Showing 19455 results

Ancey, Georges, L’École des veufs. Comédie en cinq actes en prose, Paris, E. Dentu Éditeur, 1889.
Uncut copy.
With a dedicace: «À Mattio [?] chérie, son Toutou».

Ancey, Georges, L’École des veufs. Comédie en cinq actes en prose, Paris, E. Dentu Éditeur, 1889.Original wrappers.

Ancey, Georges, Les inséparables. Comédie en trois actes, Paris, Tresse & Stock, 1889. Original wrappers. With a triple dedicace: «Au petit z’oisot, d’abord, au z’oizillot ensuite, enfin à la toute toute petite z’oizilotte, le gros Toutou.»

Ancey, Georges, Les inséparables. Comédie en trois actes, Paris, Tresse & Stock, 1889.
Original wrappers.
With a dedicace to Antoine: «À toi, mon cher Antoine, avec mon inexprimable reconnaissance, G. Ancey, 8 mai 89».

-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.»

Mikhaël, Ephraïm, Le cor fleuri, féérie en un acte, en vers, Paris, Tresse & Stock, 1889.

Rzewuski, Stanislas, Le Comte Witold, pièce en trois actes, Paris, Paul Ollendorff, 1889. – With a dedicace: «A mon cher ami, A. Antoine, hommage de profond respect et de vive reconnaissance. Son tout dévoué, S. Rzewuski.»

-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.»

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.»

Descaves, Lucien, Georges Darien, Les Chapons, pièce en un acte, Paris, Tresse & Stock, 1890.

Ginisty, Paul, Guérin, Jules, Deux tourtereaux, pièce en un acte. Illustrations de Forain, Henriot & E. Vuillemin, Paris, E. Dentu, 1890. – With a printed dedicace: «A André Antoine. Amical souvenir, P.G. – J.G.».

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».

-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.

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.

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.

-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.»

26. A.l.s. with envelope from Émile Zola to Hector Giacomelli (1822-1904), Médan, 7 October 1890, 1 p.
    Zola regrets that he cannot meet with Giacomelli, since he must go to Paris on an errand which cannot be postponed. He suggests that they get together in Paris. A letter which shows well the affectionate relationship between the two men.
    Hector Giacomelli was a painter and engraver who illustrated a great number of important French and English works of the time, including works by Michelet, Musset and Gustave Doré’s famous illustrated Bible. Giacomelli and Zola had known each other since 1865, when they were both working for the Hachette publishing firm.
    The envelope is stamped and franked, and reads : “Monsieur Giacomellli, chez monsieur Delorme, à Juziers par Gargenville (Seine-et-Oise)”.
    Published in Correspondance, vol. VII, page 90-91 (letter 27).

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.

Céard, Henry, Tout pour l’honneur, drame en un acte, en prose, tiré de la nouvelle de M. Emile Zola Le Capitaine Burle, Paris, Charpentier et Cie, 1890. – With wet stamp from the Théâtre Libre (p. 7 and p. 43).

Fèvre, Henri, En détresse, Paris, Tresse & Stock, 1890 – poor condition.

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).

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».

31. A.l.s. from Émile Zola to Ély Halpérine-Kaminsky (1858-1936), Médan, 29 December 1891, 1 p.
    Zola will expect Halpérine-Kaminsky in Paris any evening after the 5th of January, at exactly 6:00 p.m. He hopes that this rather late hour will suit his correspondent.
    On Ély Halpérine-Kaminsky, see the notes to letter 21.
    Published in Correspondance, vol. VII, page 226 (letter 192).

Manuscript of a play by Eugène Bourgeois, Le pendu, with a typed transcription

27. A.l.s. from Émile Zola to René d’Hubert (1855-1927), Paris, 30 January 1891, 1p.
    Zola is going to spend a few days in Médan, so he asks d’Hubert to stop sending him the proofs of L’Argent (the 18th novel in the 20-volume Rougon-Macquart series), which was appearing in serialized form in the Gil Blas, of which d’Hubert was, at the time, the director. Zola adds that he is sending along a note (not included), in which he indicates the point in the text where he wishes each installment to end, an interesting indication of the interest and care which Zola took in the newspaper publications of his novels.
    René d’Hubert began as the director of the Gil Blas, a major Paris daily, in 1886, and remained there until 1891. Zola’s novel appeared in the Gil Blas from 29 November 1890 to 3 March 1891.
    Published in Correspondance, vol. VII, page 118 (letter 56).

