RÁCZ, LORAND
Born at Budapest 1913. Worked for Vedral and for Krumbholz at The Hague. Succeeded the latter, 1944. Won diploma of honour 1949. Strad and Guarnerian modelling, transparent red or brown on golden base, varnish.
RADRIZZANI, ANGELO
Born at Milan 1870. Pupil of Bisiach. Brother of the above. Worked at Vevey 1898. Gold medallist. Assisted by son Carlo. Good workmanship. £80, 1960.
RAE, JOHN
Born at Macduff (Scotland) 1843. Grandson of John Rae of Forglen (celebrated for bagpipes, 1767-1857). Worked at cabinet making etc. in 15th year. Secured employment at Edinburgh and attended evening classes for mathematics and drawing, 1867. Returned to his home at Netherland 1869 owing to a serious breakdown in health, and made first steps in violin structure, mainly to test a particular theory of relationship between proportionate form and musical sounds. Regained normal health 1872, and ventured on going south to London, with ambitions of setting up as a violin maker. Found it very unprofitable, and sought other means of livelihood, but managed to satisfy his art cravings by attending lectures on acoustics at the South Kensington Museum, where he also made extensive experiments in testing and comparing the tonal qualities of various woods. Employed in the Natural History department at the British Museum, 1883, and resident at Battersea Park. Being then somewhat relieved from thoughts of any possible future pecuniary embarrassments he made repeated onslaughts in the further cultivation of his beloved violin-building, and constructed models, moulds, templets, etc. Modelling of his instruments up to number 50 or thereabouts worked out more or less on original ideas. Measurements: - Body length 14-1/8 inches; upper bouts 6-3/4; middle 4.5/16; lower 8-1/4; length of waist curves 3-1/8; ribs 1.5/32 to 1.7/32; distance between top of sound-holes 1-5/8. Outline and arching show the constant study of Stradivarian principles, even though he chose to make slight divergencies. All vitality in design must be derived from that wonderful and not to be improved upon model, and from which every maker must seek his education and inspiration. Fine symmetrical balance between upper and lower bouts, the former particularly full-looking, and the whole circumference formed of perfect curvatures. Waist curves delightfully shaped. Stradivari as the monitor is especially emphasised in the pose of the scroll. No vexatious uncertainty that often upsets the desired accuracy in purfling. Sound-holes executed with the facility of an unerring hand. Immaculate workmanship attached to every detail. Proportions, though massive, all magnificently harmonised. Unusually thick plates, perhaps a little too much so on approaching the sides, resulting in a slight check to absolutely free vibration. The above 60 instruments have breasts taken from a Californian pine 1300 years old, particularly narrow and finely regular in fibre, and gives a distinctive “telling” timbre to the tone. One- and two-piece backs, the former giving the best pictorial results. Instruments numbered 70 and onwards belong more to the Guarnerian outline and arching, though here again there are small original modifications. Measurements: - body length 14 inches; upper bouts 6-1/4; lower 8.5/16; ribs 1/1/4. A peculiar chaste character pervades the whole contour. Every possible minuteness of detail exquisitely finished. Scroll not conceived as an ordinary head-piece ornament, but infused with all the bold rugged majesty of the Guarnerian. Sharply cut sound-holes, executed without the slightest tremor, and never endangering the gracefulness of pure curvature. Oil varnish of soft texture plentifully applied and not too elaborately polished, a particularly happy result. Tonal quality robust and full, but (owing to the perhaps excessive thickness of the plates), not altogether of desirable brightness. This penetrative quality will reach its absolutely free emission as the years pass by, and posterity will honour the productions of this conscientious maker. Completed his 134th instrument in 77th year, 1924. Also a few violas and ’cellos each built for that full glorification of diamond-like quality of tone only to be consummated 50 years hence instead of present-day premature sweetness and ultimate enfeeblement.
----------------------
John Rae. Maker
London
No. 112. 1919
----------------------
----------------------
No 50
John Rae. Maker
London 1901
----------------------
Name, date and number, also written on the inner side of ribs.
-------------------------------
Copy of the
“Dolphin” Strad 1714
Made by John Rae 1920
-------------------------------
------------------------------------
Copy of Violin known as the
“Messiah”
Made by John Rae, London
No. 19. .
-----------------------------------
RAEBURN, JOHN
Born at Largoward 1833. Eldest brother of Alexander and George. Not brought up to violin-making, early days spent in more laborious toil. Son of a miner, taken from school in eighth year and sent to shepherd the cattle, accompanied his father five years later to the coal pit, worked underground for 50 years, subsequently became manager and retired 1897. Died 1910. Fair player of dance tunes in youthful years. Commenced hobby of violin structure 1856, and enjoyed himself in a small workshop adjoining his cottage. Emulation engendered by intercourse with the Yoole family (amateur enthusiasts), who gave him opportunities of viewing and measuring the Vuillaume and Lupot belonging to them. Produced about 100 violins. Stradivarian, Guarnerian, Amatese, and Maggini modelling, the former two out-distancing the others. Found no new route to any Parnassian temple, but accomplished much genuine artistry by ever having before him the watchwords of patience, humility, and incessant study. Each instrument well wooded and entire contour of robust appearance. Strong margins, nicely rounded edges, and neat purfling. Sound-holes valiantly cut, and the Guarnerian type “hit-off” most ingeniously. Scrolls not so personal, but rather proclaim bought merchandise. First period instruments treated with a spirit varnish - later specimens oil varnished, yellow and brownish shades. Vigorous and long-life tonal quality necessarily needing long years of playing to reach persuasive maturity. Some early examples tend towards the metallic tone so highly favoured by the Scottish dance-players, but a few of the later specimens are of Lupot-like penetrativeness, and are now rapidly soaring up in price. A completely conscientious enthusiast who honestly tried to avoid stereotyped primness of design. Seldom excited himself with the publicity of advertising, and remained content to pocket £5 from any local amateur. Bronze medallist at the Glasgow and Edinburgh Exhibitions.
-------------------------------
John Raeburn
Maker
Largoward. St. Andrews
1902
-------------------------------
Had none of the privileges enjoyed by the modern schoolboy, but no ordinary drawbacks impeded the triumphal expansion of natural talents. Taught himself to draw, engrave, and paint pictures. One of his chief pictures is of Tarisio (collector of violins) - inspiration drawn from the accounts given in Hart’s book. Depicts Tarisio lying dead on a couch all alone in a miserable Milanese attic where he had passed his hermit years. A few rays of light from a small roof window show up the scanty furniture and general disorder of an almost endless profusion of violins, ’cellos, double-basses, scrolls, cases, and bows - a poignant impression of a life’s sad ending. Also felt the spell of astronomical research and became captivated by sky revelations, worked out an orrery, and had it going for many years. Poetry also came from him quite spontaneously, the most popular of his versifications being “A Legend of Kilbrackmont”.
RAMBAUX, CLAUDE VICTOR
Born at Darney (Vosges), 1806. Apprenticed to Moitessier at Mirecourt, 1820-1824. Worked with Thibout at Caen, 1824; and with François Gand at Paris, 1827-1838. Established own premises in the Faubourg Poissonnière, 1838. Retired to Mirecourt, 1857. Died there, 1871. Made experiments (1847) in modifying the central thicknesses of the belly by certain trenchments which did not interfere with the continuity of the fibre, and impregnated the wood with heat and chemicals, but his fantasy ultimately evaporated into the cloudland of oblivion. Also adopted new ideas concerning the linings, which likewise had a short life of approbation. Exhibited a violin with two bars at the Exposition Universelle, Paris, 1855, one fixed in the usual position under the belly, the other glued to the back and on which the soundpost rested. Indifferently toned instruments treated to this procedure were said to be sensibly ameliorated thereby. His own instruments, of Stradivarian outline, have a particularly sharp telling tonal quality on the A and E strings, and a somewhat unusual degree of sonority on the D and G, features supposedly produced by the energetic vibration of the two bars, each normalised by the influence of the soundpost. Workmanship splendidly neat. Varnish generally too thick and almost gleamless. Especially skilful in reducing the size and altering the varying forms of old ’cellos to that of the Stradivarian in order to cope with modern usage. Recipient of several exhibition diplomas. £75, 1960.
