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University of St. Michael's College, John M. Kelly Library, Special Collections
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Files: 70-79

These files consist of photocopies of letters, postcards and cartes de visites and typed/handwritten
transcriptions of correspondence sent by Émile Zola between January of 1883 and December of 1884.
Recurring correspondents include Antoine Guillemet, Alphonse Daudet, Ernst Kiegler, Henry Céard,
Edmond de Goncourt, Georges Charpentier, Jacques van Santen Kolff and various family members (Amélie
Laborde, Lina Laborde, etc.). The contents of the box are both personal and professional in nature; there is
repeated discussion of lunches and dinners at the various houses of friends, as well as discussion of the
publication and translation of the following works: Pot-Bouille, Au Bonheur des Dames and La Joie de Vivre.

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).

Files: 229-236

These files consist of photocopies of letters, cartes de visites telegrams and postcards written to Zola between
January of 1883 and January of 1887. Recurring correspondents include Georges Charpentier, Antoine
Guillemet, Numa Coste and the Manets. The early contents of the letters discuss Zola’s political and
philosophical battle concerning his naturalist literary style. There are multiple letters within these files that
indicate that Zola was considering multiple English journals when releasing the serial version of Germinal;
within these letters, we can see evidence of the concern on the part of the English for the moral and ethical
contents of Zola’s novels (see letter from Tilloston & Son, dated October 9, 1884, in File #232). Other works
mentioned in the letters include La Terre, L’Œuvre and L’Assommoir. File #235 contains the last letter between
Paul Cézanne and Zola in this collection (marking the end of their friendship) following the publication of
L’Œuvre, a work that was interpreted to be based upon the unsuccessful career of Cézanne (letter is dated
April 4, 1886).

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).

Father John O'Connor Collection

  • CA ON00389 C2
  • Collection
  • 1884-1952

Collection consists of hand-written and typed manuscripts, correspondence, poems, translations and radio transcripts created by Monsignor John O'Connor. The records were purchases and accumulated by Father Kevin Scannell as part of his G.K. Chesterton research.

Fonds has been arranged into one series:

  1. Papers of Father John O'Connor

O'Connor, John

Papers of Father John O'Connor

Series consists of a collection of hand-written and typed manuscripts, poems, translations and radio transcripts created and accumulated by Monsignor John O'Connor, as well as his correspondence, collected ephemera (including news clippings, Christmas cards, posters, pamphlets, and small press publications) and research notes. The majority of the material relates to O'Connor's friendship with the author G.K. Chesterton, although O'Connor also translated Latin religious poetry and composed his own verse and wrote prose pieces on literature, Church history, morality, religion and philosophy.

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).

Files: 80-89

These files consist of photocopies of letters, postcards and cartes de visites and typed/handwritten
transcriptions of correspondence sent by Émile Zola between January of 1885 and December of 1886.
Recurring correspondents include Antoine Guillemet, Alphonse Daudet, Ernst Kiegler, Henry Céard,
Edmond de Goncourt, Georges Charpentier, Jacques van Santen Kolff and various family members (Amélie
Laborde, Lina Laborde, etc.). The contents of the box are both personal and professional in nature as can be
seen through the various social gatherings mentioned in the letters, as well as professional discussion of the
publication and translation of the following works: La Joie de Vivre, Germinal, L'Œuvre and early talks about La
Terre.

Files: 1158-1226

These files consist of off-prints, newspaper and academic articles, and chapters from books that pertain to
Émile Zola and/or Naturalism written by authors with surnames Rigaud to Salvan. The dates of the works
published in these files range from 1886 to 1998. Recurring authors include Guy Robert, Edouard Rod, Sergio
Sacchi, Murry Sachs and A.J. Salvan.

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.»

Files: 90-97

These files consist of photocopies of handwritten correspondence (letters, postcards, cartes de visites and
telegrams) as well as typed/handwritten transcriptions of letters sent by Émile Zola between January of 1887
and June of 1888. Recurring correspondents include Henry Céard, Léon Hennique, Jacques van Santen Kolff,
Numa Coste, Edmond de Goncourt, Gabriel Thyébaut and Alfred Bruneau. The letters pertain to both
personal and professional matters, or sometimes both, as seen in the case where Zola sent most of his close
friends (The Charpentiers, Céard, Hennique, Guillemot, de Goncourt, etc.) a letter indicating his displeasure
with the Théâtre du Châtelet because they were playing an unauthorized version of Germinal. Zola refused to
attend himself and encouraged his friends to also boycott the show (letters dated April 21, 1888, in File #97).
Other works discussed in these files include La Terre and Le Rêve.

