makers and restorers
Introducing you to the expert luthiers listing their instruments in our shop, or occasionally taking on work for us remotely.
carlos libreros
Carlos Libreros joined the International Violin Making School in Newark in 2013 which he graduated from in 2017 with an upper level distinction. During his studies he gained further practical experience working for numerous experienced Luthiers, before undertaking full time employment at the workshop of Roger Hansell. During his time there, he developed a passion and flair for the art of copying old Italian instruments.
Carlos now works part time as a luthier at Stamford Strings and at his own workshop the rest of the time making instruments to commission. He enjoys working on set ups and sound adjustments. He has successfully undertaken several major violin and cello restorations for us, and has a viola for sale in our shop.
Carlos now works part time as a luthier at Stamford Strings and at his own workshop the rest of the time making instruments to commission. He enjoys working on set ups and sound adjustments. He has successfully undertaken several major violin and cello restorations for us, and has a viola for sale in our shop.
Emma Hardy
Emma Hardy is a violin maker based in Sheffield. She studied violin making and repair under Keith Graves at Merton College and continued her development thereafter via a variety of work placements with makers and repairers across the UK. After completing her training she relocated to Sheffield to have better access to the outdoors and to join Sheffield’s thriving music scene of which she is an active participant. Since 2018 she has been a committee member of the British Violin Making Association, acting as a co-ordinator for the annual Makers' Day exhibition and editor of the Quarterly Magazine.
Emma's making ethos is to take inspiration and guidance from the great makers of the past, but does not allow herself to be strictly bound by them. As such, most of her instruments use the basic outline of a historical maker, such as Stradivari or Del Gesu, but the character of the wood she is using, the kind of sound she's aiming to produce and the shapes created by her tools guides the rest. She also often draws inspiration from the Yorkshire landscape around her, and has recently completed a decorated folk fiddle, which is to be the subject of a documentary film 'Folk Who Roam'.
Emma's making ethos is to take inspiration and guidance from the great makers of the past, but does not allow herself to be strictly bound by them. As such, most of her instruments use the basic outline of a historical maker, such as Stradivari or Del Gesu, but the character of the wood she is using, the kind of sound she's aiming to produce and the shapes created by her tools guides the rest. She also often draws inspiration from the Yorkshire landscape around her, and has recently completed a decorated folk fiddle, which is to be the subject of a documentary film 'Folk Who Roam'.
James stephenson
James Stephenson
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James started making violins in 2001, first studying at Newark School of Violin Making before working for Roger Hansell in North Yorkshire.
Having previously completed a degree in Fine Art specialising in painting, James developed his interest in the craft of violin making and shared Roger’s fascination with the varnish process and the creation of copies of Master violins in both their tonal and visual intricacies. For the last few years James has been based in the South West, continuing new making making with an emphasis on the cello which he enjoys playing. |
Andrew Fairfax
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After graduating from the Newark School of Violin Making, Andrew began his professional career in the Netherlands working for Joost van der Grinten before being employed by Charles Beare in London as a maker and restorer in 1982. Since then he has co-authered "The British Violin" (BVMA 2000), "The Voller Brothers" (BVMA 2006) and curated the 2016 Panormo exhibition for Tarisio London while continuing to research, write and lecture on numerous aspects of violin history, making and restoration across Europe, North America, Australia and Asia.
As a colleague of Charles Beare for over thirty years Andrew benefitted from the opportunity to work with some of the worlds finest musicians, as well as restore and study many of the greatest and most celebrated violins, violas and cellos. Now established independently with Anneleen , his experience is reflected in his new instruments as well as his approach to restorations and tonal adjustments. Andrew is also a member of the Entente Internationale des Maîtres Luthiers et Archetiers. |
Helen Michetschläger
Helen Michetschläger
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Helen has been a professional violin maker for over 40 years. Her instruments are valued by musicians in the UK, Europe, the USA and Hong Kong. Players range from professional orchestral players to children who benefit from her original designs for small violins and violas. Helen specialises in personalised commissions, meeting the individual needs of the player for sound and for playing comfort.
Away from the workbench, Helen has published a book of the varnish expertise of the late Koen Padding, written regularly for the Strad Magazine, given a number of conference presentations and is currently organiser of the annual Lutherie conferences in Newark, Nottinghamshire. |
gabriele rossi
Born in Piacenza in 1990, his musical journey started when he first picked up the guitar at 15. After studying physics at university for a few years, he decided that it was not for him, and set out to find a new direction.
His interest for music, which had only grown during the years, and a love of making things with his own hands led him to enrol at the International Violin Making School in Cremona. In his years there he was taught by Giorgio and Daniele Scolari, and Massimo Negroni. As well as learning to construct the instruments of the classical quartet, also developed a keen interest in baroque instruments, particularly the viola da gamba and dancing master’s kit.
After graduating in 2019, he worked in Cremona for a few years, developing his knowledge of construction techniques, spirit and oil based varnish, and pigment making.
In 2022, the opportunity arose to move to Germany and explore the restoration and maintenance side of violin making.
