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University of St. Michael's College, John M. Kelly Library, Special Collections Collection théâtrale André Antoine
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Émile Zavie, letters to Léon Deffoux

  • Autograph letter from Émile Zavie to Léon Deffoux, dated September 17, 1916. In answer to Deffoux’s letters from September 9th and 10th. He does not want to talk about the news, to avoid the letters being intercepted. Discusses various authors and critics; what will be published after the war; his own writing and the poor state of his health.
  • Autograph letter from Émile Zavie to Léon Deffoux, dated February 8, 1917. He hopes to be in Paris for the launch of his book. Discusses authors and critics; thinks that the Mercure de France may dislike them, and they should publish in other periodicals; he is still working on his book.
  • Autograph letter from Émile Zavie to Léon Deffoux, dated from Tiflis, July 12, 1917- the letter is numbered: «Lettre IV». He assures Deffoux that the Revolution in Russia was not bloody and that everything is calm; everything is very expensive; Russian soldiers are not prepared for freedom; may be going to Kiev.
  • Autograph letter with envelope from Émile Zavie to Léon Deffoux, dated from Tiflis, July 14, 1917 - the letter is numbered: «Lettre V». He has read their article about Maupassant in the Mercure de France; notes some linguistic changes. Letter is continued under the date of July 19, 1917: talks about the Bolchevik revolution; asks for more mail because he feels isolated; will send an article on the Russian revolution for Deffoux to submit to a periodical; asks for books.
  • Autograph letter from Émile Zavie to Léon Deffoux, dated from Tiflis, July 20/August 2, 1917 - the letter is numbered: «Lettre VII» Talks cautiously about the Russian revolution because he does not want the letter to be intercepted.
  • Autograph letter from Émile Zavie to Léon Deffoux, dated December 12/30, 1917 - on letterhead of the Russian Red Cross – official numbering: «No 22» Wonders if he receives all the mail that is sent to him, considering that little reaches him; events are unfolding very quickly in Russia; asks Deffoux to write more often.
  • Autograph letter from Émile Zavie to Léon Deffoux, dated from Ourmiak, January 26, 1918 - the letter is numbered: «Lettre 29» Has read Wilson’s speech regarding peace; wonders if the Germans will understand; Russian soldiers are deserting and pillaging; terror, which could lead population to accept any government that will bring order back; his book is completed and he hopes to be soon in France; asks for press clippings, not books.
  • Autograph letter from Émile Zavie to Léon Deffoux, dated from Camp de Eckmuhl, May 29, 1918. Has received 3 letters from Deffoux at once; discusses authors and critics; gossips from literary life in Paris.
  • Autograph letter from Émile Zavie to Léon Deffoux, dated August 10, 1918 - envelope bears a sticker at the back: «Open under Martial Law – front bears the address of Zavie: «Ambulance alpine du Caucase. French Medical Mission» Was hoping to be back in France, but is being sent back to Russia; acknowledges being tired; has not heard from his wife; asks Deffoux not to tell her that he is sent to Russia; asks Deffoux to write and to try to do something for his repatriation.
  • Autograph postcard from Émile Zavie to Léon Deffoux, dated August 21,1918 –postcard: photo of Zavie standing in a snowbank; in the bottom right-hand corner: «À mon vieux Deffoux, son ami, E.Z., Ourmiak, février 1918. L’hiver, la neige dans un jardin persan» - the letter continues on a separate piece of lined paper. Will be in Russia within 8 or 10 days; in November, will continue to press for his repatriation; does not want to be accused of being an «embusqué»; thanks to the British, the mail arrives regularly; asks for news, letters, publishers’s catalogues.

A.l.s. from Émile Zola to Édouard Fournier

  1. A.l.s. from Émile Zola to Édouard Fournier (1819-1880), [Paris], 20 November 1865, 3 p. – on letterhead «Librairie de L. Hachette et Cie, Boulevard Saint-Germain, 77», crossed out.
    Zola writes to Fournier, a journalist who wrote for a number of Paris newspapers, to request that Fournier read and comment on Zola’s new (and his first) novel, La Confession de Claude in Fourier’s upcoming literary column in La Patrie.
    In this letter, Zola’s keen sense of how to create publicity for his works is already evident, since he tells Fournier that he will not be upset if Fournier gives an honest opinion of his work. “It goes without saying, writes Zola, that I prefer a frank evaluation to a couple of indulgent lines.”
    Published in Correspondance, vol. 1, p. 422-423 (letter 129).
    This is a very significant letter, not only because of its content but also because letters from this period (the 1860’s) are relatively rare.

