Tag Archives: Albert Hillen

Incredible Sandblast on a Hilson Avanti 11 Canadian

by Kenneth Lieblich

Greetings, one and all! It’s been a challenge getting pipe work done recently, as my home is undergoing renovations and, to quote Heroclitus, ‘All is flux, nothing stays still’. It is a delight to finally get another blog posted! I’m back with a beautiful pipe that put a smile on my face and I’m sure it’ll do the same for you. It’s been sitting in my boxes for a while, but it’s a great pipe and deserves to be back out in the world. It’s a handsome Hilson Avanti sandblasted Canadian. Normally, when I think of Hilson, my mind meanders to resin (or ‘pipenite’, as they called it) stylings from the Fantasia line – but not today! This is a pure briar pipe, with a lovely vulcanite stem. The pipe conveys a feeling of confidence: the thick, briar walls, the rugged blast, etc. It’s just a solid pipe. I acquired it a while back, but I don’t know the pipe’s individual history. It is in lovely condition and doesn’t appear to have been smoked much. What do the markings say? The underside of the shank shows, first, the words Hilson Avanti [over] Canadian (although Avanti is a bit obscured by the blast). To the right of that are the words Made in Belgium. Again, further to the right is the shape number, 11. Finally, the stem has a stylized H, indicating the Hilson company. Let’s check Pipedia to see what they have to say about the Hilson brand:

Jean-Claude Hillen (other sources: Jean-Paul) founded a trading company in the City of Bree in 1846. He soon turned his main interest on pipes and other tobacco related goods. Particularly in the 1960’s and still throughout the 1970’s the brand Hilson of Broers Hillen B.V. (Hillen Bros. Co.) was quite successful in many European countries. They produced large numbers of machine-made pipes covering the whole range of shapes and finishes. The pipes were well respected for good quality and craftsmanship at very moderate prices. Rarely seen there are also nice freehands from this era stamped MASTRO and signed by A.M. Sanoul, who is otherwise completely unknown as a pipemaker. All the same, in 1980 Hillen faced major financial problems. At this time there was only a second manufacturer of briars pipes in the Benelux countries, the Elbert Gubbels & Zonen B.V. in the Netherlands. The Belgian competitor being in trouble, Gubbels used the favour of the hour and bought up the company. The reason is plausible: in some countries, particularly in Germany, Hilson held larger market shares than Gubbels’ mainstay brand Big Ben. The Hillen plant in Bree was closed down shortly after and ever since then Hilson pipes are manufactured in Roermond, NL.Likewise, there is a bit more to be found from our friends over at Pipephil:

In 1846 a German named Jean Knödgen started to produce clay pipe in Belgium. In the late 19th century Jean Hillen who married into the Knödgen family took over the company and changed the firm in order to manufacture briar pipe. Jean Hillen had 2 sons: Jos Hillen was responsible for sales and Albert Hillen was responsible for the production. After WWII Albert founded the HILSON brand (Hillen and Son) and exported his pipes all over the world. In 1980 after having gone bankrupt, the Belgian brand from Bree (Limburg) was taken over by the Royal Dutch Pipe Factory.It’s also worth noting that I’ve seen several posts over at the PipeMagazine forums that state that the older (and better) Hilsons are marked “Made in Belgium”, as this one is.The pipe is in very nice shape. The stem had some minor tooth scratches, plus it was coated with a lot of oxidation. There were no significant issues with the stummel: it had only a bit of lava on the rim and a bit of cake in the bowl. I used isopropyl alcohol on a few cotton rounds and wiped down the stem to provide an initial cleaning of filth before moving on to the next steps. The primary cleaning came next. I disinfected the inside of the stem with both pipe cleaners and cotton swabs dipped in lemon-infused 99% isopropyl alcohol. I scrubbed thoroughly to make sure the interior was very clean.The goal of the next step is the removal (or minimization) of oxidation. Going to my sink, I used cream cleanser, cotton rounds, and a toothbrush, and scoured the stem to remove as much surface oxidation as possible. As the photos show, the result was a hideous, ochre-coloured mess – but better off the stem than on it.Once the stem was reasonably clean, I soaked it overnight in some Briarville Stem Oxidation Remover. This solution works to draw oxidation in the stem to the surface of the vulcanite. This is a major aid and an important step in ensuring a clean stem. The following day, I drew out the stem from its bath and scrubbed the lingering fluid with a toothbrush.As the stem was now clean and dry, I set about fixing the marks and dents in the vulcanite. This was done by filling those divots with black cyanoacrylate adhesive, impregnated with carbon and rubber. I left this to cure and moved on. After this, I painted the logo on the stem with some enamel nail polish. I restored the logo carefully and let it fully set before proceeding.The penultimate step for the stem is sanding. First, with my set of needle files, I reduced the bulk of the cyanoacrylate repairs. I removed the excess adhesive as near to the surface as possible, without cutting into the vulcanite. Following that, I used all nine of the micromesh sanding pads (1,500 through 12,000 grit) to sand out flaws, even out the vulcanite, and provide gentle polishing of the finished surface. I also applied pipe-stem oil while using the last five micromesh pads. There was a wonderful, deep black shine to the stem when I was done.As the stem was (nearly) complete, I moved on to the stummel. The first step was to ream out the bowl – that is to say, remove all the cake inside the bowl. This accomplished a couple of things. First (and most obviously), it cleaned the bowl and provided a refurbished chamber for future smoking. Second, when the old cake was removed, I could inspect the interior walls of the bowl and determine if there was damage or not. I used a reamer, a pipe knife, and a piece of sandpaper taped to a wooden dowel. Collectively, these ensured that all the debris was removed.Similar to the stem, I then cleaned the stummel with both pipe cleaners and cotton swabs dipped in lemon-infused 99% isopropyl alcohol.I then decided to ‘de-ghost’ the pipe – that is to say, exorcize the remaining filth from the briar. I filled the bowl and the shank with cotton balls, then saturated them with 99% isopropyl alcohol. I let the stummel sit overnight. This caused the remaining oils, tars and smells to leach out into the cotton.To tidy up the briar, I wiped down the outside, using a solution of a pH-neutral detergent and some distilled water, with cotton rounds. I also used a toothbrush in the crevices. This did a good job of cleaning any latent dirt on the surface of the briar. The last step of the cleaning process was to scour the inside of the stummel with the same mild detergent and tube brushes. This was the culmination of a lot of hard work in getting the pipe clean.Since the stummel is sandblasted, I only micromeshed the smooth part of the underside on the briar. I rubbed some LBE Before & After Restoration Balm into the briar and let it sit for 30 minutes or so. The balm moisturizes the wood and gives a beautiful depth to the briar. I then buffed the stummel with a microfibre cloth. For the final step, I took the pipe to my bench polisher and carefully buffed it – first the stem with a blue diamond compound, then the stummel with three coats of conservators’ wax. This procedure makes the pipe look its best – the stummel sings and the stem glows.

All done! This Hilson Avanti 11 Canadian looks fantastic again and is ready to be enjoyed by its next owner. I am pleased to announce that this pipe is for sale! If you are interested in acquiring it for your collection, please have a look in the ‘Various Makers’ section of the store here on Steve’s website. You can also email me directly at kenneth@knightsofthepipe.com. The approximate dimensions of the pipe are as follows: length 6 in. (154 mm); height 1⅞ in. (47 mm); bowl diameter 1½ in. (38 mm); chamber diameter ⅞ in. (22 mm). The weight of the pipe is 1⅛ oz. (34 g). I hope you enjoyed reading the story of this pipe’s restoration as much as I enjoyed restoring it. If you are interested in more of my work, please follow me here on Steve’s website or send me an email. Thank you very much for reading and, as always, I welcome and encourage your comments.