------------------------------------
Claude Victor Rambaux
Breveté à Paris, 1846 C.V.R.
------------------------------------
-------------------
Vtor Rambaux
-------------------
(written)
RAPOPORT, HAIM
Born in Russia, 1904. Pupil of Alexander A. Shvalm Wishnegorsky of Petrograd, also of André Chardon, Paris. Established in Tel Aviv (Israel, 1925). Fine maker of violins and bows. Modelling after the old Italians but mostly Stradivarian. Several of his violins, as well as ’cellos, are in the possession of membels of the Israel Philharmonic Orchestra. During the orchestra’s tour of the U.S.A. in 1951, his instruments were highly praised by world famous experts in America. Also specialises in repairs and restorations.
--------------------------
Haim Rapoport fecit
Tel-Aviv Anno 19
--------------------------
RASTELLI, LUDOVICO
Worked at Genoa, 1800. Guarnerian modelling. £75, 1960.
RAU, AUGUST
Born 1866. Worked for Weichold at Dresden. Established at Markneukirchen, 1890-1925. Bows noted for elegance of the head, exquisite sweep of stick and remarkable for strength with elasticity. Pernambuco wood exclusively used. £15.
RAUCH, THOMAS
Born at Prague, 1702. Son of Sebastian (1). Worked at Prague and Breslau until 1746. Some instruments strongly reminiscent of those of Thomas Edlinger with whom he may have been associated. Other specimens, also highly arched of certain originalities not particularly flattering to good taste. Used a poor quality varnish of brownish shade now rapidly assuming a darker unpleasantness. Workmanship not free from minor blemishes. Good belly wood and occasionally nicely flamed backs. Tonal quality tending towards the nasal.
---------------------------------------------
Thomas Rauch, Lauten und
Geigenmacher in Breslau anno 1739
---------------------------------------------
RAVIZZA, CARLO
Born 1882. Pupil of Antoniazzi. Resident at Milan, 1920. Violins, violas and ’cellos, almost replicas of his teacher’s style.
READ, JOHN R. W.
Established as a maker and repairer in London, 1931. Pupil of George Wulme-Hudson. Instruments modelled after Stradivarius, Guarnerius, Rocca, Gagliano and Montagnana. Violins, violas and ’cellos all of excellent workmanship and varnish. £45, 1960.
REED, JOSEPH
Born 1882. Resident at Barrow-in-Furness. Strad and Guarnerian models; oil varnish of own formula. Light to dark orange brown shade.
-------------------------------
Made by Joseph Reed
17 Davy Street
Barrow-in-Furness 1929
-------------------------------
REICHEL, AUGUST ANTON
Born 1841. Worked for Weichold at Dresden. Established at Markneukirchen, 1875. Died 1929. Specialist in bow making. Also made violins. Assisted and succeeded by son August Otto (born 1873). £8, £10, £15, 1960.
REICHEL (REICHELT), JOHANN GEORG (1)
Master in the Guild at Markneukirchen, 1722. Somewhat Stainerish in outline but with exaggerated arching even for that already high model. Workmanship only moderately careful.
REICHEL, JOHANN (HANS) GEORG (2)
Fourth son of Johann (1). Born 1717. Died 1744. Worked at Markneukirchen. Gracefulness of contour everywhere visible. Generally very finished workmanship. Richly endowed man whose genius was arrested by death years before he could have attained his meridian. His fame is well noised throughout Europe and America today.
REICHEL (REICHELT), JOHANN GOTTERIED (1)
Born 1735. Died 1770. Master in the Markneukirchen Guild, 1751. Erroneously stated to have been a pupil of Stainer at Absam, but such a miracle could not have happened as the latter had died 50 years before the former’s birth. Modelling somewhat on the Stainer principles but only superficially, arching is altogether too high and badly conceived. Long sound-holes rather precipitous. Dark yellow or red brown varnish rather meagre looking. Often one-piece backs of unadorned material. Nasal, weak and thin tone.
----------------------------------------------
Johann Gottfried Reichel
Arfunden von Jacob Stainer in Apsam
----------------------------------------------
REICHEL, JOHANN GOTTFRIED (2)
Son and pupil of the preceding. Born 1759. Died 1819. Worked at Markneukirchen and not at Cremona as some of his labels infer. Modelling derived a little from the Cremonese, but German elements certainly prevail. Medium arching nicely uniting the outline. Sound-holes generally add to that felicitous aspect. Belly wood mostly narrow veined, usually one-piece backs of closely marked maple occasionally of plain material.. Lovely soft orange brown varnish or an equally rich golden red. Round tonal quality of moderate power. Violas, mostly of 15-1/4 inch body-length, have a tone quite free and light, also prettily wooded. Also produced three-quarter size violins.
--------------------------------
Johann Gottfried Reichel
Cremonien Hieronimi Fili
AntoniNepos. 1780.
--------------------------------
REITER, JOHANN
Born at Mittenwald (Bavaria), 1879. Son, pupil and successor to Johann Baptist. One of the few Mittenwalders to work independently of factories and exporters. Every instrument made entirely by hand and without the assistance of workmen. Violins so purely accurate in design should appeal to the educated lover of flawless workmanship. Modelling somewhat similar to that of father’s, also partaking of the Vauchel style. Perfect cutting of scroll and sound-holes also conduces to the very desirable and complete artistry of the entire. Devoted years of experimental thought on the subject of varnishing, and has splendidly exemplified his knowledge and adeptness. Unsurpassed as a draughtsman in purfling. Violas also should be attended with due appreciation and success. ’Cellos have a cyclopaedic of excellencies. Built lutes with fancy heads suggested by a gamba of Ruggerius. Also guitars with elliptical double resonance “decks”. Artist bows of paramount interest owing to their fidelity to the standard models and consequent full applicability to all the virtuoso varities of the bowist. Recipient of medals at the Nürnberg Exhibition, 1905. Specialist in re-toning and regulating the vibrations of old and faulty instruments. Also recognised as a capable performer on the violin, ’cello and guitar. Enjoying the fruits of honourable industry, 1926.
----------------------------------
Johann Reiter
Streichinstrumentenmacher
Mittenwald 1889
----------------------------------
Frequently branded “I. Reiter”.
REMENYI, MIHÁLY (MICHAEL)
Born at Budapest, 1867. Pupil of Tánczer. Established own workshop, 1890. Died 1939. Admirable modelling, principally following the Guarnerian but also the Stradivarian. The peculiarities which each professes to illustrate are totally and entirely distinct, so that neither trespasses on the domains of the other. Fidelity of scrolls and sound-holes quite remarkable. Workmanship dictated and controlled by an artistic mind, perpetuating the beauties of refinement and affording happiness to the eye of all who are interested and lucky enough to view it. All the proportions manifest his skill in structural graduation. Splendid oil varnish (some of it supplied by Harris of Gateshead) occasionally applied rather luridly, an influence associated with Hungarian makers, though unity of shading is never sacrificed and never any reduction of warmth. Acquainted himself with the acoustical properties of woods, chose them with the greatest acumen and decided on a plentiful thicknessing of the plates. Tonal quality full of vitality and clarity. £40 (1925). Not inappropriately became an experimentalist with the bass bar, indulged in years of research in hunting for the amelioration of tonal quality and ultimately fancied he had dis-discovered its so-called secret. This new procedure presents a bass bar much deviating in shape and position from the customary, so focalised and suspended as to give greater elasticity to the upper plate, and to circumvent any possible weariness of tone sometimes occasioned by age and much usage. Whether he found the “light” or otherwise, through the labyrinth of the imaginary darkness attached to this absorbing and controversial subject must be left to the findings of posterity. Also made violin cases of aluminimum. Produced cymbals and other indigenous instruments.
