and letters, 17 May 2002, 23 September 2002 and 11 March 2003, to Tony Curtis from Alun Gruffydd of Oriel Ynys Môn relating to a proposed exhibition and associated publication (presumably the volume mentioned here) about Peter Prendergast. See, for example: https://www.waterstones.com/book/the-painters-quarry/9781854114099

Two articles written for the Lonely Planet guide to Wales, titled 'Visual Art in Wales' and 'Literary Wales', together with related email messages to Curtis from John King of travel guide publishers Lonely Planet.

Incomplete article relating to art and artists, title not apparent.

Thumbnail sketches of Tony Curtis and of a number of artists living and working in Wales relating to a 'One Wales art feature', possibly published in Poetry Wales magazine (see reference to a 'One Wales article' by Seren Books Poetry Editor Amy Wack under heading Heaven's Gate (Seren Books, 2001), Seren Books being the trading name of Poetry Wales Press).

Review of Here and Now (Seren Books, 2003) by artist, writer and lecturer Iwan Bala (https://inpressbooks.co.uk/products/here-and-now-essays-on-contemporary-welsh-art).

Biographical pieces relating to artists Vivienne Williams and Christine Jones.

Piece relating to the establishment of a Poet Laureate for Wales.

Piece relating to artist Josef Herman, possibly in relation to the publication Related Twilights: Josef Herman, Notes from an Artist's Diary (ed. Tony Curtis) (Seren Books, 2004) (https://inpressbooks.co.uk/products/related-twilights-notes-from-an-artists-diary). For Related Twilights, see also under heading Letters to Tony Curtis.

Transcript of an interview, dated (originally conducted?) 8 August 1990, between Tony Curtis and poet and writer Leslie Norris.

Short story titled 'H.M.S. Cassandra'.

One-act play relating to the artist Gwen John titled 'Gwen'.

Section of play which appears to relate to the artist Augustus John.

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.

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.

Professional correspondence, 1963-1982, consisting of letters to Alfred Janes (with replies by Alfred Janes) relating mainly to exhibitions, portrait commissions, and the sale of artworks. Correspondents include Herbert Brabin (The Constitutional Club); Roberto Sanesi; Olive Davison; Herbert Wiesner; L. V. Newman (Port Talbot Steelworks art exhibition); Jonathan Ingersoll (St Mary’s College Maryland); Principal, Croydon College of Design & Technology; R. Wilkinson; Roland Mathias (Anglo-Welsh Review); Kirstine Dunthorne (Welsh Arts Council); Robert Baines; D. W. Boorman; Take Ocada; Audrey Davies; Geraint Rees (HTV); Maurice Cooke; Duchess of St Albans (Upper Grosvenor Galleries London); R. Brangwyn; Valmai Ward (Welsh Arts Council); Lawrence Wass; Francine Sherlock (Welsh Arts Council); Peter Jones (Welsh Arts Council); Gwynfor [Evans]; Sheila Lochhead (Friends of the Glynn Vivian Art Gallery); J. S. Bunt (Glynn Vivian Art Gallery); R. L. Wakelin (Swansea Art Society); Clive Barda; T. Arfon Owen (Coleg Prifysgol Cymru); Thomas Parry (University of Wales Aberystwyth); Pamela Watson (J. M. Dent & Sons re ‘The Selected Letters of Dylan Thomas’), together with a copy of a letter to Alfred Janes from Dylan Thomas, January 1953, copied from Swansea Public Libraries, 1969; Ethel [Ross]; Frances Edwards (Welsh Arts Council); Leslie M. Rees (Swansea Libraries); Robin [H. Jones]; Colin D. Edwards; G. W. Churcher; Gerald M. Porter; Joan Saunders (Writer’s & Speaker’s Research); Rollo Charles (National Museum of Wales); Ivor Keys; John Hewitt (Herbert Art Gallery and Museum); Norman Pegden (Herbert Art Gallery); Karl Kasten (University of Berkeley California); Diana Gruffydd Williams; Warren Roberts (University of Texas); Denis Mitchell; Elwyn W. Timothy (BBC); and Vernon [Watkins]. Additionally, the file also contains some related papers, including press cuttings, 1973-1975; invoices for return of artworks and commissions, 1966-1971; and an invitation and seating plan for the Thomas & Enid Parry Honorary Dinner, Penbryn, Aberystwyth, 1969.

The file comprises typescript, manuscript and printed copies of poems by various authors (in many cases the author's name is not noted). Includes a typescript copy of a poem by Peter Levi entitled 'Thirty ways of drowning in the sea', with a letter from Alasdair Clayre at All Souls College, Oxford, dated 17 Sept. 1965, asking David Jones whether he would like 'a drawing or two drawings of yours to be used as illustrations for a limited edition of this poem?' (for drafts of a reply to this letter see A2/1), and typescript copies of poems by Charles Madge ('The Storming of the Brain', dated 2 July 1950), Dylan Thomas ('Elegy'), Saunders Lewis ('The Choice', translated by R. Wynne), Stefan George ('Come in the Park described as dead and see', translated by Vernon Watkins and signed by him), William Hayward, Herbert Read, and a translation of 'Wales' by Gwenallt Jones.

