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The file comprises photocopies of letters, [1946]-[1959], including Augustus John's tribute to Lady Matthew Smith [née Gwen Salmond], January 1958, together with photocopies of letters, [1941]-[1958], from Vivien White to Sir Matthew Smith and a letter from 'Dodo', [1941x1961].

The file comprises notes taken from the papers of [Gerald] Kelly held at the Royal Academy of Arts mainly relating to Augustus John's retrospective exhibition at the Royal Academy in 1954; a press release (original) from the Walker Art Gallery, Liverpool, 1954, relating to an exhibition 'Augustus John in Liverpool' held there; a press release from the Fitzwilliam Museum, Cambridge, advertising the Augustus John Centenary exhibition in 1978; information sheet for an exhibition held at the Manchester City Art Gallery in [1985x1986]; a press release advertising a one week only exhibition of Augustus John's cartoon 'The Mumpers' at the Mercury Gallery, London, in [1994]; a press release from the Barbican Art Gallery advertising the 'Modern Art in Britain 1910-1914' exhibition held in 1997 featuring landscapes by Augustus John; photocopy of an exhibition of Augustus John drawings lent by Anson C. Goodyear at the Buffalo Fine Arts Academy, New York, 1926; notes about the National Gallery and Augustus John's exhibition held in 1940; and a transcript of a press cutting, 1907, from The Saturday Review (which was in the possession of Winifred Shute [sister of Augustus John]) relating to an exhibition at the Carfax Gallery, London. -- The file includes photocopies of the correspondence, 1954, of John Freemantle (Lord Cottesloe) relating to an exhibition held at the Diploma Gallery, Royal Academy, and the confusion about the painting of Miss Spencer Edwards. Also included are notes taken from the appointment diaries of Augustus John, [1921] and 1923 (NLW MSS 23853-23854A).

The file comprises articles and other items, mostly photocopies, including Th. Bolton, 'Augustus John - The Painter', Pearson's Magazine, 1919; 'Some of Augustus John's drawings now on exhibition in the National Gallery, London', Picture Post, March 1941; Alan Andrews, 'Augustus John', Picture Post, March 1954; 'Augustus John a great artist but a difficult sitter' by Allan Chappelow, The Photographic Journal, July 1962; 'The Boy David: Augustus John and Ernst Stern' by Michael Easton, Apollo, 1965; minutes of the Royal Society of Portrait Painters, 1938-1954 (Augustus John was its president, 1948-1952); articles, 1912, from various newspapers relating to the cartoon 'Mumpers' by Augustus John exhibited at the New English Art Club in London; 'The drawings of Augustus John' by Hugh Blaker, Colour magazine, 1916; and 'Augustus John in Dorset', Dorset Life, 1990; together with the programme of the Augustus John Memorial Concert held by the Royal Academy of Arts in 1966 and a booklet about Gumfreston Church [where the artist's father Edwin William John was buried].

The file comprises 'Augustus John. Artists, anarchist and gypsy' by Horace Shipp, Everybody's Weekly, March 1954; photocopies of galley proofs corrected by Augustus John of his review of Dora E. Yates's My gypsy days: recollections of a Romani Rawnie, [1953]; Journal of the Gypsy Lore Society, containing tributes to Augustus John by Sacheverell Sitwell and Walter Starkie, 1962, and Dorelia John by Joseta Jones, 1970; photocopies of Juliette de Bairacli Levy's 'Augustus John in the New Forest', Journal of the Gypsy Lore Society and a draft of the article; 'Hungarian gypsies in Comberton Camp' by the same author; book reviews of Sven Berlin, Dromengro: Man of the road (London, 1971), with references to Augustus John, and an article by Ronald Blythe, The Listener, June 1972, relating to sites for gypsies.

The file comprises photocopies from the diary of John Quinn, 1911, a New York lawyer and patron of the arts, with references to Augustus John, and notes taken from his diaries, 1917-1923, and from his various correspondents, including [Jacob] Epstein, Iris Tree and W. B. Yeats, 1908-1923, together with a photocopy of a letter, 1911, from the artist to John Quinn.

The series includes the reminiscences of members of the John family and acquaintances of Augustus John, [1968]-[1975], an unpublished biography by Alan Moorehead, [1968x1974], the unpublished diaries of John Everett, [1968x1974], papers relating to the Slade School of Fine Art, [1899]-1971, and press cuttings, 1928-1972, relating to the artist.

