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Photocopies of three letters, 1942-4, from Augustus John (1878-1961) to Robert Sielle (1895-1983), exhibition agent and frame maker, and five letters, 1942-4, from him to Augustus John, relating to his portrait of Vivien Leigh which was subsequently borrowed by the National Portrait Gallery in 1972

Ms Booth allowed the Library to make copies from microfiches held at the Tate Gallery of papers of Augustus John, originally part of his personal archive (TAM 21G/43-44/67). They comprise apparently unpublished notes of songs in Romani collected by the artist, c 1910, together with related vocabularies in his hand and further notes by the diplomat and scholar Bernard Gilliat-Smith, incomplete proofs of an article by Eric Otto Winstedt published in the Journal of the Gypsy Lore Society 3 (1910), 242-53, and a fragment of a typescript article, [?1940s], by Augustus John on the persecution of Gypsies.

Typescript drafts and proofs of Augustus John's first volume of memoirs, Chiaroscuro: Fragments of Autobiography (London: Jonathan Cape, 1952), [1950]-1951; working manuscripts, typescripts and editorial correspondence relating to the follow-up volume, published posthumously under the title Finishing Touches (London: Jonathan Cape, 1964), [1950x1952]-[early 1960s]; and other miscellaneous autobiographical fragments, [c. 1950], [?1959].

A typescript copy, [20 cent., third ¼], of a letter, [Summer 1930], from Augustus John, Renvyle, County Galway, to Will [?Rothenstein], in which John explains his presence in Ireland to paint W. B. Yeats' portrait.
The typescript has the date supplied in the hand of [?Michael Holroyd] and resembles typescripts of other letters to Rothenstein to be found in NLW, Michael Holroyd (Augustus John) Research Papers 4/6.

Three letters, 1916-1918, relating to Augustus John, including one letter sent by John, at the Canadian Corps HQ, [France], to the artist [Peter] Harrison, 21 February 1918, commenting on John's exhibition at the Alpine Club, London, and his current work as a war artist with the Canadian War Memorials Fund (f. 4).
Also included are two letters from George Moore, London, the first to Henry Tonks, 1 December 1916, discussing John's portrait of [Admiral] Lord Fisher [of Kilverston] (f. 2), and the second to Harrison, 5 February 1918, concerning the Alpine Club exhibition (f. 3).

Seven letters, 1955-1956, from Augustus John to Mrs Edith Saunders of the Hotel Santa Clara, Torremolinos, Spain, where the artist stayed from December 1954 to March 1955 (ff. 1-7 verso), together with one letter, 1955, from Dorelia McNeill to the same (f. 8); the letters contain mainly personal news and references to John painting a portrait of Mrs Saunders.

Ten letters, February 1960-April 1961, from the painter Augustus John, Fordingbridge, Hampshire, to the art collector [Emerich (Emo)] Telt[s]ch, mostly concerning John's work (ff. 1-3, 5-10, 13); together with one letter from Dorelia John to Teltsch, 19 August 1960 (f. 4), and one from the painter Jo[sette] Jones to Teltsch, [February 1961] (ff. 11-12).
The letters contain references to work on John's triptych 'Les Saintes-Maries de la Mer with Sainte Sara, l'Egyptienne' (ff. 3, 5-9, 13); Teltsch offered him up to £8000 for the work (see NLW MS 22786D, f. 68, and Michael Holroyd, Augustus John: The New Biography (London, 1996), p. 597). There are two letters, from John (f. 10) and Josette Jones (ff. 11-12), concerning John's apology for an ill-advised letter (not present) to Teltsch, criticizing drawings by Teltsch's God-child (unidentified).

Four letters, 1947-1950, from Augustus John to the scholar and colonial administrator, Sir Ronald Storrs, regarding arrangements for a proposed portrait of the latter.

Three letters and a card, 1941-1958, from Augustus John to his son-in-law, Villiers Bergne, together with five letters and cards, 1968-1969, to Bergne from Michael Holroyd concerning the latter's biography of Augustus John.

