See also:

• CHARLES
• CHARLES (1270-1325)
• CHARLES (1421-1461)
• CHARLES (1525-1574)
• CHARLES (c. 1319-1364)
• CHARLES (Fr. Charles; Span. Carlos; Ital. Carlo; Ger. Karl; derived from O.H.G. Charal,latinized as Carolus, meaning originally " man ": cf. Mod.Ger., Kerl," fellow," A.S. ceorl, Mod. Eng. " churl ")
• CHARLES (KARL EITEL ZEPHYRIN LUDWIG; in Rum. CAROL)
• CHARLES [KARL ALEXANDER] (1712-1780)
• CHARLES, ELIZABETH (1828-1896)
• CHARLES, JACQUES ALEXANDRE CESAR (1746-1823)
• CHARLES, THOMAS (1755-1814)

CHARLES See also:

• SAMUEL

SAMUEL See also:

• KEENE
• CHARLES SAMUEL KEENE (1823–1891)
• KEENE, LAURA (c. 1820-1873)

KEENE (1823–1891)  , See also:

• ENGLISH

English See also:

• BLACK
• BLACK, ADAM (1784-1874)
• BLACK, JEREMIAH SULLIVAN (1810–1883)
• BLACK, WILLIAM (1841-1898)

black-andwhite artist, the son of See also:

• SAMUEL

Samuel See also:

• BROWNE
• BROWNE, EDWARD HAROLD (18,1–1891)
• BROWNE, ISAAC HAWKINS (1705-1760)
• BROWNE, JAMES (1793–1841)
• BROWNE, MAXIMILIAN ULYSSES, COUNT VON, BARON DE CAMUS AND MOUNTANY (1705-1757)
• BROWNE, PETER (?1665-1735)
• BROWNE, ROBERT (1550-1633)
• BROWNE, SIR JAMES (1839–1896)
• BROWNE, SIR THOMAS (1605-1682)
• BROWNE, WILLIAM (1591–1643)
• BROWNE, WILLIAM GEORGE (1768-1813)

Browne See also:

• KEENE
• KEENE, CHARLES SAMUEL (1823–1891)
• KEENE, LAURA (c. 1820-1873)

Keene, a See also:

• SOLICITOR

solicitor, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• HORNSEY

Hornsey on the loth of See also:

• AUGUST (originally Sextilis)

August 1823 . Educated at the See also:

• IPSWICH

Ipswich See also:

• GRAMMAR (from Lat. grammatica, sc. ars; Gr. ypaµ)

Grammar School until his sixteenth See also:

• YEAR

year, he See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early showed See also:

• ARTISTIC

artistic leanings . Two years after the See also:

• DEATH

death of his See also:

• FATHER

father he was articled to a See also:

• LONDON

London solicitor, but, the occupation proving uncongenial, he was removed to the See also:

• OFFICE (from Lat. officium, " duty," " service," a shortened form of opifacium, from facere, " to do," and either the stem of opes, " wealth," " aid," or opus, " work ")

office of an architect, Mr Pilkington . His spare See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time was now spent in See also:

• DRAWING

drawing See also:

• HISTORICAL

historical and nautical subjects in See also:

• WATER

water-See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour . For these trifles his See also:

• MOTHER

mother, to whose See also:

• ENERGY (from the Gr. ivipyela; iv, in, ipyov, work)

energy and See also:

• COMMON

common sense he was greatly indebted, soon found a purchaser, through whom he was brought to the See also:

• NOTICE

notice of the Whympers, the See also:

• WOOD, ANTHONY A2 (1632-1695)
• WOOD, JOHN GEORGE (1827—1889)
• WOOD, MRS HENRY [ELLEN] (1814—1887)
• WOOD, SEARLES VALENTINE (1798—188o)

wood-engravers . This led to his being See also:

• BOUND, or BOUNDARY (from O. Fr. bonde, Med. Lat. bodena or butina, a frontier line)

bound to them as apprentice for five years . His earliest known See also:

• DESIGN (Fr. desiin, drawing; Lat. designare, to mark out)

design is the See also:

• FRONTISPIECE (through the French, from Med. Lat. frontispicium, a front view, frons, frontis, forehead or front, and specere, to look at; the English spelling is a mistaken adaptation to " piece ")

frontispiece, signed " Chas . Keene," to The Adventures of See also:

• DICK, ROBERT
• DICK, THOMAS (1774-1857)

Dick Boldhero in See also:

• SEARCH, or VISIT AND SEARCH

Search of his See also:

• UNCLE

Uncle, &c . (Darton & Co., 1842) . His See also:

• TERM

term of See also:

• APPRENTICESHIP (from Fr. apprendre, to learn)

apprenticeship over, he hired as studio an See also:

