Tag Archives: restaining

A Peterson’s Donegal Rocky 05 Reborn

The third pipe in the Peterson trio of pipes shown in the photo below came to the worktable today. It is a Peterson’s Donegal Rocky 05 bent Dublin. It is the second pipe in the photo below. The bowl was badly caked – uneven and broken. The rim had a thick coat of tar and carbon buildup and was damaged on the right front side of the rim. The stem was missing and the nickel band was tarnished but undented. The finish was worn and the grooves of the rustication were filled with grit and grime from years of smoking. Like the other two pipes in this lot it must have been a favourite of the previous owner to be smoked to this degree. The inside of the shank was clogged with thick tars and oils and I was unable to blow air through it.

I reamed the bowl with a PipNet reamer until the cake was gone and the bowl was bare wood. My goal was to take back all the cake and rebuild a new smooth one. I pushed a paper clip through the airway to open the clog. I used cotton swabs, shank brushes and a drill bit to remove all of the grime and buildup in the airway and the shank. I scrubbed the exterior of the bowl with a soft bristle tooth brush and Murphy’s Oil Soap. I rinsed it under warm water to remove the soap and patted it dry. Once it was clean I filled the bowl with cotton balls and used an ear syringe to fill the bowl with isopropyl alcohol. I let the bowl sit over night in an ice cube tray to keep it upright. The first photo shows the set up when I first filled it. The second photo below shows the bowl after it had soaked over twelve hours.

I took the dirty cotton balls out and washed out the bowl and shank with clean isopropyl alcohol and cotton swabs. While it was drying I scrubbed the rim with a brass tire brush to clean off the build up on the rustication. In the photo below the damage to the rustication is very evident. It is burned and worn smooth on the right front and side.

I used the Dremel with one of the burs that Joyal gave me to re-rusticate the rim. I followed the patter on the portions of the rim that were still visible and tried to duplicate them on the rest of the rim.

After rusticating the rim I restained it with a dark brown aniline stain. I applied the stain, flamed it and repeated the process until the coverage was even across the rim. I stained the bowl with the dark brown stain as well and flamed it.

The brown stain was too opaque and the contrast between the dark in the crevices and grooves of the briar and the lighter brown on the high spots was gone. I wiped the bowl down with acetone on a cotton pad until I had the contrast that I was aiming for.

I ordered some stems that were the correct diameter and length for the 05 from Tim West at J.H. Lowe and Company. They arrived on Friday so I was able to fit one to the shank. I turned the tenon with a PIMO Tenon Turning Tool. The fitting of a tenon to the tapered shank of Peterson pipes takes a little getting used to. I worked to match the taper of the tenon to the taper of the mortise and was able to get a good fit on against the band.

I used the sanding drum on the Dremel to remove the casting seams on the sides and the button of the stem.

I sanded the stem with 150 and 220 grit sandpaper to match the diameter of the shank to the diameter of the band.

I sanded the stem with medium and fine grit sanding sponges to remove the scratching left behind by the sandpapers.

I wanted to bend the stem to match the original stem that would have been on the pipe. I looked up photos on the web of the 05 and copied one of them. I decided to use a fishtail stem instead of the p-lip stem but I was able to use the photo as a template of the bend.

I heated the stem with a heat gun until it was flexible and then bent it over a rolling pin with a cardboard sleeve over it. I have found that the cardboard prevents the hot vulcanite from marring when I bend it. The second photo below shows the first attempt at the bend and the third photo shows it after I reheated it and rebent it to match the template.

I sanded the stem with the medium and fine grit sanding sponges again. At this point in the process the stem was ready for the fine sanding work with the micromesh sanding pads.

I sanded the stem with the usual array of micromesh sanding pads – wet sanding with 1500-2400 grit pads and dry sanding with 3200-12000 grit pads. In between each set of three pads (1500-2400, 3200-4000 and 6000-12000) I rubbed the stem down with Obsidian Oil. I let it dry before moving on to the next grit of pads. Once it was finished I rubbed it down with a final coat of Obsidian Oil and when it had dried I buffed the stem with White Diamond. I gave the bowl a coating of Halcyon II wax and hand buffed it with a shoe brush and gave the stem multiple coats of carnauba wax, buffing with a clean flannel buffing pad between applications. The finished pipe is shown below. It too is ready for its inaugural smoke – maybe a bowl of Louisiana Red will start this one off also… anyway, it is ready for the a long life ahead.

Restoring and Restemming a Peterson’s Kapmeer 999S

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Blog by Steve Laug

I just finished working on the second of the three pipes that I picked up on Ebay in the lot of three Petersons. It is the third bowl in the photos below. It is stamped Peterson’s over KAPMEER on the left side of the shank, 999S on the underside of the shank and Made in Great Britain on the right side of the shank. It is actually the reason I bid on this lot of pipe bowls. I love the older 999 shape with the thick shank. I like the way it feels in hand and the look of it. As you can see it was in rough shape. There was no stem for it. The finish was rough and worn, the bowl had a thick uneven cake in it and the top of the rim was thick with a cake build up. From what little I knew the KAPMEER was a meerlined pipe. There was something unique about its design but that escaped me at the moment.

While I waited for it to arrive I did a bit of digging into the KAPMEER line. The first thing I found was a quote that said, “The line was introduced for those who preferred to smoke their tobacco in a meerschaum bowl, but still have the looks and advantages of a briar pipe”. That was not altogether helpful to me. It is much the same advertizing info that is included in most of the sales material for meerlined pipes. What was the difference between those pipes and the KAPMEER? The meerschaum lining ended just before the draw hole, so you do not have the problem of deterioration in the bottom of the meerschaum insert in the tobacco chamber. It was believed that this would reduce the possibility of a burn out on the sides of the bowl. I found the two photos below online that clearly show the design of the KAPMEER bowl. The first photo shows the bottom edge of the insert just above the draught hole. The bowl bottom is briar. The second photo shows the contrast between the meerschaum lining and the briar on the bottom of the bowl. In looking at these photos I think I understand the idea of combining the best of meerschaum and briar pipes. The theory would be that the meerschaum lining would deliver a meerschaum style cool smoke and the briar bottom would give the durability and strength of briar.

or early 1970s. The pipe in the second photo is a later design. The early pipes had a regular stem/shank junction rather than the faux military stem. The one that I had came from a period in time where the stem was most likely a tapered stem with an aligned fit. The pipes were made in Great Britain on the Isle of Man. I found out that though Peterson had maintained a factory in London since 1899, the ‘Made in England’ stamp was discontinued with the closing down of the London-based factory (1969/70). That puts my bowl pre-1970 in terms of date. The thick shank on the 999 bowl dates it earlier than that period.

I gently reamed the bowl, being careful to not damage the meer lining. I wanted to take the cake back as far as possible with the reamer and would do the rest with sandpaper. I sanded the meer lining with 220 grit sandpaper until the entire cake was gone and the meer was once again smooth. It was darkened and would not be white again do to use. I gently topped the bowl with a topping board to remove the cake and smooth out the rim damage before working on the rest of the bowl. I wiped the bowl down with acetone on cotton pads, carefully avoiding the meerschaum lining on the top of the rim. The acetone removed the grime and the spotty stain on the bowl and would form the base for restaining the bowl later.

The bottom of the bowl had been over reamed and the briar damaged with deep gouges on the bottom. The bottom was still thick so there were no worries about burn out. I mixed a batch of pipe mud from cigar ash and water and applied it to the bottom of the bowl to bring the bottom up to the airway entrance. I tamped it in place with a pipe nail. I put some mud on the side walls below the end of the meerschaum lining. I set it aside to cure.

Once the mud had cured I wiped out the inside of the bowl with a damp cotton pad to clean any of the mud that had gotten on the meer lining. I wiped down the outside of the bowl with acetone and cotton pads a final time. I had a stem set aside from my can of stems that would fit the shank once the tenon was turned and the diameter of the stem reduced. I turned the tenon with a PIMO Tenon Turning Tool slowly until it fit the shank. I sanded the tenon with a sanding drum on a Dremel to finish the fit. I sanded the casting marks on both sides of the stem and on the end of the button with the Dremel as well. When all was finished the fit against the shank was snug and clean.

