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Typescript letter in which Beaton requests that any major queries regarding his working drawings, models and costume designs be raised with him during his short visit to New York, commencing 18th October. Beaton also discusses the possible use of encrustation on an unknown stage and writes that he would like to view samples of how such encrustation can be achieved. Finally, he re-iterates that he will be very disappointed if the task of making the costumes is not entrusted to Barbara Karinska, as he doubts whether the intricacy of the ball gowns could otherwise be achieved.

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

Typescript letter in which Beaton writes that he is in the process of sending his designs to Alfred Lunt and, provided that Lunt approves, the next phase of operations should commence on the 17th [June]. He requests that Wrong arrange for all detailed stage plans be sent to him before he starts to construct the model.

Typescript letter in which Beaton asks whether Bing has had any further confirmation from Alfred Lunt with respect to his work on 'La Traviata'.

Typescript letter in response to Bing's letter dated 29 November. Beaton writes that he is sorry he was unable to speak to Bing during his visit to New York, but that it was rather rushed and made difficult by the President's assassination. He would very much like to work with Alfred Lunt on a new production of 'La Traviata' and plans to begin some preliminary sketches shortly.

Typescript draft statement, unaddressed and unsigned, though clearly written by Beaton, in which he airs his grievances in working with the American film director, George Cukor (1899-1983) on the Hollywood production of 'My Fair Lady'(1964). In particular, Beaton writes that the limits Cukor has imposed on his taking photographs of the actress Audrey Hepburn while she is on set demonstrate a distinct lack of consideration for Beaton and his work. Beaton believes that this lack of consideration is another symptom of some deeper resentment on Cukor's part, and unless it can be overcome, there will be further pressure on a relationship that is already strained.

A typewritten letter, concerning a request for his designs to be used for a British production of 'Turandot' in Covent Garden, London.

Letter from Beaton [?], in which Beaton laments certain alterations to the set design and hopes to persuade Gredy et al. that his suggestions would be beneficial. Beaton also encloses a costume chart with the letter.

Typescript letter (possibly not from Beaton), regarding details for the set designs for "The School for Scandal".

A typewritten letter, in response to Wittstein's letter dated 24th July, with a cover letter from Eileen Hose to Arnold Weissberger, requesting that Weissberger familiarise himself with the contents of the letter before passing it on to Wittstein. Beaton writes of his consternation upon hearing that his work has been accidentally incinerated. While he accepts that accidents do happen, he is deeply frustrated that his work has been lost and requests that an exact list of what is missing be sent to him.