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Weissberger writes that reading the reviews have made him realise he had lost perspective on the play, which can still be improved. He feels though that the critics are harsher with the play because the name Cecil Beaton is attached to it. He is sending Philippe de Croisset a cheque for 51,000 francs.

Typewritten letter, regarding the possible conflict of interests in Beaton having been asked to design the set and costumes for two productions "Portrait of a Lady", dir. David Selznick, and "The Chalk Garden", dir. Irene Selznick [David and Irene Selznick had separated by this point]. Weissberger suggests that it would be impossible for Beaton to commit to both productions and therefore requests that he sends Weissberger a message to indicate which he would prefer to work on.

Typewritten letter, in which Weissberger recounts his difficult negotiations with Irene Selznick and his progress in formalising an agreement by which Beaton is employed to design the costumes for "Portrait of a Lady". Irene Selznick has expressed her unease that Beaton would not be in America to work on the play from the beginning, but would only come out from London at a later date. Also, Weissberger is concerned that Irene is under the false impression that Beaton would merely decorate sets already designed by someone else; Weissberger writes that this is absurd, that it is Beaton's designs, rather than their execution, which are primarily appreciated by an audience. He provides details of his discussions with Lyn Austin and Tom Noyes [the producers of 'Portrait of a Lady'] and states that he is now waiting for the terms of an agreement for Beaton to work on the costumes for the production. Weissberger confirms that it is possible for Beaton to manage both projects in a round-trip scheduled for October / November of that year.

A typewritten letter to Irving Schneider, c/o Irene Selznick, from Arnold Weissberger. Duplicate copy. Concerns Beaton's contract as Costume and Scene Designer for "The Chalk Garden", and a supplement letter-agreement for Beaton's services as a photographer.

Typewritten letter, regarding the contract agreement between Beaton and Irene Selznick, the terms of which are now in the process of being finalised. Weissberger also discusses the contract terms for Beaton's work on the costumes for "Portrait of a Lady". He concludes by noting that when the managers of "Quadrille" understand Beaton to be visiting the U.S. in the autumn, they will undoubtedly also wish to engage his services, for which a formal contract should be formalised.

Typewritten letter, in which Weissberger confirms that he has consummated the contract for "Portrait of a Lady", and outlines the financial details queried by Austin & Noyes in connection with "The Chalk Garden". Weissberger concludes that in addition to the monetary reward, Beaton will benefit from his prominent association with both productions in terms of his reputation.

A letter to Oscar Olsen, c/o Austin & Noyes, from Arnold Weissberger. Concerns Beaton's contract as Costume Designer for "Portrait of a Lady".

Two letters to Beaton from Arnold Weissberger, requesting Beaton's signature on the contract for his work on "Portrait of a Lady". Weissberger also writes that the director for "Portrait" is Jose Quintero and that, although none of the major casting has been done, he understands that they are trying to cast Cathleen Nesbitt as the Countess Gemini.

Typewritten letter from Arnold Weissberger, regarding the length of Beaton's stay in America, and a request that his best wishes be passed on to Beaton's mother, who is unwell.

Typewritten letter, regarding communication between Jennifer Jones and Beaton.