by Kenneth Lieblich
Lá Fhéile Pádraig sona duit!
As it is the feast of Saint Patrick, I thought I would post an Irish pipe today – even though I have no Irish heritage myself. No matter! Petersons are very popular, so why not put some spit and polish on this handsome devil. I nabbed this beauty a couple of years ago and, unaccountably, it’s been sitting around waiting for me to clean it up. 
Let’s look at the markings. On the left side of the shank are the words Peterson’s [over] “Dunmore”. On the right side of the shank are the words Made in the [over] Republic [over] of Ireland. Then down and to the right of that is the shape number, 73. Finally, on the left side of the stem, is the stylized letter P of the Peterson Pipe Company.
I’ve always found the scalloped edge at the end of Dunmore shanks to be quite attractive. Let’s investigate the Dunmore line a bit more. Mark Irwin of the Peterson Pipe Notes blog has a great article about Dunmores, which you should read here. Allow me to quote a few passages:
The line originated in collaboration with Iwan Reis in 1971. How it came about is anyone’s guess at this point. Chuck Levi, the man who more than any other was responsible for bringing the great Danish artisan pipes to the US, was working with the creative minds at K&P to bring something new to the IRC catalog, and this was one of about a dozen K&P lines that debuted as exclusives in the Iwan Reis catalogs of that era.
The concept was to modernize the System pipe by removing what was perceived as the old-fashioned nickel mount. And old-fashioned it was—if you look at pipe catalogs from the 1940s on through most of the rest of the 20th century, nickel ferrules and even bands were almost non-existent. K&P was virtually the only hold out, using sterling bands on the Sterling Silver Classic line and on the Premier & De Luxe Systems. A bead was then carved around the stummel at the mortise end…
But there were two more ingredients to the original Dunmore aesthetic…. Paddy Larrigan, K&P’s master-craftsman, was always striving to push the envelope in pipe engineering, and one of the things he dearly loved was a pipe that would sit, so he shaved off the bottom of the shank to allow the Dunmore System to sit on its shank and button, which gives it its uniqueness in the catalog. The downside of this is that I am not convinced that all the Dunmore reservoirs, being slightly smaller than the traditional System, are quite as effective.
The third distinguishing mark of the original Dunmore lines is the stem. Both the System and Classic versions utilized the wide-shoulder “Comfort Lip,” with a painted gold P on the stem. This doubtless helps the System sit as well as giving it a more muscular visual balance, strength being a long-standing concept in the design language of the company. While it gives the illusion of being an army “push” mount, of course it isn’t, but is a traditional tenon-mortise or “navy mount” as the old hands at K&P used to call it.
Based on Mark’s information on his website and in his book, The Peterson Pipe Book, I can estimate that this pipe is from the mid- to late-70s – something like 50 years old. Many thanks to Mark for his help.
On to the work! The pipe was in good shape and – boy-oh-boy – it had been smoked a lot! Things were dirty, rather than damaged – which is much preferred. The stem was oxidized and had a few tooth marks, but nothing deep or large. The stummel was loaded with cake and had substantial lava on the rim.
I used a disposable lighter and ‘painted’ the stem with its flame. The gentle heat of the flame can cause the dents in the vulcanite of the stem to expand back into shape. In this case, it actually worked reasonably well and there was a bit of lift.
I used oil soap on a few cotton rounds and wiped the stem down to provide an initial cleaning of filth before moving on to the next steps. The primary cleaning comes next. I cleaned the inside of the stem with both pipe cleaners and cotton swabs dipped in 99% lemon-infused isopropyl alcohol. I scrubbed thoroughly to make sure the interior was clean. I used quite a few pipe cleaners and cotton swabs – more than the photo shows.
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 is a hideous brownish 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. This is a major aid and an important step in ensuring a clean stem. The following day, I drew the stem out from its bath and scrubbed the lingering fluid with a toothbrush. 
Now that the stem is clean and dry, I set about fixing the marks and dents in the vulcanite. This is 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 a gold-coloured metallic wax finish. 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 reduce the bulk of the cyanoacrylate repairs. I want to remove the excess adhesive as near to the surface as possible, without cutting into the vulcanite. Following that, I use 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 apply pipe-stem oil while using the last five micromesh pads. There was a wonderful, deep black shine to the stem when I was done.
