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University of St. Michael's College, John M. Kelly Library, Special Collections Collection théâtrale André Antoine
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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. 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 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 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 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 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).

Vaucaire, Maurice, Un beau soir

Vaucaire, Maurice, Un beau soir, comédie en un acte, en vers. Représentée pour la première fois par la troupe du Théâtre-Libre sur la scène des Menus-Plaisirs, le 30 novembre 1891, Paris, Alphonse Lemerre, 1892. – With annotations throughout. Copy marked «Régie». – With 35 extra lines of text, hand-written on a piece of paper sewn into the play.

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.

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.

Wolff, Pierre, Jacques Bouchard

Wolff, Pierre, Jacques Bouchard, pièce en un acte, en prose, Paris, Tresse & Stock, 1980. – With a dedicace: «A André Antoine, sans grandes phrases, sans protester autrement d’une amitié sincère, je signe, votre bon camarade bien dévoué, Pierre Wolff.»

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.

Georges Ancey (1. Grand’mère and Les inséparables; 2. Ces Messieurs)

Smaller scrapbook:
Press clippings from 1890-1892 approx. – variety of newspapers – more articles about Grand’mère – articles about Les inséparables and other plays by Ancey

Larger scrapbook:
press clippings from 1902 approx. – variety of newspapers – articles about Ancey’s play, Ces Messieurs; the play was turned down by the Censorship Bureau; when it was finally staged, there were strong reactions from the French Church against it.
One off-print of an article published in Belgium has a dedicace to Ancey: «A Monsieur Georges Ancey, en hommage de grande admiration et de vive sympathie, décembre 1903, Robert Sand»
NOTE: this is quite an exceptional scrapbook, being almost entirely about the scandal caused by Ces Messieurs.

Actor René Maupré (René de Chauffour)

-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.

Lecomte, Georges, Mirages

Lecomte, Georges, Mirages, drame en cinq actes, Paris, Calmann Lévy, 1893. – With a dedicace: «À toi, mon cher Antoine, en remerciment du talent et du courage que tu as mis au service de ce drame, à toi, de tout coeur, Georges Lecomte.»

Ibsen, Henrik, Les revenants

Ibsen, Henrik, Les revenants. Drame familial en trois actes, traduits par Rodolphe Darzens, édition ornée d’un portrait d’Henrik Ibsen gravé en taille-douce, Paris, Tresse & Stock, 1890.
With a dedicace: «À André Antoine, à l’artiste unique, à l’acteur sans qualificatif, à l’ami… le seul, Rodolphe Darzens, de la part d’Henrik Ibsen, mai 1890».

Raymond, Charles, Don Carlos

Raymond, Charles, Don Carlos, drame en cinq actes et onze tableaux d’après Schiller, Paris, Charpentier et Fasquelle, 1896. – With a dedicace: «A Antoine, en lui renouvelant, ici, l’expression de ma reconnaissance, Charles Raymond.»

Fauchois, René, 3 plays

Fauchois, René, [3 plays]: Rivoli; Vitrail; Jean Bart ou le bon corsaire, Paris, L’Édition française illustrée, 1919. – With a dedicace: «A Jacques Grétillat, au Général Masséna, gueulard, épique, magnifique, à mon vieil ami, son vieux frère, René Fauchois.» -- A postcard from Fauchois to J. Sanders is inserted in the book, dated «Lausanne, 5 sept. 1955». Fauchois is looking forward to meeting with Sanders to discuss Antoine’s career.

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.»

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.»

Hennique, Léon, La rédemption de Pierrot

Hennique, Léon, La rédemption de Pierrot. Pantomime. Cinq eaux-fortes de Louis Morin, Paris, Librairie des Amateurs A. Ferroud, F. Ferroud, Libraire-Éditeur, 1903.
Copy on papier du Japon bearing no 102.
With a dedicace: «A André Antoine, à l’ami, au lettré et au grand comédien, tout affectueusement, Léon Hennique.»

Fabre, Émile

Fabre, Émile, L’argent, comédie en quatre actes, représentée pour la première fois, à Paris, au Théâtre Libre, le 6 mai 1895, Paris, Tresse & Stock, 1895. – With a long hand-written dedicace: «À Antoine. Mon cher ami, Vous m’avez donné ma première joie artistique. Je ne l’oublierai pas. Je n’ai pu attacher votre nom au fronton de cette pièce – je le mettrai en tête d’une autre, et celle, par exemple, que je ferai jouer au Français (?)… Mais comme il se pourrait, hélas, que nous dussions attendre encore assez longtemps, je tiens à vous exprimer dès aujourd’hui ma gratitude et ma reconnaissance. Emile Fabre.»
Fabre, Émile, Comme ils sont tous, comédie en cinq actes, Paris, Tresse & Stock, Éditeurs, 1894. – With a dedicace: «À Georges Ancey, Témoignage de vive sympathie littéraire, Emile Fabre.»

Heijermans, Hermann, La bonne espérance

Heijermans, Hermann, La bonne espérance. Jeu de la mer en quatre actes. Adaptation française de Jacques Lemaire et J. Schurmann, Paris, Librairie théâtrale, 1902. Uncut. – With a dedicace: «À André Antoine, avec toute mon admiration et mes dévoués sentiments de sincère amitié, J. Schurmann.»

Curel, François de, Le repas du lion

Curel, François de, Le repas du lion, pièce en cinq actes. Représentée pour la première fois, à Paris, au Théâtre Antoine, le 5 novembre 1897. Paris, P.-V. Stock, 1897. With annotations throughout. On the cover: stamp of the Bureau de la Censure, authorizing the play.

Curel, François de, La figurante

Curel, François de, La figurante. Comédie en trois actes. Représentée pour la première fois, à Paris, sur le théâtre de la Renaissance, le 5 mars 1896, Paris, P.-V. Stock, Éditeur, 1896. With a dedicace: «À André Antoine, son ami, F. de Curel.»

Curel, François de, Le coup d’aile

Curel, François de, Le coup d’aile. Pièce en trois actes, représentée pour la première fois à Paris, au Théâtre-Antoine, le 10 janvier 1906. Était en répétition au Théâtre-Français lorsque la Censure l’a interdite en octobre 1915, édition définitive, Paris, Les Édition G. Crès et Cie, n.d.

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».

Curel, François de, Les fossiles

Curel, François de, Les fossiles. Pièce en quatre actes. Représentée pour la première fois, dans sa version primitive, à Paris, sur le Théâtre-Libre, le 29 novembre 1892, reprise, sous sa forme nouvelle, par la troupe du Théâtre-Français, dans la salle de l’Odéon, le 21 mai 1900, Paris, Calmann Lévy, 1900. With a dedicace: «À Antoine, souvenir amical, F. de Curel.»

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