His interest for music, which had only grown during the years, and a love of making things with his own hands led him to enrol at the International Violin Making School in Cremona. In his years there he was taught by Giorgio and Daniele Scolari, and Massimo Negroni. As well as learning to construct the instruments of the classical quartet, also developed a keen interest in baroque instruments, particularly the viola da gamba and dancing master’s kit.
After graduating in 2019, he worked in Cremona for a few years, developing his knowledge of construction techniques, spirit and oil based varnish, and pigment making.
In 2022, the opportunity arose to move to Germany and explore the restoration and maintenance side of violin making.
Peter smith
Peter Smith
Peter Smith apprenticed at Ealing Strings of London in 1978 at 16 years old and apprenticed as a restorer working on classic Italian and English instruments among others. He then started violin making before enrolling at the the Newark School of Violin Making in 1985 to study and become a Viola /Cello Maker . After graduating, he moved to Manchester as a Restorer and Maker, specialising in violas for members of the Halle orchestra, including the lead Viola player, among others. At that time, he based his model on an Italian Maker, Andrea Guarneri, and over the coming years modified the instrument for size and to meet the requirements of contemporary playing and acoustic response.
Later in his career, he became a Teacher at the Newark School of Violin Making and Restoration and is currently the course leader and has his own workshop outside Newark in a small village . He still specialises in violas, and the current model he makes is of his own design, whilst maintaining the influence of the Guarneri model, combined with Stradivarius' models and English makers such as Forster and Parker, modernised to meet the requirements of the current time. His new model reflects his extensive experience and many of the concepts he developed over time, including current viola making within the trade, reflecting the requirements of the player, but in his own inimitable style.
Stamford Strings is delighted to have been commissioned to sell one of Peter’s violas. It is designed to have large lush deep sound with strong projection and has an aged finish with some simple inlay reflecting aspects of English practice.
This model can be 'sized' the suit the player from 15'' to 16 1/2''.
Later in his career, he became a Teacher at the Newark School of Violin Making and Restoration and is currently the course leader and has his own workshop outside Newark in a small village . He still specialises in violas, and the current model he makes is of his own design, whilst maintaining the influence of the Guarneri model, combined with Stradivarius' models and English makers such as Forster and Parker, modernised to meet the requirements of the current time. His new model reflects his extensive experience and many of the concepts he developed over time, including current viola making within the trade, reflecting the requirements of the player, but in his own inimitable style.
Stamford Strings is delighted to have been commissioned to sell one of Peter’s violas. It is designed to have large lush deep sound with strong projection and has an aged finish with some simple inlay reflecting aspects of English practice.
This model can be 'sized' the suit the player from 15'' to 16 1/2''.
Caroline Schroyen
Caroline is a promising upcoming violin maker. In 2014 she started learning violin repairs as a hobby with Luthier Géza Burghardt in Vancouver, Canada. She soon realised that violin making was where her heart belongs. In 2016, Caroline set of to learn at the Newark School of Violin Making, from which she graduated in 2020.
Caroline puts her focus on making new instruments. Her instruments reflect her remarkably fine and detailed way of working. Every step in the process of making is thoughtfully taken care of.
Caroline puts her focus on making new instruments. Her instruments reflect her remarkably fine and detailed way of working. Every step in the process of making is thoughtfully taken care of.
Andrew Woods
Andrew came from an artisan craftsmanship back ground within his families gun making business, after his grandfathers death in '97 he chose to diversifier from the gun world, working for meany years as a furniture maker. As a keen Guitar, Bass and later Cello player, Andrew started making instruments for friends and local musicians as a hobby, finding a passion for instrument making, he attended first Juliet Barkers school in Cambridge, then in 2020 completed his studies at Newark School of Violin making, graduated with a BA (hons) 1st Class. Since leaving Newark Andrew has continued to developing his skills concentrating on making new violin family instruments in the rural setting of Banham Norfolk.
Stamford Strings has been commissioned to sell one of Andrew's 'Cello, which is his own full size design, with a narrow waist for comfort, and arching developed for a full even sound in both high and low registers.
Stamford Strings has been commissioned to sell one of Andrew's 'Cello, which is his own full size design, with a narrow waist for comfort, and arching developed for a full even sound in both high and low registers.
theo Parmakis
Theo Parmakis is a graduate of the Newark School of Violin Making.
As a musician first with a background in folk music and computer programming, his instruments are the culmination of a process which combines modern ideas and traditional techniques to produce instruments with a rich and rounded sound. They are easy to play and characterful, ideal for a player looking for a dependable but unique instrument.
Theo works out of his dedicated workshop in Sheffield where he crafts and repairs a variety of stringed instruments. He has hosted several work experience and skill sharing sessions for other luthiers interested in his ideas. He also enjoys teaching banjo and other instruments, and has built a selection of software to facilitate the process of learning music
As a musician first with a background in folk music and computer programming, his instruments are the culmination of a process which combines modern ideas and traditional techniques to produce instruments with a rich and rounded sound. They are easy to play and characterful, ideal for a player looking for a dependable but unique instrument.
Theo works out of his dedicated workshop in Sheffield where he crafts and repairs a variety of stringed instruments. He has hosted several work experience and skill sharing sessions for other luthiers interested in his ideas. He also enjoys teaching banjo and other instruments, and has built a selection of software to facilitate the process of learning music