• ATTIC (i.e. "in the Attic style ")

attic in the See also:

• BLOCK
• BLOCK (from the Fr. bloc, and possibly connected with an Old Ger. Block, obstruction, cf. " baulk ")
• BLOCK, MAURICE (1816–19or)

block of buildings See also:

• STANDING

standing, up to 1900, between the Strand and See also:

• HOLYWELL (Tre'ffynnon, well-town)

Holywell See also:

• STREET
• STREET, GEORGE EDMUND (1824-1881)

Street, and was soon hard at See also:

• WORK

work for the Illustrated London See also:

• NEWS

News . At this time he was a member of the " Artists' Society "in Clipstone Street, afterwards removed to the See also:

• LANGHAM, SIMON (d. 1376)

Langham studios . In See also:

• DECEMBER (Lat. decent, ten)

December 1851 he made his first See also:

• APPEARANCE (from Lat. apparere, to appear)

appearance in See also:

• PUNCH

Punch and, after nine years of steady work, was called to a seat at the famous table .

It was during this See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period of See also:

• PROBATION

probation that he first gave See also:

• EVIDENCE (Lat. evidentia, evideri, to appear clearly)

evidence of those transcendent qualities which make his work at once the joy and despair of his See also:

• BROTHER

brother craftsmen . On the starting of Once a See also:

• WEEK (from A.S. wicu, Germanic *wikon, probably=change, turn)

Week, in 1859, Keene's services were requisitioned, his most notable See also:

• SERIES (a Latin word from serere, to join)

series in this periodical being the illustrations to See also:

• CHARLES
• CHARLES (1270-1325)
• CHARLES (1421-1461)
• CHARLES (1525-1574)
• CHARLES (c. 1319-1364)
• CHARLES (Fr. Charles; Span. Carlos; Ital. Carlo; Ger. Karl; derived from O.H.G. Charal,latinized as Carolus, meaning originally " man ": cf. Mod.Ger., Kerl," fellow," A.S. ceorl, Mod. Eng. " churl ")
• CHARLES (KARL EITEL ZEPHYRIN LUDWIG; in Rum. CAROL)
• CHARLES [KARL ALEXANDER] (1712-1780)
• CHARLES, ELIZABETH (1828-1896)
• CHARLES, JACQUES ALEXANDRE CESAR (1746-1823)
• CHARLES, THOMAS (1755-1814)

Charles See also:

• READE, CHARLES (1814-1884)

Reade's A See also:

• GOOD, JOHN MASON (1764-1827)

Good Fight (afterwards rechristened The See also:

• CLOISTER (Lat. claustrum; Fr. cloitre; Ital. chiostro; Span. claustro; Ger. Kloster)

Cloister and the See also:

• HEARTH (a word which appears in various forms in several Teutonic languages, cf. Dutch haard, German Herd, in the sense of " floor ")

Hearth) and to See also:

• GEORGE
• GEORGE, 8TH MARQUESS OF TWEEDDALE (1787-1876)
• GEORGE, HENRY (1839—1897)
• GEORGE, LAKE
• GEORGE, SAINT (d. 303)

George See also:

• MEREDITH, GEORGE (1828-1908)

Meredith's Evan See also:

• HARRINGTON
• HARRINGTON, EARLS OF
• HARRINGTON, or HARINGTON, JAMES (16'1-'677)

Harrington . There is a quality of conventionality in ,the earlier of these which completely disappears in the later . In 1858 Keene, who was endowed with a See also:

• FINE

fine See also:

• VOICE (Fr. voix, from Lat. vox)

voice and was an enthusiastic admirer of old-fashioned See also:

• MUSIC

music, joined the " Jermyn See also:

• BAND

Band," afterwards better known as the " See also:

• MORAY

Moray Minstrels." He was also for many years a member of See also:

• LESLIE
• LESLIE, CHARLES (1650-1722)
• LESLIE, CHARLES ROBERT (1794–1859)
• LESLIE, FRED [FREDERICK HOBSON] (1855–1892)
• LESLIE, SIR JOHN (1766-1832)
• LESLIE, THOMAS EDWARD CLIFFE (1827-1882)

Leslie's See also:

• CHOIR (0. Fr. cuer from Lat. chorus; pronounced quire, and until the end of the 17th century so spelt, the spelling being altered to agree with the Fr. chceur)

Choir, the Sacred See also:

• HARMONIC

Harmonic Society, the Catch, See also:

• GLEE

Glee and See also:

• CANON

Canon See also:

• CLUB (connected with " clump ")

Club, and the See also:

• BACH, JOHANN SEBASTIAN (1685–1750)
• BACH, KARL PHILIPP EMANUEL (1714-1788)

