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KERRICH, The Rev., amateur. He was born in 1747, and educated at Magdalen College, Cambridge, where he held the office of librarian to the University. He had a talent for art, and in 1776 received the gold medal of the Academy of Painters, at Antwerp. He drew in black and red chalk many of the distinguished members of the University. These works possessed much character, and were highly finished. Many of them were engraved. He also etched a few plates of monuments. He was one of the four residuary Trustees of Nollekens, R.A. He died May 10, 1821.

KERSEBOOM,, portrait and history painter. Was born at Solingen, Germany, in 1632. He studied painting at Amsterdam, and in 1650 went to Paris, and for several years worked under Le Brun. He then went to Rome, where he was maintained for 14 years by the French Chancellor. He came to London to practise as a history painter, but not meeting with encouragement he tried portraiture, with more success; but his colour was black and his drawing weak and loose. He died in London in 1690, and was buried at St. Andrew's, Holborn. There is a portrait by him of Robert Boyle at the Royal Society.

KETEL,, portrait painter. He was born 1548, at Gouda. When about 18 years of age he went to Delft, and studied there and at Fontainebleau, where he worked some time, and then returned to Gouda. In 1573 he came to England, where he married a Dutch woman, and found good employment as a portrait painter. He gained an introduction to Court by an allegorical picture of 'Strength vanquished by Wisdom,' and then painted Sir Christopher Hatton, the portrait now at Ditchley; Lord Pembroke, Lord Arundel, and in 1578, the Queen. He practised in England till 1581, when he went to Amsterdam, settled, and painted several important works. Then he laid aside his brushes, and painted only with his fingers; and Walpole says that, increasing in his folly, he next tried his toes. He died 1602.

KETTLE,, portrait painter. He was born in London about 1740, the son of a coach-painter, from whom he learnt the first rudiments of his art. He studied in the Duke of Richmond's Gallery and the St. Martin's Lane Academy, and for some years practised in London as a portrait painter. In 1762 he repaired Streeter's great ceiling picture in the theatre at Oxford. He was a member of the Incorporated Society of Artists in 1765, and a constant contributor to the Society's Exhibitions. Afterwards he went to the East Indies, where he stayed from 1772 to 1776, and acquired a fortune in the practice of his art. He returned to London about 1777, where he settled and married, and the same year he first appears as an exhibitor of portraits at the Royal Academy. In 1781 he exhibited 'The Mogul of Hindostan reviewing the East India Company's Troops,' with some portraits; and in 1783 exhibited for the last time. He built himself a large house in Bond Street; but, unsuccessful in his art, he became bankrupt. He then left London for Dublin, but did not remain long in that city. He resolved to revisit the East Indies, the scene of his first success; but, taking the overland journey, he died at Aleppo, on his way to Bengal, in 1786. His portraits, though weak in drawing, are agreeable in colour, and the likeness good.

KEYES,, architect. He practised early in the 15th century, and was the joint-architect of All Souls' College, Oxford, and was employed as surveyor and architect by Archbishop Chicheley.

KEYL,, animal painter. Was born September 17, 1823, at Frankfurt am Main, and began his art career in the atelier of Verboekhoven. He arrived in London in May 1845, having come to England expressly to study under Sir Edwin Landseer. He was a great favourite with his master and remained his sole pupil, and was introduced by him to the favourable notice of the Queen and Prince Consort in 1847. He frequented the Zoological Gardens, and made many drawings and studies there. He first exhibited at the Royal Academy in 1847, 'Fidelity,' and for the last time in 1872, 'Waiting' and 'Lambs,'—these two works were exhibited after his death. He painted many pictures of her Majesty's dogs, ponies, and other pets for the Royal Collection. In 1852 be sent four works to the Academy; in 1854, 'Halt on the Road;' in 1858, 'Sheep; ' in 1859, 'Companions:' in 1863, 'Setters' and a 'Hillside Flock.' He was very fastidious about his work, and was of a nervous and irritable disposition, so that