--------------------------------
Reményi Mihály
Op. 346 - Budapes - 1926
--------------------------------
(with design of violin resting on a book)
-------------------------------
Reményi Mihály
mu-hegedu készitó
Budapest 1908. Op. 249
-------------------------------
(with many medals)
Some labels on pergameneous paper. £90, 1960.
REMY, JEAN MATHURIN
Son and pupil of Mathurin François. Born 1770. Worked at Paris. Died 1854. Instruments slightly under full size, rather similar to those of father in outline and arching. Workmanship not especially refined though edges are nicely rounded. Oil varnish very supple, of a walnut brown shade tinged with red. £45, 1960.
-------------------------------------
Jean Mathurin Remy
Luthier
rue de Grenelle-Saint-Honoré
à Paris. 1824.
-------------------------------------
Also made a large number of “commercial” instruments. Branded in the form of a triangle where label is usually placed. £12, 1960.
---------------------
In urbe Cremona
Remy
--------------------
This brand has given rise to the fiction that a Remy worked in Italy. Many of the instruments are quite of common character, often with carved heads of men, women and animals. Wretchedly varnished with some dark brown stain.
RENAUDIN, LEOPOLD
Born at Mirecourt, 1755. Worked at Paris from 1776 (except for two years at Ghent, 1781-1783) to his death, 1795. Agitator and political interferer (in the days of the French Revolution), and as a member of the Tribunal Fouquier-Tinville, was guillotined with those of the jury known as “Les Solides” (The Strong). Shop sign - “Aux Amateurs”. Violins very unequal in workmanship and variable in design. Generally a longish pattern with very pronounced arching but occasionally one more Stradivarian in breadth and reduced arching. Graduation of the plates not by any means perfectly done, in fact quite often verging upon ugliness and bulginess. Scroll also has received inadequate treatment and disturbs the eyes no matter from which angle it is viewed. Originally an orange yellow varnish, much oxidised and now darkened to a dirty looking shade of brownish red; but one or two of the Stradivarian models have a rich reddish varnish. Such an assembly of constructive blemishes seem diametrically opposed to the issue of a fine tonal quality and yet some of these instruments reconcile the two apparently conflicting contradictions and are valued at £60. American dealers cataloguing them at 450 dollars. Produced several interesting violas. ’Cellos altogether superior to the violins. Made many excellent double basses (which he priced at 280 livres each), several being destroyed by the fire at the Paris Opera House, 1873. Labels, bearing on the left the Bourbon Fleur-de-lys within a gloriole, and on the right a fullrigged ship.
-----------------------------------------
Fait par Leopold Renaudin
Luthier de l’Academie Royale de
Musique à Paris, 1780.
Aux Amateurs.
-----------------------------------------
----------------------------------------
Renaudin. Luthier
Fait toutes sortes d’Instruments.
rue St. Honoré près l’Opéra
à Paris. 1784
----------------------------------------
Used a beautiful “carte-adresse”, having a finely engraved picture of four players performing a quartet (two violins, ’cellos and harp), surrounded by various ancient instruments hanging on the walls, and worded -
-------------------------------------------------------------------------
Aux Amateurs
Renaudin Luthier de l’Academie de Musique
rue St. Honoré au coin de celle Jean St. Denis.
Fait toutes sortes d’Instruments de Musique, les raccomode,
les recoupe quand ils sont d’une forme trop grande, et
les remet en état. Il vent toutes sortes de Cordes d’Italie
-------------------------------------------------------------------------
Sometimes used this as a label in his guitars. Name occasionally branded on the scroll of violins and ’cellos. £90, 1960.
RÉSUCHE, CHARLES
Born at Mirecourt, 1858. Pupil of Didion, and worked with Gand and Bernardel at Paris. Established a workshop at Lyons with Justin Diter as partner, 1890. Settled at Bordeaux, 1897. Retired 1913. Expert copyist of the Stradivarian, Guarnerian and Amatese. Designs comprising the two essential properties, grandeur and grace, the whole representing all the constructional fitness to captivate players and connoisseurs. Fine quality red varnish. £65, 1960.
---------------------------------------------
Charles Résuche
Elève de Gand et Bernardel de Paris
No- Lyon. 18-
---------------------------------------------
(bearing two designs of the front and back of a shield, with C.R. on one, and a griffin-like animal on the other)
=============
Charles Résuche
Fecit anno - No-
----------------------
----------------------
====================
Charles Résuche
Elève de Gand et Bernardel
Fecit Anno No
RICARD, ALEXANDER
Born at West Shefford (Canada), 1861. French descent. Worked at Springfield (Mass), 1917. Died 1931. Cremonese models, yellow, brown and red shades of own formula varnish. Magnificently accurate and clean workmanship, and especially penetrative tonal quality. Productivity amounting to 400 (including violas).
RICHARDSON, ARTHUR
Born at Stavely (Derbyshire), 1882. Boyhood spent at Mansfield, a scholar at Brunt’s Technical School, and apprenticed as a pattern-maker in a foundry. Pattern-making requires great accuracy and ingenuity in the management of wood models for the multifarious types of metal work to be cast in iron. Had a stronger desire for wood carving, later studied the matter at the South Kensington School of Art, and ultimately worked professionally in several of the best architectural carving establishments. Possessed a violin made by grandfather (a versatile and capable musician), and learnt to play the instrument. Made first violin at Leeds (after much thought and experience in repair work), and its excellent result led to further efforts. Settled at Crediton (Devon), and was persuaded to take up violin making professionally by Meredith Morris (enthusiastic writer and connoisseur in the art), apparently a step he has never regretted. Day by day became more interested in exercising the full scope of his skill and inculcated the worthy fascination of making art work instruments, outside and inside, and continually strove to give them a tonal quality satisfying to the modern violinist and his listeners. Follows the master outlines of Stradivarius and Guarnerius, used his powers of observation and intuition like those old makers, and consciously (or perhaps uncorisciously) worked for an ideal tone. Had an extensive knowledge of the peculiar tonal and acoustical properties of the various woods. Meticulously studied the manifold graduations of arching and went into the matter of the different timbres of tone caused by the quality and process of varnish and varnishing. Produced over 100 violins, violas and ’cellos up to year 1924, and found purchasers in America, Australia and China. Won first prize in the Cobbett Competition for the best toned British violin, 1919, also gained a prize for a quartet of instruments. Six models, the Alard, Tuscan and Betts Strads, the King-Joseph and Sainton Guarneri, and one of his own on Stradivarian principles here and there slightly modified. Outline most delightfully graceful, with beautiful curves approaching the corners and magnificently conceived waists. Scroll exhibits all the cunning adroitness of the skilled wood carver and has an appearance of splendid dignity. Sound-holes drawn perfectly. Purfling without slightest blemish. Most minute graduation in the thicknessing of the plates, never too thin or too thick. Great discrimination in choosing quality and beauty of woods and never lacks the judgment to discern the particular method of treating individual types of material. Gets a fine tonal quality by legitimate means and has never been led astray by chemical finicalities or other eccentric and mischievous deviations. Tried several advertised varnishes on earlier violins and candidly admits that he was frequently “let down” by stickiness or being apt to chip, or a tendency to soften on a slight rise of temperature and other irritating weaknesses. Ultimately became associated with a chemist named Millington at Borrowwash (near Derby), became interested in his varnish formulas, and soon found substantial reasons for permanently using it. Particularly fine shades, very transparent, takes a velvety polish and has a priming specially designed to act as a foundation. Some instruments have a varnish (containing a good proportion of drying oil) which does not much penetrate the wood, but the tone, though very sweet, lacks the power demanded by the present age. Constructively and pictorially the Richardson violins are supreme and in the future the engrossing attention of important soloists must be drawn to them. £80, 1960.
