Jim Ede, creator of Kettle's Yard
Harold Stanley ['Jim'] Ede was born on 7 April 1895 near Cardiff. He attended the Leys School in Cambridge, studied painting at Newlyn Art School and, after service in the First World War, attended the Slade School of Art in London. In 1921, Jim Ede married Helen Schlapp, the daughter of a professor of German at Edinburgh University, and found work in the photographic department of the National Gallery in London. The following year, he was appointed Assistant at the Tate Gallery, London, a change he describes as 'phenomenal':
'I gave up painting and became absorbed in the work of contemporary artists. I wrote a great deal about modern painting and sculpture, and came to know most of the leading artists of the day, and also the ones who were not yet known.'
It was while at the Tate that he formed important friendships with Ben and Winifred Nicholson, David Jones, Christopher Wood and other artists, and began collecting their work. He made trips to Paris that allowed him to meet key avant-garde artists, such as Pablo Picasso, Marc Chagall, Joan Miro, and Constantin Brancusi. He was also able to acquire the greater part of the estate of Sophie Brzeska, the partner of the sculptor, Henri Gaudier-Brzeska, who had been killed in the First World War. Ede strongly believed in the quality of Gaudier-Brzeska's work, and made it his mission to promote it, including through his best-selling book, 'Savage Messiah', and through supporting exhibitions and donating works of public collections in Britain and France. He also served as Secretary of the Contemporary Arts Society.
It was while living at 1 Elm Row, Hampstead, in the 1920s and 1930s, that Ede began the practice of opening his house and engaging with new visitors. His guests included a great variety of artists, musicians, actors and literary figures, such as Georges Braque, Sergei Diaghilev, Vaslav Nijinsky, Naum Gabo, John Gielgud, Henry Moore, and Ben and Winifred Nicholson.
In 1936, Ede retired due to persistent ill health, and began spending part of the year in Tangier, Morocco. He commissioned a modernist house there, called 'White Stone', where he and Helen lived until 1952. During the war years, Jim travelled to the USA, with Helen, on lecture tours to raise funds for Allied War Relief. It was during this period that he came to know Richard Pousette-Dart and William Congdon. The Edes also opened their house in Tangier to servicemen on leave from Gibraltar, providing weekend retreats. In 1952, motivated by a desire to be nearer to their children, they moved to Les Charlottières, Chailles, near Amboise in the Loire Valley, France.
It was during this time that Ede 'found [himself] dreaming of the idea of somehow creating a living place where works of art could be enjoyed, inherent to the domestic setting, where young people could be at home unhampered by the greater austerity of the museum or public art gallery and where an informality might infuse and underlying formality. I wanted, in a modest way, to use the inspiration I had had from beautiful interiors, houses of leisured elegance, and to combine it with the joy I had felt in individual works seen in museums, and with the all embracing delight I had experienced in nature, in stones, in flowers, in people.'
In 1956, the Edes moved to Cambridge and renovated four derelict cottages to create
It was always Ede's intention that he would give Kettle's Yard to a higher education institution, and on 30 November 1966, he officially handed over responsibility for the building and the collection to the University of Cambridge. He continued to live there as 'honorary curator' until 1973, when he and Helen left for Edinburgh. During this period, he devoted considerable energy to fund-raising for an extension to accommodate the growing collection, music events, and temporary exhibitions. Helen died in 1977; Jim devoted the last years of his life to working as a hospital visitor, until his death in 1990.
See
See
The archive at Kettle’s Yard forms part of the core permanent collection given to the University of Cambridge by H S ‘Jim’ Ede in 1966. It documents the development of the House and collections; Ede’s activities and interactions with artists and other key figures over much of the 20th century; and the ongoing work of Kettle’s Yard as a leading centre for modern and contemporary art.
This series of correspondence consists partly of the archive given by Jim Ede's to the University of Cambridge, along with Kettle's Yard house and the art collection; partly of correspondence with artists that Ede sent to Kettle's Yard after his departure in 1973; and partly of correspondence about particular artists and other material relating to them, which has historically been filed with their correspondence.
Much of the correspondence was arranged into a single alphabetical series by correspondent in the early 2000s (KY/EDE/1/1). Large groupings of correspondence from and/or relating to individuals of particular significance to Kettle's Yard, have remained separate, and are arranged by surname, following the A-Z series. The correspondence received by Jim Ede after he left Kettle's Yard in 1973 has retained its chronological arrangement.
Includes material relating to the Brancusi Travel Fund, ‘Prometheus’ and Vera Moore, and the acquisition of ‘the fish’.
Correspondence between Congdon and Ede, mainly concentrating on painting and religion. Includes invitation cards, exhibition catalogues, the artist’s own photographs of his work and professionally taken photographs.
Given to Kettle's Yard for the library by Jim Ede in 1976
Correspondence with Ian Fairweather's biographers
Includes correspondence concerning the Finzi Trust, to which Ede made contributions.
Walter David Michael Jones (1895-1974), known as David, was an artist, engraver, woodcarver, illustrator and poet. His father was of a Welsh family but had settled in London, and his father's Welsh heritage played an important part in David Jones artistic and poetic work. He attended Camberwell School of Art and Westminster Art School. He fought in the First World War, an experience which was to have a profound effect on him and on his work, both his art and his poetry: he recalled the horror and devastation of war. Another major influence was religion. He became a Catholic in 1921 and his religious belief and devotion was a major theme running through all his work, art and poetry. Many of his works have religious themes. He worked with Eric Gill in Ditchling and Capel-y-Ffin. He met Jim Ede in the 1920s and through Ede was introduced to Helen Sutherland. Both were staunch supporters and patrons of his work; and David Jones became a close personal friend of both Jim and Helen Ede as well as Helen Sutherland. Jones' poetry, particularly the long poem 'The Anthemata', drawing on history and mythology concerning ancient Britain and the Roman conquest, was considered to be an outstanding work and was much praised by W.H. Auden. His other significant piece of writing 'In Parenthesis', a mixture of poetry and prose was also highly valued by critics and readers. He suffered from ill health, mental and physical, throughout his life but his output was large and varied. His very versatility was what made him a fierce critic of his own work but drew admiration from many.
The letters of David Jones to Jim Ede cover a range of topics: Jones' work, both artistic and poetic, his financial situation, his religious beliefs and his health. Ede appreciated Jones' work from the beginning and supported and encouraged him. Ede and Helen Sutherland also supported Jones financially sending sums of money at regular intervals in the 1920s and 30s, his early career. They both read and commented on his literary work and provided critiques of his artistic output. Their moral support was particularly valuable during his frequent periods of depression and poor physical health. Jones Catholicism was at the centre of his life and was the inspiration for much of his artistic work. Consequently discussions of religious belief and devotional expression figure largely in the correspondence. The letters also give a picture of the close personal relationship not only with Jim but also with Helen Ede who clearly valued this relationship.
Painting going badly. How can David Jones get a set of engravings back to Jim Ede. From Caldey Island, Wales.
David Jones is lonely. Discussion of the similarities between the Catholic Church and its congregation, the artist and his picture. From the Cobourg Hotel, Tenby, Wales.
David Jones particularly likes a postcard of a French medieval Madonna and Child sent to him by Jim Ede. Mentions his own exhibition at St George's gallery. From Western Esplanade, Hove, Sussex.
Broken engagement to Petra Gill. Thinks recent painting is amongst his best. Angels and the Catholic Church. From 5 Western Esplanade, Hove, Sussex.
Note concerning 'The Whale Vomits up Jonah' 1926, wood engraving from the 'Book of Jonah'. Sent from London.
Beautiful singing of office by Dominican nuns. David Jones is depressed by work going badly. Ugliness of town and church. From Lourdes France.
Eyes are bad due to engraving. No love manifest in the new civilisation. Kent spoilt by villas and arterial roads. Depressed. From 115 Howson Road, Brockley, Kent.
Eyes still bad. Discussion of Catholic theology and work by GM [George Moore]
David Jones is glad Ede recognized Lourdes from his painting. Helen Sutherland bought 2 paintings. Reading 'From Ritual to Romance' by Jessie Weston. From 115 Howson Rd, Brockley, Kent
Reference to 'Deluge' and 'Ancient Mariner Engravings'. Mention of a book, probably 'In Parenthesis'. Enjoyed having dinner with TS Eliot. From Fort Hotel, Sidmouth, Devon.
Mother ill. David Jones compares complications of his intellectual life with the relatively easy life of angels - they know the answer by intuition. From 115 Howson Rd, Brockleyt, Kent.
David Jones dislikes Cairo but is impressed by pyramids and sphinx. Angry at inability to speak the language. Attempts to print TG initials. Cannot work. From Immeuble Eliakin, Giza, Cairo, Egypt.
Views on what is distinctively British in British painting and literature. From 28 Bywater St, London SW3.
Sympathy for Jim's appendicitis. Enquiring also after Helen's health. From Quay Hotel, Hartland, Devon.
Sympathy for appendicitis. Short discussion of Malory's 'Morte d'Arthur' and Dickens' 'David Copperfield'. Gothic stone knight in local church photographed. Feels unsettled and can't work. From Fort Hotel, Sidmouth, Devon.
Rene Hague ill with flu. 6 watercolour drawings must be moved from Tooth's and Zwemmer's. Hopes the photo of the gothic stone knight might do for the cover of his book, probably 'In Parenthesis'. From Fort Hotel, Sidmouth, Devon.
