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Vogue. A few months later, in 1913, he paid $ 3,000 for a musty
British social, literary, and political review titled Vanity Fair, named after both the sinful place in John Bunyan's 17th-century allegory The Pilgrim's Progress and William Makepeace Thackeray's 19th-century satirical novel. Crossbreeding his two acquisitions, Nast created Dress and Vanity Fair, a hydra-headed flop. To salvage the situation, Nast sought advice from the most cultivated, elegant, and endearing man in publishing, if not Manhattan, Frank Crowninshield. The upper-crust aesthete—who, earlier the same year, had helped organize the landmark Armory Show, a succés de scandale which introduced Cubism to the American public—offered a remarkably simple solution. "Your magazine should cover the things people talk about," Crowninshield told Mr. Nast. "Parties, the arts, sports, theatre, humor, and so forth." Nast at once anointed Crowninshield editor, and agreeing to ditch the first half of the old title, the publishing tycoon launched Vanity Fair in January 1914."
1315:"The Blitz was the bombing of London between 7 September 1940 and 11 May 1941, although there were of course sporadic attacks until the end of the war. In the old borough of Holborn, 650 buildings (that one seventh) were destroyed, 426 people were killed and 621 were seriously injured. This was the highest rate per capita in the whole of the country. A total of 282 high explosive bombs fell on Holborn and, in 19944 V1 and V2 rockets also fell here. There were no specific targets in the area, but because Holborn is very central, close to Kings Cross and Euston with their rail links to the north, and night bombing was not an exact science, Holborn suffered a great deal of damage. Theobalds Road, Red Lion Square, Red Lion Street and High Holborn suffered the worst of the damage, the worst two raids being on 16 and 17 April 1941 and 10 and 11 May 1941."
469:
434:
Sunday 10 April and quickly spread through the buildings. It is reported that 'the whole of the main building, containing about 40 printing machines and a great quantity of type, had been entirely destroyed'. As a result, the run of Vanity Fair prints temporarily switched to colour offsets produced by P.W. Van De Weyer over in the
Netherlands and the firm moved to a new home in Parker Street just a couple of minutes walk west of Gate Street.
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173:'s farm estate near Uxbridge before returning to London to join his father in business. Around 1840 John Brooks relocated to the Channel Island of Jersey where he continued to trade as a wholesale stationer and paper merchant. Vincent was left with the business in London. At some time during this period he was also associated with Charles Robertson, an artists' colourman based in Long Acre.
250:. He purchased many of Baxter's plates and printed them using Baxter's presses which he had lent him on the understanding that George Baxter Jr. took up the management of them and that George Baxter himself supervised the work. It was a complex process that required up to 20 blocks per image. The process failed to pay its way and Brooks sold the plant four years later to Abraham Le Blond.
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dividends were paid after 1931. From 1932 to 1940 profits were earned in only two years namely, 1937 and 1938. In an effort to raise funds the lease on the premises was sold in 1939 but this did little to bring in new business which had been affected by the start of World War Two. Finally a creditor petitioned the
Companies Court and a Winding-up Order was made on 5 February 1940.
299:
341:, the famous Hungarian patriot and democratic. Kossuth was in exile from his homeland and this attempt at re-establishing a separate Hungarian currency lead to both him and Day & Son to be charged in the courts with having 'levied war upon the Emperor of Austria'. The affair ended with Day & Son delivering the notes to the Bank of England where they were duly burnt.
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330:. The firm was particularly associated with the process. However, as Wyatt himself explained, the proposal was not even formalized until after the Great Exhibition had opened. Such a grandiose production must have called into play a significant proportion of Day's resources, including skilled craftsmen and lithographers such as Francis Bedford, J.A. Vinter and
288:, later Day & Son, has been described as one of the largest and most prominent lithographic firms of the second third of the nineteenth century. Company documents record William Day's business starting in 1823 although the first known lithograph was produced the following year. By 1829 the firm had moved from 59 Great Queen Street to 17 Gate Street.
