Summary Information
Alfred Lunt and Lynn Fontanne Papers
1838-1983
- Lunt, Alfred
- Fontanne, Lynn
Mss 622; Micro 1031; Audio 1043A; Audio 1047A; PH 6139; PH 6139(3); AC 679-AC 704; AE 181-AE 182; AE 361; DD 542-DD 543; VBA 558-VBA 559; VHA 150-VHA 152; VHA 310
6.0 cubic feet (14 archives boxes and 1 flat box), 17 reels of microfilm (35 mm), 10 tape recordings, 6 videorecordings, 31 film reels, and 1.8 cubic feet of photographs (4 archives boxes and 1 flat box)
Wisconsin Historical Society (Map)
Papers of Alfred Lunt and Lynn Fontanne, an internationally acclaimed theatrical couple whose careers spanned more than half a century and who starred in more than 60 theater and television productions from 1915 to 1980. The collection is comprised of both personal and production-related materials: correspondence written by colleagues and fans from 1930 to 1977; newspaper clippings concerning the Lunts' personal and professional lives; reviews, playbills, and scripts from more than 50 theatrical and television productions; Lunt family letters dating from 1838; scattered financial records; unproduced scripts by playwrights such as Robert Sherwood, Booth Tarkington, and Noel Coward; awards; and photographs of the Lunts both at home and on the stage.
English
http://digital.library.wisc.edu/1711.dl/wiarchives.uw-whs-mss00622 ↑ Bookmark this ↑
Biography/History
Alfred David Lunt Jr., was born in Milwaukee, Wisconsin, on August 19, 1892, the son of Alfred Lunt Sr., and Harriet (Hattie) Washburn Briggs Lunt. The senior Lunt, a native of Orono, Maine, arrived in northern Wisconsin in 1850 to make his fortune in the lumber business. His wife, born in Hortonville, Wisconsin, was a graduate of Lawrence College. At the time of their marriage in 1882, the groom was 60 years old; the bride was 28. Their first child, Inez, died in 1888. Two years after the birth of Alfred Junior, the senior Lunt died of a stroke. After Lunt's death, his widow and son continued to reside in the family's palatial stone mansion at 1701 Grand Avenue, Milwaukee.
Mrs. Lunt loved the theater and took Alfred to see whatever show came to town. By age six he was keeping a scrapbook of his favorite actors and actresses, including Ellen Terry (who eventually became Lynn Fontanne's mentor). In 1901, the “Lunt Stock Company” produced Alfred's version of Rip Van Winkle, with Alfred as scenic designer, director, general manager, and star. When he was seven, Alfred's mother married Carl Sederholm, a cultured physician who spoke Finnish, Swedish, and German.
It was he who instilled in Alfred a lifelong love for the opera. Dr. Sederholm, however, engaged in stock speculation, and in a short time, all of the money left by the senior Lunt had been lost. The mansion was sold and Sederholm became ill; in 1905, he took Alfred on an extended trip to Scandinavia. Four years later, Dr. Sederholm died unexpectedly in Helsinki, with Alfred at his side.
In 1911 Mrs. Sederholm, then a poor widow with three small children, insisted that Alfred attend Carroll College in Waukesha, Wisconsin. She rented a large home three blocks away and ran a boarding house, although Alfred did most of the cooking. At Carroll College, Alfred came under the influence of drama professor May Rankin, who starred him in each of her six annual productions. By his second year at college, Alfred had worked up a comedy routine and was performing throughout Wisconsin. He even went on a three-week tour of towns along the route of the Atchison, Topeka, and Santa Fe railroad.
In his third year of college, Alfred transferred to Boston's Emerson College of Oratory (May Rankin's alma mater). He attended classes for only two days and then went to see George Henry Trader, a director at the Castle Square theaters in Boston. He was hired immediately, and made his debut on October 7, 1912, in the part of Sheriff Joe Hurley in The Aviator. On the program, his name was misspelled as “Mr. Alfred Hunt.”
In 1914, Alfred came into a sizeable inheritance from his father, and with a portion of it, bought some property in the hamlet of Genesee Depot, Wisconsin, six miles from Waukesha. On the three acres of timbered land and rolling hills he built a four-bedroom house in the style of a Scandinavian country home. The family settled there in February 1915.
From 1915 to 1917, Alfred toured with several famous actresses of the day, including Margaret Anglin, Lillie Langtry, and Laura Hope Crewe, and appeared in Beverly's Balance (1915), Iphigenia in Aulis (1915), The Pirate (1916), and Green Stockings (1917). On October 17, 1917, Alfred made his Broadway debut as Claude Estabrook in Romance and Arabella. A year later, Alfred toured as George Tewkesbury Reynolds III in Booth Tarkington's The Country Cousin. Tarkington was so impressed by Alfred's performance that he decided to write a play specifically for him, and when Clarence opened on September 20, 1919, to the best reviews in a decade, Alfred Lunt became an overnight sensation.
The two certain facts about Lynn Fontanne's birth are that she was born at Station Terrace, Snakes Lane, Woodford, in Essex (about ten miles northeast of London) and that the day was the sixth of December. The year of her birth, however, has been the subject of much speculation. The New Yorker once collated a dozen references to Lynn's birthday, no two of which concurred.
Her father was Jules Pierre Antoine Fontanne, a French designer of printing type who owned a typefounding business. Her mother, Ellen Thornley, was Irish. It is unclear whether four or five daughters were born to the Fontannes, but records indicate the births of Mai (1882), Antoinette (1883), Frances (1886), and Lillie (1887). When it was suggested to Lynn that she and Lillie were actually the same person, Lynn often replied that she was a fifth daughter, born in an unspecified year. After she married Alfred, Lynn used the year of his birth (1892) as her own when applying for passports and the like. At the time of her death, it was generally assumed that Lynn was born in 1887, although her own memorial book listed 1888 as the year of her birth.
Mr. Fontanne proved to be a failure as a businessman, declaring bankruptcy in 1895; as a result, the family was forced to live in a poor neighborhood in London. When Lynn was five, she got lost at the beach at Brighton and was found hours later at the police station entertaining an audience of policemen with a poem she had composed herself. She also liked to memorize Shakespearean monologues. In 1905, through a friend, an appointment was arranged between Lynn and the preeminent actress of the day, Ellen Terry. Upon hearing Lynn recite, Miss Terry agreed to give her lessons free of charge. On December 26, 1905, Lynn Fontanne made her debut as a chorus girl in the Christmas pantomime, Cinderella, at the Drury Lane Theatre.
After years of playing small roles, Lynn met the popular American actress Laurette Taylor in 1914 and became her protégée. By early 1916, Lynn was en route to the United States to act with Miss Taylor in The Wooing of Eve. More minor roles followed, and in 1918 Lynn received excellent reviews for her role as Mrs. Glendenning in Someone in the House, written by three playwrights including a young George S. Kaufman. Three years later, with Marc Connelly, he was to write Dulcy--the play which launched Lynn Fontanne's career.
In May 1919, Lynn went to a New York theater where members of the George C. Tyler Stock Company were reading. While standing in the wings, she heard a beautiful voice coming from the stage; it was Alfred, reading a scene from Clarence. She was immediately smitten.