As can be seen from the photos above the diameter of the stem was bigger than that of the shank. I used the sanding drum on the Dremel to take it down as close as possible to the shank diameter without damaging the shank. Once I had it close I did the rest of the work with 150 grit sandpaper and followed that with 220 grit sandpaper. When the transition between the two was smooth to touch I used a medium and a fine grit sanding sponge to remove the scratch marks from the stem. Since I was planning on restaining the pipe I sanded the shank gently to make sure that the transition would be smooth and the flow correct. I have found that this is the only way to keep the stem and shank matching without and shift in height on either material.
I wiped off the sanding dust with a damp cloth and gave the stem a wipe down as well. The photos below show the look of the stem and shank union at this point in the process. I also gave the rim a light sanding with the sanding sponges as well. There is one small sandpit in the top left side of the rim. I decided to leave it rather than fill it.

I sanded the shank with 1500-2400 grit micromesh sanding pads to remove scratches in the finish and wiped the bowl down with alcohol on a cotton pad. Greg sent me a set of staining pens to work with so I decided to try them out on this pipe. I tried the light and medium pens and found that they did not match the stain on the pipe so I settled for the dark pen. I drew on the unstained surface of the shank and then blended it into the rest of the bowl. I also did the same on the rim, blending it downward into the sides of the bowl. The pen was very easy to control and keep off the meer lining on the inner edge of the rim.

When the stain had dried I buffed the bowl with White Diamond and then gave it a coating of carnauba wax to seal it and give it a shine. I had done enough of the early sanding on the stem by that point to set up a heat gun to heat and bend the stem. I held it over the heat until the stem was soft and then bent it over a rolling pin that I use for bending stems. I have a thick cardboard tube that I slide on the rolling pin to provide a softer surface than the old rolling pin when I am bending the heated vulcanite.

The photo above shows the first attempt at the bend in the stem. It was not bent enough to my liking so I reheated it and bent it again. Once the bend was correct I set it in cool water.

I took the pipe back to the worktable to sand the stem. I wet sanded with 1500-2400 grit micromesh sanding pads and dry sanded with 3200-12,000 grit pads. I rubbed the stem down between each of the three grits with Obsidian Oil and let it soak in before moving on to the next series of three grits.

I rubbed it down a final time with the Obsidian Oil and then buffed the pipe and stem with White Diamond on the wheel. I gave the pipe multiple coats of carnauba wax and between each coat buffed it with a soft flannel buff. The finished pipe is shown in the photos below. All that is left is to load a bowl of some aged Louisiana Red and enjoy a bowl.

For comparison sake, I have included a photo of the newly reworked KAPMEER with the earlier KILDARE that I restemmed from a piece of Cumberland rodstock that I purchased from Todd Bannard of Briar, Sweat and Tears Pipes http://www.briarsweatandtears.com/ . Todd cut the length and did the drilling and shaping on that piece before sending it to me to finish. As you can see both have the thicker old style shanks that are no longer used on Peterson 999 pipes. This pipe is the third one that I have from that earlier time period. It is the shape of the 999s that I favour.

Resuscitating a Peterson Donegal Rocky 338 Bent Billiard

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A few weeks ago one of the EBay sellers that I have bought several pipes from over the years had three Peterson bowls, sans stems listed for sale. They were in rough shape but I decided I wanted to give refurbishing them all a try. Besides one of them was a 999S and I love the 999 shape. That alone would have pushed me to make a bid on this lot. I ended up buying the threesome for more than I usually pay for pipe bowls but I figured it was worth the effort. This is the photo of the threesome from the sale listing.

The first of the three Peterson bowls is on the worktable at the moment. The finish was very rough on the pipe. It had built up grime in all of the grooves of the rustication. The inside of the bowl was caked almost to the top of the rim. The shank was one of the foulest things I think I have seen before. It was caked with oily tars from just inside the edge of the mortise to the bottom of the mortise. The rim was badly damaged with the front edge burned down lower than the rest. The rim was ragged looking and uneven all the way around. It looked to be solid though underneath the damage. The stamping on the underside of the shank said Petersons Donegal Rocky with the shape number 338. All the stamping is quite faint but still readable with a lens.

I cleaned and reamed the bowl. It is funny how short and easy that sounds but in this case that was not true. The cake in the bowl was like concrete and had totally closed off the bottom half of the bowl. The remaining top half had a slight slice to the airway but that effort was useless as the shank was completely clogged and no air could go through. I reamed as much of the bowl as I could with a PipNet reamer, not even getting as low as the airway. This stuff was very hard. I cleaned the shank with alcohol and cotton swabs. I tried to push a pipe cleaner through the clogged airway in the shank and was unable to get it to through. I decided to throw the bowl in an alcohol bath to soak for several hours to loosen things up.

When I took it out of the bath the alcohol soak had done its work. I was able to ream the rest of the way to the bottom of the bowl and completely remove the cake. I was able to push a wire through the airway and then cleaned out the airway and shank with cotton swabs and some assorted dental tools (thanks Joyal).

I scrubbed the rusticated finish of the bowl with Murphy’s Oil Soap and a tooth brush. I used a soft brass bristle brush to work on the rim and clean up the loose build up. Once I had scrubbed it I rinsed it with warm water. I dried it off and still had to do some more scrubbing. I cleaned the inside of the bowl and shank with the dental tools and cotton swabs and alcohol.

The rim was so badly damaged and uneven with the burned area that I topped it using the topping board and 220 grit sandpaper until it was flat.

I went through my stem can and found a three inch long stem that was approximately the same shape and length as the original stem. I turned the tenon with the PIMO Tenon Turning tool and removed the castings on the sides and the end of the stem. I further shaped it with the Dremel and sanding drum.

I wanted the top of the bowl to have the same rustication that it originally had before all the rim damage. It had a pattern that was similar to the rustication on the bowl itself. I looked on line to find photos of the rim of a Donegal Rocky that would be a pattern for me to copy. I put a dental bur that Joyal has given me on a Dremel tool and set the speed to a slow speed and used it to rusticate the rim to match the pattern in the photo of the bowl.

I wiped the bowl down with a cotton pad and alcohol to clean off the dust from the rustication and then stained the whole bowl with a dark brown aniline stain. In the photos below the rim is obviously much lighter in colour than the rest of the bowl so it took five coats of stain before it matched the bowl. I applied the stain and flamed it with a lighter to set the stain repeatedly until the coverage was correct.

The brown was very dark and the original contrast look on the Donegal Rocky was not evident. I wiped the bowl down with acetone on cotton pads to lighten it and bring back some contrast to the rusticated finish. In the photos below the properly darkened rim is visible.

I lightly buffed the bowl and rim with White Diamond and then applied some Halcyon II wax on both and then buffed with a soft flannel buff. I knew that I would have to wax it again once I had finished but I always put a coat of wax on the bowl to protect the finish when I give it a more thorough clean. I sanded the stem with 220 grit sandpaper to smooth out the casting marks and the Dremel marks. Once I had the initial sanding finished I decided to bend the stem. I heated it over a heat gun until it was pliable and bent it over and old rolling pin. I used a photo of 338 I found on the net as a template for the bend in the stem. I made the photo life sized and laid the pipe against the computer screen to match the bend. Once I had the bend correct the rest of the stem work could begin.

I removed the stem from the bowl, stuffed cotton bolls in the bowl of the pipe and used an ear syringe to fill the bowl with isopropyl alcohol. I set the bowl in an old ice cube tray that keeps the bowl upright. I set the tray aside to let the alcohol sweeten the pipe and draw out the oils in the bowl and shank.

Four hours later the alcohol had begun to pull out the tars and oils into the cotton.

Twelve hours from the starting time, the cotton was a dark brown and most of the alcohol had evaporated. I pulled the cotton out of the bowls and wiped them dry with a cotton swab soaked in clean alcohol and they came out clean other than a little bit of the detritus that had collected in the bottom of the bowl. I swabbed out the shank and airway as well with pipe cleaners and cotton swabs dipped in alcohol and the shank was clean. The pipe smelled sweet and ready to smoke.

