T & J Bragg - Birmingham - 1858
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T. & J. Bragg - Birmingham
T. & J. Bragg - Birmingham
A topic devoted the important firm of manufacturing goldsmiths, T. & J. Bragg of Birmingham.
T & J Bragg - Birmingham - 1858
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T & J Bragg - Birmingham - 1858
Trev.
Re: T. & J. Bragg - Birmingham
Thomas and John Bragg entered their mark at the Birmingham Assay Office on the 20th January 1853. The firm also entered their marks with the London Assay Office in 1888, and the Chester Assay Office in c.1890.
This important firm of Jewellers, T & J Bragg was established c.1811 by Thomas Perry Bragg, from premises in Northwood Street, Birmingham. The move to Vittoria Street occured c.1850, and control of the business passed to the founder's sons, Thomas and John, following their father's retirement in 1852.
John Bragg retired in 1877 and the firm was continued by the partnership of Thomas Bragg, Joseph Henry Wilkinson, Joseph William Tonks, and John Frederick Bolton. Thomas Bragg died, aged 60 years, on the 7th October 1879, and both Wilkinson and Bolton retired in 1882, with Joseph Tonks continuing as sole owner. John Bragg died, aged 77 years, on the 22nd June 1898.
Joseph Tonks died in 1921. He was born at Birmingham in 1841 and studied at the Birmingham School of Art from 1854 until 1863, he spent ten years in the drawing and modelling department at Elkington & Co., and was employed by T & J Bragg as a designer as from 1866.
In 1916 the firm was absorbed into Fattorini & Sons of Bradford, Birmingham, and London. T & J Bragg were noted as exhibitors at the International Exhibition of 1862, and the International Health Exhibition of 1884.
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This important firm of Jewellers, T & J Bragg was established c.1811 by Thomas Perry Bragg, from premises in Northwood Street, Birmingham. The move to Vittoria Street occured c.1850, and control of the business passed to the founder's sons, Thomas and John, following their father's retirement in 1852.
John Bragg retired in 1877 and the firm was continued by the partnership of Thomas Bragg, Joseph Henry Wilkinson, Joseph William Tonks, and John Frederick Bolton. Thomas Bragg died, aged 60 years, on the 7th October 1879, and both Wilkinson and Bolton retired in 1882, with Joseph Tonks continuing as sole owner. John Bragg died, aged 77 years, on the 22nd June 1898.
Joseph Tonks died in 1921. He was born at Birmingham in 1841 and studied at the Birmingham School of Art from 1854 until 1863, he spent ten years in the drawing and modelling department at Elkington & Co., and was employed by T & J Bragg as a designer as from 1866.
In 1916 the firm was absorbed into Fattorini & Sons of Bradford, Birmingham, and London. T & J Bragg were noted as exhibitors at the International Exhibition of 1862, and the International Health Exhibition of 1884.
Trev.
Re: T. & J. Bragg - Birmingham
A CIVIC MACE
Mr. George Holdsworth, on the completion of his year of office as Mayor of Kidderminster, in November last, expressed a desire to present to that borough a silver-gilt mace, as a permanent record of the Jubilee Year. After the cordial acceptance of the offer by the Town Council, the commission was entrusted to Messrs. T. & J. Bragg, of Birmingham, who have now produced a piece that will rank among their happiest efforts. The style has been based upon that of the ancient loving cup in the possession of the Corporation, while the addition of a rich and varied series of enamels gives to it a richness and beauty of effect which is peculiarly its own. The head, which has the massive force of many mediaeval maces, has beneath it a fillet of Maltese crosses and fleurs-de-lis, carefully modelled from the best examples, and has in a band beneath, in raised letters, the legend–" Jubilee Year of Her Most Gracious Majesty Queen Victoria, 1887." The vase portion has in enamel a raised shield–the arms of Kidderminster–with flying riband and enamelled motto; while on the reverse are the arms of the Sovereign, the intervening spaces being occupied with arabesques of shells, dolphins, in repousse, after the style of the loving cup before referred to. The knops are decorated in a similar style, with the addition of oak wreaths, bands of enamel occurring at intervals, the inscription being enamelled in a large minitor near the base, together with the crest and motto of the donor. The whole is carried out in solid silver, Hall-marked and richly gilt, in suitable case, and will be a fitting companion to the Mayoral chain executed by Messrs. Bragg some years since for the same Corporation.
Source: The Watchmaker, Jeweller and Silversmith - 1st April 1887
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Mr. George Holdsworth, on the completion of his year of office as Mayor of Kidderminster, in November last, expressed a desire to present to that borough a silver-gilt mace, as a permanent record of the Jubilee Year. After the cordial acceptance of the offer by the Town Council, the commission was entrusted to Messrs. T. & J. Bragg, of Birmingham, who have now produced a piece that will rank among their happiest efforts. The style has been based upon that of the ancient loving cup in the possession of the Corporation, while the addition of a rich and varied series of enamels gives to it a richness and beauty of effect which is peculiarly its own. The head, which has the massive force of many mediaeval maces, has beneath it a fillet of Maltese crosses and fleurs-de-lis, carefully modelled from the best examples, and has in a band beneath, in raised letters, the legend–" Jubilee Year of Her Most Gracious Majesty Queen Victoria, 1887." The vase portion has in enamel a raised shield–the arms of Kidderminster–with flying riband and enamelled motto; while on the reverse are the arms of the Sovereign, the intervening spaces being occupied with arabesques of shells, dolphins, in repousse, after the style of the loving cup before referred to. The knops are decorated in a similar style, with the addition of oak wreaths, bands of enamel occurring at intervals, the inscription being enamelled in a large minitor near the base, together with the crest and motto of the donor. The whole is carried out in solid silver, Hall-marked and richly gilt, in suitable case, and will be a fitting companion to the Mayoral chain executed by Messrs. Bragg some years since for the same Corporation.
Source: The Watchmaker, Jeweller and Silversmith - 1st April 1887
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Re: T. & J. Bragg - Birmingham
Paris International Exhibition 1862
Source: The Illustrated Catalogue of the Paris International Exhibition - Virtue & Company Limited - 1862
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Source: The Illustrated Catalogue of the Paris International Exhibition - Virtue & Company Limited - 1862
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Re: T. & J. Bragg - Birmingham
Messrs. T. and J. Bragg, of Birmingham, have manufactured the first mayoral chain and badge for the newly incorporated borough of Bacup, Lancashire. The chain is the present of Mr. James J. Sutcliffe, and he is highly pleased with the style and workmanship of it.
Source: The Watchmaker, Jeweller and Silversmith - 5th March 1885
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Source: The Watchmaker, Jeweller and Silversmith - 5th March 1885
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Re: T. & J. Bragg - Birmingham
MAYORAL CHAIN AND BADGE FOR BISHOP'S CASTLE
Ð Vегу handsome gold badge and chain has just been completed for the ancient borough of Bishop's Castle, which on the petition of a number of the inhabitants, has recently renewed its charter. The badge is generally circular, with pendant ends and renaissance scroll summit, having a number of ornamental finials at intervals round the border. The seal of the borough is given in the centre in elaborate style of enamel painting–the Castle with portcullis and bomb-proof towers; the latter having upon the centre one the Union banner and at the sides the St. George's Cross, while on either side of the centre tower are the letters "I. R." (James Rex), and the date 1609 appears below on a greensward in front of the Castle. Miniature models of an ancient mace and fasces, indicative of the unity of the municipal and magisterial authorities, are placed in saltire behind the seal, which has also the legend round it, "Borough of Bishop's Castle," enamel painted on a circular ribbon.
The seal is surmounted by a mural coronet referring to the civic office, and a charming laurel wreath, wrought in a fresh and interesting way, encircles the entire shield. The centre link of the chain is also of renaissance form, with scroll finials, and has in the centre a shield with the arms of Salop, enamelled in heraldic colours–three leopards' heads, or, on a field gules. Encircling this is a gold garter on which is given the name of the first Mayor, Mr Samuel Norton, during the modern incorporation. This link is the gift of Mr. Norton, who now resides at Brunslow. Two sets of scroll links connect this with large shield links on each aide, and these shields are continued at intervals, being engraved with the crests, names, and years of office of successive Mayors, the last being that of Mr. Greenbone, the present Mayor, whose energy and public spirit has brought about the purchase of this interesting decoration. The whole chain will be thus complete as a historical record. On the reverse of the badge is given the inscription :– "Presented to the borough of Bishop's Castle by members of the Corporation, March, 1891." The chain is of 18-carat gold, hall-marked throughout, and has been designed and carried out in best style by Messrs. T. and J. Bragg, of Birmingham and London.
Source: Salopian Shreds and Patches - 25th March 1891
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Ð Vегу handsome gold badge and chain has just been completed for the ancient borough of Bishop's Castle, which on the petition of a number of the inhabitants, has recently renewed its charter. The badge is generally circular, with pendant ends and renaissance scroll summit, having a number of ornamental finials at intervals round the border. The seal of the borough is given in the centre in elaborate style of enamel painting–the Castle with portcullis and bomb-proof towers; the latter having upon the centre one the Union banner and at the sides the St. George's Cross, while on either side of the centre tower are the letters "I. R." (James Rex), and the date 1609 appears below on a greensward in front of the Castle. Miniature models of an ancient mace and fasces, indicative of the unity of the municipal and magisterial authorities, are placed in saltire behind the seal, which has also the legend round it, "Borough of Bishop's Castle," enamel painted on a circular ribbon.