Recommissioning an Interesting Belgian Hilson Fantasia Block Meerschaum Lined Billiard

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Blog by Dal Stanton

Thanksgiving travels are now completed with us visiting kids and grandchildren in St. Louis and Nashville and I’m now back at the worktable in Golden, looking at an interesting pipe. Daniel was bold to commission 7 pipes from the For “Pipe Dreamers” Only! collection and with 3 completed, the fourth is now on the table, a Meer lined Hilson Fantasia. I acquired it along with another commission of Daniel, the Paul Viou Plume (See: Discovering the Vintage of a Paul Viou ‘Feather’ with the Help of Sebastien Beaud of Genod Pipes of St. Claude) from a Lot I acquired from an eBay seller in Paris. The pictures show the French Lot of 50 and the Hilson marked by the arrow in the picture below.The Hilson is next on the worktable and I take some pictures to get a closer look. The Hilson name is not found on the shank, but the stem. On the right shank flank is imbedded, BLOCK [over] MEERSCHAUMLINED. To the right is the shape number, ‘7’. The stem’s left side is stamped a half ghosted, HILSON [over] FANTASIA. This is my first opportunity to work on a pipe with the Hilson mark and my first impression of it drew mixed reviews – what is the material this is made of? I discover in a quick look to Pipedia’s article that this name finds its origins in Belgium but after financial difficulties was acquired in the early 1980s by the Dutch consortium, Elbert Gubbels & Zonen B.V., which later acquired the Big Ben name from England and started the Royal Dutch Pipe brand. I think the best short description of the Hilson name I initially found in Pipephil.eu but later discovered it originally came from Estervals Pipe House website:

In 1846 a German named Jean Knödgen started the production of clay pipes in Belgium. At the end of the 19th century Jean Hillen (married into the Knödgen family) took over the company and developed the idea of also producing briar wooden tobacco pipes in his factory. He had some suppliers from the French Jura district turn some bowls which he then finished himself. Some time later he took up the complete production process of briar wooden tobacco pipes so he did not have to depend on others.

Jean Hillen had 2 sons: Jos Hillen who was responsible for sales and Albert Hillen who was responsible for the production of pipes. Albert was also an interpreter in the English army during WWII and he succeeded in establishing many international contacts. Thus they were soon able to export the first pipes manufactured in Belgium to countries all over the world with the brand name HILSON (Hillen and sons).

In 1980 the Hillen Pipe factory from the Belgium-Limburg town of Bree was purchased by the Royal Dutch Pipe Factory where the production of Hilson pipes was continued, carefully observing the traditional craftsmanship.

The link to the Estervals Pipe House website I found in a rebornpipes posting in which Steve’s research and summary of the Hilson name provides a great overview of the Fantasia. The title of this rebornpipes.com writeup resonates with my first impressions and sets the table for a great summary: Is it really a plastic smoking pipe? What is a Hilson Fantasia?

From my research on the web I found that the Hilson Fantasia, made in Belgium originally came out as a meerschaum lined pipe with an outer bowl made of a new material that they called pipenite. In 1962 it came out in what they called ivory white and in a colour they called tortoise. In 1963 they seemed to have added the option of a black pipenite bowl. From what I can find out about the material they call pipenite, it was a specially designed polyester resin. It was light weight and fairly indestructible. The block meerschaum insert was something that Hilson turned into a specialty. (I have restored some beautiful briar pipe with the Double Ecume or meerschaum liners as well.) These colourful resin pipes look like a product of the 60’s and in my research on Chris’ Pipe pages, http://pipepages.com/hilson.htm I found them in catalogues from that era. The swirled materials of the bowl gave the pipe a 60’s psychedelic look. I have included a catalogue page from a 1962 Wally Frank Catalogue that was on the pipepages site. The write up on the Hilson Fantasia is entertaining to read in terms of the sales pitch that is delivered.

