Smith knew the theatre, having a keen eye for the dramatic flourish, with a sense of stagecraft, a Promenade at Carlisle House, followed by a mezzotint exhibited in 1782 at the Free Society of Artists. Mezzotints of George Romney's portrait of The Children of Earl Gower and Thomas Gainsborough's George, Prince of Wales catapulted him into the Royal Household, appointed in 1784 as Mezzotint Engraver to the Prince of Wales. Other successful pieces followed with The Weird Sisters after Henry Fuseli (1785), and a Widow of an Indian Chief (1789), after Joseph Wright of Derby. He was a boon companion of George Morland, whose excellent figure-pieces included mezzotints repository at the British Museum, and frequent exhibitions throughout his career at the Society of Artists. In the intervening periods he showed oils, chalk and pastels at the Royal Academy in Piccadilly, for example his mezzotint of 1785 of the Credulous Lady and Astrologer. In 1803 he had a special exhibition of oils at the British School in Berners Street, Piccadilly. Of his complete oeuvres, over 400 works of mezzotint and stipple, included 120 genre and satirical works about ordinary life. Ladies in Fashionable Dresses by Bowles portrayed, according to one critic, a group of prostitutes. Smith became a London publisher from 1781, including among his clients the radical writer and artist William Blake. A prolific mentor of apprentices, he shared plates with at least thirty other London printers. In this group was J. M. W. Turner, Charles H. Hodges, William Ward, Thomas Girtin and James Ward, who were among his registered pupils were William Hilton, Charles Howard Hodges, Christiaan Josi, Samuel William Reynolds, James and William Ward (engraver), and Peter de Wint. As a mezzotint engraver Smith occupies the very highest rank. His prints are delicate, excellent in drawing and finely expressive of colour. Among his small full-length portraits in pastels and crayons the best is of Fox, the Whig leader which in 1802 was exhibited in the Royal Academy. Other portraits were of important radicals and whigs Horne Tooke, Sir Francis Burdett and the group of the duke of Devonshire and family support his claims as a successful draughtsman and painter. He had a very thorough knowledge of the principles and history of art, and was a brilliant conversationalist. After a divorce from Ann, on the grounds of adultery, he lived with Emma Johnston, mother of his child, artist Emma