The seal is surmounted by a mural coronet referring to the civic office, and a charming laurel wreath, wrought in a fresh and interesting way, encircles the entire shield. The centre link of the chain is also of renaissance form, with scroll finials, and has in the centre a shield with the arms of Salop, enamelled in heraldic colours–three leopards' heads, or, on a field gules. Encircling this is a gold garter on which is given the name of the first Mayor, Mr Samuel Norton, during the modern incorporation. This link is the gift of Mr. Norton, who now resides at Brunslow. Two sets of scroll links connect this with large shield links on each aide, and these shields are continued at intervals, being engraved with the crests, names, and years of office of successive Mayors, the last being that of Mr. Greenbone, the present Mayor, whose energy and public spirit has brought about the purchase of this interesting decoration. The whole chain will be thus complete as a historical record. On the reverse of the badge is given the inscription :– "Presented to the borough of Bishop's Castle by members of the Corporation, March, 1891." The chain is of 18-carat gold, hall-marked throughout, and has been designed and carried out in best style by Messrs. T. and J. Bragg, of Birmingham and London.
Source: Salopian Shreds and Patches - 25th March 1891
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Re: T. & J. Bragg - Birmingham
THE JEWELLERY OF MESSRS. THOMAS AND JOHN BRAGG, BIRMINGHAM.
Messrs. T. and J. Bragg, of Birmingham, whose works in Jewellery always command attention wherever they are seen, both from the purity and beauty of their designs and the excellence of the workmanship, are among the most successful of our British Art-Manufacturers in the precious metals. Having a short time back paid a passing visit to their works, we were much struck with the beauty of the various processes which were shown to us, and with the marvellous and intricate nicety of the means employed to perfect the marvels of Art which they produce. We shall not here attempt a word of description of the processes adopted, or of the progress of any special piece of work, from the rough bar of metal to the finished brooch or diadem– tempting though the subject is in every phase–but content ourselves with a few brief lines upon the great advance which Birmingham has of late years made in the Art of Jewellery, and revert to the subject at some future time, so as to speak more in detail of some special Art-productions of this renowned firm.
The noting of the rise and progress of a great industry is one of the most interesting pursuits which can engage the attention of the thoughtful observer; and in no case is this more apparent than in that of the Jewellery trade of Birmingham. From a few score persons who, in the beginning of the present century were, in this "Hardware village" of the Midland Counties engaged in the manufacture of the simplest articles of Jewellery, most of them inexpensive and many of them mere shams, to the eight or nine thousand men, and upwards of a thousand women, now engaged in a trade as various as it is important ; which supplies every quarter of the civilized and uncivilized world with articles of personal ornament, and ministers to the tastes of every grade of society in this country; the change is one of those miracles of which only the nineteenth century can furnish examples. From being what it has long had credit for–the toy-shop of the world–Birmingham has risen to be the largest producing centre of Jewellery of every kind which exists in any nation. It has also become what it has not yet had credit for–the seat of the Goldsmith's Art, and the source from which fashionable London, and the great colonial capitals of our empire obtain their choicest articles of personal ornament. How it has become so may be best told by giving a short account of one of its Jewellery establishments, as the progress of one will give a key to the progress of all; and we have chosen the house which, from its age, as well as from its endeavours to apply Art to this manufacture, has worthily obtained the first place.
In the year 1811, Mr. Thomas Perry Bragg, then a young man. having just attained his majority, commenced business in a small way as a Jeweller. The ideas of what such things as Jewels were in those days must necessarily have been restricted. The brooch, as any of our grandmothers who possess such relics can easily prove to us, was simply a kind of oblong frame, generally set with pearls or garnets, in the centre of which was a plait of the hair of the donor, or of some dear friend, or a miniature likeness painted on ivory or other substance. In process of time the centre became an amethyst, a topaz, or some like stone of colour and brilliancy, set in a narrow mount, of which the gold bore generally but a small proportion to the alloy. Afterwards this was improved upon by brooches of the tube character, very similar to those Scandinavian fibulae which have since become so well known as "Norwegian Jewellery." As with the brooch so with the bracelet. A number of onyx plates or carved pieces of jet, cornelian, or agate, set in frames, or linked together, as Italian Jewellers now mount lava cameos and mosaics; this was sufficient for the majority of the ladies of that period. Earrings were simply carved coral, jet, or other drops, with gold attachments; and gentlemen's scarf pins were grotesque satires upon the heads of animals, dignified with the name of carving, and mounted in common gold.
Such was the condition of Birmingham Jewellery at that period, and from which it began slowly but surely to emerge. Guided by a refined taste, and imbued with the true principles of Art, Mr. Bragg strove to raise the character of his work to a higher level, in preference to increasing the number of his employes; but, when after thirty years' devotion to his business he gave up the concern to his two sons, whose names are at the head of this notice, the development of its resources took place rapidly. The standard of the work was gradually raised, and from the love of art and of good taste which the two sons had cultivated, they were enabled to break through the limits of established custom, and to give a new style to Jewellery. The Exhibition of 1851, in which the firm for prudential reasons (occasioned by the jealousy of wholesale houses), was not directly represented, yet gave an opportunity of comparing English Jewellery with the best productions of foreign nations, and was not without its lessons. From that time the productions of the firm became more remarkable and its business more extensive. A new Art, that of enamelling on gold in various colours, began to be adopted, and many beautiful examples were the result. Messsrs. Bragg were not, however, satisfied with this. They knew that however much the presiding mind might direct the workman in a proper channel, unless the latter had some real art education, no design could be a complete success.
Acting therefore, upon this idea, they made it a rule that every apprentice to their business should receive such Art instruction; and, where the parents of the apprentice were unable to pay for his instruction, it was undertaken by the firm at its own expense. The results of this plan were soon both apparent and profitable. The workmen could not only understand drawings supplied to them, and work from them, but were able to render the true beauty of the lines of every design, and could also give it force and expression.
Another important step taken by the firm at this time was the appointment of a Professional Designer. Mr. J. J. Allen, from all we can learn, has the credit of being the first Artist ever employed in Birmingham in the Jewellery trade, in that capacity; while the Messrs. Bragg have the merit of leading the way in that important reform. As might naturally be expected, therefore, it was found at the Exhibition of 1862 that "Birmingham had achieved a great and unexpected triumph in good gold Jewellery;" and it was acknowledged by the Art Journal in that year (where several examples were engraved), that in this "triumph" "Messrs. Bragg certainly take the lead." Purity of line, and simplicity of form had taken the place of the meretricious placing of gaudy gems and the varieties of unnecessary scrolls which abounded in much Jewellery ot that time, and all the details were artistic and beautifully executed. The firm, in consequence, obtained the only Medal for English Jewellery awarded to a house out of London.
About this time the first Mayor's Chain of Office was made in Birmingham by this house, which has since manufactured many of the most important and elaborate badges of the large towns of the kingdom. M. Alexandre, a French Artist was then engaged as Designer, and was followed by Mr. J. W. Tonks, who now holds the position. In the Exhibition of 1872, the Birmingham Jewellers, for the prudential reasons before referred to, united in exhibiting, but without adding their names to the cases; so that none but those most familiar with the trade could distinguish the works of the different makers. But the Art Journal amply supplied this deficiency, so far as the Messrs. Bragg were concerned, by giving to them two pages (the only ones devoted to Birmingham Jewellery), showing the character and extent of their works. We there find illustrated a gold mounted album, of elaborate workmanship; a mayor's chain; a gold box for presentation of the freedom of a city; vinaigrettes; articles in diamonds and other gems; Egyptian and classic reproductions. A walk through the place, and a glance at the Books of Designs there, show the amazing scope and variety of which the Art of the Goldsmith and Jeweller is capable, and will prove how much has been done by one firm to remove from Birmingham the stigma as to the quality of its manufactures, under which it has so long laboured.
It is one of the popular fallacies of the day. that " Brummagem Jewellery" is a great sham, and that in it the grand old axjom "all is not gold that glitters," is fully exemplified. However true this may be of much that is made in Birmingham, it does not hold good with regard to Messrs. Bragg, who produce only the finest, the best, and the highest class of quality, and the most pure and artistic in design. It has been the fashion of late to advertise "Town-made Jewellery," or "London Jewellery," as the best produced, and to vaunt it as far beyond that made elsewhere, but by "peeping behind the scenes" we are enabled to state that nearly the whole of the "best town-made Jewellery" is manufactured wholesale in Birmingham, and sold readymade and splendidly finished to the London houses, who retail it to their fair and aristocratic customers. We have seen these things in course of manufacture, and watched their progress through various hands, and been amused afterwards in seeing them labelled in London as "real town made!"
Birmingham can, and does, produce the most beautiful, the most costly, and the most exquisitely finished Jewellery in the world, and the establishment of Messrs T. and J, Bragg stands at the head of that successful and purely artistic branch of its trade.
Source: The Reliquary and Illustrated Archaeologist - Volume 14 - 1874
Trev.
Messrs. T. and J. Bragg, of Birmingham, whose works in Jewellery always command attention wherever they are seen, both from the purity and beauty of their designs and the excellence of the workmanship, are among the most successful of our British Art-Manufacturers in the precious metals. Having a short time back paid a passing visit to their works, we were much struck with the beauty of the various processes which were shown to us, and with the marvellous and intricate nicety of the means employed to perfect the marvels of Art which they produce. We shall not here attempt a word of description of the processes adopted, or of the progress of any special piece of work, from the rough bar of metal to the finished brooch or diadem– tempting though the subject is in every phase–but content ourselves with a few brief lines upon the great advance which Birmingham has of late years made in the Art of Jewellery, and revert to the subject at some future time, so as to speak more in detail of some special Art-productions of this renowned firm.
