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Seventy-seven letters, 1953-1977, from Mary Taubman (née Edmond), art historian, to Edwin John, discussing Taubman's research into the life and work of Gwen John, including identification of her paintings, publication of her letters, preparations for exhibitions of her work, and the gathering of materials for a proposed biography.
Also included are transcripts, [1967], of letters to Gwen John from Arthur Symonds (f. 79) and Auguste Rodin (f. 80); and a colour copy, [?2005], of a 1955 watercolour painting by Edwin John of Gwen John's garden house at Meudon (f. 170).

One hundred and forty letters, 1968-1986, from Romilly John to his niece Sara John.
The letters contain references to the John family, in particular Augustus, Gwen and Edwin John, with many discussing the settlement of the estate of Dorelia McNeill.

A photocopy of a typescript thesis by Sheila Anne Lees, 'A New Interpretation of Gwen John based on her unpublished correspondence' (1986).

A photocopy of a typescript thesis by Philippa J. Gimlette, 'Gwen John. A Critical Study', [?late 1970s].

Papers relating mostly to Gwen John, [?mid 20 cent.]-2002, accumulated by Sara John. They include a carbon copy typescript of Mary C. A. Edmond's [i.e. Mary Taubman] Edinburgh University dissertation, 'Gwen John 1876-1939', [1953]; a carbon copy typescript draft of introductory notes for an unidentified publication, [?mid 1960s]; a typescript 'final draft' of 'Gwen John 1876-1939' by Sara John, 1982; an incomplete typescript work (ff. 7-9, 11, 13-15, 20-21 only) concerning Gwen John's relationship with her patron John Quinn, [20 cent, last ¼]; various notes, translations and quotations, mostly manuscript, [?in the hand of Sara John], [20 cent, last ¼]-2002; a copy of 'The Antiquary', a poem by Augustus John, dated 1948; and six family photographs, the subjects including Ida, Edwin, Sara and Augustus John, [?mid 20 cent.]-[late 20 cent.].