Unfortunately, Chris’ Pipe Pages that Steve references above is now defunct, but the Pipedia Hilson article has the early 60’s Fantasia add Steve references which follows containing the great pipe pitch as the ‘Most Beautiful Pipe in the World’! Who could resist having a Fantasia in one’s collection!When I first took a close look at the Hilson Fantasia chosen by Daniel, I wondered what the butterscotch colored material was – plastic? Steve’s research revealed that the ‘pipenite’ described in the Wally Frank add is a specially designed polyester resin which is practically indestructible. The other noteworthy characteristic Steve referenced from the add is the quality Meerschaum block used in the Fantasia line. The add also makes a point regarding the long, smoking condenser which was Hilson’s contribution to the pipe world’s ‘holy grail’ – the dryer, cooler smoking experience. The lower inset box in the add above shows the #7 as among a large offering of shapes by Hilson equipped with the condenser.

With a better understanding of the history of the Hilson Fantasia on my worktable, I look closer at its condition. The Block Meerschaum chamber and rim are covered with a thick cake buildup with the lava over the rim. This needs cleaning to give the Meerschaum a fresh start. I’ve lightened the picture to enable the black surface to be visible.The stem has deep oxidation, and the bit has heavy tooth chatter on both upper and lower bit. The ‘Pipnite’ surface is dirty and should clean up well without problem. The only question I have is what first appeared as a crack in the polyster acrylic resin bowl but is most likely a scratch. The question is, how best to address this, if at all? The glassy surface probably does not respond well to sanding or if I did sand the surface or buff with a compound to erase the scratch, will the scratching of the abrasives (papers, pads or compound) be able to be removed? Or will sanding inevitably leave the highly glossed surface dulled? If this is the case, then any attempt to sand out the scratch will leave the repair area standing out from the rest of the Pipenite surface. My guess now is that it is an ‘all or nothing’ proposition – either sand/buff the whole stummel or not at all. With the question of the approach to the stummel a question, I decide to send a note to Steve to get his feedback on the behavior of Pipenite if sanded? While waiting for Steve’s response, I press on.

The cleaning of this Hilson stem began while I was still in Bulgaria and these pictures record the cleaning of the stem. Starting with 0000 grade steel wool, I rub and buff the long, heralded Hilson condenser. It spruces up the nickel condenser nicely.Following this, only a few pipe cleaners dipped in isopropyl 95% clean the internal stem airway.Next, a ‘Soft Scrub’ product gets a head start breaking up the oxidation imbedded in the stem surface before continuing the cleaning by giving the stem a Before & After Deoxidizer soak. While protecting the Hilson stem stamp, using 0000 grade steel wool wetted with the CIF, the oxidation is mitigated. To further the cleaning of the stem, it joins other stems in the queue in a Before & After Deoxidizer soak. The stem soaks for several hours.After the soak is completed, the stem is fished out of the Deoxidizer allowing the fluid to drain off. A cotton pad wetted with isopropyl 95% is then used to wipe away the excess Deoxidizer from the stem surface. This is followed by using a few pipe cleaners, also wetted with isopropyl 95% to clear the Deoxidizer from the internal airway.The stem’s rejuvenation is commenced using paraffin oil and a cotton pad. The stem looks good.Earlier I sent a note to Steve to get his input on how best to approach the Pipenite surface scratch and the kind of material Pipenite is? His response was helpful in describing the universal lack of consensus on what ‘Pipenite’ is! Here’s Steve’s first response:

Hey Dal

The material on the Fantasia is described as everything from Bakelite to epoxy resin in a multitude of places. Others have called it plastic resin. some even fiber glass. To me nothing fits better than the resin concept… not sure about epoxy but everything about it is resin. It is not bakelite for sure…

Sanding the pipenite or resin leaves scratches that are nearly impossible to remove. I polished out a lot of scratches with my buffer and blue diamond polish and succeeded in not losing the lustre. Personally, I would buff it out best you can and leave it alone… war wounds from its travels.

