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

Antoine, Mes souvenirs sur l’Odéon (première direction) et le théâtre Antoine

Antoine, Mes souvenirs sur l’Odéon (première direction) et le théâtre Antoine
-Proofs (unbound) of the book, with corrections and markings (poor condition)

  • autograph letter from Henri Duvernois to André Antoine, dated «Paris, le 1er février 1923», on letterhead «Les oeuvres libres. Arthème Fayard et Cie, Éditeurs. 18-20, rue du Saint-Gothard, 18-20 – Paris (14e)».Henri Duvernois confirms what Antoine and himself discussed the night before. Les Oeuvres libres will publish Antoine’s book on Turkey, for 7,000 francs. The ms should be submitted in June.

Becque, Henry, La Parisienne

Becque, Henry, La Parisienne, comédie en trois actes, Paris, Calmann Lévy, 1890. – With dry stamp: «Société en commandite Antoine et Cie, Théâtre Antoine». Copy marked «B Régie», with copious annotations throughout. With extra material: drawing of the set.

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.»

Biollay, Maurice, L’Affranchie

Biollay, Maurice, L’Affranchie, comédie en trois actes, Paris, Librairie théâtrale, 1908. – With a dedicace: «À l’ami que fut Antoine, deux années durant, tout en haut de la rue Blanche, le souvenir des temps [?], Maurice Biollay.»

Björnson, Björnstierne, Une faillite

Björnson, Björnstierne, Une faillite, pièce en quatre actes, adaptation française de MM. Schürmann & Jacques Lemaire, Paris, Tresse & Stock, 1893. – Copy marked «F», with dry stamp: «Société en commandite Antoine et Cie, Théâtre Antoine».

Boniface, Maurice, Édouard Bodin, La tante Léontine

Boniface, Maurice, Édouard Bodin, La tante Léontine, comédie en trois actes, deuxième édition, Paris, Tresse & Stock, 1895. – With a wet stamp from the Censorship Bureau: «Inspection des théâtres. Vu et autorisé Théâtre Antoine, Paris, le 12 avril 1907.» Copy marked «E», with notes throughout

Brieux, Blanchette

Brieux, Blanchette, comédie en trois actes, septième édition, Paris, P.-V. Stock, 1903. – With wet stamp: «Libreria moderna B. Loubiere, Buenos Aires» + plus duty stamps from the city of Buenos Aires. Copy marked «F».

Céard, Henry, J.-L. Croze, Laurent

Céard, Henry, J.-L. Croze, Laurent, comédie en un acte, en vers, Paris, Charpentier et Fasquelle, 1909. – With a dedicace: «André Antoine, directeur du Théâtre Libre de l’Odéon. Vieux souvenirs, jeune succès. Ses reconnaissants, Henry Céard, J.L. Croze.» + second copy unmarked.

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.»

Courteline, Georges, Lidoire

Courteline, Georges, Lidoire, tableau militaire en un acte, représenté aux Menus-Plaisirs, par la troupe du Théâtre-Libre, les 6, 8 et 9 juin 1891, Paris, Ernest Flammarion, Éditeur, n.d. – Copy marked «B».

Courteline, Georges, Boubouroche

Courteline, Georges, Boubouroche, pièce en deux actes, en prose, Paris, Charpentier, 1894. – Copy marked «Régie B». – Copy incomplete; heavily annotated; with 8 pages of extra material, handwritten [NOTE: check if the extra material is included in the modern editions).

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 fille sauvage

Curel, François de, La fille sauvage, pièce en six actes, Paris, P.-V. Stock Éditeur, 1902. Copy printed in New York. With annotations. With stamp from the Bureau de la Censure, authorizing the play. – On the cover: stamp from the «Théâtre Antoine. Administration.»

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, 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.»

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».

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.»

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.

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.

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.

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 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).

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.

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