The noting of the rise and progress of a great industry is one of the most interesting pursuits which can engage the attention of the thoughtful observer; and in no case is this more apparent than in that of the Jewellery trade of Birmingham. From a few score persons who, in the beginning of the present century were, in this "Hardware village" of the Midland Counties engaged in the manufacture of the simplest articles of Jewellery, most of them inexpensive and many of them mere shams, to the eight or nine thousand men, and upwards of a thousand women, now engaged in a trade as various as it is important ; which supplies every quarter of the civilized and uncivilized world with articles of personal ornament, and ministers to the tastes of every grade of society in this country; the change is one of those miracles of which only the nineteenth century can furnish examples. From being what it has long had credit for–the toy-shop of the world–Birmingham has risen to be the largest producing centre of Jewellery of every kind which exists in any nation. It has also become what it has not yet had credit for–the seat of the Goldsmith's Art, and the source from which fashionable London, and the great colonial capitals of our empire obtain their choicest articles of personal ornament. How it has become so may be best told by giving a short account of one of its Jewellery establishments, as the progress of one will give a key to the progress of all; and we have chosen the house which, from its age, as well as from its endeavours to apply Art to this manufacture, has worthily obtained the first place.
In the year 1811, Mr. Thomas Perry Bragg, then a young man. having just attained his majority, commenced business in a small way as a Jeweller. The ideas of what such things as Jewels were in those days must necessarily have been restricted. The brooch, as any of our grandmothers who possess such relics can easily prove to us, was simply a kind of oblong frame, generally set with pearls or garnets, in the centre of which was a plait of the hair of the donor, or of some dear friend, or a miniature likeness painted on ivory or other substance. In process of time the centre became an amethyst, a topaz, or some like stone of colour and brilliancy, set in a narrow mount, of which the gold bore generally but a small proportion to the alloy. Afterwards this was improved upon by brooches of the tube character, very similar to those Scandinavian fibulae which have since become so well known as "Norwegian Jewellery." As with the brooch so with the bracelet. A number of onyx plates or carved pieces of jet, cornelian, or agate, set in frames, or linked together, as Italian Jewellers now mount lava cameos and mosaics; this was sufficient for the majority of the ladies of that period. Earrings were simply carved coral, jet, or other drops, with gold attachments; and gentlemen's scarf pins were grotesque satires upon the heads of animals, dignified with the name of carving, and mounted in common gold.
Such was the condition of Birmingham Jewellery at that period, and from which it began slowly but surely to emerge. Guided by a refined taste, and imbued with the true principles of Art, Mr. Bragg strove to raise the character of his work to a higher level, in preference to increasing the number of his employes; but, when after thirty years' devotion to his business he gave up the concern to his two sons, whose names are at the head of this notice, the development of its resources took place rapidly. The standard of the work was gradually raised, and from the love of art and of good taste which the two sons had cultivated, they were enabled to break through the limits of established custom, and to give a new style to Jewellery. The Exhibition of 1851, in which the firm for prudential reasons (occasioned by the jealousy of wholesale houses), was not directly represented, yet gave an opportunity of comparing English Jewellery with the best productions of foreign nations, and was not without its lessons. From that time the productions of the firm became more remarkable and its business more extensive. A new Art, that of enamelling on gold in various colours, began to be adopted, and many beautiful examples were the result. Messsrs. Bragg were not, however, satisfied with this. They knew that however much the presiding mind might direct the workman in a proper channel, unless the latter had some real art education, no design could be a complete success.
Acting therefore, upon this idea, they made it a rule that every apprentice to their business should receive such Art instruction; and, where the parents of the apprentice were unable to pay for his instruction, it was undertaken by the firm at its own expense. The results of this plan were soon both apparent and profitable. The workmen could not only understand drawings supplied to them, and work from them, but were able to render the true beauty of the lines of every design, and could also give it force and expression.
Another important step taken by the firm at this time was the appointment of a Professional Designer. Mr. J. J. Allen, from all we can learn, has the credit of being the first Artist ever employed in Birmingham in the Jewellery trade, in that capacity; while the Messrs. Bragg have the merit of leading the way in that important reform. As might naturally be expected, therefore, it was found at the Exhibition of 1862 that "Birmingham had achieved a great and unexpected triumph in good gold Jewellery;" and it was acknowledged by the Art Journal in that year (where several examples were engraved), that in this "triumph" "Messrs. Bragg certainly take the lead." Purity of line, and simplicity of form had taken the place of the meretricious placing of gaudy gems and the varieties of unnecessary scrolls which abounded in much Jewellery ot that time, and all the details were artistic and beautifully executed. The firm, in consequence, obtained the only Medal for English Jewellery awarded to a house out of London.
About this time the first Mayor's Chain of Office was made in Birmingham by this house, which has since manufactured many of the most important and elaborate badges of the large towns of the kingdom. M. Alexandre, a French Artist was then engaged as Designer, and was followed by Mr. J. W. Tonks, who now holds the position. In the Exhibition of 1872, the Birmingham Jewellers, for the prudential reasons before referred to, united in exhibiting, but without adding their names to the cases; so that none but those most familiar with the trade could distinguish the works of the different makers. But the Art Journal amply supplied this deficiency, so far as the Messrs. Bragg were concerned, by giving to them two pages (the only ones devoted to Birmingham Jewellery), showing the character and extent of their works. We there find illustrated a gold mounted album, of elaborate workmanship; a mayor's chain; a gold box for presentation of the freedom of a city; vinaigrettes; articles in diamonds and other gems; Egyptian and classic reproductions. A walk through the place, and a glance at the Books of Designs there, show the amazing scope and variety of which the Art of the Goldsmith and Jeweller is capable, and will prove how much has been done by one firm to remove from Birmingham the stigma as to the quality of its manufactures, under which it has so long laboured.
It is one of the popular fallacies of the day. that " Brummagem Jewellery" is a great sham, and that in it the grand old axjom "all is not gold that glitters," is fully exemplified. However true this may be of much that is made in Birmingham, it does not hold good with regard to Messrs. Bragg, who produce only the finest, the best, and the highest class of quality, and the most pure and artistic in design. It has been the fashion of late to advertise "Town-made Jewellery," or "London Jewellery," as the best produced, and to vaunt it as far beyond that made elsewhere, but by "peeping behind the scenes" we are enabled to state that nearly the whole of the "best town-made Jewellery" is manufactured wholesale in Birmingham, and sold readymade and splendidly finished to the London houses, who retail it to their fair and aristocratic customers. We have seen these things in course of manufacture, and watched their progress through various hands, and been amused afterwards in seeing them labelled in London as "real town made!"
Birmingham can, and does, produce the most beautiful, the most costly, and the most exquisitely finished Jewellery in the world, and the establishment of Messrs T. and J, Bragg stands at the head of that successful and purely artistic branch of its trade.
Source: The Reliquary and Illustrated Archaeologist - Volume 14 - 1874
Trev.
Re: T. & J. Bragg - Birmingham
...........Several Birmingham manufacturers have, like Mr. Rabone, who is always writing, a taste for scribbling. Mr. J. W. Tonks, of Messrs. T. and J. Bragg's, is a case in point ; he has written several historical accounts of the trade. I am sorry to say that this well-known gentleman is at this moment in poor health. His friends are hoping that he will shortly pull round again. He is, as most of your readers probably know, the Hon. Sec. of the lately formed Birmingham Jewellers' and Silversmiths' Association, of which Mr. Councillor Green is President.
In the course of a chat with Mr. Tonks, he showed me some of the nice things that Messrs. T. and J. Bragg, of Birmingham, have been lately making. These were special diamond brooches, delicate sprays and crescents, fanciful diamond shapes, all of a slender character, bracelets with stone centres, fichu gold brooches with one or more diamonds in the centre, and a number of diamond hair ornaments in more or less modified star shape.
Source: The Watchmaker, Jeweller and Silversmith - 1st December 1888
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In the course of a chat with Mr. Tonks, he showed me some of the nice things that Messrs. T. and J. Bragg, of Birmingham, have been lately making. These were special diamond brooches, delicate sprays and crescents, fanciful diamond shapes, all of a slender character, bracelets with stone centres, fichu gold brooches with one or more diamonds in the centre, and a number of diamond hair ornaments in more or less modified star shape.
Source: The Watchmaker, Jeweller and Silversmith - 1st December 1888
Trev.
Re: T. & J. Bragg - Birmingham
Messrs. Bragg are fairly occupied ; amongst other things they have several fine presentation keys on hand–one for the New Law Courts, West Bromwich (to be opened in April) , is a very large and elaborate piece of work. They also supply us with an interesting description of a mayoral chain and badge for Bishop's Castle, just supplied by them.
Source: The Watchmaker, Jeweller and Silversmith - 1st April 1891
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Source: The Watchmaker, Jeweller and Silversmith - 1st April 1891
Trev.
Re: T. & J. Bragg - Birmingham
Key For The New Courts, West Bromwich
The column of the key referred to last month for the opening the new Law Courts, West Bromwich, is reeded after the style of the building with encircling bands and foliated capital. The head forms a rich quatrefoil, with grooved mouldings and edges, occupied at intervals with floral bosses, the upper curve of quatrefoil being crowded with a mural coronet. The interspaces of quatrefoil are occupied with a finely carved gold scroll springing from the centre shaft. In the centre are the arms of the borough in champ-leve and painted enamels, the crest being above, and the motto in raised gold letters on the lower curve of quatrefoil. The reverse has the following inscription on a shield similar in size to that on obverse:–"This key was presented to E. W. W. Heelis, Esq., J. P., Mayor, by the Town Council, on the occasion of the opening of the Law Courts, West Bromwich. April 14th, 1891,
Presentation to Mr. George Halford, F.C.O.