------------------------
No.
Made by
Arthur Richardson
Crediton. Devon
------------------------
(monogram double circled)
RICHARDSON, FRANK
Worked at Canton and Caribou (U.S.A.) up to 1910. Gave 60 years of his life to playing and making instruments. Died in 90th year. Claimed to be the second maker (A. W. White being the first) to produce violins on American soil. 220 specimens came from his workshop. Irreproachable modelling generally, and workmanship well nigh faultless. Tonal quality much appreciated by many Americans particularly in the State of Maine.
RICHAUME, ANDRÉ
Born at Mirecourt, 1905. Worked with uncle Victor F~tique, 1927. Established at Paris, 1932.
RIECHERS, AUGUST
Born at Hannover, 1836. Pupil of Bausch at Leipzig, travelled to various cities, gained all possible practical experience and returned to birthplace, 1862. Moved to Berlin, 1872, after much persuasion from Joachim who soon gave him the appointment of repairer, etc., to the Hochschule. Died 1893. Produced over 2,000 violins and 200 ’cellos. It would be an absurdity to suppose that he actually made them all, even presuming he had no repairing to do. It is more than probable that the far major part was designed and varnished by him, but the several separate pieces were put together by his assistants. Followed (what he considered to be the ideal body-length) the Stradivarius model, 14-1/8 inches. Also Guarnerius. Arching of the back varying from that of the belly. Constructively adopted the method of Bagatella, consequently many of his productions are too thin in wood. Did not believe in oil varnish of any kind. Used a finely prepared spirit with a small adding of turpentine. Achieved best result with a lovely tawny yellow shade. Exceptionally fine quality of woods, richly acoustical and of great beauty. Artistic formation of his conceptions irresistibly impress but tonal quality often “misty” rather than strong and freely responsive. There is no doubt that his persistent advocacy in favour of spirit varnish and his ideas concerning the thicknessing of the plates, no matter what amount of technical skill he expended, prevented him from breathing into his instruments that real “spiritual” tone which is the principal attribute of the old master violins. Also made magnificent bows, practically investing them with ideal balance. Stamped “A. Riechers”.
--------------------------
August Riechers fecit
Berlin No. 346
AR
--------------------------
Early instruments branded-
---------------
A. Riechers
Hannover
---------------
World famous as a “restorateur”. Repaired over 300 Strads, all the great virtuosi flocked to him, connoisseurs and wealthy amateurs continually buzzed around his workshop, and the many violin students looked on with wondering eyes. Author of “The Violin and the Art of its Construction” (Lengnick). A thirty-six page treatise on the Stradivarius violin. Lucidly put matter not often paralleled, an ample storehouse of observations to exercise not only the amateur worker but the adept professional. If we do not always implicitly coincide with his opinions (which in such problematical matter cannot reasonably be expected), we can praise his learning and admire his years of experimental research. Riecher’s viewpoints on varnish: “I am of the opinion that the old makers up to 1750 used varnishes prepared with alcohol or essence of turpentine, but never of linseed oil or turpentine oil. My opinion is supported by the following fact. I acquired a Nicolas Amati lute which retained its beautifully thick golden varnish. For my information I removed this varnish, submitted it to a clever chemist for analysis, who failed to find any trace that linseed oil had been employed. One cannot suppose that Stradivari, who was responsible for more than 3,000 instruments, had the time to use linseed oil varnishes since they require at least six months to dry. Old varnish is porous and soft, also dissolves immediately in alcohol. With turpentine, solution takes place only after a long time. It is often asserted that the compounding of old varnishes (delighting the eye with their wondrous fire and transparency) is definitely lost. I am of a different opinion and place the modern varnishes on an equality, but what we do not know is how to scientifically produce the golden brown base which the wood of old violins has acquired through age and other influences.”
Comments of Henri Senn (an authoritative connoisseur and writer, resident at Paris): “The facts announced by Riechers are not so proving as he believed. The fact that a varnish is a long time drying only introduces a passage of time between finishing in the white and final delivery, and is no obstacle to a large output. Moreover, all oil varnishes do not take six months to dry, some, after four coats, dry in three Weeks during the summer. Again, many oil varnishes once dry are completely insoluble in oil or essence of turpentine, but come off easily with alcohol. There are some really soluble modern varnishes that have proved it.” Discoveries relating to Cremona varnishes have led to the conclusion that they had a base of hard copal gum, probably treated with oil yielding a varnish soluble in alcohol. Neither is it difficult to make the hardest copal resins soluble in alcohol though the treatment may not end up with a good varnish. On the other hand, the existence of 90 per cent of alcohol in old varnishes (as stated by Riechers) is very doubtful. It is, however, not impossible that the ancients had learned how to remove water from a varnish made with dilute alochol by the simple procedure of filtering through paper or exposing to the sun in a closed vessel. Riecher’s facts are not very novel and do not constitute an absolute proof that the old varnishes had an alcohol base.”
Riecher’s process of varnishing: “In order to obtain first of all a foundation coat, I treat the white violin three times with pure wood vinegar, which provides a brownish golden base. Then a coating of alcohol and balsam of Peru mixed in equal proportions. After drying, one or two coatings of a weak solution of gamboge or arnotto. Finally, twenty to thirty coats (according as one desiring a thin or thick varnish covering) of a varnish which I compound as follows. Three parts of sandarac and one part of mastic dissolved in coloured alcohol; to 1/2-litre of this varnish, I add ten drops of turpentine. As colouring matter I use turmeric and sandal-wood. In order to make the shade browner one can add a solution in alcohol of soot derived from turpentine. I have made innumerable tests with other resins and colouring matters, but have always returned to the above formula. Dragon’s blood must be discarded, its colour is not solid.” Senn says: “It is prudent to use the balsam of Peru only after a rather long exposure to air in order to eliminate useless volatile constituents. The soot from turpentine is obtained by moving a cold substance (clean sheet iron, porcelain) in the flame of a lamp having a long wick fed with turpentine.”
Riechers on the inside varnishing: “In repairing the many Italian instruments from the Amati-Strad period to not later than 1750, I found when polishing with a very fine glasspaper that I could obtain a smooth (even brilliant) surface which is never found with Tyrolese or German instruments of the same period. I attributed this appearance to the influence of the colophany on the wood, supposing that its fine dust had become incorporated with the wood forming a more or less thick layer. In order to make a practical test I took one of my violins (played on for several years), and its tone naturally well known to me, and I treated the inside with a coating of dissolved colophany. After drying and hardening I polished the inside and obtained the brilliant surface found in the old Italian violins. I felt certain I had rediscovered the process, but after regluing the plate I was scared by the vulgarly shrill tone the instrument had acquired. I had therefore obtained exactly the reverse of the desired effect, an unfortunate experiment, but later a happy guess came to my aid. I had occasion to repair a ’cello by Gasparo da Salo, which had never been opened nor much played upon, since it still possessed its original bridge. I discovered that this bridge was varnished, also that the inside of the instrument had been coated with some medium, doubtless to preserve it from dirt. Therefore, the old makers had found a suitable material and my supposition that they treated the inside and bridge with varnish became a certainty.”
