One of the most valuable companions on my Lord Mayor’s Creative Fellowship has been a growing collection of violin repair and restoration books. Over the years I’ve amassed a modest library covering both violin making and repair, and these reference texts continue to provide guidance, inspiration, and the occasional unexpected gem.
Among the better-known authors are Henry Strobel, Chris Johnson, Harry Wake, Edward Heron-Allen, and Horace Petherick. Petherick’s work is particularly enjoyable as a historical read, written in a kindly, instructive tone that often feels as though an experienced master is speaking directly to a young apprentice. While books can never fully replace hands-on experience, they offer alternative viewpoints and insights that can deepen understanding and refine practice.
Although I was fortunate to learn under a skilled teacher and spend time working in a violin workshop, there seems to be no end to the knowledge required to become a competent repairer and restorer. This is where books, alongside online communities and professional discussion forums, can be invaluable. Making books provide important insights into repair work, but dedicated restoration texts are often more directly applicable to the challenges encountered on the bench.
Some particularly useful resources include Henry Strobel’s repair books, Edward Heron-Allen’s Violin-Making (available free through Open Library), and historical texts such as Horace Petherick’s The Repairing and Restoration of Violins (available free from project Gutenberg ), I have some early printing though . Each contributes something different, whether practical techniques, historical context, or a glimpse into the evolution of the craft.
One of the most respected books in the restoration field is Violin Restoration: A Manual for Violin Makers by Hans Weisshaar and Margaret Shipman. Built upon decades of professional experience, this substantial hardcover volume contains hundreds of photographs, illustrations, and diagrams across more than 250 pages. It remains a remarkable reference work, documenting best practices while also discussing emerging techniques and materials—a reflection of the authors’ scholarly and open-minded approach.
The very first words in the book set the tone:
“Everyone is an apprentice. A journeyman is he who has acquired an ability. A master is he whose ability has become creative.”
That sentiment resonates strongly with me as I continue my own journey through repair and restoration.
The book is available directly from the Weisshaar website and other specialist suppliers. At over AUD $600, it is certainly not an impulse purchase. However, for an active repairer or restorer, the knowledge contained within can facilitate either incremental improvements or significant leaps in expertise. Viewed in that light, it represents excellent value and can quickly repay its cost through improved workmanship and efficiency.
One particularly interesting section discusses the much-vaunted 1704 varnish recipe, including a facsimile of a historical note from Simone Sacconi. These kinds of primary-source materials are rarely found online and further demonstrate the depth and authority of the text.
Throughout my fellowship, I have found Weisshaar and Shipman to be an invaluable companion. It has helped identify gaps in my knowledge—after all, you don’t know what you don’t know—and often provides exactly the right word, technique, or small practical insight needed to solve a problem. Equally importantly, when exploring unfamiliar territory, it offers a gold-standard benchmark against which I can evaluate other methods and approaches.
For any serious student of violin repair and restoration, a good library is more than a collection of books. It is a workshop companion, a mentor, and a reminder that the learning never truly ends.
More fellowship activitiy posts here