Photocopies (Zola)

-“Musique d'Offenbach”, photocopy a.s., signed Emile Zola. No indication of provenance. 2 p.
-“Pauvre prince”, photocopy. Fragment, in Zola's hand. No indication of provenance. 2 p.
-“La Madeleine”, photocopy of manuscript of Zola's 1865 play.

A.l.s. from Émile Zola to B.-H. Gausseron

  1. A.l.s. from Émile Zola to B.-H. Gausseron (1845-1913), [Paris], 17 August [1866], 1 p.
    Zola writes to Bernard-Henri Gausseron, who was, at the time, “aspirant-répétiteur” at the Lycée Napoléon [Condorcet] in Paris, requesting that he not use the letter of introduction which Zola had give him for Gustave Bourdin, one of the directors of the Figaro, since Bourdin was gravely ill at the time.
    Gausseron would go on to become a professor, a rare books dealer and a literary critic.
    To be published in Lettres retrouvées (eds. Owen Morgan and Dorothy E. Speirs), Montréal, Presses de l’Université de Montréal, 2010. The volume is set to appear in September 2010.
    The interest of this letter lies in its « destinataire » and, once again, in the fact that it dates from Zola’s early years.

A.l.s. from Émile Zola to André Lavertujon

  1. A.l.s. from Émile Zola to André Lavertujon (1827-1914), Paris, 19 May 1868, 1 p.
    Zola writes to André Lavertujon, at the time an important journalist and politician, and founder of La Tribune, a newspaper for which Zola wrote from June 1868 to January 1870, publishing 62 texts in all. In this letter, Zola says to Lavertujon that Théodore Duret, a mutual friend, has told Zola that Lavertujon had expressed the desire to read Zola’s new novel, Thérèse Raquin. Zola therefore sends Lavertujon a copy of the novel in the hopes that Lavertujon will find it interesting. Published in Correspondance, vol. II, p. 123-124 (letter 10).

A.l.s. from Émile Zola to Jules Claretie

  1. A.l.s. from Émile Zola to Jules Claretie (1840-1913), Paris, 7 October 1868, 1 p.
    An extremely interesting confidential letter, in which Zola, at the time a young writer for La Tribune, writes to Claretie who, he has learned, has just been hired by the same newspaper. Zola requests that Claretie, who was already writing for a number of newspapers, not submit articles of the same sort which Zola was writing (his “chroniques”), since Zola’s work at the Tribune represented for him, at the time, “the only sure work that I have at the moment”. Published in Correspondance, vol. II, p. 158-159 (letter 36).

A.l.s. from Zola to Édouard Bauer

  1. A.l.s. from Zola to Édouard Bauer, Paris, 8 February 1869, 1 p.
    Zola writes to Bauer, the founder and director of L’Événement illustré, in which Zola’s novel, La Famille Cayol (initial title of Les Mystères de Marseille) had been appearing since 23 October, 1868. Zola has learned that the newspaper is changing hands and Zola wants to know if the debt of 200 francs, which is owed to him by Bauer, will be assumed by the new owner, M. Damé. Published in Correspondance, vol. II, p. 195 (letter 68).

A.l.s. from Émile Zola to Edmond Duranty

  1. A,l.s. from Émile Zola to Edmond Duranty (1833-1880), [Paris, 30 July 1875], 1 p.
    Zola thanks Duranty, a prominent journalist and novelist, for lending him a book, and apologizes for not returning it in person. He is pressed, however, since he and his wife are leaving for their holiday in the seaside town of Saint-Aubin.
    Published in Correspondance, vol. II, p. 402 (letter 224).

A.l.s. from Émile Zola to Numa Coste

  1. A.l.s. from Émile Zola to Numa Coste (1843-1904), Paris, 13 January 1876, 2 p.
    Note that the bottom half of the second page [no text here] is missing.
    Numa Coste, an old friend of Zola’s, was a journalist and art critic. He was one of a group of friends (including Coste, Paul Bourget, Paul Alexis, Anthony Valabrègue, and Émile Solari) with whom Zola met on a monthly basis, beginning in 1874, for a dinner which they had baptized the “dîner du ‘Boeuf nature’”. In this letter, Zola tells Coste that he has a bad cold and will not be able to come to the dinner. Zola suggests that Coste try to re-schedule the dinner or, if he cannot, that he not reserve a seat for him.
    Published in Correspondance, vol. II, p. 434 (letter 247).