I turned my attention to the stem and sanded it with a medium and a fine grit sanding sponge. It removed the majority of scratches from the surface of the stem left behind by the 220 grit sandpaper (I believe these sponges are equivalent to 400 and 600 grit wet dry sandpaper).

The rustication that I did on the top of the bowl rim is very clear in the next photo.

I sanded the stem with micromesh sanding pads – wet sanding with 1500-2400 grit pads and dry sanding with 3200-12,000 grit pads. Between each set of three grits I wiped the stem down with Obsidian Oil and let it soak into the vulcanite.

When I had finished sanding with the 12,000 grit pad I rubbed it down with a final coat of Obsidian Oil and when it had dried buffed the stem with White Diamond and a Blue Plastic buffing compound. I then gave the stem multiple coats of carnauba wax, buffing with a soft flannel buff between coats. I waxed the bowl with Halcyon II wax and hand buffed it with a soft bristle shoe brush and a cotton buffing cloth. I used the 6000, 8000 and 12,000 grit micromesh pads to polish the nickel band and then gave it a buff with a silver polishing cloth. This old Peterson 338, that must have been an incredible smoke to have been smoked as hard as it was, is now ready to enter the next era of its life and provide the same kind of service to me. I look forward to smoking it later in the week once I am sure the alcohol in the bowl and shank has all evaporated. I have to tell you, I am looking forward to having a bowl in this old timer.

Reviving an Unknown Pipe – Bill Tonge

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It is a pleasure to post this second blog piece by Bill Tonge. In this particular refurb what makes it of interest to me is that it was a pipe that I sent him. I figured it might be a good project for him to play around with. It had solid bones and a new stem that I had fit to the shank. There were definitely some issues with the pipe but I figured Bill would come up with something creative. And he certainly did. This reworking of a pipe epitomizes what I quoted Bill as saying in his first post. I am quoting it again here as it is very apropos to his old pipe: “As a person that is economically challenged, I enjoy fixing up the ugly ducklings. I take pride in taking that $5.00 pipe that no one else wants and converting it to something that fits beautifully in a pipe collection.” Here is Bill’s article on reviving or reimagining an old pipe. I think that he has indeed taken an ugly duckling and created something to be proud of. Thanks so much Bill, for sharing your work with us yet again.

I received this pipe in the mail from Steve. He thought it was an interesting project. He had turned a new stem as well as cleaned the bowl and shank.

This pipe had quite a rough texture on the outside, some very deep crevices, as well as what turned out to be a crack about a quarter of the way down the bowl.

So I decided to sand this pipe down as smooth as it would go and then fill the crevices. After sanding it I filled the crevices with a Gorilla Glue & wood dust mixture. After it set up I sanded down the creviced area and applied the rustication. I then proceeded to sand the whole pipe down in stages starting at 100 grit and finishing with 1000 grit. Then I put the micro mesh pads to it and finished up with a wax and buff again only using a Dremel to apply the wax.

I have to say that I like the way this pipe turned out and that the other small blemishes add character to this pipe. I also like the grain on the bottom of the pipe. For anyone that is interested I do not own any dyes but rather use either a Sharpie marker or food colouring to colour my rusticated areas.

Thanks to Steve for the interesting pipe.

A Unique Piece of Pipe History Almost Lost – A Hardcastle’s Dental Briar Reg. Design No. 857327

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I was gifted a little Hardcastle Apple by a friend on Pipe Smokers Unlimited and a reader of the blog, Bill Tonge. It had the most unusual stem that I think I have ever seen on a pipe. In some ways it looked like a classic dental bit like those seen on other pipes. It had the higher curved upper edge of the button that worked to hang behind an upper plate and the grooves on the under and upper side of the stem for the plate to hook into. But that was all it had in common. The end of the stem, viewed from the button end had a single orific opening rather than a slot. It was a flat upright wall of vulcanite with a single hole in the middle. On the flat surface of the stem just ahead of the button was a large open area where it looked as if a piece of the vulcanite had broken or been removed. The airway was exposed. The gap between the dental end and the open end of the airway was a good ¼ inch. Both Bill and I were convinced it was a candidate for a stem replacement, cutback and reshaped button or as a guinea pig for me to practice on using Jacek’s stem splicing procedure.

I can’t tell you how many times I took it out of the repair box to have a look. I would turn it over in my hands and think about the three ways to repair what appeared to be damage. I even sketched out a splice on paper at work on my lunch hour. Then last evening I was looking it over thinking the time had come for the work. As I looked it over I noticed that everything was just too evenly cut. The grooves on the top and bottom did not line up. The top one made allowances for the open area. The open area was also very clean and regular. There were no jagged edges on the area. It was clearly cut that way on purpose. So before I started doing anything with the stem I decided to do a bit of digging.I have included some photos of the stem taken from two different Ebay sales of a Dental Briar Pipe. The first two are a top view of the stem and the last two are of the underside. These show the design of the stem and what I commented on above. The pipe on my table has exactly the same stem and stamping at the ones pictured below.

I looked it over and here is what I found. The pipe was stamped on the left side of the stem HARDCASTLE’S over DENTAL BRIAR over Reg. Design No.857327. On the right side it was stamped MADE IN LONDON ENGLAND. On the underside of the shank it is marked with the number 678, a shape number. Stamped on the vulcanite saddle stem is the Hardcastle’s H. The Reg. Design No. was a clue for me to start my hunt. (See the photo below of a pipe that is stamped identically to the one I have.)

I Googled for information on how to find out about a Registered Design Number. I figured that it would be like finding out patent information. One of the first links came up was to the National Archives. http://www.nationalarchives.gov.uk/records/research-guides/reg-design-trademark.htm I read through the various pages and put in the design number. I found that the designs having number beginning with 857,000 numbers come from 1949. This number was 857,327 so it was pretty clear to me that the design was registered in 1949. At least I had found that the pipe was a made during the time the Hardcastle family owned the brand. At first I thought the design was solely for the stem but when I removed the stem I found that it was far more than that. It included an inserted metal tube deep in the shank that rested against the airway in the bowl. It extended into the shank where it was met by a metal stinger like apparatus in the tenon. This apparatus was set in the tenon. It was a ball on the end of a short tube – the difference being that it was hollow. The end of the ball that rested against the tube in the shank was open thus connecting the airway in the bowl to the airway in the stem through a metal tube that gave a cool material to wick out the moisture in the smoke before it was delivered to the wide open end of the dental bit.

From there I went to the link for the British Intellectual Property Office. Now the problems arose for me. I could not find the Registered Design Number on that site. Nothing came back listed with that number on any British patent or registration sites. I was hoping to find at least a diagram of the pipe stem and internals as well as a patent/registration application. But there were none to be found on the sites. I wrote an email to the BIPO in hopes that they respond with some information. They wrote back saying that the design was too old and not in their records. They suggested the National Archives. I searched there again and could not access the files on this number. A dead end? Potentially but I would see if I could go at it from a different route.

I searched and read some of the history of the brand. One of the sites I turned to was Pipedia because I have found that they generally have good concise summaries of a particular brand or the lines in a brand. I found some helpful information on the different time periods of Hardcastle’s production. http://pipedia.org/index.php?title=hardcastle. I quote in part below:

“Hardcastle was founded in 1908 by Edmund Hardcastle and built itself a good reputation among the numerous British mid-graders. In 1935 Dunhill started to build a factory next door to Hardcastle in Forest Road, Walthamstow, London E17. The family owned Hardcastle Pipes Limited sold 49% of its equity to Dunhill in 1936.

Along with closing down its pipe factory in Notting Hill in 1946 Dunhill bought the remaining shares turning Hardcastle into a 100% Dunhill subsidiary. As members of the Hardcastle family continued as executives in the company’s management Hardcastle retained a certain independence.

This ended in 1967. Dunhill merged Hardcastle with Parker (100% Dunhill as well). The new Parker Hardcastle Limited also absorbed the former Masta Patent Pipe Company. Hardcastle’s Forest Road plant was immediately given up and the production of Hardcastle pipes was shifted to Parker’s nearby St. Andrews Road factory – now consequently called Parker-Hardcastle factory.

