Keene Collection

Labor Ipse Voluptas, 1869. Artist: Charles Samuel Keene
Labor Ipse Voluptas, 1869. The perils of smoking are highlighted in this cartoon. Tobacco affects how a man looks, and his energy levels. From Punch, or the London Charivari, May 22, 1869

A Cool Customer. (1871?)
A Cool Customer, (1871?). A tailor welcomes his customer. The customer offers the tailor a choice of payment methods, none of which will result in the customers account being paid

The Country in the Future, 1876. Artist: Charles Samuel Keene
The Country in the Future, 1876. A gentleman who has retired to the country tells his city gentleman visitor about the peace and quiet of his new surroundings

Cantat Vacuus (Armed Burglar To Mr Brown), 1875. Creator: Charles Samuel Keene
Cantat Vacuus (Armed Burglar To Mr Brown), 1875. the empty-handed traveller will sing in the presence of the robber (a poor man can take comfort he has stolen nothing)

She was Sorry She Spoke, 1870-1891. Creator: Charles Samuel Keene
She was " Sorry She Spoke", 1870-1891

A Reproof, 1870-1891. Creator: Charles Samuel Keene
A Reproof, 1870-1891

The Soldiers Tear-Old Song, ca. 1879. Creator: Charles Samuel Keene
The Soldiers Tear-Old Song, ca. 1879

Happy Thought (for Punch, December 16, 1876), 1876. Creator: Charles Samuel Keene
Happy Thought (for Punch, December 16, 1876), 1876

A Vicar and a Curate, 1870-1891. Creator: Charles Samuel Keene
A Vicar and a Curate, 1870-1891

A Tight Fit, 1872. Creator: Charles Samuel Keene
A Tight Fit, 1872

A Wolf in Sheeps Clothing, 1870-1891. Creator: Charles Samuel Keene
A Wolf in Sheeps Clothing, 1870-1891

Anticipation (for Punch, or the London Charivari, October 23, 1876), 1876

Memorial Place Jean Jacobs, Brussels, Belgium, 1906), c2014-2017. Artist: Alan John Ainsworth
Memorial Place Jean Jacbs, Brussels, Belgium, c2014-2017. Joseph van Neck, architect; Charles Samuel, scupltor: 1906

Monsal Dale, c1894. Artist: Richar Keene
Monsal Dale, c1896. From Pictorial England and Wales. [Cassell and Company, Limited, London, Paris & Melbourne, c1896]

Elizabethan soldier shot, c1843-c1891. Artist: Charles Samuel Keene
Elizabethan soldier shot, c1843-c1891; showing the soldier reeling backwards from his post, injured. He grasps the wall with one hand and his weapon in the other

Lady in Elizabethan Dress, 19th century. Artist: Charles Samuel Keene
Lady in Elizabethan Dress, 19th century

Seated Man, in Doublet and Cloak, 19th century

Foxhall, 1880-1904, (1911)
Foxhall, 1911. Foxhall (1878-1904) was an American-bred Thoroughbred racehorse and sire. From British Sports and Sportsmen Part 1. [British Sports and Sportsmen, London, 1911]

Maid of Honour Row, Richmond, 1890. Artist: W. C. Keene
Maid of Honour Row, Richmond, 1890. From Picturesque London, by Percy Fitzgerald. [Ward & Downey, London, 1890]

John Everett Millais (1829-1896), British artist, 1898. Artist: Charles Samuel Keene
John Everett Millais (1829-1896), British artist, 1898. Plate taken from The Studio magazine, volume 13, no 59 (London, 15th February 1898)

Fountain in the cloisters of Newstead Abbey, Nottingham, 1902-1903. Artist: Richar Keene
Fountain in the cloisters of Newstead Abbey, Nottingham, 1902-1903. Newstead Abbey is the ancestral home of Lord Byron. From Penroses Pictorial Annual 1902-1903

Sharps the Word!, 1888. The concept of cremation was still a very new one in 1888. However, the problems of living with mother-in-law are unchanging

Ways and Means, 1888. A young man explains his own unique method of balancing his books and making ends meet on a salary of £ 300 per annum. From Punch, or the London Charivari, July 7, 1888

