Monthly Archives: August 2014

The Bionic Hilson Meer: We Have the Technology, or How I Destroyed a Mardi Gras and Made It Unique – Robert M. Boughton


Guest Blog by Robert M. Boughton
http://www.roadrunnerpipes.com
http://about.me/boughtonrobert
Photos © the Author

“Nothing is so painful to the human mind as a great and fearful change.”
— Mary Shelley, Frankenstein, 1818

INTRODUCTION
Robert 1
The great English author and creator of the science fiction genre, Mary Shelley, had she been a pipe restorer, might have been writing of the feeling of dread I experienced after a single swipe of sandpaper destroyed any chance I had of restoring a beautiful Hilson Mardi Gras meerschaum-coated and kilned billiard to its original glory. All I could do with the monster I created with that foolish attempt to remove a small blemish, once I summoned the nerve, was to go to my friend and mentor, Chuck Richards, and confess my sin with the hideous evidence in hand.

Robert2Oh, I beseech you; do believe me when I confess that before doing so I attempted to cover up my evil act with multiple layers of yellow and orange marker ink and Super Glue, which surgery proved fruitless, as all can see from this hideous disfigurement committed by yours truly. I can now only plead that in my Godforsaken state of pride and arrogance I believed I could re-animate that which I knew was dead. Thus the poor monster appeared before the sparkling eyes of the master, Chuck. To my great combination of horror and expectation, he seemed amused, and so I chose to have the satisfaction of describing the facts as I imagined them before he could state them himself.

So I guess what I have here is a once beautiful pipe that I can keep for myself and enjoy smoking,” I said. “But there’s no hope of fixing it.”

Chuck nodded and allowed his face to reveal the big grin I deserved. When he had reigned in his jolly fun, Chuck explained that the process Hilson (http://www.pipephil.eu/logos/en/logo-h3.html) uses to make this variety of meerschaum pipe is to coat the inner and outer bowl with the magic white porous claylike material made of hydrated magnesium silicate, and then glaze and heat the bowl in a kiln. Once that process is complete, there can be no meddling with the basic elements of the pipe form.

However, following my basic nature of stubborn curiosity, I began to meddle.

THE REVIVIFICATION
Refusing to accept that there was yet no hope for this mangled creature of my own unmaking, I decided there was no good reason not to sand off the rest of the fixed glaze and see what lay beneath. Yet nothing could have prepared me for my utter dismay when I reached a small patch of that which could only be described as wood. And where there is wood, for those who are of such a mind as mine, there is hope, however lunatic the notion may be. I proceeded to strip the bowl down to the bare briar birthday suit. I also reamed, sanded and micro-meshed the bowl and rim.
Robert3Robert4Robert5Robert6 No doubt the Reader can see the many reasons why this hunk of briar, despite its likely latent lineage, might not be conducive to preparation for the average pipe smoker’s, or, dare I say it, even restorer’s viewing without extreme measures. Yet just such extremities did I have in mind to make this once fair Hilson born of a line of solid stock starting in Germany and traveling to Belgium and lately found in Denmark under another owner.

After sanding the tenon to make the stem flush with the shank, I still noticed (and thanks to a preview email to our host, Steve, was confirmed with invaluable constructive criticism) that the stem itself was never properly fitted. I broke out my 1500 micromesh and ever so slowly worked away until the two met and formed a whole. Several attempts later at finishing with the unnatural briar stained brown and buffed with White Tripoli, White Diamond and carnauba waxes I even thought I had my Hilson’s Monster restored to life.Robert7Robert8Robert9 Alas, the mishmash of grains still shone through. I have made a few attempts with pipes that had far less reason to conceal the visages of their fearsome, uncomely wood entirely with black stain, all of which met with disaster due to various problems, most of them being the necessity for a baby smooth surface. This time, however, I had overcome that hindrance and set out to try again, with satisfactory results. The only difference was that I mixed equal parts of black and maroon stains, then re-buffed, to this initial end. Robert10Robert11Robert12 True, this was a far cry better than where I started, but not quite what I was looking for. I was deathly afraid of taking the next step in trepidation of doing something I have already done enough to know better: taking one step beyond the edge and ending up ass over teakettle. So call me what you will – a madman, a reckless fool, yes, sling whatever epithets you will at me, but I did what my conscience bade me and gave the bowl a whirl of Red Tripoli with another, light coat of carnauba.Robert13Robert14Robert15
CONCLUSION
And there it is. The difference is subtle, I know, but present nonetheless. At long last I can revel in the knowledge that I have felt the power to give new life, though the original may have had, shall we say, more complexity. If it is an argument you want from me, you shall be woefully disappointed indeed. I say, trudge off to the Arctic Circle in search of your own gods and monsters, if you believe in them, for they do exist.

Repairing an Over-Reamed Corn Cob Pipe


Blog by Greg Wolford

About three weeks ago I was contacted by fellow PSU member, and sometimes-contributor here, Astrid after she had an accident reaming a nice old corn cob pipe. Cob Pipe Pic.1

She had remembered reading about some work my grandson and I had done to a few of my cobs and was curious if I might be able to fix the chunk that had accidentally been removed when she was reaming her “Corn Dog”.  As you can see, it really is a nice old pipe, with a super (in my opinion) Bakelite stem; I was really looking forward to getting it in hand after seeing it.

As luck would have it, I have done several repairs of this type to different corn cob pipes, as well as using the general technique for everything from raising to bottom of bowls to repairing cracked bowls. So, I told her I would be happy to doctor the old cob up for her and she sent it out to me a few days later.

When the pipe arrived I had no idea of exactly what the extent of the damage was so I was anxious to see what the box from Canada held! I was pleasantly surprised to find a couple of old pipes to tinker with (and keep) as well as a generous gift of tobacco. At the bottom of the box I finally found the old pipe, and was happy to see it was just about what I’d hoped it would be: Nothing too difficult! Here are a few photos of the rim damage:Old Cob (1)_edited-1Old Cob (2)_edited-1Old Cob (3)_edited-1Old Cob (4)_edited-1

You can see the “chip” was reasonably large, but it didn’t go through the bowl – a very good thing. I started my using a dental pick to lightly scrap the damaged area to remove any loose material; there was very little, most likely because Astrid had already cleaned the pipe very well.