Plans to visit Jim Ede at the Tate on his way through London to stay with Helen Sutherland in Northumberland. Has declined to exhibit in the Welsh show organised by Augustus John. From Fort Hotel, Sidmouth, Devon.
Working on the 'Life' requested by Jim Ede for the Tate. Pleased that he was represented in the Welsh show after all. from Rock Hall, Alnwick, Northumberland.
Covering letter sent with the typescript of 13-page 'Life', David Jones autobiography, for Jim Ede to use for a lecture in Cardiff and at the Tate. From Rock Hall, Alnwick, Northumberland.
Thanks Jim Ede for sending typed copies of his 'Life'. Reluctant to have handwritten original copy made available to the public. Concern over the political situation around the Mediterranean. From Rock Hall, Alnwick, Northumberland.
Upset at not having seen Jim Ede in London. Glad to be back by the sea in Devon. Felt ill in London but is better now. From Fort Hotel, Sidmouth, Devon.
Thanks for presents. Working at book - probably 'In Parenthesis'. Reference to Prudence and Petra.
Book - 'In Parenthesis' - is finished. David Jones would have liked to have made engravings for it. Thinks of consulting a psychologist. Prudence is happy in Palestine. David Jones misses the Edes. From Fort Hotel, Sidmouth, Devon.
The printing of 'In Parenthesis' is to be arranged by Rene Hague. David Jones thinks he should write notes on the Welsh obscurities. The preface is difficult to write. From Fort Hotel, Sidmouth, Devon.
Admiration for Von Ribbentrop's speech at the League of Nations. David Jones is working on the typescript of 'In Parenthesis'. The poem seems foolish to him in a time of political crisis. Jim Ede has collated some of David Jones pictures for a show at Redfern Gallery. From Fort Hotel, Sidmouth, Devon.
David Jones wants 'In Parenthesis' on foolscap sized paper and printed to look like a government White Paper. Thoroughly approves of the German political proposals. Turned out of the 7&5 Club. David Jones would like to see the exhibition at the Redfern Gallery. From Fort Hotel, Sidmouth, Devon.
David Jones is amazed at articles about him in 'The Times' and 'The Morning Post'. He is still busy on the glossary for 'In Parenthesis. Wishes Jim and Helen well in Tangier. Hopes to get to the show at the Redfern Gallery. No address.
David Jones wishes Jim Ede a happy birthday; thanks him for his analysis of sales [at the Redfern Gallery]. Still working on the glossary [of 'In Parenthesis']. Wishes the Edes a good trip to Tangier. No address.
Feels better. Sold quite a lot of pictures at the Redfern Gallery. David Jones did get up to see the show. Still struggling with the notes for 'In Parenthesis'. Heard from Helen Sutherland who sounds depressed. From Fort Hotel, Sidmouth, Devon.
David Jones is collecting pictures for the National Eisteddfodd exhibition at Fishguard, Wales. Augustus John and Innes are also exhibiting. David Jones wants to borrow Ede's picture 'cows'. No news of Prudence. From Fort Hotel, Sidmouth, Devon.
Checking on titles and prices of pictures in the Eisteddfodd exhibition. David Jones wishes he could paint more pictures instead of borrowing old pictures for his contribution to the exhibition. Notes that 'In Parenthesis' is complete. From Fort Hotel, Sidmouth, Devon.
David Jones regrets he is not painting. When well he works on his book and improves it. He often remembers the pleasure of visiting the Edes in Hampstead. Prudence is back. From Fort Hotel, Devon.
David Jones is pleased to think of Ede having 'Rock Sheep' picture. 'In Parenthesis' is in Faber's Spring catalogue. David Jones has been depressed and wonders if he will ever fully recover. Eric Gill has recovered from a fall. From Fort Hotel, Sidmouth, Devon.
Although David Jones finds making value judgements difficult, writing poetry does not present this difficulty. Prudence visited. Does Jim Ede know of people to whom to send review copies of the book. From Fort Hotel, Sidmouth, Devon.
David Jones is concerned about having so few records of his paintings. Suggests photos should be taken. Has been unwell. Hard at work correcting proofs of 'In Parenthesis'. From Fort Hotel, Sidmouth, Devon.
'In Parenthesis' is complete. It has not turned out as David Jones wanted. He would like to have mentioned Jim Ede in the preface, but did not. From Fort Hotel, Sidmouth, Devon.
David Jones' mother has just died. David Jones was sorry not to see Edes when in London as they are now in Tangier. Wales is spoilt by urbanisation. 'In Parenthesis' selling badly. From 'Eastnor', Colwyn Crescent, Llandrillo y Rhos, Denbighshire.
David Jones wants to paint but has not been able to. Feels better than last year on the whole. Has started some new writing. Nasty international situation. From Fort Hotel, Sidmouth, Devon.
Looking forward to seeing the Ede family in London. Accounts of accepting the Hawthornden Prize. Painting exhaustion, but David Jones has done a large watercolour illustration to 'Morte d'Arthur". From Glebe Place, Chelsea, London SW3.
Health is better than last year. David Jones fears that Ede will not like the Morte d'Arthur illustration. Discussion of the stupidity of reporters. From Glebe Place, Chelsea, London SW3.
Enjoying reading 'Rejoice in the Lamb' by Kit Stuart. 'Guinevere' painting is finished. The frightening international situation paralyzes work. Book of 'Balaam's Ass' is underway. Prudence's marriage to Guy Branch [1913-1940]. From Fort Hotel, Sidmouth, Devon.
David Jones explains to Ede at great length the content and sources of 'Guinevere' [
Discussion of David Jones' neurasthenia. Prudence is very ill. Tate Gallery bought
David Jones has checked the words used by Nelson before Trafalgar, after an evening spent with Jim Ede. From Kensington.
Jim Ede's article on David Jones to be cleared by Robin Ironside [Article appeared in 'Horizon', Vol VIII, no,44, 1943]. David Jones' health has been bad. Perhaps painting and writing 'In Parenthesis' in 1932 made David Jones ill. From 12 Sheffield Terrace, London W8.
David Jones' corrections to Ede's manuscript for 'Horizon' article. Links with Lewis Carroll. David Jones' account of his life and work from 1933 to 1943. Struggle with new book. From 12 Sheffield Terrace, London W8.
Letter and corrected typescript of 'Life' written in 1935. Discussion of David Jones' interpretation of transubstantiation. H.S. Hartwick, now nearly 80, visited David Jones. From 12 Sheffield Terrace, London w*.
David Jones apologises to Ede for being difficult about the corrections for the 'Horizon' article. From 12 Sheffield Terrace, London W8.
Thoughts on Morte d'Arthur. It should be read in its entirety. From 12 Sheffield Terrace, London W8.
Correction for Chapel Perilous in 'Morte d'Arthur'. From 12 Sheffield Terrace, London W8.
Difficulty in deciding which paintings to reproduce for 'Horizon' article. David Jones went to a lecture on Blake, with slides, which excited him. Family are ill. From 12 Sheffield Terrace, London W8.
Appreciation of Ede's 'Horizon' article. Discussion of how artists influence one another. David Jones thinks his breakdown in 1932 may have been caused by trying to accomplish the impossible. From 12 Sheffield Terrace, London W8.
Death of David Jones' father. One of the few good men he knew. From 12 Sheffield Terrace, London W8.
Terrible winter, David Jones has had flu 5 times and been in bed for 2 months. Prudence's brother has died in an accident. From 12 Sheffield Terrace, London W8.
David Jones keeping 'In Parenthesis' pictures and map. Reference to exhibitions of David Jones' work in Belgrave Square and Cardiff. From 12 Sheffield Terrace, London W8.
Acknowledgement of Jim Ede's letter. David Jones' father left him £110 which is very welcome in a lean year. From Pigott's, North Dean, High Wycombe, Bucks.
David Jones' response to a proposal from Jim Ede and some other friends to provide David Jones with an allowance. Jones cannot concentrate on anything but his book. From Pigott's, Noth Dean, High Wycombe, Bucks.
David Jones ill with colds and flu, and bad nerves. Staying at Pigott's and working on his book when he can.
Some of the promised money has arrived in the Sloane Square branch of Barclays, but not the £100. From 12 Sheffield Terrace, London W8.
The £100 has still not been deposited in Barclays Bank, Sloane Square. Reference to the CEMA Exhibition at Harrogate. From 12 Sheffield Terrace, London W8.
£100 still not paid into Barclays Bank. Penguin monograph not out until 1945. From 12 Sheffield Terrace, London W8.
£100 still not arrived. Uncertainty about Tom's contribution. Severe attack of neurasthenia. Prudence wrote that she had seen the CEMA show in Brighton and that it was badly hung. From 12 Sheffield Terrace, London W8.
Jim Ede must not worry about David Jones' money problems. Prudence writes that she is ill. David Jones enjoyed seeing Ben Nicholson recently. David Jones continues to work on his book. from 12 Sheffield Terrace, London W8.
David Jones wonders if the £25 just arrived is part of the missing £100. He is sorry that the Edes are leaving the country. David Jones hopes to be at Pigott's for Petra's birthday. From 12 Sheffield Terrace, London W8.
David Jones has been ill with fibrositis. He has to buy and cook his own food. DIscussion of specific sums of money and Kenneth Clark's Artists' Fund. From 12 Sheffield Terrace, London W8.
David Jones is sorry he has not been communicative about his allowance. He is keeping the 'In Parenthesis' drawings as he has so few of his own drawings. Did one watercolour in Sussex.The book continues. Health bad. From 12 Sheffield Terrace, London W8.
