Rider, Thomas and Bazing, William (SCC Newsletter March 2000)

Rider and Bazing

and the part played by BAZING.

T. Rider is by any standards a rare artist. In spite of much research by Mrs. McKechnie little or nothing is known about Rider himself or about Mr. Bazing and his relationship with him. She thought that Rider might have been the son of an engraver (T. Ryder) and that Bazing might also have been the son of another engraver (James Basire) in spite of the different names. However, two 'events' have occurred since Mrs. McKechnie wrote her Book - a gent painted by Rider has come to light in the Andrew’s Collection at Stoner House and secondly a Member of the Club bought a silhouette last year with a Rider & Bazing label on the back. Mrs. McKechnie knew about the existence of this label but had no idea about its wording. It bothered her that she had not seen a man that could definitely be attributed to Rider, as it made comparison with the work of the partnership very problematical! I have been able to photograph both these 'events' for this article. I have also made some deductions which are different from those made by Mrs. McKechnie, which I hope will be of interest. Before I relate these I will give a brief account of the work of T. Rider on his own and hopefully this will lead into the work of the partnership.

Illustrated at the top of this page are silhouettes of Mr. & Mrs. Wyatt by T. Rider - both are in the Andrew's Collection at Stoner House and both at one time formed part of the famous Wellesley Collection. Mrs. Wyatt is both illustrated in "One Hundred Silhouette Portraits" (Frances Wellesley) plate XXI and in Mrs. McKechnie on page 596 illus. 1140. Mr. Wyatt is the silhouette of a gent that Mrs. McKechnie had not seen. Neither silhouette has a label but both have been attributed to Rider (without doubt) on stylistic grounds. Both are painted on the back of convex glass with a verre eglomise border -- housed in pearwood frames backed with plaster. Size of ovals is 3½" X 2¾". These are photos taken some time ago - so apologies for lack of some detail. Note the shape of Mr. Wyatt's bust-line as I will be referring to this later.

Rider and Bazing — Page 2.

Rider's work. He paints on the back of convex glass - faces are in dense black and frills, clothing detail and hair are shown in some detail with the use of a thinned paint. His style is quite distinctive although it has been likened to the work of Mrs. Beetham. Certainly there are some similarities, but I think most of us looking at Mr. Rider's work would know it was not by Mrs. Beetham! He did not use a needle to get his detail. He used a variety of backing for his works - plaster plaques, gesso or gold foil. He is recorded as having worked on paper and plaster as well as glass - however, no works on these 'materials' were seen by Mrs. McKechnie. At the Morgan May Collection Sale on 22nd. February, 1985 a small work on plaster by Rider was sold - it was Lot 194. It was painted on a 1½" oval with a blue Rider label on the back. It was in a pressed brass frame. On this page is a photocopy of a lady by Rider illustrated in Arthur Mayne's "British Profile Miniatures" (plate 41). This has Rider's trade label no.3 on the back. Although you cannot see transparency of her buffon and hair you will notice that she is very similar in shape to the silhouette of Mrs. Wyatt. Also on this page is a photograph of the frontispiece from the same book - this is of a very smart lady - she is backed with gold foil. T. Rider's signature is scratched out at the bottom of the bust-line (this can be seen). She has an inscription on the back - "T. Rider Profilist No. 8 Charles Street, Covent Garden." She is painted on glass and housed in a turned wood frame - size of oval is 3¾" X 2¾". She is a splendid example of Rider's work. She belongs to a Member of the Club and previously was part of the Ronald Kilner and Martin Willcocks Collections. It is unusual for an English silhouette to be backed with gold and claims have been made that Rider was the first English silhouettist to devise gold decoration and verre eglomise borders on glass! I think Mr. Beetham was probably ahead of him with the borders!

On the next page is a rather 'odd' work by Mr. Rider. It is painted to look like a piece of bust statuary - it is painted on glass & backed with gold foil. It has suffered a little over the years so some of the gold is missing. Rider states on one of his labels that "persons may like to have Shades of their deceased Friends, reduced or copied and emblematically represented in a curious Manner". I think this is an example of this time of work. I am not sure about the significance of the blindfold. Clearly it is not every collector’s choice but it is a 'bit' of silhouette history. It appeared at the Andrew Ransford Sale in November last year but failed to sell. This is sad as it had a splendid Rider

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label behind it which I have named Label No. 1a. It only differs slightly from Label No. 1 (see Mrs. McKechnie page 556, where all the known Rider labels are quoted). The main difference is the N. B. at the end of the label wording. I have recorded the label in full below in case you cannot see the wording clearly. At the end of a line I have used a ] bracket as I cannot fit it into the page otherwise.

Rider's Trade Label 1a.

LIKENESSES.

Taken in Miniature, profile and finished in a rich and elegant Stile on Ena-]mel also on Glass with a Gold Ground, in a manner entirely new. ] Coats of Arms, Crests, Cyphers, Writing, or any Device, wrought in Gold ] on Enamel or Glass.] Persons having Likenesses in Shade of their ] deceased Friends, may have them reduced or copied, and ] emblematically represented in a curious Manner. ] Large Shades reduced or within the Compass ] to be worn in a Ring, Pin, Locket, or Bracelet, on ] enamel Ivory or Paper, and the Likeness carefully ] preserved and dressed in the present Taste by ]

T. RIDER PROFILEST

No 8, Charles Street, Covent Garden.