The next step was to mix up a patch for the damaged area. Old Cob (5)_edited-1For this project I used a new tube of fireplace mortar/sealer; my old tube had turned into stone on me. I mention this because I have found that the different brands behave differently when dry: some are impervious to moisture, while others are not. I have found that mixing in a little cigar ash (other fine ash will work too) makes the patch solid but allows for moisture and to go through to the briar (or cob in this case) and disperse better. I also mix in a little powdered activated carbon; I use the capsules now, instead of the messy process of grinding it up myself. The activated carbon does two things: it filters out any potential taste in the first few smokes that the mortar/ash patch might have and it makes it much darker, thus blending in better. The addition of these to components also makes the patch set much faster so you need to have some water on-hand to mix it right; you are looking for a dough-like consistency, wetter for longer working time. After mixing the “putty” up I began applying it with an old pipe tool’s spoon end, working it in to make a nice, Old Cob (6)_edited-1even surface, except for the top, where I left a small gap to blend in later. You can see the still wet patch in this photo, after I had smoothed it out; I used a flashlight to make the repair area easier to photograph. I then took a small amount of powdered carbon and sprinkled it onto the patch to make it blacker and less noticeable. I then set the pipe aside until morning to allow the repair to cure.

The next day it had hardened into a night patch. But, as it sometimes does, the patch had shrunken. I mixed up a little pipe mud and applied it over the patch to make it more flush inside. You can see the result of the second patch in this photo.Old Cob (8)_edited-1 You can also see here the “dip” I left in the rim; I did this to blend in the rim with wood putty.

As I was waiting on the pipe mud to dry, I took a damp cotton swab and cleaned off the rim of the pipe to make sure there was nothing to keep the next patch layer from sticking and to lighten the bit of residue on the rim already. I then applied some Elmer’s Natural Wood Putty to the rim. Again, this is something you want a little water on-hand to work with and smooth the repair as you go.Old Cob (9)_edited-1 I used both a cotton swab and my finger to apply the wood putty, shaping it as I went, but applying a little extra in case it shrank.Old Cob (10)_edited-1 After I was happy with the wood putty patch I used some of the pipe mud and charcoal powder to mute the brightness of the rim repair. This would ultimately be sanded and stained so I didn’t spend too much time or effort on this step, only on making sure the inside or outside of the bowl didn’t have an excess on them.

The weather was rainy and humid during the time that I worked on this pipe so extra drying time was required on each step/patch. At this point I set the pipe aside for a couple of days to be assured that everything was well dried and cured before I moved onto the final shaping and stain blending.

When I came back to the pipe I checked to make certain the repairs were all well cured, and they were: very solid feeling all the way around. Now it was time to shape the rim; I wanted to get the top nice and even but didn’t want to take away the character of the rim so I opted to lightly top the bowl with 400 grit wet/dry paper, checking often. Old Cob (13)_edited-1After I was satisfied with the rim being level, I used the same sandpaper to touch up the edges just a bit. Looking well-shaped to my eye, I broke out the stain markers I so often rely on, choosing the lightest color I had for staining and blending the rim.

All in all, I think this was a successful repair job that came out quite well. I am sure that after a few gentle smokes that the rim will take on an even more “natural” and blended look. And best of all, I think this old corn cob pipe will provide many more years of good service to Astrid – and maybe even to someone else down the road!Old Cob (11)_edited-1 Old Cob (12)_edited-1

 

Yet Another Frankenpipe – A pipe made from assorted pieces


Frankenpipes are born out of having no more pipes in the refurb box to work on. I have many in transit at the moment but none with which to sit and unwind. That always is a recipe for me to dig in the boxes of parts and see what I can come up with to keep the hands busy. The pipe that follows was born of fiddling with parts in my parts box. The part I started with was an old bowl that I received in a gift box recently that did not have a pipe to go with it. It was a pressure fit bowl that obviously sat on a base of some kind of system pipe. I searched the Metal Pipes website to see if I could find out any information but did not find any likely candidates for this mystery bowl. It had some nice grain on it so it seemed like a shame to just let it sit in the box and wait for a potential pipe for it. I also I had a cut off shank piece that I had made for another purpose, a stem that fit the shank nicely and a block of briar that was too tiny for a pipe. The small block is one that I have been scavenging pieces off of to make plugs for burnout repairs. As I looked at the pieces I had an idea for putting them together into an interesting pipe that had kind of art deco feel to it. Now it was time to bring the pipe together and actualize my vision. IMG_8072 I measured out the drilling areas for the block. I needed to drill the airway large enough to insert the briar shank. I would use the Missouri Meerschaum concept of inserting the shank into the briar block. I started by drilling the first hole in the end of the block. I drilled the mortise area first. I did this in stages as it needed to be big enough for the shank piece to be pressure fit into place. Afterward I drilled the rest of the airway in the block. I decided to drill it all the way through to the other side of the block so that I could put in a funky plug on the front end. I looked around for what I would use and had several ideas. Time would tell which I would choose in the end. IMG_8069 I moved through several drill bits until the bit that was the size of the shank piece. I drilled it deep enough to inset the shank quite deep in the hole. IMG_8070 I marked the airway exit on the top of the block with a permanent marker and drew a line to show the track of the airway. I marked my drill bit to the depth of the top of the airway and drilled the hole in the top of the block. I wanted the hole to be the size of the nipple on the bottom of the bowl so that it would pressure fit into the hole. I wanted the hole to go through to the top of the airway so that the nipple on the bowl would sit on top and create good airflow from bowl to stem. IMG_8071 I pressure fit the bowl in the top of the block and the shank in the end of the block for the next two photos. I wanted to see if the parts all fit together well. I gave the shank a slight angle upward and would later bend the stem if the look was correct. Everything worked well at this point. For the plug on the end of the block I decided to do something simple. I wanted a plug that would be like a coloured dot on the end of the base. I cut off a piece of knitting needle and inserted it in the airway at the end of the block that is not showing at this point. I glued it in place and used the Dremel to take the overage back flush with the block. IMG_8073 IMG_8074 The height of the block was too much so I wanted to cut it in half. I do not have power tools to do that kind of thing so a bit of sweat equity and a small hack saw did the job. I sliced off the bottom half of the block to be used in making bowl plugs at a later date and now the height was more suitable to this little sitter. IMG_8078 I glued the shank into place in the block with epoxy and angled it the way I wanted it to be when I finished the work on the base. IMG_8079 IMG_8080 IMG_8081 IMG_8082 I used the Dremel and a sanding drum to begin to shape the block into a base for the pipe. I wanted a slope upward to the bowl – the sides would also slope upward. My idea was to have the bowl sitting on top of a volcano like base. IMG_8088 IMG_8089 It took a lot of sanding to get the shape even close to what I had envisioned and in the process I ran into my first problem. The joint of the block and the shank could not be sanded smooth or the walls would be too thin and the shank would break too easily. I probably should have used a Delrin tenon to connect the two parts but as usual looking back is not overly helpful. So I had to improvise with this one. I had a small brass pressure fitting that would look kind of interesting on this little Frankenpipe so I worked the joint area to accommodate the brass fitting. The photos below show the pipe taking shape with the brass band high on the shank. (At the time of these photos I had not yet glued the band on the shank.) IMG_8090 IMG_8091 IMG_8092 IMG_8093 I filled in the openings around the edges of the fitting where the shank joined the block with briar dust and wood glue packed into place with a dental pick. I sanded the ridges on the fitting with 150 grit sandpaper to remove them. I would have to do more work on the look of the band as I worked out the details later. I took the following photos after I had done more shaping of the base and glued the band in place. While the band is not beautiful it certainly strengthens the joint on the shank of the pipe and makes up for my lack of planning! IMG_8094 IMG_8098 The photo below shows the base with the bowl removed. You can get a clear picture of the base without the bowl and how the bowl looks from the bottom. The hole in the base is the same size as the nipple on the bowl. IMG_8099 I sanded it for another hour before calling it a night and then wiped it down with some light olive oil to get an idea where the scratches were that I needed to do more work on and also to see the grain. The next four photos show the pipe at this point in the process. There is still more sanding to do on the base and shank as well as some minor shaping. The idea though is clear – and the pipe is smokeable. The draw is very good and there are no leaks around the joint where the bowl presses into the base. So far so good. IMG_8100 IMG_8103 IMG_8104 IMG_8106 I set up a heat gun and bent the stem over the rounded handle of the heat gun to get a slight bend in it. I set the bend with cool water. With the bend the pipe is a sitter. The bend pulls the weight backward and the pip sits nicely on the button and the flat bottom of the base. IMG_8108 IMG_8110 IMG_8111 I did quite a bit more sanding and shaping of the base with 150 and 220 grit sandpaper. Once I had the shape to where I wanted it I sanded it with medium and fine grit sanding sponges. I gave the bowl and shank a wipe down with a cloth that was dampened with olive oil. Other than that the bowl and shank are not stained. IMG_8118 IMG_8119 IMG_8120 IMG_8126 While the shaping was finished there was still a lot of sanding to do to remove the scratches that remain in the briar. I also want to do some sanding on the band to remove scratches and polish it as well. The vulcanite stem also needs sanding and polishing. I took the pipe apart and sanded all the pieces with micromesh sanding pads. I sanded all of them with 1500-2400 grit pads and then finished sanding them with a 6000 grit pad. I buffed the parts with red Tripoli and then White Diamond and gave each part of the bowl and base multiple coats of carnauba wax. IMG_8127 I sanded the stem with a fine grit sanding sponge and then with the various grits of micromesh sanding pads. I wet sanded with 1500-2400 grit pads and dry sanded with 3200-12,000 grit pads. I buffed the stem with White Diamond, rubbed it down with Obsidian Oil and finished by giving it a buff with carnauba wax. IMG_8128 IMG_8129 IMG_8130 I sanded the brass band with the micromesh pads to polish it as well. When I had finished I gave the pipe a final buff with White Diamond and then applied carnauba wax to each part. I buffed them with a soft flannel buff to finish the shine. IMG_8132 IMG_8133 IMG_8134 IMG_8135 The final photo is of the front of the pipe. The knitting needle plug that I used is a bright reddish orange circle that sits at the base of the pipe on the front. The colour of the pipe is the red of the previous four finished photos. The last photo was taken with my cell phone and is a bit washed out. photo 2

