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Collection théâtrale André Antoine
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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.»

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.»

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.»

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.»

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.

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 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 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 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. 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).
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