Relevant bibliographies by topics / Barbers' Company (London : England)

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Academic literature on the topic 'Barbers' Company (London : England)'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 August 2024

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Journal articles on the topic "Barbers' Company (London : England)"

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Hampson, Louise, and John Jenkins. "A Barber-Surgeon’s Instrument Case: Seeing the Iconography of Thomas Becket through a Netherlandish Lens." Arts 10, no. 3 (July 26, 2021): 49. http://dx.doi.org/10.3390/arts10030049.

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The triple anniversary in 2020 of Thomas Becket’s birth, death and translation has been an occasion to review and revisit many of the artefacts associated with the saint and his cult in England and across Europe. Many of these are items directly associated with his veneration in churches or in private devotions, but one object which served in neither capacity is an instrument case currently in the collection of the Worshipful Company of Barbers in London. This unusual object has been studied for its fine silver work, and possible royal associations, but little academic attention has so far been paid to the some of the iconography, particularly that of the scene of the murder of Thomas Becket depicted on the back of the box, the side to be worn against the body. In this article, we show how seemingly unusual elements in the iconography draw on particularly Flemish representations of Becket’s murder that, to date, have received little attention in Anglophone scholarship. From this, we discuss this scene and its significance in understanding the role the iconography may have been intended to serve, and the interplay between the decorative schema and what the surgeon thought about his own role with regard to the use of the case and its tools.
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Bothwell, James. "Edward III and the Triumph of England: The Battle of Crécy and the Company of the Garter. Richard W. Barber. London: Allen Lane, 2013. xxi + 650 pp. + 8 color pls. £30." Renaissance Quarterly 68, no. 1 (2015): 293–94. http://dx.doi.org/10.1086/681356.

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Morgan, Philip. "Edward III and the Triumph of England. The Battle of Crécy and the Company of the Garter. By Richard Barber. 230mm. Pp xxi + 650, many figs and maps, 27 col ills. Allen Lane, London, 2013. isbn9780713998382. £30 (hbk)." Antiquaries Journal 94 (September 2014): 391–93. http://dx.doi.org/10.1017/s0003581514000626.

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Adams, Aileen K., and B. Hofestädt. "Georg Händel (1622–97): The Barber-Surgeon Father of George Frideric Handel (1685–1759)." Journal of Medical Biography 13, no. 3 (August 2005): 142–49. http://dx.doi.org/10.1177/096777200501300308.

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George Frideric Handel was born in Halle (Saale) in Germany. After initial musical education in Germany and Italy, he came to London as a young man and spent the rest of his life in England. Until recently, little has been written of his early life in either the English or the German literature, and it is not widely known that he was the son of Georg Händel, a barber-surgeon of repute. When his father's name is mentioned, it is usually to claim that he actively discouraged his son's musical education. Georg Händel lived in a turbulent time; he became an eminent surgeon who served as valet and barber to the Courts of Saxony and Brandenburg, as well as a distinguished citizen of Halle. In describing his surgical duties, we show how these differed from those of barbers in England and France at that time. Barbers in Germany were less controlled, freer to practise as they pleased, and Händel himself had important duties in public health and forensic medicine. George Frideric was the first son of the second marriage, born when his father was 63 years of age. We aim also to dispel the notion that Händel's influence on his son's career was as obstructive as has been claimed, but rather that he was a responsible father with his children's interests at heart. This is shown in the success achieved by all his children, most of whom followed their father into medicine, while George Frideric became the most famous of them all, being regarded by posterity as one of the greatest composers.
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Quarmby, Kevin. "Lazarus Theatre's All-Female Henry V at The Union Theatre, London." Scene: Reviews of Early Modern Drama, no. 1 (October 13, 2018): 25. http://dx.doi.org/10.18357/scene01201718440.

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Wagner, Joseph. "The Scottish East India Company of 1617: Patronage, Commercial Rivalry, and the Union of the Crowns." Journal of British Studies 59, no. 3 (July 2020): 582–607. http://dx.doi.org/10.1017/jbr.2020.38.