GBD Originale 569M Restoration


This was one of two GBD’s I recently acquired thru the Smokers Haven in Ohio. Back in the day, that shop sold quite a few GBD’s. I normally collect only GBD’s made in England, but I made an exception for this Originale which is stamped “Paris, France”. I knew only a few tidbits about the Original line, from a GL Pease comment in a pipe forum thread on a $500 GBD Originale. I wondered what made that one so special and GLP commented:

“The Originale is an uncommon grade of GBD, sought after by more than a few collectors. I’ve seen very few of them, and in my years of collecting GBDs”.

I also found a reference to the Originale series on Jack Thompkins home page and attributed to John Tolle. The briar definitely has an unusual sheen and depth to it, similar to an older Comoys

The GBD Originals came out in the 60s and were made in Paris Fr.
All were rather small in size and came from older briar dating
to pre/during WWII. Not many were made and very few shapes.
Thanks John Tolle

This pipe was already restored by the shop, but I thought some of the bowl top dents and scorch marks might come out.

GBD_569M_Originale

GBD_569M_Originale (1)

GBD_569M_Originale (2)

Using a propane torch, a wet rag and an old kitchen knife, I was able to work out many of the dents on the bowl top and one seam on the side of the bowl. The scorch marks still remained, so using some worn micromesh sheets, I was able to get down to the briar without disturbing the stain. I was tempted to let well enough alone, but I’m very pleased with these results and it was worth the additional effort.

GBD_569M_Originale_Finish (3)

GBD_569M_Originale_Finish (4)

GBD_569M_Originale_Finish (2)

The oxidiation had already been removed, so the stem only required a polish with 8000 and 12000 grit micromesh and a light buff with White Diamond rouge. Under magnification, it looked like there was a small crack near the button. I added a few layers of black superglue to strengthen the area.

I’m very pleased to add this one to my collection of GBD Rhodesians.

GBD_569M_Originale_Finish (1)

GBD_569M_Originale_Finish (6)

GBD_569M_Originale_Gallery

Hard Rubber and other Early Plastic Used In Pipes – Ronald J. de Haan


While searching the web for information on Bakelite I came across this very interesting article on vulcanite, Bakelite and Casein that were all used at some point in history in making pipes and pipe stems. The link for the article, that includes the photos used to illustrate the various pipes are included is shown below: http://pipeacademy.org/pdf/publications/AIP%20Publication%20PDFS/2001%20Pipe%20Year%20Book,%20de%20Haan%20searchable.pdf
I have edited the article and posted it here without the photos that were used in the original piece. I have not found this concise a description of the materials anywhere else. Thank you Ronald J. de Haan for your excellent research.

This article is an attempt to draw attention to a very interesting field within the area of smoking collectibles. Many collectors of tobacco articles know something about many smoking accessories made out of synthetic material, like ashtrays, match-holders and cigar-cases.

In general though, there is very little knowledge about pipes made out of synthetic material, like hard rubber and other early plastics. Pipes (bowl and stem) that are completely made out of synthetic material are quite rare. This is not surprising, because synthetic material is less heat resistant during smoking, than traditional materials such as meerschaum, clay or briar.

The use of hard rubber for the production of pipes did not come as the result of long research; but is the result of the discovery of vulcanisation in 1839, which increased the applications for rubber enormously.