A.l.s. from Émile Zola to Ernest Hamm

  1. A.l.s. from Émile Zola to Ernest Hamm (1852-?), Médan, 15 December 1878, 1 p.
    Zola writes to Ernest Hamm, a journalist with the Progrès de la Charente-Inférieure, to thank him for his article on Zola’s Théâtre, a collection of the texts of Zola’s plays Bouton de rose, Thérèse Raquin and Les Héritiers Rabourdin, which had appeared in September 1878. Zola apologizes to Hamm for not being able to send him copies of his novels, since he is not in Paris, but suggests that Hamm contact Zola’s editor (Georges Charpentier), who is in charge of distributing Zola’s novels to members of the press.
    Published in Correspondance, vol. X, p. 465 (letter S43).

A.l.s. from Émile Zola to Louis Boussès de Fourcaud

  1. A.l.s. from Émile Zola to Louis Boussès de Fourcaud (1851-1914), Paris, 18 April 1879, 1 p.
    A brief letter, in which Zola thanks Fourcaud for his article and for having “clearly indicated” Zola’s role in the definition of the naturalist ethic. Zola refers to an article published in Le Gaulois the same day.
    In his article, Fourcaud attacked Zola’s detractors and reiterated Zola’s explanation that he was not in fact the inventor of “naturalism”, but that, as he had stated a few weeks later in his “Lettre à la jeunesse”, he was simply an observer and a documenter of his times.
    Published in Correspondance, vol. III, p. 314 (letter 209).

Collection théâtrale André Antoine

  • CA ON00389 C8
  • Collection
  • 1880 - 1985

The collection consists of: papers from director André Antoine; letters from Antoine; letters to Antoine from various playwrights, whose plays he staged; photographs of actors and actresses; letters from various members of Antoine's family; 40 autograph letters from Emile Zola; letters from and to journalist Léon Deffoux; letters from and to Maurice LeBlond, Emile Zola's son-in-law; letters from and to playwright Georges Ancey and his wife; several first editions of Zola's novels, some with bound autograph letters. Throughout are photocopied documents, collected by Sanders, as contexual material about the era and referenced events or articles within the correspondence. Also included are original letters sent to Sanders from the friends and relatives of those whose letters appear in the 19th century correspondence.

Sanders, James B.

Zola, Émile, L’assommoir

Zola, Émile, L’assommoir. Drame en cinq actes et neuf tableaux [adaptation de William Busnach et Octave Gastineau], avec une préface d’Émile Zola et un dessin de Georges Clairin, Paris, G. Charpentier, 1881. Original wrappers. Poor condition

A.l.s. from Émile Zola to an unknown correspondent

  1. A.l.s. from Émile Zola to an unknown correspondent, Médan, 1 December 1881, 1 p.
    Note : This letter is written on black-bordered paper. Zola’s mother had died on 17 October, 1880.
    Zola authorizes his correspondent to translate his play, Les Héritiers Rabourdin, and to perform it in Germany, as long as his correspondent shares with him the proceeds of the performances.
    Les Héritiers Rabourdin is a three-act comedy written by Zola in 1873-1874. It was performed at the Théâtre Cluny in Paris from the 3rd to the 20th of November 1874, but met with little success.
    Published in Correspondance, vol. IV, p. 241-242 (letter 175-A).

A.l.s. from Émile Zola to the Petit Versaillais

  1. A.l.s. from Émile Zola to the Petit Versaillais, Médan, 14 November 1882, 1 p.
    Zola writes to the newspaper to request that he be sent three copies of the November 5th issue of the paper.
    In this issue, there had appeared a report on the trial of Zola’s valet, Henri Cavillier, who had been arrested for hunting illegally in Vernouillet, near Zola’s country property in Médan. Cavillier was found guilty and fined 16 francs.
    Published in Correspondance, vol. IV, p. 340-341 (letter 265).

A.l.s. from Émile Zola to Damase Jouaust

  1. A.l.s. from Émile Zola to Damase Jouaust (1834-1893), Médan, 1 January 1883, 2 p.
    Zola tells Jouaust that he can come to Médan any day he likes, but requests that he come in the afternoon, since Zola needs his mornings to finish the novel he is currently working on (Au bonheur des dames). Jouaust was negotiating with Zola for the publication of a deluxe edition of one of Zola’s earlier novels, Une page d’amour, which appeared in December 1884 in a two-volume set with ten drawings by Edouard Dantan, engraved by A. Duvivier, and was preceded by a foreword by Zola.
    Published in Correspondance, vol. IV, p. 365 (letter 289).

