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Typescript letter in which Beaton offers his apologies for the unsatisfactory photographs he produced for the April issue, yet nevertheless defends his actions. He suggests that, however unsuccessful the results of the feature were perceived to have been, the detailed explanations he presents in his letter should indicate that "they were not brought about by any lack of integrity or interest on [his] part". Beaton agrees that it would be better if the magazine ceased to offer him such sittings and allowed him to continue with his interest in fashion photography elsewhere.

Typewritten letter in which Beaton discusses his travel plans to the U.S. for work on 'On a Clear Day' and the publication of photographs taken by Beaton of Barbra Streisand in Vogue magazine. Beaton also writes that his initial experience of working with Streisand has been positive.

Typewritten letter from Beaton, who discusses his proposed length of stay in America and his desire to work with Helen Pons. With regards to "Quadrille", Beaton writes that he is willing to give them a certain amount of his time, though he is under no obligation to do so.

Typewritten letter, regarding the signature of the contracts for "Portrait of a Lady", and expressing Beaton's disappointment that "The Chalk Garden" appears to have been momentarily shelved. He writes that the directors, Austin and Noyes, appear concerned about the cost of the costumes and suggests that it will be necessary for them to discuss such considerations with Helen Pons, whom, he writes, he is certain will charge a fair price. There are five evening dresses which he believes will be expensive, however, they will not be more so than those of any other designer.

A letter from Beaton, regarding the royalty status of the set designs for "Quadrille"; designs for "Portrait of a Lady", and details from a postcard sent by Enid Bagnold. Beaton concludes by indicating that he will shortly depart for Paris, to "sniff the new breezes" and a break before his trip to America.

A typescript letter, in which Beaton writes that he has just returned from Venice. Will delete the unpopular passages before it goes to New York. This experience made him realize how difficult it is to write a play. Agrees that the critical reception was harsh because of high expectations. Their great mistake was to to have invited the critics and Beaton's "so-called friends" to a raw opening performance. Beaton hasn't seen Ardele yet, but the reviews are not good. He thinks he will come to New York this autumn. He made a new décor for Casse Noisette at the Young Sadler's Wells. Jokes that as the last act takes place in the Hall of Sweets, it will be no setback if the critics deem his work "too chocolate-boxy".

A letter from Beaton, regarding an alteration in the costume design fee for the film 'On A Clear Day You Can See Forever'. Beaton also discusses the dates for both his trip to Hollywood and to Morocco in order to buy materials for the costumes.

Typescript letter in which Beaton discusses the preliminary stage designs and ground plans for 'La Traviata'.

A letter in response to Aird's letter dated 26th July, confirming that it would be both an honour and a pleasure to welcome the Queen Mother to the exhibition on the agreed date.

Manuscript rough copy of a letter in Beaton's hand, concerning the 1969 Broadway musical 'Coco', directed by Michael Benthall and choreographed by Michael Bennett, with music by André Previn, lyrics by Alan Lerner and costume/set design by Beaton. Katherine Hepburn starred as Coco Chanel. Beaton writes that in most productions, the designer has to work with the director. He has heard the suggestions made by Lerner, Previn, Hepburn, Bennett and Benthall, some of which have been helpful and some which have not. Feels that the mistakes that he has made came partly from having given in to opinions with which he did not agree. In recent weeks, his main concern has been to try to see that he does not further jeopardise the work he has done. If Beaton sounds depressed at seeing night after night the same mistakes being made, it is not from a personal point of view, but also because he knows that such mistakes will attract criticisms that will hurt the future prospects of the show. He does not enjoy fighting in the theatre and it would be easier for him not to care, but since he does continue to care - not only for himself, but for others - it makes things easier for him to get Lerner's letter after he has worked on this for such a long time with Lerner.