Rider, Thomas

Introduction:

London-based THOMAS RIDER ( fl 1784-1793) was one of the earlier profilists crafting works on glass in the City. Also producing work on plaster and card, his extant output is accomplished, relatively rare and occasionally evidences notably individual methods of presentation. Between 1791-1793 Rider entered into a partnership with jeweller William Bazing (1762-1812). Though Mckechnie theorised Rider was possibly the son of engraver Thomas Ryder (1746-1810), current strands of research strongly suggest he was a Glass-maker.

According to https://glassmaking-in-london.co.uk, the Capital was at that time the most important glass-making hub in England. And Riders' 4, lengthy, insightful, printed trade labels offered considerably more than Profiles as '...Coats of Arms, Crests, Cyphers, Writing or any Device...[could be]...wrought on Glass'. Offered too were durable 'GOLD INSCRIPTIONS on Glass...peculiarly adapted for the Embellishment of Prints, Drawings, Portraits, Looking Glasses, Cabinets, Carriages, Public Halls, Assembly Rooms,Theatres and for most occasions where rich and splendid Ornament is required'. In addition artists could be '...immediately supplied with an extensive variety of Miniature Glasses, plain or ornamented '.

Clearly Rider aimed to market engraved glassware enhanced with opulent ornamentation, and by and large the same approach was applied to his profiles. From his initial studio at No 8 Charles St. in London's Covent Garden his 1st. printed trade-label (ca. 1786-1790) offered likenesses '... on a Gold Ground, in a Manner entirly new'.

Though commonplace on the Continent, profiles presented on a 'Gold Ground' were indeed an 'entirely new' offering for home consumption. However if Rider hoped to capitalise on the novelty, the rarity of his recorded works executed in this manner and, perhaps more tellingly, the absence of any professional imitators, suggests works of this type attracted little custom in Britain.

While the above style of presentation was unique to Rider, he was also the sole London-based artist backing likenesses with tinted gessoed glass. Only itinerant profilists Richard and Walter Jorden (fl.ca 1776-ca.1786), Mrs Ames (fl. 1785-1787) and Thomas Johnson (fl.ca 1788-ca.1792) of Harrogate, Yorkshire also used the same stylish trait.

Frustratingly, unlike his later partner William Bazing (see Rider and Bazing - Artists Index), virtualy no definative Rider records have, to date, surfaced. However, it's certain he was 'widower' Thomas Rider who wed Mary Haylock 'spinster' (dates N/K) at St. Mary-le-Strand 3rd February 1786, as Rider's marriage signature corresponds exactly with another on the reverse of a ca.1786 profile illustrated by McKechnie. He also appears in WAKEFIELD'S 1790 Directory as 'R (sic) Rider, 8 Charles St., Covent Garden, Profile Art', but further records are conjectural.

Arguably he is Thomas Rider 'Glassmaker', who with wife Mary (dates N/K) baptised their son William Henry (1774- N/K) at Christ Church, Newgate St. 17th June 1774 and 'Glassmaker' Thomas Rider, who presumably with his second wife Mary, baptised daughter Sarah (1791-N/K) at the same church, 4th February 1791. Again, arguably, given Rider's connection to the glass trade, he is probably related to Henry Rider (dec. after 1794). Appearing in LOWNDES' 1787 Directory as a cut glass manufacturer of 231 High Holborn...

To be continued