The introduction of rubber
Rubber is a natural product extracted from the rubber tree, Hevea brasiliensis. The bark of the tree is cut in a controlled way, as not to disrupt the flow of sap so the tree will survive. The milk-like, syrupy substance is known under several names. In the Amazon area the inland name for rubber tree is Cahucha (weeping tree). This word lives on in the French Caoutchouc and the German Kautschuk, both meaning rubber. The name rubber dates from the mid 18th century and was introduced by the famous British theologian and scientist Joseph Priestly.

The story of rubber in the western world begins at the end of the 15th century. On his second journey to America, Christopher Columbus visited the island of Haiti and saw children playing with elastic balls. The material was introduced in Europe as a toy. For the next centuries its application was limited.

In 1731 the French Charles de la Condamine, during a surveyor-expedition in Peru discovered that the local inhabitants used rubber to make their clothing waterproof. They also made shoes and bottles by pulling the material around moulds and letting the rubber harden in the sun or above a fireplace.

The British Thomas Hancock experimented in 1820 with forming rubber by mechanical power after heating the material, which resulted in the first waterproof rain clothes, made by Charles Mackintosh. It was the American Charles Goodyear who patented in 1839 the process of stabilising rubber with the help of sulfur, which is called the vulcanization process.

The vulcanization process
By vulcanising the rubber for a longer time and by adding a larger percentage of sulfur (up to 50%) the product became harder. The result was a new material. It was the first half synthetic plastic made out of a natural product changed by a controlled chemical process.

This new material is known by several names, depending on the production or the appearance: ebonite, because it looks like ebony; vulcanite because of the process of heating, referring to the Roman god Vulcan; hard rubber, which speaks for itself.

One of the first patents by Goodyear states that the new material was used in the production of pipe stems, an application that proved to be very suitable because the material was easy to mould. This hard rubber, though not the most suitable material for pipe-bowls, was used for the production of complete pipes until the 20th century, undoubtedly because of the ease of doing the detailed work. In order to prevent the bowls from melting or burning away, it was necessary to place inserts of meerschaum, briar or clay in the bowl of the tobacco pipe. Cigar and cigarette holders however, were produced without an insert because it was not necessary.

Two other synthetic materials have to be mentioned in this article, because they have been used extensively in the production of pipes, sometimes in combination with hard rubber. These two materials are casein and Bakelite.

Casein
Casein, in full casein-formaldehyde, consists as the name suggests of an important part of the milk protein. Casein can be extracted from skimmed milk with a specific enzyme. By exposing the kneadable doughy substance to the liquid formaldehyde for days or even weeks a new material emerges, which will not melt, even at high temperatures.

It is a so-called thermosetting synthetic material, like rubber (semi-synthetic). The patent for the production of this material dates from 1899 and belonged to the Germans Krische and Spitteler. They called the new material Galalith. Later it became known also as Erinoid, Ameroid and Kasolid. Casein can be coloured easily. A drawback of the material is its sensitiveness to liquid. Long-term exposure to liquid makes the material crack.

The pipe-making industry used the material widely till after the Second World War for the production of cigarette pipes (pipettes), as it could easily be pierced, turned or modeled. The long Charleston cigarette pipes of the 1920’s are made of casein.

Bakelite
Bakelite, officially phenol-formaldehyde, is regarded as the first fully synthetic material. The Belgian born Leo Baekeland invented it in the United States. He succeeded in controlling the long known heavy chemical reaction between phenol and formaldehyde. Controlled high temperature and high-pressure, formed the basis for his patent which he obtained in 1907. The result of the chemical reaction is an amber-coloured resin. Mixed with filling material like sawdust, asbestos or textile fibres the result, after pressing, is a hard thermosetting synthetic material. The most important qualities of this material are its insulation for electricity, its solidity and the possibility of use in mass production.

These qualities made Bakelite the most successful synthetic material in the first half of the 20th century. From 1928 it was also produced as moulded resin. Both the pressed and the moulded forms were suitable for the pipe making industry. Pipes were made from Bakelite and moulded phenol-resin. Complete pipes of Bakelite are very rare because of its lack of heat resistance. Phenol-resin however was frequently used for pipe mouthpieces and cigarette holders because it imitated amber.

Literature
Cool, Patrick and Sessor, Catherine, Bakeliet, Helmond 1993

Engelen, Jos, De Meerschuimpijp, in: Pijpologische Kring Nederland, 20″c jaargang nr, 80 (1988), page 998

Katz, Sylvia, Early Plastics, Shire Publication nr, 168 (1986)

Perree, Rob, Bakelite, Amsterdam 1996

Tymstra, Fred, Bakelieten pijpen met stenen potje, in: Pijpelogische Kring Nederland, 16° jaargang nr, 63, page 566-572 (1993)

Woshner, Mike, India-Rubber and Gutta Percha in the Civil War Era, z.pl., z.j.

Catalogues
Smokers Articles and Walking Canes and Miscellaneous Goods, The Novelty Rubber Co., New York 1877

Price Current, Goodyear’s Rubber MFG Co. And Goodyear’s I.R. Clove MFG Co., New York 1880

Pipes and smokers Articles, Zorn & Co

George, Philadelpia 1892 (reprint by Paul Jung Jr., 1989)

Catalogue General, Bessard-Pignol Gustave, Clermont Ferrand 1894

With special thanks to:
Richard Schoevaart, Amsterdam, Karelloeff, Laren, Jacques Bergmans, Weert.

A Peterson Dating Guide; a Rule of Thumb – Mike Leverette


Blog by Mike Leverette

As a pipe refurbisher who has worked on and restored many older Peterson pipes over the years and a researcher who likes to understand the brands of pipes I work on I have always been amazed at how little there is on the history of the brand. When I was working on one of the first Peterson pipes that came my way I remember writing then calling Mike Leverette and seeking his help in dating the little Pre-Republic pipe I had in hand. Mike directed me to this article of his on Pipelore.net and later sent me a copy of the piece he had written. It became my go to piece when seeking information on Petersons. Mike and some of his colleagues created the well-known ‘Peterson Pipe Project’ web site. Mike died in 2009, following a long battle with cancer. His work has been taken up by Mark Irwin and Gary Malmberg who are currently working on a book on entitled, The History of the Kapp & Peterson Company and their system pipes. According to the Briar Books Press website the book’s release has been pushed back to Christmas 2015. While we all wait for the publication of this work I am posting the article that Mike sent me many years ago now and dedicate it respectfully to my good friend Mike’s memory. Without further ado here is Mike’s article.

This guide first appeared in pipelore.net on August 26, 2006 by: Mike Leverette.

Introduction
The history of Ireland is an old and honourable one; steeped in warfare, family, racial and religious traditions. No other country can compete in comparison. However, the first couple of millennia of Irish history have no relevance to this dating guide. Should you wish to read more on the history of the Irish, I recommend “The Story of the Irish Race” by Seamus MacManus who gives a very vivid, and near as we can tell an accurate portrayal of their history.

