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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.

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.

Forty photographs, 1880s-?1930s, formerly in the possession of Edwin John, more than half of which originally belonged to Gwen John and represent friends and models; the remainder, which represent members of the John and Nettleship families, could derive either from Gwen John's estate or that of Augustus John. Also included are prints made from negatives of the same provenance.

Papers, 1927-72, relating to the administration of the estates of various members of the John family, notably that of Gwen John, including an agreement, 1927, for the purchase by her of property at 8 rue Babie, Meudon, and executors' accounts and correspondence of her executor, Edwin John, concerning damage and losses incurred at the property during the Second World War, together with rate receipts and a plan of the property. Also included are copy wills of Edwin William John (d. 1938), Augustus John (d. 1961) and Dorelia McNeill (d. 1969), with related accounts, legal papers and correspondence, and fifteen letters, 1966-7, from Admiral Sir Caspar John to Edwin John, relating to the estate of Augustus John.

Papers and correspondence, 1880-1972, of or relating to the artist Gwen John and including letters and diaries, exercise books and other notebooks, and sketches; together with correspondence and other papers relating to the estate of Gwen John, and photographs found amongst her papers after her death.

Extracts, 1911-1919, by Gwen John, copied from various authors, mostly religious or philosophical.

Extracts, c. 1910, copied by Gwen John from a draft of Rodin's Les Cathédrales de France (1914), together with exercises in French translation.

Exercise book, 1910-1912, of Gwen John containing miscellaneous notes and reflections, mainly of a religious character.

Exercise book, 1917-1925, of Gwen John containing notes on methodology and impressions of subjects for pictures.

Exercise book, 1922, of Gwen John containing extracts copied from printed sources, of a literary and devotional character.

Exercise book, 1933, of Gwen John containing a few notes on colours and impressions of subjects for pictures.

Exercise book, [c. 1903]-[c. 1904], of Gwen John containing notes on art history and related subjects together with transcripts of verse and prose in English, Welsh and Romani.

Exercise book, [?1910]-1912, of Gwen John containing advice on prayer and meditation copied from a printed source.

Exercise book, [c. 1913]-1926, of Gwen John containing extracts copied from printed sources, mainly on literary and philosophical subjects, together with draft letters, in French, to Auguste Rodin.

Exercise book, 1910-1911, of Gwen John containing extracts copied from various authors, mostly philosophical and religious.

Exercise book, [?1920]-1930, of Gwen John containing a few impressions and sparse notes for pictures.

Over forty letters and telegrams, 1939-1945, to Edwin John, as Gwen John's executor and principal legatee, relating to the disposal of her estate.

Some fifty-five letters, 1940-1949, to Edwin John from galleries, dealers and agents, relating mainly to the dispersal of Gwen John's work after her death.

Some sixty letters, 1910-1938, to Gwen John from her father, Edwin William John.

Some one hundred and five undated draft letters, [c. 1927]-[c. 1932], from Gwen John to Véra Oumançoff, containing mainly personal news and reflections but including references to drawing in church (ff. 13-14, 49); showing her pictures to Véra and the latter's reactions to them (ff. 41, 47, 50, 52-56); the 'dessins du lundi' (ff. 40, 50, 76, 95, 107, 127, 129-130); general reference to her work (ff. 19, 31, 51, 87, 115-116); rough sketches (ff. 79 verso, 83, 86 verso); visits to the Galerie Bernheim (f. 125), and to la Chapelle du Val (f. 124); fragmentary drafts of letters to her godmother (f. 46 verso) and to [?Chloe Boughton-Leigh] (f. 134 verso).