Catalog from the exhibition, "Rene Magritte in America," December 6, 1960–January 8, 1961, held at the Dallas Museum for Contemporary Arts. Includes: statement by artist, essay, list of works in the exhibition, images.

Menu for Neiman-Marcus. This menu is written in French, and includes a group of royalty illustrated on the front cover, as well as a chef's crest on the back cover.

Recording of Christian Clozier's Lettre à une demoiselle. This piece uses music written on a newspaper, a sheet, in an attic, in view of an open window on an impassive river, at a flowery table, around two o'clock in the morning, in a low voice, in memory of the companions of the Pleiad. There are three movements: draft, erasures, and post Scriptum. This work also uses sound samples and recorded sound to allow for the poem to reach full expression and character.

Photograph of Charlyne Creger wearing a blue checkered blouse and white shorts (center) with an unidentified woman wearing a short-sleeved blouse and shorts (left), and a man in a hat and white shirt selling strawberries from a box that reads "Louisiana Strawberries" (right). On the left the silhouettes of several people and a carriage in an alley are visible in the background and on the right part of a sign that reads "chateau" can be seen.

Letter from A. Sutton to H. Kempner Cotton Company discussing the licenses and complications surrounding the shipping of Mexican cotton to Mr. Agha in Morocco.

Recording of Christian Clozier's Marché calme et irrégulier.

Card from the fifth International Festival de Jazz, Antibes, Juan-les-Pins, France, July 24-29, 1964. Holes are punched for July 24-27.

Annotated business card of Pierre De Calan, deputy vice president of the general union of the French cotton industry.

Man's necktie of beige triacetate in fox hunting motif with rider in blue livery on brown horse with three brown hounds. Tipped in white with green "Christian Dior" print.

Pair of woman's heeled pumps. Covered in black fabric with bow of same across vamp. Heels with wedge cross-section. Right shoe: "Roger Vivier / Paris"; "sur mesure" Left shoe: Same as left, "3205"

Letter from French tailor company David Chemisier to Harris L. Kempner informing him they are moving and providing an address for future use.

Letter from Jean-Paul David to Harris L. Kempner apologizing for not responding sooner and informing him that the fabric samples he requested are on the way.

Letter from David Chemisier to Harris L. Kempner acknowledging his order for new shirts and promising to send them his way as soon as they are ready.

Letter from Sabine Chardine to Harris L. Kempner and Ruth A. Kempner discussing personal updates. Sabine apologizes for being so late in responding, shares her sadness at Pierre's departure, and mentions having to sell her house.

Letter from P. Thoumyre to Harris Leon Kempner regarding his telegram of November 7th about his friend, Pierre Chardine's death that he got to know now from his father-in-law. He mentions that he's grateful for this kind gesture. He also included a copy of the announcement they're sending everyone who weren't informed till now.

Letter from David Freres to Harris Leon Kempner with samples of shirts he has ordered previously and dark poplin to be used for pajamas.

Letter from I. R. W. to Federation of French Alliances discussing various happenings in Paris including the recent holidays, construction projects, literary awards, theater, cinema, ballet, art, fashion, and science.

Letter from Sabine Chardine to Harris L. Kempner thanking his family for contributing to their project and sending well wishes.

Title and Abstract in English, French and German, while paper is in English. The use of manganese as a colorant in ancient glasses has long been recognized and the recent X-ray diffraction measurements of Turner and Rooksby have established that compounds of antimony were used extensively as opacifiers in such glasses. The analysis at Brookhaven National Laboratory of some three hundred ancient western glasses of the second millennium B.C. through the first millennium A.D., of which more than two hundred contained either or both of these elements in sufficiently great concentrations to indicate deliberate additions, not only has provided confirmation of these observation but also evidence that both of these elements were used extensively to counteract discoloration due to iron in glasses intended to be clear and colorless. As is well known in the case of manganese the different behavior of antimony in different glasses appears to depend upon its chemical valence. The technique of decolorizing glass by means of antimony was introduced at about the seventh century B.C. and the similar use of manganese became widespread during the first century A.D. In the following period through the fourth century the alternate or combined use of these decolorants forms an …

Recording of Pierre Boeswillwald's La promenade du dimanche. First encounter with the widest possible electroacoustic language. The shape and geometry of sounds fade away in favor of emotion, images and climates. Sunday, day of rest where we do nothing but the simulacrum of what we would like to do!

Evening jacket of black, white, pink , and green embroidered net with chenille trim. Short loose jacket wide neck, fake fur edging around entire garment and at botom of three quarter length sleeve cut in kimona style. Trimmed with beaded ribbon straw embroidery. Designer's label: "Givenchy / Paris"; "Made In / Paris". Handwritten couture number behind designer's label: "8983"(?) "Made In France"

Rectangular luggage tag from the Babolsar Palace in Iran. The luggage decal has an illustration of the Royal Palace, with the text below saying "The Queen Of The Caspian Beaches" in French.

Recording of Pierre Boeswillwald's La Promenade du Dimanche.

Three piece cocktail suit of black quilted silk damask. a) Sleeveless tunic overdress in a sheath style that overlaps in back with three covered buttons at center back. b) Matching skirt that hangs 8 inches below dress. c) Matching jacket with bermuda collar. Double breasted with three double rows of braided buttons and straight fitted sleeves. Designer's label: "Givenchy / Paris" Handwritten couture label underneath designer's label: "28554" Costumer's tag: "Don. Mrs. Audrey Hepburn"