A.l.s. from Émile Zola to Gaston Calmette (1858-1914), Paris, 2 January 1896, 1 p. Zola tells Calmette that he was sure that Calmette had not read the article, since Zola knows that Calmette holds him in high esteem. Although he is normally very tolerant, Zola continues, he felt that he had to protest against the article. Tells Calmette that M. Saint-Albin can come to see him any evening except Wednesday, at 6:00 p.m. Zola is referring to an article which had appeared in Le Figaro on 1 January 1896 under the signature of Jules Delafosse. In his article, Delafosse lamented the sorry state into which France had fallen, and criticized Zola for reveling in his country’s decadence and describing it in his novels. Calmette had assured Zola that neither he nor his co-director at Le Figaro, Fernand de Rodays, had read the article beforehand: otherwise, the section of the article criticizing Zola would have been removed. Published in Correspondance, vol. VIII, page 297-298 (letter 282).
Villeroy, Auguste, Hérakléa, drame en vers, en trois actes, Paris, Edmond Girard, 1896. – With a dedicace: «À Antoine, hommage d’admiration et bien sympathiquement, Auguste Villeroy.»
A.l.s. from Émile Zola to Jules Claretie (1840-1913), Paris, 6 May 1896, 2 p. Zola tried to see Claretie at the Comédie-Française before leaving for the country, but was unsuccessful. Thanks Claretie for his unfailing support in his candidacy for the Académie française. On Claretie’s support for Zola’s candidacy for the Académie française, see letter 33. Published in Correspondance, vol. VIII, page 317-318 (letter 310).
Autograph letter from Léon Christian [?] to Georges Ancey, dated «Alexandrie, 2 août 98». Tells about the success of L’École des veufs. Asks for permission to play La dupe. Is working hard and they are staging mostly the répertoire of the Théâtre Libre. Hopes to see the Anceys in Paris.
Autograph letter from Gustave Toudouze to Georges Ancey, dated «Château de Kermann’goz en Trégastel, par Lannion (Côtes du Nord), Vendredi 11 septembre 1896». Will soon publish an illustrated novel about Camaret. Is asking Ancey to lend some photographs of the region and of the village to the illustrator, for inspiration. Note: this letter was published by J. Sanders by Les Cahiers de l’Iroise, no 161, février 1994. Offprints in the dossier.
Autograph letter from Gustave Toudouze to Georges Ancey, dated «Paris 50 rue de Moscou, mercredi 11 décembre 1901». Likes the play Ces Messieurs very much. It is a shame that it has been censored.
Photograph of Gustave Toudouze in Camaret (1903 – as to a note at the back of the photograph – sent to J. Sanders by Toudouze’s son – see letter of 18 juin 1952).
Autograph letter from Georges G. Toudouze to J. Sanders, dated «6 mai 1952», on letterhead «Société des auteurs et compositeurs dramatiques, 9, 11, 11bis rue Ballu, Paris (9e). Tel: Trinite 44-97». Will be happy to meet with J. Sanders, at his office, to discuss Georges Ancey.
Autograph letter from Georges G. Toudouze to J. Sanders, dated «18 juin 1952», on letterhead «Préfecture de la Seine – Musée Carnavalet. 23, rue de Sévigné. Paris IIIe. Société de l’histoire du costume» - with envelope, not stamped, on letterhead «Préfecture de la Seine». Is sending a photograph of his father, Gustave Toudouze, taken in Camaret in 1903.
Autograph letter from Georges G. Toudouze to J. Sanders, dated «Paris, le 29 juin 52», on letterhead «République française. Liberté, égalité, fraternité. Préfecture de la Seine». Sends two books written by his father on Camaret (Péri en mer, Le bâteau des sorcières). Has no copy of his own book on Camaret but sends the address of his publisher.