Another very fine piece of work by the same firm, Messrs. T. and J. Bragg, of Birmingham, is a very beautiful ivory baton, decorated with gold mounts of an emblematic character, lately presented to Mr. Halford, the conductor of the Birmingham Choral and Orchestral Association, by the congregation of St. Michael's, Handsworth, on his retirement from the post of organist and choir-master of that church. The conventional emblematical cross, with circle and band, occupies the upper portion, and upon the outer band are the words " Saint Michael and All Angels." Beneath this comes a harp upon a large gold shield which bears the following inscription :–" Presented to G. J. Halford, F.C.O., by the members of St. Michael's Church, Handsworth, as a recognition of ability and services rendered as organist and choir-master, 1885-1891." Other bands have an organ enwreathed, musical score, and emblems of the conductor and choir. At the top of the baton is the enamelled monogram of the recipient, in three colours.
Source: The Watchmaker, Jeweller and Silversmith - 1st May 1891
Trev.
The column of the key referred to last month for the opening the new Law Courts, West Bromwich, is reeded after the style of the building with encircling bands and foliated capital. The head forms a rich quatrefoil, with grooved mouldings and edges, occupied at intervals with floral bosses, the upper curve of quatrefoil being crowded with a mural coronet. The interspaces of quatrefoil are occupied with a finely carved gold scroll springing from the centre shaft. In the centre are the arms of the borough in champ-leve and painted enamels, the crest being above, and the motto in raised gold letters on the lower curve of quatrefoil. The reverse has the following inscription on a shield similar in size to that on obverse:–"This key was presented to E. W. W. Heelis, Esq., J. P., Mayor, by the Town Council, on the occasion of the opening of the Law Courts, West Bromwich. April 14th, 1891,
Presentation to Mr. George Halford, F.C.O.
Another very fine piece of work by the same firm, Messrs. T. and J. Bragg, of Birmingham, is a very beautiful ivory baton, decorated with gold mounts of an emblematic character, lately presented to Mr. Halford, the conductor of the Birmingham Choral and Orchestral Association, by the congregation of St. Michael's, Handsworth, on his retirement from the post of organist and choir-master of that church. The conventional emblematical cross, with circle and band, occupies the upper portion, and upon the outer band are the words " Saint Michael and All Angels." Beneath this comes a harp upon a large gold shield which bears the following inscription :–" Presented to G. J. Halford, F.C.O., by the members of St. Michael's Church, Handsworth, as a recognition of ability and services rendered as organist and choir-master, 1885-1891." Other bands have an organ enwreathed, musical score, and emblems of the conductor and choir. At the top of the baton is the enamelled monogram of the recipient, in three colours.
Source: The Watchmaker, Jeweller and Silversmith - 1st May 1891
Trev.
Re: T. & J. Bragg - Birmingham
MAYORAL CHAIN AND MACE FOR WORTHING
The remarkable insignia just completed for the borough of Worthing will certainly be classed among the finest civic Chains and Maces of the country. As the result of a liberal subscription, promoted by Mr. Alderman E. C. Patching, the commission was given to Mr. T. H. Crouch, jeweller, Worthing, who entrusted the design and manufacture to Messrs. T. and J. Bragg, of Birmingham. The heraldic and local knowledge of Mr. T. Ralph Hyde was of much value in this matter, and the exquisite Renaissance frame of scrolls and wrought foliations, which distinguish the chain from any other yet manufactured, are diversified and enlivened by a rich series of heraldic shields, laurel wreaths, and monograms. The Badge, which is of large size, has a series of open carved scrolls, springing from a central stem, and centred at intervals with enamelled Tudor roses, the upper ones crowned, holding four enamelled shields with the motto of the borough, and the crest of the town surmounting all. The leading escutcheon is that of the borough itself, in chief a cornucopia, from which fruit and grapes are issuing ; below, alternate wave lines of azure and white, amid which three mackerel are shown passing, indicating the fishing industry of the place. Above is shown in enamel painting the figure of Hygeia, the classic goddess of Health, with the cornucopia beside her as indicating abundance. The position of Worthing as a health resort, and the rich fruit-growing district in which it is situate, are thus displayed heraldically, and the motto of the borough, " Exterra copiam, e mari palutem," further illustrates its force. On one side of the borough arms is shown the shields of Sussex, in which it is situate, and on the other side that of De Breos, the ancient holder of the district; while below are the arms of the Montagues, late owners of the manor.
The Badge depends from a centre link in bold and beautiful curves, embracing the Royal arms, motto, and Crown. From this the chain extends in symmetrical scrolls, each springing from a centre connected by double sets of links, and so bound together as to combine the ideas of strength and grace. The intermediate links have monograms "T.C.W." (Town Council, Worthing) enwreathed with laurel, also in enamel ; while the larger ones have shields and appropriate coronets. The commencing one has the monogram A.C. of the first Mayor, with the usual coronet over, indicative of the office of chief magistrate. Others have the names of great owners of the district, whose arms thus afford a consecutive history of the borough up to the time of its incorporation. Thus occur the arms of the De Warrens, of the Dukes of Norfolk, Viscount Hampden, Earl Delaware, and lastly Thomas a Becket, Archbishop of Canterbury, in whose diocese the place was. A large shield at reverse of badge records the circumstance of the gift of this elaborate official decoration to the borough. The whole is in gold, 18-carat quality, hall-marked, and the work throughout is of the highest class.
The Mace, fully four feet in length, of massive silver, hall-marked and richly gilt, is carried out on bold lines, with an equal attention to detail. Like some of the finest ancient specimens, it has the Royal arms on the summit above an open pierced globe, as also in the seal-like termination at the lower end. The bold arms of the Crown portion descend to the fillet with fleurs-de-lis and Maltese crosses, and the band has the initials forming the name of the borough, on jewel-like projections, in enamel. The British lion standing on the globe occupies the centre within the Crown, below which comes the inscription. The vase part of head of Mace is divided by Tudor arches, with interspaces occupied by the fruits grown in and about Worthing, supported by four mermaids as Caryatides, finally executed in repousse, and each of them bearing enamelled shields.
The starry sky and the sea form a remarkable background, while hanging from the centres of the arches are also four principal shields. First of these is the shield, crest, and motto of the borough before described, opposite the arms of Sussex, between the coats of De Breos and Montague. The shields held by the mermaids respectively are those of De Warren, Norfolk, Delawarr, and Hampden. Below the vase head of Mace are three massive griffins with wings, varying the line of stem, and richly decorated knops intervene, worked in repousse with laurel, acanthus, and seaweed. Some are again interspersed with arms and monograms. The lozenge shield of the Princess Augusta, daughter of George III., who first brought Worthing into notice as a health resort, occurs on one, with her coronet over. Also we see the shield of Thomas a Becket in enamel. Another bold moulding has the arms of Shelley and Mowbray families, related to the district, with the monogram of the borough and of the first Mayor. But the special feature of the column of the Mace is the twining series of bands in repousse, all having emblematic significance. One band has amid national emblems, rose, shamrock, thistle ; the British lion rampant, the Scottish lion with sword and sceptre sejant, and the Irish crest–a hart leaping from a castle gateway. Another band has the mackerels of Worthing, sporting amid shells and seaweed. A third has grapes, tomatoes, pine-apples, etc., in graceful flowing lines. The fourth has the serpent-twined staff of Esculapius, the symbol of curative power ; the caduceus of Mercury, the emblem of commerce.; and the cornucopia, of abundance. The lavish ornament is so subordinated as to produce a charming and restful effect, which is yet brought to a focus at important parts by the brilliant colours of enamel.
Messrs. Bragg have also executed a large seal for the borough, embodying the arms already mentioned, and which have been specially designed by them in accordance with the rules of heraldry.
Source: The Watchmaker, Jeweller and Silversmith - 2nd March 1891
Trev.
The remarkable insignia just completed for the borough of Worthing will certainly be classed among the finest civic Chains and Maces of the country. As the result of a liberal subscription, promoted by Mr. Alderman E. C. Patching, the commission was given to Mr. T. H. Crouch, jeweller, Worthing, who entrusted the design and manufacture to Messrs. T. and J. Bragg, of Birmingham. The heraldic and local knowledge of Mr. T. Ralph Hyde was of much value in this matter, and the exquisite Renaissance frame of scrolls and wrought foliations, which distinguish the chain from any other yet manufactured, are diversified and enlivened by a rich series of heraldic shields, laurel wreaths, and monograms. The Badge, which is of large size, has a series of open carved scrolls, springing from a central stem, and centred at intervals with enamelled Tudor roses, the upper ones crowned, holding four enamelled shields with the motto of the borough, and the crest of the town surmounting all. The leading escutcheon is that of the borough itself, in chief a cornucopia, from which fruit and grapes are issuing ; below, alternate wave lines of azure and white, amid which three mackerel are shown passing, indicating the fishing industry of the place. Above is shown in enamel painting the figure of Hygeia, the classic goddess of Health, with the cornucopia beside her as indicating abundance. The position of Worthing as a health resort, and the rich fruit-growing district in which it is situate, are thus displayed heraldically, and the motto of the borough, " Exterra copiam, e mari palutem," further illustrates its force. On one side of the borough arms is shown the shields of Sussex, in which it is situate, and on the other side that of De Breos, the ancient holder of the district; while below are the arms of the Montagues, late owners of the manor.
