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Page in an album containing designs for goldsmiths’ work and jewellery 1815-1825

  • Place of origin:

    England

  • Date:

    1815-1825
    1811-1831 (made)

  • Artist/Maker:

    James Aldridge, born 1768 (compilers)
    James Aldridge, born 1768 (designer)
    Chippendale, Thomas Sr, born 1718 - died 1779 (designer)
    Butler Clowes (print-makers)
    Franchi, Gregorio, born 1770 - died 1828 (designer)

  • Museum number:

    E.21-1972

  • Gallery location:

    Prints & Drawings Study Room, level E, case ABOVE CASE 124CC

Physical description

Verso of a page from Thomas Chippendale’s ‘The Gentleman and Cabinet Maker Director” on which are drawn designs for masonic badges

Place of Origin

England

Date

1815-1825
1811-1831 (made)

Artist/maker

James Aldridge, born 1768 (compilers)
James Aldridge, born 1768 (designer)
Chippendale, Thomas Sr, born 1718 - died 1779 (designer)
Butler Clowes (print-makers)
Franchi, Gregorio, born 1770 - died 1828 (designer)

Dimensions

Height: 283 mm, Width: 445 mm

Object history note

This is a page in an album (E 1-80.1972) made up using 41 disbound leaves from Thomas Chippendale’s ‘The Gentleman and Cabinet Maker Director” with dates on the plates from 1759 to 1761 in a modern half brown calf binding, labelled “Jewellery Designs”.
Drawn on the leaves and pasted onto them are designs for goldsmiths’ work and jewellery by various hands. The drawings are mainly on the reverse of the leaves. The leaves are numbered in ink 14 to 118 (78 sheets missing). The highest Chippendale plate number is 200. The 1762 edition of Chippendale contained 212 plates.
The contents of the album show that it is associated with the workshop of the goldsmith and jeweller James Aldridge. He registered his mark at the Goldsmiths’ Hall in 1798. By 1817 he is recorded in Johnston’s Commercial Guide as a goldsmith and jeweller living at 11 Northumberland Court, Strand. E.25 and E.29.1972 carry the erased signature of James Aldridge. An impression of a medal on E.17-1972 shows his maker mark. Aldridge is known to have been a leading maker of metalwork for William Beckford.
Circa 1815- 1825
Bought from Messer B.H. Blackwell ltd, Oxford, for £95.44.

Folio 11 (recto) shows a combination of designs, impressions and drawings of Freemasons badges or jewels. The combination of drawings and impressions suggests that Aldridge is replicating existing badges.
Drawn on the blank side of the sheet:
Starting from the right hand side clockwise
A design for a gold masonic badge or jewel, by J. Aldridge 1825
Profile. full size 88 x 66
Pencil, pen and ink and wash and white body colour (oxidized) drawn on page
A drawing of a gold Freemasons’ badge showing the Square and Compass and a star within a circle. Lettered “Sumatra”
Inscribed ‘Provincial Grand Master’ and compass’s size ’20 in long gage/ back size 7/ letter size 14/ When finished 1 ounce. 2 penny weights'

A design for a masonic badge or jewel, by J. Aldridge 1825
Profile. full size 72 x 50
Pencil, pen and ink and wash and white body colour (oxidized) drawn on page
A drawing of a gold Freemasons’ badge showing a Plumb hanging within an open oval
Inscribed on the paper ‘Past Warden of the Grand Lodge’ on the oval ‘Paste stone’ against the plumb ‘Enamel’
Paste diamonds are indicated on the oval frame in pencil

A design for a gold badge, by J. Aldridge 1825
Profile. full size 82 x 60
Pencil, pen and ink and wash and Chinese white (oxidized) drawn on page
A drawing of a gold Freemasons’ badge showing crossed swords over a triangle with rays of glory within a circle. Lettered “Supreme Grand Chapter of England 1818”
Inscribed ‘the squr lapped (?) off with motto/ the sword brought on the face, the rayse brought on at back with pins under the sword/ weight when finished one ounches, two penny weights and 8 grains/sword blade size 12/ handle size 22/ the back rayse size 5/the border & sqr size 16 ’
‘This motto at back with the name of Ye gentleman appointed The Grand Sword Bearer of the supreme grand chapter of Royal Arch Masons of England’
This design is drawn over the actual badge that has been impressed into the back of the folio, where some of the ornament is shown in pen and ink.

A design for a gold masonic badge or jewel, By J. Aldridge, 1825 circa
Profile,
Full size 96 x 60
Pencil, pen and ink and wash and white body colour (oxidized) drawn on page
A drawing of a gold or silver gilt Freemasons’ badge showing the seal of Salomon and other symbols within a circular band. At the bottom a three lobed band with a triple Tau symbol.
Lettered “Deo, Regi, Fratribus – Honor, Fidelitas, Benevolentia”, at the bottom “Exalted March 19 1825”
This badge represents the Royal Arch Jewel of the Masonic Royal Arch Order. A lower lettering refers to the exaltation ceremony in which new companions are admitted to the Chapter.
This design is drawn over the actual badge that has been impressed into the back of the folio.
The following design represents the obverse of the same jewel minus the addition of an ornament at the bottom of the lower band.

A design for a gold masonic badge or jewel, By J. Aldridge, 1825 circa
Profile,
Full size 90 x 60
Pencil, pen and ink and wash and white body colour (oxidized) drawn on page
A drawing of a gold or silver gilt Freemasons’ badge showing the seal of Salomon and other symbols within a circular band. At the bottom a three lobed band with a triple Tau symbol.
Lettered “Is tajia…jungere.possis.sit.tibe.scire.satis. AL 5829. AD 1825”, At the bottom “Nil nisi clave deest”.
This badge represents the Royal Arch Jewel of the Masonic Royal Arch Order.
This design is drawn over the actual badge that has been impressed into the back of the folio.
The previous design represents the reverse of the same jewel.

Pasted to the page:
A design for a masonic badge or jewel, By an unknown draughtsman , 1822 circa
Profile,
Full size 75 x 70
Pencil, pen and ink and blue, yellow and grey washes on wove paper pasted to the page
A drawing of a gold or silver gilt Freemasons’ badge showing the seal of Salomon laid over a triangle with start.
Inscribed “Simon McGillavray Esqre/ Appointed Grand Superintendent of Royal Arch Masonry for the province of Upper Canada, EL 5826 AD 1822, and inscribed by J. Aldridge “Outside line 16/ Inside 9/ Matt 3/ Silver Enamel 6/ When finished 23”
Simon McGillavray was sent to Canada to reorganize Freemasonry in the Province of Upper Canada. He was appointed Provincial Grand Master in 1822.

Descriptive line

Page in an album containing designs for goldsmiths’ work and jewellery 1815-1825

Bibliographic References (Citation, Note/Abstract, NAL no)

M. Snodin, M. Baker, ‘William Beckford’s Silver I-II’, The Burlington Magazine, November and December 1980, pp. 734- 748, 820- 834.
M. Snodin, William Beckford and metalwork in ‘William Beckford, 1760-1844 : an eye for the magnificent’, Derek Ostergard, Yale University Press, 2001

Labels and date

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Materials

Material; Ink; Bodycolour; Pencil; Glue; Material

Techniques

Technique; Drawn; Glued; Printed; Written

Categories

Designs; Silver; English

Collection

Prints, Drawings & Paintings Collection

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