David Jones is staying with Helen Sutherland and meeting Kathleen Raine. He itemizes his allowance of autumn 1945. He has been painting but unsuccessfully. He fears that writing may have killed his ability to paint. From Cockly Moor, Dockray, Penrith, Cumberland.
Sympathy for Jim Ede in his job of clearing up. From Northwick Lodge Harrow on the Hill.
Feeling much better after psychotherapy in nursing home in Harrow. Painting again. New exhibition at the Redfern Gallery. From Northwick Lodge, Peterborough Hill, Harrow on the Hill, Middlesex.
Health bad. Perhaps stipends should be reorganised. Liked the recent Ben Nicholson show. Wants to keep
Discussion of the Penguin mongraph on David Jones by Robin Ironside, and the difficulty of reproducing pictures. Jones is still working on his drawing of a man saying Mass. From Northwick Lodge, Harrow-on-the-Hill.
David Jones sends address and phone number of poet, John Betjeman to Jim Ede. From Northwick Lodge, Harrow on the Hill.
Discussion of
Letter from Jim Ede's mother to Jim Ede (kept with David Jones letters) in which she describes to her son her happy reception of the painting
David Jones gives to Jim Ede's mother a full explanation of the sources and symbols in the
David Jones is glad that the
David Jones health has not been good. He is pleased that the Edes like the
David Jones thanks Mrs Mildred Ede for her letter and the cheque for £150. Health bad recently. Form before content in making a painting. Doing some flower painting. Reading Ruskins autobiography. Jones is glad that Mrs Mildred Ede still likes the painting. From Northwick Lodge, Harrow-on-the-Hill.
David Jones has been trying to complete his writing. Admires Gerard Manley Hopkins and was influenced by him. Impatience with the world of academic painting. Been doing some lettering for Christmas cards. From Northwick Lodge, Harrow-on-the-Hill.
As Mrs Mildred Ede is in Cardiff David Jones is wondering if she heard the reading from the 'Mabinogion' on the radio. Never had David Jones heard anything so well read. From Northwick Lodge, Harrow-on-the-Hill.
David Jones is depressed by getting so little work done. He likes the Wallis catalogue sent by Jim Ede. From Northwick Lodge, Harrow-on-the-Hill.
David Jones is sending a photographed inscription to Jim and Helen Ede, 'Virgo Dei Genetrix' embellished 'MCML', with a greeting on the verso. In red crayon. No address.
David Jones thanks the Edes for the £50. He is glad that Princess Bassiano would like a picture. He would like to have a show this year. His health has not been good. from Northwick Lodge, Harrow-on-the-Hill.
Bristol City Art Gallery wants to borrow
David Jones will send a Christmas card. The picture Jim Ede wants is at the frame-makers. David Jones is grateful for the £50. He is correcting the typescript of his book, the 'Anathemata'. From Northwick Lodge, Harrow-on-the-Hill.
David Jones thanks Jim Ede for the cheque. Jones health is not good; he is trying to draw flowers. Correcting proofs of 'Anathemata'. From Northwick Lodge, Harrow-on-the-Hill.
David Jones discusses with Ede the use of 'Leir' and 'Lear' in tradition and in his 'Anathemata'. He gives advice on how to read the book. From Northwick Lodge, Harrow-on-the-Hill.
David Jones is glad that Jim Ede is enjoying 'Anathemata' and gives some advice on how to read it. David Jones is dejected at the critics' lack of understanding. He is most grateful for Kathleen Raine's review in the 'New Statesman'. David Jones is working on his next book. Prudence Branch (nee Pelham) died. From Northwick Lodge, Harrow-on-the-Hill.
Disappointing broadcast on David Jones by BBC Welsh regional programmes. David Jones will send a copy of Harman Grisewood's review of 'Anathemata' in the 'Dublin Review'. Glad that Herbert Read has been given a knighthood. From Northwick Lodge, Harrow-on-the-Hill.
David Jones has been immobilized recently with fibrositis. Another broadcast of the 'Anathemata' has been done. David Jones is trying to draw. The Welsh regional BBC are thinking of doing someting with 'Anathemata'. From Northwick Lodge, Harrow-on-the-Hill.
David Jones did some lettering from Christmas cards. He has spent weeks and weeks writing an essay. No drawing. From Northwick Lodge, Harrow-on-the-Hill.
A pension has been arranged for David Jones by Jim Ede nd Harman Grisewood. David Jones has been ill all winter. He has written a new introduction to Bonar' "Wild Wales' for Dent. From Northwick Lodge, Harrow-on-the-Hill.
David Jones went to Cardiff to see his show and some friends. The Tate wants
TS Eliot took part in a BBC programme on the work of David Jones. The Douglas Cleverdon version of 'Anathemata' is being broadcast. David Jones has many reservations about this production. From Northwick Lodge, Harrow-on-the-Hill.
David Jones's show at the Tate has gone well. He has met Ben Nicholson, Kenneth Clark and Henry Moore recently. From Northwick Lodge, Harrow-on-the-Hill.
David Jones apologises for not having replied to Jim Ede's letter. He has begun to work on some left-over material from the 'Anathemata'. Glad that Ede has met Georges Cattani. Ede feels that David Jones is not the right person to answer religious questions, discusses the pursuit of perfection in its relation to religion and aesthetics. Mentions Fr Martin d'Arcy, Harman Grisewood, and the myth of Jens and Nemesis, which he compares to a Takisin story. He talks about his conversion to Catholicism and the circumstances surrounding it, and his CBE. No address.
David Jones thanks Jim Ede for the cheque which he received for his birthday. He has been unwell and is due to have an X-ray. No address.
David Jones, though not well, does not now have to face an operation. Apologies for not having sent Jim any lettering for Christmas. He has written to Elisabeth Swan, Ede's daughter. He refers to Ede's 'Cambridge scheme' [Kettle's Yard], and a radio broadcast about Roman roads. Jones hopes to do a further broadcast about soldiers guarding a city wall. He speaks about the difficulties of giving a talk on radio. He is uncertain about whether he will have to move house. He heard Kathleen Raine's poetry on radio, and points out her Cambridge connection; he refers to Helen Sutherland's 'arctic mountain'. No address.
David Jones is happy to hear that Ede has moved into the Cambridge home [Kettle's Yard]. David Jones has been unwell and therefore not able to send a photograph of an inscription to Jim and Helen Ede for Christmas. Jones mentions Tom and Mabel Burns, Harman Grisewood. The Redfern Gallery wants to borrow
David Jones writes briefly to Jim Ede to tell him that the 'Tribune's Visitation' is to be broadcast on the radio the following day. Jones asks if Ede heard the 'Anathemata' on Good Friday. No address.
David Jones is sending an embellished inscription the Edes. The inscription reads 'what says his Mabinogi'; the embellishment reads 'gratis agamus domino deo nostro'. Reference 'Anathemata', pp.207-8. There is a greeting in the verso in black and maroon ink. From Northwick Lodge, Harrow-on-the-Hill.
David Jones acknowledges a letter sent in June. Jones will make enquiries concerning a crucifix for Ede. Jones mentions his 'Dying Gaul' article in 'The Listener'. Jones corrects Ede concerning the ages of the children of Tom Burns. No address.
David Jones hopes to send Jim copy of his 'list of lettering' [Cloelia Cornelia... 1959-1960. Photograph, mounted and lettered by DJ in DJ ephemera box, imported at back of scrap-book. Extensive notes on verso of text, by DJ]. He has had problems in posting them. One has gone to Rene [Hague]. Glad Helen [Ede] is better. Wants to know the name and address of Elisabeth [Swan, Edes' daughter]. He has given Jim's address to various 'chaps who reside in Cambridge'; has been approached by a student from the Sorbonne who is doing her thesis on the 'Anathemata'. Mentions Harman Grisewood and Ellis Waterhouse. No address.
Two photographed inscriptions (embellished) 'Cloelia Cornelia'; embellished 'I sing of a maiden MCMLIX LX' sources and greeting on verso; pencil, green and magenta biro. February 1960.
Note with a photographed inscription (embellished). Inscription: 'Mulier Cantat'; embellished: 'Epiphany MCMLXI' Sources and greeting on verso; green and magenta biro. From Northwick Lodge.
David Jones is worrying about the Ganymede reproduction of
Note including photographed inscription (embellished). Inscription: 'Accendat in Nobis Dominus"; embellished 'Winter MCMLXI -II'. Sourcs, translation of Welsh and greeting on verso, black, green and red biro. Northwick Lodge.
David Jones is glad that Jim and Helen Ede liked his Christmas inscription ['Accendat in Nobis']. Discusses the severe weather, his health, the redecorations at Northwick Lodge, French scholarship and his own lack of it, 'Faust', Helen's parents, Tom Burns, Harman Grisewood, the American edition of 'In Parenthesis'. Corrects a mistake in the inscription. No address
Some thoughts on Christianity. Health has been bad. 'In Parenthesis' is out in America,'The Anathemata' and 'Epoch and Artist' are due out. Stephen Spender and WH Auden helped arrange the publication. from Northwick Lodge, Harrow-on-the-Hill.
David Jones misses Rene Hague and Harman Grisewood who have moved away. David Jones has written a long foreword to a limited edition of the 'Ancient Mariner' including his 1929 engravings. Health bad and taking a lot of medication. Admiration of Pope John XXIII. Visited by Stravinsky. From Northwick Lodge, Harrow-on-the-Hill.