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.

Letters to Alfred Janes, 1967-1968, relating to personal matters and exhibition possibilities, including letters from Denys Alwin-Davis (Alwin Gallery, London); Vera Coppard (Hamilton Galleries, London); Alex Gordon; Vernon Watkins; and a postcard print dated 1968.

A file of miscellaneous papers collected by Alfred and Mary Janes, comprising a typescript copy, with corrections, of a broadcast for ‘Swansea and the Arts’ radio programme featuring Dylan Thomas, Vernon Watkins, Alfred Janes, Daniel Jones, and John Prichard, for the Welsh Home Service, 1949; a copy of an exam certificate and list of prizes, Swansea School of Art, 1932-1933; a copy of a fax message to Hilly Janes, Royal Academy of Arts, 1999; a copy of the publication ‘Taliesin a Gower: Su una poesia di Vernon Watkins’ by Roberto Sanesi (Sandro Maria Rosso, 1978); a copy of ‘Spectator’ magazine, 1964, featuring an article on Dylan Thomas; and an exam certificate for Alfred Janes, School Examination for Pianoforte, 1922.

Ink score with pencil annotations, dated 1956-1961 and titled Opus 10: 'Canticle for Tenor and Piano: Words by 20th-century Anglo-Welsh Poets'. The score is in seven parts: Part 1, 'Lean on the Rail' by Randal Jenkins, dated 12 January 1957; Part 2, 'I Will Give you a Golden Flower' by David Harries, dated 16 December 1956; Part 3, 'Lie Still, Sleep Becalmed' by Dylan Thomas, dated 24 July 1957; Part 4, 'When I was a Child' by R. S. Thomas, dated 24 November 1959; Part 5, 'Is There a Cause?' by Vernon Watkins, dated 21 April 1960; Part 6, 'In the Grass Gold Rings' by Roland Mathias, dated 10 May 1957; Part 7, 'There is No Time' by Raymond Garlick, dated 24 January 1961.

Facsimile copy of ink score, dated 1956-1961, titled Opus 10: 'Canticle for Voice and Piano', and incorporating 'Words by Twentieth-Century Anglo-Welsh Poets'. Consisting of Part 1, 'Lean on the Rail' by Randal Jenkins, dated 12 January 1957; Part 2, 'I Will Give you a Golden Flower' by David Harries, dated16 December 1956; Part 3, 'Lie Still, Sleep Becalmed' by Dylan Thomas, dated 24 July 1957; Part 4, 'When I Was a Child' by R. S. Thomas, dated 24 November 1959; Part 5, 'Is There a Cause?' by Vernon Watkins, dated 21 April 1960; Part 6, 'In the Grass Gold Rings' by Roland Mathias, dated 10 May 1957; and Part 7, 'There is No Time' by Raymond Garlick, dated 24 January 1961.

Draft score in ink with pencil annotations, dated 1956-1961 and titled Opus 10: 'Canticle for Tenor and Piano: Words by 20th-century Anglo-Welsh Poets'. The score is in six parts: Part 1, 'Lean on the Rail' by Randal Jenkins, dated 1 - 12 January 1957; Part 2, 'I Will Give you a Golden Flower' by David Harries, dated 16 December 1956; Part 3, 'Lie Still, Sleep Becalmed' by Dylan Thomas, dated 24 July 1957; Part 4, 'When I was a Child' by R. S. Thomas, dated 24 November 1959; Part 5, 'Is There a Cause?' by Vernon Watkins, dated 21 April 1960; and Part 7, 'There is No Time' by Raymond Garlick, as a loose page draft pencil partial score, dated 24 January 1961. Part 6 is wanting.

Photocopies and typescript copies, produced [1955x2000], of seven letters from Dylan Thomas, dated [?1935]-1953, found loose amongst papers acquired in this group. Most were published in Paul Ferris ed., The collected letters of Dylan Thomas (London, 1985). Among the recipients are Marguerite Caetani (2), Pamela Hansford Johnson, J. Oliver Stephens, and Vernon Watkins (signed by VW).

Thirty-four unpublished autograph letters and cards, together with a telegram, 1947-1984, from Caitlin Thomas; among the recipients are Paul Ferris, Daniel Jones (with a draft reply by him), Mervyn Levy, Andrew Sinclair, Stuart Thomas, Ruthven Todd, and Gwen and Vernon Watkins. Also included is a handwritten and typescript copy of a letter, dated 16 December 1953, to George Reavey and Irene Rice Pereira, with a photograph of Caitlin and baby Colm; a typescript copy of a letter, 1954, to David [Higham]; and photocopies of two letters, 1951 and 1962, sent to Helen [McAlpine], held at the University of Texas. Personal matters are mainly discussed in these letters, and Caitlin's life and relationship with Dylan Thomas; several letters are written during the months following her husband's death, and some relate to the trial concerning ownership of the manuscript of 'Under Milk Wood'.