Typed letter from Georges G. Toudouze to J. Sanders, dated «Paris, le 7 juillet 1955», on letterhead «Société mutualiste des auteurs et compositeurs dramatiques. Le Secrétaire général Georges G. Toudouze», with envelope stamped «Paris, 7-7-1955», on letterhead «Société mutualiste des auteurs et compositeurs dramatiques». Is going away, will not be able to see Sanders just yet. Maybe in September, if Sanders is still in Paris.
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.»
A.l.s. from Émile Zola to Louis Gallet (1835-1898), Médan, 10 May 1896, 1 p. Zola invites Gallet to come and have lunch at Médan one day in June. He will send his carriage for him to the train station. A Sunday would be best. On Louis Gallet, see letter 26. Published in Correspondance, vol. VIII, page 320 (letter 314).
These files consist of photocopies and typed transcriptions of letters, postcards, telegrams and cartes de visites sent by Émile Zola between January of 1896 and December of 1897. Recurring correspondents include Henry Céard, Alexandrine Zola, Alfred Bruneau, Jeanne Rozerot, Gabriel Thyébaut, and Ernest Vizetelly. The contents of the letters are both personal and professional. Many of the letters sent to editors, publishers and translators are regarding Rome and Paris. As well, these files cover the months leading up to Zola’s direct involvement with the Dreyfus Affair. Discussion of the Dreyfus Affair becomes more prevalent in November of 1897 (particularly when Zola writes to Alexandrine) and demonstrates Zola’s increasing involvement and anger (as seen in letter to Alexandrine Zola, dated November 19, 1897, in File #144)
Autograph letter from Georges Ancey to [?], dated «Paris, 7 février 1897» Is answering to a question about the Théâtre Libre [TL]. The TL launched a generation of new playwrights. Antoine influenced comedians as well [letter is barely legible].
Typed transcription of the letter from Georges Ancey to [?], dated «Paris, 7 février 1897», 2 copies.
Autograph letter from Georges Ancey to [?], dated «Kerbon, 7 août 1897» Is in Britanny – goes cycling in the morning, reads and works in the afternoons. Is currently writing three plays. Does not really believe in «mise en scène» -- too often, directors are preoccupied with the decors, not the play. [The rest of the letter is barely legible.]
Autograph letter from L. Level [Ancey’s daughter] to J. Sanders, dated «8 décembre 1949», with envelope stamped «Paris 9-12 1949». Answers J. Sanders’ questions regarding her father, his plays, his career, etc. Is sending various documents to Sanders, asking that they remain unpublished – her father would not have liked them made public as they are unfinished. With handwritten transcription by J. Sanders.
Transcription of a second letter from L. Level (no original in the file) to Sanders, dated «27 juillet 1949», in which she gives information about Ancey’s ancestors.
Handwritten biographical document about Ancey written by his daughter, dated «30 avril 1949» (with transcription by J. Sanders)
Autograph postcard [Nantouillet Presles, S.O], from L. Level to J. Sanders, n.d. Would like Sanders to autograph the copy of his thesis – she enjoyed reading it.
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.
These files consist of photocopies of handwritten and typed letters, postcards, cartes de visites and telegrams sent to Émile Zola between November of 1897 and January 16, 1898. The letters in these files all pertain to the Dreyfus Affair, with the early files focusing on the lead-up to Zola’s direct involvement in the Affair. The later files mostly focus on Zola’s public letter to the President of the Republic, J’Accuse, printed in the newspaper L’Aurore on January 13, 1898. Some of the letters refer to the Dreyfus Affair through general discussion of events; however, most demonstrate a clear support or criticism of Zola’s involvement.