In the summer of 1919, Alfred and Lynn appeared together on stage for the first time, in Richard Washburn Child's Made of Money; later that summer, they acted together in A Young Man's Fancy. For the next five years, however, they were to follow separate career paths: Alfred in the hit Clarence (1919), Intimate Strangers (1922), Banco (1922), Robert E. Lee (1923), and Outward Bound (1923), and Lynn in One Night in Rome (1920), the successful Dulcy (1921), In Love With Love (1923), and Sweet Nell of Old Drury (1923). Somehow during this time they found a free day to get married--a spur of the moment decision on May 26, 1922.
In 1924, Alfred and Lynn signed with the fledgling Theatre Guild to star in Ferenc Molnar's The Guardsman. Instead of the Guild's usual two or three week run, The Guardsman played for 40 weeks, establishing the production company as a major force in the theater. The Lunts became the Guild's major drawing card, appearing both together and separately in numerous productions during the next five years: Arms and the Man (1925), The Goat Song (1926), At Mrs. Beam's (1926), Juarez and Maximilian (1926), Ned McCobb's Daughter (1927), The Brothers Karamazov (1927), Pygmalion (1927), The Second Man (1928), The Doctor's Dilemma (1928), Marco Millions (1928), Volpone (1928), and Strange Interlude (1928).
When their contracts with the Theatre Guild expired in 1929, the Lunts refused to re-sign unless promised they would never again act in separate productions. The Guild complied, beginning with Caprice in 1929 and followed by Meteor (1929), Elizabeth the Queen (1930), and Reunion in Vienna (1931). Also, in 1931, the Lunts went to Hollywood to make The Guardsman for MGM. It was to be their only film together (Alfred had made four silent films in 1922-1923: The Ragged Edge, Backbone, Second Youth, and Sally of the Sawdust).
After 1932, the Lunts acted together in numerous independent productions: Design for Living (1933), Point Valaine (1935), The Taming of the Shrew (1935), Idiot's Delight (1936), Amphitryon '38 (1937), The Seagull (1938), There Shall Be No Night (1940), The Pirate (1942), Love in Idleness (England, 1945--known in the United States a year later as 0 Mistress Mine), I Know My Love (1949), Quadrille (1952), The Great Sebastians (1956), and The Visit (1958). During the summers, the Lunts retreated to their farm in Genesee Depot, Wisconsin, where they entertained many prominent figures in the theater and entertainment world.
Although the Lunts retired from the stage in 1960 (after The Visit), they starred in several television productions during the 1950s and 1960s: The Great Sebastians (1957), The Old Lady Shows Her Medals (1963), The Magnificent Yankee (1965), and Anastasia (1967). With Noel Coward, they appeared on The Dick Cavett Show in 1970. Alfred also directed the play Ondine in 1954, as well as several productions of the Metropolitan Opera: Cosi Fan Tutte (1951), First Love (1961), and La Traviata (1966).
The Lunts were the recipients of numerous awards and honors, among them honorary degrees from Aquinas College, the Art Institute of Chicago, Beloit College, Carroll College, Dartmouth College, Emerson College, Marquette University, New York University, Russell Sage College, Temple University, the University of Wisconsin, and Yale University. Other awards included the Mary MacArthur Memorial Fund Award (1958), the Presidential Medal of Freedom (1964), Brandeis University's Medal of Achievement (1972), U.C.L.A.'s Chancellor's Award (1972), and Emmy Award nominations for The Magnificent Yankee and Anastasia.
In late July 1977, Alfred underwent surgery for cancer, from which he never recovered. He died on August 3, 1977, at a Chicago hospital, and was buried in the family plot at Milwaukee, Wisconsin. After his death, Lynn severely curtailed her public appearances. She was awarded a Kennedy Center Honor in 1980 and appeared in two television productions: The Lunts: A Life in the Theatre (1980), and The Bunny Raasch Special (1981). Lynn died in her sleep on July 30, 1983, and was buried next to her husband.
For more information, see the Lunts' biography by Maurice Zolotow, entitled Stagestruck: The Romance of Alfred Lunt and Lynn Fontanne, published by Harcourt, Brace & World, 1964.
Scope and Content Note
The collection is comprised of both personal and production-related materials. The nearly 4,000 pieces of correspondence in the collection were written by colleagues and fans from 1930 to 1977. Also included in the collection are hundreds of newspaper clippings concerning the Lunts' personal and professional lives; reviews, playbills, and scripts from more than 50 theatrical and television productions; Lunt family letters dating from 1838; scattered financial records; unproduced scripts by renowned playwrights such as Robert Sherwood, Booth Tarkington, and Noel Coward; and more than 1,600 photographs of the Lunts both at home and on the stage.
The collection is divided into 11 series: Correspondence and Related Material; Financial; Personal Life; Productions - Theater; Productions - Television; Productions - Other; Unproduced Scripts; Scrapbooks; Films; Tape Recordings; and Photographs.
The CORRESPONDENCE AND RELATED MATERIAL series contains correspondence written to the Lunts by both fans and colleagues. An auditions file contains about 50 letters from aspiring actors and actresses requesting auditions in the years 1946-1949; the most notable among them was the 23-year-old Jean Stapleton, whom the Lunts recommended to producer Jack Wilson. The letters in the Canadian Government file concern the Lunts' 1940 trip to Canada and efforts in 1943 to get their costumes to England aboard a Canadian bomber. The file entitled “Christmas Celebrations” contains both incoming and outgoing Christmas cards from various years, plus several lists of card recipients and Christmas dinner invitees, and menus.
Also included in the series are about 75 letters received from fans and colleagues alike upon the death of Alfred Lunt in 1977. Some prominent correspondents include Buddy Ebsen, Lillian Gish, Kitty Carlisle Hart, Alan Hewitt, Raymond Massey, Lynn Redgrave, and Dorothy Stickney. In addition, there are several eulogies from the funeral. The “Fan Mail” file contains more than 200 letters from fans in both the United States and England, dating from 1934 to 1981. The file entitled “Legal” includes about 70 letters from the Lunts' lawyer and advisor Donald Seawell, dating from the 1950s and concerning tax payments, investments, and earnings abroad.
The Lunts' personal correspondence (numbering close to 2,000 incoming and 500 outgoing letters) provides a virtual “who's who” in the arts and entertainment industry in the first half of the 20th century. Letters abound from such prominent literary figures as Enid Bagnold, S.N. Behrman, John Mason Brown, Noel Coward, Edna Ferber, Terence Rattigan, Robert Sherwood, Booth Tarkington, Thornton Wilder, and Alexander Woollcott. Theater personalities such as Maxwell Anderson, Cecil Beaton, Hugh Beaumont, Russel Crouse, John Gielgud, Helen Hayes, Vivien Leigh, Howard Lindsay, Cathleen Nesbitt, Laurence Olivier, and John Wilson are represented as well. Those prominent correspondents from whom more than six letters exist are listed individually in the container list.
Perhaps the most complete correspondence (approximately equal numbers of incoming and outgoing letters) exists with Lynn's dresser Bessie Porter and with the playwright Robert Sherwood (who apparently sent the originals back to the Lunts). There is a great deal of incoming correspondence, however, from the following: Sibyl Colefax, Noel Coward, Jane and Wilfred de Glehn, Juliet Duff, Gus Eckstein, Jamie and Yvonne Hamilton, Antoinette Keith (Lynn's sister), Betty MacIlwaine, Graham Robertson, and Alexander Woollcott. Also, there are some 35 letters labeled “unidentified” by the processing archivist.