NB. He takes the Likeness of Persons after Decease ] if any Resemblance remains, either in Profile or ] Plaster of Paris, preserves the original Shades and ] can furnish any Number from those he has ] once taken and have them carefully conveyed ] either by Letter or Packet to any Part of England or elsewhere. ]

The recording of this label makes it possible to complete the illegible part of Label I recorded by Mrs. McKechnie - so this is an extra bonus! Label 2 was recorded by Mrs. N. Jackson - this had not been seen by Mrs. McKechnie. Label 3 is the only one that mentions prices i.e. 2s. 6d to £1/1s. He seems to indicate on this label that he was prepared to reduce shades done by clients! The address for this label is: - “At Mr. Billington’s Printseller, Temple Bar.” He also mentions his work having “the effect of a topas” (presumably

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means topaz) a unique 'offer' by any silhouette artist it seems.

The partnership with Mr. Bazing.

On the right is the photo of a splendid silhouette - backed with a Rider and Bazing label. It was part of the Wellesley Collection and is illustrated in "One Hundred Silhouettes" from the Wellesley Collection published in 1912 plate XXXI. It is also illustrated in Mrs. McKechnie's Book on page 597 illus. 1143. Mrs. McKechnie had not seen the silhouette but knew that it was backed with the rare label - but the wording of the label had not been recorded. The silhouette was recently bought by a Member of the Collector’s Club - it seems that it had been residing in France prior to his purchase. It is wonderfully presented with a very skilled and intricate verre eglomise surround in a giltwood frame. It is backed with a pale purpleish gesso plaque, which sets-off the dense black of the work to perfection. Of course it is painted on convex glass - the painting of the hair and shirt frill have been very skilfully executed. (some photos have turned out better than others - but I think all show it's quality,) Notice the overall shape of the silhouette and the bust-line termination - it is almost identical to that of Mr. Wyatt's illustrated at the beginning of this article. Mrs. McKechnie took the view that the silhouette was probably painted by Mr. Bazing as she felt it was so different to Rider's independent work. She expressed this not having seen another silhouette of a man painted by Rider. She considered Rider's style when painting women sitters was different - the black was less dense and the painting 'looser'. She hoped that the wording on the label might throw some light on the partnership i.e. whether both men painted silhouettes or not. Unfortunately the wording of the label does not after all produce the enlightenment! The greater part of the label describes the partnership's skills in producing gold inscriptions, enamelling on glass and decorative glass borders. Only one short paragraph mentions "Profile Likenesses" Providing gold inscriptions seemed to have a wide application and it is possible that this was a lucrative business at the time. It is clear from Rider's individual work that he was able to produce plain gold borders as well as back his works with gold foil. His Label 3 stated that he could achieve "the effect of enamel and topaz". So it is possible that the partnership brought together two people skilled in this work. Perhaps with complimentary skills so that they could produce the very finest and most finished work available at that time. Further I am inclined to take the view that painting profiles was a secondary activity for the partnership and that Rider was most likely to be the artist and not Bazing. Also, as Rider's name is printed first on the label I think he was the senior partner and may have persuaded Bazing to join him. I think it is likely that Rider will remain a rare artist as he had other 'strings to his bow'. I think a silhouette with

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a Rider and Bazing label would be a very rare find indeed!

The Label. In view of the rarity of this label and the fact that it has not been recorded previously I propose to quote it in full as well as providing a photograph of it.

RIDER AND BAZING

Inventors of Writing in real Gold Enamel on Glass.

(No 408)

STRAND Facing the ADELPHI

The various public Specimens of their GOLD INSCRIPTIONS, enamelled upon GLASS, which can be referred to in this Metropolis, and most of the principal Towns in Great Britain, Ireland, and on the Continent, have been distinguished by the most eminent Artists, and the Curious in general for Beauty of Design, Lustre, and Durability.

This elegant Art is peculiarly adapted for the Embellishment of Prints, Drawings, Portraits, Looking Glasses, Cabinets, Carriages, Public Halls, Assembly Rooms, Theatres, and for most occasions where a rich and splendid Ornament is required. - Borders completed on Glass or Chrystal, equal in Appearance to the most expensive Enamels. for which they are successfully substituted in Rings, Ear-Rings, Lockets, Fausse Montre, Watches, etc. etc.

PROFILE LIKENESSES in Enamel on Chrystal’s, equal in Effect to the finest Topaz for Rings, Lockets, etc.

Artists immediately supplied with Miniature Glasses, plain or ornamented; an extensive Variety always being kept for that Purpose.

For the record it would be good to know if any of you have works by Rider or think you have after reading this article. These are most likely to be painted on the back of convex glass but could be on plaster or even paper. However, I think a work might be difficult to recognise on paper without a label. Works could vary in size and could be quite small. The original frames are likely to be made of fruitwood, giltwood or pressed brass.