Jim Ede is anxious to obtain a copy of the second limited edition of the 'Ancient Mariner' published in the USA by Chilmark Press, New York [1964]; DJ recommends him to go to Douglas Cleverdon about it. Discusses the new foreword he has written for it. Regrets that an inscription in 'Welsh and Latin' is unavailable - wants to keep it himself. Wants Ede to have one of the inscriptions but not sure which one yet. Discusses the problems he has with lettering due to ill health. Response to US edition of the Anathemata. Lettering is Jones' favourite medium. No address.
David Jones is much behind with his correspondence due he feels to extra work on his USA editions and also the move to Monksdene [residential hotel]. Glad that Helen Ede is better. Interested to hear of a Ben Nicholson exhibition in Kassell [Documenta III]. Long discussion of the Chilmark Press edition of the 'Ancient Mariner' mentioning Douglas Cleverdon, Will Carter and Louise Cowan. Harman Grisewood is retiring from the BBC; Rene and Joan Hague have moved to Ireland. Jones misses them all. Recorded an interview for the Lamont Library, Harvard; and a 'thing live written for the British Council'. Has been pleased by a perceptive review in the 'New Yorker' by Harold Rosenberg of 'Epoch and Artist' - discusses this at some length. He has been to visit Kathleen Raine where he also met Hubert and Leila Howard and Winifred Nicholson. Recommends to Jim's attention a Welsh scholar at Newnham called Rachel Bromwich. No address.
David Jones apologises for not having written. He mentions Tony Stoneburner [article by him in 'Agenda' Spring/Summer 1967, David Jones special issue] . Jones wishes he could find a copy of 'the thing you got me to write at Rock in the 1930s', which he thinks may be in the Tate, for TS Eliot. [See letter of 22 August 1935, KY/EDE/1/8/1/19]. Correcting the proofs of 'The Fatigue' [privately printed for Jones 70th birthday]. Feels that Jim is confusing it with other pieces he read to him when Jim was living in Hampstead. Gives a chronology of his writings. Mentions works by Colin Wilcockson and Rachel Bromwich. Has had a private telephone installed in his new room. No address.
David Jones thanks Jim for his postcard; he apologises about his 'Life' [see letter KY/EDE/1/8/1/113]; very much behind with correspondence. Speaks of Tony Stoneburner and another American working on the 'Anathemata'. Admires the printing of 'The Fatigue'; very happy with the typeface which he considers to be Gill's best. Discusses the problem of reading poetry aloud, at some length, with particular reference to 'The Fatigue'. No address
William Cookson, editor of 'Agenda', has written to Jim about a contribution [to the special David Jones edition of Spring-Summer 1967 - H.S. Ede, 'The Visual Art of David Jones']. Jones describes briefly the tenor of his life over the last 20 years. Recommends to Jim's attention an article by David Jones on the 'Anathemata' in the 'Review of English Literature' Vol VII, No.2 ['The Ordered World: the Anathemata of David Jones']. No address.
David Jones has been busy writing [? The Sleeping Lord] for 'Agenda' [Spring-Summer 1967]. Unhappy about the illustrations he has chosen. Tony Stoneburner has asked him to go to Washington to speak on Art and Sacrament, or at least to write something along the lines of that in 'Epoch and Artist' but David Jones feels that he cannot 'explain' any more. Explains the content of
David Jones is having trouble with the Scottish National Gallery of Modern Art in Edinburgh which wants some of his recent work , and he feels unable to provide it for various reasons. Similarly for an exhibition in Wales. He mentions the Helen Sutherland collection, the Grays, and a lost portfolio. No address.
David Jones has won a prize given by the City of London Discussion of the 'Tribune's Visitation' (Fulcrum, 1969). Monksdene Hotel, Northwick Park, Harrow-on-the-Hill.
David Jones explains to Ede about his recent stroke and subsequent fall, and the operation for a broken hip which has put him in the Calvary Nursing Home. His correspondence and work are in a muddle; he cannot recall a letter from Duncan Robinson, Assistant Keeper of Prints and Drawings at the Fitzwilliam, or Mr Campbell. Feels unable to make an inscription for the Catalogue [of Kettle's Yard, 1970]. Discusses the use of 'quia per incarnati' as cover for the catalogue, and trust's Ede's judgement about the reproduction. All the drawings and inscriptions he was working on at the time of his accident are in a bank vault. No address.
David Jones feels that some of his letters to Ede and vice-versa may have gone astray during his illness. Glad Jim is happy with the inscription ['Quia per Incarnati' - see letter of 24th September 1970]. Sends his love to Elisabeth [Swan], Ede's daughter. Asks Ede if he has seen a recent review of the 'Tribune's Visitation' by John Heath-Stubbs in the current edition of 'Poetry Review'. Mentions his Argo recording and the 'Dream of Private Clitus'. No address.
More explanation of
Papers and correspondence concerning David Jones, including copies of David Jones Society Newsletter; Peter Watson to Jim Ede concerning Ede’s article in Horizon, vol viii, 1943; obituaries and reviews; David Jones Faber Christmas card 1961; an unbound copy of ‘In Parenthesis’ inscribed to Jim and Helen from Rene and David, with a letter from David Baxndall and various reviews; Jones’ 'Book of David' containing wood engravings; Vexilla Regis text; 2 envelopes containing photographed inscriptions; photographs of David Jones’ works; papers relating to provision of a pension for David Jones in 1936, 1944, and 1965; packet of obituaries and notices; order of service for David Jones' requiem mass in Westminster Cathedral; and reviews of ‘In Parenthesis’.
Typescripts annotated in Jim Ede’s hand relating to 'Shaw-Ede', press cuttings relating to Lawrence's career and writings, photographs, notes; documents relating to Lawrence’s funeral service and memorial unveiling.
Includes printed press notices, 1927-1931.
Given to Kettle's Yard for the library by Jim Ede in 1976
These letters detail Pousette-Dart’s views on religion, art and opposition to the Second World War; and include writings, poems, drawings and photographs.
Includes illustrations, catalogues and books.
Helen Christian Sutherland (1881-1965) was a collector and patron of the arts. She was the daughter of Mary Alice Morris and Sir Thomas Sutherland, Liberal MP and ship owner. From her father she inherited a love of travel and culture. She inherited a substantial fortune from her mother and was able to afford residences in London and in the north of England, first at Rock Hall in Northumberland and then at Cockley Moor in Cumbria. Through her family and her interest in art, she was able to build up a substantial network of connections with artists and intellectuals, and to entertain them in London and in the north of England. After her marriage to Richard Denman was annulled in 1913, she used her time and talents to maintain this circle and to support her friends. She was also a deeply religious woman and moved from Anglicanism to Catholicism. She read widely: art, philosophy, religious thought. Her circle included musicians, politicians, members of the gentry, artists, poets. She also had a substantial collection of art of her own, including works by Ben and Winifred Nicholson, and David Jones. She became a close friend and confidante of Jim Ede and wrote to him very regularly in the period 1926-32. Later in life, she was a patron of the 'Ashingdon Artists', men who worked in coal mining in the north east of England and who took up painting as a form of relaxation. With Sutherland's help they went on to exhibit widely. When she became frail she moved south to Stoke Poges; she sold some of her collection; other pieces she gave to Nicolette Gray, her goddaughter and close friends. The pieces sold fund their way into national collections including the British Museum, the Tate and Kettles Yard. Nicolette Gray (daughter of Laurence Binyon, curator at the British Museum) was a great support to Sutherland at the end of her life and curated an exhibition on Sutherland as a collector in 1970. The catalogue was published by the Arts Council.
The letters of Helen Sutherland to Jim Ede contained in this collection make mention of a large number of people and provide information concerning the wide-ranging network they both had. In the early years of their correspondence Jim Ede's wife, Helen, also wrote directly to Helen Sutherland, but in the later period the correspondence was with Jim Ede only, though both Edes and their two daughters were frequent visitors to the Sutherland household in London or in the north. There is much information concerning parties, dinners, visits to friends, concerts etc., but also of the serious exchange of views and information about culture. The friendship with Ben and Winifred Nicholson is at the heart of the correspondence, along with that of David Jones. Ede and Sutherland arrange for regular sums of money to be sent to David Jones and for the setting up of a pension for him. Both also visit Brancusi and Picasso in Paris. Another strand in the correspondence is their knowledge of music and musicians, most notably the pianist, Vera Moore, who had a relationship with Brancusi and a son with him, but also the French flautist, Rene le Roy and the Hungarian violinist, Jelly d'Aranyi. When in the country she mixed with the local aristocracy, but was also involved with village life. Sutherland and Ede exchange notes about their reading of poetry and philosophy, their views on the nature of God and organised religion. The correspondence gives a clear picture of their close relationship and their ability to express themselves clearly with each other. Sutherland wished to use her wealth and properties to create as she said ' a place of retreat and renewal' for her friends and the letters give some flavour of how she went about this.
Helen Sutherland invites Jim and Helen Ede to supper to meet Vera Moore and Constance [Cooie] Lane among others. Pencilled in 'The Swing of the Pendulum' in 'Our Homes and Gardens', September 1921, p.79. No address.
Helen is sorry that Jim and Helen cannot come to supper; the arrangements have become complicated anyway; discusses giving parties. comments on Jim's theories on Vera Moore as sculptor. No address
Helen Sutherland thanks Jim Ede for a letter: discusses Blake and Wordsworth, describes some works of Blake's she has recently seen. Mentions the giving of parties, cites the 'great French... and English political ones'. Hopes to have Jelly D'Aranyi and Vera Moore at her next one. No address.
