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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

Autograph letter from «Norbert» to [?], dated «Falmouth, 2 mars ‘90».
Was hoping for a great success, but it will have to wait. Sends a photograph [not included]. Hopes to be there in July.
Autograph letter from R. Borel-Rosny [grand-son of novelist Rosny] to J. Sanders, dated »Le Trouquay, 11 décembre 1978».
Has placed a phone call to J.-F. Tournier about the correspondence between Zola, Antoine, Ibels, Briaud. His grand-father regretted signing the Manifeste.
Sends a typed copy of his grand-father’s speech in Médan, 2 October 1911.

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.

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).

• Autograph letter from Willy Schultz to Georges Ancey, n.d. Wants to say how much he appreciates L’École des veufs. Some subscribers to the newspaper (probably spinsters, says Schultz) have written to the editor, expressing their displeasure.
• Autograph letter from Willy Schultz to Georges Ancey [?], dated «Paris, le 25 [juin?] 189[-], on letterhead: «Société des Représentations de Tristan & Yseult. Siège social provisoire: 2, Rue Moncey, Paris». Invitation to an informal lunch with his sister and a few other people.
• Autograph bristol card from Serge Basset, dated «Jeudi 26», on letterhead «Le Figaro, 26, rue Drouot». Would like to recommend Mme Marcelle Jullien for a role in Ces Messieurs. She is talented, Descaves can confirm. The Figaro would be grateful.
• Autograph letter from M. Vaucaire to Georges Ancey, n.d. – with envelope stamped «5 février 1905». Has received a letter from «notre cher directeur». Ancey should not worry.
• Autograph carte-lettre from M. Vaucaire to Georges Ancey, stamped «2 mars 96». Thanks Ancey for his note. Will dedicate his «pièce osée!» to Ancey.
• Autograph letter from Octave Maus to Georges Ancey, dated «23 mai 90». Thanks Ancey for sending copies of his plays. Monsieur Lamblin was temporarily suspended because Mme Picard is quite unwell. Will read with interest the brochure published by the Théâtre Libre.
• Autograph letter from Frantz Jourdain to Georges Ancey, dated «Paris, le 10 juin 1889», on letterhead «Frantz Jourdain, Architecte-Expert. Membre de la Société centrale des architectes. 14, rue de Clichy, 14. Mardi & Vendredi, de 1 à 3 heures». The director of the Cluny is looking for Ancey. Jourdain mentioned Ancey’s comedy to him, and he is interested in staging it.
• Autograph bristol card from Gustave Geffroy to Georges Ancey, dated «Lundi» [from internal evidence: 1908?], on letterhead «Ministère de l’Instruction publique, des Beaux-Arts et des Cultes. Manufacture nationale des Gobelins». Cannot make it on Friday, 11 December – will miss seeing Ancey and their common friends. Has enjoyed Ancey’s book on Athens. Ancey should send a copy to Clemenceau – Geffroy mentioned it to him.
• Autograph letter from Gustave Geffroy to Georges Ancey, dated «vendredi». Was unable to attend La dupe. Can Ancey give him 4 tickets for Tuesday?
• Autograph letter from Gustave Geffroy to Georges Ancey, n.d. Thanks Ancey for the evening and the conversation. Hopes to see him again this winter.
• Autograph carte-lettre from Georges Lecomte to Georges Ancey, dated «54, rue de Prony 28/1/02», stamped «28-1-02». Thanks Ancey for his cordial letter. Thinks highly of Ancey’s plays. As a playwright, Ancey is following the «grande tradition classique française».
• Autograph carte-lettre from Georges Lecomte to Madame Georges Ancey, dated «mardi soir», stamped «Paris 21-11-17», with letterhead «18, Bard Auguste-Blanqui (XIIIe) Tél. Gobelins 02-78». Has just heard about Ancey’s passing. Ancey had a great and original talent.
• Autograph carte-lettre from Georges Lecomte to Georges Ancey, dated «54, rue de Prony, samedi soir», stamped «21 Dec 04». Is delighted with Ancey’s success. After 15 years of friendship, «on s’embrasse!»
• Autograph letter from Georges Lecomte to Georges Ancey, dated «54, rue de Prony, Dimanche». Lecomte will write an article on Becque in the Revue de Paris – will take the opportunity to write about Ancey. Can Ancey send copies of his plays to Lecomte? Lecomte would like to meet soon, to discuss.
• Autograph letter from Georges Lecomte to Georges Ancey, dated «54, Rue de Prony, 17ème». Analyzes Ancey’s play: the characters are strong, the play is written with the truth in mind. Regrets that the play was censored – is convinced it will be staged eventually.
• Typed letter from Georges Lecomte to James Sanders, dated «19 mai 1950, 82, rue du Ranelagh, XVIe», on letterhead «Académie française, 23 Quai Conti, VIe. Le Secrétaire perpétuel», envelope stamped «19 mai 50». Met Ancey at the Théâtre Libre – Antoine staged Lecomte’s plays, as well as Ancey’s. Lecomte has always appreciated Ancey’s works. Ancey was a «grand bourgeois», elegant, witty, ironic. Lecomte says that he never had a close relationship with Ancey, so he cannot give Sanders any more information.
• Typed letter from Georges Lecomte to James Sanders, dated «29 mai 1952, 82, rue du Ranelagh, XVIe», on letterhead «Académie française, 23 Quai Conti, VIe. Le Secrétaire perpétuel». Lecomte has nothing to add about the Théâtre Libre. Even if he is extraordinarily busy, Lecomte can meet Sanders on Tuesday, 3 June, at 5pm.
• Typed letter from Georges Lecomte to James Sanders, dated «25 mai 1955, 82 rue du Ranelagh, XVIe», on letterhead «Académie française. Le Secrétaire perpétuel». Would be happy to see Sanders to discuss André Antoine. Unfortunately, he is unwell and unable to have visitors.