These files consist of photocopies of handwritten letters, postcards, cartes de visites and telegrams as well as typed and handwritten transcriptions of letters sent to Émile Zola from January of 1897 to January of 1898. The contents of these files are divided between discussion around Rome and Paris, and rumblings about Zola’s increasing involvement in the Dreyfus Affair, culminating with the publication of J’Accuse on January 13, 1898. As a result, the later files of 1897 contain letters from various newspapers and journals (both in Europe and the United States) requesting Zola’s opinion on the current social and political situation in France (the Dreyfus Affair was becoming a massive issue), some of which directly mention the Dreyfus Affair. Additionally, these files also contain correspondence from the first two weeks after Zola published J’Accuse. As well, the final file of 1897 (File #283) contains correspondence that discusses the death of Alphonse Daudet. There are a large number of Letters of Contemporaries in these files, both professional (sent from Ernest Vizetelly) and personal (sent from Alexandrine Zola), which have presumably been placed here because the contents pertain directly to Zola’s affairs.
These files consist of photocopies of off-prints, articles and chapters from books that relate to Émile Zola or Naturalism written by authors with the surnames Iwabuchi to Mitterand. The dates of publication range from 1897 to 2001. Recurring scholars include Gian-Carlo Menichelli, Elise Michel and Henri Mitterand. There are also multiple booklets written in Japanese in these files.
Ancey, Georges, L’avenir, comédie en trois actes en prose, Paris, P.-V. Stock, Éditeur, 1898. Proofs – wet stamp indicating «2e épreuve» (p. 1 and 145). – Various annotations (stage copy). Wet stamp of the Censorship Bureau on the front wrapper, dated 20 janvier 1899.
These files consist of photocopies of articles, off-prints and chapters from books that focus on either Émile Zola or Naturalism written by authors with the surname Niederstenbruch to Page. The dates of publication for material in these files range from 1898 to 1994. Recurring scholars include Robert J. Niess and Kazuo Ozaki. There are articles written in French, English, Italian, Japanese and Russian in these files.
-Large photograph of Henry Bauer, literary critic. -Framed front page of Le Petit Journal, Supplément illustré, 31 juillet 1898 – illustration of Zola going to Versailles for his trial. -According to a hand-written note at the back of the frame (note by J.B. Sanders): watercolour by Jules Antoine (brother of André Antoine), figuring André Antoine in his role as Jacques Damour – adapted from Zola’s short story.
File consists of other collected materials: -a pamphlet entitled 'The Roman Catholic Church and News Propaganda: Is the Church of Rome unduly influencing for Sectarian purposes the Empire Cable Services, News Agencies, Great Newspapers and the British Broadcasting Corporation?' -pamphlets issued by the North-Eastern Boundary Bureau including 'The Weekly Bulletin,' 'If 'Ulster' Contracts Out: The Economic Case against Partition,' and 'North East Ulster: The Boundary Position at a Glance' -notes by Patrick O'Neill on land valuation in Warrenpoint -documents containing census data, including 'Particulars of Population' (the position of the population in South Armagh, South Down, and East Down on retention in an Irish Free State), 'Parliamentary Divisions of East Down,' and a 1937 census of Northern Ireland -a letter to [Rev. F. Lowny] from the Newry '98 Centenary Committee, and -an open letter to the Right Hon. T. Moles, P.C., M.P from John W. Nixon, M.P.
These files consist of photocopies and typed transcriptions of letters, postcards, telegrams and cartes de visites sent by Émile Zola in 1898. Recurring correspondents include Henry Céard, Alexandrine Zola, Fernand Xau, Alfred Bruneau, Fernand Labori and Jeanne Rozerot. The contents of the letters are both personal and professional, and span Zola’s involvement in the Dreyfus Affair starting with his article J’Accuse in January of 1898 through his trial and conviction in February and the first half of his exile. These files also include a touching letter to Jeanne Rozerot, explaining that he must leave for England because of the turn the trial had taken, dated July 18, 1898 (in File #148). There is a noticeable increase in the number of personal letters written to family members in these files, due to Zola’s exile (largely Alexandrine Zola, Jeanne Rozerot, Denise Rozerot and the Laborde family members).
Autograph carte-lettre from Gabriel Trarieux to Georges Ancey, dated «14 mai 1905», stamped «14 5 05». Sends, at Ancey’s request, names and addresses of friends who could attend the premiere of the play. Asks for 5 tickets.