The Badge depends from a centre link in bold and beautiful curves, embracing the Royal arms, motto, and Crown. From this the chain extends in symmetrical scrolls, each springing from a centre connected by double sets of links, and so bound together as to combine the ideas of strength and grace. The intermediate links have monograms "T.C.W." (Town Council, Worthing) enwreathed with laurel, also in enamel ; while the larger ones have shields and appropriate coronets. The commencing one has the monogram A.C. of the first Mayor, with the usual coronet over, indicative of the office of chief magistrate. Others have the names of great owners of the district, whose arms thus afford a consecutive history of the borough up to the time of its incorporation. Thus occur the arms of the De Warrens, of the Dukes of Norfolk, Viscount Hampden, Earl Delaware, and lastly Thomas a Becket, Archbishop of Canterbury, in whose diocese the place was. A large shield at reverse of badge records the circumstance of the gift of this elaborate official decoration to the borough. The whole is in gold, 18-carat quality, hall-marked, and the work throughout is of the highest class.
The Mace, fully four feet in length, of massive silver, hall-marked and richly gilt, is carried out on bold lines, with an equal attention to detail. Like some of the finest ancient specimens, it has the Royal arms on the summit above an open pierced globe, as also in the seal-like termination at the lower end. The bold arms of the Crown portion descend to the fillet with fleurs-de-lis and Maltese crosses, and the band has the initials forming the name of the borough, on jewel-like projections, in enamel. The British lion standing on the globe occupies the centre within the Crown, below which comes the inscription. The vase part of head of Mace is divided by Tudor arches, with interspaces occupied by the fruits grown in and about Worthing, supported by four mermaids as Caryatides, finally executed in repousse, and each of them bearing enamelled shields.
The starry sky and the sea form a remarkable background, while hanging from the centres of the arches are also four principal shields. First of these is the shield, crest, and motto of the borough before described, opposite the arms of Sussex, between the coats of De Breos and Montague. The shields held by the mermaids respectively are those of De Warren, Norfolk, Delawarr, and Hampden. Below the vase head of Mace are three massive griffins with wings, varying the line of stem, and richly decorated knops intervene, worked in repousse with laurel, acanthus, and seaweed. Some are again interspersed with arms and monograms. The lozenge shield of the Princess Augusta, daughter of George III., who first brought Worthing into notice as a health resort, occurs on one, with her coronet over. Also we see the shield of Thomas a Becket in enamel. Another bold moulding has the arms of Shelley and Mowbray families, related to the district, with the monogram of the borough and of the first Mayor. But the special feature of the column of the Mace is the twining series of bands in repousse, all having emblematic significance. One band has amid national emblems, rose, shamrock, thistle ; the British lion rampant, the Scottish lion with sword and sceptre sejant, and the Irish crest–a hart leaping from a castle gateway. Another band has the mackerels of Worthing, sporting amid shells and seaweed. A third has grapes, tomatoes, pine-apples, etc., in graceful flowing lines. The fourth has the serpent-twined staff of Esculapius, the symbol of curative power ; the caduceus of Mercury, the emblem of commerce.; and the cornucopia, of abundance. The lavish ornament is so subordinated as to produce a charming and restful effect, which is yet brought to a focus at important parts by the brilliant colours of enamel.
Messrs. Bragg have also executed a large seal for the borough, embodying the arms already mentioned, and which have been specially designed by them in accordance with the rules of heraldry.
Source: The Watchmaker, Jeweller and Silversmith - 2nd March 1891
Trev.
Re: T. & J. Bragg - Birmingham
Notes on the Corporation Plate and Insignia of Wiltshire
SALISBURY
The Mayor's Chain at present in use was formally presented to the corporation by E. H. Hulse, Esq., M.P. for Salisbury, October 5th, 1893. Mr. Hulse and the past and present members of the corporation gave one link each, while the town clerk–Mr. W. C. Powning–gave the badge. It is of 18-carat gold, and was made by Messrs. T. and J. Bragg, of Birmingham, from a design by Mr. J. W. Tonks after consultation with Mr. Alfred Gilbert, R.A.
The badge is circular, with mouldings and ornamental border, with the name "Salisbury" on enamelled bosses. Within this is a six-arched canopy, in the centre of which are the city arms and supporters, a rose above, and the motto in enamels " Civitas Novæ Sarum" below.
The circular links of the chain alternate with double-headed eagles (the supporters of the city arms). They are bordered with crosses and fleur-de-lys. The central link has the old city seal in enamel, the Madonna and Child above, an arch with a bishop within it below.
The other links have a series of armorial bearings in enamel –the city arms, the cathedral cognizance, the arms of Henry III. (who gave the charter in 1227), those of James I. (who gave another charter), those of Queen Anne, and those of the present Queen– whilst others bear the letter S.
An inscription recording the gift of the chain is engraved on the back of the badge.
Source: The Wiltshire Archæological and Natural History Magazine - Edward Hungerford Goddard - 1894
Trev.
SALISBURY
The Mayor's Chain at present in use was formally presented to the corporation by E. H. Hulse, Esq., M.P. for Salisbury, October 5th, 1893. Mr. Hulse and the past and present members of the corporation gave one link each, while the town clerk–Mr. W. C. Powning–gave the badge. It is of 18-carat gold, and was made by Messrs. T. and J. Bragg, of Birmingham, from a design by Mr. J. W. Tonks after consultation with Mr. Alfred Gilbert, R.A.
The badge is circular, with mouldings and ornamental border, with the name "Salisbury" on enamelled bosses. Within this is a six-arched canopy, in the centre of which are the city arms and supporters, a rose above, and the motto in enamels " Civitas Novæ Sarum" below.
The circular links of the chain alternate with double-headed eagles (the supporters of the city arms). They are bordered with crosses and fleur-de-lys. The central link has the old city seal in enamel, the Madonna and Child above, an arch with a bishop within it below.
The other links have a series of armorial bearings in enamel –the city arms, the cathedral cognizance, the arms of Henry III. (who gave the charter in 1227), those of James I. (who gave another charter), those of Queen Anne, and those of the present Queen– whilst others bear the letter S.
An inscription recording the gift of the chain is engraved on the back of the badge.
Source: The Wiltshire Archæological and Natural History Magazine - Edward Hungerford Goddard - 1894
Trev.
Re: T. & J. Bragg - Birmingham
Key For Prince Albert Victor.–A handsome key was presented to H.R.H. Prince Albert Victor on the occasion of his opening the Harrogate Bath Hospital, and was made by Messrs. T. and J. Bragg, of Birmingham, on the part of Mr. A. Fattorini, of Harrogate. The head of the key is an elaborate vesica shape, open at the end. The obverse is occupied by the arms of H.R.H. Prince Albert Victor, given in correct heraldic colours in enamel, and is surmounted by the royal crest. At the sides are shown York roses in enamel. The arms and crest of Harrogate are shown in enamel on the reverse : above this is given an Æsculapian staff twined with a serpent and surmounted by the cock. Below the shield bearing the arms there is an enamelled ribbon having the words " Harrogate Bath Hospital." The head is joined to the column of key by a beautiful Gothic capital, and below are a series of rich mouldings. The whole has been carried out in the best possible style, and is cased in velvet, the lid having a shield bearing the following inscription :– Presented to H.R.H. Prince Albert Victor, on the opening of the Harrogate Bath Hospital and Rawson Convalescent Home, July 18th, 1889."
On the same occasion a beautiful gold brooch in the form of a key was presented to Miss Rawson, the principal benefactor of the Home. The head of the key is heart-shaped, indicative of charity, having a cross of faith above it, and the anchor representing hope–the three Christian virtues. It is formed by a flowing ribbon, on which is enamelled "Harrogate Bath Hospital and Rawson Convalescent Home." The arms and crest of Harrogate are given in correct heraldic colours on the centre. The head of key is joined to the column by a Gothic capital. The column is'in the form of an Æculapian staff, with serpent twining around it. The initials of Miss Rawson are also given on the column. The key is finished in the best style. The following inscription is given on a shield on the case: "Presented to Miss Rawson, on the opening of the Harrogate Bath Hospital and Rawson Convalescent Home, July 18th, 1889."
Source: The Watchmaker, Jeweller and Silversmith - 1st August 1889
Trev.
On the same occasion a beautiful gold brooch in the form of a key was presented to Miss Rawson, the principal benefactor of the Home. The head of the key is heart-shaped, indicative of charity, having a cross of faith above it, and the anchor representing hope–the three Christian virtues. It is formed by a flowing ribbon, on which is enamelled "Harrogate Bath Hospital and Rawson Convalescent Home." The arms and crest of Harrogate are given in correct heraldic colours on the centre. The head of key is joined to the column by a Gothic capital. The column is'in the form of an Æculapian staff, with serpent twining around it. The initials of Miss Rawson are also given on the column. The key is finished in the best style. The following inscription is given on a shield on the case: "Presented to Miss Rawson, on the opening of the Harrogate Bath Hospital and Rawson Convalescent Home, July 18th, 1889."
Source: The Watchmaker, Jeweller and Silversmith - 1st August 1889
Trev.