Now that the stem is (nearly) complete, I can move on to the stummel. The first step for me is to ream out the bowl – that is to say, remove all the cake inside the bowl. This accomplishes a couple of things. First (and most obviously), it cleans the bowl and provides a refurbished chamber for future smoking. Second, when the old cake is removed, I can inspect the interior walls of the bowl and determine if there is damage or not. I used a reamer, a pipe knife, and a piece of sandpaper taped to a wooden dowel. Collectively, these ensure that all the debris is removed.
My next step was to remove the lava on the rim. For this, I took a piece of machine steel and gently scraped the lava away. The metal’s edge is sharp enough to remove what I need, but not so sharp that it damages the rim. 
Similar to the stem, I then cleaned the stummel with both pipe cleaners and cotton swabs dipped in 99% lemon-infused isopropyl alcohol. With a pipe this dirty, it took quite a while and much cotton to get clean. It was so, so dirty.
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 any remaining oils, tars and smells to leach out into the cotton.
To tidy up the briar, I also wiped down the outside with some oil soap on cotton rounds (and a toothbrush). This does a good job of cleaning any latent dirt on the surface of the briar. I also used a nylon brush on the rim. The last step of the cleaning process is to scour the inside of the stummel with some soap and tube brushes. This is the culmination of a lot of hard work in getting the pipe clean.
I used all nine micromesh pads (1,500 through 12,000 grit) on the outside of the stummel to finish it off. This sanding minimizes flaws in the briar and provides a beautiful smoothness to the wood. I rubbed some Before & After Restoration Balm into the briar and let it sit for 20 minutes or so. The balm moisturizes the wood and gives a beautiful depth to the briar. I then buffed it with a microfibre cloth.
For the final step, I took the pipe to my bench buffer and carefully polished it – first with a white diamond compound, then with three coats of carnauba wax. This procedure makes the pipe look its best – the stummel sings and the stem glows.
All done! This Peterson Dunmore 73 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 ‘Irish’ 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 5¼ in. (133 mm); height 3 in. (76 mm); bowl diameter 1⅛ in. (30 mm); chamber diameter ⅝ in. (18 mm). The weight of the pipe is 1¼ oz. (36 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.
I repaired the divot on the front of the bowl with some black CA glue and a little bit of briar dust. I flattened out the repair with 220 grit sandpaper to blend it into the surface of the briar.
I wiped the bowl down with some isopropyl alcohol and cotton pads to remove the opacity of the stain and make it a bit more transparent. The grain began to stand through with a lot of clarity. I like the look of the grain around the bowl. The repair on the bowl was a bit lighter than the rest of the bowl and would need to be stained.
I stained the repair on the front of the bowl with a Walnut stain pen. It blended into the surface of the bowl with the stain pen. The match was very good.
I sanded the briar with 320-3500 grit sanding pads. I wiped the bowl down with a damp cloth after each sanding pad.
I polished the bowl with micromesh sanding pads – dry sanding with 1500-12000 grits sanding pads. Once again, I wiped it down with a damp cloth following each pad.
I rubbed the bowl down with Before & After Restoration Balm. It is a paste/balm that works to deep clean the finish, enliven and protect the briar. I worked it into the briar with my finger tips to make sure that it covered every square inch of the pipe. I set it aside for 10 minutes to let it do its work. I buffed it with a cotton cloth. The briar really began to have a deep shine. The photos I took of the bowl at this point mark the progress in the restoration. 
I went through my stems here and found a nice looking military bit stem that would look great with the pipe.
It was clean and unused so I only need to polish it. I did that with micromesh sanding pads – dry sanding with 1500-12000 grit pads. I wiped the stem down after each pad with Obsidian Oil. I polished it with Before & After Pipe Stem Polish – both Fine and Extra Fine. I gave a final wipe down with Obsidian Oil.
I put the No Name Apple pipe together and took it to the buffer. I buffed both the bowl and the stem with Blue Diamond on the wheel and then gave both multiple coats of Carnuaba Wax. I buffed it with a clean buffing pad to raise the shine. I further polished it with a microfiber cloth to deepen the shine. It is a beautiful petite pipe that should be a great smoker. The dimensions of the pipe are Length: 5 ½ inches, Height: 1 3/8 inches, Bowl diameter: 1 inch, Chamber diameter: ¾ of an inch. The weight of the pipe is .67 ounces/19 grams. If you wish to add it to your collection let me know. I will be putting it in the rebornpipes store shortly in the American Pipe Makers Section. Thanks for taking time to read this restoration and restem. As always I appreciate questions and comments.
rebornpipes 
