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Charles Samuel Keene - The Sights of Dublin

The Sights of Dublin (1877)

Charles Samuel Keene (English, 1823-1891)
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License: All public domain files can be freely used for personal and commercial projects.
Why is this image in the public domain?
The Artist died in 1891 so this work is in the public domain in its country of origin and other countries where the copyright term is the Artist's life plus 70 years or fewer.
Charles Samuel Keene

Charles Samuel Keene was an English artist and illustrator, who worked in black and white.

The son of Samuel Browne Keene, a solicitor, he was born at Hornsey. Educated at the Ipswich School until his sixteenth year, he early showed artistic leanings. Two years after the death of his father he was articled to a London solicitor, but, the occupation proving uncongenial, he was removed to the office of an architect, Mr Pukington. His spare time was now spent in drawing historical and nautical subjects in watercolor. For these trifles his mother, to whose energy and common sense he was greatly indebted, soon found a purchaser, through whom he was brought to the notice of the Whympers, the wood-engravers. This led to his being bound to them as apprentice for five years. His earliest known design is the frontispiece, signed Chas. Keene, to The Adventures of Dick Boldhero in Search of his Uncle, &c. (Darton & Co., 1842). His term of apprenticeship over, he hired as studio an attic in the block of buildings standing, up to 1900, between the Strand and Holywell Street, and was soon hard at work for the Illustrated London News. At this time he was a member of the Artists Society in Clipstone Street, afterwards removed to the Langham studios.

In December 1851 he made his first appearance in Pencil and, after nine years of steady work, was called to a seat at the famous table. It was during this period of probation that he first gave evidence of those transcendent qualities which make his work at once the joy and despair of his brother craftsmen. On the starting of Once a Week, in 1859, Keene's services were requisitioned, his most notable series in this periodical being the illustrations to "Charles Reade's A Good Fight" (afterwards rechristened "The Cloister and the Hearth") and to George Meredith's "Evan 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 fine voice and was an enthusiastic admirer of old-fashioned music, joined the Jermyn Band, afterwards better known as the Moray Minstrels. He was also for many years a member of Leslie's Choir, the Sacred Harmonic Society, the Catch, Glee and Canon Club, and the Bach Choir. He was also an industrious performer on the bagpipes, of which instrument he brought together a considerable collection of specimens.

About 1863 the Arts Club in Hanover Square was started, with Keene as one of the original members. In 1864 John Leech died, and Keene's work in Punch thenceforward found wider opportunities. It was about this time that the greatest of all modern artists of his class, Menzel, discovered Keene's existence, and became a subscriber to Punch solely for the sake of enjoying week by week the work of his brother craftsman. In 1872, Keene, who, though fully possessed of the humorous sense, was not within measurable distance of Leech as a jester, and whose drawings were consequently not sufficiently funny to appeal to the laughter-loving public, was fortunate enough to make the acquaintance of Joseph Crawhall, who had been in the 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 inspiration we owe at least 250 of his most successful drawings in the last twenty years of his connection with Punch. A list of more than 200 of these subjects is given at the end of The Life and Letters of Charles Keene.

In 1879 Keene removed to 239 Kings Road, Chelsea, which he occupied until his last illness, walking daily to and from his house, 112 Hammersmith Road. In 1881 a volume of his Punch drawings was published by Messrs Bradbury & Agnew, with the title Our People. In 1883, Keene, who had hitherto been a strong man, developed symptoms of dyspepsia and rheumatism. By 1889 these had increased to an alarming degree, and the last two years of his life were passed in acute suffering borne with the greatest courage. He died unmarried, after a singularly uneventful life, and his body lies in Hammersmith cemetery.

More Artworks by Charles Samuel Keene (View all 102 Artworks)

How I Lost My Whiskers

How I Lost My Whiskers (1866)

Charles Samuel Keene (English, 1823-1891)
Two Nursemaids

Two Nursemaids (1870–1891)

Charles Samuel Keene (English, 1823-1891)
How I Lost My Whiskers

How I Lost My Whiskers (1866)

Charles Samuel Keene (English, 1823-1891)
Bookplate; Elmi P. Mills

Bookplate; Elmi P. Mills

Charles Samuel Keene (English, 1823-1891)
A Tight Fit

A Tight Fit (1872)

Charles Samuel Keene (English, 1823-1891)
Sketchbook Drawing

Sketchbook Drawing (between 1846 and 1852)

Charles Samuel Keene (English, 1823-1891)
Smoking Strictly Prohibited

Smoking Strictly Prohibited (c. 1867)

Charles Samuel Keene (English, 1823-1891)
Study of a Child in Helmet and Boots

Study of a Child in Helmet and Boots

Charles Samuel Keene (English, 1823-1891)
A Reproof

A Reproof (1870–1891)

Charles Samuel Keene (English, 1823-1891)
Arcades Ambe

Arcades Ambe

Charles Samuel Keene (English, 1823-1891)
Tomkin’s Degree Supper and How it Ended

Tomkin’s Degree Supper and How it Ended (1868)

Charles Samuel Keene (English, 1823-1891)
At the Employment Office

At the Employment Office (1870-91)

Charles Samuel Keene (English, 1823-1891)
Blarney

Blarney (1870-91)

Charles Samuel Keene (English, 1823-1891)
At the Club

At the Club (1870-91)

Charles Samuel Keene (English, 1823-1891)
Life Boat Full of Women

Life Boat Full of Women

Charles Samuel Keene (English, 1823-1891)
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