28. A.l.s. from Émile Zola to Louis Gallet (1835-1898), Paris, 16 February, 1891, 2 p.
    Zola asks his friend and collaborator, who was, at the time, director of the Lariboisière Hospital in Paris, if he could intervene on behalf of his cook, Zélie Cavillier, who had fallen ill and who wanted to be treated at the Lariboisière Hospital. Zola says that he will send her husband, Henri, who was Zola’s “valet de chambre”, for the details regarding admittance, and thanks Gallet in advance for his help.
    Louis Gallet, a long-time hospital administrator, was also a prolific music critic and librettist. He collaborated with Zola and Alfred Bruneau on the adaptation of Zola’s novel, Le Rêve (1888), and on his lyric opera, Messidor (1897).
    Published in Correspondance, vol. VII, page 121 (letter 60).

Le Théâtre Libre – Préface de Mademoiselle Julie, par A. Strinberg, traduction de M. de Casanove.
Le Théâtre Libre (1890-91)
Théâtre national de l’Odéon, invitation for a rehearsal: L’honneur japonais

Scholl, Aurélien, L’amant de sa femme. Scènes de la vie parisienne en un acte. Représenté pour la première fois sur le Théâtre Libre le 26 novembre 1890, Paris, G. Charpentier et Fasquelle, 1891.

29. A.l.s. with envelope from Émile Zola to Ély Halpérine-Kaminsky (1858-1936), Paris, 14 April 1891, 2 p.
    Zola does not want foreign reviews of his last novel, L’Argent, to appear in Le Figaro, since this would look like a publicity ploy. Promises that when he returns to Paris at the end of the month he will send Halpérine-Kaminsky the letter which he had promised him on Tolstoï’s L’Argent et le travail, which Halpérine-Kaminsky had translated. Zola apologizes for the delay, but states that he is overwhelmed with work.
    On Ély Halpérine-Kaminsky, see the notes to letter 21. Zola’s article on Tolstoï’s collection of texts, dated 4 November 1891 [see Correspondance, vol. VII, letter 177], appeared in Le Figaro on 16 January 1892, at the same time as the volume appeared, published by Flammarion.
    The envelope is stamped and franked, and reads : “ Monsieur Halpérine-Kaminsky, 85 boul. de Port-Royal, Paris”.
    Published in Correspondance, vol. VII, page 133-134 (letter 76).

• Autograph letter (seemingly) by J.K. Huysmans to «Mons. Arnoud», dated «Vendredi 21 Xbre» Huysmans offers a copy of his novel À Vau l’eau to Arnoud.
• Autograph letter from J.K. Huysmans to J.H. Rosny – with envelope, stamped from Toulon, July 21, 1891 (according to the Paris stamp at the back of the envelope) – the envelope bears the address of Alphonse Lemerre, Rosny’s publisher. Huysmans talks about Le Termite, a gallery of literary portraits published by Rosny in 1890. He enjoyed the book but deplores that the portraits of Villiers de l’Isle Adam and Barbey d’Aurevilly may leave something to be desired.

30. A.l.s. with envelope from Émile Zola to Ély Halpérine-Kaminsky (1858-1936), [Paris, 23 June 1891], 2 p.
    In this declaration, which is a continuation of Zola’s conversation with Halpérine-Kaminsky regarding Tolstoï’s ideas (see above, letters 21 and 27), Zola states that he neither smokes nor drinks, but does not think that this makes him a better person : his decision was based on his own personality and his health concerns. He goes on to say that he finds Tolstoï’s theory that men smoke and drink instinctively in order to lull their conscience is somewhat overly dramatic. For Zola, men drink for pleasure and smoke first to show off and then by habit. He concludes by saying : “Good Lord! Why not leave this pleasure and this habit with those who don’t suffer by it?” A rare and interesting statement on Zola’s personal habits.
    On Ély Halpérine-Kaminsky, see the notes to letter 21.
    The envelope is stamped and franked, and reads : “Monsieur Halpérine-Kaminsky, 85 boulevard de Port-Royal, Paris”.
    On the text, in pencil, on the upper right-hand corner, in an unknown hand : “[23 juin] 1891”.

