William Nisbet

History

William Nisbet (1828-1902) was born at Stenton on January 5, 1828, and passed away at Lint Mill in 1902. According to William Meredith Morris in British Violin Makers, he received no formal school education in his early life, with his father, a labouring man, providing what home teaching he could. Despite this, Nisbet possessed extensive knowledge across various subjects and was distinguished by his mechanical skill. The Reverend G. Marjoribanks, vicar of Stenton, concluded his account of Nisbet's life and work in the Haddington Courier by stating, "It is not too much to say that, in whatever direction he has turned his energies, he has always excelled. Few, indeed, would suppose that the modest-looking yet trim little cottage which stands near the picturesque ruins of the old mill, was occupied by a man possessed not only of rare technical skill, but of such accurate and extensive information, gathered mainly from personal observation and study in the fields of natural history and science, whether as a photographer, wood-carver, carpenter, basket-maker, violin-maker, or in more recent years as a market-gardener, the productions of his genius and labour have been equally admired and appreciated, and this none the less because ac- companied by a singular modesty of character and demeanour, and without his having had the benefit of any special training and education. In short, if the well-known author of ' Self- Help' wishes to find solid material for a new biographical sketch, he could hardly do better than select for his theme the subject of this little notice." John Dilworth notes in The Brompton's Book of Violin & Bow Makers that Nisbet died in 1903 in Preston Kirk, Scotland, UK, presenting a slight discrepancy in the death year.

Craft

• Output: William Nisbet made approximately 100 to 120 violins during his career.
• Models: His earlier instruments were crafted after the Maggini model, while later ones were said to follow Nicolas Amati's pattern, sometimes with a broadened waist to enhance tone. However, William Meredith Morris observed that instruments he examined, particularly one from 1891, did not conform to the Amati model, suggesting an original design due to marked and numerous differences.
• Measurements: An instrument made in 1891 had the following dimensions: length of body 13 15/16 inches, width across upper bouts 6 7/8 inches, width across middle bouts 4 5/8 inches, width across lower bouts 8 1/8 inches, distance between corners 3 3/16 inches, length of sound-holes 2 7/8 inches, distance between sound-holes at top 1 3/4 inches, and depth of ribs at top and bottom 1 1/4 inches.
• Materials & Finish: He utilized good quality wood and a brown varnish, though Morris describes the varnish as a spirit one of a dull, lifeless color. John Dilworth mentions broad purfling with spirit varnish in various shades.
• Workmanship & Tone: The workmanship on his instruments is considered excellent, producing a large and telling tone.

Legacy

• Awards: William Nisbet received two bronze medals for his violins at the Edinburgh International Exhibition. Sources contain conflicting information about the year, with Willibald Leo Lütgendorff and William Meredith Morris stating 1886, and John Dilworth stating 1885.
• Marking: He did not use a traditional label but instead inscribed his name internally with a hard lead pencil, which penetrated the wood on the inside of the back. An example inscription noted by John Dilworth is "Wm. Nisbet / Lint Mill / 1886 [Rattray]."

Further Information

• Versatility: Beyond violin making, Nisbet was also skilled as a photographer, wood-carver, carpenter, basket-maker, and in his later years, a market-gardener.
• Residence: He resided at Lint Mill.

Summary

William Nisbet (1828-1902) was a self-taught Scottish craftsman known for his versatility and mechanical skill. He produced approximately 100 to 120 violins, initially following Maggini models and later developing Amati-derived or original patterns. His instruments featured excellent workmanship and a large, telling tone, though his spirit varnish was sometimes noted as dull. Nisbet was awarded bronze medals at the Edinburgh International Exhibition (sources conflict on 1885 or 1886) and uniquely inscribed his name internally with a pencil rather than using a label.