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Relevant bibliographies by topics / Worshipful Company of Painters

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Academic literature on the topic 'Worshipful Company of Painters'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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Journal articles on the topic "Worshipful Company of Painters"

1

McGuiness, Daniel, and James Tate. "Worshipful Company of Fletchers." Antioch Review 53, no. 4 (1995): 501. http://dx.doi.org/10.2307/4613238.

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Brewin, ArthurH. "The Worshipful Company of Dyers." Journal of the Society of Dyers and Colourists 51, no. 10 (October 22, 2008): 352–55. http://dx.doi.org/10.1111/j.1478-4408.1935.tb01843.x.

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Chaplin, Tracey D., Robin J. H. Clark, and Marcos Martinón-Torres. "A combined Raman microscopy, XRF and SEM–EDX study of three valuable objects – A large painted leather screen and two illuminated title pages in 17th century books of ordinances of the Worshipful Company of Barbers, London." Journal of Molecular Structure 976, no. 1-3 (July 2010): 350–59. http://dx.doi.org/10.1016/j.molstruc.2010.03.042.

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4

Hall, Gordon. "The Worshipful Company of Scientific Instrument Makers." Measurement and Control 26, no. 6 (August 1993): 178–79. http://dx.doi.org/10.1177/002029409302600605.

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Atherton, B. G. "The Worshipful Company of Scientific Instrument Makers." Measurement and Control 32, no. 10 (December 1999): 307. http://dx.doi.org/10.1177/002029409903201005.

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6

ROBERTSON, MICHAEL, and P.B. "The archives of the Worshipful Company of Stationers." Indexer: The International Journal of Indexing: Volume 17, Issue 4 17, no. 4 (October 1, 1991): 269–70. http://dx.doi.org/10.3828/indexer.1991.17.4.13.

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7

Goldfinch, W. J. "The Worshipful Company of Scientific Instrument Makers (WCSIM)." Measurement and Control 28, no. 10 (December 1995): 309–10. http://dx.doi.org/10.1177/002029409502801005.

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8

Cardinal, Catherine. "La collection de la Worshipful Company of Clockmakers." Artefact 5, no. 5 (June 15, 2017): 185–89. http://dx.doi.org/10.4000/artefact.717.

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9

Robertson, Michael. "The Worshipful Company of Stationers and its archives." Learned Publishing 5, no. 2 (January 1, 1992): 81–85. http://dx.doi.org/10.1002/leap/50028.

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10

Douglas, C. "Long live the Worshipful Company of Test Tube Shakers." BMJ 310, no. 6978 (February 25, 1995): 537. http://dx.doi.org/10.1136/bmj.310.6978.537.

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Dissertations / Theses on the topic "Worshipful Company of Painters"

1

Cregan, Kate A. (Kate Amelia) 1960. "Microcosmographia : seventeenth-century theatres of blood and the construction of the sexed body." Monash University, English Dept, 1999. http://arrow.monash.edu.au/hdl/1959.1/8588.

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Books on the topic "Worshipful Company of Painters"

1

Webb, Cliff. London livery company apprenticeship registers. London: Society of Genealogists, 2001.

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Webb, Cliff. London livery company apprenticeship registers. London: Society of Genealogists, 2001.

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Webb, Cliff. London Livery Company apprenticeship registers. London: Society of Genealogists, 1998.

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Webb, Cliff. London Livery Company apprenticeship registers. London: Society of Genealogists, 1998.

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Webb, Cliff. London Livery Company apprenticeship registers. London: Society of Genealogists, 1998.

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Webb, Cliff. London livery company apprenticeship registers. London: Society of Genealogists Enterprises, 2003.

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Webb, Cliff. London livery company apprenticeship registers. London: Society of Genealogists Enterprises, 2003.

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Webb, Cliff. London Livery Company apprenticeship registers. London: Society of Genealogists, 1999.

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Webb, Cliff. London livery company apprenticeship registers. London: Society of Genealogists Enterprises, 2003.

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Genealogists, Society of, ed. London Livery Company apprenticeship registers. London: Society of Genealogists, 1998.

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Book chapters on the topic "Worshipful Company of Painters"

1

"Worshipful Company of Musicians." In The Grants Register 2023, 1513. London: Palgrave Macmillan UK, 2022. http://dx.doi.org/10.1057/978-1-349-96053-8_2624.

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"Worshipful Company of Musicians." In The Grants Register 2020, 1118. London: Palgrave Macmillan UK, 2019. http://dx.doi.org/10.1057/978-1-349-95943-3_998.

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"Worshipful Company of Musicians." In The Grants Register 2021, 1167–68. London: Palgrave Macmillan UK, 2020. http://dx.doi.org/10.1057/978-1-349-95988-4_1035.

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"Worshipful Company of Musicians." In The Grants Register 2022, 1257–58. London: Palgrave Macmillan UK, 2021. http://dx.doi.org/10.1057/978-1-349-96042-2_2826.

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"Worshipful Company of Musicians." In The Grants Register 2024, 1628. London: Palgrave Macmillan UK, 2023. http://dx.doi.org/10.1057/978-1-349-96073-6_2624.

