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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.

Typescript letter to the American writer, philanthropist and co-founder of the New York City Ballet, Lincoln Kirstein (1907-1996), in which Beaton writes that the offer Kirstein proposed in his previous letter sounds fascinating. He plans to come to America after Christmas to begin a lecture tour in January and may have spaces in between lectures to come to New York. Beaton does not think that he could offer to go to New York especially for this job, given how costly accomodation and other expenses would be. However, he would like time to think over the problem, as it sounds a delightful job and this is only his first reaction. He is presently on his way to the Slade School of Fine Art, where he is trying to learn to paint with oils in a different style than he was taught at school.

Typescript letter to the American writer, philanthropist and co-founder of the New York City Ballet, Lincoln Kirstein (1907-1996), in which Beaton writes that he has enclosed a paragraph about George for the memorial show. Is thrilled by the possibility of designing set and costumes for Samuel Barber's new opera, 'Vanessa'. Adds that the news about the New York City Ballet dancer Tanaquil Le Clercq is very distressing and that he hopes for a better outcome than can be expected at present. Le Clercq contracted polio in Copenhagen while performing on the company's 1956 European tour and was subsequently paralyzed from the waist down.

Manuscript loose-leaf diary entry in Beaton's hand. Writes that he will spend ten minutes of his last evening on his voyage back to England recounting his recent trip to America. He arrived in New York very late in the winter, since the death of his brother Reggie in October 1933 had upset plans, and arrived for the first time without any feeling of expectancy. Felt that this year must surely be an anti-climax after the last one. But as he settled into a daily pattern, the enjoyment returned to him. The weeks passed in which he took photographs for 'Vogue'. Miss Bigger was a godsend and if for some reason she was unable to show in, the day was lost. He and his friends also attended many parties. The weeks rushed by and he was never alone, even while he was sleeping - there wasn't much time for sleep anyway. After David and Michael left, he felt very ill and run-down, without the health and energy for the arrival of Peter Watson (1908-1956), which was very exciting for him, since he and Peter had not been together in America for a long time. The doctor gave him injections, which left him feeling miserable. And in the midst of all of the headaches and upsets, he received a further shock from the terrible news that Lilyan Tashman (1896-1934) had died, which distressed him greatly. And when, after a rough crossing, Peter arrived a day late, Beaton was still a wreck when he went down to the docks to welcome him. Recounts the details of a trip with Peter, first to the southern states, then on to Haiti and Jamaica. On returning to New York, Beaton was very busy. During the last week, he did seventy-six costumes for a production of 'Romeo and Juliet', photographed madly and successfully, then attended the Open Ball. With two days of sleep on the boat, he has recovered from the strain. And so it is goodbye and good wishes and fond messages of farewell - he is satisfied that much has been achieved, but also conscious of Peter's criticism of him, namely that he is spiky with people whom he dislikes. And so he resolves to try to place a lighter price on himself when he returns to England, so that he does not lose Peter's respect.

Manuscript loose-leaf diary entry in Beaton's hand. Writes that he embarked for the country with joy and happiness. It was a relief to leave behind the complications of the city and the exhaustion that comes from too many people and too many parties. London has been very hot over the past week and on top of everything else, there has been some personal conflict to contend with as well. Recounts a difficult conversation with Peter Watson (1908-1956) and discusses his unrequited love and admiration for him.

Typescript letter in response to Yoxall's letter dated 15th July. Beaton apologises for the delay in replying to him and confirms that he would like to continue to work with Conde Nast and in accordance with the terms suggested by them. Beaton adds that he works best when there is a lot to achieve in a short time, and so would be very pleased if the Editor, Audrey Withers, would offer more sittings to him. He believes that he can make a greater contribution to the magazine. Beaton concludes with a request that, since he will need to travel to America earlier in the autumn in order to be back for the Coronation, the American 'Vogue' office might welcome him at the end of September.

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.

Typescript letter, expressing thanks for Yoxall's previous letter and for the opportunity to have contributed so much to 'Vogue' magazine, although both sides knew, he writes, that a separation would occur "sooner or later".

Typewritten letter, regarding suggestions for improvements to the play. Beaton acknowledges that such suggestions are, strictly speaking, outside of his remit as Costume Designer, but expresses the hope that his "impertinent suggestions" be received in good spirit, in so far that they are "helpful in the general cause".

Beaton writes to Selznick with suggested improvements to the stage designs for "The Chalk Garden", based on the photostats he has received from her.