Bach Choir . He was also an industrious performer on the bagpipes, of which See also:

• INSTRUMENT (Lat. instrumentum, from insincere, to build up, furnish, arrange, prepare)

instrument he brought together a considerable collection of specimens . About 1863 the Arts Club in See also:

• HANOVER
• HANOVER (Ger. Hannover)

Hanover Square was started, with Keene as one of the See also:

• ORIGINAL

original members . In 1864 See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John See also:

• LEECH
• LEECH, JOHN (1817-1864)

Leech died, and Keene's work in Punch thenceforward found wider opportunities . It was about this time that the greatest of all See also:

• MODERN

modern artists of his class,See also:

• MENZEL, ADOLPH FRIEDRICH ERDMANN VON (1815-1905)
• MENZEL, WOLFGANG (1798-1873)

Menzel,discovered Keene's existence, and became a subscriber to Punch solely for the See also:

• SAKE

sake of enjoying week by week the work of his brother crafts-See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man . In 1872 Keene; who, though fully possessed of the humorous sense, was not within measurable distance of Leech as a See also:

• JESTER

jester, and whose drawings were consequently not sufficiently " funny " to See also:

• APPEAL

appeal to the See also:

• LAUGHTER

laughter-loving public, was fortunate enough to make the acquaintance of Mr See also:

• JOSEPH
• JOSEPH, COMTE DE (1785-1870)
• JOSEPH, FATHER (FRANCOIS LECLERC DU TREMBLAY) (1577-1638)

Joseph Crawhall, who had been in the See also:

• HABIT (through the French from Lat. habitus, from habere, to have, hold, or, in a reflective sense, to be in a certain condition; in many of the English senses the French use habitude, not habit)

habit for many years of jotting down any humorous incidents he might hear of or observe, illustrating them at leisure for his own amusement . These were placed unreservedly at Keene's disposal, and to their See also:

• INSPIRATION (Lat. inspirare, breathe upon or into)

inspiration we owe at least 250 of his most successful drawings in the last twenty years of his connexion with Punch . A See also:

• LIST (O.E. lisle, a Teutonic word, cf. Dut. lust, Ger. Leiste, adapted in Ital. lista and Fr. lisle)
• LIST, FRIEDRICH (1789-1846)

list of more than 200 of these subjects is given at the end of The See also:

• LIFE

Life and Letters of Charles Keene of " Punch." In 1879 Keene removed to 239 See also:

• KING
• KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
• KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
• KING, CHARLES WILLIAM (1818-1888)
• KING, CLARENCE (1842–1901)
• KING, EDWARD (1612–1637)
• KING, EDWARD (1829–1910)
• KING, HENRY (1591-1669)
• KING, RUFUS (1755–1827)
• KING, THOMAS (1730–1805)
• KING, WILLIAM (1650-1729)
• KING, WILLIAM (1663–1712)

King's Road, See also:

• CHELSEA

Chelsea, which he occupied until his last illness, walking daily to and from his See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

house, 112 See also:

• HAMMERSMITH

Hammersmith Road . In 1881 a See also:

• VOLUME

volume of his Punch drawings was published by Messrs Bradbury & See also:

• AGNEW, DAVID HAYES (1818–1892)

Agnew, with the See also:

• TITLE (0. Fr. title, mod. titre, from Lat. titulus)

title Our See also:

• PEOPLE

People .

In 1883 Keene, who had hitherto been a strong man, See also:

• DEVELOPED

developed symptoms of See also:

• DYSPEPSIA (from the Gr. prefix Sur-, hard, ill, and 'irirreiv, to digest)

dyspepsia and See also:

• RHEUMATISM (from Gr. /56µa, flux)

rheumatism . By 1889 these had increased to an alarming degree, and the last two years of his life were passed in acute suffering See also:

• BORNE, KARL LUDWIG (1786–1837)

borne with the greatest courage . He died unmarried, after a singularly uneventful life, on the 4th of See also:

• JANUARY

January 1891, and his See also:

• BODY

body lies in Hammersmith See also:

• CEMETERY (Gr. Korrsnri7pwv, from Hoiµav, to sleep)

cemetery . Keene, who never had any See also:

• REGULAR

regular See also:

• ART

art training, was essentially an artists' artist . He holds the foremost See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place amongst English craftsmen in black and See also:

• WHITE
• WHITE, ANDREW DICKSON (1832– )
• WHITE, GILBERT (1720–1793)
• WHITE, HENRY KIRKE (1785-1806)
• WHITE, HUGH LAWSON (1773-1840)
• WHITE, JOSEPH BLANCO (1775-1841)
• WHITE, RICHARD GRANT (1822-1885)
• WHITE, ROBERT (1645-1704)
• WHITE, SIR GEORGE STUART (1835– )
• WHITE, SIR THOMAS (1492-1567)
• WHITE, SIR WILLIAM ARTHUR (1824--1891)
• WHITE, SIR WILLIAM HENRY (1845– )
• WHITE, THOMAS (1628-1698)
• WHITE, THOMAS (c. 1550-1624)

white, though his work has never been appreciated at its real value by the See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general public . No doubt the See also:

