Identification & Appraisal of Bagpipes

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Thousands of antique sets of bagpipes survive—each with its own story to tell. Modern instruments are crafted to exacting standards and consistently deliver high quality, yet there remains an undeniable allure to the pipes of past centuries. Not every old set proves to be an ideal instrument, but a fortunate few possess a tone and character so remarkable that they feel almost magical. For many enthusiasts, the search for these rare treasures—the “one pipe to rule them all”—becomes a lifelong pursuit.

What gives antique pipes their mystique? Perhaps it lies in the materials chosen by master makers a century or two ago. Perhaps it is the slow aging of the wood, developing resonance over decades. Or perhaps the great craftsmen of the past knew techniques now lost to time. Whatever the reason, interest in vintage and antique bagpipes remains strong worldwide. Unfortunately, reliable information for those beginning this journey is scarce. Too often, newcomers learn through trial and error—sometimes making costly mistakes without proper guidance.

This website is intended to offer a resource for pipers at every level. Beginners and intermediate players will find a framework to guide their first steps in identifying and assessing historic pipes, while more experienced collectors may find reference points to refine their own methods.

The process outlined here will not guarantee a definitive identification on its own, but it will provide a clear structure for documenting the essential details required to reach a reliable attribution. Should you have questions about identifying a particular set of pipes, please feel free to contact us and we'd be glad to help.

 The first step in identifying and appraising an antique bagpipe is to gather as much background information as possible. This stage, often called provenance research, can sometimes be just as valuable as the physical inspection itself. While much of the available history may be anecdotal or circumstantial, even small details can support a stronger attribution when combined with technical evidence.

Key areas of inquiry include:

• Past owners – Record who has owned the set and, if possible, how long it remained in their possession. A clear chain of ownership can add confidence to an attribution.
• Geographic connections – Where did the owners live? Tracing ownership back toward the original purchaser can sometimes connect a set to a specific maker or regional tradition.
• Band or military service – Pipes associated with military regiments, civilian pipe bands, or competition players may have more robust documentation, such as photos, rosters, or engraved presentation plates.
• Repairs and alterations – Document any history of refurbishment, replacement parts, or modifications. These may affect attribution and value, and they often provide insight into how long and how actively a set has been played.
• Supporting materials – Look for receipts, photographs, correspondence, or even competition records that mention the set. These can help verify oral traditions.
   

When recording discovery information, it is important to distinguish between verifiable evidence (e.g., a receipt from a known maker) and oral history (e.g., “my grandfather said these were MacDougalls”). Both are worth noting, but they should be weighed differently when moving toward attribution.

 Once the historical context of a set has been gathered, the next step is a detailed visual inspection. This stage focuses on identifying the materials used, the quality of workmanship, and any irregularities that may provide clues about origin, age, or later alterations. While experience is invaluable in making fine distinctions, even basic observations can provide important evidence.

Determining the exact wood species can be challenging without extensive experience or scientific testing, but useful descriptors should still be recorded:

• Colour and tone – Is the wood deep black, reddish-brown, or lighter in shade?
   
• Finish – Does it appear bare, oiled, lacquered, or varnished?
   
• Condition – Note cracks, checking, repairs, or refinished surfaces.
   
• Candidate species – African Blackwood, Ebony, and Cocuswood were all used historically, with Cocuswood being more common in 19th-century instruments. Even if identification cannot be certain, narrowing to “likely” categories is helpful.
   

The mounts (ferrules, caps, and projecting mounts) are highly diagnostic of period and maker:

• Ivory – Elephant or marine ivory was common prior to the mid-20th century.
   
• Silver and alloys – Sterling silver, German silver (nickel silver), and plain nickel were widely used.
   
• Ivory substitutes – From the 1930s onward, makers experimented with alternatives such as casein, celluloid, and catalin. By the 1970s, synthetic “artificial ivory” became the standard.
  Documenting the mount material carefully can narrow the possible production era and sometimes the maker.
   

Examine each piece for stylistic and material consistency:

• Profile and turning style – Differences in combing, beading, or overall shape may suggest replacement parts from another set.
   
• Condition and age – A single piece that appears significantly newer than the rest may be a later replacement.
   
• Material differences – Mounts of a different material, or wood of a different colour, may signal substitution. However, note that some makers occasionally mixed woods or applied finishes such as ebonizing lacquer, resulting in subtle differences within an original set.
   

Many, but not all, makers applied stamps or marks to their instruments:

• Stocks – Often on the bass stock, in a plain, uncombed section.
   