Autograph letter from Gabriel Trarieux to Georges Ancey, dated «Paris 27 nov. 1901». Has read Ces Messieurs. Excellent play. Prefers the third act.
Autograph letter from Georges Bois to Georges Ancey, n.d., «19 Quai Voltaire». His play was not staged with Ancey’s at Antoine’s theatre, like in the good old days. Asks for 2 tickets for L’Avenir.
Autograph lettre-carte from [Charlotte] Lysès Sacha Guitry to Georges Ancey, n.d., on letterhead «48, rue Pergolèse. Téléphone: 667-27», stamped «13 IV 14». Hopes that there is no more danger.
Autograph letter from Sacha Guitry [?] to Georges Ancey [?], n.d., on letterhead «26, Place Vendôme». Likes his play.
Autograph letter from [?] Guitry to Georges Ancey [?], n.d., on letterhead «18, Avenue Elisée Reclus». Will wait for his visit.
Autograph letter from Stanislas Rzewuski to Georges Ancey, n.d., on letterhead «Hôtel Métropole Bruxelles» -with transcription by J. Sanders. Is in a desperate situation, unwell and out of money. Has to go to Germany, where one of his plays will be staged. Is imploring Ancey to lend him 200 francs.
Autograph bristol card from Edmond Sée to Georges Ancey, dated «jeudi», with address «6 Square du Roule». Writes that the play Ces Messieurs has had a great impact on him – Sée will write a column in La Presse, about it.
Autograph letter from Pierre Wolff to Georges Ancey [?], n.d., with address «Chalet Fonterive, près de la Pique, Luchon». Asks [«tu» form] how Ancey is doing. Has heard that Ancey has finished a comedy for the Comédie française. Wolff is working but nothing is coming of it.
Autograph letter from Pierre Wolff to Georges Ancey [?], n.d. Is asking Ancey to lend him what he asked a few days ago. Antoine will be back tomorrow.
Autograph letter from Pierre Wolff to Georges Ancey, n.d. Tells a strange story about his working table walking away from him. Wants to go to Brittany, even if it’s only for a few days, to see the Anceys. Sends his best to André [Antoine].
Autograph letter from Pierre Wolff to Georges Ancey, n.d. [from internal evidence, maybe 1903], on letterhead «11, avenue Matignon». Bought the text of Ces Messieurs – it is Ancey’s best play.
Autograph letter from Pierre Wolff to Georges Ancey, n.d., with address «Chalet Fonterive, près de la Pique, Luchon». Wonders why Ancey has not replied to his last letter.
Autograph letter from Pierre Wolff to «Ma chère amie», n.d., with address «22, rue d’Aumale». Offers a box for the following night.
Autograph letter from Pierre Wolff to «Chère amie», n.d. [early January probably], with address «22, rue d’Aumale». Sends his best wishes for the new year.
Autograph letter from Pierre Wolff to «Ma chère amie», n.d., with address «22, rue d’Aumale». Is unwell. Invites her to come for a visit.
Autograph letter from Pierre Wolff to «Ma chère amie», dated «29/1/18», with address «22, rue d’Aumale». Will come around for a visit on Friday.
Autograph letter from Pierre Wolff to «Ma chère amie», n.d., with address «22, rue d’Aumale». Has sent the letter. Reassures her that all will be well.
Autograph letter from Pierre Wolff to «Chère amie», n.d., with address «22, rue d’Aumale». Has sent the note she has given him to the Etat-Major. Hopes to succeed.
Autograph letter from Pierre Wolff to «Ma chère amie», n.d., with address «32, rue Guynemer VI». Tells her about his car accident – got her letter.
Autograph lettre-carte from André Calmettes to Georges Ancey, dated «7 juin 04», stamp not legible. Has seen Franck, who has no time to discuss casting.
Autograph lettre-carte from André Calmette to Georges Ancey, dated «mercredi soir», stamped 31-304». Suggests various times when they can meet to discuss.