In fact this put a definite end to Hardcastle as an independent pipe brand and no one other than Edwin Hardcastle, the last of the family executives, spoke frankly and loudly of Hardcastle pipes being degenerated to an inferior Dunhill second. Today Hardcastle pipes use funneled down bowls that are not deemed suitable to bear the Dunhill or even the Parker name as well as obtaining briar from other sources.”

Now that I had a bit of a timeline for the brand it was time to see if I could find information on the various models & grades of Hardcastle pipes before the takeover by Dunhill – a time known as the Family Period. On the Pipedia site they listed that during that time the following models/lines were produced. Straight Grain, Supergrain, Leweard, Nut Bruyere, De Luxe, Royal Windsor Sandhewn, Royal Crown, The Crown, Phito Dental, Old Bruyere, Jack O’London, Dental Briar, Phito, Dental, Dryconomy, Drawel, Phithu, Telebirar, Camden, Lightweight, The Table, Dovetail, Dental, Crescent Extra, Lonsdale, Welard De Luxe . I have marked the Dental Briar in bold in the list above to make it stand out in the list. It was produced during this time. It appears that the Hardcastle was taken over by Dunhill in 1946. At that time, family still retained some control but the brand changed. In 1967 the brand was merged with Parker and became Parker/Hardcastle. With this merger Hardcastle as a distinct brand disappeared and the pipe became a line of seconds for Dunhill.

That information at least gives something of a timeline for my pipe. I know that it was made between the year that Registered Design Number gave of 1949 and the merger date of 1967. That is as close a date as I can ascertain at this time.

It seemed that I had found all I would find out about this pipe for the moment. It was time to work on the pipe itself and do the cleanup and restoration. I took the pipe to my worktable and quickly looked it over to see what I needed to address in this refurb. The bowl had an uneven cake in it – heavy in the middle and light at the top and the bottom of the bowl. The briar had several fills that had fallen out or somehow been dislodged along the way – one on the shank visible in the photo below next to the stem, one on the back side of the bowl and one on the bottom of the bowl. The rim was undamaged and quite clean other than a slight build up of tars and oils. The next series of three photos give a good picture of the state of the pipe when I began the work on it.

I removed the stem and cleaned out the shank and stem with pipe cleaners, cotton swabs and isopropyl alcohol. I scrubbed until they came out clean and unblemished. Then I reamed the bowl and wiped down the inside of the bowl with cotton swabs and alcohol and ran several more pipe cleaners through the shank to remove any carbon dust.

I cleaned out the damaged fills in the briar on the shank, back of the bowl and the bottom of the bowl with a dental pick. I wiped the bowl down with alcohol to clean off the dust and give the glue a clean surface to stick. I then packed briar dust into the crevices and dripped super glue onto the briar dust. I quickly put more briar dust on top of the glue before it dried. I have found that sandwiching the glue between briar dust enables the stain to have a better chance of taking on the patch.

I sanded the patches with 220 grit sandpaper, medium and fine grit sanding sponges and then with 1500-2400 grit micromesh sanding pads to smooth out the patches and blend them into the surface of the bowl.

When I had finished sanding the bowl I wiped it down with acetone to break down the finish and remove the waxes on the bowl to prepare it for restaining. When I do this kind of patches on a bowl I restain the entirety of the bowl rather than trying to match the stain in the spots to the whole.

I stained the bowl with a dark brown aniline stain. I heated the briar, applied the stain, flamed it and repeated the process to get a good solid, even coverage on the briar.

When it dried I wiped it down with a cotton pad and alcohol to lighten the stain and make the grain more visible.

At this point in the process I buffed the bowl and stem with red Tripoli and then White Diamond to even out the stain and make it flow better on the bowl. The briar dust and superglue patches blended in quite well on the bottom and back side of the bowl. The one on the shank was visible but at least it was smooth and dark. With some work on the finish I would be able to get it blend better.

I sanded the bowl with 1500-2400 grit micromesh pads to smooth out the finish and to lighten the stain on the bowl. I was aiming to bring it back as close as possible to the original finish which had red highlights. When I had finished sanding the bowl I gave it a second buff with White Diamond to see where I stood. At this point the work on the bowl was finished and I was pleased with the results. The grain showed clearly and the stain gave a pleasant contrast of dark and light. The patches looked much better and though visible blended in far better with the stain and the grain patterns. The rim and the inner bevel looked excellent.

Now it was time to address the stem. I scrubbed it down with Brebbia Pipe and Mouthpiece Polish. It has a fine grit in the paste and when it is rubbed into the stem works quite well to remove the surface oxidation and buildup. I worked it into the grooves and the dip on the end of the stem with a soft bristle tooth brush. I let it dry for a short time and then rubbed it down with cotton pads. The photos below show the stem after this initial polishing with the Brebbia Polish.

I scrubbed the stem with Meguiar’s Scratch X2.0 and when it dry buffed it off with a cotton pad. I repeated this process several times, scrubbing the grooves and dip on the end of the stem with the same tooth brush. I rubbed the stem down with Obsidian Oil and when dry took it the buffer for another buff with White Diamond. I gave it several coats of carnauba wax, buffing it with a soft flannel buff between coats. I found it very hard to remove some of the oxidation from the channels/grooves on the top and bottom of the stem. Under the flash it is clear that there is still some oxidation at that point. I rubbed it down with another coat of Obsidian Oil being careful to get deep into the edges of the grooves and the dip on the top of the stem.

The finished pipe is shown in the last series of photos below. I am happy with how this old timer turned out. I am so glad I did my research before cutting off the stem and recutting a new button or splicing in a new button. I would have ruined a unique piece of pipe history and lost the opportunity to learn yet another piece of the history of our fascinating hobby. Now instead it is a restored piece that shows the creativity of those seeking to create a more comfortable pipe. Now I have to load a bowl and give it a try.

Now that the pipe has been restemmed it is time to rusticate it

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I wrote about restemming this pipe in the post on Replacing a tenon in a stem with a minimum of tools (https://rebornpipes.com/2014/06/15/replacing-a-tenon-in-a-stem-with-a-minimum-of-tools/). The thing I forgot to mention is that the bowl originally had a threaded metal stem and a metal insert in the shank. I was able to remove the insert from the shank with no trouble and craft a push stem for the shank as a replacement. The stem came out great and with some work came out looking like new. In figuring out how to finish the bowl I was faced with a few choices. The briar was not terrible, I have seen worse but there were fills in the bowl. I could have picked them out and refilled them as I have done on many occasions but somehow that just did not attract me with this bowl. I had been given a rustication tool by Chris and had not used it yet so that was very attractive to me for this bowl (https://rebornpipes.com/2014/06/07/a-handmade-rustication-tool-gifted-by-a-friend-and-reader-of-rebornpipes/). The stamping on the shank was virtually buffed away so it was not something that needed to be preserved. So the decision was made. I would get to try out the new tool and see what kind of rustication pattern it would make on the briar and how comfortable it was in the hand as I pressed and twisted it into the wood. I also wanted to see if I could use it in tight spots up against the bowl and shank and close to the stem/shank junction.

I started on the front of the bowl and pressed and turned the tool into the briar. It worked like a charm. The nails were sharp, the grouping tight and workable on the pattern, the handle was extremely comfortable and spread out the pressure across my palm. This was going to be a piece of cake. It would be no problem to finish rusticating this pipe with a lot less pain in my hands. I wrapped a strip of scotch tape around the shank to make a protective line to work toward on the shank. I wanted to leave a smooth band on the shank so this would remind me where to quit twisting the tool into the wood. The next series of eight photos show the process from start to completion. It probably took me the better part of an hour and a half to rusticate the bowl and shank. I worked it over several times during that time to get a rough finish. I wanted it to be very tactile and rough kind of like a sea rock finish so I pressed hard when I worked over the wood. I left the rim smooth as I wanted to stain it to match the band I was leaving around the shank. The two would provide some contrast to the rustic finish on the rest of the pipe.

