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 THE MEDIA & BUSINESS
CONTRACTS HANDBOOK
 THE MEDIA & BUSINESS
CONTRACTS HANDBOOK

(Sixth Edition)
by

DEBORAH FOSBROOK BA (HONS)

Barrister of Gray’s Inn
Co-author of The A–Z of Contract Clauses
and

ADRIAN C LAING LL.B (EXON)

Legal and commercial consultant
Co-author of The A–Z of Contract Clauses
 BLOOMSBURY PROFESSIONAL
Bloomsbury Publishing Plc
41–43 Boltro Road, Haywards Heath, RH16 1BJ, UK
BLOOMSBURY and the Diana logo are trademarks of Bloomsbury Publishing Plc
Volume I First Edition 1989
Volume II First Edition 1990
Second Edition 2001
Third Edition 2006
Fourth Edition 2009
Fifth Edition published by Bloomsbury Professional 2014
Sixth Edition published by Bloomsbury Professional 2020
© Deborah Fosbrook and Adrian C Laing 1989–2020
This book is purchased subject to the ‘Terms of Use’ as stated at the back of the book
Moral Rights
Deborah Fosbrook and Adrian C Laing are the authors and copyright owners of The Media and
Business Contracts Handbook in all media throughout the world and universe. We assert our
legal and moral rights to be clearly and prominently identified as the authors of the work as:
Deborah Fosbrook and Adrian C Laing.
Subject to the Terms of Use no part of this book and/or the electronic files may be reproduced,
transmitted and/or exploited in any media by any means and/or stored in any retrieval system
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This book and the electronic files are excluded works and no licence has been granted to the
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Neither the publishers nor the authors accept any responsibility and/or liability for any errors,
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that may arise directly and/or indirectly as a result of the use and/or adaptation of any of the
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seek independent and specialist legal advice before entering into any agreement whether
containing a clause within this book and/or the electronic files and/or otherwise. Any use and/or
reliance on this book and/or the electronic files is entirely at your own risk and cost.
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With love to Katie, David, William,
George, Peter and Charlotte
 DOWNLOADABLE PRECEDENTS

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 CONTENTS

INTRODUCTION1

CONTRACTS AND COMMENTARIES: Page(s)

Apps/Digital
1 App Development Agreement 7
2 App Purchase Agreement with Profit Share 19
3 Data and Digital Marketing Campaign Agreement 27
4 Digital Rights (Publishing) Agreement 41

Website/Internet/Social Media
5 YouTube Contributor Deal 55
6 Website Standard Terms and Conditions 59
7 Website Commissioning Agreement 67
8 Product Supply Agreement for Online Purchasing 79
9 Freelance Contributor’s Agreement for Website Design 93
10 Blog Contributor Agreement 101
11 Agreement between Website Owner and Contributor for
Personal Interactive Website 107
12 Buy-out of Images/Photos for Instagram 117
13 Interview Agreement for All Media 121
14 Podcast Agreement 129

General Business and Commerce

15 Brand Collaboration Agreement (‘BCA’) 135
16 Heads of Agreement: ‘BCA’/Entrepreneur 145
17 Binding Determination of Dispute: Terms of Reference 149
18 Asset Purchase Agreement 155
19 A Foundation Shareholders’ Agreement (‘FSA’) 173
20 Joint Venture Agreement: (Royalty-Based) ‘JVA’ 183
21 Heads of Agreement for Entrepreneurs: Pre-JVA 191
22 General Out-Sourcing (B2B) Agreement 197
23 Trade Mark User Licence Agreement 207
24 Termination Agreement 213
25 General Terms and Conditions of Supply 221
26 General Terms and Conditions of Purchase 229
27 All Media Buy-out of a Work 237

vii
Contents

Publishing Agreements
28 Publishing Agreement between Publisher and Author 247
29 Translation Agreement 267
30 Packaging Agreement: Profit Share 275
31 Ghost-Writer’s Agreement 287
32 Collaboration Agreement between a Writer and an Illustrator 297
33 Serialisation of a Book 305
34 Novation 313
35 International Distribution Agreement 319