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AbstractThe history of the Scottish East India Company of 1617 is a history of partnerships and rivalries within and between Scotland and England. The company was opposed by the merchants of the royal burghs in Scotland and by the East India Company, Muscovy Company, and Privy Council in England. At the same time, it was supported by the Scottish Privy Council and was able to recruit Dutch, English, and Scottish investors. The interactions between these groups were largely shaped by the union of the crowns, which saw James VI accede to the thrones of England and Ireland and move his court to London. Scotland was thus left with an absentee monarch, decreasing the access of Scottish merchants to the king while increasing the importance of court connections in acquiring that access. Regal union also created opportunities for Scots to become part of the London business world, which, in turn, could lead to backlash from English interests. Having developed in this context, the Scottish East India Company speaks to how James VI and I approached patronage and policy in his multiple kingdoms, how commercial rivalries developed in England and Scotland, and how trading companies played a role in constitutional developments in Stuart Britain.
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Ackerman, Marianne. "England Mirvish, Marx, and Shakespeare." Canadian Theatre Review 50 (March 1987): 62–65. http://dx.doi.org/10.3138/ctr.50.009.

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In the beginning, champagne. Monday morning, September, 1986, cast and crew of the newly-formed English Shakespeare Company (ESC) assemble in the drafty Territorial Army Drill Hall, South-West London. Wearing his familiar bankers’ blue suit and white shirt, Torontonian David Mirvish grins his eager-beaver, anything-is-possible grin and toasts the most ambitious theatrical venture launched in London this season. In the next nine weeks, director Michael Bogdanov, 25 actors and a small crew will rehearse some 80 roles in three of Shakespeare’s history plays. Henry IV, Parts 1 & 2 and Henry V will play 12 English cities, plus Paris, Berlin, Düsseldorf, Hamburg, and Toronto. The entire nine-hour trilogy will be performed each Saturday.
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Sutton, Anne F. "The Merchant Adventurers of England: their origins and the Mercers' Company of London." Historical Research 75, no. 187 (February 1, 2002): 25–46. http://dx.doi.org/10.1111/1468-2281.00139.

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Abstract The history of the adventurers, or overseas merchants, trading to the Low Countries is taken back to their earliest privileges, those from Brabant 1296–1315, to the establishment of their fraternity of St. Thomas c.1300, and to their common origin with the staplers. This discounts the theories that they owed their beginnings to the Mercers’ Company of London. The rise of the London mercers to an increasingly dominant position among the Adventurers to the Low Countries is traced from c.1400, and their records, the frequently misleading acts of court, are re-examined. The theory that the Company of the Merchant Adventurers of England was created at the end of the fifteenth century is similarly discounted.
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Hill, Errol. "Morton Tavares: Jamaican and International Actor." Theatre Research International 15, no. 3 (1990): 213–23. http://dx.doi.org/10.1017/s0307883300009688.

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It is not widely known that the Caribbean island of Jamaica enjoys a tradition of live theatre that may well be second to none in the English-speaking world, save only in England itself. Conquered from Spain in 1655, the island boasted an active theatre as early as 1682, not very long after public playgoing had returned to England following the Cromwellian interregnum. Records are silent about theatre for the next several decades, but by the 1730s troupers from England had begun regular visits which culminated in the two long residencies of the famed Hallam Company that came to Virginia from London in 1752. Under the senior Hallam the company journeyed to Jamaica in 1754 and remained there, after Hallam's death, until 1758 when they returned to America, led by David Douglass. Again from 1775 to 1785 the company sojourned in Jamaica, waiting out the War of Independence, this time under Lewis Hallam junior. The record of their performances in the island has been chronicled in Richardson Wright's book Revels in Jamaica (1937), which has recently been reissued.
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Spraakman, Gary. "THE FIRST EXTERNAL AUDITORS OF THE HUDSON'S BAY COMPANY, 1866." Accounting Historians Journal 38, no. 1 (June 1, 2011): 57–80. http://dx.doi.org/10.2308/0148-4184.38.1.57.

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At the request of shareholders, the Hudson's Bay Company had its financial statements audited for the first time in 1866. Two external auditors were hired, one for the shareholders and one for management. Three inter-related forces led to this decision: (1) most importantly, the company's shareholders demanded audited financial statements, (2) there was emerging in London at the time the capacity and willingness among London accountants to provide external audit services, and (3) the British Parliament passed various acts that required financial statements of companies in other industries to be audited. After a few years, only the management's external auditor was retained. He subsequently influenced the company's development of management accounting. In addition, the company's early external auditors were influential in the development of the Institute of Chartered Accountants of England and Wales.
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Dissertations / Theses on the topic "Barbers' Company (London : England)"

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Ritter, Christina. "On hallowed ground the significance of geographic location and architectural space in the indenties [sic] of the Royal Shakespeare Company and Shakespeare's Globe /." The Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=osu1188510799.

