Home contents cover is rarely enough for a fine instrument. What specialist musical instrument insurance covers, the clauses to read twice, and how agreed value works.
If your instrument is worth more than a few thousand pounds, ordinary home contents insurance is rarely enough. The standard solution is a specialist all-risks instrument policy with an agreed value and worldwide cover. This guide explains what that means, what to check before you buy, and what insurers will ask of you.
Usually not well. Home contents policies tend to have single-item limits that a good instrument exceeds, they often exclude professional use, and cover away from home or abroad is limited or absent. Most pay out on an indemnity basis rather than an agreed value, and none of them deal with the problem specific to fine instruments: an expertly repaired violin is worth less than an undamaged one, and ordinary policies do not cover that loss of value.
A proper specialist policy is written around how musicians actually live. Look for: all-risks cover for accidental damage, loss and theft; an agreed value, fixed in advance, rather than an insurer's opinion after the event; worldwide territorial cover including transit; depreciation cover, meaning the loss of value that remains after a professional repair; cover for a hired replacement while yours is repaired; and clearly stated conditions for instruments in vehicles and left unattended. Professionals should also consider public liability cover, which specialist insurers commonly offer alongside.
Agreed value is the heart of a specialist policy: you and the insurer fix the figure when the policy is written, normally supported by a written valuation from a dealer or expert. The common mistake is letting that figure go stale. The fine instrument market moves, and an instrument insured at its price from eight years ago may be seriously underinsured today. Review the valuation every few years, and after any significant market change or restoration work. We provide written insurance valuations from £75.
Expect to provide a current written valuation, clear photographs, any certificates or receipts, and honest answers about where the instrument is kept, how it travels and whether you play professionally. Accuracy matters: an undisclosed detail is the most common reason a claim gets complicated.
Four clauses cause most disputes. Unattended vehicle conditions: many policies restrict or exclude theft from cars, or impose strict conditions about visibility and locks. Gradual deterioration: damage from climate, such as a crack that develops over a dry winter, may be treated as wear rather than an insured event. Wear and tear: strings, bow rehairs and routine maintenance are never covered. And single-article limits: if you insure a collection, check the limit that applies to each individual item.
Report promptly, since most policies set time limits. Photograph everything before anything is moved or repaired, get a written condition and repair report from a qualified restorer, and keep every receipt. Do not authorise repairs before the insurer has agreed, except where necessary to prevent further damage.
At MyLuthier we use Segurio as our preferred insurance partner. They specialise in instrument cover, and we recommend them for their flexibility and customer service. Whoever you choose, instrument insurance is a specialised corner of the market, and it is worth using an insurer or broker who works with musicians daily rather than a general provider.
We provide written valuations for insurance purposes, and if you are unsure what cover suits your situation, get in touch and we will point you in the right direction.
We earn a commission if you take out a policy through our Segurio link, at no extra cost to you. We recommend them because we use them, not because of the commission.
Last reviewed: August 2026. Insurance products and providers change; always confirm current terms directly with the insurer or broker.
Pedro Silva is a cellist and one of the co-founders of MyLuthier. He graduated from the Royal Academy of Music in 2018 with a Master of Arts in cello performance, studying with Guy Johnston. He enjoys an varied freelance career as an orchestral, chamber musician and frequently collaborates with Early Music ensembles and West End productions.
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