Agency
36 Appointment of a Merchandising Agent 327
37 Agreement between an Agent and an Actor 335
38 Agreement between Professional Sportsperson and
Manager/Agent345
39 Agreement between a Celebrity and an Agent 359
40 Agreement between a Literary Agency and an Author 369

Employment, Contracts for Services and Confidentiality

41 Contract of Employment for Executive Board Director 375
42 Compromise Agreement 393
43 B2B Confidentiality Agreement 401
44 General Contract for Services 407
45 Zero Hour Engagement Agreement 415
46 Film Director Agreement 419
47 Agreement between Consultant and Production Company 429
48 Agreement between On-Screen Contributor and Production
Company435
49 Presenter’s Agreement for Series with Profit Share 443

Sponsorship and Image Rights

50 Image Rights Agreement 453
51 Sponsorship Agreement between Sponsor and Professional
Sportsperson465
52 Sponsorship of a Television Series 475
53 Sponsorship Agreement with a Sports Association for a Televised
Championship Event 485
54 Sponsorship of a Music/Arts Festival 499

Advertising, Promotion, Product Placement

55 General Advertising/Promotion Agreement 509
56 Agreement between Celebrity and Company for Advertising
Campaign521
57 Product Placement in a Television Programme 533

viii
 Contents

58 Promotional Use of a Company’s Logo 543

59 Advertisement for Broadcast Agreement 553
60 Production and Buy-Out of an Advertisement for Broadcast 563
61 Agreement between Organisers and Promoters of an Event 575

Film and Television Production

62 Pre-Production Option to Acquire an Exclusive Licence in an
Author’s Work587
63 Purchase Agreement: Film Based on Book 593
64 Buy-Out of All Rights in a Completed Film 607
65 Buy-Out of All Rights in Original Format 613
66 Exclusive Licence between Author and Production Company for a
Series Based on the Author’s Work 619
67 Exclusive Licence to Broadcast a Film 629
68 Commissioning of a Pilot for a Television Series 637
69 Commissioning of a Film for Broadcast with Partial Assignment 645
70 Commissioning of a Series for All Media Worldwide Exploitation 657
71 Commissioning of a Series for Limited Worldwide Exploitation 667
72 Commissioning and Complete Buy-Out of All Rights in a Music
Promo/Download677
73 Appointment of a Film Distributor for Non-Theatric Rights 685
74 Pre-Sale of a Film for Non-Theatric Distribution 695
75 Exclusive Licence for the Use of Original Format 703

Exploitation of Characters, Designs, Artwork, Photographs and

Three Dimensional Works
76 Exclusive Licence for Series Based on a Group of Characters 713
77 Licence Agreement with Distributor for use of a Character for a
Specific Product 723
78 Exclusive Licence for Exploitation of a Board Game 733
79 Commissioning of a Collection of Three-Dimensional Works 745
80 Exclusive Agreement for Reproduction of Original Designs 755
81 Commissioning of Series of Photographs/Images (with Full
Assignment)765

Short-form Agreement, Letters and Competition Rules

82 Short Form Buy-Out 773
83 Short Form Banner Advertising Agreement 779
84 Addendum 783
85 Narrow Sub-licence 785
86 Short Form Non-Disclosure Agreement (‘NDA’) 791
87 Permission Form for Internet Distribution 795
88 Client Care Letter/Terms of Engagement 799
89 Data Protection/GDPR Subject Access Request (‘SAR’) 807

ix
Contents

90 Freedom of Information Request 809

91 Laboratory Access Letter 811
92 Location Access Letter 813
93 General Release Form 817
94 Short Form Employment Letter Agreement 821
95 Employee Reference Letter 825
96 Letter of Complaint: Defamation on the Internet 827
97 Competition and Prize Draw Rules 831