History pertinent to our purposes began in the year 1865; the year Charles Peterson opened a small tobacco shop in Dublin. Later in 1875, Charles Peterson approached the Kapp brothers, Fredrich and Heinrich, with a new pipe design and with this, a very long-lived partnership was formed, Kapp & Peterson. This new pipe design is the now famous Peterson Patented System Smoking Pipe. By 1890, Kapp & Peterson was the most respected pipe and tobacco manufacturer in Ireland and rapidly gaining followers in England and America. In 1898 another of Peterson’s remarkable inventions became available, the Peterson-Lip (P-Lip) mouthpiece, also known as the Steck mouthpiece. So for the purpose of this dating guide, we will study Irish history, relevant to our pipe dating needs, from 1870s until now.

Before we start with this Peterson dating guide, an observation; the Kapp Brothers were making pipes as early as the 1850s and in many of the shapes we now associate with Peterson since the Kapp Brothers simply took their existing shapes and incorporated Charles Peterson’ s patented design into them. From their inception, Kapp & Peterson’s goal was to make a good smoking pipe that the ordinary, common working man could afford and we believe they have, very admirably, lived up to this.

Explanation of Title
The vagaries of Peterson’s processes do not allow for an accurate dating guide so this guide is a ‘rule-of-thumb’ guide only. For example; Peterson did not take up the old Country of Manufacture stamps as new ones were issued so depending on which one the various workers happen to pick up, the stamps can and do cross over the boundaries of the various Eras. Some of the pipes of the Sherlock Holmes Series of the 1980s have pre-Republic stamps, as well as other pipes produced in 2000. However, there will not be too many of these missed stamped pipes. For silver anomalies, see the section on silver marks.

Stamping of Bowls
During the years of Kapp and Peterson’s business operations, the country of Ireland has undergone several name changes and K&P’s stamping on their pipes reflects these changes. Knowing these changes, a Peterson pipe can be roughly dated and placed in “eras.”

• The Patent Era was between the years of K&P’s formation until the expiration of the patent; 1875 through approximately 1910. Though for our purposes we will list this era as 1875 through 1922. Peterson pipes made during the majority of this period had no “Country of Manufacture” (COM) stamped on them. However, later in this period, say around 1915/16, Peterson began stamping their pipes “Made in Ireland” in a block format.
• The Irish Free State was formed on 15 January 1922. So the Free State Era will be from 1922 through 1937. Peterson followed with a COM stamp of “Irish Free State” in either one or two lines, either parallel or perpendicular to the shanks axis and extremely close to the stem.
• Eire was formed on 29 December 1937. The Made in Eire Era will be from 1938 through roughly 1940? or 1941?. For dates with ?’s, see below. Peterson now stamped their pipes with “Made in Eire” in a circle format with “Made” and “Eire” in a circle with the “in” located in the center of the circle. This COM was used during the years of 1938 – 1940?/41?. Later they stamped their pipes with “Made in Ireland” in a circle format (1945?-1947?) and still later with “Made in Ireland” in a block format (1947?-1949). The “Made in Ireland” block format came in either one line or two lines.
• The Republic Era is from 1949 until the present. The Republic of Ireland was formed on 17 April 1949. From 1949 to present the stamp for this era is “Made in the Republic of Ireland” in a block format generally in three lines but two lines have been used with or without Republic being abbreviated.
• English made Peterson pipes actually spans between the pre-Republic and Republic eras. In 1895, Peterson opened a shop in London England that lasted until the late 1950s or early 1960s. So the English Era, for a simplified date, will be from 1895 through 1959. The stamps Peterson used in London and that we have seen are: Mike5
Though there are a couple of more, the above will give one the general idea. We believe the earliest stamp of this era was the “Made in England” in a block format since Peterson was using the “Made in Ireland” block format at about the same time on their Irish production pipes. The “Made in England” circle format was used during the same time frame as the “Made in Eire” and “Made in Ireland” circle formats.

As one can see this is pretty straightforward but there have been inconsistencies within this method of stamping. Peterson was never very energetic in removing their old stamps from the work stations so the older stamps can and did cross-over into the newer Era’s.

The explanation for the question marks in the 1940’s dates is, during the Second World War briar was hard to come by for obvious reasons, so no one can say for sure what years Peterson produced briar pipes and how many briar pipes were produced in those years. Why the switch from “Made in Eire” to “Made in Ireland” is anyone’s guess since the country was still technically Eire until 1949. As a point of interest and due to the shortage of briar, Peterson did make clay and Bog Oak pipes during the war years though they had ceased clay pipe production in the Patent Era and Bog Oak production back in the early 1930s.

Mike1 The “Made in Ireland” block format (above) can be another headache in dating Peterson pipes since this stamp was used in the late Patent Era as well as the late 1940s. So for a guide we must take into consideration the style of lettering Peterson used on their pipes. From the start of the Patent Era until somewhere in the early 1930s, Peterson used the “Old Style” lettering that used a forked tail “P” in Peterson.

Mike2 From then until now, Peterson used the more familiar script “P” (above) intermixed with a plain block letter “P.” Later in the 1970s, Peterson began production of “commemorative” pipes, often referred to as “replica” or “retro” pipes and these will also have the old style lettering but according to the pipes that we own and have seen, most of these will have a small difference in the original forked tail “P”. Again, there appears to be a cross-over with the old style forked tail and the later forked tail P’s (below). However, these commemorative pipes generally have a silver band with hallmarks so one can date these pipes by the hallmark.

Mike3 Also, we must address the stamp “A Peterson Product.” During the last few years of the Pre-Republic era and throughout the Republic era, Peterson began stamping their other lines, such as Shamrocks and Killarneys, with “A Peterson Product” over the COM stamp. So a pipe stamped thusly will have been made say from 1948 to the present with the COM stamp identifying it as a pre-Republic or a Republic pipe.

Silver Band Dating
Silver hallmarks are placed on the silver after an assay office, in Peterson’s case, the Dublin Assay Office, has verified that the silver content is indeed sterling, in other words 925 parts of silver per 1000 parts of the metal. The silver hallmarks on Peterson pipes are a group of three marks, each in an escutcheon; the first is a seated Hibernia denoting Dublin Ireland, the second is a harp denoting the silver fineness, and the third is a letter denoting the year. The style of letter and the shape of the escutcheon the letter is in, will determine the year in which the assay office stamped the metal band and not necessarily the year the pipe was made. Peterson orders these bands by the thousands and sends them to the assay office for hallmarking. The assay office will stamp the date of the year in which they received the bands and it may be a year or two or three before Peterson’s employees happen to place one of these bands on a pipe though generally the bands are placed on a pipe in the year they were stamped. The Dublin hallmarks can be found in any book on silver markings or on one of several web sites.