Seventeen letters and one note, 1926-1952, from Augustus John, ten of them to Sean O'Casey (ff. 2-13) and the remainder to the journalist George Bilainkin. Those to Sean O'Casey contain mainly personal news, but refer also to O'Casey's work and to John's designs for the set of 'The Silver Tassie', staged in 1929 (ff. 4 verso, 6, 7). Extracts from them were published in Eileen O'Casey, Sean (London, 1971). The letters to Bilainkin (ff. 14-20) refer mainly to the latter's articles on John.

Papers, [1880s]-1980, of or relating to the artist Augustus John comprising letters from Augustus John to miscellaneous recipients, including over eight hundred and forty letters to his second wife Dorelia McNeill; letters to Augustus John from family, friends and miscellaneous individuals; letters from Ida John (née Nettleship), first wife of Augustus John, mainly to relatives and friends; letters to Dorelia McNeill from miscellaneous correspondents; and other correspondence of the John and Nettleship families; sketchbooks, 1908-[mid 1920s], of Augustus John; drafts of autobiographical writings by Augustus John which would later be published as Chiaroscuro (London, 1952) and the posthumous Finishing Touches (London, 1964); miscellaneous family papers of the John and Nettleship families; catalogues of Augustus John's papers; and a volume of poems, [c. 1909], of Arthur Symons, composed during his period of madness and transcribed by his amanuensis Agnes Tobin.

Correspondence with Augustus John concerning art and social matters.

The file comprises invitations to exhibitions at the Tate Gallery, British Museum, Hanover Gallery, Leicester galleries and various other galleries, predominantly in London, 1945-1970 (with gaps) with exhibition catalogues for George Stubbs (1957), Augustus John (1948), Andre Bauchant (1960), Paule Vezelay and Winifred Nicholson (1954), Ben Nicholson (1954), Lady Patricia Ramsay (1959), the '56 Group [Wales]', and The New English Art Club (1945).

The series comprises extracts from letters mainly from Augustus John relating to his writings, arrangements for portraits and exhibitions, with personal and family news; photocopies from John Quinn's diary, 1911, and his diaries, 1917-1923; together with articles about the artist and papers relating to his exhibitions held in Britain and America.

Holograph letters (24) from Augustus John, 1932-1953 and n.d. to Miss B. Parry and Dr. Parry.

An appreciation of the art of J. D. Innes (1887-1914), landscape painter, by, and in the hand of, Augustus John, R.A.

Some fifty letters and cards, 1903-1931, to Margaret Sampson (née Sprunt), wife of Dr John Sampson (1862-1931), Librarian of the University of Liverpool, from Augustus John, 1903-1931 (ff. 1-25 verso), his first wife Ida John (née Nettleship), 1903-1906 (ff. 30-85), and his sister Gwen John, 1911-1913 (ff. 26-29). The letters contain mainly family and personal news.

Some thirty-three letters and postcards, 1928-1975, addressed to Edwin John, mainly from family members.
The correspondents include his father Augustus John, 1932-1946 (ff. 9-11), his aunt Gwen John, 1928-1933 (ff. 15-25), and his step-mother Dorelia McNeill, 1963-1967 (ff. 31-47). Also included are two letters from Edwin to his wife Betty John, [?1933] (ff. 48-51), and two postcards addressed to Gwen John from her father, Edwin William John, 1911 (ff. 13-14).

Some fifty letters, 1934-1961, to Edwin John from various correspondents, including over forty letters from his father, Augustus John, relating mainly to the estate of Gwen John and the disposal of her works after her death but also containing personal news and comments; and four letters, 1948-1949, from Madame Louise Roche, Gwen John's nearest neighbour in Meudon, together with manuscript and typescript recollections of Gwen John by Madame Roche.

Over a hundred letters, 1934-1956, addressed to Edwin John, nephew of Gwen John, from various correspondents (surnames B-J), including his father, Augustus John (48) 1938-1956, and other members of the John family; many of the letters are concerned with the 1946 Gwen John memorial exhibition.