Specific Clause Meanings 839

Codes of Practice and Guidelines 849

Legal, Commercial and Business Internet Directory 855

Terms of Use 867

x
 INTRODUCTION

The first slim volume of Media Contracts was published in 1989. Such was
the clear demand for ready-to-use media-based precedents, that a second
volume was published in 1990. A second edition of Media Contracts was
published in 2001, which combined both volumes with internet-related
agreements. A third edition followed in 2006 expanding the work into business
and commercial areas including, in particular, employment contracts. The
fourth edition, published in 2009, continued with the expansion of the broad
nature of the contracts, letters and other related material into areas outside
the relatively strict confines of ‘media’ and into more business-to-business
areas, and for that reason the title was revised to ‘The Media and Business
Contracts Handbook’. A fifth edition, published in 2014, was expanded
considerably with a number of new agreements and restructured to reflect
the shifting emphasis towards digital and business-to-business models.

This 6th edition of The Media and Business Contracts Handbook revises
and updates the 5th edition and incorporates 10 new agreements to bring
the work more closely into alignment with current practices and legal
developments.

The 10 new contracts by reference to this edition are:

• Short form NDA (non-disclosure agreement) (Contract 86);

• Zero Hour Engagement Agreement (Contract 46);

• Brand Collaboration Agreement (Contract 15);

• Heads of Agreement for Brand Collaboration Agreement (Contract

16);

• YouTube Contributor Deal (Contract 5);

• Buy-Out of Images / Photos for Instagram (Contract 12);

• Interview Agreement for All Media (Contract 13);

• Heads of Agreement for Entrepreneurs: Pre-Joint Venture (Contract 21);

• Addendum / Variation (Contract 84);

• Narrow Sub-Licence (Contract 85).

In addition, the structure of the new edition has evolved in line with the
revised contents as follows:

1
INTRODUCTION

• Apps/digital;
• Website/internet/social media;
• General business and commerce;
• Publishing agreements;
• Agency;
• Employment, contracts for services, confidentiality;
• Sponsorship and image rights;
• Advertising, promotion, product placement;
• Film and television production;
• Exploitation of characters, designs, artwork, photographs and three-
dimensional works;
• Short form agreements, letters and competition rules;
• Specific clause meanings;
• Codes of Practice and guidelines;
• Legal, commercial and business internet directory.
The effect of Brexit is of course on-going, as shall be the case for some
time. In that context the drafting issues addressed include not only the
relevant prevailing jurisdiction of an agreement but the territorial scope of
its intended aim.
Technological and culture advancements impact the new edition of this
work in a number of ways particularly in the context of film production
(Contracts 62–75) where account is taken of the continuing evolution of the
term ‘broadcast’ to include the wireless transmission and delivery of images,
content, sounds and data to all manner of devices. It also presumes the
continuing ‘blurring’ of the concepts of a ‘phone’, a computer or a ‘tablet’ or
even a ‘watch’ as the increasing sophistication of all devices races towards
seamless access to music, sounds, images, data collection and analysis
integrating a wide variety of devices for myriad purposes.
The previously entitled ‘Checklist’ section has been expanded and
broadened under the new heading ‘Specific clause meanings’ which can
be used not only as checklist reference source but also as a stand-alone
narrative and analysis addressing 20 commonly used terms within the
contracts from ‘Assertion’ to ‘Warranty’.
It has been a consistent challenge of ours over the years to avoid, where
reasonably possible, reference to specific acts of Parliament and secondary