• MAIN (from the Aryan root which appears in " may " and " might," and Lat. magnus, great)
• MAIN (Lat. Moenus)

main See also:

• REASON (Lat. ratio, through French raison)

reason for this lack of public recognition was his unconventionality . He See also:

• DREW
• DREW, SAMUEL (1765-1833)

drew his See also:

• MODELS

models exactly as he saw them, not as he knew the See also:

• WORLD

world wanted to see them . He found enough beauty and See also:

• ROMANCE

romance in all that was around him, and, in his Punch work, enough subtle See also:

• HUMOUR (Latin humor)

humour in nature seized at her most humorous moments to satisfy him . He never required his models to grin through a See also:

• HORSE (a word common to Teutonic languages in such forms as hors, hros, ros; cf. the Ger. ross)

horse See also:

• COLLAR

collar, as See also:

• GILLRAY, JAMES (1757-1815)

Gillray did, or to put on their See also:

• COMPANY

company See also:

• MANNERS, CHARLES (1857– )

manners, as was du Maurier's wont . But Keene was not only a brilliant worker in See also:

• PEN (Lat. penna, a feather, pen)

pen and See also:

• INK (from Late Lat. encaustum, Gr. gysavorov, the purple ink used by Greek and Roman emperors, from iyKaiew, to burn in)

ink . As an etcher he has also to be reckoned with, notwithstanding the fact that his plates numbered not more than fifty at the outside . Impressions of them are exceedingly rare, and hardly See also:

• HALF

half a dozen of the plates are now known to be in existence .

He himself regarded them only as experiments in a difficult but fascinating See also:

• MEDIUM

medium . But in the See also:

• OPINION (Lat. opinio, from opinari, to think)

opinion of the See also:

• EXPERT (Lat. expertus, from experiri, to try)

expert they suffice to place him among the best etchers of the 19th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century . Apart from the etched frontispieces to some of the Punch See also:

• POCKET

pocket-books, only three,. and these by nomeans the best, have been published . See also:

• WRITING
• WRITING (the verbal noun of " to write," O. Eng. writan, to inscribe)

Writing in L'Artiste for May 1891 of a few which he had seen, See also:

• BRACQUEMOND, FELIX (1833— )

Bracquemond says: " By the freedom, the largeness of their drawing and See also:

• EXECUTION (from Lat. ex-sequor, exsecutus, follow or carry out)

execution, these plates must be classed amongst modern etchings of the first See also:

• RANK (O.Fr. rant or rent, mod. rang, generally connected with the O.E. and O.H.G. bring, a ring)

rank." A few impressions are in the See also:

• BRITISH

British Museum, but in the main they were given away to See also:

• FRIENDS, SOCIETY
• FRIENDS, SOCIETY OF

friends and See also:

• LIE, JONAS LAURITZ EDEMIL (1833—1908)
• LIE, MARIUS SOPHUS (1842–1899)

lie hidden in the albums of the See also:

• COLLECTOR

collector . AUT13oiIr•IES.—G . S . See also:

• LAYARD, SIR AUSTEN HENRY (1817-1894)

Layard, Life and Letters of Charles Keene of " Punch" ; The Work of Charles Keene, with an introduction and notes by Joseph See also:

• PENNELL, JOSEPH (186o– )

Pennell, and a bibliography by W . H . Chesson; M . H . Spielmann, The See also:

• HISTORY

History of " Punch "; M . See also:

• CHARPENTIER, FRANCOIS (1620-1702)

Charpentier, La See also:

• VIE

Vie Moderne,'No .

14 (188o); M . H . Spielmann, See also:

• MAGAZINE

Magazine of Art (See also:

• MARCH
• MARCH (1) (from Fr. marcher, to walk; the earliest sense in French appears to be " to trample," and the origin has usually been found in the Lat. marcus, hammer; Low Lat. marcare, to hammer; hence to beat the road with the regular tread of a soldier: cf.
• MARCH, AUZIAS (c. "1395-1458)
• MARCH, EARLS OF
• MARCH, FRANCIS ANDREW (1825– )

March 1891) ; M . Bracquemond, L'Artiste (May 1891) ; G . S . Layard, Scribner's (See also:

• APRIL

April 1892) ; Joseph Pennell, Century (Oct . 1897) ; George du Maurier, Harper's (March 1898) . (G . S .