To refresh my understanding of the unique composition of resin, I turn to a helpful Wikipedia article:

In polymer chemistry and materials science, resin is a solid or highly viscous substance of plant or synthetic origin that is typically convertible into polymers.^[1] Resins are usually mixtures of organic compounds. This article focuses on naturally occurring resins.

Plants secrete resins for their protective benefits in response to injury. The resin protects the plant from insects and pathogens.^[2] Resins confound a wide range of herbivores, insects, and pathogens, the volatile phenolic compounds may attract benefactors such as parasitoids or predators of the herbivores that attack the plant.^[3]

Steve followed with another email with links from sites like Pinterest, Etsy, and Worthpoint, which are sales platforms with examples of different Hilson Fantasia offerings and the varied descriptions of the pipes running the gambit as Steve described above. I enjoyed looking at the Hilson Fantasias for sale on these sites which were of the ‘tortoise shell’ variety – nice. The collage below shows these examples.These examples reminded me of another Hilson Fantasia in my Pipe Steward inventory that also is a tortoise shell but has a significant crack in the stummel, so it never made it to the For “Pipe Dreamers” Only! online offerings – I just didn’t know what it was – or whether it was worth the effort being a ‘plastic’ pipe? I might give this Hilson another look!The tortoise shell is attractive, but the description by Steve that Pipenite is ‘practically indestructible’ found an example expanding ‘practically’! I still believe that Daniel’s Hilson Fantasia is marred by a scratch in the polyester resin shell, even if it is a trauma crack, perhaps from being dropped (?), it doesn’t appear to be such to question the pipe’s integrity with the Pipenet resin material. Turning now to the Hilson Block Meerschaum stummel, I start with clearing the Block Meerschaum chamber of the accumulation of carbon cake. As a reminder, Meerschaum does not need a protective layer as with briar pipes. It is best to keep the Meerschaum totally clean of buildup. In my own Meerschaums, after each use my practice is to gently scrape the chamber with a folded bristled pipe cleaner. This cleans the surface nicely keeping the Meerschaum in good shape. To allow a cake buildup can cause the Meerschaum to crack in time. Carbon cake expands differently from Meerschaum when heated and this can cause stressing on the Meerschaum. I take a couple pictures to mark the start of the cleaning process.The aft section of the rim reveals the lighting practices of the former steward – drawing the flame over the back. The crusted lava cake has totally covered the Meer rim lining and the Pipenet portion, too. Cleaning is needed to show what’s beneath.With Meerschaum, using my usual Pipnet Reaming Kit with the blade heads is not good. The torque created by this reaming approach can crack the Meer. Instead, using the slow, patient, less intrusive approach, the chamber wall is gently scraped using the Savinelli Fitsall Tool.The Fitsall Tool also does well to begin clearing the rim of lava flow. The approach is gentle! I then transfer to the sharper edge of the Winchester pocketknife. With the knife, the approach is more to ‘pull’ the blade carefully over the surface rather than to push the blade. I’m careful not to gouge the softer Meerschaum. With the rim scraping looking good, I transition to sanding the chamber by wrapping 240 grade sanding paper around a Sharpie Pen. I then continue the sanding on the rim using a small piece of 240 paper. I sand the rim gently and remove the lava and clean the rim nicely. To complete the main cleaning of the Meerschaum lining and finish, I wipe the bowl with a cotton pad wetted with isopropyl 99%. In Bulgaria, I was able to find isopropyl at 95% purity. Now in the US, I was able to find 99% which is about a pure as one can get. Switching now to the external ‘Pipenite’ surface, undiluted Murphy’s Oil Soap is used to scrub with a cotton pad. The surface, as expected, cleans up very nicely. To guard the Meerschaum lining, instead of rinsing under a tap, I wet a cotton cloth and wipe the bowl to rinse off the soap. Next, the internal mortise is cleaned