2
 INTRODUCTION

legislation because a contract should be drafted widely enough to cover

detailed changes in the law over a relatively long period of time. However
this edition, as with previous editions, departs from this general rule in a
number of areas. For example, the Compromise Agreement (Contract 42) is
deliberately very detailed and specific with respect to legislation, referring in
one single clause to over 20 UK Acts of Parliament, and Statutory Instruments.
In the Letters section, the Data Protection / GDPR Subject Access Request
and the Freedom of Information Act request are, by their nature, tied in
closely to the relevant Acts of Parliament upon which the requests are based
(eg the Data Protection Act of 2018) and, in addition, to the still relevant EU
regulations such as the ‘General Data Protection Regulation’ of 2018.
Contract 96 (Complaint Letter to a Website Operator) concerning
defamatory material is necessarily closely tied into the Defamation Act
2013 and the important detail in the Defamation (Operators of Websites)
Regulations 2013.
In other contexts reference to specific legislation is helpful, for example,
the Standard Website Terms and Conditions (Contract 6), should be read
against the background of the Consumer Protection (Distance Selling)
Regulations 2000, SI 2000/2334, as amended.
Statutory Instrument 2003/3319, The Conduct of Employment Agencies and
Employment Businesses Regulations 2003, may, as case law develops,
affect significantly all types of agency-related contracts (see Contracts
36–40 inclusive), but in the meantime, as far as this work is concerned, is
only used to ensure that a literary agent pays an author within 10 working
days of the receipt of money on behalf of an author.
The Commentaries are intended to provide an important component of the
work and a forum in which to make references to specific laws and practices,
and should be read in conjunction with each contract as both a summary
and guide to the basic dynamics of the contracts.

USING THIS BOOK

As with previous editions, The Media and Business Contract Handbook has
a number of functions:

1 As a starting point and framework for an agreement

Often the most difficult move in contract negotiation is the circulation of the
first draft of the proposed written agreement between the parties. If the draft
is intended – genuinely and in good faith – to be the basis for a negotiated
agreement, then a clearly understandable draft is likely to steer the parties
towards agreement and not frighten the other side off.

3
INTRODUCTION

Each contract in this work can be used as a starting point and subsequently
adapted for particular circumstances. We often find that even the structure
and general content of an agreement can be of great assistance to an
individual who is initially faced with a blank screen and a tight deadline.
Our accompanying title, The A–Z of Contracts Clauses, has been drafted on
the basis that a wide range of potentially alternative and new clauses is very
helpful during the course of negotiation.

2 To compare and analyse with another contract

It is fairly common practice for a contract to be issued by one party to another
reflecting a particular in-house style and policies. Often such contracts are
simply not open to negotiation. It is acknowledged, for example, that dealing
with certain parties, particularly Apple, Amazon and Google, will result in a
‘take or leave it’ set of complex terms being presented.
In such circumstances the chances of persuading the other party to use
your agreement are likely to range from slim to zero, but by comparing their
contract to one in this book you may quickly realise why their contracts are
non-negotiable and make an informed – often difficult and carefully balanced
– decision as to whether you should, or should not, ‘take it’ or ‘leave it’.

3 As a background guide and training tool

We have been pleasantly surprised at the number of law firms, media
organisations and academic organisations around the world who use The
Media and Business Contracts Handbook and The A–Z of Contract Clauses
as a background guide to media-related practices and for staff training
purposes.

4 As a reference tool for websites and trade codes of practice

Codes of Practice and/or guidelines are widely issued by a large number
and variety of companies, bodies and institutions. So when you are
negotiating and drafting a contract it is always worth checking whether there
are any Codes or guidelines which may either affect the subject matter, or
the method to be used or the standards which have to be attained. This
work is not intended to contain a definitive list of all Codes of Practice and
Guidelines, but merely as a useful additional reference section. In addition,
the website references in the Directory are intended as a reference guide to
other sources of information on the internet.