In addition, the collection contains at least one letter from the following well-known figures: George Arliss, Brooks Atkinson, J. M. Barrie, Ethel Barrymore, Billie Burke, Edgar Rice Burroughs, Charlie Chaplin, Clementine Churchill, Katherine Cornell, Joan Crawford, Freidrich Durrenmatt, Anthony Eden, Jean Girandoux, Sydney Greenstreet, Moss Hart, and Lillian Hellman. Also represented are Audrey Hepburn, Katharine Hepburn, Myra Hess, Hubert Humphrey, Josh Logan, Anita Loos, Groucho Marx, Margaret Mitchell, Arthur Penn, Eleanor and Franklin Roosevelt, Vincent Sheean, Sil-Vara, Margaret Sullavan, Elizabeth Taylor, Clifton Webb, and Rebecca West. These are filed alphabetically under the appropriate initial of the last name.
Also included in this series are a record book of correspondence and packages sent to England in 1948; information on the Lunts' residences in New York and Genesee Depot, Wisconsin (including a long run of letters from Ben Perkins, the farm's overseer, circa 1941-1972); material on the display of Alfred's toy theaters at the Museum of the City of New York in the late 1940s; war bond speeches delivered by the Lunts (borrowed by them from Brooks Atkinson); and correspondence labeled by the Lunts as “touch letters”--those asking for money or attempting blackmail.
The FINANCIAL series includes scattered records of car and fur purchases; several contracts from the early 1930s; an incomplete record of contributions and receipts, circa 1945-1975; letters and statements from the Guaranty Trust Company, 1940-1958; information on insurance, 1950-1967; scattered lists of investments; and a catalogue from the Marshall Ellis & Company gift house, 1950, annotated by Lynn.
The PERSONAL LIFE series contains mainly newspaper and magazine clippings on numerous aspects of the Lunts' personal life, including birthdays/anniversaries, fashion, general clippings, Genesee Depot Park, residences, and obituaries. Also included in the series are an article by Alfred entitled The Actor as Artist (undated); a 1943 address book inscribed by Laurence Olivier; certificates of awards and honors and accompanying citations and programs; Alfred's unpublished cookbook; early family letters from Alfred's father, uncles, and grandmother (1838-1869); samples of daily and weekly menus chosen by Alfred during the 1940s (written on scraps of paper); passports and identity cards; and a draft of several chapters from the Lunt biography, Stagestruck, by Maurice Zolotow.
The PRODUCTIONS - THEATER series provides an almost complete run of reviews and advertisements from the theater productions of the Lunts (both separate productions and those performed together). The first large group of clippings appears to be placed somewhat randomly; this is because the clippings were microfilmed directly from a scrapbook. They concern productions running from 1914 to 1924, excluding Clarence, which follows the scrapbook's clippings on the 1924 production Outward Bound. After Clarence, the clippings are arranged chronologically by production. In many cases, programs and/or playbills accompany the clippings within the individual production file. In addition, scripts exist for the following productions: Beverly's Balance (1915), Iphigenia in Aulis (1915), Clarence (1919), Banco (1922), Outward Bound (1924), The Guardsman (1924), The Taming of the Shrew (1935), Idiot's Delight (1936), The Pirate (1942), 0 Mistress Mine (1946), and I Know My Love (1949). Only scripts and playbills have been retained in paper form; other materials are available on microfilm only.
The PRODUCTIONS - TELEVISION series contains newspaper and magazine clippings of reviews and advertisements of television productions in which the Lunts appeared, in a manner similar to the Productions - Theater series. There is only one script, however--for Anastasia (1967)--and it reflects only the part played by Lynn. The other productions documented in the series are: The Great Sebastians (1957), The Old Lady Shows Her Medals (1963), The Magnificent Yankee (1965), and The Lunts: A Life in the Theatre (1980).
The PRODUCTIONS - OTHER series is comprised of clippings, programs, playbills, and the like for unrelated productions not covered by the other series. The file marked “Early Lunt Appearances, 1911-1915” includes broadsides and programs from productions in which Lunt appeared as a minor character. The material on The White Cliffs concerns a radio broadcast of that name delivered by Lynn in 1940, while the file marked “Cosi Fan Tutte” includes clippings and programs from the 1951 production directed by Alfred at the Metropolitan Opera. Also included is a screenplay from the 1931 movie, The Guardsman. Other unrelated and minor material is contained in the file entitled “Assorted Productions, undated.”
The UNPRODUCED SCRIPTS series contains 19 scripts submitted to the Lunts but which they neither produced nor starred in. Several were written by notable playwrights including Enid Bagnold, Noel Coward, Booth Tarkington, St. John Ervine, Maxwell Anderson, and Robert Sherwood. Also included are two plays written (in longhand) by Alfred Lunt, dating from 1900-1901.
The SCRAPBOOKS series includes the contents of three large scrapbooks --filmed in their entirety--which contain clippings of reviews, programs, playbills, and advertisements from assorted Lunt productions. Also included are clippings on the Lunts' engagement and wedding.
The FILMS series contains video cassettes of two television productions featuring Lynn Fontanne: The Lunts: A Life in the Theatre, March 7, 1980; and The Bunny Raasch Special, July 30, 1981. Also included in the series is a film of the production The Old Lady Shows Her Medals, parts 1 and 2, 1963.
The TAPE RECORDINGS series consists of ten audio tapes including the Lunts and Noel Coward with Dick Cavett, a 1941 recording of Lynn reciting The White Cliffs of Dover, Sybil Thorndike's memories of the actress Ellen Terry (undated), and a recording of the Theatre Guild's production of The Guardsman (undated).
The PHOTOGRAPHS series is comprised of more than 1,600 photographs of the internationally acclaimed theatrical couple in production and personal settings. At least 1,000 of these document thirty of their most famous productions, and also include some early character poses of Alfred (circa 1914). Many of the personal photographs are snapshots of the Lunts on numerous vacations abroad; others feature family and friends and the Lunts' home at Genesee Depot. Also, there are a limited number of photographs of Lynn's family, circa 1880-1900, Alfred's toy theaters, and autographed photos from friends.
Most of the clippings were discarded after the collection was microfilmed, and are therefore available only in microfilm form.
Administrative/Restriction Information
Presented by Carroll College Library, Ripon, Wisconsin, April 5, 1976; by George Bugbee and Suzanne Knapp, Genesee Depot, Wisconsin, October 18 and December 5, 1983; and by Thelma Moss, Antigo, Wisconsin, February 23, 1984. Accession Number: MCHC76-20, MCHC83-53, MCHC84-13
Processed by Sara Leuchter, Brenda Vogel, and Larry Miller, 1985.
Selected home movies reformatted for preservation, funded with a grant from the National Film Preservation Foundation (NFPF).
Contents List
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Mss 622/Micro 1031
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Series: Correspondence and Related Material
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Box/folder
1/1
Reel/frame
1/1-119
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Auditions, 1945-1949
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Box/folder
1/2
Reel/frame
1/120-142
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Canadian government, 1940-1943
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Box/folder
1/3
Reel/frame
1/143-256
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Christmas celebrations, undated
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Box/folder
1/4
Reel/frame
1/257-389
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Death of Alfred Lunt, 1977
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Box/folder
1/5
Reel/frame
1/390-738
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Fan mail, 1934-1981, undated
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Box/folder
1/6
Reel/frame
1/739-839
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Legal, 1933-1972
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Personal, 1910-1982, undated
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Box/folder
1/7
Reel/frame
2/1-35
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A
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Box/folder
1/8
Reel/frame
2/36-46
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Anderson, Maxwell
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Box/folder
1/9
Reel/frame
2/47-117
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B
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Box/folder
2/1
Reel/frame
2/118-565
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Bagnold, Enid
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Box/folder
2/2
Reel/frame
2/566-628
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Beaton, Cecil
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Box/folder
2/3
Reel/frame
2/629-710
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Beaumont, Hugh (“Binkie”)
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Box/folder
2/4
Reel/frame
2/711-722
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Behrman, S.N.
