My philosophy of repair and restoration is to first address the sound and playing requirements of the owner: what is the least that must be done in order to regain the desired sound and playability and at the same time return the instrument to a structurally sound and cosmetically matching appearance. Once this has been ascertained, I endeavor to execute such tasks in a manner that employs, as much as is possible (and where appropriate), the concepts of the Conservator:
- Reversibility of adhesives and retouching materials
- Use of retouching materials that render the repair invisible or nearly so, but that are readily distinguishable using UV light or Woods lamp from the original varnishes and grounds, and are reversible
- Use of the least aggressive cleaning compounds
- Employment of "least invasive" methods where appropriate
- Making photographic and written records where appropriate.
Cleaning materials begin with the most benign and, when necessary, slowly advance to the more aggressive thereby ensuring that the original varnish is not removed or altered. In recent years, aqueous compounds have developed, some employing various enzymes or resin soaps. Disassembly methods are chosen to eliminate further damage to fragile wood surfaces. Cleats, patches and any necessary wood replacements are executed employing only the traditional, reversible "hide" glues. In order to make repairs that are invisible to the naked eye, I keep on hand a large variety of the various woods employed in violin making (some wood being several hundred years old) and a large selection of both modern and classical varnishes, dyes and pigments.
Poorly executed repairs and restorations can make the instrument sound and play badly. As well, the instrument may be devalued and difficult to sell or trade in without financial loss. With nearly forty years of experience coupled with in-depth training, I endeavor to always execute repairs and restorations in the finest manner possible.