Firmin GÉMIER (1869-1933). 3 L.A.S., a P.S. and a relic; 6pages in-8 on letterhead (Théâtre Antoine and a Théâtre de la Renaissance, and 4p. in-4). [Circa 1910?], to Marie-Thérèse Sylviac. "I have read. You have talent, that's incontestable. Your play has the defects of the beginning. It's badly constructed, with a useless act, a bad ending and secondary characters who are very amusing in their own right, but who have no place in the action. Go on, you'll make a good play, because your dialogue is excellent, your observation accurate, penetrating and witty. You're also concerned with making a point. Meaningful plays are the hardest to make"... - To a playwright, making specific remarks about his play Le Lien, before concluding: "In short, qualities, hopes. Work hard, famous playwrights have learned the trade by doing numerous plays that are still sleeping in their drawers. Don't be discouraged, since you have excellent dialogue and scenic ideas"... - August 7, 1901], he will gladly read a manuscript. September 3, 1915. Contract with Gustave Quinson (who apostilled and signed), to whom Gémier sublets the Théâtre Antoine, and its interim management, providing in particular for the performance of any work "of the same genre as those usually performed at the Théâtre Antoine" and the Rip 1915 revue; the contract is extended on March 3, 1916 for performances of Sacha Guitry's Nono... Pair of gray stockings, embroidered with gold passementerie, 87 cm (a few covers) worn by Gémier in Le Misanthrope, given by Roger Weber to Jean Darnel (with letter of delivery). Enclosed: L'Album Comique of April 1908, devoted in part to Gémier. Plus 30 letters and documents, by Théodore Barrière, Léon Bernard, Francisque Berton, Martine Carol, Jacques Deval, Jean-Baptiste Drouet (1844 to the director of the Odéon), Edmée Favart, Germaine Gallois, Max Maurey, Porel (to P. Mortier), Régnier and Amédée Scribe, etc.