Thomas Smith

History

Thomas SMITH (circa 1725-1789) was born around 1725 and died in 1789 in London, UK. He was the son of William Smith, a music engraver who worked for P. Wamsley. Thomas became Wamsley's pupil, assistant, and successor at the 'Harp and Hautboy' in Piccadilly. He moved to 6 High Street Marylebone in 1782. Smith was responsible for most of the work emanating from the shop after Wamsley's retirement in 1741, even though the business remained in the hands of Wamsley's wife. Smith finally took over in 1751 and used all the same labels and trade cards with only the name altered. He took over the court appointments to King George III and the Duke of York.

Craft

• Workmanship: His work is described by John Dilworth as a little less refined than Wamsley's, perhaps 'the better for it, being more strongly wooded and less fragile'. Willibald Leo Lütgendorff states that his work is good but not outstanding.
• Model: He consistently used the Stainer model, which Willibald Leo Lütgendorff compares to the manner of John Johnson.
• Varnish: John Dilworth describes his varnish as golden-yellow. Cecie Stainer and William Meredith Morris describe it as 'rather poor, of a brownish-yellow colour' or 'dirty amber, or brownish-yellow colour'. Henri Poidras notes a dark yellow varnish, and Willibald Leo Lütgendorff describes it as lean, of a weak brownish-yellow color.
• Instruments: He produced several alto violas and many cellos, which are considered very effective and desirable instruments. He often used local maple with a narrow flame, and his violas almost invariably featured one-piece fronts. Cecie Stainer states that his violoncellos were much liked in England, with some having a powerful tone, though she questioned its quality. William Meredith Morris, however, found the tone of the violoncellos he tried to be 'hard, rasping'. Willibald Leo Lütgendorff describes the tone as appealing but not great.
• Signature: His signature appears in several instruments bearing the labels of other contemporary English makers.

Influence

• Family: He was the son of William Smith, a music engraver.
• Mentorship: He was a pupil of P. Wamsley, and later his assistant and successor.
• Pupils: John Norris was a pupil of his.

Legacy

• Market Value: In 1799, his instruments sold for £5 5s. up to £8. More recently, two realized £30 and £40 each.
• Museum Holdings: A bow in the Ashmolean Museum, Oxford, branded 'T.Smith', is identical to those bearing the Wamsley brand and is one of the earliest known to feature an adjustable frog.
• Family Continuity: Willibald Leo Lütgendorff suggests he may have had a son named John.

Further Information

• Addresses: He worked at the 'Harp and Hautboy' in Piccadilly and later at 6 High Street Marylebone from 1782.
• Labels: Examples include 'Made by Thomas Smith / at the harp and hautboy in Pickadilly, / London, 1759', 'T. Smith 1756', and 'Made by Thos Smith at the harp and / Hautboy in Pickadilly London 1783 / now no.6 High Street, St. Marylebone'. Similar labels were used until 1766.

Summary

Thomas Smith (circa 1725-1789) was a prominent English luthier, pupil and successor to Peter Wamsley at the 'Harp and Hautboy' in Piccadilly, London. He was known for his cellos and violas, often made on the Stainer model, and took over court appointments to King George III and the Duke of York. His instruments are noted for their strong wood and less fragile construction, though opinions on his varnish and tone quality vary among historians.