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Box/folder
2/5
Reel/frame
2/723-745
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Beyer, Elsie
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Box/folder
2/6
Reel/frame
2/746-759
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Brown, John Mason
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Box/folder
2/7
Reel/frame
2/760-826
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Brunel, Adrian
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Box/folder
2/8
Reel/frame
2/827-893
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Brunel, Winnie
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Box/folder
2/9
Reel/frame
2/894-965
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C
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Box/folder
2/10
Reel/frame
3/1-30
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Cadell, Jean
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Box/folder
2/11
Reel/frame
3/31-47
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Carey, Joyce
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Box/folder
2/12
Reel/frame
3/48-57
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Cassidy, Claudia
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Box/folder
2/13
Reel/frame
3/58-92
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Channon, Henry (“Chips”)
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Box/folder
2/14
Reel/frame
3/93-106
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Cholmondeley, Sybil
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Box/folder
2/15
Reel/frame
3/107-132
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Colbourne, Maurice
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Box/folder
2/16
Reel/frame
3/133-308
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Colefax, Sibyl
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Box/folder
2/17
Reel/frame
3/309-382
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Coward, Noel
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Box/folder
2/18
Reel/frame
3/383-398
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Crouse, Russel and Lindsay, Howard
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Box/folder
2/19
Reel/frame
3/399-462
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D
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Box/folder
2/20
Reel/frame
3/463-482
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Dane, Clemence
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Box/folder
2/21
Reel/frame
3/483-496
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Daubeny, Peter
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Box/folder
3/1
Reel/frame
3/497-596
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de Glehn, Jane and Wilfred
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Box/folder
3/2
Reel/frame
3/597-680
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Dewhurst, Mrs. John (“Habetrot”)
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Box/folder
3/3
Reel/frame
3/681-805
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Duff, Juliet
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Box/folder
3/4
Reel/frame
3/806-834
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E
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Box/folder
3/5
Reel/frame
3/835-887
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Eckstein, Gus
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Box/folder
3/6
Reel/frame
3/888-914
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F
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Box/folder
3/7
Reel/frame
3/915-939
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Fanshawe, Marie
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Box/folder
3/8
Reel/frame
4/1-21
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Ferber, Edna
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Box/folder
3/9
Reel/frame
4/22-36
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Forder, Frank
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Box/folder
3/10
Reel/frame
4/37-68
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G
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Box/folder
3/11
Reel/frame
4/69-84
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Gielgud, John
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Box/folder
3/12
Reel/frame
4/85-101
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Gilbert, Olive
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Box/folder
3/13
Reel/frame
4/103-128
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Gordon, Ruth
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Box/folder
3/14
Reel/frame
4/129-197
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H
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Box/folder
3/15
Reel/frame
4/198-359
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Hamilton, Hamish (“Jamie”) and Yvonne
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Box/folder
3/16
Reel/frame
4/360-370
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Hamilton, Lance and Russell, Charles
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Box/folder
3/17
Reel/frame
4/371-394
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Harrison, Mona
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Box/folder
3/18
Reel/frame
4/395-470
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Harwood, Frynn and Tottie
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Box/folder
3/19
Reel/frame
4/471-499
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Hayes, Helen
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Box/folder
3/20
Reel/frame
4/500-509
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Helpmann, Bobby
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Box/folder
3/21
Reel/frame
4/510-523
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Hetherington, Neville
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Box/folder
3/22
Reel/frame
4/524-543
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Hewitt, Alan
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Box/folder
3/23
Reel/frame
4/544-576
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Humphrey, Molly
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Box/folder
3/24
Reel/frame
4/577-615
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J
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Box/folder
3/25
Reel/frame
4/616-648
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K
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Box/folder
3/26
Reel/frame
4/649-936
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Keith, Antoinette (“Tony Toots”)
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Box/folder
3/27
Reel/frame
5/233-240
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Kerr, Geoffrey
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Box/folder
3/28
Reel/frame
5/241-287
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King, Sophie
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Box/folder
4/1
Reel/frame
5/1-73
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L
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Box/folder
4/2
Reel/frame
5/74-82
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Lehman, Rosamond
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Box/folder
4/3
Reel/frame
5/83-165
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Leigh, Vivien
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Box/folder
4/4
Reel/frame
5/166-175
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Leslie, Cole
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Box/folder
4/5
Reel/frame
5/176-219
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Lloyd, Cyril
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Box/folder
4/6
Reel/frame
5/220-232
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Lloyd, Freddie
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Box/folder
4/7
Reel/frame
5/288-316
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Loraine, Lorn
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|
|
Box/folder
4/8
Reel/frame
5/317-327
|
Lunts' Outgoing (no addressees)
|
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|
Box/folder
4/9
Reel/frame
5/328-426
|
M
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|
|
Box/folder
4/10
Reel/frame
5/427-655
|
Macllwaine Family
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Box/folder
4/11
Reel/frame
5/656-695
|
Marshall, Arthur
|
|
|
Box/folder
4/12
Reel/frame
5/696-765
|
Metropolitan Opera (New York)
|
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Box/folder
4/13
Reel/frame
5/766-813
|
Molyneux, Edward
|
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Box/folder
4/14
Reel/frame
5/814-831
|
N
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Box/folder
4/15
Reel/frame
5/832-878
|
Nesbitt, Cathleen
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Box/folder
4/16
Reel/frame
5/879-926
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Novello, Ivor and Andrews, Bobbie
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Box/folder
4/17
Reel/frame
5/927-936
|
O
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Box/folder
4/18
Reel/frame
5/937-963
|
O'Brien, Kate
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Box/folder
5/1
Reel/frame
6/1-33
|
Olivier, Laurence
|
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Box/folder
5/2
Reel/frame
6/33-48
|
P