A.l.s. (visiting card) from Émile Zola to Ernest Ziegler

  1. A.l.s. (visiting card) from Émile Zola to Ernest Ziegler (1847-1902), Paris, 26 [?], 1884, 1 p.
    A visiting card, bearing the message, “With many thanks”, written to Ernest Ziegler, a journalist, novelist, dramatist, and translator of Zola’s novels Germinal and L’Oeuvre.
    The card, which bears Zola’s Paris address, is accompanied by the stamped envelope, addressed to Ziegler in Vienna, and by a photograph of Zola. On the postmark, the day and the year are visible, but not the month.
    **Not published.

A.l.s. from Émile Zola to Adrien Remacle

  1. A.l.s. from Émile Zola to Adrien Remacle (1856-?), Médan, 12 May 1884, 1 p.
    Zola promises to send Remacle something for the next issue of La Revue indépendante.
    Zola’s short story, “Théâtre de campagne”, appeared in the second issue of La Revue indépendante (June 1884).
    Adrien Remacle worked as head of publicity for Zola’s publisher, Georges Charpentier, before becoming the director of La Revue contemporaine in 1885. He was also the author of several volumes of poetry and of a ballet based on Verlaine’s poetry.
    Published in Correspondance, vol. V, page 104 (letter 44).

A.l.s. from Émile Zola to Damase Jouaust

A.l.s. from Émile Zola to Damase Jouaust (1834-1893), Médan, 18 December 1884, 2 p.
Zola thanks Jouaust for his lovely edition of Une page d’amour (see letter 12 in this inventory) and compliments the artists on their fine work. Asks Jouaust not to send him any more copies of the work and asks him about the payment of 5,000 francs which is due him for having given Jouaust permission to reproduce the work. They will straighten this out when Zola gets back to Paris in January.
On the deluxe illustrated edition of Une page d’amour, see the notes to letter 12.
Published in Correspondance, vol. V, page 207 (letter 145).

Hennique, Léon, Amour, Poeuf

-Hennique, Léon, Amour, drame en trois parties. Représenté pour la première fois, sur le Théâtre de l’Odéon, le 6 mars 1890, Paris, Tresse & Stock, Éditeur, 1890.
-Hennique, Léon, Poeuf, Paris, Tresse & Stock, 1887. Incomplete. – With a dedicace: «À Monsieur A. Antoine (Jacques Damour tel que je l’avais rêvé!), avec mille remerciements et l’assurance de ma sympathie la plus cordiale, Léon Hennique.»

Letters to Georges Ancey and Madame Ancey

  • Autograph postcard [view from Tangiers] from Jean Ajalbert to Georges Ancey, stamped «13 avril [?]». One word written: «Casablanca»
  • Autograph postcard [view from Quimper] from Jean Ajalbert to Georges Ancey, dated «28 mai», stamped «30 5 14». «Twenty five years later.»
  • Autograph letter from Jean Ajalbert to Georges Ancey, n.d. Is cancelling their appointment. Has to meet Geoffroy for business, who appreciates Ancey.
  • Autograph letter from Jean Ajalbert to Georges Ancey, dated «15 août». Friendly letter in which Ajalbert sends his best to Ancey, wishing him a pleasant at Camaret.
  • Autograph letter from Jean Ajalbert to Madame Georges Ancey, dated «le 2 déc. 1917», on letterhead «Manufacture nationale de Beauvais. L’Administrateur». Condolences letter on the occasion of Ancey’s death.
  • Autograph letter from Jean Ajalbert to Georges Ancey, n.d. Ancey can certainly arrange for a three-way meeting with Antoine, Ajalbert will join them.
  • Autograph letter from Jean Ajalbert to Georges Ancey, dated «5h du soir». Is sending a bottle of Bordeaux. Will see him later on.
  • Autograph from Jean Ajalbert to Georges Ancey, n.d. Organizes a lunch with Chéret.
  • Typed form letter from Emile Dubeau [?] to Georges Ancey [??], n.d., on letterhead «Théâtre national de l’Odéon. Second théâtre français. Secrétariat général». Is requested to pick up his play Le 6e acte de Tartuffe, which has not been accepted. Note: this play may not be Ancey’s.
  • Autograph letter from Emile Dubeau [?] to Georges Ancey [?], dated «Paris, le 24 [?] 1887», on letterhead «Théâtre national de l’Odéon. Second théâtre français. Administration». Has not yet read the play of his friend. Talked to Porel, who said he already has something about Molière for this year. Porel would stage [Le 6e acte de Tartuffe] if it’s good. Will be back in touch.
  • Autograph letter from Emile Dubeau [?] to Georges Ancey [?], dated «27 mars 92», with address «72 bis rue Bonaparte». Thanks him for his congratulations and his promise. They could meet within the next two weeks.
  • Autograph telegram from Emile Dubeau to Georges Ancey, stamped «18 dec. 89». If Ancey is free tonight, he should come to discuss with Porel, who will be expecting him.
  • Autograph letter from Emile Dubeau to Georges Ancey [?], dated «Paris, le [?] 1889», on letterhead «Théâtre national de l’Odéon. Fondé en 1782. Second Théâtre Français. Administration». Gave Le 6e acte de Tartuffe to Porel, who found it interesting. Manuscript will be sent to the Comité de lecture.