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6

"The Worshipful Company of Founders." In The Grants Register 2018, 976–77. London: Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1007/978-1-349-94186-5_1284.

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"The Worshipful Company of Musicians." In The Grants Register 2018, 977. London: Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1007/978-1-349-94186-5_1285.

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"The Worshipful Company of Founders." In The Grants Register 2019, 984. London: Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1007/978-1-349-95810-8_1328.

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"The Worshipful Company of Musicians." In The Grants Register 2019, 984–85. London: Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1007/978-1-349-95810-8_1329.

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10

Field, J. V. "Building, drawing and ‘artificial perspective’." In The invention of Infinity, 20–42. Oxford University PressOxford, 1997. http://dx.doi.org/10.1093/oso/9780198523949.003.0006.

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Abstract To the twentieth-century eye, correct perspective seems an obvious contribution to making a picture more naturalistic. However, the invention of mathematical rules for this purpose does not seem to have a direct link with the increased naturalism which is a feature of the painting of the fourteenth century. It was not a painter who invented a method of showing objects exactly in accordance with the laws of optics: Brunelleschi was, as we have already noted, trained as a gold smith, and he was, as far as we know, never a member of the guild that painters belonged to, namely that of the Physicians and Apothecaries (Medici e Speziali), or of the painters’ confraternity, the Company of St Luke (Compagnia di San Luca).

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Conference papers on the topic "Worshipful Company of Painters"

1

Lethe, Eric. "Advantages in Environmental Compliance For Maritime Corrosion Control." In SNAME Maritime Convention. SNAME, 2012. http://dx.doi.org/10.5957/smc-2012-p19.

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The need for environmentally compliant processes and materials in the Painting Industry grows more pressing every day. As the need for these processes grows, so grows the confusion regarding the selection and implementation of these new methods and materials. In the past, price and traditional procedure were the only criteria by which a material was procured. Speed and compliance with Original Equipment Manufacturer specification governed how things were done on the shop floor. With the advent of the environmental regulations, processes are being examined all across the globe. In many of the larger companies, the chief environmental officer has as important a role as the comptroller or Chief Financial Officer. Environmental managers are often not chemists or line painters, and typically, the environmental manager is skilled only in the policies of waste disposal, spill clean up, or remediation. The methods whereby a company can minimize the generation of hazardous waste remain less familiar. Often the examination of possible alternate techniques and materials are left for the last minute, or are conducted by personnel who are unfamiliar with how to make changes work. This is usually a recipe for failure in the implementing of anything new. This paper will suggest methods for selection of alternative products and processes in a clear and organized manner. Salient discussion points will be: 1. Process Examination 2. Material Selection 3. Steps For Successful Implementation 4. Possible Impediments 5. How to Avoid Risky Alternatives It will focus on procedures that will assist in the decision making process, and hopefully be of use in the choosing of environmentally sound equipment, chemicals, and methodologies.

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Lethe, Eric. "Advantages in Environmental Compliance For Maritime Corrosion Control." In SNAME 5th World Maritime Technology Conference. SNAME, 2015. http://dx.doi.org/10.5957/wmtc-2015-088.

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The need for environmentally compliant processes and materials in the Painting Industry grows more pressing every day. As the need for these processes grows, so grows the confusion regarding the selection and implementation of these new methods and materials. In the past, price and traditional procedure were the only criteria by which a material was procured. Speed and compliance with Original Equipment Manufacturer specification governed how things were done on the shop floor. With the advent of the environmental regulations, processes are being examined all across the globe. In many of the larger companies, the chief environmental officer has as important a role as the comptroller or Chief Financial Officer. Environmental managers are often not chemists or line painters, and typically, the environmental manager is skilled only in the policies of waste disposal, spill clean up, or remediation. The methods whereby a company can minimize the generation of hazardous waste remain less familiar. Often the examination of possible alternate techniques and materials are left for the last minute, or are conducted by personnel who are unfamiliar with how to make changes work. This is usually a recipe for failure in the implementing of anything new. This paper will suggest methods for selection of alternative products and processes in a clear and organized manner. Salient discussion points will be: 1. Process Examination 2. Material Selection 3. Steps For Successful Implementation 4. Possible Impediments 5. How to Avoid Risky Alternatives It will focus on procedures that will assist in the decision making process, and hopefully be of use in the choosing of environmentally sound equipment, chemicals, and methodologies.

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Reports on the topic "Worshipful Company of Painters"

1

In Search of Memory: Seventeen Contemporary Artists from Suriname. Inter-American Development Bank, June 1998. http://dx.doi.org/10.18235/0006411.

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Forty-five works by Surinamese painters, sculptors, draftsmen, printmakers and ceramicists, representing an eclectic artistic community comprising Amerindian, African, Indian, Indonesian, Jewish, Dutch and other European cultures, concentrated mainly in the Surinamese capital of Paramaribo. Works were drawn from public and private collections, including Suriname's State Collection, the Suriname Bank, the Suriname Museum Foundation, and the EBS Power Company, among others. The show was reenacted upon its return to Suriname.

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