326:. There are 160 chromolithographed plates. Wyatt himself stated that he had used 'the best means of graphic representation available'. Wyatt proudly drew attention to the previously unsurpassed scale and speed of production of the book. But what brought the entire project into being was the desire of Day & Son to demonstrate the potential of
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week for over half a century, these caricatures were reproduced by the revolutionary new process of chromolithography and included many of the best-known personalities of the late
Victorian and Edwardian periods. This display brings together the original drawings for the first two caricatures to be published in the magazine. The first of these,
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231:. The same year Vincent Brooks produced one of his finest works in the form of a chromo-lithograph of the Lumley Portrait of William Shakespeare. It is even reported that the reproduction was so complete that one was sold for forty guineas to a purchaser who thought he was buying the original portrait.
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High Court of
Justice, 24 June 1940, Chancery Division, Companies Court, Summary of Statement of Affairs in the matter of Vincent Brooks, Day & Son, Limited. "2. The Company was incorporated on 14 May 1898, under the Companies Acts, 1862 to 1893, with a nominal capital of £10,000 in £1 shares and
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National
Portrait Gallery, Disraeli and Gladstone in Vanity Fair, Past Exhibition Archive, Victorian Galleries 8 July – 12 December 2004. "The leading society magazine Vanity Fair was founded in 1868 and introduced a distinctive type of satirical portraiture new to British journalism. Appearing every
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Since becoming a limited company, directorship was conditional on holding at least five hundred shares. Just two years after incorporation it was pointed out to
William Day Junior that he no longer fulfilled this criterion. He refused to leave the board and after the resulting row he left the company
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commissioned a series of lithographs to be issued yearly to their subscribers. An effort described as ‘...the most important non-commercial application of chromolithography' in the country at the time. However, the
Arundel Society complained, maybe unjustly, about the quality or the lack of expertise
464:
Frederick died on 7 August 1921 and the business passed to two of his sons, Wilfred
Vincent Brooks and Frederick Allan Brooks. Two years later the firm celebrated their centenary. Wilfred remarked that 'although there were older firms in existence that were now practising lithography, no other house
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used a number of other (probably cheaper) firms to produce their caricatures. This decision was reversed in 1911 with the arrival of editor Thomas
Allinson who, struggling with the now failing magazine, wished to revert to the process whereby 'the most satisfactory results' had been obtained. Vanity
644:
National Political Union, 1833, Proceedings at the Second Annual Meeting of the National Political Union, held at The Crown and Anchor Tavern, Strand, on Monday, 4 February 1833. At the Office of the National Political Union; Westminster Review-office; and Effingham Wilson, (Packer, Printer, Albion
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Sanders Phillips and Co. Ltd took over the company in the same year. Nine months later the Parker Street premises were destroyed by fire during an air raid, but the company, operating from London offices in Norfolk Street, Strand, son established Government contracts for reproducing maps for Bomber
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Frederick and his older brother Alfred appeared in the bankruptcy courts in 1898 and on 14 May that year the company was incorporated as Vincent Brooks, Day & Son Ltd. During this time the firm's premises in Gate Street were badly damaged by fire. It started around ten o'clock in the evening of
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When these contracts ran out at the end of the war, it was decided to specialise in the reproduction of town and country planning maps. Typical of this work was a new series of land utilisation maps for King's College Geographic Department, which were produced in 11 colours. Later examples include
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During this period Wilfred was 'a valuable member of the Colour Lithography Committee of the London Master Printers' Association and was also a member of the London Central Districts Master Printers' Association.' He was chairman of the Education Committee and member of the Advisory Sub-committee,
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The day, I hope, will come when quality and quantity will come together in happy alliance and the most ordinary commodities will benefit in form as well as in substance. Ugliness is at all times and in all places to be vigorously rejected; it is a coarsening and debasing influence, a clear sign of
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and wedding it to a new kind of visual humour helped to bring about a revolution in taste, preparing the way for the acceptance of less strictly representational art forms and breaching the fortifications of academic realism.' The first issue to carry a cartoon came out in January 1869 featuring a
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Despite their other business worries by 1866 Day & Son Ltd, as well as Gate Street, had premises at 43 Piccadilly and at The German Gallery, New Bond Street. These were show rooms and exhibition spaces for the company's work. They also took on the well-known photographer Vernon Heath to manage