A.l.s. from Émile Zola to André Maurel

Note: ITEMS number 16, 17a and 17b are in Maurel’s copy of Renée (stacks).

-16. A.l.s. from Émile Zola to André Maurel (1863-?), Paris, 20 March 1887, 1 p. Zola invites Maurel to visit him, in order that Maurel prepare an article on Zola’s upcoming play, Renée. Maurel was, at the time, a journalist for several major Paris dailies, as well as a prolific novelist and playwright. His article on Renée, which premiered at the Théâtre du Vaudeville in Paris on April 16 and ran until May 23, appeared in Le Voltaire on March 22, 1887 (under the pseudonym of “Lucien Valette”). **This letter is glued into a copy of the text of the play, which was published by Charpentier on May 30, 1887.
Published in Correspondance, vol. VI, page 106 (letter 46).
-17a. Autograph dedication from Zola to André Maurel (1863-?), [early April 1887], in a copy of Renée (see entry 16).
-17b. A.l.s. from Émile Zola to André Maurel (1863-?), [early April 1887], 1 p.

Al.s. from Émile Zola to Joseph-Antoine Floury

  1. Al.s. from Émile Zola to Joseph-Antoine Floury (1834-1894), Paris, 6 December 1887, 1 p. Zola sends Floury the finalized manuscript of the play, Germinal, which has been approved by the board of censors. He suggests that they now sit down and go through the play scene by scene, to discuss the sets and the blocking, since Zola has many ideas about these aspects of the play. Asks if Floury has received a copy of the illustrated edition of Germinal. An important letter. Joseph-Antoine Floury was the director of the Châtelet theatre in Paris. Zola’s play, which he wrote in collaboration with the popular dramatist, William Busnach, had been vetoed by the board of censors in 1885 and was not in fact performed until the authors had submitted a revised version of the manuscript, which is the version alluded to in the letter. The play opened at the Châtelet theatre on 21 April 1888. In spite of a number of spectacular stage effects, the play enjoyed only a moderate success, and closed after 17 performances.
    Note that J.B. Sanders published an edition of the play in 1989 (Québec, Le Préambule).
    Published in Correspondance, vol. VI, page 216-217 (letter 176).

Bergerat, Émile, Le Capitaine Fracasse, La nuit bergamasque

-Bergerat, Émile, Le Capitaine Fracasse. Comédie héroïque extraite du roman de Théophile Gautier, cinq actes et un prologue en vers, avec un avertissement de l’auteur, Paris, G. Charpentier et Cie, 1890. – With a dedicace: «À André Antoine, cordialement, Émile Bergerat.»
-Bergerat, Émile, La nuit bergamasque, tragi-comédie en trois actes représentée au Théâtre-Libre le 30 mai 1887, Paris, Alphonse Lemerre, 1887. With a dedicace: «À [?] Antoine, son ami, Emile Bergerat.»

A.l.s. from Émile Zola to Marius Roux

  1. A.l.s. from Émile Zola to Marius Roux (1838-1905), Médan, 23 juin 1887, 1 p. Zola apologizes for postponing the visit of the Roux family, since he did not know that Roux’s wife and daughter were leaving on holiday. He proposes that they re-schedule their visit for August and wishes them a pleasant holiday.
    Marius Roux was a long-time friend of Zola who had collaborated on Zola’s only (and ultimately unsuccessful) venture into newspaper publishing in 1870, when he and Roux founded the short-lived La Marseillaise. Marius Roux was a novelist himself, as well as a journalist, working for Le Rappel, L’Événement illustré and Le Petit Journal, among other papers.
    Published in Correspondance, vol. VI, page 153 (letter 103).

A.l.s. from Émile Zola to an unknown correspondent

  1. A.l.s. from Émile Zola to an unknown correspondent, Médan, 26 August 1887, 1 p. Zola regrets that he is bound by contract and cannot give his correspondent a volume of short stories.
    This may be in regard to a re-edition of some of Zola’s many short stories. Zola was bound by his contracts with Charpentier and with Flammarion (for the illustrated editions). It may also be in regard to the translation of his short stories. Here too, Zola had established contracts with a number of publishing houses throughout Europe, giving them the rights to the publication of his translations.
    Published in Correspondance, vol. VI, page 173-174 (letter 125).

