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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 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.

Collection consists of journals, exhibition catalogues, photographs, press cuttings, writing on art and some correspondence by or collected by Keith Vaughan, 1908-1977.

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 personal archives of John Piper and of his wife Myfanwy Piper. The papers consist of personal and business correspondence; subject files on commissions, people and events; draft writings by both the Pipers; notebooks and sketchbooks; original sketches and prints together with reproductions of works and design commissions; photographs; appointment diaries; personal, artistic and literary papers; and a range of printed material and press cuttings.

Vanessa Bell was an avid photographer taking snapshots of her family and friends from 1900 until the late 1940s. Her albums provide a unique visual record of the Bloomsbury Group. Whilst the two earliest albums depict the Stephens's family and friends in formal pose, often in photographers' studios, Vanessa Bell's photographs focus on those carefree moments, taken mostly outdoors and usually in the garden at Charleston Farmhouse. Initially, Bell both took and developed her own photographs, but later she made use of professional assistance. Her son Quentin Bell observed in 'Vanessa Bell's Family Album', "She gives us a record of family and friends and in fact uses the camera as most people use it if they are not professional photographers. The family album becomes an expression of sentiment and, to a very large extent, an expression of family affection".

Kit Wood was a painter of seascapes, landscapes, imaginative and figure compositions. This collection of photocopied material consists largely of transcripts of letters from Kit to his mother, covering the important years of his artistic career from his move to Paris in 1921, until shortly before his death in 1930. The letters document Wood's close relationship with his mother, as well as the strains his choice of career and way of life placed on the relationship. Recurrent throughout the correspondence are descriptions of Wood's attitudes and feelings towards the art world and society, closely linked with his desire for success; the financial difficulties which beset him; and references to, or descriptions of, his work. The collection also includes copies of letters to Doodie Reitlinger from Wood and from Frosca Munster, and a few letters to his mother and to Frosca Munster from various correspondents after his death. There is also a manuscript copy of Cingria's eulogistic article about Wood, 'Ossianide', and a number of reproductions of Wood's work.

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.

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.

This small collection of Paul Nash material was given to the Archive by the Paul Nash Trustees via Andrew Causey, who had been using the material for his book on Nash. It contains a wide range of material, including manuscripts and drafts of biographical pieces by his wife Margaret, lists and catalogues of paintings and works, as well as a small collection of artwork including proofs of illustrations.

This collection comprises writings by Vanessa Bell, including manuscripts written for the Memoir Club, and correspondence from the Bell family and others with Duncan Grant.

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.

The printmaking archive of the sculptor, Naum Gabo, [1940-1977].

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

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.

Photocopies of four folders of correspondence relating to the disputes between Ian Hamilton Finlay and Fulcrum Press and with Coracle Press. In 1974 Ian Hamilton Finlay quarrelled with the Fulcrum Press over their First Edition of his 'The dancers inherit the party', which Finlay did not consider to be a true first edition. During 1976 the relationship between Finlay and Simon Cutts who was then running the Coracle Press and Gallery became strained with Finlay claiming that Coracle Press owed him money for his Wild Hawthorn Press publications which he had supplied to them for sale in their bookshop. He successfully sued them in Lambeth County Court. Part of the dispute also centred on articles and comments made by Ian Gardner in the publication 'Blue Tunnel'.

Kenneth Clark was Keeper of the Ashmolean and Director of the National Gallery, a writer, lecturer and broadcaster, and a collector and patron. This collection consists mainly of the professional papers relating to his work as an art historian and writer, but includes material relating to his work as a public servant, an administrator and in other roles during the Second World War. It contains correspondence, subject files, writings, source material, photographs, press cuttings and printed ephemera.

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.

The collection consists of 242 boxes of files relating to the work of the British Council Fine Arts, later Visual Arts, Department. The majority of the files concern the exhibitions created by the department and the touring of exhibitions outside Britain and provide illustrations of the art works included(notably for the Venice and Sao Paulo bienials), press cuttings, correspondence and related papers.

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.