• Drone sections – Commonly on the bass lower or mid joint (e.g., MacDougall, Glen).
   
• Tuning pins – Favoured by some makers such as Thow.
   
• Cord guides – Occasionally stamped between or below them (e.g., Henderson).
   
• Chanter only – Some makers stamped only their chanters. While chanters are often swapped between sets, in certain cases they may still help confirm attribution.
   

It is equally important to recognize what the absence of a mark means: many genuine instruments were never stamped, or the mark may have been lightly applied and has since worn away. Lack of a visible stamp does not imply inferior quality.

 Once the visual overview has been completed, the next stage involves a more precise external examination of the instrument. At this point, careful measurement and documentation provide objective data that can be compared against known reference sets. A few simple tools—such as a flexible measuring tape, a small flashlight, and a pair of calipers—can make this process far more accurate.

• Lengths – Record the overall length of each drone section (tops, middles, bottoms) and their tuning pins. These measurements can provide strong comparative evidence, as makers often adhered to distinctive length ratios.
   
• Diameters – Measure the width of critical points, such as the bells of the drones, tuning chamber sections, and stock bores at entry. Differences of even a few millimetres can distinguish one maker from another.
   
• Tuning chambers – Note the length and diameter of tuning chambers, which often varied between workshops.
   

The turning details of a set often carry a maker’s “signature.” These should be carefully measured and documented:

• Bead spacing – Use calipers to measure the width and spacing of beads. Makers tended to follow consistent patterns.
   
• Combing – Count the number of raised “teeth” within a typical combed section. Most sets display between 6 and 8 teeth, though exceptions exist.
   
• Depth and profile – Note whether combing is shallow, deep, narrow, or broad. Even small stylistic cues can be highly diagnostic.
   

• Symmetry and precision – Assess the overall craftsmanship of the turning. Clean, even lines may indicate a more skilled maker or a later machine-assisted era, while irregularities may suggest earlier hand-turning.
   
• Consistency between pieces – Ensure the drones and stocks follow a consistent style. Significant differences may suggest later replacements.
   
• Wear patterns – Look for polishing or thinning where cords or hemp have long been in contact, which can also provide clues about age and usage.
   

The goal of this stage is to establish objective, measurable data that supplements the visual impression. When compared with documented sets in reference collections, these measurements often provide the strongest evidence for attribution.

 The internal dimensions of a bagpipe often hold the most telling clues about its maker and period of manufacture. Unlike external profiles, which can sometimes be altered or imitated, the bores tend to follow patterns unique to each workshop. Careful internal measurement is therefore an essential part of the attribution process.

Ideally, use calipers and telescoping gauges to obtain accurate bore readings. For those without these tools, a flexible measuring tape or ruler can at least provide rough dimensions at the openings—better than no data at all. Always measure gently to avoid damaging fragile or aged wood.

• Bore taper – Determine whether the stock bore is cylindrical, conical (wider at the base, narrower toward the ferrule), or irregular.
   
• Shape of entry – Note whether the stock is rounded, fluted, or squared at the base. These stylistic details can be diagnostic of certain makers.
   
• Overall diameter – Record the widest and narrowest internal points.
   

• Bottom joints – Measure bore diameters, noting whether they taper or remain cylindrical.
   
• Tuning pins – Record diameters and length of the bore through the tuning pin section.
   
• Top sections – Document the bore of tuning chambers, the bushing area, and, if possible, the bell.
   
• Consistency – Compare bores across tenor drones—subtle differences may indicate later replacements.
   

• Bass drone inserts – Pre-1900 makers such as Duncan and Gavin MacDougall, the Glen family, and John Center often fitted brass or wooden inserts in bass drones. These provide smooth tuning action but can create structural stress, as wood and brass expand differently under humidity and temperature changes.
   
• Tool marks – Look for visible reaming marks, concentric scoring, or irregular surfaces inside the bores. These can point to hand-turning methods and workshop practices.
   
• Surface texture – Note whether the bores are smooth and polished, or rough and “furry” in appearance—an indicator of wear, neglect, or possibly rushed workmanship.
   
• Cracks or splits – Internal cracks may not always show externally but are important for both attribution and appraisal of condition.

 While perhaps less “scientific” than measurements, tone assessment is a crucial stage in the appraisal process—yet one that is often overlooked. Tone can both confirm and complicate attribution, as many makers developed a recognizable sound profile. At the same time, no two sets are identical, and the condition of the wood, reeds, and bag setup all influence the outcome.