Newspapers – 1890s-1900s (removed for treatment)

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.

• 9 photographs of actress Jeanne Lion, one being autographed by the actress
• 1 sketch of actress Jeanne Lion (early 1900s).
• 1 photograph of (most likely) actress Suzanne Desprès, at age 16, in the role of Poil de Carotte.

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».

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.

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

• Autograph letter from actor Georges Grand to Georges Ancey, dated «Casino de Royal, le 11 août 1891». Antoine told Grand that he was meeting with Ancey in Brittany. Grand wishes he were with the both of them. He is playing at the Casino, which is a tough life – a play gets five of six rehearsals only. But he has had success and thinks he will be hired again for the next season. Also: a note written at the bottom, by actor Albert Mayer, asking Ancey to write a role for him, something light.
• Autograph letter from Georges Grand to Madame Georges Ancey, dated «1er dec. 1917». Condolences letter to Ancey’s wife.
• Autograph letter from actor Coquelin to Georges Ancey [?], n.d. Invites Ancey [?] to come over to his place, to see his «modest collection».
• Autograph letter from journalist Edmond LeRoy to Georges Ancey [?], n.d., from «15, rue de Bruxelles» Asks what the future of the «new theater» will be, now that Antoine is the director of a state-sponsored theater. Can Ancey answer the question for the readers of LeRoy’s newspaper?
• Autograph letter from Abbé Hourisson [?] to Georges Ancey, dated «Tours, 29 mai 1905» Has heard that in Ancey’s new play, a character is named «Abbé Hourisson». Asks Ancey to change the name immediately. The letter will be given to Ancey by the Abbé’s cousin, who bears the same name and who is the editor of the newspaper L’Albevillois. The two men do not want their patronym used on the stage.
• Autograph letter from F. Chastanet to Georges Ancey, dated «Paris, le 21 juin 1889», on letterhead «Le Théâtre Libre. 96, Rue Blanche. Archives». Antoine is in Pornichet. As Ancey is in Paris, Chastanet and Ancey should climb the Eiffel tower. Nothing new to announce, only gossips (about Méténier, Céard, Denbourg).
• Autograph telegram from F. Chastanet to Georges Ancey, stamped «25 avril 91». Does not understand Ancey’s displeasure. Antoine’s initiative is partly due to the fact that it was 2am. Will have enough room for everybody in the box reserved for him.
• Autograph telegram from F. Chastanet to Georges Ancey, from Bordeaux, stamped «8 mai 92». Antoine is asking Ancey not to sign anything for Bordeaux before talking to him.
• Autograph telegram from F. Chastanet and Schurmann to Georges Ancey, from Bordeaux, stamped «7 mai 92». Play just finished. Three encores, great success, full house. Congratulations.
• Autograph letter from F. Chastanet to Georges Ancey, dated «Lundi 20 août» - note pencilled: [88][?]. Just found Ancey’s letter. Antoine will be in Paris at the end of the week – as soon as he knows when exactly, Chastanet will be in touch with Ancey, so that Ancey can see Antoine rested and happy before the start of the rehearsals. Asks Ancey to check the «maquette» and to chose the seats he prefers. Chastanet is working at the rehearsal.