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Goncalves, De Aranjo Passos Stéphanie. "Une guerre des étoiles: les tournées de ballet dans la diplomatie culturelle de la Guerre froide, 1945-1968 /cStéphanie Gonçalves de Aranjo-Passos." Doctoral thesis, Universite Libre de Bruxelles, 2015. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209106.

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Ma thèse de doctorat explore les tournées de ballet des « six grandes » compagnies mondiales pendant la Guerre froide (1945-1968) :ballet de l’Opéra de Paris, Royal Ballet de Covent Garden, Bolchoï et Kirov, New York City Ballet et American Ballet. Elle envisage le ballet comme un outil de diplomatie culturelle transnationale, avec un focus particulier sur les acteurs, qu’ils soient institutionnels, artistiques ou commerciaux. Outre un aspect quantitatif qui nous a amené à cartographier les tournées, il s’agit d’une histoire incarnée par des femmes et des hommes − les danseurs − dont le métier est de tourner sur les scènes internationales, encadrés par des administrateurs et des gouvernements, qui n’ont pas les mêmes priorités et agendas les uns et les autres.

Cette recherche met justement en avant les tensions, les difficultés et les dynamiques entre les différents acteurs. La thèse se construit autour de tournées représentatives du lien ténu entre danse et politique, des épisodes qui mettent en valeur les points chauds de cette Guerre froide, ayant comme point de départ ou d’arrivée Londres et Paris.

La description de la danse comme un langage, une pratique physique et un métier permet de comprendre en quoi la danse peut être un outil de communication politique et comment il a été utilisé comme tel dans la longue durée et en particulier pendant la guerre froide. Les différentes échelles – le passage régulier de la macro-histoire à la micro-histoire et inversement ainsi que les flux d’échanges culturels multiples à l’échelle internationale – ont permis de mettre en avant une multiplicité d'acteurs (artistiques, gouvernementaux, commerciaux). La constitution du mythe de la danseuse étoile, et ses représentations, résonne également avec d’autres figures mythiques construites dans la Guerre froide, comme celle de l’astronaute.
Doctorat en Histoire, art et archéologie
info:eu-repo/semantics/nonPublished

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Books on the topic "Barbers' Company (London : England)"

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Castle, Kate. Ballet company. London: F. Watts in association with the Royal Opera House, Covent Garden, 1985.

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Doolittle, I. G. The Mercers' Company 1579-1959. [London]: Mercers' Company, 1994.

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Ware, Ciji. Wicked company. Naperville, Ill: Sourcebooks Landmark, 2010.

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Webb, Cliff. Tinplateworkers' Company 1666,1668,1676,1681,1683-1800. London: Society of Genealogists, 1998.

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1930-, Saunders Ann, ed. The history of the Merchant Taylors' Company. Leeds: Maney, 2004.

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Cliff, Webb. Feltmakers' Company 1676-1682, 1692-1800. London: Society of Genealogists, 2002.

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Glover, Elizabeth. A history of the Ironmongers' Company. London: Worshipful Company of Ironmongers, 1991.

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Company, Walt Disney. Disney's Oliver & Company. Loughborough: Ladybird, 1997.

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Horners, Worshipful Company of. The Worshipful Company of Horners. London: The Guild, 1990.

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Phillips, G. A. 1666 and all that: A history of the Bakers' Company. [London]: Bakers' Co., 1993.

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Book chapters on the topic "Barbers' Company (London : England)"

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Lee, Daryl. "Anon., ‘Prospectus of a New Joint-Stock Company. the London Suicide Company’." In The History of Suicide in England, 1650–1850, 95–99. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003113973-8.

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Morgan, Kenneth. "The Case of the Royal African Company of England (London, Sam. Aris, 1730)." In The British Transatlantic Slave Trade, 59–94. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003113409-3.

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Haves, Charles. "The Importance of Effectually Supporting the Royal African Company of England, Impartially Consider'd . . . (London, M. Cooper, 1744)." In The British Transatlantic Slave Trade, 95–145. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003113409-4.

