Author: Andrew Dipper

Dipper Restorations is heading to BEMF – June 12-15, 2019

Dipper Restorations is preparing for the upcoming trip to Boston for the Boston Early Music Festival (BEMF) having finished the restoration of a number of original Baroque violins which will be new to the marketplace. Please visit us at Booth

Announcing the launch of the our new Dipper Restorations website

Announcing the launch of the our new Dipper Restorations website We are excited to announce the launch of Dipper Restorations  newly designed website. Dipper Restorations is the Early music players prime source for historical instruments in their authentic original condition.

Hare Violin Restoration

This violin was made by Edward Pamphilon in collaboration with John Hare whose label it bears. John Hare’s shop was in Mason’s Yard near the Royal Exchange, London. These makers were active during the reign of Charles II, 1660-1685 and

Viola da Gamba

The Dipper workshop undertakes some of the most difficult and time-consuming restoration offered in the world today. Past restorations have included work that is now in the world’s major musical instrument museums and instruments that are being played by the

Early 18th Century Italian Violin Concerto Bow Reproduction

Museum collections offer a good resource for accurate reconstruction of historic bows. This violin bow, which is part of the collections of the National Music Museum (NMM) in Vermillion S.D., was copied for a client in 2008. The museum bow

The Making of a Historically Informed Bow

Dipper Restorations, being museum restoration specialists, sometimes has the opportunity to work with the collection of the National Music Museum on the campus of The University of South Dakota. One of the benefits of this became apparent in a commission

The Stradivari Viola D’Amore, pt 1

In 1976 as part of my work translating Simone Sacconi’s book, The “Secrets” of Stradivari into English I was asked to review the holdings of the Ala Ponzone collection of Stradivarian material in Cremona. This collection consists of the residue

The Stradivari Viola D’Amore, pt 2

The first question I had to ask concerning these paper patterns was regarding their authenticity. Were they actual material from the Stradivari shop, or were they additions to the collection from later makers such as Bergonzi, Guadagnini or Ceruti?

The Stradivari Viola D’Amore, pt 3

I started building the instrument in 2001, but because of the restoration demands of the workshop it was not finished until 2008. The wood for the instrument came from three sources. For the belly I chose a very old piece