• Autograph letter from F. Chastanet to Georges Ancey, dated «Samedi 27 juillet» - note pencilled: [88][?]. Antoine is away. He would be grateful if the author of Monsieur Lamblin could give a new play to the Théâtre Libre, for another success.
• Autograph letter from F. Chastanet to Georges Ancey, dated «Paris, le 16 septembre 1891», on letterhead «Le Théâtre Libre. 96, Rue Blanche. Administration». Will take measures to accommodate Ancey. Chastanet just got back from Switzerland, where he was in a car accident. His wife broke her wrist; he hurt his right shoulder. Hopes to see the Anceys a lot during the coming winter.
• Autograph letter from F. Chastanet to Georges Ancey, dated «Paris, Dimanche» [n.d.], on letterhead: «Le Théâtre Libre. 96, Rue Blanche. Direction». Great success for Elisa and Léontine. Good takings, house almost full, encores after each act. Will contact Mlle Pérot. Will be in contact very soon.
• Autograph letter from F. Chastanet to Georges Ancey, dated «7 mai 1901», letterhead: «9, Rue Blanche». Talked to Gémier, who is in agreement. Gémier would like to see the play. Ancey should send his manuscript as soon as possible. Chastanet really likes Ces Messieurs.
• Autograph letter from F. Chastanet to Georges Ancey, dated «5 mars 1899». Is leaving for Hambourg – will see Ancey at the première of Curel’s play. Has seen Le vieux marcheur. It is a bad play, and it’s not doing well.
• Autograph telegraph from F. Chastanet to Georges Ancey, date not legible. A newspaper is asking for an interview with Ancey. What should Chastanet say?
• Typed telegram from F. Chastanet to Georges Ancey, stamped «19 mars 92». La dupe may be staged once in Holland.
• Autograph letter from F. Chastanet to Georges Ancey, dated «Paris, le 26 novembre 1901», on letterhead «Théâtre de la Renaissance, Direction Gémier. Téléphone: 266.98». Has received the book sent by Ancey, and has sent a novel by Zola to Ancey. Hopes that Ancey will ask him for a box at the Théâtre de la Renaissance.

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).

These files consist of articles, chapters from books and off-prints relating to Émile Zola and/or Naturalism
written by authors with surnames Sanders to Scott. The dates of works published in these files range from
1891 to 1991. Recurring scholars include J.B. Sanders, Rita Schober and Naomi Schor. File #1268 contains an
original 1891 article by Aurélien Scholl, titled “L’Amant de sa femme."

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).

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).

• 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”.

Zola's preparatory notes (photocopy) for his article, "Aux meres heureuses" (Le Figaro, 18 April 1891), from the Le Blond collection.
There is also a transcription of the notes and a letter from Alain Pages to Sanders, dated 13 February 2007, thanking Sanders for sending the text.

