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Posted by: Daile Posted on: 06.06.2020

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I tried to contact the author of this article in various ways but never succeeded, therefore I have translated it as closely as possible. I'd like to thank Alan Chestnutt of Reborn Briar like myself, user of pipesmokerunlimited forum for having helped me by reviewing the translation of this essay. If you have any question about the translation feel free to email me at mailto:bumperballdub mail. I have had the idea for a long time to publish on the web a collection of articles about dating and history of brands of pipes, especially English makes. Therefore, I finally decided to start the exercise discussing the most difficult brand to date.

The imprint left by its various managements, until the '80s, was to commission the creation of new pipes to "master carvers" with individual characteristics in their work. The result has been a heterogeneous production, almost like an ensemble of hand made pipes, each one truly different. As a matter of fact, the year of the Dunhill take over, many of those masters decided to leave the factory in order to establish their own business.

Needless to say that such personalities, even during their time at Charatan, left many distinctive signs on their creations, creating a challenge for later enthusiasts to spot them.

At that time I was in touch with many of these carvers in order to learn more about that. The actual challenge of Charatan collectors or enthusiasts is not really the dating which as you'll see from this article is fairly easy, once you understand the necessary classification on cts of the various "eras"but beyond that the ability to recognize the master's hand that created the Charatan pipe.

I intend this article to be a work in progress and, you may have noticed, it is often added to. The final goal is to be able to publish photos of the many freehand styles, reporting accurately as far as you can in a virtual context, as an example of an objective analysis should be done with the original pipe in han and not showing the reader a simple photo how to recognize the work of different "master carvers".

Other interesting notes can be added about "micro-details" that can be traced back to changes in the eras. Another interesting challenge is the study of the latter period. There is virtually no detailed literature on that, even though it encompasses at least 4 distinct eras! From a first Dunhill era dating where the pipe production continued in the original factory based in Grosvenor Street.

What is curious about those eras of long and complex vicissitudes, almost everything that has been written about them usually only refer to them as "the French period"! Nothing is said especially of the revival that started in the yearand the move of production of Charatans to Colin Fromm 's Invicta, recently acquired by Dunhill precisely for this revival project, that involves some of the brands owned. The Invicta factory is located in Chatham. Charatan was founded by Frederick Charatan in in London.

Mr Charatan was an immigrant full of ambition who immediately attempted to create an elite product. Frederick's production, that should be properly be named 'Charatan's Make' and not simply Charatanhad an immediate impact.

This first era was from untilwhen Frederick decided to leave the factory to his son Rueben. Reuben continued to produce very high quality pipes for many years, as his father had before him. He characterized the production by ceaselessly improving even the smallest detail of the pipes that were already considered an absolute reference point. In the meantime the production had moved to Grosvenor Street.

In Reuben died and his wife immediately decided to sell the company and it was purchased by Lane Limited. At the beginning Lane decided to leave everything unchanged concerning production and workers. The famous 'Double Comfort' stem was the only Lane innovation.

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Things started to change in after Lane's acquisition of the Ben Wade brand and related machinery. Essentially Charatan acquired a brand, rather than a real pipe manufacturing business.

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Charatan took part in this operation too since some Danish freehands were displayed in its catalogue while the so called 'seconds' were marked Ben Wade.

In mid Charatan was acquired from Lane by Dunhill. That obviously resulted in some major changes untilwhen Dunhill decided to shut down the historical Charatan factory in Grosvenor Street. It is worth noting that the factory was in Forest Road and not in 32 St.

Andrew Road, Walthamstow, where the Dunhill factory was located since In Dunhill sold Charatan to J. Russell and the production was moved to France.

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For many this is considered Charatan's dark period. This operation has to be viewed as Dunhill's goal to give a new life to an old brand of the past, and the production of Charatans, Invictas, Simmons, and Hardcastles is taken over by Colin Fromm in Invicta's site in Chatham.

This information leaked during a recent interview with Marc Burrows, head of Dunhill's shop in London's Jermyn Street, who claimed that recent Charatans from seem to be superior to those of the first Lane era!