Senn’s comments: “The author does not indicate other experiments to find the convenient material nor its proportions. He does not give the solvent for his colophany nor the quantity used. Furthermore, his single experiment has not great value since the result might have been different with a less copious painting. Other makers have put forward a similar hypothesis of an internal coating and some have good results with a dilute solution in alcohol of light essences which, on oxidation, leave a very light resin behind. But others absolutely proscribe the use of alcohol on bare wood. What should be proscribed are the atrocious interior stains too often used by certain factories, walnut dye, decoctions of wood, aniline dyes, all used to the greatest damage to the instruments. Coffee and chicory even are not spared. But none of these methods have any in common with interior varnishing, which no serious research has up to now shown to be advisable. The field of experiment, however, always remains open.”
RIEGER, GEORG
Worked at Mittenwald, 1760-1791. Did not contract the sphere of his operations by much adherence to Bavarian traits. Conceived a model somewhat reminiscent of the Ruggerius. Workmanship generally without serious blemish. Boss of scroll nicely approached. Excellent wood but not always appearing to the best advantage under the very dark shade of varnish. Considerably renowned for well modelled double basses.
-----------------------------------
Georg Rieger, Geigenmacher
in Mittenwald, 1767
-----------------------------------
RIEGER AND FIORINI
Established at Munich, 1892-1900. Violins, guitars and zithers.
RINALDI, GIOFFREDO BENEDETTO
Worked at Turin from 1850. Died 1888. Pupil and fellow-worker of Pressenda. Author of “Classical Construction of Violins in Piedmont” (Turin, 1873). Interesting for the biographical and work details of Pressenda. Modelling perfectly true to that of his teacher. Brilliant varnish affording a richly gleaming spectacle. Tonal quality reveals itself in sparkling responsiveness. Also ’cellos which never overstep the line of the true in art. £250, 1960.
RINALDI, MARENGO ROMANO
Born 1866. Worked in Turin. Successor of the preceding. Almost every detail follows the excellent principles of Pressenda. Strong love of art, and ambition, carried him on a bright path to brighter fortunes and, led by the star of his predecessor’s genius, came safely to the artist’s goal. Golden yellow and reddish shades of varnish. Credited with possessing Pressenda’s recipe. Enjoyed the Winning of medals at Turin and Paris. Also produced beautifully inlaid mandolines.
-----------------------------------------
Marengo-Romanus-Rinaldi
Albensis, fecit Taurini Anno 189-
-----------------------------------------
“M.R.R.” in white letters on black background. £200, 1960.
RITCHIE, ALEXANDER
Born 1873. Resident at Laurencekirk (Scotland). Maker of reeds for bagpipes and other wood-wind instruments. Produced 20 violins of quite ordinary workmanship.
RITCHIE, ALEXANDER
Born 1888. Amateur. Resident at Battersea Park (London), 1925. Excellent model on classic lines, capital workmanship, supple varnish and very satisfactory tone.
RITCHIE, ARCHIBALD
Born 1833. Worked at Dundee. Died 1902. Early specimens somewhat Stradivarian, dimensions a trifle fuller, spirit varnish of a pale brown shade, thinly applied. Subsequently fancied the Guarnerian which he steadfastly adhered to for the rest of his years. Productivity amounted to about 200. Appearance quite massive if not always majestic. Guarnerian proportions slightly enlarged but not improved, effect generally heavy looking. Edges left thick but with a nicely rounded ridge. Purfling as near perfection as a human can attain. Boldly-strong scroll exquisitely carved of natural swing and flawless curvature. Wood plentifully used, backs often of fine figure. Whitelaw’s varnish, usually a reddish shade and sometimes lacking suppleness. Large and firm tonal quality but not highly penetrative or suave.
------------------------------
A. Ritchie
Maker
No. 113. Dundee, 1895
------------------------------
(written in old English characters)
“A. Ritchie” stamped twice on the inner side of the back. Early violins have a printed label. “A. Ritchie in a semi-circle stamped below the button on the back. Some of the specimens have a small photo of the maker by the label.
RIVA, SEVERINO
Worked for Monzino at Milan. Killed in the war, 1917, in his 32nd year. Made 20 violins of especially refined workmanship which carry his name on label.
RIVOLTA, GIACOMO
Worked at Milan, 1800-1838. Travelled southwards (in early days) in search of knowledge and employment. Went to Naples and the effect of the Neapolitan School operated on his sensibilities most advantageously. Modelling shows the fosterage of the Gagliano-Stradivarian design. Outline and arching rather artistically conceived. Often good-swing scrolls, not too bold, but not to be classed (as a few connoisseurs would have us believe) immeasurably above those of his prototypes. Workmanship variable but on the whole quite reasonably refined. Inside work provides approbation of his anatomical knowledge of sound Construction. Sound-holes not deficient in grace. Purfling executed with an unerring hand. Mostly light golden yellow varnish quite reminiscent of the Gagliano, occasionally one of reddish brown shade. Table wood frequently of medium grain, backs not consistently of pretty flamed material. 400 dollars realised in the United States. Rendered worthy justice to the Guarnerian design on some of his violas. Body length usually 16-5/8 inches. Excellent examples for appearance (yellow or reddish brown varnish) and rather bright tone, Sustained greater fame with finely constructed ’cellos, instruments honourably perpetuating his name among the most renowned virtuosi. Freedom of execution also distinguishes his guitars.
---------------------------
Jacobus Rivolta
fecit Mediolani, 1817
---------------------------
----------------------
Giacomo Rivolta
fece Milano, 1828
----------------------
----------------------------------------
Gracomo Rivolta
in Milano, 1805
all’ insegna del Santa Re Davide
----------------------------------------
-----------------------------------------
Giacomo Rivolta
Nella Contrada de Sta Margherita
all’ Insegna del Sto Re Davide
Milano 18-
-----------------------------------------
Some labels have the design of a guitar.
-----------------------------------------------------------------
Giacomo Rivolta fece, 1834
Premiato di medaglia d’argento indi diquella d’oro
per aver fatto risorgere la scuola del celebre Stradivari
-----------------------------------------------------------------
Received gold medal “for having revived the celebrated school of Stradivarius”. Published pamphlets concerning his “rediscovery of Cremonese varnish, and its possible superiority over any other”. £300, 1960.
ROBINSON, ALFRED GEORGE
Born at Ashford (Kent), 1879. Established at Willingdon (Sussex), 1938. Really splendid Strad modelling, everything reverential, flawless purfling, attractive scroll, all covered with a fine varnish most artistically applied.
------------------------------------------
Diploma of Honour
International Exhibition
The Hague, 1949
A. G. Robinson
Willingdon, Sussex, England, 19. .
------------------------------------------
------------------------------------
A. G. Robinson
19. .
Willingdon, Sussex, England.
------------------------------------
ROBINSON, STANLEY
Son of William. Established at Abbey Wood (London). Maker of violins and violas, also noted as a good repairer. Instruments similar to those of father.