Re: T. & J. Bragg - Birmingham
Mayoral Chain for Morpeth.–In place of the old chain which has done duty for the last half century, a committee was formed by the Corporation of Morpeth to procure a new one, and the order was given to Messrs. T. and J. Bragg, of Birmingham. It is a handsome article of solid 18-carat gold, weighing about a pound-and-a-half troy weight, and the badge has been repaired and renewed to suit it. It is of neat and exquisite workmanship, and is of the double-link pattern, presenting an imposing appearance and reflecting the highest credit upon the makers. It is enclosed in a very pretty oak casket lined with blue velvet, and mounted with a brass handle and a plate in centre bearing the following inscription :–" This chain was presented to the Corporation of Morpeth on 22nd April, 1890, for the use of the Mayor for the time being, by the members of the Council and officials. The badge was portion of the old chain. Fred. E. Schofield, Mayor."
Source: The Watchmaker, Jeweller and Silversmith - 2nd June 1890
Trev.
Source: The Watchmaker, Jeweller and Silversmith - 2nd June 1890
Trev.
Re: T. & J. Bragg - Birmingham
Councillor J.W. Tonks
HE retirement of Mr. J. W. Tonks from the management of the "Evenings with the Poets," which he has conducted so long, and with such conspicuous success, affords an opportunity for personal reference to him in the pages of the 'Magazine', for which we might otherwise have waited long. The address which has been presented to him records the gratitude of the Association in terms of absolute sincerity. But the Committee, with fine practical instinct, saw in the occasion an opportunity to urge a concession which would not otherwise have been granted, and gained consent to the appearance of a portrait and sketch in the Magazine, of which Mr. Tonks is one of the oldest, the ablest, and the most enthusiastic supporters.
Let us refer first, with all possible brevity, to mere biographical data.
Mr. Tonks was born in Birmingham, in 1841, and his active life has been entirely spent within the limits of our city. At an early age he was placed in Messrs. Elkington's drawing and modelling department. Here he spent ten years, and for nine years he was also a student at our School of Art; receiving in 1864, and, years afterwards, again at the Health Exhibition, a Silver Medal for his exhibited designs. In 1866, Mr. Tonks became associated with the well-known firm of Messrs. T. and J. Bragg, as designer; entered into partnership on the retirement of Mr. John Bragg, in 1877; and soon after the death of Mr. Thomas Bragg, in 1879, became–and still remains– sole proprietor of a business which has achieved far more than a mere commercial success. Probably no firm in the jewellery trade has been more conspicuously known for excellence in workmanship, or for artistic enterprise and judgment. None, certainly, has done more to wipe away that reproach of commonness as applied to our city's manufactures, which has, even for centuries, been a commonplace in the mouths of those who know nothing whatever about the matter. There have, indeed, been times when Messrs. Bragg have not dared to show at Exhibitions their best work, lest aristocratic purchasers, who would not have deigned a glance at "Brummagem " goods, should have received a shock of disillusion too sudden to be safe. The revival of the once almost lost art of enamelling, in jewellery, and the remarkable impetus given of late years to the production of civic insignia, are really almost entirely due to the artistic taste and enterprise of Mr. Tonks, whose name–ages hence,–when what are now subjects of commerce become subjects of archaeological research, is likely to stand out in no small prominence in the artistic annals of the nineteenth and twentieth centuries.
Mr. Tonks's position in his trade has caused him repeatedly to be chosen, not only as its mouthpiece, and sometimes as its head, but also, it may be said, as its eye. He has visited most of the great Exhibitions, and has officially reported upon many of them. He has read papers before many societies; has contributed papers upon the more artistic aspects of his craft to most of the architectural and artistic journals; and his literary work on behalf of the jewellery trade would form, if collected, a volume of no small bulk or interest. He has held several official positions of importance, and has been Chairman of the Jewellers' Association.
When we look at Mr. Tonks's public work side by side with his commercial work, the picture, it must be confessed, becomes a little puzzling; and we begin to wonder whether it is really possible by doubling one's work, ipso facto, to double one's strength. Most of us are unlikely to try the experiment. Mr. Tonks has evidently tried, and has succeeded, Elected to the Town Council, in 1893, by a record majority, he has since held his seat unopposed. His work in the Council has mainly been in connection with the Baths and Parks and Technical School Committees.
Supported in his original candidature by many who differed from him in political views, Mr. Tonks has succeeded in winning the esteem and confidence of all parties; and although possessed of strong opinions of his own, and remarkably well able to maintain them, he has never excited in any opponent the least animosity. As to charitable work, he is Chairman of the Hockley Dispensary, and has long been on the Committee of the Skin Hospital.
A member of the Swedenborgian Church, Mr. Tonks has for about forty-five years been regularly and actively engaged in Sunday School and Mission work, and is so still.- But when we say that, in 1897, Mr. Tonks was a member of twenty-seven committees or boards–a number which is probably by now increased– it will be easily understood that many details belonging to this category must simply be passed over. One inclines rather to wonder how the common complaints as to the brevity of human life arose. Surely it must have been from the experience of very idle men.
A word or two must be said as to Mr. Tonks's work in the field of literature proper, as distinguished from the great mass of artistic literary work of which we have already spoken. From sundry sketches which have already been published, we learn that the first step was the gaining of a prize of £25 for "an essay on a theological subject " which the biographers refrain from more closely particularising, having probably deferred the pleasure of perusal to a season of leisure. The second step was the gaining of a smaller prize, offered by the Weekly Post, by a novelette– The Junior Clerk. In this case the circulation was probably larger, though the reward was smaller. The third step seems to have been into the C.L.A. Magaeine, which Mr. Tonks has never neglected or deserted, and to which he has been a constant and most valued contributor from the first number whose cover he designed.
He has been always able, always ready, always cheerfully willing to help in case of need, though few contributors could more legitimately have pleaded the claims of other work and engagements. But in our pages Mr. Tonks is "known and read of all men." Herein, indeed, lies the truest sketch of his character and capacities, and to these pages he has contributed much which is too personal, and too nearly felt to have been offered to the eyes of any but friends.
And it is as a friend, beyond all doubt, that Mr. Tonks will be regarded by all readers of this paper who have any knowledge of the personnel of the C.L.A. He joined our ranks in 1868, being proposed by Mr. Alfred Freeth, who was President in the following year; and it is sad to note that of the members who held office in the year of Mr. Tonks's election, every one, from President to Auditor, has passed away. In 1870, Mr. Tonks was elected Auditor, and since then has been a member of the Committee continuously. He has filled every office in the Association except that of Treasurer; has been twice President; has lectured for us; and for the long period of thirty-three years has been always to be depended upon for every kind of work.
His interest in the debates has never flagged, and, perhaps, no member has been so unfailing in his attendance. Indeed, to chronicle but a fraction of the details of his long and willing service would far exceed the limits of our space, and it would be difficult to point to any member whose support of the Association has been so loyal and unchanging. He has filled every office in which the C.L.A. could be served, and has received every honour she had to bestow. In office or out of office; at play or at work; on committee, at the debates, or at special meetings, his help has never failed, and never been begrudged. No crisis has ever ruffled his equanimity or cooled his love; no opposition has ever broken down his invincible courtesy. His household is familiarly known to his more intimate friends in the Society by its open hospitality. His only son is following in his father's footsteps, and is already a speaker, and a valued contributor to the 'Magazine'.
The writer of a sketch such as this is placed in circumstances of some embarrassment. Those who know nothing of his subject will probably suspect him of indiscriminate eulogy. Those who do know will blame him for leaving so much out, and the person most concerned is sure to blame him for putting so much in To avoid the reproach of flattery, it may be well to end by reference to one point in which Mr. Tonks's disability is marked. He does not know how to grow old. His energy is as strong, and his enthusiasm as bright as ever. The time is never too short; the work is never too hard; the day has never dawned to slacken and relax. It is a charming secret, that of abiding youth, and many have enviously wondered how our friend came by it. Perhaps he does not know. Perhaps it may be because he has habitually lived in perfect freedom from one consideration which ages mankind terribly :– Self. Now that we think of it, this is about the only topic on which we have not heard Mr. Tonks discourse intelligently, and the only study he seems to have lacked time to take up. That may account for a good deal:–for a good deal of what we have been glad to be able to say, and for a good deal more that we have been compelled to leave unsaid. It will also account for the fact that in the C.L.A. Mr. Tonks never had an enemy, and has always had– more or less–two hundred and forty-nine friends.
Source: The Central Literary Magazine - 1901
Trev.
HE retirement of Mr. J. W. Tonks from the management of the "Evenings with the Poets," which he has conducted so long, and with such conspicuous success, affords an opportunity for personal reference to him in the pages of the 'Magazine', for which we might otherwise have waited long. The address which has been presented to him records the gratitude of the Association in terms of absolute sincerity. But the Committee, with fine practical instinct, saw in the occasion an opportunity to urge a concession which would not otherwise have been granted, and gained consent to the appearance of a portrait and sketch in the Magazine, of which Mr. Tonks is one of the oldest, the ablest, and the most enthusiastic supporters.
Let us refer first, with all possible brevity, to mere biographical data.
Mr. Tonks was born in Birmingham, in 1841, and his active life has been entirely spent within the limits of our city. At an early age he was placed in Messrs. Elkington's drawing and modelling department. Here he spent ten years, and for nine years he was also a student at our School of Art; receiving in 1864, and, years afterwards, again at the Health Exhibition, a Silver Medal for his exhibited designs. In 1866, Mr. Tonks became associated with the well-known firm of Messrs. T. and J. Bragg, as designer; entered into partnership on the retirement of Mr. John Bragg, in 1877; and soon after the death of Mr. Thomas Bragg, in 1879, became–and still remains– sole proprietor of a business which has achieved far more than a mere commercial success. Probably no firm in the jewellery trade has been more conspicuously known for excellence in workmanship, or for artistic enterprise and judgment. None, certainly, has done more to wipe away that reproach of commonness as applied to our city's manufactures, which has, even for centuries, been a commonplace in the mouths of those who know nothing whatever about the matter. There have, indeed, been times when Messrs. Bragg have not dared to show at Exhibitions their best work, lest aristocratic purchasers, who would not have deigned a glance at "Brummagem " goods, should have received a shock of disillusion too sudden to be safe. The revival of the once almost lost art of enamelling, in jewellery, and the remarkable impetus given of late years to the production of civic insignia, are really almost entirely due to the artistic taste and enterprise of Mr. Tonks, whose name–ages hence,–when what are now subjects of commerce become subjects of archaeological research, is likely to stand out in no small prominence in the artistic annals of the nineteenth and twentieth centuries.