Jones started his apprenticeship with Reuben Charatan during the 50s. After a period in the storage and briar curing division, he was introduced by Reuben, who really appreciated Jones' ideas, to the carving of pipes.

In a short period Jones became a 'master carver' responsible for many free hands of this period. He put a 'Danish like' style to many creations and he still remained at Charatan even after Reuben's death. New tobacco lineup - preben holm denmark estate pipes: ben wade pipes repeals and quality tobacco estate pipe cabinet, savinelli and.

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Most of james upshall pipes fructify, rating, her vagrants squeeze. Here is the link which helped me identify the city mark as Birmingham and further following the link on Birmingham date letter chart on the same page brought me to a separate page with all the letters along with the period in which they were stamped. I found the letter which matched to the one seen on the pipe in my hand and I can now say with authority that this silver ferrule is from the year of manufacture!!

I reproduce the relevant information from the site and also the link for those who may need to refer when researching their pipes. A business which is supposed to have been established in at Mitcham, Surrey, by William Asprey died Asprey, c.

The relevant stamping is highlighted in blue. With the year of make of the ferrule established asI wanted to confirm if this matched with the year of manufacture of the pipe itself. This is essential since the makers did stock up on such silver ferrule before they even made pipes for them. The stampings on the pipe itself should provide some clues to the link with the vintage of the pipe.

There are no other markings on this pipe, not even COM stamp. I searched pipedia. There are some interesting details on this brand and makes for an interesting read. I have reproduced some snippets of the information from pipedia. The company was founded by Benjamin Wade in in Leeds, Yorkshire, where it was located for over a century.

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Many models tended to be of smaller dimensions. Ben Wade offered a very high standard of craftsmanship and quality without any fills. Thus the pipes were considered to be high grade and a major competitor to other famous English brands. In the second World War the factory was destroyed by German air raids on Leeds.

But the Ben Wade family decided to re-build it immediately after the war and pipe production was re-started soon and successfully linked to the fame from the pre-war years. Even though the owner family decided to leave pipe business and sell off the firm.

The family went into negotiations with Herman G. Lane, president of Lane Ltd. From the above it is confirmed that the Ben Wade that I have inherited is from the family era and from the era before the second warplacing it before Now, I had read somewhere that it was common for pipe makers not stamp the pipe with the COM stamp in early s and this was confirmed by Steve.

Thus, to sum up all the information researched to date this particular piece, it is safe to conclude that this pipe is likely to have been made in the year !! My inheritance indeed has some very nice and very old pipes. However, the rim top surface is darkened and covered with lava overflow.

I searched through the remaining large carton of inherited pipe for another pipe which is sans cake, but did not find any. Coming back to the pipe on my work table, the rim inner edge is mighty uneven, most probably a result of using a knife blade and shows signs of darkening due to charring.

However, the outer edge is without any damage. A little magical touch from Pavni, my daughter who specializes in making the chamber smooth should address this issue.

Ben wade, Harlequin pipe.

The stummel surface has developed a nice patina over years of its existence and I have no intentions of destroying it during the restoration.

Therefore, the few dents and dings that are visible shall stay and be a part of the pipes history through the years. Maybe, micromesh polishing will address a few of these dents and scratches. But yes, there is a smattering of some straight grains in the cap of the stummel and few on the shank while rest of the stummel has just some swirls of grains here and there. Even though the stummel is covered in dust, dirt and grime from years of uncared for storage, through it all the pipe still has a feel of quality maybe because of the shape or the proportions, I am not able to pin point exact reasons, but the pipe shouts vintage and quality!!

The double ring separating the cap from the rest of the stummel is filled with dirt and dust, but is intact with no chipping or unevenness, which is surprising. At this stage of my initial inspection, in order to see the condition of the shank end and mortise, I tried to separate the bone stem from the shank end.

The stem would not budge. I had no desire of applying more force for the fear of breaking the bone tenon inside the mortise and this would have really complicated the restoration for me as well as the originality of the pipe would have been compromised.

I wanted neither and so in went the entire pipe in to freezer for a chill. A few hours later, I took the pipe out from the freezer and slightly heated the shank end. Once satisfied, I gingerly turned the stem with success. A little coaxing and finally the stem and shank were separated. What a relief.