Germinal (1887) loose manuscript sheets

17 loose sheets from the manuscript of the play, Germinal (1887), as follows:

-4 pages from the 7th scene, “La Collision”, scene X (note identifying the scene on the top of page 1, in J. Sanders’ hand)
-5 pages from the 10th scene, “L’Écroulement du Voreux” (note identifying the scene on the top of page 1, in J. Sanders’ hand)
-8 pages from “La Ducasse”, scene 2 (note identifying the scene on the top of page 1, in J. Sanders’ hand)

  • program of the «Centenary Dinner to celebrate the Visit of Emile Zola to London in September 1893», organized in September 1993 at the Savoy Hotel (London, England),

Zola, Émile, Jacques Damour, 2 copies

Zola, Émile, Jacques Damour. Pièce en un acte. Tirée de la nouvelle d’Émile Zola par Léon Hennique, Paris, G. Charpentier et Cie, 1887. Original wrappers – stage copy marked «D». With wet stamp «Le Théâtre Libre». Second copy: 1925.

Darzens, Rodolphe, L’Amante du Christ

Darzens, Rodolphe, L’Amante du Christ, scène évangélique, en vers. Représentée au Théâtre-Libre le 19 octobre 1888, préface de E. Ledrain. Frontispice gravé par Félicien Rops, Paris, Alphonse Lemerre, 1888. – With a dedicace: «À Mademoiselle Darsac. Hommage d’espoir en une création admirable, Rodolphe Darzens, 90». + a second copy marked «C», with signature of actress «Van Doren».

Gramont, Louis de, Rolande

Gramont, Louis de, Rolande. Pièce en quatre actes (cinq tableaux), Paris, Tresse & Stock Éditeurs, 1888. – With annotations throughout. Copy marked «Souffleur». With printed dedicace: «A Antoine, directeur du Théâtre-Libre et aux interprètes de Rolande. Reconnaissance profonde, Gramont.»

A.l.s. with envelope from Émile Zola to Ély Halpérine-Kaminsky

  1. A.l.s. with envelope from Émile Zola to Ély Halpérine-Kaminsky (1858-1936), Médan, 9 January 1888, 2 p. An important letter about Halpérine-Kaminsky’s translation into French of Tolstoï’s play, entitled in French La Puissance des ténèbres. Zola refutes remarks made by Halpérine-Kaminsky in an article recently published in La Nouvelle Revue, according to which Zola had found certain elements of the translated play badly done. Zola assures his correspondent that he simply felt that the translation of the play did not lend itself overly well to being staged.
    Ély Halpérine-Kaminsky was a journalist and translator, having translated works by Tolstoï, Dostoïevski and Tourguéniev into French and Zola’s La Débâcle (1892) into Russian. The envelope is stamped and franked, and reads : “Monsieur E. Halpérine, 85 boulevard de Port-Royal, Paris”. Note that the next letter (no 22) continues this conversation.
    Published in Correspondance, vol. VI, page 238-239 (letter 197).

A.l.s. with envelope from Émile Zola to Ély Halpérine-Kaminsky

  1. A.l.s. with envelope from Émile Zola to Ély Halpérine-Kaminsky (1858-1936), Médan, 18 January 1888, 2 p. This letter continues the conversation begun in letter 21. Zola gives Halpérine-Kaminsky his permission to publish his letter of 9 January 1888 (no 21), on the condition that he publishes the letter in its entirety. Zola goes on to comment on the question of plays written to be read versus plays written to be performed, and concludes that this is a fiction put forth by the critics : for Zola, there are plays which excite the public and plays which do not. He cites as an example the dramas of Alfred de Musset, which were written to be read, but which were still being performed in Zola’s day. On the other hand, Zola continues, many contemporary plays which were meant to be performed rather than read have already fallen into oblivion. He concludes that one must not generalize about the “theatre public”, since there are many different types of audiences. Halpérine-Kaminsky (see notes to letter 22) published Zola’s letter in an article which appeared in La Nouvelle Revue on 1 February 1888. The play itself was first performed at André Antoine’s Théâtre Libre in 10 February 1888 with great success. The envelope is stamped and franked, and reads : “Monsieur E. Halpérine, 85 boulevard de Port-Royal, Paris”.
    Published in Correspondance, vol. VI, page 242-243 (letter 202).