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The firm now started to experience financial difficulties. Many stock auctions were held, the first, of engravings, taking place in 1865. That year Day & Son became a Limited Company. This not only meant that capital could be raised by the sale of shares but also that, in some cases, employees
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The firm was granted the status of 'Lithographers to Queen Victoria and to the Queen Dowager, Queen Adelaide' in 1837 although they were not the only lithographers to be awarded the Royal Warrant. William Day Senior died in 1845 leaving the business in the hands of his son William Day Junior. The
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The Bookseller, 28 Feb 1866, p. 185. "Mr. G Hodgson will sell by Auction, at his rooms, 115, Chancery Lane, W.C., on TUESDAY, 13 and 3 March following days, at 1 o’clock, the whole of the following highly important books, being that portion of the Productions of the eminent firm of Day & Son,
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Hodgson, 1865, A catalogue of the first portion of the valuable stock of choice line engravings, important chromo lithographs, and other productions, of the eminent firm of Day & Son. Lithographers to The Queen: Which will be sold by auction, by Mr. Hodgson, at his new auction rooms, No. 115,
1211:
What happened to Vanity Fair magazine? Vanity Fair: The Early Years, 1914–1936. An on-line article by the current owners of Vanity Fair. "Once upon a time, before the income tax, the Great War, and Prohibition, Mr. Condé Nast bought a magazine called Dress, a potential rival to his four-year-old
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In 1976 Reed International sold off Vincent Brooks, Day & Son to the firms chief draughtsman Sidney Reed. Up until his retirement in the 1990s Sidney Reed continued to run the company on a small-scale basis using outside printers, notably Round Square Ltd, to produce the work he had created.
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Company literature holds 1848 as the year that Vincent Robert Alfred Brooks (1815–1885) first set up in business. His father was the radical printer and stationer John Brooks of 421 Oxford Street. John Brooks has been described as the publisher of the Owenites because of his association with the
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Death Certificate of Frederick Vincent Brooks. General Register Office. England and Wales Civil Registration Indexes. London, England. No. 245, Seventh August 1921, 27 Hornsey Rise Gardens, Male, 72 years, Lithographer, Cause of death:(1)Hodgkiss disease (2)Asthenia, Informant: F A Brooks, Son
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moved to London in November 1864 where he became the protégé of the Prince of Wales and his set. Joining the magazine as an amateur without any professional experience, Pellegrini's caricatures were none the less brilliantly successful. Both these drawings are signed 'Singe', subsequently to be
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The official Receiver concluded his report stating that 'the Receiver for the debenture holder is continuing the business in the hopes of disposing of it as a going concern, but he states that having regard to the specialised and somewhat ancient type of plant he doubts whether the assets will
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Back in Chandos Street the firm had received a Command from the Queen to execute lithographs of Kenneth MacLeay's watercoloured Highlanders of Scotland. These featured the principle clans and the retainers of the Royal Household at Balmoral and are known as the artist's best works. By 1870 the
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Vincent Brooks now consolidated the new combined business in Day & Son's Gate Street premises. A later obituary published in a trade journal praises Vincent Brooks's handling of the situation stating that "the way in which he combined together the two businesses testified to his energy and
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It was later reported that business had been continuing with 'fluctuating results up until 1919 and then had had a general upward trend in turnover. Dividends at the rate of 10% per annum were paid for each of the eight years to 1927. Dividends for the four following years were lower and no
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The 1871 Census records Alfred’s occupation as 'retired Lithographer'. Census Returns of England and Wales & Channel Islands Census, 1871. Kew, Surrey, England. The National Archives of the UK: Public Record Office. Vincent Brooks is listed as 'Lithographer (employing 148 men and 40
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shown on the left, appeared in the issue of 30 January 1869. This landmark work in the history of nineteenth-century graphic satire was recently acquired by the Gallery. The second caricature to be published – also by Pellegrini – was of Disraeli's great political adversary,
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During the 1860s, Vincent Brooks acquired plant and premises of Messrs J.S.Hodgson & Son of High Street Lambeth and he embarked in letterpress and colour block printing. The firm also fought off competition from Day & Son and Messrs Hanhart Bros in reproducing one of
526:
Sanders Phillips and Co became a part of the International Publishing Corporation (IPC) in 1963 operating as a subsidiary of the parent company. The IPC were in turn acquired by the Reed Group in 1969 who created Reed International plc to control its UK subsidiaries.