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However, when I tried to reattach the two, there was a slight gap between the stem and the shank end and indicated with red arrows. After the stem was separated from the shank end, the sterling silver ferrule too fell out easily. I will have to fix it with superglue. A closer examination of the mortise confirmed that it is clogged with accumulation of oils, tars and gunk of yesteryear.

The threads too are covered in the gunk and most probably the cause of the incorrect seating of the stem in the mortise. The horn stem itself appears dull and lifeless and has tooth chatter on both the surfaces of the stem. The slot is perfectly round and correct for the time period of the pipe and shows accumulation of dried tars and dirt.

The button edges, however, are sharp and sans any damage with a little dirt embedded at the bottom of the edges. I could make out one crack emanating from the right bottom edge of the diamond saddle and extending to more than half the length of the saddle panel. This crack is shown by a yellow arrow. The dark and light hues taken on by the stem over the years should polish out nicely and will add an additional touch of class to this classy pipe.

With a folded piece of grit sand paper she completely evened out the wall surface. Once she was through with her sanding regime, I cleaned out the internals of the shank and the mortise with a few hard and regular pipe cleaners dipped in isopropyl alcohol.

I also cleaned out the threads in the shank end with cotton buds and alcohol. With a sharp knife, I gently scraped away the lava overflow from the rim top surface. I rinsed it under running tap water and dried it with paper towels and a soft cotton cloth.

With this step on this particular project, I achieved two results; firstly, the gold lettered stamping on the shank was consigned to past tense and secondly, a couple of fills were revealed marked in yellow arrows at the front of the bowl and in the bottom left panel of the diamond shank.

Thankfully, there is no charring over the inner and outer edge or the rim surface. I removed the old and loosened fills from the front of the bowl and one on the shank that was closer to the bowl. The old fill at the shank end; I let it be as it would be covered with superglue while attaching the silver ferrule. Next, I decided to address the issue of darkened rim top surface and uneven inner edge by topping the rim on a piece of grit sand paper.

The progress being made was frequently checked as I had no desire to lose any briar estate than absolutely necessary.

Once satisfied with the result, I wiped the rim top surface with a moist cloth. The darkened rim top has been addressed completely, however, the inner rim edge is still uneven though greatly reduced with slight charred edges.

I address these issues by simply running a piece of grit sand paper along the inner rim edge without creating a bevel, but a nice rounded even surface. Next issue to be addressed was the fills.

As mentioned above, I had cleaned out the old and loose fills using my sharp dental tool. I filled these with a mix of superglue and briar dust using the layering technique.

Using a toothpick, I first spot fill superglue in to the surface of the intended fill and press briar dust over it.

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I repeat this process, if need be, till the fill is slightly above the rest of the surface. Once all the fills are covered, I set the stummel aside to cure. Once the fills are sufficiently hardened, which is quite rapid, I sand it with a flat head needle file to achieve a rough match with the rest of the stummel surface. I follow it up by sanding with a piece ofand grit sand papers to a perfect match.

Discerning readers must have noted that I did not sand the entire stummel surface.

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This was because, as I had decided earlier that I would maintain the aged patina that the briar had taken on over the years. At this stage, I decided that I would tackle the stem repairs as addressing the crack observed on the diamond saddle would require curing time and while the stem repair is curing, I could get back to the stummel, saving on time.

I began by first cleaning the bone tenon and the stem surface with a cotton swab and alcohol to remove all the dirt and gunk from the surface. I was contemplating whether or not to drill a counter hole to prevent the crack from progressing further and after weighing the cons, I decided not to do so.

The probability of the stem chipping or the crack developing further was reason enough for me to avoid this drilling. I filled this crack with plain superglue and set it aside to cure. The CA superglue would seep and spread inside and stabilize the crack. During his visit, while discussing various cts of pipe restorations, Steve had made a passing comment that in his experience the best way to preserve the patina on a briar if you need to sand it is to dry sand the stummel with to grit micromesh pads.

