Society for the Study of Labour History (SSLH) BA/Masters Dissertation Bursary

The SSLH BA/Masters Dissertation Bursary is designed to support archival and library research that will contribute to a dissertation on a labour history topic up to a maximum of £500. Bursary holders must either be in the final year of an undergraduate degree or undertaking a taught Masters degree. They must be a registered student at a university in the United Kingdom or the Republic of Ireland. If successful, students will be expected to join the SSLH (£15.90) – the cost of doing are included in bursary.

If you are a student studying a labour history topic for your dissertation, please see the website below for further details on how to apply for the bursary. If you are supervising students carrying out research in labour history, please pass on details of the bursary scheme.

The application form and further information can be found here:


Delmas Foundation Grants for Venetian Research for Individual Scholars – British and Commonwealth

The Gladys Krieble Delmas Foundation – British and Commonwealth Committee – announces its programme of grants for study based on travel to and research in Venice and the Veneto and other territories of the former Venetian Republic. Grants will be awarded for historical research on Venice and its empire, and for the study of contemporary Venetian society and culture. Applicants from all disciplines of the humanities and social sciences are eligible for areas of study including, but not limited to: anthropology; archaeology; architecture; art; bibliography; economics; history; history of science; law; literature; music; political thought; religion; theatre; film and television. Applications for research on environment and conservation are welcome. Other relevant research interests will be considered. The application deadline for the British and Commonwealth Programme is 1st May 2020.


Historical Pageants Day

Historical pageants were a widespread form of popular entertainment in early twentieth-century Britain. Presenting large-scale theatrical re-creations of scenes from local and national history, they brought the past to life as never before. Thousands of people performed in these vivid extravaganzas of music, dance and drama, and tens of thousands more watched them. Yet pageants are largely forgotten today.In support of our exhibition Pageant Fever! Historical Pageants and the British past, running at Cecil Sharp House from January 29, we are pleased to present a day of talks, exhibitions and performances of historical pageantry from local history organisations, museums, theatre groups, musicians and dancers.

This will be followed by a separate evening event featuring exciting scenes, music and dance from selected pageants, some of which have not been staged for many decades.

21 March 2020, 11am – 5.30pm

Cecil Sharp House, 2 Regent’s Park Road London

This event is free: no booking required! For further details see


Memorial Service Dr Antti Mattikala

As many of you may be aware Dr Antti Matikkala, FRHistS, FSA, of Helsinki passed away unexpectedly on 9 January 2019.

Antti was a very fine scholar of early modern England and Europe not to mention an incorrigible anglophile and wonderful human being. Several of his friends are organising a memorial service in Trinity College Chapel, Cambridge, to celebrate his scholarship and life. Prof John Morrill, FBA and Mr Wilhelm Brummer will be speaking to remember and honour our friend who passed away far too young.

The memorial service is scheduled to take place at 14:30 on Sunday 12 January 2012.

Trinity College Chapel, Trinity Street, Cambridge CB2 1TQ

Refreshments will be provided in the Allhusen Room after the service where we can continue to remember Antti. I would be grateful if you could put the date in your diaries. I will write again closer to the time with more specific information. If you have any queries, please do not hesitate to contact me.

Kindest wishes,

Ambrogio Caiani  (



Play, Protest and Pelicans: A People’s History of London’s Royal Parks


They started life as royal hunting grounds: Henry VIII created Hyde Park and St James’s Park; Charles I filled Richmond Park with deer in 1625. But over the centuries, the Royal Parks became open to all, providing 5000 acres of green space for the people of London, making it one of the greenest capital cities in the world.

The parks have seen wartime training, protests across the political spectrum, huge public parties and wild rock concerts. From Speakers’ Corner to the Serpentine Lido, the Royal Parks have provided a gathering place and sanctuary for the city’s ever-changing population.

Looking at Hyde Park, Kensington Gardens, Richmond Park, Bushy Park, St James’s Park, Green Park, Regent’s Park, and Greenwich Park, London’s Royal Parks will draw upon paintings, drawings, photographs and memorabilia from the Hearsum Collection, Royal Collection Trust, Royal Museums Greenwich and the Museum of London to illustrate the surprising histories of London’s Royal Parks.