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Box/folder
5/3
Reel/frame
6/49-68
|
Poile, Peggy
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Box/folder
5/4
Reel/frame
6/69-254
|
Porter, Bessie
|
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Box/folder
5/5
Reel/frame
6/255-316
|
Potiki, Mai
|
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Box/folder
5/6
Reel/frame
6/317-335
|
Quitter, Roger
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Box/folder
5/7
Reel/frame
6/336-387
|
R
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Box/folder
5/8
Reel/frame
6/388-392
|
Raasch, Bonnie
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Box/folder
5/9
Reel/frame
6/393-400
|
Rankin, May
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Box/folder
5/10
Reel/frame
6/401-417
|
Rattigan, Terence
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Box/folder
5/11
Reel/frame
6/418-441
|
Ravensdale, Irene
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Box/folder
5/12
Reel/frame
6/442-635
|
Robertson, Graham
|
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Box/folder
5/13
Reel/frame
6/636-643
|
Roosevelt, Franklin and Eleanor
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Box/folder
5/14A
Reel/frame
6/644-718
|
S
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Box/folder
5/14B
|
Sargent, Mary
|
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|
Box/folder
5/15
Reel/frame
6/719-738
|
Sederholm, Hattie
|
|
|
Box/folder
5/16
Reel/frame
6/739-937
|
Sherwood, Robert and Madeline
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Box/folder
5/17
Reel/frame
6/938-947
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Sinden, Donald
|
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Box/folder
5/18
Reel/frame
6/948-987
|
Stern, Peter
|
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Box/folder
5/19
Reel/frame
6/988-1008
|
Stuart, Norman
|
|
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Box/folder
5/20
Reel/frame
6/1009-1048
|
T
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Box/folder
5/21
Reel/frame
6/1049-1074
|
Tarkington, Booth
|
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Box/folder
5/22
Reel/frame
7/1-20
|
Tuttle, Day
|
|
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Box/folder
5/23
Reel/frame
7/21-95
|
Unidentified
|
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Box/folder
5/24
Reel/frame
7/96-101
|
V
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Box/folder
5/25
Reel/frame
7/103-201
|
W
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Box/folder
6/1
Reel/frame
7/202-208
|
Wilder, Thornton
|
|
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Box/folder
6/2
Reel/frame
7/209-229
|
Wilson, Jack
|
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Box/folder
6/3
Reel/frame
7/230-371
|
Woollcott, Alexander
|
|
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Box/folder
6/4
Reel/frame
7/372-387
|
XYZ
|
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Box/folder
6/5
Reel/frame
7/388-424
|
Young, Stark
|
|
|
Box/folder
6/6
Reel/frame
7/425-526
|
Record of English correspondence and packages, 1948
|
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Residences, 1937-1973
|
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Box/folder
6/7
Reel/frame
7/527-548
|
130 East 75th Street, New York
|
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Box/folder
6/8
Reel/frame
7/549-730
|
150 East End Avenue, New York
|
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Genesee Depot, Wisconsin
|
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Box/folder
6/9
Reel/frame
7/731-819
|
Garden, 1941-1955
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Box/folder
6/10
Reel/frame
8/1-278
|
Perkins, Ben, 1941-1972
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Box/folder
7/1-2
Reel/frame
8/279-732
|
Renovations, 1937-1939
|
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Box/folder
7/3
Reel/frame
8/733-873
|
Theatre Guild, 1924-1951
|
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Box/folder
7/4
Reel/frame
8/874-1006
|
“Touch letters,” 1925-1940, undated
|
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Box/folder
8/1
Reel/frame
9/1-186
|
Toy theaters, 1946-1949
|
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Box/folder
8/2
Reel/frame
9/187-273
|
War bond speeches, undated
|
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Series: Financial
|
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Box/folder
8/3
Reel/frame
9/274-282
|
Car purchases
|
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Box/folder
8/4
Reel/frame
9/283-315
|
Contracts, 1931-1932
|
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Box/folder
8/5
Reel/frame
9/316-376
|
Contributions and receipts
|
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Box/folder
8/6
Reel/frame
9/377-396
|
Fur purchases, 1948-1949
|
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|
Box/folder
8/7
Reel/frame
9/397-475
|
Guaranty Trust Company, 1940-1958
|
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Box/folder
8/8
Reel/frame
9/476-531
|
Insurance, 1950-1967
|
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Box/folder
8/9
Reel/frame
9/532-618
|
Investments
|
|
|
Box/folder
8/10
Reel/frame
9/619-643
|
Marshall Ellis & Company, 1950
|
|
|
Series: Personal Life
|
|
|
Box/folder
9/1
Reel/frame
9/644-650
|
“The Actor as Artist,” by Alfred Lunt,
undated
|
|
|
Box/folder
9/2
Reel/frame
9/651-684
|
Address book, 1943
|
|
|
Box/folder
9/3
Reel/frame
9/685-889
|
Awards and honors
|
|
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Reel/frame
10/1-70
|
Awards and honors (continued)
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Box
14-15
|
Awards, plaques, certificates
|
|
|
Reel/frame
10/71-155
|
Birthdays/Anniversaries
|
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Box/folder
13/1
Reel/frame
10/156-432
|
Cookbook, undated
|
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Reel/frame
10/433-452
|
Fashion
|
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Reel/frame
10/453-658
|
General clippings
|
|
|
Reel/frame
10/659-667
|
Genesee Depot Park
|
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|
Box/folder
9/4
Reel/frame
10/668-680
|
Lunt family letters, 1838-1869
|
|
|
Reel/frame
10/681-700
|
Menus
|
|
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Box/folder
9/5
Reel/frame
10/701-790
|
Miscellany
|
|
|
Box/folder
9/6
Reel/frame
10/791-875
|
Obituaries
|
|
|
Box/folder
9/7
Reel/frame
10/876-939
|
Passports and Identity cards
|
|
|
Reel/frame
11/1-90
|
Residences
|
|
|
Reel/frame
11/91-259
|
Stagestruck, Draft (entitled Dream of Passion), by Maurice Zolotow, pp. 121-296, 1962
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|
|
Series: Productions - Theater
|
|
|
Reel/frame
11/260-735
|
Assorted productions, 1914-1924
|
|
|
Rip Van Winkle (, 1914)
|
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Soldiers of Fortune (, 1914)
|
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The Mind the Paint Girl (, 1914)
|
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Hawthorne of the USA (, 1914)
|
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The Ne'er-do-Well (, 1914)
|
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Paid in Full (, 1914)
|
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Box/folder
9/8
|
Iphigenia in Aulis (, 1915)
|
|
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Box/folder
9/9
|
Beverly's Balance (, 1915)
|
|
|
The Pirate (, 1916)
|
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|
Green Stockings (, 1917)
|
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Box/folder
9/10
|
Romance and Arabella (, 1917)
|
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|
The Country Cousin (, 1918)
|
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Made of Money (, 1919)
|
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A Young Man's Fancy (, 1919)
|
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|
Dulcy (, 1921)
|
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Intimate Strangers (, 1922)
|
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Box/folder
9/11
|
Banco (, 1922)
|
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|
In Love With Love (, 1923)
|
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|
Robert E. Lee (, 1923)
|
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Box/folder
9/12
|
Sweet Nell of Old Drury (, 1923)
|
|
|
Box/folder
9/13
|
Outward Bound (, 1924)
|
|
|
Box/folder
9/14
Reel/frame
11/736-899
|
Clarence (, 1919)
|
|
|
Box/folder
10/1
Reel/frame
12/146-363
|
The Guardsman (, 1924)
|
|
|
Reel/frame
12/364-383
|
Arms and the Man (, 1925)
|
|
|
Box/folder
10/2
Reel/frame
12/384-423
|
The Goat Song (, 1926)
|
|
|
Reel/frame
12/424-430
|
At Mrs. Beam's (, 1926)
|
|
|
Reel/frame
12/431-440
|
Juarez and Maximilian (, 1926)
|
|
|
Reel/frame
12/441-461
|
Pygmalion (, 1927)
|
|
|
Box/folder
10/3
Reel/frame
12/462-464
|
Caprice (, 1929)
|
|
|
Box/folder
10/4
Reel/frame
12/465-468
|
Elizabeth the Queen (, 1929)
|
|
|
Box/folder
10/5
Reel/frame
12/469-488
|
Reunion in Vienna (, 1932)
|
|
|
Reel/frame
12/489-498
|
Design for Living (, 1933)
|
|
|
Box/folder
10/6
Reel/frame
12/499-892
|
The Taming of the Shrew (, 1935)
|
|
|
Box/folder
10/7
Reel/frame
12/893-1014
|
Idiot's Delight (, 1936)
|
|
|
Box/folder
7/5
|
Commemorative program accompanied by a playbill autographed by Alfred Lunt and Lynn Fontanne for the Theatre Guild presentation at the Parkway Theatre, 1937 May 13
: This item is not on the microfilm.