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.

33. A.l.s. from Émile Zola to Louis Gallet (1835-1898), Paris, 1 November 1892, 2 p.
    Zola wants to have Charpentier print about ten copies of L’Attaque du Moulin in order to facilitate the rehearsals. Zola hopes Gallet will not mind if he takes the manuscript to Charpentier, and he promises the check the proofs. Suggests that the financial arrangements for the play be the same as they were for Le Rêve. Carvalho’s rehearsal is on November 13th at Choudens’ office.
    On Louis Gallet, see the notes to letter 26. On L’Attaque du moulin, see the notes to letter 30. Léon Carvalho was the “metteur en scène” of the opera, while Paul Choudens was a prominent music publisher.
    Published in Correspondance, vol. VII, page 333 (letter 326).

Perrin, Jules, Claude Couturier, Les fenêtres, pièce en trois scènes, en prose, Paris, Charpentier et Fasquelle, 1892. – Copy marked «G», with annotations.

Ancey, Georges, Le mariage de raison, comédie en cinq actes, Paris, Tresse & Stock, 1892. Original wrappers. Stage copy, with annotations.

Curel, François de, L’envers d’une sainte, pièce en trois actes, Paris, Tresse & Stock Éditeurs, 1892. – with wet stamp of Le Théâtre Libre on p. 1.

These files consist of photocopies of handwritten correspondence (letters, postcards, cartes de visites and
telegrams) as well as typed/handwritten sent by Émile Zola between January of 1891 and September of 1892.
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 La Bête humaine, L’Argent and La Débâcle. This
period also includes the birth of Zola’s son, Jacques, as can be seen in Zola’s letter to Henry Céard explaining
that he would be away during Jacque’s birth and thus requests that Céard be present at his birth, name his son
and then place an ad in the newspaper to update Zola (letter dated September 8, 1891, in File #113). As well,
Zola’s language with various doctors and Céard implies a need for discretion and secrecy up until 1891, when
Alexandrine Zola finds out about Jeanne Rozerot and the children (as seen in letters to Céard and Jeanne
Rozerot, dated 10 November, 1891, in File #114).

32. A.l.s. from Émile Zola to Louis Gallet (1835-1898), Paris, 18 August, 1892, 1 p.
    Zola informs Gallet that he is on the point of leaving Paris for a six week trip, but that he would nonetheless like to see the fourth act [of L’Attaque du moulin] as soon as possible. He requests that Gallet send it to Médan, by registered mail, since Zola has left instructions at Médan for the forwarding of the document. On Louis Gallet, see the notes to letter 26. Zola was, at that time, leaving for Lourdes, where he was beginning to gather his documentation for Lourdes, the first novel in the series which immediately followed the Rougon-Macquart series, Les Trois Villes. Lourdes appeared in 1894.
    The lyric opera, L’Attaque du moulin, was a collaborative effort by Zola and Louis Gallet (libretto) and Alfred Bruneau (score). The first performance took place at the Opéra-Comique in Paris on 23 November 1892.
    Published in Correspondance, vol. VII, page 315 (letter 302).

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.»

These files consist of photocopies and typed transcriptions of letters, postcards, cartes de visites and telegrams
sent by Émile Zola between October of 1892 and December of 1893. Recurring correspondents include
Ernest Vizetelly, Alfred Bruneau, Henry Céard, Georges Charpentier, Jacques van Santen Kolff, Gabriel
Thyébaut, Jeanne and Denise Rozerot, and Ely Halpérine-Kaminsky. Works discussed in these files include La
Débâcle, Le Docteur Pascal and Lourdes. The contents of the letters include both personal matters (his discussion
of his children and relationship with Jeanne Rozerot) and professional (both with the publication and
translation of his works and as the President of the Société des gens de lettres).