The Garden Museum, Lambeth Palace Road, London

10.30am – 5.00pm

20 November 2019 – 9 February 2020



Creative Links: The Concealed Stories of Nazi-Looted Craft and Art uncovered

During the Nazi regime, artworks and cultural property owned by Jewish people were systemically looted, sold, scattered and destroyed. Many objects ended up in public and private collections, often acquired without knowledge of their background. Join the curators of the Gilbert Collection – famous for some of the most beautiful European and British masterpieces ever made, many in precious metal – in conversation with Stephanie Souroujon, as they share their research into the troubling history of some of the collection’s pieces.

The V&A and the Gilbert Collection are at the forefront of proactive provenance research in the UK. Following the appointment of a Provenance Curator, Dr Jacques Schuhmacher, the V&A is showcasing the display ‘Concealed Histories: Uncovering the Story of Nazi Looting’ (until 10 January 2021) – the first of its kind by a UK museum.

To book visit


Thirsk Prize 2020: call for submissions

The British Agricultural History Society is pleased to invite submissions for its annual Thirsk Prize.

Books published for the first time in 2019 in the broad area of British and Irish rural history, or which use Britain and Ireland as comparators, are eligible.

Submission is by sending a pdf of the work to the secretary of the prize committee by Noon on 13 January 2020. The Winner will be announced at the Society’s annual conference on April 2019.

Full details of eligibility and how to submit can be found at

Previous winners of the prize have been

2017: Peter Jones, Agricultural Enlightenment: Knowledge, Technology and Nature, 1750-1840 (OUP)

2018: Briony McDonagh Elite Women and the Agricultural Landscape, 1700-1830 (Routledge)

2019: Paul Warde, The Invention of Sustainability: Nature and Destiny, c.1500-1870 (CUP).


Daily Life at the Playhouse: Celebrating Molière and the “Maison de Molière” – call for articles

DAILY LIFE AT THE PLAYHOUSECelebrating Molière and the “Maison de Molière”

Sabine Chaouche and Jan Clarke (Eds.)

In 1680, Louis XIV made an important decision. A new playhouse was to be created through the merging of the troupes of the Hôtel de Bourgogne created in the first part of the century, and the ‘Troupe du Roi’ – including, after Molière’s death, most of his players and those from the Théâtre du Marais. The new playhouse would later be known as the ‘Maison de Molière’ (Molière’s playhouse), as a celebration of the famous playwright’s comic genius.Molière’s outstanding talent as a playwright, actor, and stage-director has often been praised over the centuries and analyzed in literary studies. However, his work as a director of a company, and the context in which Parisian theatre businesses throve in the seventeenth century and eighteenth century has been overlooked. More generally, daily life has been left out as it involves a social and economic historical approach, with a focus on the history of business and consumption, and material culture.From the seventeenth century onwards, playhouses and court entertainments had already sophisticated logistics and complex organizations. Companies dealt mainly with artists, local suppliers, and managed multiple employees. They often faced tight schedules in terms of rehearsals and stage production.Playhouses impacted the area in which they were located. They were a unique platform for business operations. Entertainments became the hub of Parisian life, Versailles and Fontainebleau, and economic activity during the period. They were intrinsically linked to the rise of consumerism by selling cultural products to audiences, and other goods such as drinks or books. The most important theatrical institutions had seemingly some characteristics of contemporary cultural enterprises that have merchandising products.Although it is usually accepted that most studies have a Paris-centric take, few works have actually examined the economic and daily operating side of Parisian playhouses or court entertainments. Our objective is to examine the interface between the companies, their suppliers and audiences, and to give new insight into the ‘pre-theatre industry’ period and the consumer ‘revolution’ (McKendrick, Brewer and Plumb, 1982).

We seek contributions that focus on the different Parisian companies’ organization and the running of playhouses, and that link the history of theatre to a broader social and economic context, such as the districts in which playhouses were located (transportation, street life, and taxes). We seek also to gather contributions able to give a glimpse into the theatre employees’ ordinary life, through their experiences, skills, and work, and to reveal how they participated in the burgeoning theatrical life that marked Molière’s time and later the eighteenth century when competition between rival companies and institutions peaked. Finally, we are interested in the way Parisian playhouses were managed as cultural enterprises and how companies developed a network of suppliers.This volume will look at the macro-environment—that is the social, political, cultural and economic context linked to the daily life of playhouses or companies—and the micro-environment of the business of theatres—that is the economy and organization of the playhouses in terms of staffing, directors, and boards; the costs involved in the running of shows and daily life within theatres; the tradesmen who supplied the playhouses.

