With the ownership inscription of the actor “R.[obert] Keeley”, his marginal notes and one Voltaire quote to the rear, plus a tipped in letter from his wife “M[ary] A[nne] Keeley” to a “Mr Croker”, mentioning “Miss Farren”.
Buckstone’s The Dream At Sea was first performed in 1935, with Buckstone himself in the role of Tommy Tinkle. The Keeleys and Buckstone were colleagues and collaborators, and, according to a later article in The Illustrated London News, “Biddy Nutts was originally written for Mrs. Keeley” but she was unable to step into the role at that time, and so the part was given to Mrs. Nisbett (ILN, p. 55, 29 July 1848). The Keeleys played the two leads, Tommy Tinkle and Biddy Nutts, in a later revival of the play in 1848 at the Marylebone Theatre. The marginal notes to several pages refer to these two characters, both on-stage and off-stage. It is likely from that these annotations and the atmospheric set illustrations within this volume date from this production.
The Keeleys were popular actors of the early to mid-19th century. Robert Keeley was best loved as a comedic actor: “He had a good deal of mannerism, and, like most comedians, an individuality recognizable through all his roles. In the expression of semi-idiocy or rustic wonderment, or as the suffering victim of unjust fate, he had few equals” (ODNB). He originated the role of Fritz (later known as Igor) in the first stage adaptation of Frankenstein (1923); the part was written for him.
Mary Anne Keeley was perhaps the finer actor of the two, described as “an actress of wonderful variety, with a ‘laughing devil in her eye’” (ODNB).
Both Keeleys were famed for their successes in playing roles of the opposite sex.
For instance, Robert Keeley as Dolly Spanker in Boucicault’s London Assurance, and Mrs Gamp in Dickens’ Martin Chuzzlewit. Mrs Keeley performed as Smike in Nicholas Nickleby, and, most iconically, as Jack Sheppard, 18th century pickpocket and prison escapee, a part she first played in 1839 (adaptation by Buckstone).
Mrs Keeley was the foremost “principal boy” actress of her age; in the subsequent generation she was succeeded by Nellie Farren, who also played Jack Sheppard. In the book The Keeleys; On the Stage and At Home (1895) by Walter Goodman, the author recounts more than one reference to Nellie Farren, who Mrs Keeley “profoundly admired”, writing how “when the burlesque of “Little Jack Sheppard” was produced at the Gaiety, with Miss Nelly Farren in the title role, the original Jack went more than once to see it” (p.75).
The letter, tipped in to the verso of a preliminary, almost certainly dates from a later period than the watercolours and marginal notes. It is a letter likely gifting the book to Croker, “I send the book I promised you”, and asking an additional favour, “Will you kindly address the enclosed note to Miss Farren”. Nellie Farren (1848-1904) started acting as a child; her first adult performance was in 1864, and her Gaiety Theatre era was 1868-1892.
It is vanishingly unusual to have an item which brings together three of the most famous (both then and now) cross-gender actors of the 19th century: Robert Keeley, Mary Anne Keeley, and even though glancingly, Nellie Farren.
Regarding the atmospheric stage illustrations, we note that according to the ODNB entry for Mary Anne Keeley, “she was also a promising amateur painter” (ODNB, Joseph Knight, revised by J. Gilliland). It is tempting to think that the watercolours are by her, but we have not been able to confirm this.
In addition to the watercolours, there are 7 pages with slight additional stage instructions, and a quote from Voltaire, “Discours sur la Tragedié”, in holograph on rear free endpaper in Robert Keeley’s hand. The quote, written in French, translates to: “it is more difficult to write well than to put assassinations, wheels, gallows, sorcerers, and ghosts on the stage.” (Vol XIX, Philosophical Letters. Letter to Lord Bolinbroke.)
Bookplate of Thomas Eade Montefiore to font pastedown, and bookbinder ticket, ditto. Scattered foxing throughout. Edgewear to the binding, particularly to the leather, splits to the tail of the spine. Eade Montefiore was a manager associated with theatres in Bristol, Paisley, Dundee, and Edinburgh.