|
|
|
Box/folder
10/8
Reel/frame
12/1015-1043
|
Amphitryon '38 (, 1937)
|
|
|
Reel/frame
12/1044-1053
|
The Seagull (, 1938)
|
|
|
Reel/frame
13/1-274
|
There Shall Be No Night (, 1940)
|
|
|
Box/folder
10/9
Reel/frame
13/275-557
|
The Pirate (, 1942)
|
|
|
Box/folder
10/10
Reel/frame
13/558-609
|
Love in Idleness (, 1945)
|
|
|
Box/folder
10/11
Reel/frame
13/610-898
|
O Mistress Mine (, 1946)
|
|
|
Box/folder
10/12
Reel/frame
14/899-1169
|
I Know My Love (, 1949)
|
|
|
Box/folder
10/13
Reel/frame
14/1-193
|
Quadrille (, 1952)
|
|
|
Box/folder
10/14
Reel/frame
14/194-228
|
The Great Sebastians (, 1956)
|
|
|
Box/folder
10/15
Reel/frame
14/229-457
|
The Visit (, 1958)
|
|
|
Series: Productions - Television
|
|
|
Reel/frame
14/458-466
|
The Great Sebastians (, 1957)
|
|
|
Reel/frame
14/467-472
|
The Old Lady Shows Her Medals (, 1963)
|
|
|
Reel/frame
14/473-497
|
The Magnificent Yankee (, 1965)
|
|
|
Box/folder
10/16
Reel/frame
14/498-592
|
Anastasia (, 1967)
|
|
|
Reel/frame
14/593-799
|
The Lunts: A Life in the Theatre (, 1980)
|
|
|
Series: Productions - Other
|
|
|
Reel/frame
14/800-832
|
Early Lunt Appearances (, 1911-1915)
|
|
|
Box/folder
11/1
Reel/frame
12/1-145
|
The Guardsman, film screenplay, undated
|
|
|
Box/folder
11/2
Reel/frame
14/833-940
|
The White Cliffs (, 1940)
|
|
|
Reel/frame
14/941-978
|
Cosi Fan Tutte (, 1951)
|
|
|
Box/folder
11/3
Reel/frame
14/979-1082
|
Assorted productions, undated
|
|
|
Series: Unproduced Scripts
|
|
|
Box/folder
11/4
Reel/frame
15/1-67
|
“Alfred Lunt and Lynn Fontanne: Things We've Never Done,” compiled by Samuel Taylor, undated
|
|
|
Box/folder
11/5
Reel/frame
15/68-194
|
“Buried Alive,” by Leonard Spigelgass, undated
|
|
|
Box/folder
11/6
Reel/frame
15/195-313
|
“The Chinese Prime Minister,” by Enid Bagnold, undated
|
|
|
Box/folder
11/7
Reel/frame
15/314-360
|
“Come into the Garden,” by Noel Coward, undated
|
|
|
“Days of the Turbins,” by Michael Bulgakov
|
|
|
Box/folder
11/8
Reel/frame
15/361-536
|
undated
|
|
|
Box/folder
11/9
Reel/frame
15/537-668
|
undated
|
|
|
Box/folder
11/10
Reel/frame
15/669-680
|
“Design for Rehearsal,” by Noel Coward, undated
|
|
|
Box/folder
11/11
Reel/frame
15/681-814
|
“Femme-Comedian,” by Eric Culley, undated
|
|
|
Box/folder
11/12
Reel/frame
15/815-932
|
“Kunnel Blake,” by Booth Tarkington, undated
|
|
|
Box/folder
12/1
Reel/frame
15/933-1041
|
“The Marriage Equation,” by Maurice Zolotow, undated
|
|
|
Box/folder
12/2
Reel/frame
16/1-125
|
“Mary, Mary, Quite Contrary,” by St. John Ervine, undated
|
|
|
Box/folder
12/3
Reel/frame
16/126-212
|
“The Masque of Queens,” by Maxwell Anderson, undated
|
|
|
Box/folder
12/4
Reel/frame
16/213-233
|
“Parcifal,” by Alfred Lunt, 1901
|
|
|
Box/folder
12/5
Reel/frame
16/234-347
|
“Poor Brinsley,” by Irving Fisher, 1976
|
|
|
Box/folder
12/6
Reel/frame
16/348-364
|
“Rip Van Winkle,” by Alfred Lunt, 1901
|
|
|
“The Royal Family of Broadway,” by Leonard Spigelgass
|
|
|
Box/folder
12/7
Reel/frame
16/365-478
|
1971 November 19
|
|
|
Box/folder
12/8
Reel/frame
479-574
|
1971 December 15
|
|
|
Box/folder
12/9
Reel/frame
16/575-627
|
“Shadows of the Evening,” by Noel Coward, 1965 December 8
|
|
|
Box/folder
12/10
Reel/frame
16/628-741
|
“A Song at Twilight,” by Noel Coward, undated
|
|
|
Box/folder
12/11
Reel/frame
16/742-841
|
“The Twilight,” by Robert Sherwood, 1947
|
|
|
Box/folder
12/12
Reel/frame
16/842-856
|
Untitled, by S.K. Kreitman, 1967
|
|
|
Reel/frame
17/1-424
|
Series: Scrapbooks
|
|
|
Series: Films
|
|
|
VHA 310/DD 542-DD 543
|
The U.S. Steel Hour: “The Old Lady Shows Her Medals,” parts 1 and 2, 1963 June 12
|
|
|
VBA 558
|
The Lunts: A Life in the Theatre, 1980 March 7
|
|
|
VBA 559
|
The Bunny Raasch Special, 1981 July 30
|
|
|
Home movies
: Most of these films have been copied onto videotape.
|
|
|
VHA 150/AC 679
|
1920s--2- or 3-year-old children, shot at the “old house” or the cottage
Black and white, 198 feet
|
|
|
AE 361
|
1920s--Train Depot, Blackstone Theatre: Theatre guild presents “Arms and the Man”
Black and white
|
|
|
VHA 150/AC 680
|
1928--Carroll College graduation, Peegie and Susie in newspaper dresses, Lynn and Alfred in castle, Lynn playing with dog
Black and white, 240 feet
: Film reformatted for preservation, funded with a grant from the NFPF.
|
|
|
VHA 150/AC 681
|
1929--Lynn and Alfred eating breakfast outdoors, Lynn in meadow spraying insecticide, Alfred staining a deck, gardening, naked girl in garden
Black and white, 198 feet
|
|
|
VHA 150/AC 682
|
1930s--Zoo footage, possibly at London Zoo: Elephant riding, pelicans, ostrich, bird of paradise, penguins, bears, giraffe, polar bear
Black and white, 363 feet
|
|
|
VHA 150/AC 683
|
1930s--Travel footage in Jamaica and Santo Domingo: Lynn getting off boat, scenes of village life, coral reef
Black and white, 397 feet
|
|
|
VHA 150/AC 684
|
1930s--Lynn in tropical garden, shots of Doctor's Cove Hotel, Jamaica, beach scenes at Doctor's Cove Private, Bathing Club, town scenes, swimming in ocean
Black and white, 399 feet
|
|
|
VHA 150/AC 685
|
1930s--Spanish travel: Avila, Segovia, and Toledo. Landscapes, farms, towns, seashore, castles
Black and white, 253 feet
|
|
|
VHA 150/AC 686
|
1933--Genesee Depot and vicinity: pool, kids, dachshund, Lynn and Alfred riding horses
Black and white, 198 feet
: Film reformatted for preservation, funded with a grant from the NFPF.