488:. Artists were directly commissioned and it was believed that the influence of good design could extend to enrich every aspect of life. This was a common theme during the thirties. Wilfred Vincent Brooks served as chairman of the Commercial Printing Section of the
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Staying in the Covent Garden area of London, two years later, during 1859, Vincent Brooks moved to larger premises in Chandos Street. The street is now renamed Chandos Place. Work from this era is marked either as Vincent Brooks Lith. or Vincent Brooks imp.
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Hodgson, 1873, A catalogue of fine illustrated books chiefly the productions of "Day & Son, Limited": Which will be sold by auction, by Messrs. Hodgson, at their auction rooms, No. 115, Chancery Lane, W.C. (Fleet Street End,) on Tuesday, 18 November
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The 1841 Census shows Vincent Brooks living at 421 Oxford Street while John Brooks and family are now in Jersey. Census Returns of England and Wales & Channel Islands Census, 1841. Kew, Surrey, England. The National Archives of the UK: Public Record
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who was to eventually take over after his father's death. Vincent's eldest son Alfred William Brooks had preceded his younger brother into the firm but 'never had very robust health' and by 1901 had left the business. Later that year the firm purchased
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deterioration in a nations life. Since the products of industry are so widespread amongst the people, there influence for a good or evil condition of taste is immense. Hence the conquest of ugliness is of even greater moment in industry than elsewhere.
914:
Leathlean, Howard. The Archaeology of the Art Director? Some Examples of Art Direction in Mid-Nineteenth-Century British Publishing. Journal of Design History, Vol. 6, No. 4 (1993), pp. 229–245. Oxford University Press on behalf of Design History
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The 1850s started with a prize medal at the Great Exhibition for their display of lithography. In the mid fifties the premises in Gate Street were enlarged and the Prince of Wales and Prince Alfred visited (probably the completed works) in 1856.
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had been established as lithographic printers for so long a period as theirs.' During the evening's celebration it was also announced that a former apprentice Thomas Edgar Griffits had been co-opted onto the firm's board of directors.
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The 1901 Census records Alfred’s occupation as 'retired Lithographer'. Census Returns of England and Wales & Channel Islands Census, 1901. Kew, Surrey, England. The National Archives of the UK: Public Record
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was formed to acquire and take over as a going concern the business carried on at 48, Parker Street under the style of Vincent Brooks, Day & Son and to carry on the business of printers, lithographers, etc."
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Ten years after this Sidney Reed's son Barry revived the company name and, although not currently trading, is keeping alive the name of the company that his father dedicated virtually his whole working life to.
1134:
Boase, Frederic, 1965, Modern English Biography: Containing Many Thousand Concise Memoirs of persons who have died between the years 1851–1900, with an index of the most interesting matter, Frank Cass,
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could be paid partly in shares in lieu of real wages. Another auction, this time of illustrated books, was held in 1866. Hodgson & Co. would continue to sell off Day & Son assets up until 1873.