using several cotton buds dipped in isopropyl 99% and one pipe cleaner. After a time, the buds emerge lighter and it’s’ time to move on. Cleaning completed.The stem now awaits attention. The stem cleaned up nicely from the thick oxidation. Even though the HILSON FANTASIA stem stamping was protected during the process, it appears even more ghosted now. I’ll continue to protect this remnant by covering the stamping with painters’ tape during the next stages of sanding.Both the upper and lower bit have minor tooth chatter remaining along with a bite compression. I’ll begin to minimize the damage by the heating method. Vulcanite, a rubber compound, is an amazing material. Using a Bic lighter to paint flames on the bit, the heating causes the expanding of the vulcanite allowing it to regain much of its original composition. After several ‘flaming’ cycles, a few more on the lower bit, the comparison of before and after shows a distinct improvement with upper and lower. Using a piece of 240 sanding paper, I sand the residual tooth chatter which is dispatched without difficulty. I also refresh the button with a flat needle file and sand it with 240. From the 240 paper and file working on the bit and after placing tape over the stem stamping, the sanding is furthered first by wet sanding the entire stem with 600 grade paper. The 600 paper is followed by applying 0000 grade steel wool. Next, the full regimen of micromesh pads is applied to the stem. Starting with pads 1500 to 2400 the stem is wet sanded. This is followed by dry sanding with pads 3200 to 4000 and 6000 to 12000. Between each set of 3 pads, Obsidian Oil is applied which rejuvenates the stem and helps to prevent future oxidation. The pop in a freshly micromeshed stem is nice! After the micromesh cycles are completed, the Hilson Fantasia stem and stummel are reunited to get a look at the progress. I discover that the union of tenon and mortise reveal a bit too much tightness. I know that the Pipenite is tough, but I don’t want to test it and inadvertently crack the shake trying to force the tenon in the mortise. To reduce the mortise pressure, 0000 steel wool is first used to see if this will clean the tenon allowing a seating. While pinching the tenon with the steel wool, I then rotate the stem to create the abrasion. After using the steel wool, the fit is tried again, and it remains too tight.Next, 240 is employed in the same way to reduce the pressure by sanding the tenon. This does the trick. The mortise now receives the tenon snugly. I finish the tenon smoothing with 600 paper and 0000 steel wool and reunite the Hilson stem and stummel.Next, after mounting a cotton cloth buffing wheel on the rotary tool, the speed is set to about 40% full power and Blue Diamond compound is applied to stem and stummel. I start with the Pipenite stummel with a bit of fear and trembling. Steve had used the compound on his Fantasia projects but the anxiety stewing in my mind was, will the Blue Diamond buff up the glossy surface or will it apply fine scratchings that become impossible to remove? I gingerly start applying the compound with the Dremel’s cotton cloth buffing wheel and to my joy, the surface is responding very nicely to the fine tune buffing of the Blue Diamond. I continue with the stummel then the stem. I like the results. The gloss of the Pipenite is enhanced with additional glow and the removal of fine marks and scratches on the resin surface.Before applying wax to the pipe, I spruce up the BLOCK MEERSCHAUMLINED stamping on the right shank side with Rub ‘n Buff European Gold metallic paint. The gold and the butterscotch hue of the stummel will go well.As the name implies, after rubbing some of the metallic paint with a toothpick over the lettering and number, I simply rub it off with the flat edge of a toothpick then a cotton pad. The result is good. The ghosting of the stem stamping leaves me with no hope of freshening it with white acrylic paint, so it remains as it is – bearing the wear of its service.After wiping the entire pipe with a felt cloth to remove residue compound dust, another cotton cloth wheel is mounted with the speed remaining the same. Carnauba wax is applied to the entire pipe followed by a rigorous hand buffing with a microfiber cloth to raise the shine further.