|
|
|
VHA 150/AC 687
|
1936--Interior scene of the fireplace and a girl playing piano, inside the Sederholms' cottage, shots of the Lunts' home furnishings, Sue, Peegie, Hat, and Johnny at the cottage, the pool, and the poolhouse, and Alfred pruning the grounds
Black and white and color, 222 feet
: Film reformatted for preservation, funded with a grant from the NFPF.
|
|
|
VHA 150/AC 688
|
, late 1930s--Spain: Town scenes and babies on a beach
Black and white, 313 feet
|
|
|
VHA 150/AC 689
|
1939--Outdoor shots of the house, Lynn eating lunch on the terrace, Alfred gardening and pitching hay, farmhand shows off new calf
Color, 293 feet
: Film reformatted for preservation, funded with a grant from the NFPF.
|
|
|
VHA 150/AC 690
|
1940s--Interior of cottage, washing carrots, mint juleps, cars, the cook, horses, and cars
Color, 234 feet
|
|
|
VHA 150/AC 691
|
1950s--Shots of chickens and pool at Ten Chimneys, cars, visitors, working in garden, egg salad for lunch, relaxing, smoking
Color, 341 feet
|
|
|
AE 361 (continued)
|
1950s--Lunt and Fontanne Theatre, “I Know My Love” scenes
Color
|
|
|
VHA 150/AC 692
|
1950--Fishing at Voss's Island Lake, boating, fishing, cleaning and gutting fish, also camping, fishing at Chippewa Flowage and Manitowish Waters
Color, 423 feet
|
|
|
VHA 151/AC 693
|
1950 May--Egg basket, greenhouse, planting a tree with Karin and George Bugby, food, a racially segregated picnic, card game
Color, 334 feet
|
|
|
VHA 151/AC 694
|
, 1950 August--Lynn dancing in Spain. Could actually be 1930s
Black and white, 280 feet
|
|
|
VHA 151/AC 695
|
1950 December--Christmas at Ten Chimneys: Winter scenes, servant fixing turkey, tree decorating, Christmas dinner
Color, 334 feet
|
|
|
VHA 151/AC 696
|
1951--Shots of plant life at Ten Chimneys: gardens, trees, whole house. Scrabble game, picnic, and pool scenes
Color, 447 feet
|
|
|
VHA 151/AC 697
|
1953--Ireland: Hills of Wicklow, Ulster, Clandeboye, Helen's Tower, Mount Stewart, Lady Londonderry
Color, 241 feet
|
|
|
VHA 151/AC 698
|
1953--Ireland: Pastures, castles, animals, people herding pigs down street, gypsy wagon, horse-drawn plow
Color, 317 feet
|
|
|
VHA 151/AC 699
|
1953--Lynn walking around Ten Chimneys meadow, picking wildflowers, shots of barns and silos
Color, 346 feet
|
|
|
VHA 151/AC 700
|
1956--European vacation: Alfred and Lynn boarding a Pan Am flight, Lisbon street scenes, bullfight, gardens at Estoril, Portugal, pink palace at Quelul, Portugal, other Portuguese castles and gardens, the Thames shrouded in fog, Changing of the Guard, exterior and garden of Lavender Cottage, Alfred and Lynn in the Bulbridge House garden
Color, 369 feet
|
|
|
VHA 151/AC 701
|
1957--France: Buildings, streets and parks in Paris, gardens at Versailles, tour scenes, bridge, meadow, garden maze, castles, picnics, and cafes
Color, 430 feet
|
|
|
VHA 151/AC 702
|
1959--Genesee Station: Alfred at greenhouse, swimming pool, spring flowers, garden, vacation to Maryland's Eastern Shore
Color, 209 feet
|
|
|
VHA 151/AC 703
|
1960--Winter scene at cottage, spring footage of Alfred crawling in the garden, Lynn in London, Swiss scenery, and posed shots of Lynn
Color, 152 feet
|
|
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VHA 151/AC 704
|
1964--Mexico: Market, street scenes, in yard of inn, ruins, horse carcass
Color, 252 feet
|
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VHA 152
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Ten Chimneys footage: The Lunts poolside, in the garden, picnicking, and interior and exterior shots of the house
Color and black and white, 35 minutes
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AE 181
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Ten Chimneys footage of the Lunts in the garden, and poolside, 1940s
Color
: Similar to VHA 152.
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AE 182
|
Ten Chimneys footage of the Lunts at home, exteriror and interior shots of the house, entertaining friends, playing cards
Color
: Similar to VHA 152.
|
|
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Audio 1043A, Audio 1047A
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Series: Tape Recordings
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1043A/1
|
The Lunts and Noel Coward with Dick Cavett, undated; and Noel Coward with David Frost, undated
|
|
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1043A/2
|
Television sound capsules (excerpts of broadcasts of or concerning the Lunts), 1977
|
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1043A/3
|
Lindblom dinner; Drottingholm; Viglund sculpture; , undated
|
|
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1043A/4
|
Lynn Fontanne performs; Betty Hargan's résumé; , 1980
|
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1043A/5
|
The White Cliffs of Dover, performed by Lynn Fontanne, 1941
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1043A/6
|
Recollections of Ellen Terry by Sybil Thorndike, undated
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1043A/7
|
The Guardsman, performed by the Theatre Guild, undated
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1047A/1
|
The Lunts with George Bugbee, undated
|
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1047A/2
|
The Lunts reminisce, undated
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1047A/3
|
Ben Gert and Mrs. Dempsey, undated
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|
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PH 6139
|
Series: Photographs
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Box
1
Folder
1
|
Lynn Fontanne, 1917-1960
