Kelly rowland dating history
(Courtesy of Peter Greenhill) Photo Sun Engraving's Black-and-White Photographic Studio (Watford), c.1930.
The cameras in this studio were galley-mounted, so that they could easily be rolled back and forth as required. (From the Sun archives) Photo Sun Engraving's Composing Department, c.1930.
(Photo supplied by Eileen Chapman) Photo Illustration, no. The basis is photogravure, with specially engraved colour plates printed over.' This is Illustration's New Year's issue, celebrating the dawn of 'a new era in printing – the Era of Colour.' (Greenhill archives) Photo Illustration, no. While a copy of the brochure has yet to come to light, some tantalizing details and photos from it were reprinted in the December 1962 issue of Sun News.
Here we see women doing hand-folding in the Warehouse. (Photo supplied by Derek Hutton) Photo Rembrandt staff, late 1920s (#1). This photo of the attractive, wood-panelled reception area and office appeared in the Sun Type Book.
The firm's founders worked alongside their employees in those early days and are thought to be in this picture - J. (Archie) Hughes (back row, far right) and Edward Hunter, in winged collar and fur-trimmed jacket (second row, far right).
It is an early photo of Whippendell Road as seen from the Hagden Lane junction, with the Jones/Menpes factory on the left.(Courtesy of Alan Hodge) Photo Sun Engraving's victorious football club, 1921-22. Photographed after winning the Printers' Cup for 1921-22 were, back row: Frank Kirby, William Brunt, T. Behind Mr Bell, in cap and overalls, is Mr Waterman, who moved to the Sun as a chargehand, working on the letterpress machine that printed the insides of catalogues for which photogravure covers were fed in. (From the Sun archives) Photo A Sun Engraving advertisement.Created by calligrapher Edward Johnston, who had also handlettered the title for Illustration, Sun Engraving's quarterly magazine, this advertisement appeared in The Times on October 29, 1929.He had been working for the company as a 'boy' since April 8 of that year. In the same row, fifth from left (dark hair, clean-shaven, no glasses), is Mr Wilson, who later moved to Sun Printers to take charge of the Proofing Room. The rest of the employees of Rembrandt Intaglio Printing Co. Gladys Rendell, back row, left, is the only employee in this image who has been identified so far. Heavy wood furniture, candlestick telephones, an Underwood typewriter, and, on the desk behind, an Oliver Visible Typewriter - a downstroke machine that was hugely popular in offices in the early years of the 20th century (it was excellent for stencil cutting and could produce up to twenty carbon copies at a time). We don't know for certain that this handsome, well-appointed office was Edward Hunter's, but chances are that it was; it is clearly that of a senior executive. Note the two candlestick telephones behind the desk, one of them on an extendable mount. There is no name on the small office with its elegant desks, brass flower pots, and framed photo of an Alsatian dog (an image used in the 1929 Sun Compendium to demonstrate the effects of different halftone screens), but L.Leslie will stay with the Sun as an etcher and overseer until his retirement 49 years later. In the front row, far right, in suit and glasses, is George Bell, a director (who chose not to move to Watford when Rembrandt did). In the upper right corner atop the panelling are four bells, two for each telephone. Another intriguing glimpse inside the firm: studded leather chairs, a roll-top desk, an Underwood typewriter, candlestick telephones. [Len] Cotton's name appears on one of the lockers just outside the office door.
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The current was maintained throughout the deposition, which, over a period of several days, built up on the cylinder a copper coating one-eighth inch in thickness.