Henry (II) Jay

History

Henry (II) Jay (circa 1740-1776) worked in London, UK. According to John Dilworth, there was no known connection with the earlier Henry Jaye. He was probably a pupil of Peter Wamsley. Jay established independently in Long Acre, Covent Garden from 1740 and later in Windmill Street, Piccadilly from approximately 1766. Much of his work was sold through various firms including Longman & Co., later Longman Lukey & Co., and Longman & Broderip.

Craft

• Model: He typically produced London trade work using a high arched Stainer model.
• Workmanship: His craftsmanship was fine and very neat, with neatly finished work.
• Varnish: He occasionally used a good red-brown varnish, though mostly a thin brittle dark golden-brown recipe. William Meredith Morris noted the varnish was of good quality, and Cecie Stainer described it as a red-brown colour. Willibald Leo Lütgendorff also mentioned a good reddish-brown varnish.
• Instruments: He made a large number of dancing master's pochettes or kits, for which he was best known. He also made many violoncellos, often for Longman and Broderip.
• Tone: The tone of his kits was described as clear and sweet.
• Pricing: He received £5 for each kit, a sum which William Meredith Morris noted was equivalent to nearly £10 today, and Cecie Stainer considered a very large sum for the period.

Influence

• Training: He was probably a pupil of Peter Wamsley, according to John Dilworth.
• Style: He worked well after Italian models.

Legacy

• Family Connections: Sources contain conflicting information regarding his family connections. John Dilworth states there was 'No known connection with the earlier Henry Jaye', while Cecie Stainer notes he 'is supposed to have been related to Thomas Jay', and Willibald Leo Lütgendorff suggests he was 'Wahrscheinlich der Sohn von Thomas Jay' (probably the son of Thomas Jay).
• Reputation: His good pocket violins (kits) were highly priced even during his lifetime.

Further Information

• Addresses: He worked in Long Acre, London, and later in Windmill Street, near Piccadilly, London.
• Labeling: His various brands are found beneath the back button. He sometimes signed under the fingerboard beneath the varnish with 'H. Jay'. His labels, as far as known, were only written.
• Known Labels: Specific labels include: 'Made by Henry Jay / in Long Acre, 1742'; 'Made by Henry Jay / in Windmill Street / near Piccadilly; London. 1768'; 'MADE BY HENRY JAY, INSTRUMENT MAKER, IN LONG ACRE, LONDON, 1750'; 'Made by Henry Jay in Long Acre, London, 1746'; and 'Made by Henry Jay in Windmill Street, near Piccadilly, London, 1768'.

Summary

Henry (II) Jay (circa 1740-1776) was a London luthier, likely a pupil of Peter Wamsley, who operated workshops in Long Acre and later Windmill Street. He was particularly known for his finely crafted dancing master's pochettes or kits, often built on a high arched Stainer model, which were praised for their clear and sweet tone and fetched significant prices. Jay also produced violoncellos, with his work frequently sold through firms like Longman & Co. His instruments were characterized by neat workmanship and the use of various varnishes, including a good red-brown type.