Coat dress of brown silk faille in "Ottoman" style. Knee or street length, with turndown collar and slight V neckline. Darts at bust for fit. Four button closures at center front with bound buttonholes, two above and two below waist/belt. Hook and eyes at waistline. Long sleeves with rolled cuffs and underarm gussets. In-seam pockets at sides. Flared skirt, pleated in back. Simulated "shirtwaist" decoration at front of skirt. Unlined. Designer's label at inside back collar: "Made in / France"; "Autumne-Hiver 1952 / Christian Dior / Paris"; stamped: "2????" [mostly illegible], on label With matching belt of brown suede. Self-covered buckle of narrow, vertical rectangles secures with hook and bar closure; 1-1/4" wide.

Cocktail ensemble of silver (pale lavender?) heavy faille moire consisting of: A) Cocktail dress. 3/4 length. Sleeveless with thin straps. Shallow V-neck. Natural waist with a bias cut, 1-1/4" set-in waistband between skirt and bodice trimmed with a center, non-functioning gray plastic button. Fitted bust with gores at bust and under-arm. Inverted pleats at front and back center. Center back zipper closure with hook & eye closure at base of bodice. Cream satin lining in bust which descends to become sheath inside skirt. Skirt lined with net. Designer's label at inside center bust: "Made in France / Autumne-Hiver 1952 / Christian Dior / Paris" Stamped "20445" on label. Handwritten label behind designer's label: "250516" B) Matching bolero jacket. Cropped to waist, long sleeves. No collar. Slight V at top of neckline, with deeper "inset" V at bottom. Center front opening with 3 circular gray buttons at base of jacket. Lined in cream silk matching lining of dress. Designer's label at center back neckline: "Made in France / Autumne-Hiver 1952 / Christian Dior / Paris" Stamped "20446" on label. Handwritten label behind designer's label: "250517"

Halter-style dress of black wool. Below-knee-length, with wide strap running from front up and behind neck. Straight neckline at front, with very low rounded edge at back - almost to mid-back. Center front with draped effect at waist, appearing "pulled" from hips, and with central front drape. 2 large pleats from waist at back. Center back opening with 5 self-covered buttons and bound buttonholes, supplemented with hook & eye at top and two hook & eyes at waist, and with zipper under edge of pleat at right of center back. Inner bodice of black net has boning and closes at center back with hook & eyes. Skirt lined in black silk. Country of Origin Label: "Made in France" located on front neckline at right center. Designer's Label at inside left on construction detail: "Made in France / Automne - Hiver 1952 / Christian Dior / Paris" and stamped "20951". Has handwritten style number tag beneath designer's label (mostly illegible): "50938" Retailer's label at back seam of skirt: "Neiman-Marcus"

The French nation has been prolific of consummate diplomatists all through history, but her annals record no more brilliant achievement than that of Theophile Delcassé and Paul Cambon when they brought Great Britain into a French alliance. Even those who disapprove the consequences of their act must admit the skill and the pertinacity with which the two statesmen pursued their purpose. Their difficulties were stupendous; British governments had for years stood aloof from Continental agreements, but precedent was forced to give way before the perspicacity and perseverance of these two French statesmen. Delcassé had contributed the Entente Cordiale to the French cause in 1904. This understanding pledged British diplomatic support to France in her imperialistic venture in Morocco-nothing more; but it also provided a foundation upon which Cambon could exercise his talents in leading Great Britain into a trap. The result of these activities was the equivalent of an Anglo-French alliance. The French, to accomplish their purpose, led the British into a series of military and naval conversations as a means of working out plans of joint operations whereby the latter could assist the former in case of a Franco-German war. The conversations had their official beginning in 1906 and …

A study of the historical development of the origins of ballet in Italy and France during the fifteenth and sixteenth centuries. Specifically focuses on the ballet-comique de la reine and the ballet de cour.

Letter to Cecile from her father about family matters, investment bonds, the taxes on the bonds, international relations, and Texas primaries.

Letter from D. W. Kempner to I. H. Kempner Jr. and Thos. L. James providing an itinerary of Kempner's upcoming trip through Europe. This itinerary was provided to allow the men to communicate through letters.

Letter from Thos. L. James to D. W. Kempner discussing farm operations and sales, including ginning results, pasture conditions, cattle sales, cotton sales, and alfalfa meal market.

Letter from Thos. L. James to D. W. Kempner discussing farm operations and sales, including ginning results, pasture conditions, cattle sales, cotton sales, and alfalfa meal market.

Cocktail dress in princess style of pink and white silk floral print. Below knee length with 1-1/4" shoulder straps. Side panels wrap around and meet at center front and join with a bow of self 12" above hemline. Center back zipper with hook & eyes. Bodice has interior structure of white netting with boning, white grosgrain ribbon petersham and zipper. Lined in white organdy with weighted hem. Designer's label at left side seam of bodice: "Printemps-Ete 1952 / Christian Dior / Paris / Made In France" and stamped "17608" Couture number label under designer label: "34343 Boulinerin (?)"

A) White tulle strapless ballgown with tufted skirt. Wide pink satin cummerbund w/black velvet ribbon tie & streamers. B) Matching short sleeved stole of pink satin.

Letter from D. W. Kempner to S. S. Kay of the Seinsheimer Insurance Agency, discussing insurance claims for items lost while traveling abroad.

Letter from D. W. Kempner to Mario Santochia discussing about the letter received and asking to share the charges for the car, for being chauffeur during the trip.

Letter from D. W. Kempner to Mario Santochia discussing travel schedule and checking if Mr. Mario Santochia is available as chauffer.

Handwritten letter from Mario Santochia to Daniel W. Kempner informing him that he will not likely be available to be his chauffeur when he comes to Europe.

Letter from Isaac H. Kempner, Jr. to Daniel W. Kempner providing an update on the business happenings at the Imperial Sugar Company.

Letter from A. H. Blackshear to Daniel W. Kempner giving him a status update on the Kempner cotton business and the recent trends in the weather while he is traveling in Europe.

Letter from A. H. Blackshear to Daniel W. Kempner enclosing some correspondence between himself and the Southern Union Gas Company for Mr. Kempner to review.

Copy of a letter from A. H. Blackshear to Daniel W. Kempner giving him a status update on the Kempner cotton business and the recent trends in the weather while he is traveling in Europe.

Letter from Harris L. Kempner to Daniel W. Kempner updating him on the happenings in the cotton business while he is in Europe.

Letter from A. H. Blackshear to Daniel W. Kempner updating him on the recent happenings in the cotton business while he is away from the office.

Letter from A. H. Blackshear, Jr. to Daniel W. Kempner informing that they have the letter regarding the audit reports and mentions about compiling them before he returns to Galveston.

Letter from A. H. Blackshear to Daniel W. Kempner informing that Johnny received a letter from Mary Sutton.

Copy of a letter from Isaac H. Kempner to his brother Daniel W. Kempner updating him on the noteworthy happenings in Galveston while he is out of the country.