Autograph letter from Paul Ginistry to Georges Ancey, dated «Paris, le 11 février 1905», on letterhead «Théâtre national de l’Odéon. Second Théâtre Français fondé en 1782. Cabinet du Directeur». Because of a busy schedule, cannot stage Ces Messieurs. Would like to discuss with Ancey, and would like to welcome him at the Odéon.
Autograph letter from Jean Jullien to Georges Ancey, dated «Paris 11 avril 1899», with address «10 Quai du Louvre». Will write a column about young playwrights and would like to include Ancey. Asks Ancey to complete a questionnaire about his career, plays, projects, etc.
Autograph letter from Oscar Méténier to Georges Ancey [?], n.d. «You will never say again that I have no manners. Yours…»
Autograph letter from Alfred Capus to Georges Ancey, n.d., with address «8, rue de Chateaudun». May have forgotten to reply to Ancey – confirms their meeting on Friday, 10 February.
Autograph document [Ancey?] – 12 page synopsis for a play?
These files consist of photocopies of handwritten correspondence and typed/handwritten transcriptions sent by Émile Zola in 1899. Recurring correspondents include Fernand Labori, Denise Rozerot, Alfred Bruneau, Fernand Desmoulin, Ernest Vizetelly and Joseph Reinach. The content of these files include letters sent to Alfred Dreyfus upon his return to France, expressing his admiration and support (the first of many, dated July 6, 1899, in File #153), as well as a letter to Alexandrine expressing his displeasure with the ambiguous end to the Dreyfus Affair (where all pending cases received amnesty – letter dated October 31, 1899, in File #154). The first half of these files contain mainly personal correspondence to family, however after July (when Émile Zola returns to France), the letters are mostly concerned with professional and business matters, focusing on the publication and translation of Fécondité.
These files consist of photocopies of handwritten and typed letters, postcards, cartes de visites and telegrams sent to Émile Zola between January and September 1899. This period marks Zola’s exile in England and the correspondence likewise reflects this, as can be seen by the number of telegrams and letters sent from close family friends assuring Émile Zola that all is well with his family back at home. As well, there is an increase in the number of Letters of Contemporaries in these files for two reasons: much of Émile Zola’s business was being conducted through either Ernest Vizetelly or Alexandrine Zola, and people who did not know how to contact Zola directly would send mail to Alexandrine and ask her to forward it through to Zola. Starting in June of 1899, most of the correspondence is addressed directly to Émile Zola because he returned to France at this time. Most of the correspondence discusses either potential literary or dramatic representations of the Dreyfus Affair, or they congratulate Zola on his return to France. Recurring correspondents include Alexandrine Zola (sometimes signing as Caroline), Ernest Vizetelly, Antoine Guillemet, the Laborde family and Fernand Labori (Zola’s defense lawyer). These files also encompass the period of the publication of Fécondité, which is indicated through the requests for translation rights, requests for information on release dates and discussion between Vizetelly and Brett of Macmillan Co. regarding the American rights to the book.
These files consist of photocopies of handwritten letters, postcards, cartes de visites, telegrams, newspaper clippings and handwritten transcriptions of letters sent to Émile Zola between October 1899 and December 1900. The earlier correspondence is largely composed of either discussion around the Dreyfus Affair (the retrial of Alfred Dreyfus at Rennes, his reconviction and subsequent pardon) or praise for Zola’s Fécondité. A large portion of these files are correspondence between Ernest Vizetelly, Zola, Macmillan & Co. representatives and Chatto & Windus regarding Vizetelly’s difficulties in translating Fécondité into a book that would be deemed both legal and appropriate for the English-speaking audiences in England and the United States. The later files begin to discuss Zola’s rough draft of Travail (the next novel in his Quatres Évangiles series), as well as translations and rights of distribution.
Schürmann [Impresario], Une tournée en Amérique, Paris, F. Juven, [1900]. Poor condition. With a dedicace: «À mon ami André Antoine, en souvenir de nos tournées, J. Schürmann, mars 1900».