This Hilson Fantasia Block Meerschaum Lined has transformed amazingly from being an interesting gimmick pipe to becoming an extremely attractive alternative pipe to briar. The butterscotch hue of the bowl pops in relationship to quality Block Meerschaum lining. The added benefit is the ability of the Meerschaum to be used repeatedly without rest, unlike briars. This makes for much fellowship! The timeless classic lines of a Billiard make this Hilson Fantasia a great addition to a collection and possibly to add to one’s regular rotation. Daniel commissioned this pipe and will have the first opportunity to claim it from The Pipe Steward Store benefitting the Daughters of Bulgaria. Thanks for joining me!

Cleaning up a Hilson Made in Belgium Meerlined Bulldog, Shape S60

1 Reply

Blog by Steve Laug

This is another pipe from the Idaho Falls antique mall. The funny thing is I went back another day to show my daughters some of the antique jewelry and did not think much of looking for more pipes as I had already cleaned out the ones I had an interest in. One of my daughters called me over to a display case where there was a pipe rest with a golden Cocker Spaniel on it. She thought it would be a great memory piece for me. I looked in the case and there on the bottom shelf was a pipe that I had not seen on the previous day. It was a nice straight Bulldog pipe. The bowl looked like it was a mess but the briar and stem looked to be in pretty good shape. I had the clerk pull it out and was surprised by the stamping on it. It read Hilson over Made in Belgium on the upper left side of the shank and Imported Briar in an arch over Block Meerschaum on the upper right side of the shank. There were some other letters underneath the arch that ran in a straight line but I could not read them without a lens. Of course I had to have the old pipe. I knew that it at least was made before Gubbels Pipe Factory in Holland bought out the Hilson brand in 1980 because of the Belgium stamping.

When I got home I looked at the shank under a bright light using a lens and could see more clearly some of the marks under the arch. The arch appeared to be over stamped and underneath on the left of arch it read S and the other letters faded out. On the right side of the arch it read TYLE. I am wondering if it originally read S60 (which is the shape number that has been more recently stamped on the underside of the right side of the shank) BLOCK STYLE in a straight line over MEERSCHAUM (the center and bottom words in and under the arch). If so then when it left Belgium and headed to the USA it must have been over stamped with the arched IMPORTED BRIAR which is stamped with a slightly smaller font. I also examined the stem and found that on the underside of the right side it had a small stamped M and what looked like part of an E. All of that will remain a bit of a mystery but it makes this old pipe interesting.

The briar portion of the pipe was in pretty decent shape. I was not sure about the briar on the rim as it was pretty covered with an overflow of tars that had come up out of the bowl and over the rim. The meerschaum bowl was invisible at this point in the process. It was somewhere inside the mess but how far down I was not sure. I had no idea of the thickness of the Hilson bowls in comparison with others. The other Hilson Meerlined pipe I had did not have the lining and the briar was very thin so I was thinking that this one would be like that. The finish was dirty on the rest of the bowl but did not have any damage. The briar looked pretty decent other than a few small fills on the underside of the shank. The stem was dirty and lightly oxidized. The pipe and the stem smelled awful! The bowl smelled like old cigarettes left in an ashtray in the rain. The stem smelled like old tires with a hint of sulfur. It would take a bit of work to clean up this one without damaging the meerlined bowl.

From a bit of research on the web I found that the company was originally started in 1846 by a German named Jean Knödgen who produced clay pipes in Belgium. According to a note on the Pipephil website it seems that in the late 19th century Jean Hillen married into the Knödgen family and later took over the company. He changed the company from a clay pipe producer to a factory able to manufacture briar pipes. Jean Hillen had 2 sons: Jos Hillen was responsible for sales and Albert Hillen was responsible for the production. After WWII his son Albert founded the HILSON brand which was a combination of Hillen and Son and exported his pipes all over the world. The brand did very well in the 1960s and 1970s and the brand was sold throughout Germany and Europe. In 1980 the company ran into financial difficulties and was bought by the Royal Dutch Pipe Factory owned and operated by Gubbels who still makes the Big Ben pipe.