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),

Files: 237-243

These files consist of photocopies of handwritten letters, cartes de visites, postcards, and some transcriptions
of letters sent to Zola between February of 1887 and July of 1888. There is a clear increase in both the number
of letters sent to Zola in these files, as well as his popularity (particularly in 1887). The files within are divided
into 2-3 month section. The early files are comprised of mostly short notes and cartes de visites, with quite a
few on letterheads from the journal Le Figaro and from the Théâtre de Paris. The later files contain mostly
lengthier letters from friends (recurring correspondents include Marius Roux, Jacques van Santen Kolff, Numa
Coste, Henry Céard and Georges Charpentier) as well as supporters and critics. The increase in the amount of
letters sent to Zola in 1887 could perhaps be attributed both to his increase in popularity (some of his most
ground-breaking books had recently been published), as well as a very critical article published in Le Figaro which targeted both Zola and his most recent novel La Terre. Additionally these files include personal
correspondence and professional papers that discuss the publication of the novel Le Rêve in the journal La
Revue Illustrée.

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.

G.K. Chesterton Archival Collection

  • CA ON00389 C1
  • Collection
  • 1888-1978

The collection consists of manuscripts of many published works, illustrations from Chesterton's time at the Slade School of Art and later, correspondence with family and friends, and albums of press clippings. There are also microfiche copies of the papers of Chesterton's wife Frances (1875-1938), including her plays and poems. Additionally, the collection contains material added by Dorothy Collins after Chesterton's death.
In addition to the Chesterton papers on microfiche the G.K. Chesterton Archival Collection contains 10 original illustrations as well as one of Chesterton's sketchbooks. Most of the sketches date from his period at the Slade School of Art, but there are several from earlier.
The Papers of Monsignor John O'Connor (1870-1952) are also a part of the G.K. Chesterton Archival Collection. Monsignor O'Connor was the Catholic priest who became the model for Chesterton's character "Father Brown". In February 1903 O'Connor wrote to Chesterton, and the following year they formed an immediate bond of friendship which was to last more than thirty years. In 1921 O'Connor was present at Chesterton's reception into the Catholic Church. The papers of Monsignor O'Connor include a number of manuscripts of his poems and essays, Christmas greetings from the Chesterton's, personal letters, and newspaper clippings by and about Chesterton.

Chesterton, G. K. (Gilbert Keith)

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).

Files: 98-110

These files consist of photocopies of handwritten correspondence (letters, postcards, cartes de visites and
telegrams) as well as typed/handwritten transcriptions of letters sent by Émile Zola between July of 1888 and
December of 1890. Recurring correspondents include Henry Céard, Léon Hennique, Jacques van Santen
Kolff, Numa Coste, Edmond de Goncourt, Gabriel Thyébaut and Alfred Bruneau. The letters pertain to both
personal and professional matters. Works discussed in these files include Le Rêve and La Bête humaine. This
period also spans the birth of Zola’s daughter, Denise, as can be seen in Zola’s letters to Henry Céard and Dr.
Delineau, requesting both their discretion during Denise’s birth as well as their signatures on her birth
certificate afterwards (letters dated September 22, 1889, in File #103). File #107 consists of an original letter
by Émile Zola, dated June 22, 1890; it has been encased in glass and is accompanied by a photocopy of the
letter (in Italian) that prompted the response. This letter was originally filed in the Documents by Zola subseries
(previously in Box 56), however it was moved as it was seen to be better suited in this series.

Files: 250-254

These files consist of photocopies of correspondence written to Émile Zola between January and December
of 1891. The contents are largely composed of photocopies of handwritten letters, cartes de visites, telegrams
and some typed transcriptions of letters. Recurring correspondents in these files include Gabriel Thyébaut,
Eugène Fasquelle, Ernest Vizetelly, Numa Coste, and Antoine Guillemet. Much of the content is congratulations to Zola for his election as President of the Société des gens de lettres as well as his
commissioning of the Statue of Balzac. In some situations, it appears that Zola has written when he responded
to certain letters on the top of the correspondence (see letter from an editor in Prague, dated May 19, 1891, in
File #252 – they are not signed, but the handwriting resembles Zola’s). File #254 contains a variety of undated
correspondence (organized alphabetically) that is presumed to be from 1891, and is accompanied by an
incomplete inventory of some of the letters. Included in this file is a series of undated cartes de visites from
Antoine Guillemet.

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.»

Files: 244-249

These files consist of photocopies of handwritten letters, postcards, cartes de visites, telegrams and some typed
transcriptions of letters sent to Émile Zola between August of 1888 and December of 1890. Georges
Charpentier, Gabriel Thyébaut and Eugène Fasquelle are some of the recurring correspondents in these files.
File #246 includes an invitation sent to Zola in preparation of the birth of Fasquelle’s daughter, followed by a
letter the next day informing Zola of her birth (letters dated respectively November 10 and November 11,
1889). Most of the contents of these files are professional correspondence and fan mail regarding Zola’s
novels Le Rêve, La Bête humaine and L’Argent (pre-published interest). In particular, there is an ongoing
conversation of letters from Eliza E. Chase regarding the rights to the English translation of Le Rêve - these
letters follow the progression from the early stages of discussion through the negotiation and the eventual
agreement (this conversation encompasses both this box and the previous box). There is also an original letter
from Alexandrine Zola to Émile Zola, dated May 27, 1890 (in File #248).

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.»

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».

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.

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