Corneau, André, Belle-Petite

Corneau, André, Belle-Petite, comédie en un acte, Paris, Tresse & Stock, 1888. – With a dedicace: «A André Antoine, le plus aimable des directeurs. Témoignage de vive gratitude et de cordiale sympathie, André Corneau.»

Georges Ancey (L’école des veufs and Grand’mère)

-Press clippings (221 pages) following the career of actor René Maupré – clippings ranging from 1904-1930 approx. (many clippings are not dated) – some clippings with photographs – great variety of important French newspapers: L’Humanité, Le Matin, La Petite République, L’Aurore, Le Monde illustré, Le Figaro, etc. – clippings about the Théâtre Antoine (Maupré was one of its stars) – some playbills from the Théâtre Antoine – some clippings from American and English newspapers (from p. 145) and some from Italian newspapers (p. 192 sq.) – a very interesting article by Maupré himself (1920?) on the future of cinema as a new art for the “masses” (p. 177).
-8 photographs (black and white) glued on coloured cardboard – Antoine, Camaret, staging of Coriolan by Antoine.

Aicard, Jean, Le Père Lebonnard, Dans le guignol

-Aicard, Jean, Le Père Lebonnard, drame en quatre actes en vers. Représenté pour la première fois, à Paris, sur le Théâtre-Libre, le lundi 21 octobre 1889, Paris, E. Dentu Éditeur, 1889

  • Aicard, Jean, Dans le guignol, prologue en un acte, en prose. Représenté au Théâtre Libre le lundi 21 octobre 1889, Paris, E. Dentu Éditeur, 1889. With annotations. With a printed dedicace: «A M. Antoine, directeur du Théâtre-Libre. Cher et vaillant artiste, En jouant Le Père Lebonnard au Théâtre-Libre, vous avez présenté au public, en pleine lumière, une pièce qu’on avait étouffée ailleurs. En donnant le Prologue, vous vous êtes fait, vous directeur et comédien, l’avocat courageux de l’écrivain dramatique contre les exigences toujours croissantes des gens de théâtre. Je vous remercie. J.A.»