When I finished rusticating the briar unwrapped the scotch tape from the shank. The line was fairly straight and provided a nice contrast of finishes between the stem and the rustication. Then I used a brass tire brush to knock off any loose pieces of briar on the bowl. I find that using the tire brush evens out the finish and cleans up the briar once I have finished with the hard work.

I sanded the band on the shank and the rim with a medium and a fine grit sanding sponge and a fine grit sanding sponge to prepare them for staining. I decided to use two different stains on the bowl to get some depth to the finish. I began with a dark brown aniline stain. I applied it with a wool dauber and let the stain permeate deep into the briar. I flamed it to set it. Reapplied the stain a second time and then flamed it again.

I wiped the bowl down with acetone and isopropyl alcohol on a cotton cloth to remove the stain from the highpoints on the bowl finish and on the band and the rim. I repeated the wash until I had the stain coat the colour I wanted. The dark brown sat deep in the grooves and the high spots were lighter in colour. I then stained the bowl with the second colour, a oxblood or cherry coloured aniline stain. I applied it with a cotton pad and daubed it onto the band, the rim and the high spots on the bowl. I flamed it, reapplied it and flamed it again. Once it was dry to the touch I hand buffed it with a soft cotton cloth.

The cherry/oxblood stain worked well on the band and the rim. It made them stand out against the darker brown of the rustication. In the light the texture of the rustication has both a dark brown look in the crevices and a reddish tint on the high spots. The contrasts in the stain on the rustication came out well and the smooth band and the rim work well with the rest of the pipe. Interestingly, and this does not always happen for me, the stain came out exactly the way I was hoping it would when I started the process.

At this point all I had left to do was to work over the stem with the micromesh sanding pads and then give it a buff to polish it. I followed my normal process on the stem. I wet sanded it with 1500-2400 grit micromesh sanding pads and dry sanded with 3200-12,000 grit pads. I rubbed the stem down with Obsidian Oil and then took it to the buffer to give a light buff with White Diamond and a blue plastic polish. I finished by giving the rim, the band and the stem multiple coats of carnauba wax and a final buff with soft flannel buffing pad. The finished pipe is shown below. It has come a long way from the neglected bowl that sat in my refurbishing box for a long time with no stem. Now it is ready to fire up and enjoy.

Trying to Remedy a Hot Smoking Peterson Killarney 999

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I recently received an email from a friend here in Vancouver about a new Peterson Killarney 999 that he had purchased. He said that though it was a beauty and was quite a good smoking pipe it smoked so hot that he did not enjoy smoking it. He explained to me that when he smoked it the pipe became too hot to hold. He has been a pipeman for many years and never has this issue with his pipes so I knew it was not a technique issue. He explained to me that he had posted about it online seeking advice and everyone told him that it had to be the finish on the pipe. Many suggested that he needed to strip the finish off the bowl, restain it and it would be better. I have learned that there are other causes for a pipe smoking hot. All of them can conspire against a cool smoke. A thick coat of varnish or sealer could possibly be one of those contributing causes but I was just not sure if removing that would cure the issue. We emailed back and forth with questions that I had on the drilling of the pipe, the depth of the bowl, the thickness of the walls etc. He patiently responded to them and finally dropped the pipe by for me to look over. When I got it on the work table and took it apart to have a look I could see that there were multiple issues that would need to be dealt with. Hopefully as each part was addressed the end result would be a cooler smoking pipe.

The first thing I saw was that the bowl had been over drilled and the entrance of the airway was high on the side of the bowl. This left the bottom of the bowl and bottom sides quite thin. This would need to be addressed. Then I removed the stem and shone a light down the shank. It too had been drilled very high in the shank and the briar on the top of the shank was also quite thin. I know that on the Peterson pipes there is often a reservoir left for collecting moisture but this was not for that. The end of the mortise was smooth and drilling was very high. I had taken a draw on the pipe and found that it was quite restricted so I was not surprised to see the high drilling. The airway in the tenon was significantly below the airway in the mortise. The way the tenon sat in the shank very little of the airway in the stem contacted the airway in the mortise. Finally I looked at the finish on the pipe. The stain was a dark cherry red. The bowl seemed to have a coat of varnish or something on it. Examining it carefully it became clear that it was more of a plastic coat than just varnish – possibly a urethane finish. To my thinking each of these contributed toward making it a very hot smoking pipe. I was not certain that I could do a lot to change that but I could address each of the issues and see if combined the reworking would make the pipe smoke cooler.

I started with the stem and beveled or chamfered the end of the tenon with a wide funnel. I used a knife to do this rather than a countersink. I wanted to control the angle of the funnel and widen the opening without thinning down the walls of the tenon. I have found in the past that when the airway is high in the mortise, that a funneled end on the tenon can open up the air flow. I believed that in this case the restricted draw could be relieved. Once it was finished I sanded the newly opened funnel to smooth things out and then pushed the stem back in place on the shank. The draw was significantly improved. By opening the airway the flow of air from the bowl would not require as much puffing and pulling by the smoker. The first step in the process was complete.

I then worked on removing the plastic finish on the pipe. This turned out to be far more difficult than I had expected. I wiped the bowl down with alcohol on cotton pads to see if I could break through the top coat. That did absolutely nothing to break the finish. In fact the cotton pad came away clean other than removing the slight oil build up on the bowl. Once the alcohol evaporated the shiny surface still gleamed unscathed. I wiped it down with acetone to see if that would break through. This time I expected the surface to yield to the acetone. If you guessed that this would do nothing in breaking the surface you guessed correctly. The pads came away white –the finish was not even marred by the acetone. It continued to gleam brightly!

With neither of my previously proven ways of removing the finish working I resorted to a more intrusive measure. I sanded the surface with a fine grit sanding sponge to try to break through the shiny surface of the finish. This took time and care, particularly around the stamping on the shank. The sanding dust that came off was a fine white powder – plastic powder not unlike what I get when I sand a Perspex or Lucite stem. I did not want to sand the briar just the topcoat. I sanded until the whole surface was covered with a fine white dust. I wiped it down with the acetone once again. This time the cotton pad came back with a pink wash. Yes! I had finally broken through the finish. I washed the bowl down and then sanded it again and washed it again – repeating the process until the shine was gone. The acetone worked well after that to remove the remaining topcoat. At this point I dropped the bowl in an alcohol bath and left it for the day while I went to work. In the past when I had done this I would return in the evening and find the finish gone and the briar had a nice clean patina to it so I was hoping for the best.

When I got home I took it out of the alcohol bath and dried it off. The finish was gone! The shiny coat had finally given up. The stain had lightened slightly but the grain was nicely visible. I was surprised to find that there were not any highly visible fills under the plastic coat.

I sanded the bowl with micromesh sanding pads to remove the minute scratches in the briar left behind by the fine grit sanding pads. I had been fairly careful in my sanding to only break through the top coat of plastic so these were not significant. I wiped the bowl down with acetone on cotton pads after sanding to remove the sanding dust and see where the finish was now. I put the stem back in place and took the following photos to get a look at the pipe at this point in the process.

I like the way the grain was beginning to poke through the stain. I wiped it down several more time with the acetone and then buffed the pipe with Tripoli and White Diamond to polish and further remove some of the finish. The pipe was looking very good. I touched up the finish with a dark cherry stain to even out some of the light spots on the finish. I lightly buffed it with White Diamond when the stain was dry. I liked the look of things at this point.

I mixed a batch of pipe mud and packed it into the bottom of the bowl to raise the bottom to meet the entrance of the airway in the bowl. I painted the mud around the bottom portion of the bowl to protect it where it was the thinnest. I set the bowl aside to cure overnight. This morning I took the following photo to show the new look of the inside of the bowl.

With all of the renovations complete the pipe was ready for a final buff and polish with carnauba wax. I took it to the wheel and put multiple coats of wax on it. I wanted it to shine but not have the high gloss shine that it had previously. I finished by buffing it with a soft flannel buffing pad. The new look was good in my eyes – the grain shone through nicely and the stain was more transparent than before. The contrast between the black that had been used to highlight the grain and the red topcoat was nice. The wax gave it just the right glow. Now I am hoping that when my friend fires it up that it will smoke cooler than it did before. Here are some photos of the finished pipe.