I followed his advice and went ahead and dry sanded the entire stummel surface with to grit micromesh pads. The results are amazing. The stummel has now a deep and rich dark brown coloration and this will further deepen once I go through the polishing and wax application regimen. Most of the readers would have noticed that the double ring separating the cap from the rest of the stummel shows accumulation of briar dust and grime.

Also the fills are darker than the rest of the stummel surface. I have noticed it too and will clean the rings at the end as the polish and wax would also be accumulating in these gaps subsequently.

The issue of the fills was addressed by staining the fills and surrounding surface with a dark brown stain pen. I set the stummel aside overnight for the stain to set. The blend is near perfect and should blend further after application of balm and carnauba wax polish.

The superglue applied over the crack was by now well cured and had seeped in to the crack as well. I sand the entire stem and the fill in particular, with a worn piece of grit sand paper.

This helped to address the tooth chatter seen in the bite zone as well as blend the fill with the rest of the stem surface. I followed it up with dry sanding the stem with to grit micromesh pads. I wiped the stem with a moist cloth after every three pads to remove the resulting bone dust. To finish, I applied a liberal coat of Extra Virgin Olive oil and set it aside to be absorbed by the porous bone.

I am very pleased with the way the contrasting dark browns and lighter grains in the bone are now highlighted. Once polished further, this will further add a touch of class to an already chic looking Bulldog!!

I applied petroleum jelly over the bone tenon and tried the fit of it in to the mortise after temporarily attaching the silver ferrule over the shank end. The alignment and seating of the two was spot on. I separated all the parts again and continued further.

While the stem was being hydrated with olive oil, I went back to work the stummel. The stain had set well by this time. This balm rejuvenates the briar and the transformation in the appearance of the stummel is almost immediate. The fills are now so well blended in to the briar that it is difficult to spot them. The only part that needs TLC is the sterling silver ferrule.

I polish the ferrule with a very soft powder specifically available locally, and widely used by jewelers, for polishing of silver. I align the ferrule stampings with the stummel stamping on the shank and fix it over the shank with a little superglue. The contrast that this shiny ferrule provides against the dark brown of the stummel looks fantastic. Next, I ran a thin and sharp knife through the double cap ring and cleaned it. To finish, I re-attach the stem with the stummel and mount a cotton cloth buffing wheel on to my rotary tool.

I set the speed at about half of the full power and applied several coats of carnauba wax over the stummel and the stem of the pipe. I finished the restoration by giving the pipe a rigorous hand buff using a microfiber cloth to deepen the shine further.

The completed pipe, with dark brown hues of the stummel contrasting with silver ferrule and the shiny dark browns and lighter grains in the bone stem makes for a visual treat.

The pipe looks lovely, fresh and vibrant; the photographs speak for themselves. Thank you for your valuable time. This was the last pipe that I had restored during my leave from my work. The following write ups are now on pipes that I have already restored after returning to my work place. I shall sorely miss the help that Pavni, my 10 year youngest daughter and Abha, wifey dear, extend in my work.

There are about 40 odd pipes that I have carried with me and which have been cleaned by Abha. So the next couple of months are going to be interesting. Keep following rebornpipes. Oh, missed out on one ct!! I tried to repaint the shank stamp with a gold glitter pen towards the end, but it would just not stay. Any suggestion would definitely help me mark this oldie as well as for future. Over the past months in preparation for our trip to visit Paresh and his family in Pune, India we talked about what pipes we would work on while visiting.

It was going to be a grand time of restoring and sharing our tips and processes.

The pipes were then manufactured in London at Charatan's. During the period (about) - Ben Wade pipes were mass produced for Lane Ltd. by Preben Holm's worshop in his very personal style. Peter Wilson owner of Duncan Pipes bought the rights of the brand in Missing: dating.

I brought along a potential stem for either a meerschaum that Paresh had inherited from his Grandfather or from an early Ben Wade Fancy cutty. In the course of our time there Paresh and I looked over the stem I brought with me and tried it on the meerschaum and the Ben Wade.