|
|
|
Box
1
Folder
2
|
Frances and Jules Fontanne, Lynn's parents
|
|
|
Box
1
Folder
3
|
Lynn Fontanne and family
|
|
|
Box
1
Folder
4
|
Lynn Fontanne and others
|
|
|
Box
1
Folder
5
|
Alfred Lunt, 1927-1976
|
|
|
Box
1
Folder
6
|
Alfred Lunt with others
|
|
|
Box
1
Folder
7
|
Alfred Lunt and Lynn Fontanne together, 1922-1976
|
|
|
Box
1
Folder
8
|
Alfred Lunt and Lynn Fontanne with others
|
|
|
Box
1
Folder
9
|
Relatives, 1949-1975
|
|
|
Box
1
Folder
10
|
Duplicate images
|
|
|
Other people
|
|
|
Box
1
Folder
11
|
“To Al” from Al, 1920
|
|
|
Box
1
Folder
12
|
Mary Boland
|
|
|
Box
1
Folder
13
|
Mrs. Bagnold, 1965
|
|
|
Box
1
Folder
14
|
Adrian Brunel
|
|
|
Box
1
Folder
15
|
Winston Churchill postcard
|
|
|
Box
1
Folder
16
|
Yvonette de Coucher
|
|
|
Box
1
Folder
17
|
Noel Coward, 1965
|
|
|
Box
1
Folder
18
|
“Little Lord Fauntleroy” Crown
|
|
|
Box
1
Folder
19
|
Jamie Hamilton, circa 1942
|
|
|
Box
1
Folder
20
|
Molly Humphrey, friend of Lynn Fontanne
|
|
|
Box
1
Folder
21
|
Doris Leads
|
|
|
Box
1
Folder
22
|
Naval aid auxiliary
|
|
|
Box
1
Folder
23
|
“Horatio Alger” Lindsay
|
|
|
Box
1
Folder
24
|
“Henry Louis, my 'orderly',” Mrs. Sands Butler
|
|
|
Box
1
Folder
25
|
Mairoff
|
|
|
Box
1
Folder
26
|
Douglas Marshall
|
|
|
Box
1
Folder
27
|
Mary Martin, circa 1968
|
|
|
Box
1
Folder
28
|
Raymond Massey and wife Adrienne, son Daniel
|
|
|
Box
1
Folder
29
|
Anna Moffo, 1966
|
|
|
Box
1
Folder
30
|
Olga Nethersole in Sappho, 1899
|
|
|
Box
1
Folder
31
|
Bessie Porter, 1941 October
|
|
|
Box
1
Folder
32
|
Anthony Redley and Donald Sinder
|
|
|
Box
1
Folder
33
|
Robertson, W. Graham in “Rachel and I”
|
|
|
Box
1
Folder
34
|
George Schaffer
|
|
|
Box
1
Folder
35
|
Serge, a Russian hotel maître-de
|
|
|
Box
1
Folder
36
|
“Gypsy Rose Stickney”
|
|
|
Box
1
Folder
37
|
Alexander Woollcott as a small boy with friends
|
|
|
Box
1
Folder
38
|
Dog, “Che-Che-Uloo”
|
|
|
Box
1
Folder
39
|
Friend with Lunt-Fontanne newspaper headline
|
|
|
Box
1
Folder
40
|
Garden photos, 1965-1976
|
|
|
Box
1
Folder
41
|
Man and woman on a picnic with dog in basket
|
|
|
Box
1
Folder
42
|
Man in costume
|
|
|
Box
1
Folder
43
|
Man in suit, circa 1972
|
|
|
Box
1
Folder
44
|
Soldiers at camp site
|
|
|
Box
1
Folder
45
|
Woman, publicity
|
|
|
Box
1
Folder
46
|
Woman in costume, Ravensdale, 1934
|
|
|
Box
1
Folder
47
|
Woman with a hat
|
|
|
Box
1
Folder
48
|
Woman in a fancy dress
|
|
|
Box
3
Folder
1
|
Amphitryon 38, 1937
|
|
|
Box
3
Folder
2
|
Backbone, 1923
|
|
|
Box
3
Folder
3
|
The Brothers Karamazov, 1928
|
|
|
Box
3
Folder
4
|
Cosi Fan Tutte, 1951
|
|
|
Box
3
Folder
5
|
Design for Living, 1933
|
|
|
Box
3
Folder
6
|
The Doctor's Dilemma, 1927
|
|
|
Box
3
Folder
7
|
The Great Sebastians
|
|
|
Box
3
Folder
8
|
The Guardsman, 1931
|
|
|
Box
3
Folder
9
|
The Guardsman, 1924
|
|
|
Box
3
Folder
10
|
I Know My Love
|
|
|
Box
3
Folder
11
|
Idiot's Delight
|
|
|
Box
3
Folder
12
|
Ned McCobb's Daughter
|
|
|
Box
3
Folder
13
|
O Mistress Mine
|
|
|
Box
3
Folder
14
|
Outward Bound
|
|
|
Box
3
Folder
15
|
The Pirate, 1942
|
|
|
Box
3
Folder
16
|
The Private Secretary
|
|
|
Box
3
Folder
17
|
Quadrille, 1965
|
|
|
Box
3
Folder
18
|
Second Youth
|
|
|
Box
3
Folder
19
|
Reunion in Vienna, 1931
|
|
|
Box
3
Folder
20
|
The Taming of the Shrew, 1935
|
|
|
Box
3
Folder
21
|
There Shall Be No Night
|
|
|
Box
3
Folder
22
|
La Traviata
|
|
|
Box
3
Folder
23
|
Volpone
|
|
|
Box
3
Folder
24
|
Lunts in The Visit, New York City Center, 1960 March
|
|
|
Box
3
Folder
25
|
Toy theater, 1960 March
: Now at Museum of City of New York.
|
|
|
Travel, honorary degrees, and activities
|
|
|
Box
2
|
Scrapbook of travels, Europe, Spain
|
|
|
Box
4
Folder
1
|
Lynn Fontanne speaking
|
|
|
Box
4
Folder
2
|
“Yankee” press conference with George Schaffer
|
|
|
Box
4
Folder
3
|
Hosts for Creek Theater presentation
|
|
|
Box
4
Folder
4
|
Radio ceremony
|
|
|
Box
4
Folder
5
|
Dress design
|
|
|
Box
4
Folder
6
|
Stage door canteen cooking lessons
|
|
|
Box
4
Folder
7
|
USO of war information, London and Germany, 1944
|
|
|
Box
4
Folder
8
|
Denver ceremony
|
|
|
Box
4
Folder
9
|
Soldiers, possibly World War II
|
|
|
Box
4
Folder
10
|
Tony award presentations
|
|
|
Box
4
Folder
11
|
The White House
|
|
|
Box
4
Folder
12
|
University of Wisconsin honorary degree
|
|
|
Box
4
Folder
13
|
Yale, 1964
|
|
|
Box
4
Folder
14
|
San Francisco Press and Union League Club
|
|
|
Box
4
Folder
15
|
Solus Club
|
|
|
Box
4
Folder
16
|
Lynn Fontanne at the White House
|
|
|
Box
4
Folder
17
|
Brandeis University, 1972
|
|
|
Box
4
Folder
18
|
Marquette University honorary degree
|
|
|
Box
4
Folder
19
|
Temple University
|
|
|
Box
4
Folder
20
|
Travel
|
|
|
Residences
|
|
|
Box
4
Folder
21
|
Alfred Lunt and Lynn Fontanne's apartment in New York
|
|
|
Box
4
Folder
22
|
Lunt's house
|
|
|
Box
4
Folder
23
|
Landscape of development area
|
|
|
Box
4
Folder
24
|
House on East End
|
|
|
Box
4
Folder
25-26
|
Ten Chimneys Genesee Depot
|
|
|
PH 6139 (3)
Box
5
Folder
1
|
The Lunt-Fontanne Ball, The Mary Mae Arthur Memorial Fund
|
|
|
Box
5
Folder
2
|
The Lunt-Fontanne Theater presents The Visit
|
|
|
Box
5
Folder
3
|
Ginger Rogers portrait
|
|
|
Box
5
Folder
4
|
Theater ephemera
|
|
|
Box
5
Folder
5
|
Elder Whipple's Donation play poster
|
|
|
Box
5
Folder
6
|
The Private Secretary play poster
|
|
|
Box
5
Folder
7
|
Alfred Lunt with man in costume
|
|
|
Box
5
Folder
8
|
Lynn Fontanne portraits
|
|
|
Box
5
Folder
9
|
Alfred Lunt portrait
|
|
|
Box
5
Folder
10
|
Alfred Lunt at home
|
|
|
Box
5
Folder
11
|
Alfred Lunt's drawings/stencils for murals in cottages
|
|
|
Box
5
Folder
12
|
Illustrations, costumes
|
|
|