UPDATE:
I returned the Pete to its owner at lunch today. He took it with him to smoke a bit later. I was curious to know if the problem had been solved. I asked that he email me once he had smoked it. I just received and email from him. He reports as follows: “The revision is a HUGE improvement!! It smokes much better — not super cool, but quite acceptable. The draw is definitely better and I think once it breaks in it will be a good smoke! Many thanks again for your work!” So while it is not super cool is not as hot as it was before. Enjoy your “new” pipe.

Restoring a Bent Billiard – Converting a threaded mortise to a push mortise

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When I picked up these two pipes in the antique mall grab bag my intention was to hunt down threaded metal tenon stems for them both. But I soon finished cleaning up the rest of the lot and was down to these two and an old Medico. These two were in far better shape to start with than the old Medico so I looked them over for a while. I decided to drill out the threads on both of them and fit a push stem to the shank. I started with the bent billiard as it needed the most work to clean up the rim damage. While I was setting up to do it I got to thinking that the odds were very high that the inserts were reverse threaded into the shanks of the pipes. I took out a pair of pliers and carefully locked onto the metal edge of the insert on the bent billiard. I turned it counterclockwise and after a few moments of not moving it came loose and screwed out with ease. I did the second pipe bowl at the same time so I now have two pipe bowls that have been modified with a simple fix to that the mortises will accommodate a push stem.

I had a saddle bit in my can of stems that had a Delrin tenon and with a little sanding fit the shank perfectly. It had a short saddle and quite quickly went to a blade. It was still quite thick in the mouth so I would need to sand it thinner for comfort. The fit against the shank was snug and only the diameter of the stem would need to be adjusted to fit properly.

The pipe has some interesting grain on it and only one fill on the side of the shank. The stamping reads something like Barnard B over Imported Briar on the left side of the shank. The Barna is very clear the next two letters are faint and the end there is a Germanic Style B. Not much information available on the brand that I can find. The rim was really badly beaten up. It was rough and chewed up looking. The outer edge was ruined with chunks missing. The inner edge surprisingly enough was quite clean and in decent shape. There was a thin cake around the top half of the bowl while the bottom half was still unsmoked briar. The finish as worn around the rest of the bowl but surprisingly there were no nicks or dings on the rest of the briar.

I took a close up photo of the top of the rim to give an idea of the condition it was in when it arrived at my work table. I fit the stem to the shank and then used the Dremel and sanding drum to take down the excess diameter of the stem. I then sanded the stem and shank with 220 grit sandpaper to make a smooth transition between the two materials. In the photos taken of the top and bottom you can begin to see the damage on the stem near the saddle. At this point it did not go through the Lucite material but it was definitely a grey colour instead of black.

With the fit of the stem finished I topped the bowl. I set up the topping board and the 220 grit sandpaper and turned the bowl into the sandpaper in a clockwise direction. I sanded the outer edge of the rim with a folded piece of sandpaper to smooth out the damage that the topping did not remove. I then wiped the bowl down with acetone to remove the finish and clean up the bowl.

At this point I got an urge to put a silver band/end cap on the shank just to have a look. I liked the look of the cap but did not particularly like the look of the short saddle stem with the band. I almost pulled the band and decided against it but decided to leave it and stain the bowl to see what the finished look of the bowl would be. I could always make another stem for it should I desire to do so.

I sanded the bowl with medium and fine grit sanding sponges and then wet sanded the bowl with 400 grit wet dry sandpaper. Once the scratches were removed and the briar was smooth I stained it with a black aniline stain. I applied it, flamed it, applied it again and flamed it again. I then heated the bowl with a heat gun to further set the black stain in the grain.

I wiped the bowl down with isopropyl alcohol and followed that with acetone on cotton pads to remove the excess stain. I wanted to leave it deep in the grain and remove it from the surface of the bowl. I sanded the bowl with medium and fine grit sanding sponges and then wet sanded it with 400 grit wet dry sandpaper. When I had finished the bowl looked almost grey and the dark striations of grain stood out on the heel and underside of the shank.

I wiped the bowl down with alcohol again and then restained it with a oxblood aniline stain to bring out the contrast in the briar. I really like the way the finish had turned out on the bowl. The stem was looking more and more problematic. It seemed that I had sanded through the blade next to the saddle and sanded into the Delrin tenon. In the top and bottom view photos below you can see the grey area in each of those spots next to the saddle. This stem was ruined and needed to be replaced.

I took the stem off the pipe and sanded the two sides some more to see if I could feather out the damage or maybe repair it with a super glue patch. Looking at the photos you can see that patching and repairing the stem would not work.

I found a vulcanite saddle stem in my can of stems that would fit the shank. I turned the tenon with a PIMO tenon turner and then sanded it until it fit snuggly in the shank. The outer diameter of the stem needed to have some of the vulcanite removed to center the stem against the silver end cap.

I sanded casting ridges off the stem and used a Dremel and sanding drum to remove the excess stem material. I sanded the diameter and the edges to remove all of the scratch marks. I used 220 grit sandpaper and then medium and fine grit sanding sponges to finish. I set up the heat gun and turned it on the low setting and held the stem over the heat. Once the stem was flexible I bent it carefully over an old rolling pin I use as a base until it was the correct angle. I set the angle with cold water.

I sanded the stem with micromesh sanding pads – wet sanding with 1500-2400 grit pads and dry sanded with 3200-12000 grit pads. I buffed it with White Diamond and then rubbed it down with Obsidian Oil and let it soak into the rubber of the stem.

I buffed the pipe and stem with White Diamond and polished the silver band with silver polish. I gave the entire pipe multiple coats of carnauba wax to preserve and protect the finish. I finished by giving it a light buff with a soft flannel buffing pad. The finish pipe is shown in the photos below.

An Old Horn Stem, Bone Tenon Apple Restored

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Blog by Steve Laug

When I saw this old-timer on EBay I decided it had my name on it. The combination of shape and stem material are something that I love. It looked to be in pretty fair shape, just a bit of darkening at the rim, some nicks in the briar which is to be expected in a pipe this age. The stem looked all right – a few tooth marks on the surface but the horn material did not appear to have any splintering or cracks. The threaded tenon looked like it was a bone tenon and it too appeared to be in good shape. I put in my bid and was the only bidder. I have included the photos that the seller included in the sale. The pipe is delicate – a mere 4 inches.

The seller did not include any information on the stamping on the pipe. I wrote and they responded that it was not readable but that there was an oval on the left side of the shank. When it arrived I took it to my work table and did a cursory clean up and tried to read the stamping on the shank. I could see that the oval had remnants of gold in the marks. Under a bright light and using a jeweler’s loupe I could see that there was a letter visible on the right side of the oval that was readable – “N”. I wetted the stamping and looked more closely and could see what appeared to be the long straight leg of another letter on the left of the oval. It could easily have been a “K”, “R” or an “L”. On closer examination it seems to have a base on the bottom of the left leg. That would make it an “L”. So armed with that I did some digging in “Who Made That Pipe” and found several possibilities. The most likely was “LMN” and through continued observation of the logo I think that is what it is stamped. For me, a good part of the enjoyment of the hobby of refurbishing is the pipe mysteries that come along with the pipes I work on. So this pipe was going to be fun to work on and to research.

I used the information in WMTP to research more into the maker of the pipe (at least according to the book). The pipe seems to have been made by a company called Jacobs, Hart & Co. England. I searched the various online directories of business in London at the time and found the following information on the hallmark site. It simply says that in 1889 in London there was a tobacco merchant named Joshua Michael Jacobs. I found his hallmark which interestingly is an oval as well with the JMJ letters stamped on the silver. I also found that members of the Jacobs family were gold and silver smiths as well as involved in the tobacco industry.

At this point the trail went cold and I could find nothing else regarding the firm in the records. I knew that the family was involved in the industry but I could not find any information on the pipe brand itself. The only connection at this point was the listing in WMTP.

