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Christopher Wood met Frosca Munster in Paris in 1928. Although she was married, they began an intense relationship, meeting in Cornwall, London or Paris whenever possible. The collection contains a large number of love letters and telegrams from Wood to Frosca, and letters from Rene Crevel and Jean Cocteau. It includes telegrams of condolence to Frosca after Wood's death, memoirs of him by, among others, Winifred Nicholson, Max Jacob and Jean Cocteau, and reports about his death. The collection also contains photographs of Wood and his friends, press cuttings relating to his death and exhibitions, and locks of his and Frosca's hair.

The majority of the collection is written in French, although Wood's letters to Frosca (TGA 723/5-75) have been translated into English.

Alfred Yockney was an art writer and curator primarily associated with West End galleries and art publishers. This collection consists mainly of his correspondence with artists and members of the art world as part of his work as the editor of Art Journal and as secretary to the British War Memorials Committee. It also contains numerous sets of notes about artists as preparation for articles. The collection includes printed leaflets and extracts from exhibition catalogues and newspapers.

Records of the Artist Placement Group (APG), [1960-1999]. Including files relating to: their approaches and placements within industry and government departments; the APG's involvement with art colleges, galleries, universities and artists' groups; lectures and symposia; correspondence with artists; the day-to-day running of the Group; publications, press and publicity; audiovisual material and photographs.

The photographs in this collection cover areas of Peri's work between 1920 and 1966. They include images of his early constructivist work, bronze figurines, cement sculptures and pictures of the artist at work. The drawings and sketches are mainly of people in a variety of simple poses, but are all undated. The correspondence refers to possible commissions for the London County Council, 1958 and an exhibition of his work at St. Pancras Public Library, 1963.

Alfred Wolmark was a painter whose range included figurative, landscape and graphic art. The papers and sketches in this collection reflect the various areas and influences in his life and work. The collection includes sketches, transcripts of his lectures, a diary, examples of posters and programmes designed by him, lists of his works, and correspondence with friends, associates and possible sitters.

Edward Burra was an English painter, illustrator and stage designer. This collection includes a wide variety of material reflecting Burra's eclectic interests. There is a small amount of correspondence; artwork including sketchbooks and mounted pages from sketchbooks; and proof illustrations for Humbert Woolfe's 'ABC of Theatre'. There are photographs of some of Burra's stage designs; material sent to Burra by Paul Nash; and a wide range of presscuttings, some relating to Burra, others collected out of interest. The two card indexes of books were made at the time of the inventory of his possessions at his home, soon after his death. Many of the books and other printed items are stored in the Tate Library. There is also a collection of Burra's 78s, jazz, blues, swing, Latin American and Spanish records. There is a further collection of Burra's papers, notebooks, diaries, artworks, photographs, exhibition catalogues, sound recordings and postcards at TGA 939.

Carrington's life and her relationships are comprehensively covered in the writings, correspondence and photographs contained within this collection.

A sketchbook by Stanley Spencer, c 1919-1924 with one loose sketch of Gilbert Spencer by Stanley Spencer, c 1906-1908.

The Sketchbook contains 37 pages with sketches on front and back of pages, 4 loose sheets and 2 torn pages. Most sketches are made in pencil. However, 12 sketches are finished in pencil and wash, and 1 sketch in pencil and oil.

The sketchbook spans Spencer's time spent with the Slessers in Bourne End from late 1919-1920, with Muirhead Bone and his wife at Petersfield in 1921 and his stay with Henry Lamb in Poole, Dorset in April 1923 where he produced designs for what would later become the Sandham Memorial Chapel at Burghclere. The sketchbook is significant in that it includes initial ideas for a number of post-First World War religious works, including some Tate-owned paintings, notably 'Christ Carrying the Cross', 1920, 'The Robing of Christ and the Disrobing of Christ', 1922, and 'The Resurrection, Cookham', 1924-26. It also includes a number of designs (many in pencil and wash) for Sandham Memorial Chapel at Burghclare which are amongst some of the earliest sketches that Spencer created for this commission.

The loose sketch of Spencer's brother, Gilbert Spencer, is a pre-Slade School sketch of c 1906-1908 of his magnum opus.

This collection largely consists of correspondence to and from Stanley Spencer and his writings on himself, his paintings, religion and his relationships. The correspondence dates from the late 1930s, with the majority coming from the 1940s and 1950s. Important correspondents include: the British Broadcasting Corporation, Mary and Louis Behrend (patrons and founders of Sandham Memorial Chapel, Burghclere), Spencer's sister Florence Image, his first wife Hilda, his children Unity and Shirin, John and Elizabeth Rothenstein and the Tate, and Arthur Tooth and Sons (his agents). The collection also contains Spencer's writings, notebooks and diaries. Spencer was a prolific writer who appeared to use his writings as an opportunity to expand or refine his ideas for paintings, and his personal thoughts. Along with his letters, the continuous writings, notebooks and diaries often contain detailed descriptions of his paintings, compositions and schemes; his opinions on art, life, philosophy, religion and sex; and his autobiography and preparation for a proposed book. The collection is completed by a number of sketches and drawings by Spencer, the majority of which relate to larger, painted works; and some printed ephemera including press cuttings, photographs, postcards, private view cards and exhibition catalogues.

The collection contains committee minutes from its foundation until 1925, minutes of the annual general meetings from 1902 to 1937, agendas and notes for meetings between 1905 and 1910, press cuttings (mainly reviewing the Society's exhibitions) and printed material relating to exhibitions.

This collection consists of correspondence, notes and writings, artwork, photographs, press cuttings, exhibition material, printed material, personal documentation, financial documentiation, and ephemeral items relating to Cecil and Elisabeth Collins.