ROBINSON, WILLIAM
Born at Avebury (Wiltshire), 1880. Earned livelihood in early years as a saddler and attained a high degree of excellence in that craft. Ultimately became a resident at Plumstead (London). Practically self-taught in violin making. First instruments produced in 1910, and so satisfactory were the results that he was fired (after receiving encouragement from Dykes & Sons of Bond Street, London), with an ardent desire to make more, and so persevered in his new occupation with an untiring diligence born of a love of the pursuit that the condition of the “prentice hand” soon progressed to the status of the “master craftsman” whereby he crowned his labours by enriching the world’s stock of desirable instruments by about 400 violins, 40 violas and 16 ’cellos, up to the year 1953. Early dated instruments generally follow the large Amati model of 14.1/16 inch body length, or the Strad type of similar length, but his later and best specimens have Guarnerian characteristics. Many of these are really splendid in the matter of construction. Attractive outline, with arching admirably suited to it - extremely comfortable (at the upper part) for the player. Ingeniously cut sound-holes at which the most fastidious critic would not look askance. Neat purfling most admirable in its regularity. Edges finely rounded and appearance enhanced by the astute arching. All the salient parts of a scroll are brought to a harmonious whole. Backs and ribs generally of impressive flame. Good varnish of a warm looking brownish yellow shade, never over-polished. Finally (whatever little “secrets” he may have treated the interior to), he has achieved truly excellent results in free emission of a kind of mature tone that is a long way ahead of the rawness of new instruments. We are conscious of the hundreds of new violins springing up like mushrooms, and having little more than a mushroom’s stability, but many of Robinson’s instruments are of that, category which no cloud should cross on their future horizon, when the tone has completely matured and will capture the attention of the most dynamic bowist. Died July, 1960. £90, 1960.
-------------------------
William Robinson
Plumstead. London.
A.D. 19. .
No.- W.R.
-------------------------
ROBINSON, WILLIAM
Born 1882. Amateur. Resident at Wavertrec (Liverpool). Stradivarian sound-holes, Guarnerian Waist curves. Instruments having woods of especially good acoustical properties, painstaking workmanship to achieve excellent appearance and a likeable quality of tone. Light to dark orange varnish. £70, 1960.
----------------------------------------------
Made by
Wm, Robinson
2 Silverdale Terrace, Carmoyle Road
Liverpool.
Date April 1929.
----------------------------------------------
ROCCA, ENRICO
Son of Giuseppe Antonio. Born at Turin, 1847. Assisted from 10th year, in his father’s workshop, and gave considerable promise of becoming highly skilled. But when the family removed to Genoa, 1863, he, by a strange irony of fate, had to obtain work as a carpenter at the dock yard as his father had insufficient repairing to enable him to make a living. Remained there until 1878, then decided to resume the violin making art, regarded the whole matter very seriously and entered on the precarious path with heart and soul. Acquired all the implements used by his parent and earnestly set about maintaining the prestige and renown which was then becoming attached to the name Rocca. By sincerity and energy he achieved much deserving honourable posterity. Died 1915. Model approximating more to the Stradivarian than the Guarnerian. Well considered design treated with nicety of execution. Constructively perfect though of large dimensions. Scroll and sound-holes cleverly manipulated, and both elegant. Brilliant varnish of a brownish yellow shade. Sonorously full tone without newness. Superb artist in the art of imitating the age and wear of old instruments. All details so cunningly facsimiled as to deceive experienced eyes at a cursory glance.
-----------------------------------------------------
Rocca Enrico fu Giuseppe
Premiato alle Esposizioni
Milano 1881, Arezzo 1882, Torino 1884
Bologna 1888, Palermo 1892
Genova 2 Medaglie 1892-93
Fecit in Genova. Anno Domini 1896 I.H.S.
-----------------------------------------------------
Branded inside. £125 to £200, 1960.
ROCCA, GIUSEPPE
Worked at Genoa, 1854. Not to be mistaken for Giuseppe Antonio. Good Guarnerian model violins.Workmanship very carefully done.
ROCCHI, SESTO
Born at San Polo d’Enza (Reggio Emilia), 1909. Studied at Parma, also pupil of Bisiach (Milan). Amatese-Strad modelling, golden reddish varnish. Also violas, ’cellos and double basses.
-------------------------------------
Rocchi Sextus Regiensis-All.
L.Bisiach.Faciebat Anno 1935
-------------------------------------
-------------------------------
Sextus Rocchi
Regiensis fecit 1948 S.R.
-------------------------------
(with signature)
ROCKWELL, DAVID B.
Worked at Boston, 1886, Providence, 1901, Detroit, 1908, Philadelphia, 1915, Hartford (Connecticut), 1920; and New York, 1923. Though violinists find their happiest and most constant pleasures in handling the violins of old Italian makers, yet they frequently feel their curiosity powerfully excited and sometimes amply rewarded by specimens distinguished as more or less replicas of the older school. Rockwell violins have much of the elegance of the older Italian and French Schools. They have none of those minor faults which occasionally mark the modern violin when subjected to slight departures from traditional construction. Beautiful shades of orange and reddish varnish prepared from own experiments. Tonal quality rather persuasive and of considerable carrying power. ’Cellos also of rather superior construction. Name branded on many excellent bows.
ROGERI, GIOVANNI BATTISTA
Born at Bologna about 1650. Fellow student of Stradivari in the workshop of Nicolò Amati at Cremona. Worked at Brescia, 1670-1728. On looking at these rather exquisite violins, admiration is awakened by observing how the whole spirit of the Cremona school has descended on them, and how the maker penetrated with much depth into the “secrets”. Modelling generally adheres to the Amati. Several specimens re-labelled with the more celebrated name and disposed of as such, even sometimes deceiving connoisseurs. Two models: large (rather scarce) and small. Measurements of one dated 1707, body length, 14-1/8 inches; upper bouts, 6.9/16; lower, 8-1/4; ribs, 1-1/4.
Measurements of one dated 1728, priced at 4,000 dollars by Wurlitzer at New York, 1921: body length, 13.15/16 inches; upper bouts, 6-1/4; lower, 7.13/16. Arching quite full, but not extravagantly so, and of a gloriously effective gradient. Outline and arching form a most attractive contour. Edging highly finished, pretty corners never drooping like some of those of his son, margins finely full and flat. Scroll of desired fineness, large but not heavy looking or out of proportion to the rest of the instrument, of splendid uniform breadth outside the curve leading to the boss, and a very graceful approach of the peg-box to the throat. Sound-holes not typically Amatese but somewhat resembling those of the early Strads, of charming appearance, inner edge neatly cut before merging into the lower curve or turned round at the top. Very occasionally others are less elegant. Belly wood chosen with a knowledge of its properties, generally slab backs of striking figure, rarely of plain material. Purfling not consistently accurate. Beautifully soft textured varnish, golden red or brownish red shades, applied with a consciousness of genuine artistry. All this foreshadowing that electric and soul kindling tonal quality desired by soloists, sonorous brilliancy and viola-like depth, both wondrously mature. ’Cellos of equally fine sonority, strongly and attractively built, justifiably extolled and very highly valued. Backs sometimes of poplar wood.
-------------------------------------------------------------
Jo. Bap. Rogerius Bon: Nicolai Amati de Cremona
alumnus Brixiae fecit. Anno Domini, 1679.
-------------------------------------------------------------
Sometimes in red lettering but mostly in black. “Bon” - an abbreviation of Bononiensis: meaning “of or from Bologna”.
-----------------------------------------------------
Jo. Baptista Rugerius Nicolai Amati
Cremonae alumnus Brixiae fecit anno 1709
-----------------------------------------------------
£1000 to £1500, 1960.