Helen Sutherland is glad that both Jim and Helen Ede can come to her party. She describes her pleasure in the beginning of a 'magic circle' of friends - the Nicholsons and Vera Moore as well as themselves - and her hopes for its future. In a PS to Jim Ede, Helen Sutherland describes briefly a mutual acquaintance, Lily Grant Duff, Mrs Gerard Collier. No address
Helen Sutherland thanks Jim Ede for a little bunch of flowers for her birthday, and for the letter he wrote thanking her for the party he and Helen Ede attended. She enjoyed 'looking at the pictures' yesterday; she thinks of the Nicholsons in Cumberland. No address
Helen Sutherland, recovering from a chill, discusses Henry James ['The Sacred Fount, 1923; 'The Wings of a Dove, 1902] and compares him with Balzac and Shakespeare. Discusses Ben Nicholson and Jim's reaction to him. No address.
Helen Sutherland thanks Jim and Helen Ede for inviting her to a show [? Spanish primitives] at the Tate, and for inviting Mrs Robin Hodgkin [Dorothy?]. She mentions the possibility of meeting Arthur Waley and invites Jim and Helen to a concert given by Kruse [?] about whom Vera Moore has told them. Comments on Jim Ede's opinion of Ben Nicholson; living in London. Jim Ede is deeply involved with Milly [?Milly Theale a character in Henry James' 'The Wings of a Dove']. No address.
Helen Sutherland invites Jim and Helen Ede to dinner with herself and Dorothy Hodgkin. No address
Helen Sutherland thanks Jim Ede for his support at her concert given by Kruse. She mentions the presence of Austen Leigh and Mrs Constance Sitwell, and extends Miss Lane's invitation to a party to Jim and Helen Ede. She thanks Jim Ede for lending her 'The Sacred Fount' [Henry James]. No address.
Helen Sutherland feels a little anxious about calling Jim Ede by his Christian name. She discusses a party they both went to [Cooie Lane and Constance Sitwell]. Helen Sutherland is leaving London. She mentions 'Milly' [Milly Theale in Henry James' 'The Wings of a Dove'] and 'The Sacred Fount'[Henry James]. No address
Helen Sutherland thanks Helen Ede most touchingly for inviting her to a party and describes her pleasure in meeting Duncan Grant, Mrs Bell [Vanessa], Mr Woolf [Leonard], Dr McColl, Stanley Spencer, Mr Wellington. Helen Sutherland gives her impressions of some of them.
Helen Sutherland thanks Jim Ede for the interesting Contemporary Art Report. She has been to the Richmond's party [? Bruce Richmond, editor of 'Times Literary Supplement']; prefers to use Jim Ede's surname; discusses the Picasso exhibition at the French gallery, comments on Van Gogh. No address.
Helen Sutherland discusses convention with Jim Ede, what she understands by it, the value she puts on it and the uses she puts it to. Discusses looking at pictures and what she discerns of the artist in each. Describes her movements over the next two months. No address
Helen is very happy to lend her Derain still life [Pears?] to Jim [? for an exhibition] and wonders whether he would like the landscape as well which she feels has a more general appeal.
Helen Sutherland explains to Jim Ede, who has asked her if she could approach Miss Jelly D'Aranyi about playing in a charity concert, why she feels it is impossible for her to do so, both from her own point of view and from that of the artist. No address
Helen Sutherland writes briefly about 'the pictures' which 'she could not have managed'; she feels she should do some packing. No address
Helen Sutherland apologises to Jim Ede concerning the approach to Jelly D'Aranyi [see KY/EDE/1/15/1/16]. She is interested to hear of the article he has been asked to write for 'The Nation' concerning the Duncan Grant etc exhibition.She quotes Ben Nicholson on Jim's criticism and also an essay by Edwin Muir on writing criticism. She describes her feelings for him setting out on his 'critical adventure'. She looks forward to a 'family party' on Saturday. No address.
Helen offers criticism of Jim Ede's article on the Duncan Grant etc exhibition [see KY/EDE/1/15/17]. No address.
Helen Sutherland invites Jim and Helen Ede to a performance of 'Don Giovanni' and suggests that they come to Lowndes Square for supper beforehand. She asks if she may come to see 'the babies'. No address
Helen Sutherland thanks Jim Ede for an invitation to supper and wonders whether she should come a little later on account of her own guests, Cooie Lane and Mrs Collier. She is glad that Jim and Helen are able to go to Don Giovanni with her. She discusses arrangements and the growth of friendships. Describes the Hampshire countryside around where she is staying. No address.
Helen Sutherland thanks Helen Ede for inviting Mrs Collier and Cooie Lane, as well as herself, to dinner. She asks Helen Ede if she could not call her 'Miss Sutherland' unless she prefers to. Helen Sutherland refers to 'the article' [this is presumably the article in 'The Nation' written by Jim Ede, concerning the exhibition of work by Duncan Grant and others]. No address
Helen Sutherland makes plans [?for the opera]. She is sorry she missed him and admires his 'three' [? Helen Ede and two daughters] and the garden. She hopes to be able to see 'these pictures'. No address.
Helen Sutherland has just heard from Cooie Lane who would be delighted to come to supper and makes arrangements. She discusses the grandeur of opera and Jim Ede's remarks about Mozart. Helen Sutherland feels she cannot be called 'Nelly'. The note to Jim arranges 'to look in at 11.00 or so to see the pictures'. Helen Sutherland expresses her pleasure in introducing Jim Ede to grand opera. No address.
Helen Sutherland thanks Helen Ede most enthusiastically for the happy evening she spent with her and Jim. She promises to take great care of Elisabeth Ede [whom she takes to the zoo] and looks forward to a visit to Hampton Court. No address.
Helen Sutherland thanks Helen Ede for allowing her to take her daughter Elisabeth to the zoo; discusses the courageousness of children. Asks Helen to thank Jim again for the visit to Hampton Court. No address.
Helen Sutherland thanks Helen and Jim Ede for 'coming to her rescue' [joining her party?] at the last moment last evening. She hopes that they will be able to visit her at Bamburgh on their way to Iona. No address.
Helen Sutherland arranges various ways for getting Jim and Helen Ede to Bamburgh where she has rented one of the residences [see Nicolette Gray's introduction to the Arts' Council catalogue of 1971]. No address.
Helen Sutherland describes her surroundings at Bamburgh a little, and her companions: a little Pekinese dog and a Ben Nicholson picture [? 'Still life with jug, mugs cup and goblet', 1925]. She tries arranging ways and means for Jim to stay over the August Bank Holiday. No address
Helen Sutherland writes to tell Jim Ede that her friend Mr Brookes will be happy to drive Jim up with him to Bamburgh. She encloses on a second sheet a brief 'Who's Who'. No address.
Helen Sutherland urges Jim Ede to see an optician and gives him the address of her own. She discusses Ede's plans for travelling up to Bamburgh. She has had to change these plans. The Bens [Nicholsons] and Vera Moore are not arriving until Sunday. No address.
Helen tells Jim how much she has enjoyed his visit to Bamburgh. She mentions the 'Ben and Winifred' situation. She hopes Helen Ede will be able to visit her. No address.
Helen Sutherland is disappointed that Helen Ede cannot come to stay at Bamburgh with herself Constance (Cooie) Lane and Peter Quennell. She looks forward to the reunion of friends in London in the autumn. Teddy Wolfe has been staying with her. No address.
Helen Sutherland explains that it would be impossible for her to join the Edes in Italy as she will be in Bamburgh until the end of September. She discusses the people who have been staying, especially Peter Quennell. No address.
Helen Sutherland is very sorry to hear about Jim Ede's cold and hopes to see him when he is better. No address.
Helen Sutherland tries to make plans to see Jim and Helen Ede amongst other engagements. She is leaving to stay in the country. She hopes the Edes will come to a Harold and Samuel Bach concert. Sutherland mentions Ben Nicholsons' 'happiness'. No address.
Helen Sutherland tells Jim Ede that she cannot write a proper letter but thanks him for his and for an 'Eternal Bouquet', and compliments Helen Ede on her appearance [with drawings].
Helen Sutherland invites Jim and Helen Ede to dinner. She thanks Helen Ede for her letter and comments on the Oxford visit which Helen Ede has described to her. Helen Sutherland discusses Rousseau and the exhibitions of his work she has seen, also the work of Samuel Palmer. She is busy organising Kruse's concerts. No address.
Helen Sutherland asks Helen Ede about whether she would care to go to some concerts with her and Jim also. [The rest of the letter appears to be addressed to Jim]. Helen makes arrangements for transporting Helen Ede home after concerts. No address.
Helen Ede tries to rectify a misunderstanding between herself and Jim Ede. No address.
Helen Sutherland invites Jim and Helen Ede's daughters, Elisabeth and Mary, to a children's dance. No address
Jim Ede has written to Helen Sutherland. Helen apologises for having seemed alarmed at finding Jim Ede shaving. Helen Sutherland thanks Jim Ede for the help received from him and Helen Ede. No address.
Helen Sutherland thanks Jim Ede [?for inviting her to dinner] but declines because Constane [Cooie} Lane is staying with her. She is glad Ede likes her 'C[hristopher] Wood figure' [? Reclining Nude ]; discusses her philosophy of buying pictures; happy about her party. No address.
Helen Sutherland thanks Jim Ede for his letter and drawing, and mentions her perception of Ede. She refers to the 'Mariner's Story' [possibly a reference to David Jones' work on the 'Ancient Mariner'] and quotes Plotinus. There is also a note enclosing a tie. No address
Helen Sutherland sends Roger Fry's new book and other presents to the Edes, for Christmas. She writes about the presents and about the party they attended the night before. No address.
