Hot on the heels of the historic silver and ivory Donald MacPhee set shown below is this marvellous set by William Ross, the Queen’s Piper. This is another remarkable set that will likely remain part of the permanent collection.

William Ross was a monumental piping figure during the latter half of the 19th-century. He was born in 1823, and died in 1891, having held the position of Queen’s Piper to Queen Victoria since Angus Mackay’s death in 1854. His 1869 publication of piobaireachd and light music, called “Pipe Music” is one of the most significant collections of the century.

The exact history of his pipemaking business is not clear. He was a very clever businessman and very well-to-do as a result. Jeannie Campbell tells us he made the prize pipe at Inverness from 1873 to 1886. However, it is thought that he was not a turner himself and hired turners to make his pipes for him. From about 1880 onwards, he used Henry Starck, whose family had immigrated to London from Germany many years earlier. This would mark the beginning of the Starck pipemaking business, and the pipes made by the company for the next 30 years would be their best.

After Ross’s death, Starck would stamp his pipes “H. Starck/late W. Ross.” It is thought that sets stamped only “W. Ross” were the earliest, turned while Ross was actively involved in the business.

Starck was meticulous about stamping his instruments, often in several places, and this set is stamped “W. Ross” on each stock. The distinctive projecting mounts are typical of Starck’s wide shapes, though shallower and using a softer, rounded bead rather than the straight cut bead he would use later on. The tuning chambers have brass slides installed.

All pieces appear to be original, though the blowstick is missing. The chanter is cocuswood, and while it may not be original to the set, it too is stamped “W. Ross.”

The set had several cracks, only two of which required whipping. The chanter was a mess, but is now immaculate. Kudos to Dunbar Bagpipe Maker for a remarkable restoration of this instrument, which now should have another 100 years of life left in it.

The tone of this set is typical of the earliest Starcks: big, robust and buzzy. They are as steady as a rock and a joy to play and behold.