Thomas Smith

SMITH, Thomas Born circa. 1725, died 1789 London UK. 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. Moved to 6 High Street Marylebone 1782. Smith was responsible for most of the work emanating from the shop after Wamsley’s retirement 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. His work is a little less refined than Wamsley’s, perhaps the better for it, being more strongly wooded and less fragile. The Stainer model is consistent. Golden-yellow varnish. He produced several alto violas and many cellos which are very effective and desirable instruments. Often used local maple with a narrow flame; violas almost invariably with one-piece fronts. His signature appears in several instruments bearing the labels of other contemporary English makers. A bow in the Ashmolean Museum, Oxford branded ‘T.Smith’ is identical to those bearing the Wamsley brand and one of the earliest known to feature an adjustable frog. Made by Thomas Smith / at the harp and hautboy in Pickadilly, / London, 1759 T. Smith 1756 Made by Thos Smith at the harp and / Hautboy in Pickadilly London 1783 / now no.6 High Street, St. Marylebone [BVMA]

A maker in London about 1740-90. Pupil and successor of Peter Wamsley. He had a great reputation as a maker of violoncellos, his instruments are much liked in England; they are made on the Stainer model, and some have a powerful tone, though not of very good quality ; the varnish is rather poor, of a brownish-yellow colour; in 1799 they sold for £5 5s. up to £8; more recently two realised £30 and ; £40 each. It is doubtful if he ever made any violins and tenors. John Norris was a pupil of his. Label: ” Made by Thos. Smith at the harp and hautboy in Pickadilly, London, 1756 ” ; similar labels were used until 1766.

He was a pupil and successor of Peter Wamsley. Some writers have bestowed great praise on his violoncellos, but I am inclined to think that they have never drawn a bow across their strings. Those which I tried had a hard, rasping tone that set one’s teeth on edge. The workmanship is not bad, although the varnish is rather poor stuff, of a dirty amber, or brownish-yellow colour. He used various labels.

Pupil of Peter Wamsley, and his successor at the Harp and Hautboy.

Schüler von Peter Wamsley, an dessen Arbeiten seine Instrumente auch in den Umrissen erinnern; nur sind sie stärker im Holz und sind, wenigstens in England, geschätzt. Ob er jemals Violinen gemacht hat, ist mindestens zweifelhaft; dagegen giebt es viele grössere Geigen von ihm. Er ahmte das Stainer- Modell nach, etwa in der Art John Johnson’s. Die Arbeit ist gut, aber nicht hervorragend, der Ton ansprechend, aber nicht gross und der Lack mager, von schwacher, braungelber’Farbe. Seine Zettel gleichen so sehr denen von Wamsley, dass Sandys und Forster annehmen, er sei auch der Geschäftsnachfolger seines Meisters gewesen. Er soll einen Sohn Namens John gehabt haben.

London circa 1750. Pupil of P. Wamsley. Stainer model. Dark yellow varnish.