For the one year, 1987, the Dublin Assay Office added a fourth mark to commemorate the City of Dublin’s founding in 988. However, the Peterson pipes we have and have seen with silver dates of 1987 and 1988 generally do not have this fourth mark.

Here again, we must add a “maybe” to the above hallmarks. On 1 June 1976, certain countries attended an international conference on silver markings and decided to adopt an entirely different mark for sterling silver. This mark is an Arabian numeral, 925, located between the scales of a balance beam and in Peterson’s case may or may not have the Hibernia and Harp marks to either side. These particular pipes can only be said to date between 1976 and the present, and were stamped as such for shipment to the different countries involved in the conference. For pipes shipped to all other countries, Peterson still uses the old style hallmarks. Peterson pipes with a sterling silver band that does not have hallmarks could have been made for the United States market since the United States only requires sterling silver to be stamped “sterling silver” or “sterling.”

Before we close this section on silver hallmarks, we must address the marks that many people refer to as hallmarks. Peterson uses three marks on some of their pipes that are not silver hallmarks but are rather another Peterson logo (below). These marks are:
• A Shamrock for the many shamrocks found in Ireland
• A Prone Fox representing the famous fox hunts in Ireland’s history, and
• A Stone Tower for the many hundreds of stone towers spotted throughout Ireland

Again these are not genuine silver hallmarks: Mike4 Also many of the newer pipe smokers think that Kapp & Peterson’s official logo of “K&P,” each in a shield shaped escutcheon, are hallmarks but, of course, they are not. They are simply Kapp & Peterson’s initials.

Dating by Series
Dating by series or numbers is an area in which we are having a difficult time of establishing. For instance, the 300 series are all shapes used during the Patent Era and we believe Peterson started using this number system when the original patent expired. In the case of the 300 series and without looking at the COM stamp or silver hallmark, one can only say that they were made between 1910 and today. The 300 series was not in Peterson’s 1905 catalogue.

Though we are still trying to find the start dates of many series, here are some that we are pretty positive about:
• Centennial Edition – 1975 (for K&P’s Centennial)
• Great Explorers Series – 2002
• Harp Series – 2002
• Mark Twain Numbered Edition – 1979 (numbered 1 through 400)
• Mark Twain 2nd Numbered Edition – 1981 (numbered 1 through 1000) Mark Twain Un-numbered Edition – 1983 to c1989 (There must be a fourth production of Mark Twain pipes for there a couple of men who own Mark Twain pipes with a silver date of 1998; we are still trying to pin down the dates of this fourth production.)
• Emerald – c1985 to 2003
• Millennium Edition – 1988 (for the City of Dublin’s founding)
• Sherlock Holmes Series – 1987 to c1989
• Return of Sherlock Holmes Series – c1991
• Sherlock Holmes Meerschaums – 2006

Peterson Clay, Bog Oak and Cherry Wood Pipes
Peterson Clay, Bog Oak and Cherry Wood pipes were offered in the Patent Era with or without a formed case, as also offered with their briar and meerschaum pipes.

Peterson made clay pipes during the Patent Era with only two shapes being offered and depicted in their 1905 catalogue. During this period their clay pipes were stamped/moulded “Peterson Patent” and could be purchased with either a silver or nickel band. How long and in what years Peterson made these clays is not known but as stated above two shapes were offered in their 1905 catalogue. Then during World War II, Peterson again made clay pipes due to the understandable shortage of briar. The clays of this period are stamped “Peterson System” and were only offered with nickel bands. This later production of clay pipes ended with the closing of Peterson’s London Shop in the late 1950s or early 1960s.

Also during World War II, Peterson again made bog oak pipes and again, this was due to the shortage of briar. They had previously ceased production of bog oak pipes in the 1930s during the Irish Free State Era. On the subject of bog oak pipes, Peterson’s bog oaks will always have a metal band with either amber (early production only) or vulcanite stems and will have the appropriate COM stamp. As with their clay pipes, Peterson offered a silver or nickel band on their early bog oak pipes of the Patent Era and just a nickel band on their WWII bog oak pipes.

Peterson made pipes of cherry wood during their Patent Era in both the smooth finish and the bark-left-on finish; and as with their clay pipes, Peterson used both amber and vulcanite stems and choice of silver or nickel bands. And like their clay pipes of the Patent Era, the introduction and termination dates are not known. Peterson Cherry Wood pipes were offered with or without a meerschaum lining.

Metal Ferrules of Military Mounted Pipes
As pipes get older, wear will, with all the handling, cleaning and polishing, take its toll on the nomenclature which will eventually disappear, thus, making it harder to determine the age of your Peterson. A good thorough cleaning of old hand oils, dirt and ash will sometimes bring out a faint outline of the nomenclature but sometimes the nomenclature has completely worn away and even this cleaning will not bring it back. So where do we go from here to determine the pipe’s age? The shape of the metal ferrule on Peterson pipes with the military mount will give you some hint though not a precise date.

During the Patent Era, the metal ferrules of Peterson military mounts will have a more ‘acorn-ish’ shape, that is, the bend will have a larger radius as it turns down to meet the stem. This larger radius gradually (?) changes to a smaller radius, more abrupt bend, during the Irish Free State Era and even more abruptly after World War Two when the bend takes on the modern day shape.

The metal ferrules on Peterson clay pipes during the Patent Era are angular while their clay pipes of World War Two will have the bend shape as do most of the Peterson pipes from then until now.
As with everything pertaining to the dating of Peterson pipes, this method can only give us a hint to the age of the pipe but it is better than nothing at all. The years of these changes in the metal ferrule shape are, we are sure, lost to the ages. However, someone with a larger number of Peterson pipes than we may be able to check the silver dates for more precise age boundaries. Well, this is a very short dating guide and we hope that you will be able to date more accurately your favourite Peterson with this information.

Restoring a Gift Brigham 595S Zulu – A new stem and a new look


I wrote earlier in a blog post about helping a Bill Tonge with the stamping on a Brigham pipe that he had picked up. He had told me that the stamping was 5955 on the underside of the shank. He said he had called Brigham and that they had told him that number was not on their shape charts. He had hit a dead-end. We connect on Twitter so he contacted me and asked for help. I thought I would give it a try to see what I could find out about the pipe. I Googled and read various online pipe forums where information was given. I searched for Brigham shape and numbering charts and old catalogues. Nothing helped. Then I decided to go to the Brigham site itself and go through the layers of information there and see what I could dig up. I was certain the clue to the mystery had to be there. It was just a matter of spending the time reading through the layers of information there to see what could be found.