A.l.s. from Émile Zola to Paul Ménard-Dorian (1845-1937), Paris, 11 January 1900, 3 p. Zola apologizes that he is obliged to change the date for his visit to Unieux. He has to see Galliffet on Saturday, and his lawsuit with Ernest Judet will be heard on the 24th. Suggests several alternative dates for his visit. Zola was to see Gaston Galliffet, the defense minister, regarding the lawsuit which Zola had launched against the journalist Ernest Judet, who had slandered Zola’s father in an article published in the press. On Paul Ménard-Dorian and his factory at Unieux, see letter 23. Published in Correspondance, vol. X, page 122-123 (letter 63).
Item consists of one photograph of a group of unidentified people standing in front of the Victoria Hotel, beside the main entrance of which is O'Neill's office.
These files consist of photocopies of off-prints, newspaper and academic articles and chapters from books that discuss Émile Zola and/or Naturalism that have been written by authors with the surnames Bedo to Hemmings. The dates of publication in these files range from 1900 to 1994. Key scholars in these files include Saint-Georges de Bouhélier and Pedro Calheiros. These files include a number of original documents by SaintGeorges de Bouhélier, with dates ranging from 1908-1938 (in Files #713-717, #719) and three newspapers: Comœdia (dated 1908, in File #728), Le Figaro (dated 1927, in File #736) and La Feuille Litteraire (dated 1913, in File #737).
Series consists of personal correspondence, newspaper clippings, photographs, and other memorabilia that Patrick O'Neill collected during his political career and in his personal life, including relics of St. Anthony and St. Oliver Plunket contained within a leather pouch.
A.l.s. (visiting card) from Émile Zola to Yves Guyot (1843-1928), 12 December 1900, 1 p. Zola asks Guyot to reproduce in its entirety, with his introduction, Zola’s letter which had appeared that morning in Le Figaro. He will be grateful if Guyot will give the letter a prominent place in tomorrow’s edition. The journalist and politician Yves Guyot was at the time the director of the Paris newspaper Le Siècle. The letter in question was written in support of the young writer, Maurice Le Blond, and a group of his colleagues, who had founded the “Collège d’esthétique moderne”, a meeting place for writers and artists, which offered courses and public lectures. In 1908, Maurice Le Blond (1877-1944) married Zola’s daughter, Denise. Published in Correspondance, vol. X, page 207 (letter 175).
File consists of personal memorabilia that Patrick O'Neill collected throughout his life and career, including newspaper articles, invitations, personal letters, House of Commons and Senate directories, a poster declaring Ulster's Solemn League and Covenant, relics of St. Anthony and St. Oliver Plunket (Archbishop of Armagh and last Catholic martyr to die in England in 1681) contained within a leather pouch, a postcard from Rome, and an article about 'How to Make the Stations.' File also includes four photographs: one of a group of people standing in front of the Victoria Hotel, beside the main entrance of which is O'Neill's office; one of two men and a girl on a beach; one of a stone monument of a religious figure, and one of five men sitting on rocks.
These files consist of photocopies of handwritten correspondence and typed/handwritten transcriptions sent by Émile Zola between January of 1900 and June of 1901. Recurring correspondents include Fernand Labori, Denise Rozerot, Alfred Bruneau, Fernand Desmoulin, Ernest Vizetelly and Joseph Reinach. Zola kept in close contact with many of the figures involved in the Dreyfus Affair (as can be seen in the number of letters sent to Fernand Labori, Alfred Dreyfus and others); however, a large portion of his correspondence is focused on business after 1900. Most of the letters focus on Travail, however there are numerous references to articles and critiques being written by Zola at this time
These files consist of photocopies of handwritten and typed letters, postcards, cartes de visites, telegrams and typed and handwritten transcriptions of letters sent to Émile Zola between November of 1900 and December of 1901. Recurring correspondents throughout these files include Alexandrine Zola, Ernest Vizetelly, Chatto & Windus Publishers, the Loiseau family (Elina, née Laborde, and her husband Georges) and Antoine Guillemet. For the most part, the correspondence within discusses both personal and professional matters, including the death of Paul Alexis in July of 1901, as well as praise and requests for rights for Travail. Multiple close family friends also comment on Zola’s hobby for photography. File #318 also contains the first communication (in this series) between Alexandrine Zola and Denise Rozerot (Émile Zola’s daughter with Jeanne Rozerot) in a postcard dated February 7, 1902.