1038:
Weil, Thomas E., 2005, Beauty and the Boats: Art and Artistry in Early British Rowing, Illustrated from the Thomas E. Weil Collection, pp. 46–47, River and Rowing Museum, Henley-on-Thames, England.
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Brooks, Wilfred Vincent, 1935, Speech made to the Lincoln branch of the National Council of Women at the Great Northern Hotel, Lincoln, Monday 29th 1935. From the Brooks Family Collection.
276:, the Printseller of Pall Mall, Vincent Brooks bought their property, name, and goodwill in an agreement dated 25 March 1867. The firm now became known as Vincent Brooks, Day & Son.
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with the London County Council School of Photo-Engraving and Lithography in Bolt Street, Fleet Street, and was an inspector of the London printing schools for the Board of Education.
243:. The company's winning entry was reproduced by one of their leading chromo-lithographic artists, William B. Bunney, and the firm's success led to many years of work from Punch.
1239:
Pennell, Elizabeth Robins, 1929, The Life and Letters of Joseph Pennell, Vol.2, p. 77, Little, Brown & Company, USA. The source puts the firms involvement around early 1909.
1406:
1294:
British & Colonial Printer & Stationer Volume 100, Number 2. 13 January 1927, Page 22. 'Who’s Who in the Printing & Allied Trades; A Prominent London Lithographer'.
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334:, as well as significant capital, and management. According to Wyatt, four or five of Day's staff were constantly engaged upon the business details of the operation alone.
902:, 1965, vol. 1, p. 55. That the premises were enlarged around this time is indicated in the 'Abridged Prospectus' quoted below on p. 280. As cited by K.K. Tidman Op. cit.
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199:. He was entrusted with the Princess Royal's Dying Soldier on the Battlefield, which was reproduced and sold in aid of the Patriotic fund. The following year the
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531:
Round Square Ltd took ownership of Vincent Brooks, Day & Son after Sidney Reed's retirement but went into liquidation themselves some time prior to 1999.
472:
The directors of Vincent Brooks, Day & Son Ltd in the late 1920s. Right to left; Frederick Allan Brooks, Wilfred Vincent Brooks and Thomas Edgar Griffits.
884:
Korey, M.E. & McLean, Ruari, 1995. Elegant Editions: Aspects of Victorian Book Design and Colour Printing, University of Toronto, Massey College, Canada.
1357:
601:
Reiman , Donald H. & Fraistat , Neil, 2004, The Complete poetry of Percy Bysshe Shelley, Vol. 2, 2nd edition, Johns Hopkins University Press, Maryland.
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137:
magazine. The company was formed in 1867 when Vincent Brooks bought the name, good will and some of the property of Day & Son Ltd, which had gone into
1416:
1391:
866:"Spotlight on Vincent Brooks, Day and Son", 'INTO PRINT' (house journal of Sanders Philips Corporation), n.d. pp. 2–3. As cited by K.K. Tidman, Op. cit.
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originals had appeared at an exhibition at Mitchell's Royal Library in Old Bond Street with the lithographs being sold in two volumes later that year.
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273:
133:
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realise sufficient to discharge the debenture liability, particularly bearing in mind the somewhat heavy claims of the preferential creditors.'
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622:
1029:
Appelbaum, Stanley & Kelly, Richard, 1981, Great Drawings and Illustrations from Punch 1841–1901, pp.x-xi. Dover Publications, New York.
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By the 1870s the firm was employing over one hundred and forty men and forty boys and in 1885 acquired the remaining part of Leighton bros.
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of the men of the day lithographed by Vincent Brooks. At a time when Punch magazine was still primarily using wood blocks this 'process of
1345:
My Life’s Medley, The autobiography of Frederick Vincent Brooks, and articles regarding the firm and events mentioned in the autobiography
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1421:
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The Bookseller, 31 Oct 1851, p. 704. Advert gives company addresses as 6 Gate Street and the 'German Gallery, 168, New Bond Street, W."