Using this information I took the number that was given to me – 5955 stamped on the bottom of the pipe’s shank – as my starting place. The first number in the stamp denoted the series (1 to 7). Thus the pipe was a 500 series pipe. The next 2 numbers indicated the shape number which in this case was 95. I am assuming that is the shape number for the Zulu or yachtsman shape of this pipe. Summarizing what I had learned so far – I now knew what the first three digits in the stamping meant. The “595” indicated a 500 series pipe in shape #95. Reading further I found that a letter could follow the numbers in the stamp – particularly on older pipes. The letter indicated the size of the bowl. Thus the letter S = small, M = medium, ML = medium/large, L = large. I wrote the questioner and asked him to magnify the stamping on his pipe. Sure enough, the pipe was a 595S – the final stamp was the letter S, making this pipe a 500 series Zulu with a Small bowl. Mystery solved on this one.

I sent him the information and shortly later received a tweet from him that he was sending the pipe to me. He thought I would enjoy working on it and seeing what I could do with it. It arrived here in Vancouver yesterday and I opened the box Bill had sent. Inside were quite a few samples of English tobaccos that he was passing on to me, a nylon Falcon style pipe that Bill had refinished and the old Brigham Zulu. The smells were divine and I am looking forward to enjoying Bill’s generosity. But last evening I had to get started on the old pipe. I had a Brigham 5 dot stem in my stem can that I had scavenged from a friend who had a Brigham that he converted to a church warden. He did not want the saddle style stem so he gave it to me. Being the scavenger that I am I have had it in the can for about 15 years. Last night it met the pipe that it would grace.

Before I worked on the fit of the new stem I took some pictures of the pipe when it arrived. The pipe was definitely a Brigham, stamping and finish said that clearly. The stem was not a Brigham stem. It was a poorly made replacement stem. It was larger in diameter than the shank and bulged as it moved away from the shank. The finish on the stem was rough and the fit was poor. The rubber had a different feel to it than most of the vulcanite stems I have worked with. It was very thick at the bit and was not a comfortable stem to hold in the mouth. The tenon was definitely not a Brigham tenon. At first it looked to have been cut off but upon closer examination it was clear that the back part of the tenon was like a Dr. Grabow or Medico filter tenon with the slits on the sides that allowed the tenon to be widened to fit tighter in the shank. Into that tenon someone had inserted a piece of aluminum tubing that had walls that were approximately twice as thick as the aluminum used in the Brigham tenon. When I tried to fit the Brigham filter in, which should have fit nicely in even a cut off tenon, it did not fit. All of that confirmed my suspicions that the tenon was a repair replacement. IMG_8038 IMG_8039 The finish on the bowl was dirty and the grooves were plugged with an oily build up almost to the point that the Brigham rustication was smoothed over. The bowl was slightly out of round with some burn damage on the inner rim at the back left and right sides of the bowl. The cake in the bowl was quite heavy and smelled of good heavy latakia tobacco. It was uneven and I wanted to do some work on the inner rim and try to bring it back as close to round as I could so I would need to ream the bowl back to the wood to do that work. IMG_8040 The stamping on the underside of the bowl is worn but legible. The Brigham stamp is identifiable as 595S and next to that is a patent number that is almost illegible but I think it reads Can. Pat. 372982 which is the same patent number as one of my older Brighams. The Brigham logo is stamped over Made in Canada and is next to the patent number. IMG_8041 I removed the stem from the bowl, reamed it and cleaned the outer surface with Murphy’s Oil Soap and a tooth brush. I use the soap undiluted and scour until the surface is clean and then rinse it off with running water. I keep the water out of the inside of the bowl and shank. IMG_8022 IMG_8023 IMG_8024 IMG_8025 I cleaned out the inside of the bowl and shank with cotton swabs, pipe cleaners and isopropyl alcohol. Once I had the majority of the tarry buildup out of the shank I found that the metal end of the hard maple filter had broken off inside the shank and was stuck against the airway. I examined the airway from the inside of the bowl and poked at it with a dental pick. I soon found that the airway was clogged at the side of the bowl with a tarry, oily buildup. I picked it free and found the airway very open and quite large. I was able to carefully turn a drill bit by hand into the shank and catch the metal of the end cap and draw it out of the shank. I then scoured the shank with alcohol until all the cleaners came out white.

I then cleaned the inside of the 5 dot stem that I had and fit it into the shank of the pipe. It fit well and actually had an interestingly look (IMHO). It was oxidized and needed work but it fit. The shank was still very tight at the end so I was not able to get the maple filter to fit in the tenon and still fit tightly against the shank. I have to do a bit more work opening the far end of the mortise to accommodate that. The next series of four photos show the 5 dot stem and give a rough idea of the look of the pipe at this point. IMG_8029 IMG_8032 IMG_8034 IMG_8035 I took the next three photos of the two stems side by side to show see the difference in diameter of the stems and the difference in shape of the two tenons. In the first photo the top stem is the replacement one and the bottom is the original Brigham made stem. The second and third photos show an end view of the two different tenons side by side. The one on the left is the replacement tenon and the one on the right is the original Brigham. Note the difference in diameter of the inner circle of the opening and the thickness of the walls of the tube in both tenons. The maple filter tube fit tightly in the replacement stem with no allowance for air to flow around the tube. It was shorter as well so the filter would not have been used with the replacement stem. IMG_8042 IMG_8043 IMG_8044 To start the cleanup on the oxidized stem I decided to use the Meguiar’s Scratch X2.0 scratch remover on the stem. It works quite well to remove some of the surface oxidation. I let it dry before buffing it off with a soft cloth. IMG_8045 The deeper oxidation still remained so I sanded the stem with 220 grit sandpaper and medium and fine grit sanding sponges. I followed up with micromesh sanding pads – wet sanding with 1500-2400 grit pads and dry sanding with 3200-12,000 grit pads. I rubbed it down with Obsidian Oil between each set of three pads and a final rub down at the end. IMG_8047 IMG_8050 IMG_8051 Once the Obsidian Oil had dried I buffed the pipe with White Diamond and then gave the bowl a light coat of carnauba wax and the stem several coats of carnauba wax. I buffed in between with a soft flannel buff to polish each coat. The finished pipe is shown below. I am looking forward to firing it up with one of the good English tobaccos that Bill sent along. Thanks again Bill for the great addition to my collection. IMG_8059 IMG_8060 IMG_8061 IMG_8062

