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This bibliography includes Cyril W. Beaumont's books, introductions and forewords, articles, and The Beaumont Press publications. A bibliography of Beaumont's works is presented.

In the second part of a series on Cyril W. Beaumont, Walker discusses the many written works Beaumont contributed to the British world of ballet. During this period Beaumont was working on his \"Complete Book of Ballets: A Guide to the Principal Ballets of the Nineteenth and Twentieth Centuries,\" a mammoth task involving a vast amount of correspondence with specialists.

In 1931 Serge Leslie, an American dancer in London with a passion for books about dance, found his way to \"Mr. Beaumont's shop.\" He was captivated, he went in, he met the quiet man who owned the shop and was taken through to the minute sanctum from which Cyril Beaumont planned and pursued the vast network of worldwide activity that was to make him one of the most influential nondancing personalities ever associated with theatre dance.

Late summer of 1953 saw the first visit to Britain of the Royal Danish Ballet, which Cyril greatly admired and had seen on its home ground in Copenhagen. Travel abroad (apaprt from Paris) figured little in his life, mainly because of Alice's increasing and chronic physical troubles and his reluctance to leave her without his support. The Danish Ballet returned to the Edinburgh Festival in 1955 and Cyril saw them there. They repeated La Sylphide, and Cyril wrote with great admiration of Margrethe Schanne's \"poetical interpretation . . . I cannot conceive the role being better done. Schanne is matched in artistry by Gerda Karstens' sinister portrait of Madge.\" They also showed Ashton's recently staged Romeo and Juliet, which Cyril found to be \"a true choreographic poem . . . . What impresses one most about the ballet is the clarity of statement and the adroit manner in which lyrical mime is fused with dance. One need not know Shakespeare to understand the actions.\" Henning Kronstam was \"noble and romantic-looking,\" dancing and miming with passion, while Mona Vangsaa gave an inspired performance with a subtle sense of situation. In Napoli, with its last-act \"nonstop kaleidoscopic succession of beautifully contrasted dances,\" Vangsaa was partnered by Borge Ralov.