254:
262:’ remarkable Aniline process of direct photography, which reproduced engineering 'blue prints' keeping the original positive image.
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in depicting religious subjects. The prints were also hampered by delays and by 1860 production had been switched to a German firm.
519:
Command, plans for M.I.8, and, after 'D' Day, 'communication maps' which were collected by the R.A.F. and flown direct to France.
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747:
Lewis, C. T. C., 1908, George Baxter (colour printer) his Life and Work: A Manual For Collectors, Sampson Low, Marston, London.
443:
272:
Vincent Brooks had started negotiating to take over the business of Day & Son Ltd during 1866. Financially assisted by the
678:
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From the early thirties the company was often referred to as Day & Haghe. This was due to the popularity of the work of
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It is not certain at what point Vincent Brooks first practised lithography. A number of his early pieces were shown at the
266:
220:
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British & Colonial Printer & Stationer, 13 January 1927, Volume 100, Number 2., Page 22. Who’s Who: WV Brooks.
667:
British & Colonial Printer & Stationer and Booksellers' Circular. Vol. XV, No. 17. Thursday, 22 October 1885.
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experience, and the way in which they formed a harmonious whole, were a record of his remarkable tact and kindness."
1125:
Charles Thomas Courtney Lewis, 1928, The Story of Picture Printing in England During the Nineteenth Century, p. 87.
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a Belgian draughtsman and water colourist who worked for the company until 1852 when he left to focus on painting.
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Brooks, Frederick Vincent, 1907, Draft for Encyclopædia Britannica entry on Lithography. Brooks Family Collection.
492:'s exhibition 'British Art in Industry' held during 1935. He expressed his own sentiments in a speech soon after,
213:, left their Red Lion Square premises in 1857. Vincent Brooks is reported to have taken over the remaining plant.
259:
236:
933:
Colebrook, F., "A Fine Old Lithographer", 'Modern Lithographer', 1906, p. 537. As cited by K.K. Tidman Op. cit.
843:
Twyman, Michael, 1976, A Directory of London Lithographic Printer, 1800–1850. As cited by K.K. Tidman, Op. cit.
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834:
Tidman, Kathy Kajander, 1997, Art for the Victorian Household, p. 13, Online Originals, London & Bordeaux.
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247:
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27:
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Kathy Kajander Tidman, 1997, Art for the Victorian Household. Available to download from Online Originals
1312:
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Lewis, C.T.C., 1920, The Le Blond Book, p. 108, Sampson Low, Marston & Company, London and Edinburgh.
924:
M. Digby Wyatt, Industrial Arts of the Nineteenth Century, 2 vols., Day & Son, 1851-3, vol. 1, p. v.
1303:
World Press News, Vol. 4, No. 81. 18 September 1930, Page 47. 'Printer’s Who’s Who, W. Vincent Brooks'.
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Vanity Fair, 18 September 1912, p. 364, from the text accompanying Frederick Vincent Brooks's cartoon.
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Medwin, Thomas, 1847, The Life of Percy Bysshe Shelley, Vol. 1, p. 102, Thomas Cautley Newby, London.
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During the twenties and thirties the art of the poster reached its pinnacle. Under the guidance of
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Employees of Vincent Brooks, Day & Son prepare to depart from Parker Street on a works outing.
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269:, held during 1867, Vincent Brooks won a gold medal for 'the excellence of their reproductions'.
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that year. The firm reproduced artwork and illustrations and went on to print many of the iconic
898:, 1856, p. 488. This wood-engraving has been reproduced in M. Twyman’s "The Tinted Lithograph",
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Brooks, Frederick Vincent, undated, My Life’s Medley – an autobiography. Chapter 1, unpublished.
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Lewis, C.T.C., 1924, George Baxter, The Picture Printer, p. 195. Sampson Low, Marston & Co.
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786:"Further reading on Willis and this process can be found at platinummetalsreview.com, p. 183"
180:. The following year the business moved from Oxford Street to 40 King Street, Covent Garden.
