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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 letter, in which Schlumberger writes that it was very sweet of Beaton to send a letter to him with all his news and he has often wanted to tell him so, but has not had sufficient opportunity to reply before now. He bears no jealousy towards those who seem to be living a better life, only it feels very remote from the life he is living [Schlumberger served in the French Army during the Second World War]. When he is granted leave, he will throw himself into his old life as completely as possible, maybe more than he has ever done, seeing that it may be the last performance of a life which has made him happy. They are at the front, in the very middle of war, and there is a beauty in the unsafe mysteries of the night and in the long silent marches. The physical conditions are harsh, but one gets used to it and his spirits are high. Sends best wishes for the New Year and hopes to see Beaton again soon.

Typescript cover letter, issued by the Lord Chamberlain's Office, St. James's Palace, with an invitation to Beaton to attend the funeral service of the late Duke of Windsor at St. George's Chapel, Windsor Castle, on 5th June 1972. Includes manuscript note, which reads: "What a surprise! Think I'd better go!"

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 reply slip for the Great Children's Party, held in Hyde Park to mark the International Year of the Child.

Incomplete manuscript letter from 'Mary'. Final pages. Writes that she (an unidentified third party) would really rather that the pictures didn't appear just after the recipient's - presumably Beaton's - lovely ones of H.M. Asks that he please believe her when she says that she hasn't influenced their lot to give permission, although Mary must be honest and confess that she didn't want them published for reasons which she will explain when they meet.

Manuscript letter, possibly from the English artist and stage designer Oliver Messel (1904-1978), in which he writes that he very much appreciated Beaton's lovely work at the Haymarket last night, which demonstrated individuality, elegance and colour. Thinks he remembers reading somewhere that Beaton's first scene was self-conscious and overdone, but in his opinion, it was right for the audience to be introduced to Lady W. in an exquisitely gilded cage. He cannot pretend to have liked the production, however: good performances were a distinct minority. [Most likely to be discussing the 1945 production of 'Lady Windermere's Fan' at the Theatre Royal, Haymarket, directed by John Gielgud (1904-2000).]

Manuscript letter from Cole Lesley, personal secretary of Noël Coward (1899-1973), in which Lesley writes that he has just arrived home from an extraordinary party, with just the right sort of friends at this particular time. Beaton will be a great support to both Lesley and Coward's partner, Graham Payn (1918-2005), tomorrow and Lesley expresses heartfelt thanks to him for that. To be surrounded by friends at such a low point means much to him and he feels happier and better thanks to Beaton. [This letter is dated several months after the death of Noël Coward in March 1973).

Manuscript undated letter from 'Peggy', with the letterhead 450 East 52nd Street, New York (where Greta Garbo had an apartment). Peggy writes that she, along with Beaton's other friends, supports Beaton against a move to try to bring him down. Beaton has too much sense to allow it to affect him, but the shock of it must be a blow nonetheless. If there is anything Peggy can do to help, then she asks Beaton to let her know.

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.