With the violin complete all that is left is to string the instrument and tune it up. It will develop more tone with time and playing, but I’m very pleased with the sound. This is a fine 3/4 size Michel-Ange GARINI made in the Vosges Mirecourt region of France for the workshop of Jerome Thibouville-Lamy (JTL) in the early part of the 20th century – probably around 1903-5.

Here once again is the ‘before’ photo

Garini violin before photo

Garini violin 'before' photo

And here is the first tune after restoration:

So it’s been quite a learning journey for me, and worth every step and mis-step.

Cheers
Jerry

Still a fair bit if work here – new sound-post, new end button, new pegs – shaped and fitted – nut shimmed and re-glued, saddle refitted, new bridge cut, and new strings fitted.

Here is nut being shimmed and refitted

Now for the soundpost. itting the soundpost. By tying two threads to the soundpost, with one leading out through each F-hole, the soundpost can be guided into position and nudged into place with the soundpost setting tool. The threads allow for rapid retrieval when the post falls out of place. The end-button was not yet fitted, enabling a good visual sighting to ensure the sound post was vertical in length and breadth.

The soundpost was cut to length after using a soundpost gauge to determine the length, and was shaped at each end to fit the curvature of the instrument.

Then the peg holes were lightly reamed to the correct taper, the pegs were tapered in a shaper – which is like a large pencil sharpener, then the pegs were cut to length and fitted to the peg box. Then with a pencil I marked the position of the string holes, then removed the pegs and drilled them with a 1.5mm drill and countersunk each end of the hole with a round file.

reaming the peg holes

reaming the peg holes

shaping the pegs

shaping the pegs

cutting the pegs to size

cutting the pegs to size

fitting the pegs

fitting the pegs

I’m now happy that the top is solid and there are no remaining structural issues. So it’s time to reunite the top with the rest of the violin. I prepared a fresh pot of hide glue and lined up the clamps, pre-setting the width so the a half turn would attach them firmly. Hide glue takes no prisoners and begins to gel off in about 2-3 minutes so it must be fully assembled by then with clamps in place.

With brush at the ready, I gently warmed the top and ribs with the heat gun, and quickly applied the glue to the top of the ribs, before carefully and quickly re-seating the top ensuring an even overhang on both sides and all round.

Then I applied the clamps on opposite sides, starting with the C bout corners and the end-block and shoulders then filled in around the sides to ensure an even pressure.

violin top under clamps

violin top under clamps

I waited 24 hours before releasing the clamps and the result is a firmly attached top

Still a fair bit of work in fitting up but we’re over the worst of it

violin Top firmly attached

violin Top firmly attached

I ordered and received some spruce 3mm sheets – perfect for making repair cleats. There is probably enough to last me for a lifetime of violin repairs!

The extensive cracks on the violin top certainly required reinforcement. I cut a series of 5mm squares and lightly sanded them to fit the curve of the inside top plate and glued them in place along the largest cracks with hide glue. Then I shaved each of them down to a low pyramid.

This process took a couple of hours as I needed to get each one in place and clamped and set, then when the glue was set, I began shaving them down with a very sharp chisel.

Here is the result

violin repair cleats

This last one is a little different, and is known as an ‘eyebrow patch’ which involves removing some of the original timber and inserting a piece of spruce and carefully shaving it down to be flush with the surrounding wood. This makes for a strong repair, and as it is still spruce – the same as the rest of the top, there should be little impact on the sound. It is the strongest way to repair an F-hole failure.

violin repair cleats

With spool clamps made the next job was to begin the process of gluing the cracks ready for the reinforcing cleats. First I had to mix up some fresh glue. Elsewhere I noted that I had converted an old coffee drip machine as a double heater for the glue.

coffee pot as glue pot

coffee pot as glue pot

The glue granules were dissolved in water for about an hour, then heated by immersion in the coffee pot which held plain water on the hotplate. The glue was mixed to the consistency of honey – and that is when it is ready to use.

A further examination of the back revealed a separation between the lower bout and the back. The best tool for this is a thin palette knife.

The knife both found the gap and was used as the means to convey the glue into the gap.

Garini violin repair

Garini violin repair

The excess was quickly wiped off with a damp rag and the gap was held closed by a few spool clamps. Four hours later and the back-ribs seal is complete.

Garini violin repair

Garini violin repair

With that job done, I set aside the body on its cushioned surface and set to work on the top.

There were several issues to address which had to be handled quickly, so photos are sparse.

The first one was the F-hole crack that would otherwise prevent proper clamping of the other cracks. I made a temporary cleat from a popsicle stick and glued and clamped this one with a spring clamp.

At that point I went off and had some lunch and a coffee and came back to find it had held well and was nicely aligned.

Using the palette knife for the most open part of the first major plate crack I worked quickly under a warm lamp to get glue into the join as far as possible. But to avoid opening the crack further, I then pained glue on the rest of the crack and tapped it into the crack with my forefinger.

Then I used the edge-closing clamp to hold the edge and applied a full top-plate clamp to close the rest of the crack.

You can see both clamps here – they are specialist luthier clamps bought from Pilgrims Projects online.

Garini violin repair

Garini violin repair

Having sealed the bass-bar crack I did the same with the upper plate crack and glued that up too.

After several hours the top plate is almost solid again. But the top plate will be weak. And the F-hole repair is only temporary as I really need to do a full ‘eyebrow’ cleat – which entails removing some of the original wood to about half the thickness of the plate, and inserting a spruce cleat to match it and then shape it to fit so that no timber stands proud when it comes to rejoining the top to the ribs.

