Starck, Henry

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Henry Starck made exquisite bagpipes. Their motto was “Only the best is good enough” and this is reflected in the quality of Starck bagpipes. The attention to detail was simply exceptional.

Starck, a flute maker, was persuaded to make bagpipes by William Ross, when he was piper to Queen Victoria in the 1880’s.  Initially, Starck refused, however eventually agreed to work with Ross. He became one of the most prolific and innovative makers in the industry. When Ross died in 1891, Starck continued the business and was followed by his son Albert Henry (1874-1955) and grandson Henry Albert (1909-1989) who joined the firm at the age of 14.

Henry Albert was determined to preserve the family’s reputation. In the absence of a son to carry on the family tradition, he closed down the business in 1962 when he retired. In a newspaper article in the 1950s Henry Albert admitted that the memory of his grandfather throwing a set of finished pipes on the fire because they did not meet his standard was deeply etched in his mind. “Craftsmanship,” he was quoted as saying,”is something wrapped up in the individual. It is putting into the work something so as to turn it out as perfect as human hands can make it.”

Henry Starck was quoted as having said that Scots had lost the art of craftsmanship, turning the art of making pipes into a factory operation rather than keeping them products of the workshop.

Starck was a genuine talent.  His GHB chanter was superior in pitch to the chanter of his era and produced a very true scale.  He innovated on many levels.  He also made bagpipes for several others who applied their own stamp to the product. He was a dominant producer of highland bagpipes in Scotland and Australia. He supplied Ireland with Irish War Pipes.

Starck Irish War Pipes

Starck Chalice-top GHB

Starck Button-mount GHB

Starck Brian Boru Bagpipe

The earliest examples we have of Starck’s work can be seen in those bagpipes stamped “W. Ross” and in these examples engraved with Starck’s signature. They are easy to spot with very distinctive profiles, beading and combing, and projecting mounts. The lower bead on the mounts is close to the top shelf, may be either cut or round, and is quite prominent. This changed over time, however the profile of the wood and beading and combing changed little.

Many years ago I sought out a piper who was said to have an early MacDougall bagpipe. I took several pictures, which can be seen at the left. Things didn’t add up but I kept my thoughts to myself. I wasn’t able to get a look at the stocks however I am completely convinced that I would have found either Starck’s signature or “W. Ross” stamped at the bottom of the stocks.  The “misc” images below provide great clues when identifying Starck bagpipes. Look for straight lines rather than tapers. Starck generally used a poor grade of nickel which tarnished badly. He also scored the inside of ferrules. These would be heated to expand and then put in place. As they cooled, they “bit” into the wood rendering them quite permanent, at least for a period of time.