5 Commentaries as Guides
The Commentaries can be read as a guide to the intended aims of any
specific contract, and provide a convenient and fast route to understanding

4
Other documents randomly have
different content
Condition of repair.
The premises are in good repair.
Biographical notes.
In 1778 John Boldero was in occupation of the premises. His name
appears in the ratebooks until 1791, when it is replaced by that of Mrs.
Boldero.
The Council’s collection contains:—
[767]Sculptured panel of chimneypiece in entrance hall (photograph).
[767]Ornamental plaster ceiling in front room on first floor
(photograph).
XCII.–XCIII.—Nos. 68 and 84, GOWER
STREET.
Ground landlord and lessees.
Ground landlord, His Grace the Duke of Bedford, K.G. The
lessee of No. 68 is Miss Janet McKerrow.
General description and date of
structure.
Gower Street was formed at the same time as Bedford Square,
and many of the houses on the west side as well as some on the east
still present their original fronts.
No. 68, Gower Street, is provided with a bold and simple
wood door case (Plate 106) of excellent proportions, with Roman
unfluted Doric columns and ornamental fanlight. It is a very good
example of late 18th-century design.
The door case (Plate 106) to No. 84, Gower Street, was of
simple and tasteful design, well adapted for its purpose, and typical
of many others in the neighbourhood.
Condition of repair.
No. 68, Gower Street, is in good repair.
No. 84 was demolished in 1907.
Biographical notes.
The occupants of these two houses during the 18th century were,
according to the ratebooks:

No. 68. No. 84.

1787–93. Thos. Gatteker. 1789–1800. Sir John Scott.
1794–97. T. C. Porter.
1797– Mrs. Peters.
In the Council’s collection are:—
No. 46, Gower Street. Doorcase (photograph).
No. 63, Gower Street. Exterior (photograph).
[768]No. 68, Gower Street. Doorcase (photograph).
[768]No. 84, Gower Street. Doorcase (photograph).
XCIV.—NORTH and SOUTH CRESCENTS and
ALFRED PLACE (Demolished).

The sites of North and South Crescents and Alfred Place,

together with the corresponding portion of the east side of
Tottenham Court Road, belong to the City of London Corporation,
and form a part of the property of which some of the proceeds are by
the Act 4 and 5 William IV., cap. 35 (private), devoted to the upkeep
of the City of London School.
For many years before the passing of the Act an annual sum of
£19 10s. had been paid by the Corporation, out of the rents of certain
lands usually called the estates of John Carpenter, towards the
education and clothing of four boys. These estates were popularly
identified with certain properties in Thames Street, Bridge Street,
Westcheap and Houndsditch, and the North and South Crescents
area in St. Giles-in-the-Fields. Unfortunately, no direct connection
can be traced between the last mentioned property and John
Carpenter, who died about 1441.
It seems probable, however, that this part of the City estates
had a different origin.
In 1567 Lord and Lady Mountjoy sold to Sir Nicholas Bacon
the tithes of two closes in Bloomsbury, known as the Great Close of
Bloomsbury, containing 45 acres, and Wilkinson’s Close, containing
4 acres, together with a third close, having an area of 5 acres, and
being then or lately in the tenure of John Hunt.[769] The tithes are
mentioned in the account of the division of the property of St. Giles’s
Hospital[770] as falling to the share of Katherine Legh (afterwards
Lady Mountjoy), but no reference occurs to the third close, which
nevertheless was most probably obtained at the same time. In 1574
an exchange of land was effected between Sir Nicholas Bacon and Sir
Rowland Hayward and other City dignitaries, whereby the latter
acquired the five-acre close in question.[771] The deed relating to the
exchange does not appear to have been enrolled, and consequently
no particulars are available as to the property which was transferred
to Sir Nicholas Bacon.
The earliest record in the possession of the Corporation
relating to the estate in St. Giles is contained in a rental of 1667,[772]
“The Rentall of the Lands and Tenements, sometimes of Mr. John
Carpenter, sometimes Town Clarke of the Citty of London,” and is as
follows: “Margaret the Relict and Executrix of Richard Reede, late
Margaret Pennell, for a Close with the appurtenances cont. by
estimacon five acres, more or lease, and being in the Parish of St.
Giles-in-the-Fields to him demised for 61 years from Lady-day, 1652,
at £4.” Two other properties included in the rental are described as
having been taken by the Corporation in exchange from Sir Nicholas
Bacon, but it is unfortunate that no such statement is made with
regard to the 5–acre close, as such would have prevented any doubt
as to its identification. Nevertheless, scarcely any doubt is possible.
The rental of 1667 shows that the John Carpenter estate included
property acquired by way of exchange from Bacon, and the
presumption of the identity of the 5–acre close contained in that
exchange with the 5–acre close leased to Richard Reede in 1652 is
practically overwhelming. Moreover, it is difficult to see with what
other land the close could possibly be identified. It is quite certain
that it was not in that part of the parish of St. Giles which lay to the
south of Bloomsbury Manor, for there was in that direction no 5–
acre field, of which the history, as detailed in this volume, does not
preclude the possibility of its being identified with the close in
question. It is moreover fairly obvious that the close could not have
been actually included in the Manor of Bloomsbury, since it was in
the hands of Mountjoy.
We are thus almost bound to identify the latter with the North
and South Crescents estate, which, with one exception (Cantelowe
Close), is the only St. Giles property in the neighbourhood not in the
manor of Bloomsbury.
It may, therefore, be assumed that the connection of the land
with the Carpenter Estate only dates from 1574, and that it was
obtained by the trustees of that estate in exchange for other property.
 The land remained unbuilt on until the estate was laid out
early in the 19th century. Although the houses were of no
architectural merit, the plan is by no means uninteresting. It consists
of Alfred Place running parallel with Tottenham Court Road, with a
connecting cross road at either end, crescents being formed in these
opposite the north and south ends of Alfred Place.
It is probable that George Dance, the younger, who was City
Architect at the time, modified his idea for the improvement of the
Port of London in the preparation of this design.[773] The former
scheme is embodied in a coloured engraving[774] by William Daniell,
published in 1802.[775]
All the houses have recently been demolished.
In the Council’s collection are:—
North Crescent—General view (photograph).
South Crescent—General view (photograph).
 XCV.—HOUSE IN REAR OF No. 196,
TOTTENHAM COURT ROAD.