I searched the web for information on the second name in the company – Hart, and found that the name was held by an Australian who was a tobacco merchant as well. I have no idea about the migration from England to Australia but the link is certainly possible. I have included some information from the records I read through on the Hart family to show at least the tobacco connection.

The first document I found was a birth announcement for an Alfred David Hart. The birth announcement reads in part: “Born at Franklin Cottage, West-terrace, Adelaide. Birth certificate held – Father, general merchant, Franklin St., Adelaide, number Vol 3, pg 140 Adelaide.”

Further information found in the Biographical Register of Australia shows that he is included. Quoting in part: “Partner Feldheim, (I), Jacobs (qv) & Co (later Jacobs Hart & Co) tobacco merchants (emphasis is mine), managing director at William Cameron Bros & Co, tobacco manufacturers 1895; director of British Australian Tobacco Co from inception, chairman to 1925; dir Foster’s Beer Co: left estate of at least Pounds 183,252. The references given are: British Australian (Lond) 5 Apr 1928 cover p ii, 14 June 1928 p 21; Brisb Courier 12 Apr 1928 p 6; Argus 18 Feb1928 p 31; Vic LA PP 1894 2 no 37, p 417, Vic LA, V & P 1895 6 1 no D4 p 52, 62, 1895/6 2 no 3 p 8 ? 34.” http://metastudies.net/genealogy/PS04/PS04_230.HTM

The last bit of information on this partner in the company I found was his obituary. It too links him to the tobacco company that is associated with this pipe.

Hart, Alfred David (1851–1928)
http://oa.anu.edu.au/obituary/hart-alfred-david-13552
Mr. Alfred David Hart, who died on Thursday night at his residence in St. Kilda road, in his 78th year, was one of the founders of the modern tobacco trade in Australia. Mr. Hart was born in Adelaide in November, 1850, and he came to Melbourne in youth. His long association with the tobacco trade began at that time. For some years he was with Feldheim Jacobs and Co., and afterwards the firm became Jacobs Hart and Co., with establishments in Melbourne and Adelaide. At a later time Mr. Hart retired from the firm and became chairman and manager of Cameron Brothers and Co. Pty. Ltd. When the tobacco companies of Australia amalgamated he became chairman of directors in Melbourne of the British Australian Tobacco Company Pty. Ltd. From that position he retired in 1925, though he still held large interests. At one period Mr. Hart was chairman of directors of the Foster Brewing Company, and to the time of his death he was one of the directors of the Swan Brewery Company and chairman of directors of the United Insurance Company Ltd. Mr. Hart had many other business interests. He was the proprietor of Elizabeth House, the large building at the corner of Elizabeth and little Collins streets.

That is the extent of that information as well. Once again there is no written link to the information noted in WMTP. I did some more research on the LMN brand and came across several pipes with that stamping for sale on various sites. Once of those was found on Worthpoint. It is pictured below. I have also included the link to the site. http://www.worthpoint.com/worthopedia/vintage-lmn-hallmarked-bent-chimney-169605160 I did find that LMN was registered as a trademark in Australia and belonged to WD & HO Wills Australia LTD. Here is the trademark information:

Trademark number 4727 was lodged on 30/07/1907 and has a status of Removed – Not Renewed. The applicant/owner of the trademark is registered as W D & H O Wills (Aust) Limited Business names for this company include AMERICAN PALL MALL, AMERICAN PALL MALL CO, BROWN & WILLIAMSON TOBACCO CO, BROWN & WILLIAMSON TOBACCO CO., BROWN & WILLIAMSON TOBACCO COMPANY, BROWN AND WILLIAMSON TOBACCO COMPANY, CIGARETTE DISTRIBUTORS, CUSTOMPHONE, GENERAL CIGAR CO, GEORGE TICKLE & CO, LAMBERT & BUTLER, OGDENS TOBACCO CO, THE NATIONAL TOBACCO COMPANY OF AUSTRALIA, THE STATESMAN CIGAR CO, TICKLES TOBACCO SERVICE, W.A. AND A.C. CHURCHMAN, WILLIAM BUTLER TOBACCO COMPANY

With that I decided to put my research to rest for a while and went to work on the pipe. The next photo gives a clear picture of the size of the pipe. I have it resting next to my iPhone 4 for comparison sake.

The next four photos show the pipe as it was when I started the refurbishing. The bowl itself was in good shape. There were nicks and marks all around the bowl. On the bowl front there was an area where a fill had fallen out and left a deep hole in the briar. The bowl interior was fairly clean with a light cake and some remnants of tobacco left in the bowl. The inner edge of the rim had two areas that were burned. The burned area extended to the top of the rim in those two spots. The stem was quite clean. There was no evidence of the horn delaminating which was good news. Next to the button on both sides of the stem there were troughs left behind from tooth marks. There was tooth chatter over the surface, both top and bottom a 1/3 of the way up the short stem. The bone tenon was in excellent shape with no damage or broken threads. There was some staining on the end but other than that it was flawless.

Because I love the finished look of horn I worked on the horn stem first. I sanded the surface of the stem with 220 grit sandpaper to smooth out the tooth chatter and the deep troughs around the edges of the button. As I worked on them I realized that the horn material was thin in those spots. I roughened the surface and built it up with clear super glue. My goal was to level out the troughs and give a clean flow to the taper of the stem to the button. This took several applications of super glue. After each application dried I sanded it with 200 grit sandpaper and a medium grit sanding sponge to make sure that the surface was level before adding a new layer.

When the troughs were filled and level I screwed the stem back into the bowl and took some photos to check out the taper of the stem to the button. I wanted to make sure that the taper was smooth and the flow correct. I find that taking a photo gives me some distance from the pipe and I can examine it more critically than in real life at this point. I would need to work on the button area but the taper was correct.

I gave the bowl a light reaming with a PipNet reamer. I decided address the deeper nicks and crevices on the bowl with briar dust and superglue. Before doing that I wiped down the bowl with acetone on a cotton pad to remove the finish and clean the bowl.

I packed briar dust into the nicks and holes in the briar and then added drops of super glue followed by more briar dust. I always over fill the patches as it is easier to sand the patches than to continue to fill them as they shrink. The next two photos show the patches.

I sanded the patches with 220 grit sandpaper to remove the thicker portion of the repairs and then followed up with a medium and a fine grit sanding sponge. The repairs are smooth and match the surrounding briar. They are dark spots but I have found that I don’t mind those as much as putty fills. I also have found that they can be blended into the briar more easily when stained with a dark brown or black aniline stain. They are still present but do not stand out.

To remove the burned areas on the inner edge and top of the rim I topped the bowl using a topping board and 220 grit sandpaper. I move the bowl across the sandpaper in a clockwise circular pattern – more out of habit than anything else though I find that it minimizes the scratches left behind and is easier to smooth out with later sanding.

I took the top of the rim down until the burn marks were minimized and the top of the bowl was smooth to the touch. I sanded the bowl top with a fine grit sanding sponge to remove scratches. I did not go on to sand with higher grit paper as I would be sanding after I stained the bowl. I wiped the bowl down with isopropyl alcohol and then applied and flamed the dark brown aniline stain. I repeated the process until I had good coverage on the bowl and rim. The stain was very dark and hid the grain. It was also very opaque and not what I wanted as the final stain on the bowl. I wiped the bowl down with isopropyl alcohol to remove much of the stain. Doing this removes the surface coat but leaves the stain deep in the grain of the briar.

I buffed the bowl with White Diamond on the wheel to further remove some of the stain and smooth out the surface of the briar. I avoided the area of the stamping so as not to further damage the already faint stamping. I then folded a piece of sandpaper and worked on the inner edge of the rim to remove the damage and work the bowl back into round afterwards. I have included the photos below to give an idea of what the stain looked like at this point as well as the way the repairs were hidden by the stain. There is some great grain on this old pipe.

I sanded the bowl and stem with micromesh sanding pads. I wet sanded with 1500-2400 grit pads and dry sanded with 3200-12000 grit pads. I rubbed the stem down with Obsidian Oil to preserve the horn and renew it.

