London, Thomas (McKechnie Section 5)


See also Section Two

Recorded by Jackson (Dictionary) by reason of two profiles painted on porcelain, and dated by her to c. 1790. She records his work in an entry on 'Mrs Plater', probably because the part of the trade label on the backs of these portraits which would have shown the artist's initial had been cut off, leaving only the name 'London' (which Jackson may have read as the city) and the name of Mrs Plater (in whose house the profilist lived). In fact, these silhouettes on porcelain may date from the late 1790s.

London's two trade labels are our only source of information about him. One tells us that he worded at 'Mrs Plater's, Bull-Ring, Kidderminster', to judge from the appearance of silhouettes painted there, it was in this town that he first began work as a profilist, apparently a year or two before 1800. The other label, apparently used later (possibly until c. 1810) bears the address '26, Cross, Worcester'.

It is just possible that the profilist was the J. London who exhibited one architectural subject at the Royal Academy in 1807 (Graves); the initial I (for J) has often been confused with T.

I have not seen the silhouettes painted on porcelain referred to by Jackson. With regard to his work on ivory, London is notable as one of the very few artists who painted silhouettes on this material for framing in the conventional manner. In fact, on neither of his trade labels does he offer profiles for jewellery setting, and no examples are known to me.

London's silhouettes are finely painted in shades of grey water-colour, the darkest grey being reserved for the face. Some Chinese white is used for the highlighting of the ruff of a woman's dress, or to show the detail of materials. Cravats and shirt-frills are, however, left white, and the detail is carefully painted in thinned pigment. It is possible that London used a certain amount of body colour for painting the main part of the profile. A distinctive feature of his style in his earlier profiles is his use of a background of green and grey, hatched in these colours with reasonable precision. These backgrounds fill about three-quarters of the ivory oval, the space behind the face being left clear. Later, when he was working in Worcester, he did not invariably follow this practice; in one illustrated example he left the background clear. Those of London's silhouettes which I have seen have no bust-line termination.

London used rather small papier mâché frames, usually furnished with skilfully designed decorative gilt or ormolu oval surrounds, and hanger.

On his trade labels London mentions that he uses a 'machine'. The time of sitting stated (five minutes longer than was customary) was probably necessitated by the amount of detail of dress which London painted on his profiles.

On both his trade labels London quotes two prices: 6s and 10s. Presumably the lower price was charged for silhouettes painted on paper, the higher for silhouettes painted on ivory. The full text of Trade Label No. 1 (only part of which was recorded by Jackson) reads as follows:

T. LONDON 
Respectfully informs Ladies and Gentlemen that he takes 
CORRECT 
LIKENESSES IN PROFILE 
by his machine 
UPON AN ENTIRE NEW & IMPROVED PLAN, 
To any Size, at 5 Minutes' Sitting, 
and finishes them in a superior Style 
upon Paper or Ivory, at 6s. to 10s. each 
at Mrs. Plater's, Bull-Ring, Kidderminster 
Where Specimens may be seen.

Ladies and Gentlemen can have Profiles of all Descriptions copied accurately, without the trouble of sitting again.

T. L. will wait upon any Person who may Honor him, with their Favors, at their own House, at the shortest Notice, having their address as above.

Trade Label No. 2 is similarly worded, but gives a Worcester address:

T. LONDON 
Respectfully informs Ladies and Gentlemen, that he cakes 
CORRECT 
LIKENESSES IN PROFILE 
By His Machine 
Upon an Entire New & Improved Plan 
To any Size, at 5 Minutes' Sitting, 
and finishes them in a superior Style 
upon Paper or Ivory at 6s. to 10s. each. 
at his House, 26, Cross Worcester. 
Where specimens may be seen

Ladies and Gentlemen can have Profiles of all Descriptions copied accurately, to any number, without the Trouble of Sitting again.

T. L. will wait upon any Person who may Honor him, with their Favors, at their own House, at the shortest Notice, having their Address as above.

Ills. 125, 1490-1495, 1519

125
Unknown man
Silhouette by T. London, c. 1805.

 

costume dating points
The short pigtail wig, and the front hair ruffed à la Titus.
Either the cravat or the stock of 1800-1810, with the bow in front.
The frilled shirt.
The waistcoat with a standing collar sloping backwards, typical of the decade.
The double-breasted Jean de Bry coat; the size of the sleeve is very evident.

 

Author’s collection

 

SECTION FIVE

 

1490
Unknown man
Silhouette painted on ivory, with green and grey stippled background
? 1798-1800
3 x 2¼in./77 x 58mm.
Frame: papier mâché, with plain brass oval
Trade Label no. 1

 

W. E. Fox-Smith collection

 

1491
Unknown man
Silhouette painted on ivory, with green and grey stippled background
c. 1803-04
2 ¾ x 2 ¼ in./70 x 58mm.
Frame: papier mâché, with decorated oval surround
Trade Label No. 1

 

W. E. Fox-Smith collection

 

1492
Unknown woman
Silhouette painted on ivory, with green and grey stippled background
c. 1806
2 7/8 x 2 3/8 in./74 x 61mm.
Trade Label No. 2
Frame: papier mâché, with ormolu matting surround and hanger showing musical instruments

 

Author’s collection

 

1493
Unknown man
Silhouette painted on ivory
c. 1810
2 ½ x 2 1/8 in./64 x 53mm.
Trade Label No. 2
Frame: papier mâché, with brass surround

 

M. A. H. Christie collection

 

1494
Trade Label No. 1 of T. London.

 

W. E. Fox-Smith collection

 

1495
Trade Label No. 2 of T. London.

 

Author’s collection

 

 

Detail
1519
Shirt-frill, cravat and lapels. Detail from a silhouette of a man by T. London. (125)