RÉSUCHE, Charles.—Lyon, Bordeaux. Born 1858. Worked with Gand and Bernardel. A good copyist of Italian instruments.
RICHTER, Christopher Adam.—Markneukirchen; eighteenth century.
RIECHERS, August.—Hanover, Berlin. Died Berlin 1893. Moved about a great deal, but settled in Berlin in 1872. He was a clever workman, and made a large number of instruments of various patterns. Writer has seen violins by him resembling those of “didier” Nicolas. Published a book on violin making. He was also a noted repairer and patronised by Joachim.
RIEDEL, Joseph Alexander.—Meseritz, Danzig. Died 1866.
RIEF.—Eighteenth and nineteenth centuries. Vils. Seven or eight makers of the name.
RIEGER.—Mittenwald. From seventeenth century to present time. At least a dozen names are mentioned.
RIESS, Andreas.—Bamberg. Died 1777. High built. He was also a professional musician and organ builder. Another Riess named Joseph also worked in Bamberg.
RINALDI, Gioffredo Benedetto.—Turin; 1850-88. Worked with Pressenda, but is best known as a dealer and importer into this country of Italian fiddles, chiefly by Pressenda and Rocca, with other makers of that school and period.
RIVOLTA, Giacomo.—Milan; circa 1820-35. One of the better makers in Italy in the last century. The violoncellos and violas are well made, and in appearance and varnish somewhat resemble work of the Neapolitan school. Varnish golden yellow. He received a gold medal, and on some of his tickets states that it was awarded “for having revived the celebrated school of Stradivari.”
ROCCA.—Turin; nineteenth century. A maker named Joannes is mentioned as having been at work about 1809, but it is not unlikely that he is identical with Joannes Rotta, the ticket cited being a written one. Giuseppe Antonio Rocca was born, probably in Turin, about 1800, and died in Genoa, according to the story, in 1867 or 1868, his body being recovered from a drain or cesspool. His labels date from about 1830 or a year or two earlier. He was employed for some time by Pressenda, whose instruments he imitated so closely that they have frequently passed as that maker’s work. His initials were frequently stamped upon the blocks and elsewhere in his instruments, and this has sometimes led to their identification in cases where Pressenda labels have been found in them. But Rocca did not confine himself to imitating Pressenda, and made numbers of fine fiddles of other patterns. His best copies of Stradivari are very valuable, and he was also successful with the del Gesù model. The varnish on early work is sometimes rather thin, and hard looking, but in this detail he seems to have improved as time went on. The colour varies a good deal, from a rich dark red of mahogany hue, to yellow of different shades. Double purfled instruments are sometimes seen, and he occasionally used mahogany for his backs. The Stradivari copies are generally, but not always, similar in pattern to the violin known as the “Messie.” His work is sought after by concert performers, and the prices paid for good specimens have in recent years been very high. He obtained several medals, and has been cleverly imitated by Fagnola and other makers. A good many counterfeit Roccas have found their way into the market. Enrico Rocca, a son, worked in Genoa and Turin, and died in May, 1915.