Helen Sutherland writes to thank Jim and Helen Ede for the Christmas presents they sent to her. No address
Helen Sutherland asks Jim Ede to invite the Burnabys and Neil Sharpe to her party; she is glad that Ede liked the tie. She is busy with arrangements for a visit from the Hodgkins. She has a new puppy. She enjoyed her Christmas and thanks Jim and Helen Ede for a whirligig and 'Ariel'. No address.
Helen Sutherland thanks Jim Ede for his help at her party. She writes about progress and the individual and argues with Jim Ede about the relation of body and soul and her own experiences of the operation of one over the other. No address.
Helen Ede looks forward to dinner with Jim and Helen Ede and thanks Jim for inviting Constance [Cooie] Lane. Helen Sutherland cannot find the 'Adoration of the Lamb' [possibly reference to an exhibition of this Flemish art work]. No address.
Helen Sutherland feels that she was not at her best at the Edes recent dinner party [on 16th January] but enjoyed herself. She was happy to see Winifred Nicholson, and to meet John Witte and Mr Len Li. She hopes to see Jim and Helen on their own one day. No address.
Helen Sutherland arranges to visit Jim and Helen Ede. She is staying in Oxford with the Hodgkins. She has been unable to go to the Royal Academy soiree as she was dining with friends of her father [See Arts Council Exhibition Catalogue by Nicolette Gray]. She hopes to go the Leners. No address.
Helen Sutherland sends Jim Ede some money for a scarf, although she feels she is being extravagant. She thanks Jim and Helen Ede for a happy evening with them [on 5 February] and regrets that her travel plans preclude their meeting until after Easter. No address.
Helen Sutherland is glad to have seen Jim Ede the day before. She continues her plans for the next few days and hopes they can meet before she goes away. She mentions Ben Nicholson's 'theory'. No address.
Helen Sutherland thanks Jim Ede for remembering her birthday and for the gardenia he sent her. She is glad that Jim and Helen Ede were able to come to Vera Moore's recital. No address
Helen Sutherland asks Jim Ede for news [of Winifred Nicholson and her new baby, Jake - pencilled note by Jim Ede]. She hopes that Jim and Helen Ede will be able to dine with her in the near future. No address
Helen Ede discusses the nature of her friendship with Jim Ede in the light of their recent coolness. No address.
Helen Sutherland comments on the notes [? for an article which Jim has sent her to read, mentioning William Staite Murray, Ben and Winifred Nicholson and Paul Nash]. [Possibly article in 'Artwork', no 16, 1928, concerning the Daily Express's 'Young Artists' Exhibition at the RSA in June 1927?]. No address.
Helen Sutherland elaborates on her comments on Jim Ede's preface to the article on young artists. See KY/EDE/1/15/2/12. No address.
Helen Sutherland hopes that Jim and Helen Ede can join her at Bamburgh [in early June, see Ede's diary]. Helen Sutherland disagrees at some length with Jim Ede's theories on the nature of God. No address.
Helen Sutherland is sorry that she cannot have supper with Jim and Helen Ede and hopes that they will be able to come to her instead. She fears she will not have time to visit Mr[s?] Leverton-Harris [collector of work of Gaudier-Brzeska]. No address.
Helen has been coping with the illness of her dog, Jotty. Ann Sitwell has been staying with her and they have had a wonderful walk along the coast. She has been to visit the baby Jacob, Jake, Nicholson. No address.
Helen Sutherland has enjoyed Jim Ede's account of his visit to Little Compton and Mr Leverton-Harris. Helen Sutherland has had a happy time with Teddy Wolfe who got on extremely well with her guest. She agrees with Jim's theories of self perception and perception of others. She mentions her visits to castles and 'Lawrence's book'. No address.
Helen Sutherland explains Hodgkin family matters to Jim Ede relating to the death of a daughter, Betty. Helen Sutherland comments on sorrow. She wishes Jim Ede well on his trip to Paris; she has various musical plans. No address.
Letter written between the end of October and 8th November. Helen Sutherland hopes that Jim Ede is having a happy time in Paris. Sutherland has been to Ipswich to see the Gainsboroughs. She is sorry that Jim will miss Vera Moore in Paris; she is on her way to Vienna. She argues the case for the Christian attitude to death as opposed to Jim's Buddhist theories. No address.
Helen Sutherland is sorry that she cannot give Jim Ede a 'Donation'. She looks forward to coming [for dinner] on Monday and to meeting Mrs Leverton-Harris and Cedric Morris. No address.
Helen Sutherland thanks Jim Ede for an enjoyable dinner party where she met Mrs Leverton-Harris, whom she discusses. She thanks Jim for her Christmas present, a drawing of a dog, and compares Rembrandt's and Gaudier's drawing styles. She also thanks Jim Ede for Paris art collection addresses. No address.
Helen Sutherland, who is in Paris, thanks Jim Ede for all the introductions he has given her. She describes in detail a visit to Brancusi's studio. She has taken Robin Hodgkin to meet Madame Exasury. No address.
Helen Sutherland is still travelling in France. She describes her impressions. She is happy to lend her 'Derain flowers' to Jim for an exhibition. She has been reading Wyndham Lewis's 'Time and the Western Man' [1927] which she criticises. She thanks Jim for his Paris introductions. No address
Helen Sutherland is upset about her staff who are all leaving. She feels that intelligent people are becoming scarce, as well as good servants. She hopes that Helen Ede and the children have recovered from the flu. No address.
Helen Sutherland is on her way to Paris. She is glad that Jim Ede enjoyed her party [on 25 April]. She was particularly impressed by Mr Tobey [Mark Tobey, an American abstract expressionist painter?] She discusses moving to the country [Rock Hall]. She has missed Vera Moore very much. She outlines her plans for her journey; speaks of the problems of living in London; and of a concert at Mr Tobey's. No address.
Helen Sutherland writes enthusiastically to Jim Ede from Vienna. She writes about her surroundings and Vera Moore's music. No address.
Helen Sutherland writes to Jim Ede from Bamburgh where she is staying to oversee the alterations to Rock Hall which she has just leased. She describes her plans for the autumn, gives Vera Moore's address in Australia. She feels that visiting London will give her more free time than she had when she lived there. Constance [Cooie] Lane is staying with her at Bamburgh, as well as Anne Sitwell, the Bonham-Carters and Lawrence Binyons. She describes the kind of life she hopes to lead at Rock and the spiritual quality in Mrs Sitwell. No address.
Helen Sutherland makes plans to attend a concert with Jim Ede. Concert of Jelly d'Aranyi and Myra Hess. Discusses the verdict on Jim's health and suggests he sees her own doctor and that he and Helen Ede come on a long visit to her. No address.
Helen Sutherland thanks Jim Ede for her Christmas present. She has had a wonderful first Christmas at Rock Hall with the Hodgkins and Vera Moore. She comments on the loss of Mrs Leverton-Harris's house. No address.
Helen Sutherland discusses Mrs Harris's depression, Jim Ede's article on the Nicholsons, William Staite Murray and criticism in general. She also discusses Virginia Woolf's 'Orlando'. She hopes to be in London in January. [see 'Artwork' no 16 , 1928; her preface to the Beaux Arts exhibition of 1926]. No address.
Helen Sutherland is glad that Jim Ede enjoyed the Beethoven Mozart concert they attended. She discusses Mozart's special qualities. She also describes her impressions of Virginia Woolf's 'Orlando'. No address.
Helen Sutherland is trying to organise a party of friends in London to hear Vera Moore play, including Jim and Helen Ede. David Jones, Mrs Sitwell and Constance Lane. She mentions the 'young artist' [Jim Ede has pencilled in 'David Jones'] whom Jim Ede has recommended to her and hopes she will have chance to see him. She thanks Jim for his compliments on her curls. She has been trying to sort out her books. No address.
Helen Sutherland is glad to know that Jim and Helen Ede are reunited. Helen Sutherland discusses the 'business of life' in terms of her own experience, the Edes, and in a general way. No address.
Helen Sutherland is glad that Jim and Helen Ede can come to her party, Notes her hopes for Vera Moore's playing at the party. Mentions various people, including: the Courtaulds and Anthony Asquith, Myra Hess, Jelly d'Aranyi and Harold Samuel. Helen Sutherland wonders about inviting David Jones and hopes his show will still be on when she is in London [possibly 'David Jones a Memorial Exhibition' at the Goupil Gallery]. Music: Bach, Brandenbourg Concerto, Mozart D Minor piano concert, Delius. No address.
Helen Sutherland's plans prevent her from accepting an invitation to Jim and Helen Ede's house. She has sent David Jones a card for her party. She is worried about whether or not he and Ben Nicholson will dress correctly. She discusses Ben Nicholson's character a little and Jim Ede's in the light of wearing or not 'the uniform' of dress clothes. She considers potential guests whom she thinks should hear Vera Moore play. She makes tentative arrangements to go to a new production at the everyman with Jim and Helen Ede by Bobo Mayer. No address
Helen Sutherland thanks Jim and Helen Ede for their praise of her party which she feels went well, too, particularly Vera Moore's playing. No address
Helen Sutherland thanks Jim Ede for a letter praising her party; she expresses her own enjoyment of it and describes her favourite people there, and her journey home via York. She enjoyed the David Jones exhibition [at the Goupil Gallery] and hopes to get him to Rock Hall, perhaps with Jim Ede and his family. Quotes Ben Nicholson on Vera Moore. Friends there included: Conty [Constance] Sitwell, Cooie Lane, Ben and Winifred Nicholson, the Balfours, Robert Trevelyan, Binyons, Bruce Richmond, Mrs (Edward) Wolfe, plus others. No address.
