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A handwritten list giving numbers and titles to artworks not in Head's catalogue.

Correspondence with Raymond Head mainly concerned with identification of artworks in the Society's Collections.

Correspondence from Andrew Topsfield, Victoria and Albert Museum, to Raymond Head concerning the Royal Asiatic Society's Tod Collection:

• Letter from Andrew Topsfield to Raymond Head to inform that he has worked through the Tod material loaned to the V&A museum and has edited the entries. He asks for Head to come and see them. He also writes that he is concerned about preparing a note on the Tod Collections. He writes of other similar material in a private collection in San Francisco and at the Chandigarh Museum. Dated 19 October 1982.
• Letter from Andrew Topsfield to Raymond Head to inform that the cloth-painting of Ketelaar's camp was published by E. Penkala where it was wrongly called a Mughal painting. The identification of the painting was made by T. Clowney-Morris. Dated 29 March [1983]
• Letter from Andrew Topsfield to Raymond Head regarding the ordering of the Jaipur ragamala and asking for Head to check his spellings. Dated 22 August 1983.
• Letter from Andrew Topsfield to Raymond Head regarding the snakes and ladders picture, a copy of which Head has sent to Topsfield. He wonders if it would be possible for Head to bring it to the V&A to be photographed. He writes he is re-reading Tod's Annals. Dated 25 November 1983.
• Letter from Andrew Topsfield to Raymond Head to write he found another version of Tod on an elephant reproduced on the cover of Angus Wilson's "The strange ride of Rudyard Kipling". Dated 27 February 1984.
• Letter from Andrew Topsfield to Raymond Head to state that he has located the V&A portrait of Maharaja Ali Jah Daulat Rao Sindhia Bahadur. He gives a description of the portrait but cannot find out its early provenance. Dated 21 March 1984.

Correspondence from Derek Gladwyn. These are:

• Letter from Derek Gladwyn to Raymond Head to inform him that he had seen the painting at the National Maritime Museum about which he had asked Head. It was in their stores and he warns Head that they need a week's notice to view the item. Handwritten, dated 18 March 1984.
• Copy of a letter from Derek Gladwyn to the Curator, Print Room, National Maritime Museum, to ask for permission to view two paintings of the Trial of Four British Seaman at Canton. Typed, dated 19 March 1984.

Correspondence from John Hadfield, The Cupid Press, regarding the use of the portrait of Thomas Manning for a forthcoming biography of Charles Lamb by Lord David Cecil. The letters are:

• Letter from John Hadfield to the Secretary, Royal Asiatic Society, to ask for permission to reproduce the portrait in David Cecil's book, 19 August 1982
• Letter from John Hadfield to Raymond Head concerning a bust of Thomas Manning and Raymond Head's forthcoming exploratory visit to Diss. He writes of the poor condition of the portrait. He would rather use a picture of the bust if it can be located. Dated 20 September 1982.
• Letter from John Hadfield to Raymond Head to give more details of what he felt was wrong with the portrait - that the use of bitumen varnish has caused the ridges and cracks. He felt that if the varnish was removed no other repair or restoration would be needed. Dated 24 September 1982.
• Letter from John Hadfield to Raymond Head to say he is unhappy to reproduce the portrait of Manning from an existing negative but would prefer the item to be cleaned and re-photographed. He also writes that he he has heard from Anne Lonsdale that there is a bust of Manning in the Society and asks whether he can locate it. Dated 12 October 1982.
• Letter from John Hadfield to Raymond Head to formally ask permission for his photographer to take photographs of the bust of Thomas Manning. He gives the name of the photographer, Derrick E. Witty, and that the Society would be able to keep the negatives. He also talks about the cost of reproduction costs for the portrait. Dated 21 October 1982.
• Letter from John Hadfield to Raymond Head to say that he had cancelled the photographer after finding a clear photogravure of the bust in a copy of "The Letters of Thomas Manning to Charles Lamb" in the London Library. Dated 28 October 1982.

Correspondence from John Irwin to Raymond Head:

• Letter from John Irwin to Raymond Head to thank him for sending photographs of the Society's two drawings of 'Asokan' pillars. He gives detailed information as to his belief of their provenance and artist. He is sending an offprint of his paper on The Prayaga bull-pillar for retention by the Library. This is not with the letter. Dated 8 October 1982.
• Letter from John Irwin to Raymond Head to give his opinion on the sketch of the lion-pillar which Head had sent. He writes he has discussed the pillar in a previous article. He also gives news of being offered to apply for a Senior fellowship at the Advanced Center for Study of Visual Arts, Washington, which he has accepted. Dated 3 November 1982

Four letters concerning the drawings of Brian Houghton Hodgson in Paris. These are:

• Letter from Rita Réguir, Centre d'Etudes dess Monuments de Monde Indian, Paris, to Raymond Head to give the name and address of Gilles Béguin, Conservator at the Musée Guimet as the person to contact regarding the Hodgson drawings. She also includes a photograph of the Palm-tree House at Berlin designed by K.F. Schinkel to show the influence on Indian architecture on Western style which she hopes may be of some use to Head. Dated 28 June 1983. The photograph is with the letter.
• Letter from Raymond Head to Gilles Béguin to ask for his help concerning the identity of the drawings given by Hodgson to the Institute de France, Paris, dated 18 August 1983.
• Letter from Gilles Béguin to Raymond Head regarding suitable dates for Head to visit Paris to see the drawings. Written in French, dated 27 October 1983.
• Letter from Gilles Béguin to Raymond Head to confirm the dates of Head's visit to Paris. Written in French, dated 29 November 1983.

Correspondence with British Library concerning Burmese place names. These are:

• Letter from Henry G to Raymond Head to say he will leave the Burmese place names with Patricia Herbert and to provide some Thai spellings. Handwritten, dated 21 December 1983.
• Letter from Patricia Herbert to Raymond Head to apologise for the delay in replying to him and to regret her inability to locate the place names. She asks him to correct one of his entries which attributes a manuscript to the British Museum and not the British Library. Typed, dated 1 March 1984.

Correspondence with Garland Cannon:

• Draft letter from Raymond Head to Professor Cannon to ask for help in determining the provenance of the artworks that belonged to Sir William Jones in the Society's Collection. Dated 19 January 1983.
• Letter from Garland Cannon to Raymond Head to state that he was pleased to hear about the Jones' drawings at the Royal Asiatic Society and asks to be kept informed of progress in their cataloguing. He suggests contacting Ray Desmond at the India Office Library to find out more information. Dated 2 February 1983.

Correspondence with John Lust concerning the Society's Chinese prints. These are:

• Letter from John Lust to Raymond Head to ask if he would send copies of the Chinese prints for his files. Handwritten, dated 20 February 1984.
• Copy of a letter from Raymond Head to John Lust to give a summary of the information he has worked out concerning the Chinese prints. Copy of typescript, 2 pieces, undated.
• Letter from John Lust to Raymond Head to state that he hopes more Chinese prints might be found at the Royal Asiatic Society as the inventory he provided does not match the prints they have found. Typed, undated.
• Letter from John Lust to Raymond Head to point out the difference between exorcist and excorcist. Handwritten, undated.
• Note from John Lust to Raymond Head to correct Head's notes concerning the use of seals. Typed, undated.
• Statement from John Lust on the Morrison collection of Chinese woodblock prints. Typed, undated.