I Found the Black Box – Bill Tonge


I recently was gifted a box of Brigham pipes from someone on eBay who bought one of my pipes. The one in this particular write up is the fourth one down which is a 429 Author shape.
Bill1 I pulled the pipe apart and did my usual cleaning which entails the bowl, shank and lightly sanding it for some contrast. Then I went at the stem. I did my Oxi-Clean and Magic Eraser to the stem and then used the micro mesh pads. When I finished I noticed that the stem was still brownish in spots. Bill2 Bill3 So I went out to the shop and dug out my Black Box from when I had my black car. Bill4 I used it exactly the same way you use it on your car following every step. The first step involves the scratch remover and the second step is the black carnauba wax. I just dabbed it all over the stem and let it sit until it turned to a gray haze. The next set of pics shows the stem covered in the black wax. Bill5 Bill6 Bill7 The final step is to buff it up. As you can see from the pics it covers the brown pretty well. Bill8 Bill9 And of course a pic of the final pipe cleaned, waxed and back together. Another happy Brigham. Bill10

Restoring an older KBB Yello-Bole Imperial Dublin


Blog by Steve Laug

This is the last of the pipes I picked up when I was down in Washington State with my wife for 38th Anniversary. It is an older KBB (no ampersand between the two B’s). It had no shape numbers on the right side of the shank, but on the left side it had the KBB in the cloverleaf/club and next to it was stamped Yello-Bole over Imperial over Imported Briar. The Imperial stamping had been over-stamped with a cross hatch pattern. The bowl was in decent shape. The finish had dark soiling and oils on both sides of the bowl. There were also some dark spots on the sides of the bowl. There was a heavy coat of varnish over the bowl except for the worn spots where the oils and darkening was. The rim was heavily caked with tars and oils. The bowl was caked from the top half way down the bowl, though the yellow honey coating was still visible on the bottom half of the bowl. There were some burn marks along the outer edge and top of the rim.

Again since Yello-Bole is one of my favourite older US brands I did some more reading online to see if I could narrow down when this one was made. I have come to understand that these older Yello-Boles are great smoking pipes and underrated. I turned to one of my go to sources of information on all things KBB and Kaywoodie – the Kaywoodie forum http://kaywoodie.myfreeforum.org/ftopic13-0-asc-0.php. There I found a very helpful article by Dave Whitney that helped narrow down the date. The pipe I have has the shovel drinkless mechanism, the KBB-in-a-clover logo on the left side of the shank and the yellow circle on the stem. From what I can ascertain from Dave’s information it seems to have been produced between the years of 1938-42. I am fairly certain that it did not come from the later period of 1945-50 (World War II) since it did not have the aluminum stem ring and the aluminum drinkless mechanism which came out during those years.

The photos below show the pipe as it was when I found it in the antique shop. IMG_7924 IMG_7926 IMG_7923 IMG_7927 The stem is made of nylon rather than vulcanite. It has the yellow circle inset in the top near the shank of the pipe. The button area was chewed and dented. There was a shallow dent on top of the stem and deeper ones on the underside of the stem next to the button. The button had been chewed down and had deep dents on the underside while the slot had been dented in so that it was not longer straight. IMG_7920 IMG_7922 I sanded the stem down and was able to remove the dents on the topside. The underside tooth mark was too deep to sand or even heat and raise. IMG_7929 I sanded it with 220 grit sandpaper to clean up the chatter further up the stem and then picked the area clean around the large dent with a dental pick. I wiped the stem down with alcohol to clean off the dust and then filled it with black super glue that I purchased from Stewmac online. I filled it the first time and sprayed it with an accelerator. Once it dried it had shrunken and left a divot in the stem surface. I refilled it with the glue and then sprayed it again with the accelerator. I set it aside overnight to cure and worked on the bowl. IMG_7928 IMG_7942 The bowl and rim were caked with an uneven cake so I reamed it with a PipNet pipe reamer to take it back to the briar. The cake was soft and once I removed it from the middle portion of the bowl I could see the yellow coating on the bottom half and partway down from the rim. The only portion that was darkened was in the centre of the bowl. IMG_7930 IMG_7931 I set up my topping board to remove the hard tars on the rim and also the burn damage. Fortunately the burn damage did not go too deep but merely sat on the surface under the tar coat. IMG_7932 I wiped down the bowl with acetone on cotton pads to remove the finish and as much of the dark staining on the side of the bowl as possible. The dark spots were deep in the finish of briar so I was not sure I would be able to remove them. IMG_7937 IMG_7934 IMG_7936 IMG_7939 Even after wiping down the bowl repeatedly the dark stains on the sides remained, lighter though still present. The dark spots appeared to be ink stains and they too remained. I decided to let the bowl soak in an alcohol bath overnight and address it again in the morning. IMG_7941 The next morning I removed the bowl from the alcohol bath and found that it had done its magic. The stains were gone and the ink stains were significantly lighter. I cleaned out the shank with cotton swabs, pipe cleaners and alcohol. I kept cleaning until the pipe cleaners and swabs came out clean. IMG_7946 I stained the bowl with Fiebings Dark Brown aniline stain. I applied the stain and then flamed and repeated the process until the coverage was even. IMG_7947 IMG_7948 I wiped it down with alcohol on cotton pads to remove some of the opaque colour of the stain and to make the grain more visible. IMG_7949 IMG_7950 IMG_7951 I buffed the bowl with White Diamond. The next three photos show the bowl at this point in the process. IMG_7953 IMG_7954 IMG_7957 Once I had finished the work on the bowl to this point I decided to work on the stem. I used a coarse grit sanding stick to cut the sharp edge of the button. While it worked relatively well I could see that the hardened super glue needed something with more teeth to cut into the repair. I used a file to take off the overfill on the repair and then followed that with the sanding stick and 220 grit sandpaper. IMG_7963 IMG_7964
IMG_7965 I sanded the stem further with the 220 grit sandpaper and then with medium and fine grit sanding sponges to remove the scratches in the surface. I wet sanded with 1500-2400 grit micromesh sanding pads and dry sanded with 3200-12,000 grit pads. Between each grit of micromesh I wiped the stem down with olive oil. I have found that the olive oil allows the micromesh sanding pads to really cut into the surface of the nylon stem. I cleaned up the stinger with alcohol and cotton pads and then 0000 steel wool. IMG_7972 IMG_7979 IMG_7983 I gave the bowl a coat of walnut stain and boiled linseed oil to bring out a shine. I wanted the pipe to have a similar shine to what it originally had when it left the factory but did not want to use a varnish coat. I wiped it on the bowl with a cotton pad and then set it aside to air dry. IMG_7975 Once the finish had dried I buffed the pipe with White Diamond and then gave it several coats of carnauba wax and buffed to a shine with a soft flannel buff. I hand waxed the stem with Paragon Wax as I find that the nylon stems are hard to buff. Without a light touch the wheel can do irreparable damage to the nylon stem. The heat generated by the buffer will actually cause the stem to melt. The final photos below show the finished pipe cleaned, polished and ready to enter into the next years of its life. I think that this one will outlive me if properly cared for by the next pipeman after me. IMG_7986 IMG_7987 IMG_8003 IMG_8008