322:, an imposing imperial folio in two volumes which illustrates a selection of items from the
302:
Taken from the 1923 Centenary Programme; an illustration showing the firm's past management.
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403:
Vincent Brooks...was a pioneering lithographer on whose expertise Bowles built Vanity Fair.
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1144:
Wakeman and Bridson, 'Guide to Colour Printers', p. 18. As cited by K.K. Tidman, Op. cit.
1363:— Frederick Vincent Brooks's entry on Lithography for the 1911 Encyclopædia Britannica]
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68:
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The London Gazette, 11 February 1898, First meetings and public examinations listings.
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338:
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The British & Colonial Printer and Stationer, Vol. 93, no. 25, 20 December 1923.
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The Baxter Society, 1921, Quarterly Journal, Vol. 1, Hall & English, Birmingham.
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The start of the century also saw Frederick Vincent Brooks write an article for the
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Lithographers to the Queen, not purchased by the Company "Day & Son (Limited),"
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Document from the company’s 1923 Centenary Celebration. Brooks Family Collection.
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The Leighton Brothers, who would go on to produce the pictures featured in the
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429:
Taken from the 1923 Centenary Programme; a diagram showing the firm's history.
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In 1865 Vincent Brooks became involved with the 'inventor' of colour printing
1061:. The original drawing for this has been part of the Gallery's collection of
442:
Fair magazine finally ceased publication in 1914. Its forty-five-year run of
725:
183:
1008:
Eyre-Todd, 'William Simpson', pp. 175–76. As cited by K.K. Tidman, Op. cit.
368:
131:
firm most widely known for reproducing the weekly caricatures published in
1327:
1193:
Matthews and Mellini, 'In Vanity Fair', p. 204, 1982, London, Scolar Press
701:
Denvir, B., "The Loaded Image," Art & Artists (Sept. 1976), pp. 36–37.
166:, and was a member of the second council of the National Political Union.
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1221:
Matthews and Mellini, 'In Vanity Fair', p. 36, 1982, London, Scolar Press
418:
Counting House, Drury Lane. He was succeeded in the business by his son
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watercolours since 1923 and is shown alongside. Born in Capua in 1839,
223:
of 1862 saw Vincent Brooks awarded a gold medal for his Lithograph of
961:
Eyre-Todd, 'William Simpson', p. 176. As cited by K.K Tidman Op. cit.
910:
908:
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The firm now faced liquidation and was taken over by Vincent Brooks.
64:
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1866 saw Vincent Brooks joined in business by his second eldest son
145:
posters of the twenties and thirties before being wound up in 1940.
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999:'The Art Journal', 1866, p. 62. As cited by K.K. Tidman, Op. cit.
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magazine. His new brand of society weekly was to carry satirical
523:
motorways and transport maps for the Greater London Council.
353:
and for a short time started business in Cockspur Street.
318:, known for his work as an architect, to produce the book
1361:. Vol. 16 (11th ed.). 1911. pp. 785–789.
729:, 11 August 1921, Obituary of Frederick Vincent Brooks.
337:
In 1861 the firm printed a large run of bank notes for
239:'s cartoons of Jorrocks in a competition organised by
822:
The Baxter Society, 1923, Quarterly Journal, Vol. 3.
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present at death 27 Hornsey Rise Gardens Islington.
169:After leaving school, Vincent Brooks spent time on
108:
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82:
74:
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33:
23:
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875:Day, William Jr., 1891, Notes and Queries, p. 452
494:
480:, the London Underground embraced the likes of
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195:during 1855 in what was destined to become the
1202:Vanity Fair, Article by Jehr Junior, Aug 1911.
952:Baxter Society, 1923, Quarterly Journal, Vol.3
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320:The Industrial Arts of the Nineteenth Century
8:
414:On 29 September 1885 Vincent Brooks died in
18:
1407:Publishing companies disestablished in 1940
1081:"Artworks - National Galleries of Scotland"
553:
551:
549:
547:
314:In 1851, Day & Son was commissioned by
307:company now became known as Day & Son.