Hilson meerschaum-lined briar pipes were manufactured in Belgium at the original Hilson factory in the 1970’s and used Block Meerschaum to make the inserts for their pipes. This was much better quality than most meerschaum lined pipes. Usually the lining was made of pressed meerschaum which was made from ground up meerschaum. Block Meerschaum is carved from the meerschaum as it is mined. High quality meerschaum pipes are always made from block meerschaum.

I took the next three close-up shots to give an idea of the state of the bowl when I started. There is a hint that it is a meerschaum lined bowl when you see the line on the edge of the bowl just inside of the briar. The thick coat of carbon built up on the rim and down into the bowl made it hard to see. I was glad that this was a block meerschaum insert rather than a compressed one because there was some hope that the bottom of the bowl had not begun to disintegrate of break up. The second and third photos below give an idea of the stamping on the shank of the pipe.

The next photo shows the stinger apparatus in the tenon of the pipe. Most of the other Hilson pipes that I have worked on have an inner tube extension rather than a tenon so this was a new one to me. It is also unique among the stingers that I have seen. I decided to top the bowl to remove all of the carbon build-up and see what was happening with the top of the meerschaum insert and the briar rim. I knew that the cake in this one was out of control but I wanted to see if I could see the original inner line before I dealt with the cake. The next photo shows the topped bowl. Once I had it topped I folded a piece of sandpaper and worked at the inner edge to remove the cake. I wrapped the sandpaper around my finger after the initial sanding and went as deeply into the bowl as I could reach. There was some staining around the back and right side of the meerschaum lining where it came in contact with the briar. I think some of the tars and oils wicked into the meerlining and stained it. The surface of the rim was scratched from the 220 grit sandpaper so I used a medium and a fit grit sanding block and cleaned up the rim. The next two photos show the rim and the bowl after reaming. I reamed what I could not reach with a sharp pen knife and removed all of the cake in the bowl.

I removed the stinger from the tenon. I always twist the tenon rather than just pull it in case it is threaded. In this case it came out easily enough. I was going to use the retort to clean this pipe but thought better of it as I did not want to soften or damage the meer liner with the alcohol. So, I resorted to the old tried and true method of cotton swabs and alcohol to clean out the shank and wipe down the inside of the bowl. It took a lot of swabs to get the shank clean. The mortise ran the length of the shank to accommodate the long stinger. The stem took a lot less work. After just a few pipe cleaners and alcohol the pipe cleaners came out clear. I scrubbed the stinger with alcohol and 0000 steel wool to remove the tars that had stained the aluminum. I wiped down the bowl with alcohol on cotton pads and then took the following picture to show the state of the pipe thus far. It is going to be a beautiful pipe. I wiped the bowl and shank down with a light coat of olive oil to enliven the briar and bring out the grain. The birdseye grain on the sides of the bowl were stunning. It is hard to see with the freshly oiled bowl but in later photos it will stand out.

The stem was cleaned and ready to polish. I wet sanded it with 1500-2400 micromesh sanding pads and then gave it a coat of Obsidian Oil. Before the oil dried I dry sanded it with 3200-4000 grit pads and gave it another coat of oil and then sanded it with 6000-12000 grit pads to finish the shine. I gave it a final coat of Obsidian Oil and let it dry. Once dry I buffed it with White Diamond on the wheel.

I buffed the finished pipe with Blue Diamond Polish on the wheel and then gave it multiple coats of carnauba wax. I buffed it with a clean flannel buff and then again by hand with a microfibre cloth to bring depth to the shine. The finished pipe is shown in the photos below. Other than the stain around the back and right side edge s of the meerschaum lining the pipe looks like new. It should offer many more years of service.