Smith, William
William Smith
fl. circa 1785-1815
Hedon, Sheffield & Stockport
William Smith's work is rare, and seems to fall into two categories. I have seen London-made instruments that are stamped SMITH / SHEFFIELD, that are very close in style to Peter Wamsley, and given the date, more likely to be by Edmund Aireton given the range of dates in question. Other work, which is apparently by him, shows a deep influence from the Dearlove workshop, suggesting that he originated as a maker from Leeds, and although he is not (as yet) known from there, his various locations are never that far away. Of particular interest is a tendency to borrow marquetry motifs - typically of the Sheraton style directly from furniture makers and to add these to the front or the back of his instruments, whilst the scrolls seem to borrow more from furniture making than conventional violin making practice. Amongst these one known cello is a fairly close interpretation of Wamsley's work, but containing the characteristics of Smith's furniture-making background. There seems to be no reason to connect him with Thomas Smith, the successor of Wamsley in Piccadilly despite the circumstances. Most of his work so far as I have seen is rather more hurried and loose in appearance, following his own style.
There were several Smith family members who made violins, and several named William. However, it is likely that he is the "William Smith,/Violin Maker,/Hedon. 1786." mentioned by Sandys and Forster. Hedon is in Yorkshire, not far from Sheffield and Leeds. In 1794 he is found at the Hermitage Bowling Green, in an advertisement from the Sheffield Register of 13 June. He is also recorded in Sycamore Street.
His work is later found with the inscription "William Smith, maker, Stockport, October 1812"
fl. circa 1785-1815
Hedon, Sheffield & Stockport
William Smith's work is rare, and seems to fall into two categories. I have seen London-made instruments that are stamped SMITH / SHEFFIELD, that are very close in style to Peter Wamsley, and given the date, more likely to be by Edmund Aireton given the range of dates in question. Other work, which is apparently by him, shows a deep influence from the Dearlove workshop, suggesting that he originated as a maker from Leeds, and although he is not (as yet) known from there, his various locations are never that far away. Of particular interest is a tendency to borrow marquetry motifs - typically of the Sheraton style directly from furniture makers and to add these to the front or the back of his instruments, whilst the scrolls seem to borrow more from furniture making than conventional violin making practice. Amongst these one known cello is a fairly close interpretation of Wamsley's work, but containing the characteristics of Smith's furniture-making background. There seems to be no reason to connect him with Thomas Smith, the successor of Wamsley in Piccadilly despite the circumstances. Most of his work so far as I have seen is rather more hurried and loose in appearance, following his own style.
There were several Smith family members who made violins, and several named William. However, it is likely that he is the "William Smith,/Violin Maker,/Hedon. 1786." mentioned by Sandys and Forster. Hedon is in Yorkshire, not far from Sheffield and Leeds. In 1794 he is found at the Hermitage Bowling Green, in an advertisement from the Sheffield Register of 13 June. He is also recorded in Sycamore Street.
HERMITAGE BOWLING GREEN
TO BE LET
AND ENTERED TO IMMEDIATELY
A Capital Public House, in full Business,
situated in Little Sheffield, kept at present by
William Smith, Violin-maker, who is going to open a
Music Shop in the Front, and is therefore under the Ne-
cessity of declining his present Business.
The Household Furniture, Stock, Brewing Vessels
&c. taken at a fair Appraisement.
His work is later found with the inscription "William Smith, maker, Stockport, October 1812"