Letters to Georges Ancey and Madame Ancey

  • Autograph letter from Demilly [?] to Madame Ancey, dated «Roscoff, mardi soir». The house is very close to the ocean, and everything is impeccable. Suggests not to bring too many things, as the house is well-equipped. Forks and knives would be welcome. Local food is to be had a very good prices. Asks that Madame Ancey writes before they leave, so that the house can be put in order.
  • Autograph letter from Henri Boschez to Georges Ancey, dated «12 mai 89». Congratulates Ancey for the success of Les inséparables. Would like to meet with Ancey to discuss the possibility of staging one of his plays at the Théâtre Déjazet.
  • Autograph carte lettre from Ch. [?] to Georges Ancey, stamped «[?] 05». On a pleasant tone: had looked everywhere for Ancey, but kept missing him all night [barely legible].
  • Autograph postcard [no illustration] from Camillo A. Tra[?] to Georges Ancey, dated «15 août 1899». Is delighted to announce the great success of Ancey’s play, L’avenir, in Bologna. Will send the newspapers. Signs: your humble translator.
  • Autograph letter from Camillo Tra[?] to Georges Ancey, dated «Bruxelles, 31 mai 99». Is delighted to announce the great success of Ancey’s play, L’avenir, in Rome. Will send the newspapers. Signs: your devoted translator.
  • Autograph letter from Camillo Tra[?] to Georges Ancey, dated «20 juin 99» - on letterhead «Brasserie Wielemans-Ceuppens. Café Métropole. Bruxelles». Thanks Ancey for his letter. The glory and the praise are for Ancey, not for him, the translator. Is very happy that his friend Ricardi is staging Ancey’s play. Will soon be in Paris.
  • Autograph letter from Marcel Boulenger to Georges Ancey, Dated «10 février 99» -- letterhead: «26, rue Cambacérès». Was touched and troubled by Ancey’s play L’avenir. Congratulates him.
  • Autograph letter from Henry Becque to Georges Ancey, n.d. Was hoping that Les Corbeaux would be staged again, but it has been postponed. Is in poor health.
  • Autograph carte-lettre from François de Curel to Georges Ancey, dated «Coin-sur-Seille 7 mars 1895», stamped «Coin (Seille) 7 3 95». Will not be able to celebrate with Becque and Ancey; is in Lorraine and will remain there for another month; is working on 4 of his plays.
  • Autograph carte pneumatique from François de Curel to Georges Ancey, stamped «Paris 14 [?] 15». Is expecting Ancey for lunch the following day, at noon.
  • Autograph carte-lettre from François de Curel to Madame Georges Ancey, dated «Marlotte 20 mai 1918», stamped «30 5 18». Thanks Madame Ancey for her letter – it brought back memories of the times when they all met regularly at Antoine’s Théâtre. Holds Ancey’s works in high esteem.
  • Autograph letter from Vollard to Georges Ancey [?], dated «Paris le 5 janvier 1905». Was unable to come around to congratulate Ancey[?] in person. Sends his best wishes.
  • Autograph carte pneumatique from Henry Bernstein to Georges Ancey, n.d., stamped «Paris, 13 janv 04». Invites Ancey for a lunch in a few hours – has something of interest to tell Ancey. Ancey is asked to telephone his answer before 11h30.
  • Autograph letter from Paul Adam to Georges Ancey [?], dated «Lundi 8h», address «16 av. du Trocadéro». Sends his congratulations.
  • Autograph letter from Maurice Boniface to Georges Ancey, n.d., address «14 Place Vendôme». Will go to Germany; will be in Bayreuth to hear Parcifal probably the 11th August. Invites him for lunch, to discuss all this.
  • Autograph letter from Maurice Boniface to Georges Ancey, dated «samedi». His wife and himself accept with great pleasure.
  • Autograph bristol from Maurice Boniface to Georges Ancey, n.d. [A few words in Latin] – Mme Boniface writes that they are free Tuesday and Wednesday.
  • Autograph carte-lettre from Maurice Boniface to Georges Ancey, n.d., stamped «27 11 01». Has read Ces Messieurs. Does not really like it, but admires Ancey’s talent.
  • Autograph letter from Maurice Boniface to Georges Ancey, n.d., address «14, place Vendôme». Asks Ancey if he is still contemplating going to Bayreuth. The Bonifaces will be going, and maybe the Anceys can meet them there. But they have to make a decision quickly. Ancey has to hear Wagner’s oeuvre.
  • Autograph letter from Maurice Boniface to Georges Ancey, n.d. His wife is at home on Mondays; he is at home everyday, until 5pm, writing.
  • Autograph letter from Maurice Boniface to Georges Ancey, n.d. Invites the Anceys for a dinner, with old friends from the Théâtre Libre, on Saturday, the 29th.
  • Autograph letter from Maurice Boniface to Georges Ancey, n.d. Thanks Ancey for sending his play L’Avenir. Has heard only positive comments, from various circles.
  • Autograph letter from René Benjamin to Georges Ancey, n.d. Pleads with Ancey: his Paris apartment is too small, badly lit; that is why Ancey is always sick when he is in Paris. Benjamin is Ancey’s oldest friend, he can say these things. With handwritten transcription by Sanders.
  • Autograph letter from Richon-Brunet to Georges Ancey, n.d., address «6 Calle Abadis Sevilla». Apologizes for taking so long to reply to Ancey’s letter. Has had a bad season in Paris, and took refuge in Spain, to be away from everything. Asks Ancey to keep an eye on his house in Camaret.
  • Autograph letter from Duval [?] to Georges Ancey, dated «Camaret sur mer, 11 janvier 1894», with envelope marked «Urgence et réponse». Probably from the overseer of Ancey’s property in Brittany. Tells Ancey about the state of the house: the kitchen needs repairs, the garden needs mulch, etc. Found somebody in the house, shot the man twice, but the man disappeared.

Various magazines

-Magazine: Le Théâtre, septembre 1904 – special issue on Théâtre Antoine.
-Magazine: Le Théâtre, septembre 1902 (incomplete) – special issue on Théâtre Antoine.
-Magazine: La Revue théâtrale, mai 1906 (cover missing) – special issue on Théâtre Antoine.
-Magazine: Le Théâtre, octobre 1905.NOTE: an article on the Théâtre de l’Odéon.
-Magazine : Comoedia illustré.2 issues : 1er avril 1911 and 1er décembre 1911.Profusely illustrated with portraits of actresses and photographs.
-Magazine : Revue illustréeIssue: 15 septembre 1889.
-Magazine : Le Théâtre et Comoedia illustré. One issue : 15 janvier 1926.
-Magazine: L’Illustration théâtrale. Journal d’actualités dramatiques publiant le texte complet des pièces nouvelles jouées dans les principaux théâtres de Paris. Two loose issues (8 December 1906 and 15 October 191?) – poor condition.

Ancey, Georges, Grand’Mère

Ancey, Georges, Grand’Mère, comédie en trois actes, Paris, Tresse & Stock, 1890.Partially uncut. With a triple dedicace: «À ma petite Madeleine chérie, Georges. – À mon petit lapin blanc, Georges. – À mon petit poulinet, Georges.»

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