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Morgan, Kenneth. "Certain Considerations Relating to the Royal African Company of England. In Which, The Original Growth, and National Advantages of the Guiney Trade, are Demonstrated: As Also That the same Trade cannot be carried on, but by a Company and Joint Stock (London, 1680)." In The British Transatlantic Slave Trade, 1–14. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003113409-1.

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Botelho, Lynn, and Susannah R. Ottaway. "Richard Bulstrode, 'On Old Age', in Miscellaneous Essays: viz., I. Of Company and Conversation, II. Of Solitariness and Retirement, III. Of nobility, IV. Of Contentment, V. Of Women, VI. Of the Knowledge of God, and Against Atheism, VII. Of Religion, VIII. Of Kings, Princes, and the Education of a Prince, IX Of Greatness of Mind, X. Of the Education of Children, XI. Of Law, XII. Of Man, XIII. Of Old Age: With the Life and Conversion of St. Mary Magdalen ... also, the Life and Conversion of St. Paul (London: Jonas Browne, 1715), pp. 376–90." In The History of Old Age in England, 1600-1800, Part I Vol 2, 7–12. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003552673-2.

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Felling, Margaret. "Introduction:The College and the Middling Sort." In Medical Conflicts in Early Modern London, 1–24. Oxford University PressOxford, 2003. http://dx.doi.org/10.1093/oso/9780199257805.003.0001.

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Abstract The College of Physicians of London, With which this study begins, was the premier medical corporation of early modern England. However, it was a comparatively recent body, being founded by Thomas Linacre and other humanists under crown patronage in 1518. London’s Barber Surgeons’ Company, by contrast, formed by the combination of the Barbers with the much smaller group of surgeons in 1540, had its origins from before 1308. The Society of Apothecaries, the ‘third part’ of practice, emerged under the College’s aegis as late as 161 7, but apothecaries had been members of the Grocers’ Company, one of the twelve great livery companies, from the medieval padded.
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"The Painter-Stainers’ Company of London." In Painting for a Living in Tudor and Early Stuart England, 55–85. Boydell & Brewer Ltd, 2022. http://dx.doi.org/10.2307/j.ctv24tr6v2.10.

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Kathman, David. "“The Madnes of Tenys” and the Commercialization of Pastimes in Early Tudor London." In Games and Theatre in Shakespeare’s England. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463723251_ch02.

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Efforts to control professional theatre in London in the 1570s contained echoes of the authorities’ previous reactions to the commercialization of tennis and bowling. As early as the 1470s, the London authorities had cracked down on tennis playing in the city, and records of the sale of tennis balls by the Ironmongers’ Company show that this attempt was successful in the short term. Over the next 50 years, those records provide a surprisingly detailed account of the surging popularity of tennis in the city, punctuated by occasional attempts by the authorities to ban it. Records from crackdowns on tennis and bowling in 1516 and 1528 provide information about the people who were trying to make money off these sports.
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Sharpe, Pamela. "2 Gender at sea: Women and the East India Company in seventeenth-century London." In Women, Work and Wages in England, 1600-1850, 47–67. Boydell and Brewer, 2004. http://dx.doi.org/10.1515/9781846152467-006.

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Careri, Enrico. "The First London Period 1714–1732." In Francesco Genminiani (1687–1762), 8–25. Oxford University PressOxford, 1993. http://dx.doi.org/10.1093/oso/9780198163008.003.0002.

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Abstract ‘THE year 1714 [Burney recounts] was rendered an important period to the progress of the violin in this country, by the arrival of Geminiani and Veracini; as the abilities of these masters confirmed the sovereignty of that instrument over all others, in our theatres and concerts.’ According to Hawkins, Geminiani came to London in the company of another Lucchese musician, Francesco Barsanti (1690–1772), who was also to spend most of his remaining life in Britain. The choice of England was particularly happy: even allowing that Italian music as a whole was well known and appreciated throughout Europe, in England there was a particularly vigorous and enthusiastic cultivation of the music of Arcangelo Corelli, which conferred a great advantage on any violinist who could claim to belong to his school.3 But England offered other advantages besides. First, violin technique was much less well developed than in Italy, so that it was all the. easier for a pupil of Corelli to make a name as a virtuoso.
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