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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.

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 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.

Typescript letter, unsigned, though evidently from Beaton. Sends best wishes for 1938. Has spent an enjoyable Christmas. The exhibition looks very nice and visitors are complimentary, but it hasn't been hugely successful in financial terms. No confirmation for when he will return back from America, but it won't be before 30th January. Adds that he has a lot to do in relation to his book and 'Vogue'-related issues.

Typescript letter to the painter Edward 'Boy' Le Bas (1904-1966), in which Beaton thanks Le Bas for his encouraging letter. This is his last week in Holborn before his holiday. He is looking forward to finishing his work in the office and to escaping his family for a short while to go to Paris and Venice with a 'nice woman' [most likely to be a reference to the British fashion journalist, Alison Settle (1891-1980)]. Asks le Bas if he can borrow some money from him and promises to re-pay it slowly.

Incomplete letter, in which Beaton thanks Lambert for all her letters, cheques and advice. The American critic Gilbert Seldes (1893-1970) has warned Beaton that since Walter Winchell (1897-1972) is so popular with the public at present, it may be unwise to try to sue him for damages. Gertrude Stein (1874-1946) says that the very last thing he should do is to sue. However, Beaton is seeking some legal advice since he wants to clear his reputation. He finds that some of his Jewish friends now believe him to be a Fascist, but as a patriotic Englishman, he cannot be truly deemed to be so. Second page is missing.

Typescript letter, in which Beaton writes that he has received a message from 'Vogue' magazine, quoting the latest slur made against him by the American newspaper and radio commentator, Walter Winchell (1897-1972) and advising Beaton that he should deny Winchell's allegation. In his column of the 21st March, Winchell states that Beaton sent an especially-bound copy of his work to Goebbels, a claim which is unfounded. Beaton is thoroughly sick of Winchell's unfairness and wonders what Lambert's reaction is: is there any sense in stirring the mud and pressing for legal action for damages? Beaton's publisher, Lippincott, backs the idea of retaliating. Adds that he will remain in Morocco until after Easter unless there is some cataclysm in the meantime.

Typescript letter to the American designer Eleanor LeMaire, in which Beaton thanks LeMaire for her letter informing him about the situation with Mr Marcus. He is keen to work on the project they discussed; he also thinks that it would be a good idea to take one or two bridal photographs to begin with and show how the background can be best used.

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.

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.