At this point I will have to put the repair on hold as I need to order some spruce material for the cleats online – it should be about a week or ten days coming from the USA.

In the meantime I hope to make some detailed drawings traced from the violin so that I can use the measurements on a new one.

Cheers
Jerry

With the top plate removed I gave the inside a thorough brushing with a soft brush to remove any dust so I could see if there were other issues that might affect how I went about the restoration.I was looking to see if there was any insect or fungal damage, and I wanted to see clearly if there were old repairs or previous unsuccessful repairs that might complicate the process.

Garini violin repair

Garini violin repair

A close visual and tap inspection of the back revealed no cracks or loose glue joints and the blocks appeared sound. The next thing was to remove residual glue from the linings and bouts so as to ensure a smooth surface for replacing the top once it is fixed. This was done with a scraper.

Garini violin repair

Garini violin repair

The instrument is nicely finished inside and will not require any regraduating. The blocks also appear to be sound, and they haven’t shrunk so the top is really the only issue.

A close examination of the top shows a number of large, but clean cracks. They will need reinforcing cleats. There is evidence of previous repair being attempted on these, but without reinforcement and the cracks have failed. At a guess I would say the damage is a typical crush injury – the sort of damage sustained when heavy luggage is placed on top. It does not appear to have been the result of a drop onto a hard surface as there is no impact damage on the plate overhangs.

The most worrying one is the one running parallel and close to the bass bar.

Garini violin repair

Garini violin repair

The bass bar itself is sound, and there does appear to be sufficient room for some small cleats that will help to reinforce the crack. It looks as though someone has tried a thin hide glue and it has not set properly, or was of insufficient strength to hold.

The next main crack is on the treble side and will also require reinforcement. The crack is about 100mm (4″) long and is clean with no wood missing.

Garini violin repair

Garini violin repair

The only worry here is that the crack extends up to the F hole.

The third is one of the more common cracks, being at the F hole, but as it goes all the way through it considerably weakens the top at this point. It will also need reinforcement with cleats.

Garini violin repair

Garini violin repair

This should be fairly easy to get glue into, but the clamping will be complicated.

The dark stain is where the original luthier pained on some hide glue as a reinforcement for the F holes – that is common practice and is fine – it does not denote  previous repair there.

The beauty of using hide glue is that it is acoustically transparent – it does not inhibit the sound the way, say, PVA glues would. The other beauty of hide glue is that as it dries it actually draws the wood together making an almost invisible join. And given both of these factors, you can see why luthiers put up  with the hassle of having to heat it for use. It is important to make up a fresh batch for each repair session as it can ‘go off’  and lose its bonding strength.

After this I will need to clean off the rosin residue beneath the bridge area and give the whole instrument a thorough clean with violin polish. I will not attempt to re-varnish the area beneath the fingerboard as that unfinished zone is part of the original construction, although I may give it a light French polish.

The biggest challenge will be to sequence the repairs and to work out how to clamp them so they hold.

Last weekend I also bought more dowel and threaded rod to make about another fifteen spool clamps for the final reassembly. I have some specialist crack repair clamps bought from a luthier supplier.

Cheers
Jerry

Violins under the name Michel-Ange Garini were made around 1900- 1920 in Vosges, France in the Mirecourt region. This violin came into my hands via a luthier friend in Canberra who had decided it was uneconomic to repair.

Garini violin as it came into my shop

Garini violin as it came into my shop

It was clear to me that I had some challenges ahead. The violin is nicely constructed and finished with good attention to detail – some of which is only evident after disassembly.

The violin has a dark red oil-based varnish and appears to have been varnished after the fingerboard was added, so the top remains unfinished beneath the fingerboard. This appears to have been a hallmark of some Mirecourt violins, notably the one restored in 2005 by MysticViolin in the USA. That one was made by Justin Amédée Derazey or his factory in Mirecourt. There are images of that restoration at stringrepair.com. Over the next several weeks I shall blog the restoration process of the Garini violin.

The first stage was a visual and tap inspection of the instrument. There may be other issues, but the black arrows on the image point to the four major cracks in the top plate. One of the cracks is close to, but not touching the bass bar, and two of the cracks run about one-third of the length of the plate.

Garini violin damage. The arrows point to the major cracks

Garini violin damage. The arrows point to the major cracks

It was clear I would have to carefully remove the top plate. First step is to heat the seams with a heat gun in order to soften the hide glue.

Applying the heat gun to the upper seams

Applying the heat gun to the upper seams

This process was alternated with the careful insertion of the paint scraper – it is strong, flexible and has a very thin blade. The scraper was inserted using a walking motion using just enough force to keep the blade moving against the heated part of the seam. Slowly the plate separated cleanly from the ribs.

Inserting the scraper to separate the plate from the ribs

Inserting the scraper to separate the plate from the ribs

It took about half an hour, but finally the plate was fully separated from the ribs.

Inside the violin

Inside the violin

The back is of one piece nicely flamed maple and was undamaged. The top plate will have the cracks glued and reinforced with small sycamore buttons. And that will be the subject of subsequent posts.

I’ll leave you tonight with a pic of the label – if anyone has any more information about the maker I would love to hear from you

Garini violin label

Garini violin label

Cheers
Jerry

Follow

Get every new post delivered to your Inbox.