Might Be Worse!, 1888. When enjoying a days fishing, it is important to ensure that the most important items have been packed. From Punch, or the London Charivari, June 23, 1888

The Music of the Future, 1887. Wagners conception of opera as a unification of musical, poetic and scenic elements, which revolutionised the 19th century conception of the genre

A satirical look at the chances of the average police constables ability to catch a cold, 1886
A satirical look at the chances of the average police constables ability to catch a cold. From Punch, or the London Charivari, October 30, 1886

Our Medical Students, 1886. Artist: Joseph Swain
Our Medical Students, 1886. The developments in doctors training is illustrated in this cartoon. Major advances in medical technology and research had been made during the course of the century

Is it Possible?, 1885. A solid and respectable city gent is amazed at the business affairs of his younger, slicker, colleague. From Punch, or the London Charivari, December 19, 1885

His First!, 1885. Following Irish campaigns of violence, security at public buildings was tight and, in this cartoon, a suspicious policeman questions a barrister carrying his brief

Tight and Needy, 1884. An illustration of a Spoonerism with an implicit moral judgment on the effects of alcohol. From Punch, or the London Charivari, November 15, 1884

Her Rights, 1882. Punch always enjoyed its little digs at the world of womens rights, and this cartoon shows a lady of opinion being outwitted by a comfortably seated gentleman

The Anti-Semitic Movement, 1881. Punch illustrates how anti-Semitism was rife in both teaching and culture in 1881. From Punch, or the London Charivari, July 30, 1881

Christmas Bills, 1872. A husband and wife take very different views of the benefits of striking. There had been many strikes in London, and throughout England, during 1872

Likes His Moneys Worth, 1872. The discomforts of the night trains are highlighted in this cartoon. Bunks were not provided in second class and passengers had to find their comfort where they might

Education, 1872. The Squire is told why his farmworkers child has been withdrawn from school. Whilst much had been done to promote the value of educating children

Defiant Definition, 1872. This cartoon illustrates a common difference of opinion on what exactly represents enough. From Punch, or the London Charivari, August 17, 1872

The Conscience Clause, 1872. A father bemoans the fact that his son, having attended school for a day, began to pass on the lecture about the evils of drink

Both Sides of the Question, 1871. The tradesman has his pint pot of beer to hand. Beer was the staple tipple of manual labourers

Gratitude, 1871. The vagrant exclaims And they Ain t half Buttered! I could a done as well if I d Gone up the Lane to the Union

Police Tyranny, 1870. The outcasts and the poor are seen lining up outside the police station. They are being subjected to police tyranny of the Victorian era

Nae That Fou!, 1870. Artist: Charles Samuel Keene
Nae That Fou!, 1870. This cartoon illustrates the growing difficulties that the middle-classes were experiencing in finding, and retaining, good servants

Tyranny, 1870. Artist: Charles Samuel Keene
Tyranny, 1870. A group of labourers and criminals are shown discussing initiatives that were designed both to improve the education of the working-classes, and to cut crime

An Open Secret, 1888. The blind man is not an honest beggar, but is instead intent, along with his little dog, on fleecing a philanthropic public. From Punch, or the London Charivari, December 8, 1888

Reprisals, 1888. The top-hatted gentleman has hit upon the perfect revenge for the disturbance he suffers from the neighbours noisy children. From Punch, or the London Charivari, August 16, 1888

Patent First-Class Costume for the Collision Season, 1876. Artist: Charles Samuel Keene
Patent First-Class Costume for the Collision Season, 1876. Travel by train was a risky business in the 1870s and collisions were not uncommon

In Propria Persona, 1875. Artist: Charles Samuel Keene
In Propria Persona, (1875?). Two young medical students debate the merits of vivisection. From Punch, or the London Charivari, September 25, 1875

Tout Vient A Qui Sait Attendre, 1875. Artist: Charles Samuel Keene
Tout Vient A Qui Sait Attendre, 1875. Frightened passengers in the first-class compartment call to the guard, asking why the train has had to come to such a sudden halt

The Question Settled, 1874. Artist: Charles Samuel Keene
The Question Settled, 1874. A Mrs Malaprop-like elderly lady, dressed in frills and lace rather unbecoming to one of her years, is taking a journey by railway

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