ROGERI, PIETRO GIACOMO
Son of the preceding. Born at Brescia, 1675. Trained in the Amati workshop of Cremona until 1699. Worked at Brescia, 1700-1735. Most of his instruments naturally show strong influences of the Amati, but there is also something rather Stradivarian. At any rate the outline and arching are attractive, notwithstanding the frequently extravagant corners of the upper bouts, having a peculiar droop, and rather sharply pointed. Beautifully posed scroll, perfect curvatures, refined carving. Wood happily chosen and covered with a lustrous reddish varnish probably not surpassed by any Cremonese. Specimen dated 1721: body length, 13-7/8 inches; upper bouts, 6-3/8; lower 7-7/8. Specimen dated 1725: body length, 13.15/16; upper bouts, 6-1/2; lower, 8.1/16; ribs, 1.3/16 to 1-1/4.
One example dated 1721 realised 3,000 dollars in America, 1922. Violas that have evoked much admiration from connoisseurs and players. ’Cellos especially magnificent - Piatti used one as his principal solo instrument. Flat modelling, broad corners, backs sometimes without purfling, golden yellow or red varnish. Double basses also set up a fine standard. £1250, 1960.
--------------------------------
Pietro Ruggeri
in Cremona f. anno 1698
--------------------------------
-------------------------------------
Petrus Jacobus Reggerius
de Nicolai Amati Cremonensis
fecit Brixiae, 1708
-------------------------------------
----------------------------
Petrus Jacobus Rogeri
fecit Brixiae, 1716
----------------------------
--------------------------------------
Pietro Giacomo Rogerius filius
Joannes Baptiste. Brescia 1721
--------------------------------------
-------------------------------
Petrus Jacobus Rugerius
fecit Brixiae 1725
-------------------------------
ROMBOUTS, PIETER
Born 1667. Died 1740. Pupil of Hendrik Jacobs (his step-father). Set up as a “Fiolemaker” in Amsterdam, 1700. Implicit attachment cannot be preferred to these accentuated high built violins. It is said that he also made a few of Amatese modelling, several sold as Italian. Workmanship fairly correct but not especially refined. Scroll not entitled to much commendation. Wide wood purfling, Occasionally whalebone purfling carelessly done. Sound-holes not at all well carved, the stem having an inartistic width at the middle and very narrow at top and bottom, also careful graduation non-existent. Red brown varnish of brilliant hardness rather thick, dry and resinous looking - not particularly pleasing. Fairly robust tone but without satisfactory mellowness, and there is no concealing the fact that its peculiar timbre is an almost insuperable barrier to the instruments ever reaching beyond the value of £100. Violas (not quite so high in arching) quite superior to the violins in tonal clarity and sonority. ’Cellos have received much praise from connoisseurs. Scrolls especially, have a most graceful back curve. A few heads carved as lions or satyrs. Though generally of fine workmanship, the instruments undeniably lack the tonal vigour necessary for modern players.
----------------------
Pieter Rombouts
Amsterdam. 1714
----------------------
ROMER, ADOLF
Born 1863. Worked at Freiburg (Baden), 1892-1928. Good violin technician in youthful years. Recipient of several exhibition medals. One of those clever makers who maintains a high place in the regard of connoisseurs. Handsome copies of well known Italian models, designed with much scientific knowledge and deserving of respectable attention from violinists. Intimate ingenuity of craftsmanship generously extended to the scroll and sound-holes. Wisely restrained himself from indulging in any new notions concerning the inside working. Prettily marked wood and oil varnish. Also produced “viols for small hands” called the “Romer Instrument” having a remarkably responsive tone, altogether unique gems of art. Inventor of a very serviceable peg for all stringed instruments. £90, 1960.
-----------------
Adolf Romer
Frieburg i B.
fecit 1894
----------------
---------------------------------
Adolf Romer
Hof-Geigenmacher
Freiburg i B.
No. 92 faciebat anno 1911
---------------------------------
(bearing the royal escutcheon)
ROPE, ALFRED JAMES
Born at Norwich, 1862. Enlisted for a soldier, 1879. Made first instrument at Aldershot Barracks, 1890. Resident at Woolwich, 1927. Modelling generally Stradivarian or Guarnerian. Styte and workmanship of early specimens show the untutored eye and hand, arching sometimes of peculiar rise from the edge, inaptitude rather than originality. Made over 200 instruments, therefore we get obvious improvement, though never reaching beyond the ordinary. Also several violas and ’cellos. Oil varnish very light yellow to red shades. Sometimes too thin and other times too plentifully applied.
ROSADONI, GIOVANNI
Born 1905. Resident at Pavia. Excellent Strad modelling, nicely thick golden yellow varnish.
RÖSCHER, CHRISTIAN HEINRICH WILHELM
Cabinet maker at Bremen, 1865. Died 1880. Instruments by a very capable craftsman, though not art creations. Excellent tonal quality proves his assiduity of purpose and scientific knowledge. Stradivarian modelling, bold scroll, graceful sound-holes, carefully chosen wood nut brown varnish.
--------------------------------------
C. H. Wilhelm Röscher C /H
fecit Bremen Anno 1878. W/R
--------------------------------------
Some instruments anti-dated 50 or more years: possibly emanations from Saxonian factories.
ROSSI, DOMENICO
Worked at Piacenza, 1870-. Died 1910. Splendid replicas of famous old Italian violins.
---------------------
Domenico Rossi
fece in Piacenza
Anno 1903.
---------------------
ROSSI, GIUSEPPE
Born at Florence, 1868. Studied the art at Cittadella (Padua) from an extensive collection of Cremonas. Made first instrument in 17th year. Built 600 up to year 1925. Established at Albano Laziale (Rome). Won gold medals and diplomas at Livorno, 1908, Rome, 1908, 1917, 1918, Bologna, 1898 and Padova, 1893. Maker and repairer to the Royal Musical Institute of Saint Cecilia and the Royal Conservatorio. Knighted. Various models but greatest success with the Stradivarian and Neapolitan. Oil and spirit varnishes of a golden yellow shade. Superfine art work from every point of view. Also violas, ’cellos and double basses.
-------------------------------
Giuseppe Rossi
da Cittadella (Padova)
fece in Roma Anno 1909
-------------------------------
---------------------------------
Cav: Rossi Giuseppe
da Cittadella (Padova)
Fece in Roma. Anno 1924
---------------------------------
(two kinds, one plain, the other much larger and with design of a woman stroking a lyre)
£125, ’cellos £250, 1960.
ROTH, ERNST HEINRICH
Born at Markneukirchen, 1877. Son of Gustav Robert. Worked for many years with father, established own firm, 1920. Died 1948. Superb modelling whether Stradivarian, Guarnerian, Amati or Guadagnini. Those of the highest price are made from the beginning to the end entirely with his own hands, and his versatility cannot be spoken of too highly. Every instrument shows individuality, whether his own special model or the various prototypes imitated. Only the finest grades of wood, all judiciously chosen for tone production. Superb varnishing (generally golden brown of Cremonese elasticity), as are all the little details of construction which build up a fine instrument. Named “Violins for the Artist”. Marteau, Felix Berber and other virtuosi have given testimonials. Cheaper productions emanating from his workshops all supervised and tested by him before sent in circulation, and the varnishing always solely his doing. Catalogued from £20 upwards. Also perfectly graduated bows, mostly imitations of the Tourte, pernambuco sticks. Name “Ernst Heinrich Roth” stamped in the customary manner above the saddle.
-------------------------------------
Copy of Antonius Stradivarius
made by
Ernst Heinrich Roth
-------------------------------------
----------------------------
Ernst Heinrich Roth
Markneukirchen, 1924
Reproduction of
Antonius Stradivarius
Cremona, 1725
----------------------------
----------------------------------
E. Roma.
Warenzeichen No. 550116.
Ernst Heinrich Roth
Markneukirchen
----------------------------------
ROTH, ERNST HEINRICH (JUNR.)