The file comprises notes on their recollections of Augustus John and their childhood, [1968]-[1975], 'Some aspects of Fryern' by Tristan de Vere Cole and of Sir Caspar John, David John, Dorelia John, Romilly John, Amaryllis Fleming, Poppet Pol, [Vivien White] and Villiers Bergne, with transcripts of three letters and a postcard from Augustus John, 1941-1958, to him with added notes on their context. Also included are photocopies from The Listener, March 1975, of Eric Rowan's article 'The fire and the fountain' quoting the impressions of Sir Caspar John and some of his siblings on the artist and on Gwen John with contributions by Mary Taubman; a note on the life of Augustus John's mother Augusta John (née Smith); notes from the talk Augustus John gave in [1949] for the [BBC, Far Eastern Service] entitled 'I speak for myself'; a note on Dorelia; and a photocopy of a typescript account 'The artist at home' by [Romilly John]. Also included is a photocopy of a letter, 1963, from the University Registry, Cardiff, relating to a proposed memorial plaque for the artist in Haverfordwest, with an extract from a Report of the Congregation of the University showing that he was awarded an LL.D degree by the University in 1932.

The file comprises notes mainly from printed sources about the artist. These include Campbell Dodgson, A catalogue of etchings by Augustus John (London, 1920); 'Augustus John' by Frank Harris in his Contemporary portraits (New York, 1920); Wyndham Lewis, Rude assignment [1950]; Anthony Bertram, A century of British painting (London, 1951); Thelma Cazalet-Keir, From the wings: an autobiography (London, 1967); Frances Lloyd George, The years that are past (1967); John Symonds and Kenneth Grant (editors), The confessions of Aleister Crowley (London, 1969); and Oliver St John Gogarty, It isn't this time of year at all! (1983), together with typescript notes from an article 'Augustus John on art training' from The Daily Telegraph, an address by Lennox Robinson, 1955, during the presentation of a bust of W. B. Yeats made by Augustus John to the Abbey Theatre, [Dublin], with a list of subscribers and 'In praise of Augustus John' by Iris Tree, 1967, uncompleted and unpublished autobiography.

The file comprises photocopies of articles and some original copies, [1910]-1972, relating to Augustus John and his portraits, including photocopies of 'The work of Augustus John', from The Cambridge Magazine, 1912, profiles of him, a book review, 1964, of his Finishing Touches, and to his death in 1961.

The file comprises three letters, 1972-1973, from Martin Secker & Warburg Limited, relating to the publishing of The art of Augustus John (the last one from T. G. Rosenthal to Dr Roy Strong) and a publishing agreement, 1971, together with a publisher's brochure, [1974], and Complete books in print, 1975, by David R. Godine, Publisher, with an entry for the book.

The file comprises photocopies of publishing agreements, 1938, 1949, 1960, 1962, and correspondence, 1948-1971, relating to the publishing of the autobiography, together with letters, 1995, from Michael Bott, Keeper of Archives and Manuscripts at the University of Reading Library.

The file includes a photocopy of a letter, 1931, from Augustus John to John [Rothenstein], relating to the proposed 'book of memoirs' and letters to Little, Brown and Co., USA, 1938, from Jonathan Cape; original copies, 1952, and photocopies mainly of reviews of the autobiography, including 'Return to first love', a sequel to the autobiography, specially written by Augustus John for The Sunday Times, January 1953; together with a memorandum of the publishing agreement, 1938, between Augustus John and Jonathan Cape.

The file comprises agreements between Michael Holroyd and the following publishers: William Heinemann, 1969, Holt, Reinhart and Winston, USA, 1970, William Heinemann, 1974, and Viking Penguin, USA, 1987, together with photocopies of the copyright agreement signed by Dorelia John in 1969 and by Edwin John as the copyright holder of Gwen John, 1969. Also included is a letter, 1968, relating to copyright in the letters of Mrs Julian Vinogradoff's mother Lady Ottoline Morrell, and corrected page proofs, 1973, of passages relating to her mother in the biography.

The file comprises an address book used to list a bibliography of published and unpublished material on Augustus John, [1969x1974], together with reports, [1972], by Moira Lynd of the six chapters and notes of the first volume on Augustus John and corrections by [Mary Taubman].

The file comprises copies of letters, 1994-1995, sent by Michael Holroyd relating to information about new holdings of Augustus John papers and the preface to his revised edition of the biography.

The file comprises corrections for the new biography published in 1996 added to loose pages of the biography published in 1976 by Penguin.

The series comprises letters, 1971-1975, relating to the 'Paintings and Drawings' and 'Life and Times' exhibitions held at the National Portrait Gallery in 1975; letters, 1996-1997, and related papers concerning the International Festival of Authors held in Toronto, Canada, October-November 1996; papers relating to the Cardiff Literature Autumn Season 1996, together with his article 'The ideal woman' for the Buxton Festival, 1998, and his article (proof copy) on Augustus John, 1999, for the New Dictionary of National Biography.

The file comprises papers, 1996, relating to the festival, including letters from the Welsh Academy and a programme of events. Michael Holroyd and Justin Wintle were in conversation with Peter Lord.

The file comprises a screenplay by Robert Bolt, [?1979], together with a letter, 1979, from Margaret Ramsay Ltd, Play Agents, London, notifying him that the play was commissioned by Stella Richman Ltd but the project was abandoned due to financial problems.