I buffed the bowl and stem lightly with White Diamond and then gave the pipe multiple coats of carnauba wax. I buffed it lightly with a soft flannel buff and then hand buffed the area around the stamping. The finished pipe is shown in the photos below. The horn has a rich shine to it now and the briar looks very good. The contrast between the rich brown stain and the striations of colour in the horn stem give the pipe a distinctive look. There are still some battle scars that add character to the pipe in my opinion. Overall the pipe looks almost new. It is cleaned and ready for a smoke.

My latest “Frankenpipe” Project

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Blog by Steve Laug

In the grab bag I got from the antique mall on my recent trip was a cutoff bulldog bowl. Whoever had owned the pipe in the past cut off the majority of the shank and had epoxied a metal tenon in place in the short shank. They had then added a churchwarden stem – a delicate round stem that really did not fit at all. In the photo below it is the bulldog just above the cob bowl. The stem was repurposed for the cob stack I wrote about in a previous blog post. The bowl just sat in the box while I figured out what I would do with it. I had thought of turning it back into a bulldog but just was not sure of that being the right direction to go with the pipe.

Then this evening I decided to do another “Frankenpipe” project. I pulled together the parts that might come into play and spread them out on the worktable. I had a chunk of briar from Dogtalker that could work for a shank extension, the cut off bowl from the bulldog and a selection of different stems that could be fit to the new shank once it got to that point. I examined the end of the short shank for a long time trying to decide the way to go with the new shank extension – diamond shank or round shank. The edges of the remaining diamond shank were well-rounded and the diamond had virtually disappeared. It looked like it would probably evolve into a Rhodesian by the time I was done but time would tell. Sooooo…. in the spirit of the tall cob, I decided to put together the parts and see what I could do with them.

I started the process of joining the briar block and the short shank bowl. I drilled an airway in the briar going straight through. It was slightly larger than the metal tenon so that it the metal tenon and some epoxy would fit. This would give a straight airway from the bowl to the block. Once that was finished I drilled enlarged the airway on other side of the briar block with a larger bit to create a mortise. I put the pieces together to make sure that everything would fit together. For the purpose of having some kind of stem I grabbed an old diamond shank stem from my can of stems to fit the mortise.

I used my topping board and sandpaper to try to face the short shank and the piece of briar to facilitate a flush fit when the two pieces were joined. The shank on the pipe had been cut at an angle so I took that into consideration when I was working on the briar extension. I mixed up a two-part epoxy and glued the block and the bowl. The photos show the epoxied joint before I cleaned it up. I clamped the pieces together overnight to let it cure.

In the morning once the glue had cured I took the clamp off and looked it over more carefully to see if I could redeem the diamond shank. The more I looked at it the more I knew that the diamond shank was gone and I would best work to make a round shank Rhodesian. I turned the tenon on a very chubby round taper stem with the PIMO Tenon Turner to fit in the new mortise. Once the stem fit well in the shank I got a better idea of what the finished pipe would look like. There was still a lot of shaping and fine tuning to do with the stem to shank junction but the “Frankenpipe” had potential.

I used a Dremel with a sanding drum to begin shaping the shank extension. I had to remove a lot of the briar on the extension and round it to make the transition smoother. I did the work in stages, constantly checking the look and flow of the shank extension to make sure I did not take off too much briar.

I put the stem in place in the shank to keep the target in sight as I sanded the shank. At this point in the process I was not worrying about the fit of the stem to the shank I was more concerned with the overall flow from the bowl to the button. When I am shaping a pipe I am constantly putting the pieces back together to see if the flow is beginning to work well.

I continued to sand with the Dremel until I had the majority of excess briar removed. I then took it to the worktable and worked on the bowl and shank with 220 grit sandpaper. I continued to remove the briar and shape the new shank. The Rhodesian shape is beginning to become clear in this “Frankenpipe”. There was still a lot of sanding to do but the finished pipe shape was beginning to emerge from the briar.

I continued to hand sand the shank to reduce the diameter and shape the flow toward the bowl. The shank and bowl are starting to look like they belong together. I worked on the stem to make the fit of the stem to the shank smoother. I removed the excess vulcanite with the Dremel and shaped the stem by hand to remove the sanding marks and scratches left behind by the Dremel and sanding drum. When I finished sanding for the evening I slid a band on the shank just for kicks. If I leave the band on the shank I will need to work some more on the stem to get a good snug fit. Even so the pipe is starting to appear from the diverse parts – “Frankenpipe” was beginning to come alive.

I sanded some more on the shank and bowl junction. I decided to give the shank a cigar-like flow – tapered at the bowl and taper from the stem to the button but with a gradual rise in the middle. The flow would be a gentle bulge that came to its highest point at the band.

I decided to take the pipe to work with me and continue to sand it during breaks. I had a day working in our warehouse scheduled and would need to have a diversion from the work I had on the agenda for the day. I sanded it with a medium grit sanding sponge. I took these photos at the end of the day before I headed home for the day. The pipe was really taking shape now.

I really liked the flow of the shank from the back of the bowl to the tip of the stem. It formed a nice elongated oval. It would not be possible to sand further on the joint of the bowl and extension so I decided to rusticate the shank. I used some electrical tape to mark off the area that I would rusticate and to protect the places that I did not want to rusticate.

I rusticated the shank, leaving a smooth section of briar next to the nickel band. I formed a point at the bottom of the bowl where the rustication would end. I decided to leave the bowl smooth as it had some nice grain. I rusticated it with the modified Philips screw driver, wire brushed off the loose briar chips and then sanded it with a medium grit sanding sponge to smooth out the high edges. I wanted a patterned rustication but not one that was rough to the touch. My idea was to provide an interesting pattern on the briar of the shank extension that would hide the joint but also add interest to the finished look of the pipe.

I stained the rustication with a black aniline stain, flamed it and then wire brushed it a second time. I restained and reflamed it and then sanded the high spots on the rustication with a fine grit sanding sponge. Once the rustication was the style I wanted I gave the bowl a top coat of oxblood stain. I wanted a contrast between the deep grooves of the rustication and the rest of the pipe. I always have liked that look on a pipe. This particular “Frankenpipe” was made for this kind of rustication pattern. At this point the major work on the bowl and shank is done other than polishing and waxing. I still had work to do on the stem and band but the pipe was taking definite shape. It had come a long way from the pieces that came together at the beginning.

I still had a lot of work to do on the stem. I needed to clean up the angles and taper of the stem, sand out some of the scratches left behind, reshape the button and open up the airway on the stem. Each of these little steps adds to the finished comfortableness of the stem and the flow of the smoke from the bowl to the mouth. I began by reshaping the slot in the airway. I have three needle files that I have come to depend on for this process. Two of them are oval files – one flatter than the other and the third is a round file. The three files work together to give the slot the open shape that makes slipping a pipe cleaner down the stem and shank during a smoke effortless.

Once the slot was opened I sanded the inside of it with a folded piece of sandpaper to smooth out the inner surface of the slot. I sanded the stem with 220 grit sandpaper to shape and taper the flow from the band and shank toward the button. I wanted a smooth curve that paralleled the curve in the shank on the other side of the band. I used medium and fine grit sanding sponges and then my usual batch of micromesh sanding pads. I wet sanded with 1500-2400 grit pads and dry sanded with 3200-12000 grit pads. I rubbed the stem down with Obsidian Oil.

I put the polished stem back in the shank and took the pipe to the buffer. I buffed it with White Diamond to give a shine to the bowl and shank and lightly buffed the stem again with White Diamond. I gave the pipe multiple coats of carnauba wax – using a light touch on the rusticated part of the shank. I buffed it with a soft flannel buffing pad to raise the shine. The finished pipe is shown below. I noticed in the photos that there are still some fine scratches on the stem and band so I will go back to the micromesh and take care of those. But before I do that it is time to load up a bowl of some aged Balkan Sobranie Virginian No. 10 and give the pipe a smoke. My Cocker Spaniel, Spencer is anxious to go out so it is a good time to load a pipe and give him some attention in the yard.