The land immediately to the north of the City estate was

formerly a field known as Cantelowe Close. In an inquisition held on
20th May, 1639,[776] it was found that John, Earl of Clare,[777] had died
in possession of, inter alia, a parcel of land in the parish of St. Giles,
called “Cantlowe Close,” containing seven acres.[778] The land seems
to have continued in the Holles family until the death of John Holles,
Duke of Newcastle, in 1711, and then to have passed with most of the
latter’s possessions to his nephew, Thomas Pelham-Holles,
afterwards (1715) Duke of Newcastle, for the plan of the new road
from Paddington to Islington which appeared in the London
Magazine for 1756 marked the field to the north of “The City Lands”
as the “Duke of Newcastle’s.” In 1772 the Duke of Newcastle sold to
the Duchess of Bedford and others, trustees for the late Duke, “all
that close or parcell of ground, scituate in the parish of St. Pancras,
[779]
commonly called ... Cantelowe Close, containing nine acres and a
half or thereabouts.”[780]
In 1776 the trustees granted to William Mace, carpenter, a
lease for 78 years of a portion of the ground “in consideration of the
great expense he hath been at in erecting a farmhouse on part of a
field known as Cantelowe Close, and that he, the said William Mace,
shall build proper and convenient sheds and other outhouses for the
accommodation of 40 cows at the least.”[781] It is therefore clear that
the house was built in or shortly before 1776.
It stood about 150 feet east of Tottenham Court Road. The
exterior (Plate 107) was of stock brickwork, with red brick window
heads. The entrance doorcase was of wood, and above were two
tablets showing that formerly the parish boundary between St. Giles
and St. Pancras passed through the house.
 The interior had a decorated wood and composition
chimneypiece (Plate 107) in the north front room on the first floor.
The premises were demolished in 1914.
The Council’s collection contains:—
[782]East front (photograph).
[782]Chimneypiece in front room on first floor (photograph).
 INDEX OF NAMES AND TITLES.

