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The file comprises a manuscript (numbered i,1-14) and typescript text (numbered 1-10) of an essay by David Jones entitled 'Epoch, Church & Artist'. This essay appears in Epoch and Artist under the title 'Religion and the Muses'. The typescript is dated 3 October 1941.

The file includes a proof copy of a review by David Jones of Rejoice in the Lamb by Christopher Smart which appeared in The Tablet, and a manuscript draft of 'A, a, a, Domine Deus' (f. 10), with miscellaneous papers including notes, sketches and draft letters.

The file comprises typescript commentary on part IV ('Redriff') of The Anathemata, being a draft of part of René Hague's work, A Commentary on The Anathemata of David Jones (Wellingborough, 1977). There are a few comments in the hand of David Jones, and as this commentary contains a quotation from a letter written by him in September 1974 these comments must have been written very shortly before his death on 28 October of that year.

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 letters to David Jones from Rex Nan Kivell and others at the Redfern Gallery, 1937-1966 (mainly 1942-1958), relating to the sale of his pictures, with a catalogue of an exhibition by David Jones, Bryan Wynter and Derek Hill at the Redfern Gallery, 1948, statement of account listing names of paintings bought from David Jones, 1948, and a draft letter from David Jones to Rex Nan Kivell, 1952.

The file comprises various invitations sent to David Jones of exhibitions held at the Redfern Gallery, including David Jones' own exhibition of watercolours, 1940.

The file comprises manuscript drafts and a typescript text of an introduction by David Jones to a reading by him of 'The Hunt' and of parts of In Parenthesis and The Anathemata. References to 'this record' suggest that the reading was recorded on disc.

The file comprises receipts for 'Minter' newsagents, 1944-1951, 'W H. Cullen' grocers, 1961-1969, and artists' supplies, 1944-1964.

The file comprises receipts, 1931-1963, for tailors, doctors, chemists, art suppliers, booksellers, publishers and printers, subscriptions, typists, Bowden House nursing home, and rented accommodation, including information on the allowance from Sir Kenneth M Clark, 1948-1950, subscriptions to the artist annuity fund 1931-1947, and clothing card rations and food coupons, 1942.

The file comprises receipts for groceries, laundry, Radio rentals, Durrants press cuttings, tailors, subscriptions, rent, telephone, furniture storage and removal, books, typing, electricity, newspapers, and jewellers.

The file includes David Jones' national registration identity card, 1943-1948, clothing voucher book, 1947-1948, food voucher coupons, and National Insurance card, 1950.

The file comprises two typescript copies of a review of The Anathemata by Anne Symonds which was broadcast by the BBC on a programme entitled 'What I am reading now' on 25 May 1953, and also a typescript copy of a review written and read by Anne Symonds broadcast on 22 December 1952, with associated correspondence.

The file comprises a carbon typescript copy of a BBC radio broadcast of 'The critic on the air', with Rose Macaulay criticising In Parenthesis and other plays, 21 November 1946.

The file comprises page proofs of Epoch and Artist (which do not make up one complete set), and the dust jacket designed by David Jones.

The file comprises letters to David Jones from publishers and editors (other than Fabers), relating to anthologies, magazines, reviews and recordings, printing David Jones's works etc., including letters from Douglas Cleverdon, Peter Orr, J. H. Johnston, Henry Rago, Louis G. Cowan, Roland Mathias, Sebastian Carter, Will Carter, William Cookson, Gwen Watkins, David Blamires, Tony Stoneburner, Moelwyn Merchant, Dedwydd Jones, Caradog Prichard, William Hayward and others.

The file comprises the publisher's agreement between David Jones and Faber and Faber, dated 31 July 1958, for a work provisionally entitled 'Selected Essays' which became Epoch and Artist.

The file comprises a revise of the four sections of No. 7 not passed for press - the preliminaries, pp. 59-74, 75-90 and 219-[226]. They are all marked by David Jones, and some are very minor revisions. The two middle sections are marked by David Jones as 'passed for press May 6 37' the others on May 12. All are marked printed, the middle sections are marked printed on May 11.

The file comprises a partial set of the same proof as No. 7 - preliminaries and preface and pp. 219-[225]. Both sections marked by David Jones are the same as the corrected sections of No. 7; but include one alteration on p. 223 not marked in No. 7 which nevertheless appears in the last revise. Both sections are signed 'my copy May 8th 1937' by David Jones.

The file comprises a complete set which is a revise of No. 5. It has been marked by David Jones in ink, pencil and red ink, and includes minor revisions of text. On p. 66 a line is added in the hand of René Hague, which is not in No. 5. This originates in No. 4 and was presumably added by David Jones after the return of No. 5 to the printers. All but four sections are marked by David Jones 'passed for press' at dates between 27 April and 8 May 1937 and 'printed' with stamped dates, presumably of printing, between 29 April and 7 May.

The file comprises the first three sections (Preface and Parts I-II) of the same proofs as No. 3 submitted for opinion on the style of printing rules, with comments by René Hague.