These files consist of photocopies of handwritten correspondence and typed/handwritten transcriptions sent by Émile Zola between July of 1901 and September of 1902. Recurring correspondents include Fernand Labori, Denise Rozerot, Alfred Bruneau, Fernand Desmoulin, Ernest Vizetelly and Joseph Reinach. The letters included in these files focus on Zola’s works (the development of Vérité, which would be published posthumously, as well as various articles for journals). These files also include undated letters #1-165 retained by the Zola Research Program (most of which were not included in the volumes). These letters are heavily annotated and demonstrate the process of cross-referencing and researching that the Zola Research Program staff undertook in their attempt to date the letters.
Ajalbert, Jean, La fille Élisa. Drame judiciaire en trois actes, tiré du roman de Edmond de Goncourt, nouvelle édition, Paris, Librairie Charpentier et Fasquelle, 1901. – Copie marked «souffleur».
Autograph bristol card from actress Blanche Denège to Antoine, dated «1er janvier 1929», letterhead «43, rue Saint-Georges Téléph: Trudaine 31-22». Wishing Antoine a happy new year.
Autograph postcard [sketch of Antoine by Zim] from Gabriel Signoret to Antoine, dated «26-11-26». Word of friendship, reminiscing about the tour in America, when Antoine was sharing with all of them his lessons.
Autograph letter from Gabriel Trarieux to Antoine, dated «Le Guéry Barbezieux, Charente. 14 août 1902». Drop a note to Clemenceau; now they have to wait. Shares various gossips. Will touch up his play.
Autograph letter from Gabriel Trarieux to Antoine, dated «Paris 1er mars 1919». Is waiting to hear if he will be named at La Gaité. In that case, he will need a secretary. Would Michel be good? If so, can Antoine give his address to Trarieux?
Autograph letter from André Dumas [?] to Antoine, n.d. Talks about a ceremony.
Zola, Émile, L’attaque du moulin. Drame lyrique en quatre actes. Poème de Louis Gallet, musique de Alfred Bruneau, Paris, Librairie Charpentier et Fasquelle, 1902.
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.»
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.»
A.l.s. from Émile Zola to André Antoine (1858-1943), Paris, 31 January 1902, 1 p. Zola requests theatre tickets for his wife and for himself. Would like to see Antoine at the intermission, so that he can congratulate him. Has heard that the ticket sales are good. Zola is referring to the adaptation of his novel La Terre, prepared for the stage by Charles Hugot and Raoul de Saint-Arroman. The play opened at the Théâtre Antoine on 21 January 1902, with Antoine in one of the leading roles. In spite of its strong beginnings, the play was only a moderate success. André Antoine had launched the Théâtre Antoine in 1897 and later became a respected theatre critic and a film maker. Published in Correspondance, vol. X, page 355-356 (letter 340). Note that the paper is stained and has a pin-hole in the upper left-hand and lower-right corners of the page.
A.l.s. from Émile Zola to André Antoine (1858-1943), Paris, 24 February 1902, 2 p. Zola is in agreement with Saint-Arroman that they should attempt to keep La Terre going as long as possible, by presenting it once or twice a week. Asks if he might give some friends one of his visiting cards with a message on it, which they could exchange for theatre tickets. On Antoine and La Terre, see letter 39. Published in Correspondance, vol. X, page 359-360 (letter 347).