We invite historians of theatre, social and economic historians, and historians of material culture, historians of consumption or of the history of Paris, Versailles or Fontainebleau to examine the following themes:

  • The living environment: daily life in the districts or streets surrounding the playhouse (or the towns where court entertainments were organized); the premises and location; the actors’ accommodation.
  • The running of a playhouse or a company; daily organization and changes; schedules, tasks, and committees.
  • Financial operations.
  • The interior of the theatre, its design, and the services or facilities which were provided.
  • Logistics, travels, modes of transportation, warehouses, the material used, etc.
  • Marketing and promotional material and campaigns; strategies and innovations to attract audiences.
  • Trade and business operations: major or minor suppliers, supplies and services (goods for the stage, but also anything relating to the off-stage or day-to-day running of the playhouse); shops near the playhouses or court entertainment spaces; deliveries; the relationships between companies and tradesmen.
  • Merchandizing and goods that became fashionable or were sold in playhouses.
  • Employees and family networks; spectators having close relationships with companies.
  • Actors’ or employees’ standard of living and consumption; estates; actors’ or employees’ pastimes and hobbies.

You should send your proposal in French or English (250 to 300 words) with a short bio-bibliography (1-page maximum) by 30th January 2020 to both Professor Sabine Chaouche ( and Professor Jan Clarke (


British Commission for Maritime History: Boydell & Brewer 2019 Doctoral Prize

British Commission for Maritime History: Boydell & Brewer 2019 Doctoral Prize

BCMH invites nominations for the best doctoral thesis in maritime history awarded by a UK university in the academic year 2018-19. The prize winner receives a cheque for £200.

Subjects eligible for consideration reflect the Commission’s view maritime history as a wide-ranging discipline.

Nominations may be submitted by the candidate or by their supervisor. The closing date for the 2018-19 prize is 1 January 2020.

Further information, including how to submit a nomination, is available at


Call for Posters: EHS Annual Conference 2020

The annual conference of the Economic History Society will take place 17 – 19 April 2020 at St Catherine’s College, Oxford. The Society welcomes sole-authored posters from graduate students at an early stage of pursuing their PhD, i.e. having completed at least one full year of study; collaborative work is not eligible. Graduate students who have presented a poster will be eligible to apply to present a paper in the New Researcher session in a subsequent year, but may present in a poster session only once during their graduate career.The poster session will be held on Saturday 18 April. It offers students an excellent opportunity to showcase and gain feedback on early-stage work in a supportive environment. Those wishing to be considered for inclusion in the programme must submit an application, via the online system (, by 18 November 2019.

This should provide:

  • A firm title
  • A short abstract (maximum 250 words)
  • A current CVA supporting statement from the student’s supervisor must be emailed separately (to Maureen Galbraith:

Detailed guidance notes can be found below.Any queries should please be directed to Maureen Galbraith.

Guidance Notes for New Researcher Poster Presenters

  • A prize of £100 will be awarded for the best poster
  • Poster presenters will be responsible for providing an electronic copy of their poster in advance of the conference, together with a copy of the abstract submitted in response to the call for posters. This is to allow the panel that will judge the posters to review them in advance of the conference.
  • If selected for the poster session, presenters will be responsible for bringing a printed version of their poster (A0 size, vertically-oriented, and in colour) with them to the conference. Materials for displaying the posters (i.e. poster stands) will be provided by the EHS.
  • Limit the text to roughly one-fourth of the poster space, and use ‘visuals’ (graphs, photographs, schematics, maps, etc.) to tell your ‘story’.
  • Text should be under 800 words. Be prepared to give a brief oral introduction to the project and answer questions.
  • A banner displaying your poster title, name, and department should be positioned at top-centre of the board.
  • Leave some open space in the design. An open layout is less tiring to the eye and mind.
  • Make it clear to the audience how to view/read the poster. The poster generally should read from left to right, and top to bottom. Numbering the individual panels, or connecting them with arrows, is a standard ‘guidance system’.
  • Simplicity is essential. Keep to the point, and don’t try to cover too many things.
  • Tell the audience what question you are asking, why it is interesting, and what answer you propose.
  • Think of your poster as an advertisement of your paper, not as the paper itself. Your goal is to engage people in conversation.
  • Use a minimum font size of 26 pt. for the body of the text, and 46 pt. for the main title.
  • Cite and reference any sources of information other than your own, just as you would do with a research paper. The ‘References Cited’ is placed at the end of the poster.
  • The posters will be displayed for the duration of the conference. There will be designated times when poster presenters are asked to be with their posters; namely: tea/coffee breaks.
  • Do not forget to bring along handouts that summarize your presentation; these should include your name, affiliation and email address.