1387:Vanity Fair (British magazine) caricatures
900:Journal of the Printing Historical Society
191:Vincent conducted lithographic classes at
17:
1313:A Walk In History, The blitz. Online blog
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738:Ingleby, C.M., 1883, Shakespeare’s Bones.
1402:Publishing companies established in 1867
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1437:Design companies disestablished in 1940
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457:and become the official printer of the
446:ended as Allinson absorbed it into his
399:. Later the magazine would claim that,
1181:The Times, Monday 11 April 1898, pg.4.
663:
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1397:British companies established in 1867
7:
1442:Design companies established in 1867
1382:Publishing companies based in London
1016:
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14:
1417:1940 disestablishments in England
1392:Defunct companies based in London
221:London's International Exhibition
1326:
1099:"Focus on the John Hay Library"
679:"The Brooks' Journey to Jersey"
611:Cameron, Kenneth Neill (1970).
376:A year after the merger, 1868,
1412:1867 establishments in England
645:Place, Walworth Road), London.
1:
1432:1940 mergers and acquisitions
1333:Vincent Brooks, Day & Son
360:Vincent Brooks, Day & Son
349:the photographic department.
158:. He published an edition of
125:Vincent Brooks, Day & Son
19:Vincent Brooks, Day & Son
617:. Harvard University Press.
455:1911 Encyclopædia Britannica
1458:
1427:20th-century lithographers
1422:19th-century lithographers
1085:www.nationalgalleries.org
229:Choosing the Wedding Gown
514:Sanders Phillips and Co.
420:Frederick Vincent Brooks
324:Great Exhibition of 1851
255:Frederick Vincent Brooks
178:Great Exhibition of 1851
1358:Encyclopædia Britannica
895:Illustrated London News
486:Edward McKnight Kauffer
380:began planning his new
210:Illustrated London News
943:Chancery Lane, London.
854:"Who was Louis Haghe?"
499:
473:
430:
405:
373:
303:
267:Exposition Universelle
188:
1377:English lithographers
1335:at Wikimedia Commons
1273:www.ltmcollection.org
1070:anglicised to 'Ape'."
677:Simon (1 July 2009).
614:Shelly and His Circle
471:
428:
371:
301:
186:
490:Royal Academy of Art
416:Spalding & Hodge
197:Royal College of Art
160:Percy Bysshe Shelley
127:was a major British
1352:"Lithography"
316:Matthew Digby Wyatt
20:
715:, 1874, pp. 39–40.
474:
437:From January 1906
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304:
189:
171:John Minter Morgan
143:London Underground
1331:Media related to
1054:Benjamin Disraeli
624:978-0-674-80611-5
397:Benjamin Disraeli
392:chromolithography
328:chromolithography
193:Marlborough House
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129:lithographic
124:
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109:Headquarters
24:Company type
15:
1063:Vanity Fair
444:caricatures
439:Vanity Fair
388:caricatures
383:Vanity Fair
293:Louis Haghe
286:William Day
265:At Paris's
156:Robert Owen
139:liquidation
134:Vanity Fair
46:Lithography
1371:Categories
630:11 January
539:References
478:Frank Pick
450:magazine.
237:John Leech
726:The Times
164:Queen Mab
104:/acquired
915:Society.
225:Mulready
102:Wound up
37:Printing
34:Industry
1135:London.
1116:boys)’.
775:Office.
692:Office.
117:England
88: (
83:Defunct
75:Founder
57: (
52:Founded
28:Private
621:
113:London
65:London
981:1873.
789:(PDF)
42:Genre
632:2021
619:ISBN
484:and
98:Fate
90:1940
86:1940
59:1867
55:1867
1052:'s
227:'s
162:'s
1373::
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1186:^
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115:,
67:,
63:,
1275:.
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791:.
681:.
634:.
92:)
61:)
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