File A2/2 - Professional correspondence

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.