In rootling about for information about Arthur Lett-Haines (Lett as he was known), I was intrigued to discover Richard Morphet’s description of his relationship with Cedric Morris in the DNB:  ‘Morris was quiet, humorous, impractical, country-loving, and determined to concentrate on his art (with its key activity of human observation) and on the world of plants and animals.   Lett-Haines was complex and sophisticated, a natural organizer, and dedicated to expanding recognition of Morris’s art’.   When Kathleen Hale, of Orlando the Marmalade Cat, was told by her psychoanalyst in the late 1930s that she needed to have an extra-marital affair to unblock her art, Lett obliged.