Abercorn, James Hamilton, 2nd Earl of, 102

Adam Brothers, 151
Alan, 107
Aldewych, 23, 107
Aldewych (Oldwych) Close, 34, 35, 37, 42, 43, 93, 94, 100, 125
Aldewych Cross, 23
Alfred Place, 186
Allen, John, 3n
Allen, Thomas, 108
Allington, Lady, 102
Allington, Lord, 102n
All Saints’ Church, West Street, 115–116
Almshouses in Monmouth Street, 138
Alsopp, Henry, 18
Ampthill, Henry, 109
Ampthill, John, 109n
Angel, The, 122, 125
Angell, Robert, 13, 14
Antelope Inn, 3
Apsley, Henry, Lord (afterwards Earl Bathurst), 149
Apsley, John, 6, 8n
Apsley, Peter, 6, 7
Archer, J. W., 45, 48, 105
Ardowin, John, 115
Arne, Thomas, 89
Arne, Thomas Augustine, 89
Arthur, John, 92
Arthur Street, 145
Arundell, Thomas Howard, Earl of, 44
Arundell, Thomas, 1st Baron Arundell of Wardour, 50
Ashburnham, Francis, 119n
Ashley, Sir Anthony, 7, 9n
Ashley, James, 76, 77
Ashley, Mrs. (formerly Worlidge), 77
Ashlin Place (formerly Paviors Alley), 106, 108
Aspin, William, 89
Aston, Coston, 56
Aubigny, Seigneurs d’ (See Stuart.)
Auchinleck, Alexander Boswell, Lord, 57
Aynscombe, Lily, 84

Back garden, Weld Street, 95n

Bacon, Sir Nicholas, 186, 187
Bacon’s Hotel, Great Queen Street, 84
Bagford, John, 38, 44
Baguley, Mr., 86, 87
Bailey, Anthony, 3n, 9n
Bailey, E. H., 62
Bailey, Jas., 164, 167
Bailie, Jas., 179
Bainbridge (Baynbrigge), Jane, 145n
Bainbridge, Henry, 145
Bainbridge Street, 145
Baines, —, 84
Baker, Ric., 103n
Baker, William, 139
Baltimore (Battimore), Lord, 95, 96
Baltimore, Lady, 96
Banks, Sir John, 7
Banks, Sir Ralph, 7, 8
Bannister, John, 104
Banqueting Hall, Freemasons’ Tavern, 63
Banson, —, 66
Baptist Chapel, Little Wild Street, 99
Barber, Ann, 110
Barber, Thomas, 110
Barber, William, 110
Barbor (alias Grigge), John, 145
Barker, John Raymond, 180
Barker, Thos., 7n
Barkstead, John, 120
Barnard, William, 11n
Barnett, Thomas, 28n
Barnfather, John, 133
Barnfather, Mary, 134
Barnfather, Robert, 134
Baron, John, 125
Barrington, Sir Thos., 39
Bath, Countess of, 75
Bathurst, Henry, 2nd Earl of, 149
Baxter, Nathaniel, 139
Bear, The, Broad Street, 19, 107, 108, 125
Bear Brewhouse, 108n
Bear (Bere) Close, 19, 20, 21, 29n, 30n, 125
Bear Croft, 19
Beauclerk, Lady Diana, 149
Beauclerk, Lord Sydney, 149
Beauclerk, Hon. Topham, 149
Beaufort, Henry, Duke of, 75n
Beaufort House, Chelsea, 53
Beavor, Edward, 75
Beavor, Rhoda (formerly Webb), 75
Bedford, Dukes of, 126
Bedford, Francis Russell, Earl of, 23n, 51n
Bedford, Gertrude, Duchess of, 149, 188
Bedford, Herbrand Arthur, 11th Duke of, 147, 148, 149, 150, 151n,
162, 163n
Bedford, John, 4th Duke of, 149
Bedford Square, 147, 150–184
Bedloe, Mr., 97n
Belasyse, Ann, Lady (formerly Lady Ann Powlet), 137
Belasyse, Ann, Lady (daughter of Sir Robert Crane), 137