Helen Sutherland fears that her letter will miss Jim Ede at Gibraltar. She describes her pleasure at being home after a fortnight away, partly in Paris; here movements over the next month; her visit to Helen Ede's parents. She discusses Cooie Lane and her pursuit of truth and directness with what Helen Sutherland feels is a misapplication. No address.
Helen Sutherland discusses various social occasions with Jim Ede. She appreciated his words about Cooie [Constane] Lane from whom she has just received a letter. No address.
Helen Sutherland thanks Jim Ede for his kind words about her party; she is glad he and Helen Ede enjoyed Goldart's [?] playing. She mentions a paper she has just given to her Women's Institute. She is looking forward to Jim's book [
Helen Sutherland discusses Jim and Helen Ede's recent party which she very much enjoyed, but explains her reservations. She has a 'sense of disaster' about her own recent party but had happy moments with Helen Ede and Conty [Constance] Sitwell. No address.
Helen Sutherland discusses her feelings about the progress of life through the seasons in the light of Jim Ede's remarks. She is glad he has been able to work on his book over the summer [
Helen Sutherland expresses her hopes and prayers for Jim's recovery from his 'breakdown'. She has heard from Ben Nicholson that Jim will be going to Spain and wishes him a speedy recovery. No address.
Helen Sutherland is thinking of Jim Ede's health and hopes he is improving. She explains that her country life is moving into the autumn part of its cycle and describes how she herself draws strength from the seasons.
Helen Sutherland has been reading 'Cymbeline'. She describes her reactions to it and to the autumn countryside. She senses an improvement in Jim in his latest letter. She is now in London again. She quotes Winifred Nicholson on the mind's influence on the body. No address
Helen Sutherland enquires about the book [? Savage Messiah] and Jim Ede's health. She discusses at length her reasons for not arranging and financing a concert by Vera Moore and Jelly d'Aranyi. No address.
Helen Sutherland apologises again about becoming involved with a concert for the CAS [?Concert Artists Association scheme?]. She is thinking of letting her flat, as is Jim Ede. She mentions Nicolette and Basil Gray, her vicar's ill-health, 'Lothair', prayer. She comments on Aldous Huxley's biography of DH Lawrence at length and then Lawrence's achievements at length. No address.
Helen Sutherland asks Jim Ede to come to dinner to make up the numbers of men - David Jones and Mr Hawtrey being unable to be there. She arranges for Jim Ede to bring Vera Moore. No address.
Helen Sutherland thanks Jim Ede for his Christmas present of a book of poems. Vera Moore stayed with her and has been giving her piano lessons. Helen Sutherland mentions the Hodgkins and her movements until March. Wishes Jim Ede a happy holiday in Tangier. No address.
Jim Ede's recent letter to Helen Sutherland makes her long to see 'the East'. She is on her way to Parish. Describes the spring in Northumberland and wonders about the spring and about Jim and Helen in Tangier. She mentions Teddy [possibly Teddy Wolfe]. No address.
Helen Sutherland writes a birthday letter to Jim Ede. She discusses one's attitude to the conditions of one's life. She compares Jim's character a little with her mother's; she sends a 'little account of her' [? the memoir referred to by Nicolette Gray in the Arts Council catalogue of the Helen Sutherland collection, 1970]. No address.
Helen Sutherland congratulates Jim Ede on his plan for a joint Jelly D'Aranyi and Vera Moore concert [a soiree at the Contemporary Arts Society, 12 June 1930]. [Ede has dated the letter 'may be late March']. No address
Helen Sutherland hopes that Helen Ede will be able to bring Walter d'Arcy Cresswell with her to Rock Hall later in the summer and that she will find Humphrey Paul congenial company. She admired David Jones' animal drawings at Heal's [private view 25th April 1930, see Jim Ede's diary]. Ede missed Sutherland at at musical party. No address.
Helen Sutherland thanks Jim Ede for his letter about her recent party. Mentions visitors to Rock Hall: David Jones, Humphrey Paul, Walter Cresswell, Cooie [Constance] Lane, the Binyons and Vera Moore. No address.
Helen Sutherland send Jim Ede £10 for Walter d'Arcy Cresswell. No address
Helen Sutherland explains to Jim Ede that the £10 she sent for Walter d'Arcy Cresswell is not for the fare to Rock Hall, and encloses a separate sum for that. She discusses how Jim Ede should go about giving the money. She is glad that Walter Cresswell is coming with Helen Ede and David Jones. No address.
Helen Sutherland questions Jim Ede again about the possibility of her sending a regular sum of £10 per month to Walter d'Arcy Cresswell, for a while. She discusses her reactions to his poetry and her feelings about 'parting with money'. No address.
Helen Sutherland writes at length about Vera Moore and her development as a musician. She asks after Jim Ede's health; she mentions the Jelly d'Aranyi and Vera Moore plan for a joint concert. No address.
Helen Sutherland and Jim Ede are trying to avoid offending each other [possibly over Jim Ede's suggesting that Helen Sutherland write something about Vera Moore?]. She is also afraid that Jim is unwell. Sutherland mentions tickets for the Contemporary Arts Society soiree on 12 June 1930]. Thanks Jim Ede for his kind words about her; she likes to think of 'them' and Vera at the opera. No address
Helen Sutherland discusses and compares at length the performance of Jelly D'Aranyi and Vera Moore for the Contemporary Arts Society soiree [12th June 1930]. Helen Sutherland congratulates Jim Ede on his efforts to make the opening a success. Helen Sutherland explains how her dress, which Ede admired, was made from her wedding lace. No address.
Helen Sutherland discusses death in the light of the recent death of Christopher Wood. She is having a 'guest day' upstairs. She writes of her love for and perception of Helen Ede and Walter d'Arcy Cresswell. No address.
Helen Sutherland talks of her attachment to David Jones and Vera Moore. She mentions Teddy Wolfe. Asks Jim Ede if he has seen David Jones' drawings and expresses her feelings about his work. She has just bought Ben Nicholson's
Helen Sutherland is going to the concert at the Queen's Hall [17th October] and hopes to see Jim Ede there. She is happy to hear that he had Christopher Wood's mother to stay. She is glad he likes her idea of a party [possibly for 1 November]. No address.
Helen Sutherland encourages Jim Ede to bring Mr Tyabji to meet her. She enthuses about the concert by the Bueck Quartet. She hopes to be able to come for tea on Sunday [2 November in Ede's diary]. No address.
Helen Sutherland implores Jim Ede not to go to too much trouble in sending Winifred Nicholson's picture [
Helen Sutherland discusses at length the difference between the English and French consciousness. She enquires about Jim's book [
Helen Sutherland describes her movements for the next few months, and discusses the weather. She rejoices in Winifred Nicholson's selling 25 pictures. She regrets that the weather was so bad for Jim Ede at Easter. No address.
Helen Sutherland thanks Jim Ede for his gift of a diary. She is staying with friends [? the Hodgkins] and returning to Rock Hall to receive visitors - Humphrey Paul, Thomas Hodgkin, Vera Moore, Antonia Batten. She quotes a Christmas message on the Life of Christianity, and one from Vera Moore. Mentions Teddy [probably Teddy Wolfe]. No address.
Helen Sutherland has sent Jim and Helen Ede some Christmas roses. She outlines her plans to be in London in early March and hopes they can do things together. No address.
Helen Sutherland writes of her enjoyment 'last night' [Schnabel, Queen's Hall, see Ede's diary for 1931] and hopes to come to Jim and Helen Edes for dinner. She mentions Vera Moore's 'old ladies'; she hopes to meet Mrs Wit at the Edes. No address.
Helen Sutherland writes about her meeting with the Edes at the Schnabel concert. She praises Jim Ede's letter to her. She mentions his book
Helen Sutherland sends Jim Ede five guineas for an engraving [Ede has pencilled in Abani?]. Helen Sutherland explains why she was not able to come to dinner the previous evening. No address.
Helen Sutherland thanks Jim Ede for his letter [on her birthday] and discusses her attitude to growing old. Asks Jim and Helen Ede to dine with her before the concert. No address.
Helen Sutherland thanks Jim Ede for arranging for her to have a copy of 'the book' [
Helen Sutherland thanks Jim Ede for his letter from Paris. She is glad Ede is having a happy time on holiday. She mentions Vera Moore and Brancusi. She also mentions Ben and Winifred Nicholson. No address.
Helen Sutherland thanks Jim Ede for his letter describing her recent holiday in France and mentions her own experiences on holiday there, with N [Nicolette Gray]. She mentions Vera Moore and Ben Nicholson's show, with a few remarks on his development. No address.
Helen looks forward to dining with Jim and Helen Ede [12 June]. She thanks Jim Ede for the copy of his book
Helen Sutherland describes her train journey through Hampshire. She thanks Jim Ede for the evening she spent with Jim and Helen Ede. She discusses a preface and Ede's wishing to leave the Tate. She also considers the 'common shackles of humanity; and a critical book on Thomas Hardy. No address.
Helen Sutherland describes at length her feelings about various people she met with Jim and Helen Ede at a private view, and a party, including Vera Moore, Ratan Devi and Teddy Wolfe. No address.
