This harpsichord is based on the one by William Smith now in the Bate Collection in Oxford. It is thought to have been made around 1725. It has never been fully restored and although it is playable it is rather disappointing being under-strung and below pitch. Almost nothing is known of Smith, and only one other instrument by him is known to have survived. He was probably apprenticed to Benjamin Slade in 1709, and there has been speculation that he may primarily have been a spinet maker – an idea suggested by the fact that the grain of the soundboard in this instrument is set at about 47 degrees to the spine. The very light internal bracing has often been remarked upon and modern makers who have made “copies” have usually “beefed it up” a little. I have trusted Smith and copied what he did and have found that it works very well, the key to it being the angled grain of the soundboard which makes it 'structural'. The soundboard takes the place of the 'missing' internal bracing at the liner level.

In 1993 Michael Cole put forward the theory that the harpsichord in the famous portrait of Handel by Mercier, might be this surviving instrument, and the similarity is certainly very striking. Although there is no proof it certainly seems possible that Handel would have at least known this or a similar instrument.

The case, including the spine, is made of English walnut, veneered inside with maple, with decorative inlaid lines. There is a single manual with a compass of 5 octaves from GG to g''' (with the ability to transpose to either A440 or 415), naturals covered with camel bone, and 'skunk-tail' sharps. There are two 8-foot registers strung in brass. The sound is free and characterful, the back register sweet and singing, and the front more pungent, and with a particularly good treble on both. Though modest, this harpsichord is nevertheless suited to a very wide range of music, perhaps reflecting that which was available in London in the early 18th century. It is a good example of the English style in the period before it came to be dominated by Kirckman and Shudi and their various imitators.