These files consist of off-prints, articles and chapters from books that pertain to Émile Zola and/or
Naturalism written by authors with surnames Sederberg to Symons. The publication dates for works contained
in these files range from 1891 to 1997. Recurring authors include Masakazu Shimizu, Dolorès Signori,
Dorothy Speirs and Halini Suwala. Most of the works in these files are written in French or English, however
Shimizu’s works are written in Japanese. File #1291 contains an original article by Severine, published in 1898
and titled "Notes d’une frondeuse - Liste de suspects."

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).

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

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

These files consist of off-prints, articles, and chapters from books that pertain to Émile Zola or Naturalism
that have been written by authors with surnames Adamo to Becker. These files also contain anonymous
articles and one file (#643) that contains articles that are to be categorized. The dates of the works range from
1892 to 1995. The files within have been arranged alphabetically by surname with each work possessing its
own folder. Recurring scholars include Auriant and Colette Becker.

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.

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).

-Le Charivari, 4 April 1888. This comic newspaper loved poking fun at Zola. In this issue, a satirical article on Zola's political ambitions, entitled "Zola Consultant", signed Cascadio (p. 1-2).
-Theatre du Vaudeville, 20 May 1892. Programme for a one-time matinee performance of Zola's Therese Raquin at the Theatre du Vaudeville in support of the Oeuvre de la Societe maternelle parisienne (La Pouponnière), a benefit organization for orphaned children.
-Signed theatre programme for a special matinee in support of a tomb and a monument for Henry Becque, 31 May 1904. The matinee featured drama, a lecture and a poetry reading. The programme is signed by Victories Sardou, Georges de Porto-Riche, Emile Fabre and Camille Le Sense.
-3 photographs (one of H. Becque as a young man, two of his monument).
-Autograph letter from [signature illegible – great-nephew of Becque] to Madame Georges Ancey, dated «le 23 novembre 1932». Is preparing an edition of Henry Becque’s work – knows that Becque and Ancey were close. Is inquiring if there are letters and documents he could consult. Antoine told him that it could be the case.
-Autograph letter from J. Molbert [?] to [?], dated «3 juin 1905». Asks for tickets for the play. Praises the play, which is penetrating and passionate.

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.»

Salandri, Gaston, La Rançon, comédie en trois actes, Paris, Tresse & Stock, 1893. Copy partially uncut.

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».

-Marriage announcement for Gabriel Thyebaut and Marguerite Fauconnier, 25 April 1893.
-Marriage announcement (different wording from the above) for Gabriel Thyebaut and Marguerite Fauconnier, 25 April 1893.
-Photocopy portrait of Gabriel Thyebaut
-Death certificate (photocopy) for Gabriel Thyebaut, 11 September 1922.
-Various documents (photocopies) about Thyébaut.
-Letter from J.B. Sanders to the mayor of Dienville, dated 9 January 1998, requesting information on Gabriel Thyebaut.

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

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.

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).

Théâtre Libre – various secondary sources; copies of photographs (mise en scène).
Two copies of (in German): Guide for the Guest Performande of Théâtre Libre in Residenz-Theater of Benno Jacobson, first volume.

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 of off-prints, articles and chapters from books that discuss Émile Zola
and/or Naturalism written by authors with the surname Mitterand to Nardi. The dates of publication range
from [1894] to 2001. Recurring authors include Henri Mitterand and Owen Morgan.

