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. In 1793 he would enter into a short-lived partnership with goldsmith and 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 Glassmaker.

According to https://glassmaking-in-london.co.uk, the Capital was, during Rider's time, the most important glass-making hub in England. And his 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 was marketing glassware engraved 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 first printed trade label (ca. 1786-1790) offered likenesses '... on a Gold Ground, in a Manner entirely 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 profiles 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 applied the same decorative trait.

Catering for both living and dead clients, in a starkly practical statement, Rider's first printed trade label offered '...the Likeness of Persons after Decease, if any Resemblance remains, either in Profile or Plaster of Paris'. This suggests plaster death masks would be formed as workable templates and profiles made from them, suitably reduced in scale for the bereaved. As far as known, Rider was the sole profilist offering this specific service. In addition, 'Persons having Likenesses of their deceased Friends...[could have them reduced, copied or]...emblematically reproduced in a curious Manner'.

Two 'memento mori' profiles, both above the commonplace, are recorded. The first, painted before 1791, as it bears the initial printed trade label, is a memorably odd, likely unique composition. Unsold at Bonhams (London) 24th November 1999 and painted on flat glass backed with gold leaf laid over plaster, the sitter is blindfolded - presumably emblematic of life's extinguished light - and represented as a piece of bust-sized statuary. Of more conventional design, the second is painted on convex glass backed with gessoed glass 'topaz' tinted, and commemorates Sir William Guise, Bart. (1737-1783). The weeping willow and initialled funerary urn atop an altar tomb that frames a gold-backed bust-sized profile of the deceased, are common motifs applied to memorial jewellery settings. However, at 10" (25.5 cm) in height, Rider's commission is, for a British profile of the time, unusually large.

Also notably large in height is a 7 1/2" (19 cm) bust-sized, plaster backed profile on flat glass of the highly succesful Lottery contractor Thomas Bish Esq.(1750-1815). Dated 1784, and scratched with a needle within the bustline is 'T. Rider', one of only 2 known  signature variants, the other being 'Rider'.

However the majority of works are ' standard ' size, plaster backed 3 3/4" (9.5cm) high profiles painted on convex glass. Of the same dimension is a rare, well painted bust-sized profile on card, while an extremly rare 1 1/2" (4cm) trade labeled likeness on plaster was sold at Sothebys (London) 22nd February 1985. Rider also offered profiles on ivory and paper for jewellery settings. However, as far as known, none are recorded.

Four Rider 'studios' are recorded. Between ca.1784-1790 he worked from 8 Charles St. Covent Garden, with WAKEFIELD'S 1790 directory listing him there as 'R (sic) RIDER...PROFILE ART'. Thereafter trade labels evidence 3 further locations used between 1791-1793.The dates can be given with a degree of accuracy as current research established Rider's partnership with Goldsmith and Jeweller William Bazing was sundered in January 1794 due to Bazing taking on the family Thames-side timber business after the death of his elder brother.

Possibly Bazing worked for Rider before becoming his, albeit brief, partner. A Freeman of the Goldsmiths Livery Company (by Servitude), Bazing completed his 7-year apprenticeship in February 1785, within months of Rider painting his 1st recorded profile. The enamelling and engraving promoted by Rider required the skills of a jeweller and goldsmith, and Bazing was both.

Assuming Rider spent a year at each of his last 3 studios, in 1791 he is located two streets north of Charles St., at 85 Long Acre. In 1792, his address was at 'Mr.Billingtons, Print Seller, Temple Bar'. Operating as 'Billington & Freeman' (fl. 1788-1794), the business of Horace Wyche Billington (1760-1812) was specifically located at 234 Strand. The Rider and Bazing partnership would then trade from 408 Strand, during 1793, after which Thomas Rider disappears from records.

Frustratingly, unlike his later partner (see Rider and Bazing - Artists Index), virtualy no definative personal Rider records have 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.1785 profile illustrated by McKechnie. However further background details 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' and BAILEY'S directories between 1787-1790 as a cut glass manufacturer of 231 High Holborn, he was listed a bankrupt wholesaler and retailer of glass and china-ware in the LONDON GAZETTE in May 1790 and again in June 1794 as a bankrupt 'Glass seller' of Exeter St. Strand.

With generally so few available records pertaining to Thomas Rider, it's possible, though speculative, that the nationwide economic slump of 1793-1794 dealt an unrecoverable blow to his business and accounts for his anonymity thereafter.

REVISED: 16 November 2025 (Brian Wellings)