For example, Henderson pipes from the early 20th century are often associated with a rich, powerful sound, though not every set fits that stereotype. Duncan MacDougall drones can range from bold and commanding—on par with the great Glasgow makers—to more subdued and mellow in other specimens. David Glen, by contrast, was remarkably consistent, with nearly all examples producing a refined, understated, and beautifully blended tone.

Ultimately, tone is subjective. One piper may prize the quiet refinement of a set ideal for indoor piobaireachd, while another seeks the projection and volume needed for a band circle on Glasgow Green. Regardless of personal preference, experienced players can generally recognize a quality sound, and this is why tonal assessment remains an essential step.

• Setup control – Use a consistent bag and reed setup where possible. At minimum, record the reeds and bag used so that results can be compared later. Having a familiar “reference set” of pipes to contrast against is invaluable for highlighting differences in tone.
   
• Drone tone – Note whether the drones are bright or dark, stable or unstable, powerful or subdued. Do they blend seamlessly with one another and with the chanter, or does one drone dominate?
   
• Chanter scale – If assessing an antique chanter, examine tuning tendencies, overall pitch, and tonal colour. Many historic chanters are impractical for modern playing, but testing them with cane reeds in their original drones can offer valuable insight into “period” sound.
   
• Consistency across registers – Evaluate whether the tone remains balanced and resonant across all notes of the scale, or whether certain pitches are weak, sharp, or unstable.
   
• Recording – Capture audio (or better yet, video) of the instrument under test. This creates a record for later comparison and allows others to evaluate the tone without needing the pipes in hand.

Ultimately, a set of pipes is worth what a buyer is willing to pay for it. There is no regulated market here, so there are no hard-and-fast references to go on.  Someone who is experienced with buying and selling vintage and antique pipes should be consulted whenever there is a question of market value or insurable value for a given set.  With that said, below are some factors to consider when appraising a set of pipes.

• Condition of the instrument:  Is the instrument in fantastic condition, exhibiting no cracks, chips or noticeable wear, or does the instrument contain technical and aesthetic issues that will need to be rectified to bring it into good working order again?  Is the bagpipe in complete, original condition, or does it exist with replacement or missing parts?  The condition of the instrument is very important in making an appraisal as buys should factor-in the cost to repair an instrument if necessary.

• Materials:  Is the instrument constructed with valuable materials such as hallmarked sterling silver, or is it adorned with plain wooden and imitation ivory mounts?  Due to the cost of sterling silver alone, pipes containing sterling silver mounts will be significantly more valuable than those without.  Of course, German silver, nickel, alloy and ivory mounts should all be factored into an appraisal as well, based on their unique value.

• Tonal quality: Does the instrument produce a powerful, harmonic sound that is steady, easy to reed, and easy to tune, or are their noticeable challenges in getting the bagpipe sounding as it should?  While tone is often considered a subjective topic, there are certain objective approaches one can take to assess the tone of the instrument, which should be considered when appraising a bagpipe.

• Maker's attribution: While the maker of a given instrument should not solely dictate its value, it does contribute to the valuation.  Just because a bagpipe came out of the Peter Henderson shop does not mean that it is automatically desirable.  The era of a given maker is very important, as well as the other factors noted on this page.  Furthermore, not all MacDougall pipes were "Stradivarius" equivalents.  These were pipes produced prior to computer aided machining, let alone many other more primitive means of quality assurance.  This resulted in a slightly higher hit-or-miss factor than what we would expect from instruments produced today.  However, there is no doubt that certain maker's pipes are more collectible or rare than others, and this, no doubt, factors into their value.

• Historical significance:  Some sets have been owned by pipers of note, or were played during significant historical events.  While all claims should be "taken with a grain of salt" unless backed by evidence, historical significance can enhance the value of a given set of pipes.

Differences between market value and insurable value in bagpipes

Market value, or "fair market value" is often viewed as the price that a willing buyer would pay to a willing seller in an open market transaction, where both parties have reasonable knowledge and neither is under duress.  This reflects the actual trade or resale value at the time of appraisal.

Insurable value can be defined as the cost to replace the bagpipes with a similar instrument at current prices, including purchase price, import/shipping costs, and any necessary setup or inspection.  This value is often higher than market value to ensure full replacement coverage.

Both valuations are useful, but for different purposes, and one should be weary of acquiring a pipe based on its insurable value, which often reflects a significantly higher value vs what one should expect to pay on the open market.

Coming soon!