Mr. Tonks's position in his trade has caused him repeatedly to be chosen, not only as its mouthpiece, and sometimes as its head, but also, it may be said, as its eye. He has visited most of the great Exhibitions, and has officially reported upon many of them. He has read papers before many societies; has contributed papers upon the more artistic aspects of his craft to most of the architectural and artistic journals; and his literary work on behalf of the jewellery trade would form, if collected, a volume of no small bulk or interest. He has held several official positions of importance, and has been Chairman of the Jewellers' Association.
When we look at Mr. Tonks's public work side by side with his commercial work, the picture, it must be confessed, becomes a little puzzling; and we begin to wonder whether it is really possible by doubling one's work, ipso facto, to double one's strength. Most of us are unlikely to try the experiment. Mr. Tonks has evidently tried, and has succeeded, Elected to the Town Council, in 1893, by a record majority, he has since held his seat unopposed. His work in the Council has mainly been in connection with the Baths and Parks and Technical School Committees.
Supported in his original candidature by many who differed from him in political views, Mr. Tonks has succeeded in winning the esteem and confidence of all parties; and although possessed of strong opinions of his own, and remarkably well able to maintain them, he has never excited in any opponent the least animosity. As to charitable work, he is Chairman of the Hockley Dispensary, and has long been on the Committee of the Skin Hospital.
A member of the Swedenborgian Church, Mr. Tonks has for about forty-five years been regularly and actively engaged in Sunday School and Mission work, and is so still.- But when we say that, in 1897, Mr. Tonks was a member of twenty-seven committees or boards–a number which is probably by now increased– it will be easily understood that many details belonging to this category must simply be passed over. One inclines rather to wonder how the common complaints as to the brevity of human life arose. Surely it must have been from the experience of very idle men.
A word or two must be said as to Mr. Tonks's work in the field of literature proper, as distinguished from the great mass of artistic literary work of which we have already spoken. From sundry sketches which have already been published, we learn that the first step was the gaining of a prize of £25 for "an essay on a theological subject " which the biographers refrain from more closely particularising, having probably deferred the pleasure of perusal to a season of leisure. The second step was the gaining of a smaller prize, offered by the Weekly Post, by a novelette– The Junior Clerk. In this case the circulation was probably larger, though the reward was smaller. The third step seems to have been into the C.L.A. Magaeine, which Mr. Tonks has never neglected or deserted, and to which he has been a constant and most valued contributor from the first number whose cover he designed.
He has been always able, always ready, always cheerfully willing to help in case of need, though few contributors could more legitimately have pleaded the claims of other work and engagements. But in our pages Mr. Tonks is "known and read of all men." Herein, indeed, lies the truest sketch of his character and capacities, and to these pages he has contributed much which is too personal, and too nearly felt to have been offered to the eyes of any but friends.
And it is as a friend, beyond all doubt, that Mr. Tonks will be regarded by all readers of this paper who have any knowledge of the personnel of the C.L.A. He joined our ranks in 1868, being proposed by Mr. Alfred Freeth, who was President in the following year; and it is sad to note that of the members who held office in the year of Mr. Tonks's election, every one, from President to Auditor, has passed away. In 1870, Mr. Tonks was elected Auditor, and since then has been a member of the Committee continuously. He has filled every office in the Association except that of Treasurer; has been twice President; has lectured for us; and for the long period of thirty-three years has been always to be depended upon for every kind of work.
His interest in the debates has never flagged, and, perhaps, no member has been so unfailing in his attendance. Indeed, to chronicle but a fraction of the details of his long and willing service would far exceed the limits of our space, and it would be difficult to point to any member whose support of the Association has been so loyal and unchanging. He has filled every office in which the C.L.A. could be served, and has received every honour she had to bestow. In office or out of office; at play or at work; on committee, at the debates, or at special meetings, his help has never failed, and never been begrudged. No crisis has ever ruffled his equanimity or cooled his love; no opposition has ever broken down his invincible courtesy. His household is familiarly known to his more intimate friends in the Society by its open hospitality. His only son is following in his father's footsteps, and is already a speaker, and a valued contributor to the 'Magazine'.
The writer of a sketch such as this is placed in circumstances of some embarrassment. Those who know nothing of his subject will probably suspect him of indiscriminate eulogy. Those who do know will blame him for leaving so much out, and the person most concerned is sure to blame him for putting so much in To avoid the reproach of flattery, it may be well to end by reference to one point in which Mr. Tonks's disability is marked. He does not know how to grow old. His energy is as strong, and his enthusiasm as bright as ever. The time is never too short; the work is never too hard; the day has never dawned to slacken and relax. It is a charming secret, that of abiding youth, and many have enviously wondered how our friend came by it. Perhaps he does not know. Perhaps it may be because he has habitually lived in perfect freedom from one consideration which ages mankind terribly :– Self. Now that we think of it, this is about the only topic on which we have not heard Mr. Tonks discourse intelligently, and the only study he seems to have lacked time to take up. That may account for a good deal:–for a good deal of what we have been glad to be able to say, and for a good deal more that we have been compelled to leave unsaid. It will also account for the fact that in the C.L.A. Mr. Tonks never had an enemy, and has always had– more or less–two hundred and forty-nine friends.
Source: The Central Literary Magazine - 1901
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Re: T. & J. Bragg - Birmingham
Mayoral Badge for Wokingham
The celebration of the Royal Jubilee has led to the acquirement by many corporations of permanent records in the form of civic insignia, and the pretty badge made by Messrs. T. & J. Bragg, of Birmingham, for Mr. Thomas M. Wescott, Mayor of Wokingham, is one of the most interesting. It is in general outline a heart shape, and the place of honour is given to the beautifully painted miniature portrait of the Queen in enamel colours upon fine gold. Surrounding this is an oval border also enamelled, with words recording the Jubilee. Wokingham (or Oakingham, as it is believed to have been originally named) has for its borough device a spray of oak ; therefore the designer has arranged a continuous wreath of oak at the sides of the royal portrait, and by a happy mixture of alloy the gold, which is of 18-carat quality throughout, is so combined in the leaves of the oak as to give a greenish effect as compared with the yellow tint of the remaining portion. Over the Queen's miniature is placed the royal crown, surmounted by the British lion, also crowned—the crest of England. The sceptres come in at the sides, the name of the borough on a riband in enamel ; a rich border completes the ornament, which depends from an appropriate gold centre with mural crown over, and the initials of the mayor given in gold letters on an enamelled field. Several additional gold links lead to the wide ribbon of royal blue by which the decoration is suspended. The whole has been finished in best style, and will form a memorial of the year in every way worthy of the event.
Source: The Watchmaker, Jeweller and Silversmith - 1st July 1887
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The celebration of the Royal Jubilee has led to the acquirement by many corporations of permanent records in the form of civic insignia, and the pretty badge made by Messrs. T. & J. Bragg, of Birmingham, for Mr. Thomas M. Wescott, Mayor of Wokingham, is one of the most interesting. It is in general outline a heart shape, and the place of honour is given to the beautifully painted miniature portrait of the Queen in enamel colours upon fine gold. Surrounding this is an oval border also enamelled, with words recording the Jubilee. Wokingham (or Oakingham, as it is believed to have been originally named) has for its borough device a spray of oak ; therefore the designer has arranged a continuous wreath of oak at the sides of the royal portrait, and by a happy mixture of alloy the gold, which is of 18-carat quality throughout, is so combined in the leaves of the oak as to give a greenish effect as compared with the yellow tint of the remaining portion. Over the Queen's miniature is placed the royal crown, surmounted by the British lion, also crowned—the crest of England. The sceptres come in at the sides, the name of the borough on a riband in enamel ; a rich border completes the ornament, which depends from an appropriate gold centre with mural crown over, and the initials of the mayor given in gold letters on an enamelled field. Several additional gold links lead to the wide ribbon of royal blue by which the decoration is suspended. The whole has been finished in best style, and will form a memorial of the year in every way worthy of the event.
Source: The Watchmaker, Jeweller and Silversmith - 1st July 1887
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Re: T. & J. Bragg - Birmingham
Mr. W. H. Jolly, of Mansfield, has been entrusted with the order for the production of the costly and magnificent mayor's chain, the gift of the Duke of Portland to the Borough of Mansfield. Though unable to avail himself of the invitation of the corporation to become their, first mayor the duke has allowed his goodwill and generosity to extend itself by presenting one of the finest chains of office to be found in the kingdom. Messrs. T. and J. Bragg, of Vittoria-street, Birmingham, have designed and are making this handsome piece of civic jewelry for Mr. W. H: Jolly, the well-known jeweler of the town. They are also at present occupied on a mayoral chain for Leominster. This is a very quaint piece of workmanship designed to represent the historical associations of the borough, and is executed in the mediaeval style with a number of shields upon which are engraved the names of the mayors of that ancient corporation. There is also a very quaint vessica-shaped badge having the seal of the borough in the centre. The central link of the chain from which the badge depends is larger in form than the rest of the links, and is supported by civic maces—one on each side—and contains the monogram of the Mayor (Mr. Wm. Plummer) beautifully enamelled. The chain is intended for the official use of the mayors of Leominster, and is wrought in gold and is of the most exquisite workmanship. On the seal of the borough attached to the chain is the inscription, 'Sigilium Commune Leoministree'. The seal, which is something like six hundred years old, represents a mayor holding the corporate seal in his left hand, and in his right an ancient mace. The badge will be presented to the Corporation of Leominster on the 10th of August, by Mr. Rankin, M.P., together with the chief steward, the mayor, and the town clerk.
