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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.

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.

Draft typescript letter, in which Beaton writes that he has heard from Miss Le Maire that Mr Marcus is in Europe and unable to make any firm decision about the backdrop for the Bridal Salon until he returns. Beaton thinks that he will stay until the first week of April, but cannot be certain of that. However, he believes that he may well return in the late summer and would be interested to hear from Mr Marcus at any time. Beaton thinks that the backdrop could be a great success and would be willing to take photographs.

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 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.

Typescript letter to the writer, producer and impresario, Rudolf K. Kommer (1886-1943), in which Beaton writes that he has been sight-seeing in southern Morocco and has taken lots of pictures. He is currently staying in a lovely house in Tangier, which overlooks the Governor's Palace. Thanks Kommer for his advice on various matters and asks him for his opinion on how he believes Beaton should respond to Walter Winchell's most recent attack on him. Beaton understands how difficult it is to sue a newspaper, but the allegation that he sent a copy of his work to Goebbels is a complete lie and should be recognised as such.

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.