These files consist of various correspondence sent to Émile Zola throughout January of 1892 to December of
1893, including photocopies of handwritten letters, postcards, cartes de visites as well as handwritten and
typed transcriptions of letters. Most of the letters discuss business deals (publications and translations) of La
Débâcle, Le Docteur Pascal and Lourdes. Recurring correspondents throughout these files include Ernest Vizetelly,
Antoine Guillemet, Gabriel Thyébaut, the family Charpentier (Georges, Paul and Georgette) and Eugène
Fasquelle. There are a number of letters from Ernest Vizetelly within these files that discuss various business
matters including arranging a dinner in 1893 between Zola and other English authors, translations of books
into English and a biography being written about Zola by R.H. Sherard

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».

These files consist of photocopies of handwritten letters, postcards, cartes de visites, telegrams and
handwritten and typed transcriptions of letters sent to Zola between January and December of 1894.
Recurring correspondents include Ernest Vizetelly, Henry & Co. and Antoine Guillemet. File #264 contains a
Zola Research Program fonds
vast number of cartes de visites, most of which contain expressions of gratitude to Zola for the release of
Lourdes and his generosity in sending copies of the book to his friends, associates and acquaintances.

Programs: Théâtre Libre, 1889, 1890, 1891, 1894; pictures and other documents.

Barrès, Maurice, Une journée parlementaire. Comédie de moeurs en trois actes, Paris, G. Charpentier et E. Fasquelle, Éditeurs, 1894.

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).

34. A.l.s. from Émile Zola to Louis Gallet (1835-1898), Médan, 20 September 1894, 2 p.
    Zola wants to let Gallet know that he has just finished writing the libretto of a lyric opera [Messidor] with the musician Alfred Bruneau, before Gallet reads the news in the papers. Zola explains that since the work is in prose, not poetry, he did not call upon Gallet for his collaboration. He knows that Gallet will be delighted for his friend Bruneau and asks him to keep the news secret until it appears in the newspapers. Zola will be back in Paris on October 8, and will leave for Rome at the beginning of November. Invites Gallet to come for a visit before he leaves for Italy.
    Zola composed the libretto for the lyric opera in March-April 1894, but the work was not performed until 1897, when it premiered at the Opéra (Palais Garnier) on 19 February. The libretto was published by Choudens in 1897 and, in 1921, in Fasquelle’s edition of Zola’s Poèmes lyriques.
    Published in Correspondance, vol. VIII, page 162-163 (letter 121).

These files consist of photocopies and typed transcriptions of letters, postcards, cartes de visites and telegrams
sent by Émile Zola between January of 1894 and December of 1895. Recurring correspondents include Ernest
Vizetelly, Alfred Bruneau, Henry Céard, Georges Charpentier, Jacques van Santen Kolff, Gabriel Thyébaut,
Jeanne and Denise Rozerot, and Ely Halpérine-Kaminsky. Works discussed in these files include Le Docteur
Pascal and Lourdes. The contents of the letters include both personal and professional matters; his personal life
is quite prevalent in this period as seen in a letter to Jeanne Rozerot where he expresses his unhappiness with
his double life (dated July 13, 1894, in File #128). However, professional matters likewise influence his
writings, particularly as they relate to his work but also as his role with La Société des gens de lettres and the
criticism of Auguste Rodin’s Statue of Balzac, commissioned by Zola in 1891 as the President of the Society

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.»

35. A.l.s. from Émile Zola to Jules Claretie (1840-1913), Paris, 7 December 1895, 1 p.
    Zola writes to Claretie, one of his supporters, about Zola’s candidacy at the Académie française. He thanks Claretie for his letter, but fears that he is less optimistic than Claretie about his chances for success in the upcoming election.
    In all, Zola stood for election to the Académie française 19 times (from 1890 to 1898), but was never successful.
    Jules Claretie (see also letter 4) was by this time a prominent theatre critic with Le Figaro and Le Temps, among other newspapers, and was also chief administrator of the Comédie-Française. He himself had been a member of the Académie française since 1888.
    Published in Correspondance, vol. VIII, page 281 (letter 267).