Pietro Rechardini
worked 1600–1625
Work not presently known. Possibly a misreading of Recaldini, above. Lütgendorff, Vannes, and Henley agree on the following description: Amatisé outline; high arch; good materials. Vannes suggests golden-red varnish. Henley cites both orange red and dull yellow-brown. Lütgendorff admits he has not s\u{2026} — John Dilworth
Biographies
The overview above is drawn from the following published accounts. Read them in the original:
John Dilworth+
RECHARDINI, Pietro Worked circa. 1600-1625 Venice Italy. Work not presently known. Possibly a misreading of Recaldini, above. Lütgendorff, Vannes, and Henley agree on the following description: Amatisé outline; high arch; good materials. Vannes suggests golden-red varnish. Henley cites both orange red and dull yellow-brown. Lütgendorff admits he has not seen an instrument by the maker. Henley provides a label: Pietro Rechardini / Fecit Venetiis anno 1617 [Vannes, Henley]
Cecie Stainer+
Was working in Venice in the 17th century.
Willibald Leo Lütgendorff+
Ich habe nur eine einzige Geige mit diesem Namen bei einem Geigenmacher gesehen. Diese war ziemlich hoch gewölbt, die Umrisse nach Amati, gutes Holz, prächtiger, goldrother Lack. Die Schnecke war weniger schön. Der Ton weich und ansprechend.
Henri Poidras+
Ordinary make. Arched model. Orange or gold-red varnish.
Karel Jalovec+
Venice. 1617. Worked on the pattern of Amati; used good wood; applied a golden-red varnish; took a rather high arching; made good scrolls and sound-holes. The instruments have a good tone.
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