These files consist of photocopies of handwritten letters, postcards, telegrams, cartes de visites and
handwritten and typed transcriptions of correspondence to Émile Zola written between January of 1895 and
March of 1896. Frequent correspondents include Ernest Vizetelly, Eugène Fasquelle, Fernand Xau, Alfred
Bruneau, Guiseppe Giacosa and various family members (including his cousin Carlo Zola and his niece Elina
“Lili” Laborde). Most of the contents of the letters are concerned with the publication and subsequent
translations of Zola’s Rome, including a number of Letters of Contemporaries discussing the translation of
Rome in the United States. This increase in both the popularity and intellectual presence of Zola in the U.S. is
evidenced in the number of American correspondents and the photocopies of newspaper and journal articles
attached that discuss Zola’s works. As with some of the other files in this series, on some letters, Zola has
written brief notes to himself about responding to the letters (as can be seen on a letter from Ernest Vizetelly,
dated May 25, 1895, in File #268).

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

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.»

Autograph letter from actress Eugénie Nau to [maybe Antoine], n.d., on letterhead «Théâtre Antoine. Régisseur général». The words «Régisseur général» were crossed out; above «Eugénie Nau». Asks for an appointment to discuss a project. NOTE: Eugénie Nau was the actress who created the role of the prostitute in the stage adaptation of La fille Elisa, by the Goncourt Brothers. The play was staged at the Théâtre Libre in 1890.

Envelope (empty) addressed to actress Blanche Deneige; letterhead: «Le Courrier de la presse ‘lit tout’, renseigne sur tout…» - stamp illegible.

Autograph telegraph from Larochelle to François de Curel, stamped «2 juil. 95». Read his open letter in Le Figaro. De Curel is too modest – he should accept the invitation to be staged again on the Théâtre Libre. For the next season, there will be a play by Paul Adam and another one by Barrès. Larochelle hopes that de Curel will join them.
Autograph bristol card from A. Antoine to [?], dated «Parais, le 21 8, 1908» - on letterhead «Théâtre national de l’Odéon – Direction». Is asking his correspondent to come on Thursday – it would be the opportunity to discuss the play Le roi Louis.

Printed letter (engraved autograph) from André Antoine to the director of the newspaper L’Écho de Paris , dated «Paris, le 27 mars 1891» -- signed by Antoine in blue ink. Following an article published in L’Écho, deemed injurious by Antoine, he is reacting in writing, while waiting for the newspaper to insert his letter. Antoine will circulate the letter widely. Antoine refutes the accusations made against him by journalist Henry Bauer – concerning his management of the Théâtre Libre, as well as his private life.

Hand-written document: list of actors facing a list of roles – with the mentions «Bruxelles» and «Paris».

Autograph carte-lettre from Émile Paz to Jules Antoine, stamped «13 juin 88». Reminds Jules Antoine that Paz is not on speaking terms anymore with Antoine. Asks Jules to send him as many tickets as possible for the last show, before 2 o’clock. He knows 40 or 50 people who would be very intested to come.

Autograph letter [photocopy] from Antoine to his brother Jules, dated «Camaret, mardi 190[5]» - on letterhead «Théâtre Antoine. Direction». Apologizes that Jules has to deal with all the problems. Antoine was simply trying to avoid legal troubles. Invites his brother to join him in Camaret.

Prospectus advertising the movie Les travailleurs de la mer , directed by Antoine. With a subscription form for the Ligue maritime française.

Autograph letter from Xavier Roux to [Antoine?], n.d. Congratulates his «cher ami» on his Légion d’honneur. Their old friend Becque would be very happy. Roux is delighted.

Autograph letter signed «Un vieil abonné» to [actress Blanche Deneige, according to a handwritten note], dated «Mardi 30 octobre 1906». The «vieil abonné» makes some recommendations to the actress regarding her interpretation of the role of Catherine. He suggests playing the young woman with more restraint.

Autograph carte-pneumatique from A-P Antoine to Pierre Decourcelle, dated «Lundi», stamped «1223». Was very touched by the warm welcome offered to him by Decourcelle. Will call Decourcelle tomorrow, to have more news.

Autograph letter from [signature illegible] to [A.-P. Antoine, according to a hand-written note], dated «Le 2 mai 1949». Letter announced that the step-mother of the recipient has been very ill and is now recovering. She is waiting for the second installment of the settlement, that was signed before the notary.

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).

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.»