“The Fruit of his Masonic Skill and Industry:” Painting for the Craft
Apron, 1817
Nathan Negus (1801-1825)
Boston, Massachusetts
Special Acquisitions Fund, 79.47
Photograph by John M. Miller
Nathan Negus decorated this apron when he was sixteen years old and an apprentice with ornamental painter, John Ritto Penniman (1782-1841). Never finished or worn, this apron may have been decorated as part of Negus’ instruction. Over the course of his five years in Penniman’s shop, Negus became familiar with the artist's Masonic business. This exposure helped him learn about the fraternity’s symbols, such the ones seen here and those on a box, thought to have been painted by Negus, that is displayed on this page.
In 1847, Boston ornamental and decorative painter Thomas Savory (1818-1896) advertised in the Freemason’s Monthly Magazine that he made “Banners, aprons, and every variety of painting for Lodges, chapters & c….” with “neatness and dispatch.” Savory, like many painters before him, saw a business opportunity in serving the Masonic community. A member of St. John’s Lodge, Savory was familiar with Freemasonry’s symbols, ritual and governance. Not every artist who painted tracing boards, aprons or furniture for lodges was a Mason. Some joined, in part, to be better positioned to attract Masonic customers. For example, artist Nathan Negus (1801-1825) learned about Freemasonry as an apprentice. Later he became a member of a lodge, actively sought Masonic commissions, and took pride in his work on what he described as “an elegant Masonic Hall.”
Box, 1814-1820
Attrib. Nathan Negus (1801-1825)
Boston, Massachusetts
Special Projects Fund, Supreme Council, 33°, Ancient Accepted Scottish Rite, Northern Masonic Jurisdiction, U.S.A., 2008.002.2
Photograph by David Bohl
Nathan Negus, who is thought to have decorated this box with Masonic symbols, served as an apprentice to Boston ornamental painter John Ritto Penniman (1782-1841). A member of St. John’s Lodge in Boston, Penniman painted aprons and other Masonic objects—with his apprentices’ help. As a young man, Negus, possibly following Penniman’s example, joined the fraternity. Writing home he noted of his membership, “I am a member of a society who will never see me Suffer….”
Apron, ca. 1800
J. Martin (dates unknown)
Probably Connecticut
Loaned by the Grand Lodge of Masons in Massachusetts, GL2004.1050
Photograph by David Bohl
Little is known about J. Martin, the artist who boldly signed his name on this apron, just under the compasses and quadrant arc at its center. He painted the emblems and border on the apron—designed to suggest a knotted fringe—with style and confidence. Based on the colors and symbols painted on it, Martin likely created this apron for a Freemason who participated in Royal Arch degrees.
Jewel and Medal Designs, late 1800s to mid-1900s
Frederick Widmer (1877-1955) and Kenneth Robert Park (1908-2008)
Boston, Massachusetts
Photograph by David Bohl
Loaned by the Grand Lodge of Masons in Massachusetts, GL2004.10961.1, .8, .9, .10
Jewelers who specialized in fraternal jewelry often keep photographs or images of the different jewels, badges and awards they manufactured as a catalogue of their offerings. When a lodge or organization requested a new design, the jeweler frequently drew or painted a sketch of the proposed design to facilitate discussion. The watercolors displayed here are badge and jewel designs from the Boston shop of jeweler Frederick Widmer and his successor, Kenneth Park.
Punch Bowl, 1906
Hugo A. Possner (1859-1937)
Waterbury, Connecticut
Gift of Clark Commandery No. 7, Knights Templar, Waterbury, Connecticut, 92.034a-b
Photograph by David Bohl
In 1906 artist Hugo Possner decorated this maple bowl as a presentation piece for Frank Conley (1840-1910) of Torrington, Connecticut. Along the rim of the bowl, Possner depicted badges, banners and insignia associated with different Masonic organizations and meetings. Below, Possner painted different symbols, scenes and coats of arms, most modeled on illustrations in Masonic handbooks. Conley belonged to Clark Commandery No. 7 in Waterbury and ran a popular hotel in his hometown.
As a boy, artist Hugo Possner moved from Germany to Connecticut with his family. A versatile artist, over his career he decorated cars, designed murals and painted portraits and still lifes. He also taught guitar and ran a confectionary company with his brother. In the early 1910s, he moved to Los Angeles and worked for the burgeoning movie industry.