Source: The Watchmaker, Jeweller and Silversmith - 1st September 1891
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Source: The Watchmaker, Jeweller and Silversmith - 1st September 1891
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Re: T. & J. Bragg - Birmingham
A Medallist that is coming to the front in Birmingham lately is Mr. James A. Restall, of St. Martin's Place, Broad Street. He was selected by the Cyclists' Touring Club to produce their new badge, of which he has produced several thousands. The club contains over 22,000 members, each of whom is supposed to possess one of the club badges in silver. He has also been successful in agricultural and poultry show work, and altogether is turning out a medallist of the very first order. He was an apprentice of Messrs. T. & J. Bragg, Vittoria Street, Birmingham.
Source: The Watchmaker, Jeweller and Silversmith - 1st August 1888
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Source: The Watchmaker, Jeweller and Silversmith - 1st August 1888
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Re: T. & J. Bragg - Birmingham
MACE FOR TUNBRIDGE WELLS
A very fine silver gilt mace has just been presented to the Borough of Tunbridge Wells by Aldermen Pink and Jackson. The order was entrusted to Messrs. T. and J. Bragg, of Birmingham, who have carried out the work in their well-known style. The mace is nearly four feet in length, and, following the example of some of the finest ancient maces, it has the Royal arms at the summit, finely modelled and enamelled in proper heraldic colors, while they are again shown on the cover of the vase portion of the head. Around the border of the head come a series of Maltese crosses and fleurs-de-Lis alternating, similar to those on the Royal crown. The vase part of the head is divided by Gothic canopies, below which come, on the obverse and reverse, the arms of the Borough of Tunbridge Wells, and at the sides the arms of Sussex and Kent, the town being partly in each county. The whole of these arms are given in correct heraldic colors in enamel, and produce a very beautiful effect. Supporting the head from the handle are rich scroll foliations with Tudor roses. There are four knops at various intervals on the handle, all richly decorated; the first and second having a wreath of English oak, while the upper portion of the third one is occupied by the enamelled monogram of the first Mayor (J. Stone Wigg, Esq., J.P.) On the reverse of this is given the inscription, as follows :—" This mace was presented to the Borough of Tunbridge Wells by Alderman Hori Pink and Alderman Philip Jackson. 2nd October, 1891." Between the knops are elaborate scrolls twining down the whole length of the mace, except the portion by which it is to be held. On these scrolls are three flowing series of decoration in repousse, one having the hop plant, as relating to the characteristic production, of Kent; another band having emblems specially relating to the fruit which is so abudantly produced in the county ; while the third has a combined representation of the town and the two counties in which it is situated, viz.: The Lion emerging from a well, having a fountain in his paws, forming the crest of the Borough; the Esculapian staff, symbolic of the art of healing, and relating to the town as a health resort; the Flying Horse of Kent and the Five Birds of Sussex. The mace is placed in a very handsome oak case.
Source: The Watchmaker, Jeweller and Silversmith - 2nd November 1891
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A very fine silver gilt mace has just been presented to the Borough of Tunbridge Wells by Aldermen Pink and Jackson. The order was entrusted to Messrs. T. and J. Bragg, of Birmingham, who have carried out the work in their well-known style. The mace is nearly four feet in length, and, following the example of some of the finest ancient maces, it has the Royal arms at the summit, finely modelled and enamelled in proper heraldic colors, while they are again shown on the cover of the vase portion of the head. Around the border of the head come a series of Maltese crosses and fleurs-de-Lis alternating, similar to those on the Royal crown. The vase part of the head is divided by Gothic canopies, below which come, on the obverse and reverse, the arms of the Borough of Tunbridge Wells, and at the sides the arms of Sussex and Kent, the town being partly in each county. The whole of these arms are given in correct heraldic colors in enamel, and produce a very beautiful effect. Supporting the head from the handle are rich scroll foliations with Tudor roses. There are four knops at various intervals on the handle, all richly decorated; the first and second having a wreath of English oak, while the upper portion of the third one is occupied by the enamelled monogram of the first Mayor (J. Stone Wigg, Esq., J.P.) On the reverse of this is given the inscription, as follows :—" This mace was presented to the Borough of Tunbridge Wells by Alderman Hori Pink and Alderman Philip Jackson. 2nd October, 1891." Between the knops are elaborate scrolls twining down the whole length of the mace, except the portion by which it is to be held. On these scrolls are three flowing series of decoration in repousse, one having the hop plant, as relating to the characteristic production, of Kent; another band having emblems specially relating to the fruit which is so abudantly produced in the county ; while the third has a combined representation of the town and the two counties in which it is situated, viz.: The Lion emerging from a well, having a fountain in his paws, forming the crest of the Borough; the Esculapian staff, symbolic of the art of healing, and relating to the town as a health resort; the Flying Horse of Kent and the Five Birds of Sussex. The mace is placed in a very handsome oak case.
Source: The Watchmaker, Jeweller and Silversmith - 2nd November 1891
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Re: T. & J. Bragg - Birmingham
The Mayoral Chain and Badge for Carmarthen
A very elaborate gold chain and badge has been provided for the ancient and distinguished borough of Carmarthen. It is in 18-carat quality gold, hallmarked throughout, and the chain is particularly interesting. There are a series of principal links of a Gothic character, suiting the antiquities of the borough, the centres having Knight Templar shields with castellated crowns, which are also emblems of the mayoral office. Each of the large shields is intended to take the name and year of office of the successive Mayors, the first on each side of the centre link being engraved with the name of Mr. Thomas Jenkins, the present Mayor, who has held office for the last two years. Between each of the larger links, connected by double sets of oval chain, comes the Gothic monogram, C.C.—Corporation of Carmarthen. Approaching the centre link are two civic maces charmingly wrought, and on the former is a shield with the Prince of Wales's Feathers, relating to the fact that Carmarthen was anciently and justly considered the capital of South Wales. Below the shield are the crossed leeks of Wales in saltire, enamelled, and over it, upon a seal of honor, is placed the Royal crown. From this suggestive central emblem of the chain depends the badge—a large oval surrounded by an open wrought border of Maltese crosses and fleurs-de-lis, representing the coronet of the principality of South Wales. Next comes the legend of the borough in gold letters on an enamelled ground, and within it is given a magnificent blazon of the borough arms—the famous castle of Carmarthen with river arch and three towers, two ravens upon the side towers, and an ostrich feather on each side, with the lion passant retournant below. The Welsh motto of the borough completes the blazon. The following inscription is given on the reverse of the badge :—' ' This mayoral chain and badge is the property of the Corporation of the Borough of Carmarthen, and was provided in the year 1892 by subscription amongst members of the Town Council and others, £50 being contributed by Peter Hopkins, Esq." The whole has been carried out in the finest style by Messrs. T. and J. Bragg, of Birmingham, through Messrs. Jenkins and Son, of Carmarthen.
Source: The Watchmaker, Jeweller and Silversmith - 2nd May 1892
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A very elaborate gold chain and badge has been provided for the ancient and distinguished borough of Carmarthen. It is in 18-carat quality gold, hallmarked throughout, and the chain is particularly interesting. There are a series of principal links of a Gothic character, suiting the antiquities of the borough, the centres having Knight Templar shields with castellated crowns, which are also emblems of the mayoral office. Each of the large shields is intended to take the name and year of office of the successive Mayors, the first on each side of the centre link being engraved with the name of Mr. Thomas Jenkins, the present Mayor, who has held office for the last two years. Between each of the larger links, connected by double sets of oval chain, comes the Gothic monogram, C.C.—Corporation of Carmarthen. Approaching the centre link are two civic maces charmingly wrought, and on the former is a shield with the Prince of Wales's Feathers, relating to the fact that Carmarthen was anciently and justly considered the capital of South Wales. Below the shield are the crossed leeks of Wales in saltire, enamelled, and over it, upon a seal of honor, is placed the Royal crown. From this suggestive central emblem of the chain depends the badge—a large oval surrounded by an open wrought border of Maltese crosses and fleurs-de-lis, representing the coronet of the principality of South Wales. Next comes the legend of the borough in gold letters on an enamelled ground, and within it is given a magnificent blazon of the borough arms—the famous castle of Carmarthen with river arch and three towers, two ravens upon the side towers, and an ostrich feather on each side, with the lion passant retournant below. The Welsh motto of the borough completes the blazon. The following inscription is given on the reverse of the badge :—' ' This mayoral chain and badge is the property of the Corporation of the Borough of Carmarthen, and was provided in the year 1892 by subscription amongst members of the Town Council and others, £50 being contributed by Peter Hopkins, Esq." The whole has been carried out in the finest style by Messrs. T. and J. Bragg, of Birmingham, through Messrs. Jenkins and Son, of Carmarthen.
Source: The Watchmaker, Jeweller and Silversmith - 2nd May 1892
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