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718:'s joint venture reissued the book, but this time with eight full-page colour illustrations, including the frontispiece, by Charles Brock. The costs of colour illustration had decreased significantly since the 1887 edition, and colour was now the norm for books for younger children. This was good news for an artist as versatile as Brock, as it increased the options for selling his work. The following illustrations show the story in outline.
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and black cap of the huntsman in the title; possibly this is exaggerated, but it is a good sort of exaggeration. In the other drawing, " The Supper
Superstition", the story is extremely well told with movement and go. There are several other drawings in the book quite as good; enough of them to prove that Mr. Brock has something to say for himself, besides showing how well he has studied other people.
215:, which was repainted due to the position of the caddy and bystander as the commissioner of the painting wanted to bring himself, the putter, more into the forefront of the painting. The initial unsigned painting is considered to be the more impressive of the two versions, and is even used as the print for postcards and posters sold in many golf museums.
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Mr. Brock has come out with "Hood's
Humorous Poems". His drawing can scarce be called original, — there are many reminiscences in it, — but his humour, dramatic action, and his arrangement are quite his own. H is sense of illustration is good, and is well shown in the concentration on the black horse
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This portfolio contained a biography of Brock, an illustration of him in his studio and an explanation of his method of working accompanied by a plate of his work and five other plates showing its production. Brock's pen and ink illustration shows a disgruntled older gentleman escorting a young lady
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The approach of C.E. Brock's work varied with the sort of story he was illustrating. Some was refined and described as "sensitive to the delicate, teacup-and-saucer primness and feminine outlook of the early
Victorian novelists," while other work was "appreciative of the healthy, boisterous,
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Brock published 109 illustrations in Punch between 6 February 1901 and 30 March 1910. He output in Punch tapered off after 1905 and he did not publish any more work in Punch after 1910. Brock continued to work on book illustration and on portraits. Some of the portraits by Brock in national
361:(1938) being one of the last books he illustrated. Books he was working on at the time of his death were completed by other illustrators. Brock was one of the twenty leading illustrators selected by Percy Bradshaw for a portfolio in his 1917/1918
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for
Service & Paton in 1897. The new edition had 16 full page illustrations. New illustrations were one of the ways in which publishers tried to sell titles were had already had a number of editions. The illustrations are by courtesy of
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The confusion was so great that they even found themselves paying each other's bills. They solved by agreeing that
Charles Edmund of Cambridge would stop using Edmund and that Charles Edmond of London would stop using Charles. In Graves'
189:, but he was also a skilled colourist. As a painter he received plaudits for his realism and vibrancy he created in his work. Only a small quantity of his paintings have been located which is why their prices have been so high.
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The name of the sculptor to which the commission for a bust of Queen
Victoria is entrusted is Mr. Thomas Brock, R.A., and not, of course, Mr. C. E, Brock, stated by a mistake which crept into our report of the meeting last
710:. The book tells the story of a small boy who befriends a very ugly and socially-despised man, who saves him in the end. The story was apparently popular as it was reprinted numerous times, most recently in 2010. In 1909,
120:(1882–1952) of London, a portrait painter who painted members of the Royal Family and the aristocracy, and was the son of English Sculptor Thomas Brock RA (1 March 1847 – 22 August 1922).
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the whole book is available on-line. The illustrations for
Ivanhoe would have benefited from the props that the Brock's kept in their studio to serve as examples for arms, clothing, and so on.
211:– all of which were painted in 1894 as part of the same series.These paintings were acquired together by a Japanese collector in 1991 for $ 1.5 million. The most valuable of these is
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called these illustrations sketches as they were accompanied by dialogue. Punch reserved the name cartoons for illustrations without any accompanying text, or only with a title.
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thoroughly
English characters" – soldiers, rustics, and "horsey types." Other illustrations were grotesqueries drawn to amuse children looking at or reading storybooks.
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was the pseudonym of Mary St Leger
Kingsley (4 June 1852 – 27 October 1931), a Victorian novelist. Although most of here output was for adults, she did produce some
50:'The Old Chevalier House, Fore Street, Exeter' by Charles Edmund Brock, about 1920–1930. This pencil and watercolour on paper depicts The Old Chevalier House Inn in
185:. He used the Cambridge college libraries for his "picture research." In illustration Brock is best known for his line work, initially working in the tradition of
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Brock and his brothers maintained a
Cambridge studio filled with various curios, antiques, furniture, and a costume collection. They owned a large collection of
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To confuse things even more, the London Brock was registered at Charles Edmund at birth, but opted to use Edmond rather than Edmund as this second name.
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costume prints and fashion plates, and had clothes specially made as examples for certain costumes. Using these, family members modeled for each other.
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Brock received his first book commission at the age of 20 in 1890. He became very successful, and illustrated books for authors such as
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This was not the only confusion. One report of a Cambridge Council meeting attributed the Victoria Memorial to C. E. Brock.
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The Royal Academy of Arts: A completed Dictionary of Contributors and their work from its foundation in 1769 to 1904
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Annual Almanac (that is, they appear only in the bound set of a year's editions rather than in the weekly editions).
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Pen Drawing and Pen Draughtsmen: Their work and there methods: A study of the art to-day with technical suggestions
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he lists the Cambridge Brock as Charles E. Brock - Painter, and the London Brock as C. Edmond Brock - Painter.
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Catalogue shows that the 8º size book had 168-page in the 1887 edition and 175 in the 1909 edition.
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Unequivocally the most famous and valuable paintings in Brock's career were his golf paintings –
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collections date from the 1920. He continued to illustrate books right up until his death, with
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Brock was an occasional exhibitor at various venues. He died on 28 February 1938 in Cambridge.