Helen Sutherland describes her enjoyment of a concert she attended with the Edes [at St George's Hall]. She refers to Vera Moore, and Ede's book
Helen Sutherland is very happy in Paris, meeting friends of the Edes: Brancusi, Dr Heylegier and Mr Lawton. She describes Brancusi's studio. She discusses Vera Moore at length. No address.
Helen Sutherland has been very busy at home since her return from Paris and has not had time to read Ede's book [
Helen Sutherland discusses her impressions of
Helen Sutherland's busy life at Rock Hall is preventing her from doing things he prefers to do. She discusses at length a chapter on Miss Brzeska in
Helen Sutherland feels that she has reached the age of looking back to possibly imaginary 'golden' days and talks of economies, her own and those of others. She mentions American friends a propos of Jim and Helen's visit there. No address.
Helen Ede describes her 'Ben Nicholson theory': his lack of an objective perception and his self-righteousness, at length. She discusses Jim's 'notes' and a recent conversation with him. No address.
Helen Sutherland thanks Jim Ede for a letter she has not yet received, along with one from David Jones, and looks forward to seeing both Jim and Helen Ede. No address
Helen Sutherland suggests that she and Jim Ede make a 'ritual' of exchanging dinner at Christmas. She looks forward ro buying him a tie in London. She wishes they were having Christmas together. No address.
Helen Sutherland was delighted to hear Jim Ede's broadcast on 29 December 1931; she listened to it with Thomas [Hodgkin?]. Vera Moore and Robin [Hodgkin?] are also staying. No address.
Helen Sutherland much enjoyed the party given by Jim and Helen Ede the night before [see Ede's diary]. Discusses various coming social engagements; mentions Molly Barrington Ward, Susan Buchan, Teddy Hodgkin, Abani Roy. A postscript, probably written on Tuesday 9th, asks Ede not to be influence by Vera Moore's dislike of the Busch Quartet. No address.
Helen Sutherland is enthusiastic about an exhibition of works by Winifred [Nicholson] and David [Jones]. Glad that Jim Ede enjoyed the concert [? Busch Quartet on 8th February]. Describes a dinner party with Thomas [Hodgkin]; mentions 'the diary'. No address.
Helen Sutherland is coming to London. She hopes to meet Jim and Helen Ede and David Jones. No address
Helen Sutherland thanks Jim Ede for remembering her birthday. She describes at length her garden and the birds. She looks forward to the visit of the Edes at Easter. She mentions Ann and Conty [Sitwell] and a sherry party [24th February]. No address.
Helen Sutherland is looking forward to the Edes' visit later in March. She makes arrangement for an invitation to lunch with the Tankervilles. No address
Helen Sutherland discusses a further invitation to the Edes and herself to dine with the Ridleys [neighbours] and the difficulties of her tiny car in view of the presence of Teddy [?Wolfe] and Thomas [? Hodgkin]. No address.
Helen Sutherland thanks Jim Ede for a long and delightful letter. No address
Helen Sutherland regrets that she cannot spend more time with the children who are staying with her. She talks about her feelings for her house as a place of retreat and renewal for her friends. Various members of the Hodgkin family are staying. No address.
Helen Sutherland quotes at length from Charles Sainte-Beuve's 'Port Royal' which she is reading [intellectual history of the Jansenist Abbey of Port Royal near Paris]. She compares Ede's ideas of the position of God in a life with her own. She mentions the birds in her garden. No address.
Helen Sutherland sends Jim Ede a book with a preface by T S Eliot for his birthday; she describes some of her feelings about him. She mentions the children [?Hodgkins] and how they had got on with her. No address.
Helen Sutherland thanks Jim Ede for a book he has sent her. She mentions his 'preface' [to a 'Memorial exhibition...Christopher Wood' at Lefevre Gallery, 1932 which Ede has written]. She wishes that Ede had known her mother. No address.
Helen Sutherland debates whether to come up for Vera Moore's concert with Rene Le Roy [French flautist who later went to teach in the US], also whether to go to Paris [for the Paris exhibition at the Georges Petit Galeries]. Mentions an article in the 'Cahier d'Art' by Jim Ede. No address.
Helen Sutherland looks forward to lunching with Jim on Monday [6th June] and to meeting David Jones. She has told Vera Moore that she will be at her concert that night after all. She describes the ducklings and other birds in her garden. No address.
Helen Sutherland has been reading a volume of Madame de Sevigne which Jim Ede has given her. She mentions her visit to London to attend Vera Moore's concert and comments on reviews in 'The Times'. No address.
Helen Sutherland is most enthusiastic about Jim Ede's typescript ['Cahiers d'Art', 1932, on Picasso]. Dorothy Hodgkin is staying with her; she discusses different kinds of wisdom of David Jones and Jacques Maritain. She mentions David Jones' paintings: 'The Chapel Perilous' [1932: Ede's collection?] and 'Dancing Rams'. Ede's visit to Helen Sutherland had been a happy time for her. No address.
Helen Sutherland intended her previous letter as a prologue to a longer one about Ede's article on Picasso in 'Cahiers d'Art', but has not been able to find time to write to him. She sends a message to David Jones about the heron in her garden. No address.
Helen Sutherland finds herself very busy as her domestic staff are on holiday. She quotes Gerald Manley Hopkins. She has decided to go to Paris to see the Picasso exhibition with Winifred Nicholson but is anxious about the austerity this will impose upon her [small sketch]. She gives details of her travel plans. She quotes Mrs Sitwell's remarks about Ede. Mentions D'Arcy Sitwell and her opinion of his work a little; and her duck. Thinks that David Jones should draw Jim and Helen Ede. The envelope mentions Vera Moore and Ratan Devi [alias philosopher Ananda Kentish Cooramaswamy]. No address.
Helen Sutherland looks forward to lunch at the Tate with Jim Ede. She mentions Vera Moore and Teddy Hodgkin. She has had her passport photograph taken and discusses at length how much she dislikes it. She explains Winifred Nicholson's misgivings about the Paris hotel. No address.
Helen Sutherland writes to Jim Ede, from Paris, a long and thoughtful letter concerning Winifred Nicholson and the breakdown of her marriage to Ben Nicholson. She also describes briefly visits to Picasso and Brancusi. No address.
Helen Sutherland suggests that Ben and Winifred Nicholson should talk over the breakdown of their marriage with Fr Martin d"arcy [Jesuit priest]. Sutherland mentions Roger Palmer, George Roth and the Staite Murrays, and how much she enjoyed her lunch at the Tate [5 July 1932]. No address.
Helen Sutherland is busy with her village social life which is irritating her. She is looking forward to coming to London. She mentions the death of General Sitwell. No address.
Helen Sutherland mentions an engagement to dine with the Binyons to say goodbye to Nicolette [Binyon/Gray]. She hopes to lunch with Jim to 'see some pictures'. No address.
Helen Sutherland is trying to let her flat in London [at Grosvenor House]. She outlines her London plans. She hopes to meet Jim and Helen Ede and Vera Moore and go to a concert. No address.
Helen Sutherland suggests at length some alterations to a typescript of Jim Ede's about Ben Nicholson. She also mentions the price of David Jones' paintings and a portrait he is working on [Petra and Rene Hague were both painted in 1932]. No address.
Helen Sutherland looks forward to supper with Jim and Helen Ede on Tuesday [20th Sept] when she will be in London, and to attending concerts at the Queen's Hall. The McDowalls and the twins are staying with her at Rock. No address.
Helen Sutherland hopes that Jim Ede will dine with her on Friday [23rd Sept]. She finds herself very attached to her little flat [in Grosvenor House] which she has been trying unsuccessfully to sell. She has 'brought back' one of her Ben Nicholson pictures, [? a violin].
A confusion over some claret. Helen Sutherland hopes that Jim Ede can get the same party together including David Jones to drink the other bottle. Helen Sutherland is concerned for the health of her vicar at Rock Hall. No address.
Parts of two letters, both dated 8 September in which Helen Sutherland has been listening to Jim Ede's talk on the radio ['A room to live in', 28th November 1931] which she has very much enjoyed. She quotes Edward Grey's 'Twenty Five Years' ['Twenty Five Years: 1892-1916' by Viscount Grey of Fallodon]. She wishes Jim Ede could come to speak in the village near Rock Hall. No address.
Includes letters from Wood himself, Tony Gandarillas concerning Wood’s death, and his studio in Paris, Gilbert Charles, Christoph Berard, Elizabeth Findsen, Edward Ford; correspondence with Lucy Wertheim concerning the exhibition of Wood’s work and ownership of his paintings, 1930-44; obituaries, press cuttings, photographs of Wood's work; Wood's sets of playing cards, and cartes de visite.
Correspondence received by Jim Ede after he left Kettle's Yard in 1973, arranged chronologically by year.
Correspondence and other papers related to the management of Kettle's Yard, fundraising and collection development, the gift of Kettle's Yard to the University of Cambridge, the development and opening of the extension, Cambridge events and festivals, and links with St Peter's Church.
Jim Ede's lectures, notes and writings, on art and artists; reviews and articles; lectures, speeches and broadcasts; US lecture tours; the Tangier Log (an account of the servicemen who visited White Stone, the Ede's house in Tangier); autobiographical writings; and religious and spiritual writings.
Some items are restricted
Jim Ede put together the book
Correspondence relating to the publication of A Way of Life in 1984, drafts and proofs of the book, and photographs from which Ede selected those that form the framework of the book.
Jim Ede's pocket diaries (recording events and meetings, social gatherings) and address books; lists of visitors to the Edes' Hampstead house in the 1920s and 1930s; visitors book for Tangier, Les Charlottieres, and Kettle's Yard (to 1961).