Head of the violin department at Selmer’s, New York, 1930.
ROUGIER, MAURICE
Born 1907. Worked at Toulon, 1935. Won diploma at The Hague, 1949. Individualistic modelling. Various shades of varnish, with preference for dark red.
ROVATTI, LUIGI
Born in Italy, 1861. Pupil of Joseph and Enrico Rocca. Established at Buenos Aires, 1885. Died 1931. Produced 1,000 instruments including violins, violas, 100 ’cellos, and guitars. Superior workmanship Rocca models. Highly appreciated in South America and U.S.A.
ROVESCALLI, AZZO
Born at Cremona, 1880. Pupil of his father Teodora. Died 1941. Stradivarian modelling, 300 violins, many violas and ’cellos.
ROWINSKI, STANISLAV
Born at Bydgosz (Poland), 1858. Worked for Kotinski at that town, 1876. Came to England, 1882. Set up in Fitzroy Square, London. Moved to Chiswick, 1902. Many of his instruments not easily identified as he did much work for dealers. Usually reddish-brown varnish. Also made a large number of bows for the trade, and stamped according to the model. Owner of a string factory in Italy, produced some remarkably fine solo-strings known as the “Aliquot”. Ceased making instruments 1922, but carried on with dealing, etc.
----------------------------
Patentee - Brevete
Master 1920 Violin
Rowinski. London. W.
----------------------------
The crown on the label is the family crest. His father was a nobleman who passed through years of persecution and was forced to wander from placc to place. Some violins have dark yellow varnish, unusually thin edges, inartistic sound-holes, narrow model with a peculiar rising towards centre. “Rowinski London. W.” branded on button.
RUBUS, RIGART
Flat arching, edging bevelled in Russian fashion. Good scroll of bold character, also with rounded edges. Attractive sound-holes not unlike the Stradivarian. Fine-grain belly-wood, dark yellow, brown-red varnish. General contour not conducive to a reverential tone, though the workmanship executed with fair propriety. Tonal quality must be assigned to the ordinary type of blatant loudness and absolute lack of liquid smoothness. Sometimes two labels in the one instrument.
-------------------------
Rigart Rubus
St. Petersburg 1850
-------------------------
The other, red and green tinted, has designs, one representing a man on horseback, the feet of the horse meeting those of a bird-like animal.
RUDDIMAN, JOSEPH
Not Thomas as sometimes erroneously given. Worked at Aberdeen. Born 1733. Died 1810. Supposed to have made violins in his 14th year. Presumed he was a pupil of Matthew Hardie. Authenticated specimens, from 1760, determine the then prevalent prejudice in Scotland against the Cremona type, by a rather close adherence to the Stainer, though the customary acute rise at the centre is not over pronounced. Scrolls generally compressed at the boss, and apt to be flat-fronted, undeniably picturing shyness or nervousness. Workmanship on the whole to be accredited as showing a very capable hand, certainly never amateurlsh. Tonal quality reasonably sweet if lacking in full sonority.
Later specimens, dating from 1780, have perhaps something in common with the outline and arching of the large Stradivarius. After these modified points, however, further resemblance altogether ceases. A sharp rise towards the edge is very noticeable, a similar characteristic also given to the scroll, and the top of peg-box grooved somewhat Pamphilon-like. Deep ribs, thinly wooded. Good acoustical belly wood of fine fibre, backs plain, but not necessarily indifferent material. Imitation purfling, completing a contour with certain strange incongruities. Wretched spirit varnish, now often greyish or quite dark, and without the slightest shimmer. Tonal quality of fair strength, but seems imprisoned.
---------------------
Ruddiman
Maker
17 Aberdeen 83
---------------------
(ornamented with design of guitars, etc.)
Some instruments branded J.R.F.A., meaning “Joseph Ruddiman fecit Aberdeen”
RUGGIERI, FRANCESCO
The first of a family of makers at Cremona. Not to be confused with the Rogeri family at Brescia. Worked at No. 7 Contrada Coltellai. Instruments dated from 1655 to 1718. Celebrated pupil of Nicolò Amati - instruments built on the lines of that school so long familiar to us, but also with several slight differentiations and modifications combined and embodied with skill. Slightly larger model (somewhat similar to that of A. and H. Amati) than the prototype, very graceful outline, arching very slightly more elevated and sometimes prettily “ridgy”. Rather short and open sound-holes, but beautiful art work. Flatter arching attracted him after 1670, also a trifling increase in breadth, which perhaps brought the outline less completely graceful - middle bouts long and rather deep. Changed and lengthened the sound-holes, a sort of compromise of the Amatese and Stradivarian, very delicately executed, apparently a new idea to him for brightening the tone. Scrolls also meritorious, especially noble volutes. Broad and faultless purfling, the natural fruits of patient craftsmanship and reverence for beauty. Successful in choice of belly wood, backs generally of the prettiest material, invariably cut on the slab. Varnish (never too much or too little of it), varies. Sometimes a rather dull deep orange shade, also a more brilliant and richly transparent yellow-orange, udder which the wood lies in all its glory, and a particularly fascinating ruby-red (frequently found on the later specimens). And, what a delicious tone issues forth! A tone as notable for richness of mellow sonority as for penetrative power. Productions show that his mind was not stationary or restricted to the guidance of predecessors, but in accepting broader views, he never allowed them to become warped by undue ambition or subdued into timidity. Specimen (dated 1665) body-length 35.1 cm.; upper bouts 16; lower 19.9. Johann Strauss (the waltz King) played on a fine example. Found its way to America, 1920. Another (dated 1672, formerly owned by an Epglish Duke, and acquired by Mr. Sheridan of Liverpool, 1928) a fine specimen, body-length 14 inches, varnish of glorious reddish hue, and the back of the scroll gleaming like tortoiseshell. Comparatively few violas, but those few have remarkable qualities. ’Cellos (said to be of greater number than the violins) generally of very large proportions, backs sometimes of poplar wood, tone considerably penetrating and sonorous, though workmanship is not always refined. One specimen (dated 1718) is a magnificent example - successively owned by three virtuosi - Jules Delsart, Léon Jacquard, and Boris Hamburg - Stradivarian outline and sound-holes, rich varnish, and a tonal quality of brilliant purity.
------------------------------
Francesco Ruggieri detto
il Per, Cremona, 1673
-----------------------------
Detto il Per - named the father. Picolelli says it signifies a provincialism of the Italian word “pero” (pear-tree). At any rate, it distinguishes this family from the Rogeri. Various spellings on some labels - Ruger, Ruggeri, Ruggerius, and Rugier. Occasionally he wrote the label. Hill & Sons state that they have seen two specimens labelled -
--------------------------
Francefco Regeri
Il per Cremona 1694
--------------------------
Violins, £1750; ’cellos, up to £2000, 1960.
Trade violins supposed to represent the style of Ruggieri, and bearing facsimile labels, frequently do unwarrantable injustice to his model by undue breadth, thick edging, arching too full, and a comparatively small scroll.
RUSHWORTH AND DREAPER
Specialists in violins, ’cellos, double-basses and all accessories. Makers and dealers at Liverpool for 100 years prior to 1928. Employ a large staff of experienced workmen. Sole producers of the well-known “Ardeton” stringed instruments. See Ardeton.
RUZICKA, JOSEF
Studied at Prague. Worked at Troppau, 1903-1935. Strad or Guarnerian outlines, but arching generally too high, the whole not enhanced by the thick edges. Ordinary workmanship. Golden-brown varnish. Similar tone of the usual “commercial” kind.
-------------------------------------
Josephus Ruzicka oppaviensis
faciebat anno 1922
------------------------------------