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The following examples show what a complete set of illustrations for a single book look like.
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with nine full page illustrations including the frontispiece, and several smaller ones, by
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made the following assessment of Brock at the very start of his career as an illustrator:
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Illustrations By C. E. Brock for The Heroes of Asgard by Annie and Eliza Keary, 1930.
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1120:. Vol. III: Eadie to Harraden. London: George Bell and Sons. p. 389.
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There were none in 1908 or 1909, and the 1910 sketch was actually dated 1909.
65:(5 February 1870 – 28 February 1938) was a widely published English painter,
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The Dictionary of British Book Illustrators and Caricaturists, 1800–1914
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Illustrations for The Heroes of Asgard, by Annie and Eliza Keary, 1930.
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C. E. Brock's illustrations from the British Library Flickr account
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One of these was an illustration for a poem in the Annual Almanac.
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167:. Brock also contributed pieces to several magazines such as
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This was one of the school stories for girls written under
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The Brocks: a family of Cambridge artists and illustrators
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The Brocks: a family of Cambridge artists and illustrators
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Little Peter: A Christmas Morality for Children of any Age
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The Connoisseur: An Illustrated Magazine for Collectors
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of Cambridge was sometimes confused with the unrelated
1210:. London: Charles Skinton Ltd. 1975. pp. 141–152.
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Keegan Paul & Co has long ago been subsumed into
97:. He studied art briefly under sculptor Henry Wiles.
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UNCG American Publishers' Trade Binding: C.E. Brock
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The Art of the Illustrator: CE Brock & His Work
1288:. Woodbridge: Antique Collectors' Club. p. 76.
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1159:. Suffolk: Antique Collectors' Club Ltd. pp.
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69:and book illustrator, who signed most of his work
1116:Graves, Algernon (1905). "Hardy, Paul: Painter".
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1184:Golfiana, Magazine (1991). "Golfiana Magazine".
1105:. London: Charles Skinton Ltd. 1975. p. 29.
1049:1939 Register; Reference: RG 101/466A E.D. ARNQ
1035:The Golden Age of Children's Book Illustration
1264:Illustration Art Gallery with The Book Palace
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1051:. Kew: National Archives. 29 September 1939.
960:Royal Institute of Painters in Water Colours
946:Brock exhibited as follows: one work at the
1286:The Dictionary of British Artists 1880-1940
1430:MyNDIR (My Norse Digital Image Repository)
1284:Johnson, J.; Greutzner, A. (8 June 1905).
259:Illustrations by Brock in Punch (by year)
1373:by Brock, and a link to a site about Venn
1087:"The Kind and Queen Visit the Academy".
927:female pseudonym, Florence Gunby Hadath.
422:Pen Drawing and Pen Draughtmanship . . .
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1346:. London: Macmillan. 1894. p. 344.
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89:Brock was born on 5 February 1870 in
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948:Glasgow Institute of the Fine Arts
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1466:20th-century British illustrators
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952:Walker Art Gallery, Liverpool
702:published Malet's short book
56:Royal Albert Memorial Museum
1461:Illustrators of fairy tales
1133:Cambridge Independent Press
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1342:"Pen Drawing in England".
364:The Art of the Illustrator
222:The Drive 1894 Collection
126:Dictionary of Contributors
27:British artist (1870–1938)
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1223:"The Connisseur Bookself"
857:Two of these were in the
359:Pamela: A Story for Girls
58:'s collection (58/1999/2)
937:past admiring young men.
1206:"The Brocks in Punch".
1033:Dalby, Richard (1991),
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73:. He was the eldest of
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18:Charles Edmund Brock
1471:Artists from London
1424:Library of Congress
1324:Bradshaw, Percy V,
1304:Find a Will Service
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993:The British Library
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79:Henry Matthew Brock
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1381:Project Gutenberg
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712:Henry Frowde
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690:
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355:Gunby Hadath
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187:Hugh Thomson
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77:, including
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61:
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29:
1451:1938 deaths
1446:1870 births
1420:C. E. Brock
692:Lucas Malet
194:Regency era
157:Jane Austen
71:C. E. Brock
67:line artist
1440:Categories
1390:Faded Page
1170:0902028731
1020:References
1006:Paul Hardy
708:Paul Hardy
666:Contrition
416:Assessment
224:Villa Haas
205:The Drive;
201:The Bunker
176:The Strand
170:The Quiver
85:Early life
1371:John Venn
1269:22 August
1240:12 August
981:Routledge
698:In 1887,
624:Arrogance
596:Hard blow
498:Challenge
95:Cambridge
54:from the
1392:(Canada)
925:Hadath's
638:Pleading
610:Rope-led
470:Whipping
213:The Putt
209:The Putt
182:Pearsons
1398:at the
1161:195–196
1072:13 June
815:Seventh
582:Curious
568:Haughty
554:Torture
450:Ivanhoe
296:Number
128:to the
1309:6 June
1167:
773:Fourth
745:Second
652:Signal
540:Seized
484:Palmer
328:Notes
291:Total
254:sketch
240:sketch
179:, and
163:, and
52:Exeter
42:, 1909
911:Punch
860:Punch
836:Notes
829:Eight
801:Sixth
787:Fifth
759:Third
731:First
680:Yield
374:Style
251:Punch
237:Punch
138:week.
1311:2020
1271:2020
1242:2020
1192:(4).
1165:ISBN
1074:2020
714:and
526:Harp
323:108
288:1910
285:1907
282:1906
279:1905
276:1904
273:1903
270:1902
267:1901
264:Year
226:Sinn
207:and
143:Work
39:Emma
1422:at
1388:at
1379:at
1369:of
448:'s
357:'s
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117:RI
108:RI
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314:4
20:)
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