(Published in The Strad, July 2004)
The workmanship on this 1938 violin by Arthur Edward Smith confirms his position at the top of the Australian violin making tree.
Arthur Edward Smith has been called the 'father of Australian violin making' and there is no doubting his major contribution to the musical scene in that country. His Sydney shop served the musicians of Australia for half a century, while the workshop was a training ground for several generations of violin makers and repairers.
Smith migrated to Australia from the UK in 1909, when he was 29. His instrument making can be divided into three distinct stages: his early work, for C.W. Jeffreys of Maldon, UK, is neat but lacks a defining style; whereas his middle period, the 1920s to 1950s, shows a marked refinement; he suffered a series of strokes from the late 50s onwards and the workmanship on his later instruments fell away. Smith had a brief partnership with the Hungarian maker Carl Rothammer around 1912 to 1914 and this could well have had a significant influence on his style.
This 1938 violin was a wedding present for his son-in-law, Ernest Llewellyn, and was used by him from 1949 to 1964, in his role as concertmaster of the Sydney Symphony Orchestra (SSO). The violin then passed to Dene Olding, the current leader of the SSO, who used it from 1987 to 1994, and it is now on loan to Alex Mitchell, who is playing it with the same orchestra. Olding has used it on various recordings, most notably the Ross Edwards Violin Concerto (ABC 438 610-2) and the Barber, Martin and Milhaud violin concertos (ABC 438 900-2).
The instrument is based on a 'del Gesł' model and represents the work of a maker with a clear sense of direction and the skills necessary to achieve his aims. The powerful arching rises gracefully from a point just inside the purfling, which is set at four millimetres from the edge. Although the edgework and short corners show considerable wear, the high point is still discernable close to the edge. The scroll is neatly cut with slightly drooping eyes and there are no visible tool marks. The only evidence of marking out is a single compass point on the central spine above the chin.
Most of Smith's instruments have a dry, friable finish that is somewhat fragile and can make cleaning a daunting task. The varnish on this violin is no exception and is well worn, especially on the head, which is practically bare - a legacy of its extensive use. Given the history of the instrument, it must surely be due for a commendation from the SSO as one of its longest serving members.