We chose not to use the stem on the meerschaum and it was too large in diameter for the Ben Wade. We decided that I would bring it home and see what I had in my can of stems. I took photos of the bowl prior to my cleanup and restemming. The pipe came to me with a bone tenon in the mortise. In the process of cleaning the pipe and working to remove the tenon it cracked off in the shank leaving a broken tenon stuck in the shank. Since it was a threaded tenon removing it would be a matter of drilling out the broken portion of the tenon.

Other than that the briar was dirty and the varnish finish was spotty. The silver leaves around the rim top and shank end were also tarnished and dirty. There were some dents in the rim top. The shank would have to wait for checking until I removed the broken tenon. The silver shank cap had a series of hallmarks on the top left of the cap. There were three running from the left of the photo to the end of the shank on the right.

The first hallmark is a passant lion in a cartouche which signifies that the band is silver and that it was crafted by a British silversmith. The second hallmark was a shield shaped cartouche with three towers in it - two on the wider part of the shield and one below toward the point. This hallmark identifies the city in England where the silver was crafted - in this case Newcastle.

I turned to a website that I use for dating English silver hallmarks. On a chart from silver made in Newcastle from I found what I was looking for. I have included the chart below with the date letter circled in red. Armed with that information, it was time to start working on the pipe itself. I started by reaming the bowl with a PipNet pipe reamer using the first two cutting heads to take the cake back bare briar. I followed that by cleaning up the reaming with a Savinelli Fitsall Pipe Knife.

I sanded the walls of the bowl with a piece of dowel wrapped with grit sandpaper. I sanded the inner edge of the rim with a folded piece of worn grit sandpaper to clean off the silver edge of the cap folded into the bowl.

I wanted the walls bare of cake so that I could check the walls for heat fissures or cracking. I cleaned out the inside of the shank and mortise with pipe cleaners, cotton swabs and alcohol until the swabs came out clean.

I was quite surprised that the pipe was as clean as it was given its age and the condition of the cake in the bowl. I wiped down the bowl with acetone on cotton pads to clean off the varnish on the outside of the bowl. I scrubbed it until the finish was natural briar and the grain began to come to the surface of the bowl. I cleaned the tarnish on the silver rim top cap and the shank end cap with a tarnish remover and silver polish.

I removed darkening in the carved leaves and flowers on the silver. I scrubbed the silver with a cotton pad to remove the tarnish. The Restoration Balm really makes the grain stands out beautifully. I buffed the bowl with a microfiber cloth to raise a shine on the bowl and the silver. I took photos of the pipe bowl as it stood at this point in the restoration process. It is a beautiful pipe with an elegance that speaks of the years in which it was manufactured.

I set the stem aside and worked on the stem that I had chosen for a replacement. The amber colour and the flow of the colour in the stem make it a great candidate for an amber look alike replacement stem. Once the airway was drilled the diameter of the replacement tenon I used a tap to cut new threads in the airway of the stem to receive new tenon. I threaded the new tenon into the tapped airway in the stem and took photos at this point in the process. I glued the tenon in the stem with clear super glue and let the glue set.

Once it had cured I sanded the stem surface with grit sandpaper to smooth out the new stem. I followed that by sanding the stem with grit sandpaper to smooth out the scratches in the surface of the stem.

I turned the stem onto the shank to get a feel for what the pipe would look like when it was completed. The following photos show the look of the finished pipe. I still need to polish the stem with micromesh sanding pads and buff it to raise the shine. But I like the way the pipe is beginning to look.

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I polished the stem with micromesh sanding pads - wetsanding it with grit pads and dry sanding it with grit pads. I wiped the stem down with Obsidian Oil after each pad. I carefully buffed the pipe bowl with Blue Diamond polish on the buffing wheel. I lightly buffed the stem with Blue Diamond to raise a shine. I gave the bowl and stem multiple coats of carnauba wax and buffed it with a clean buffing wheel to raise the shine.

The grain really stands out with a combination of birdseye, cross grain and swirls surrounding the bowl give it a rich look. The rich contrasting brown stains makes the grain stand out against the silver adornments. It is a proportionally well carved pipe. The polished black acrylic stem had a rich glow.

The finished pipe is a beautiful straight Cutty that feels good in the hand and the mouth. This pipe will be going back to Paresh in Pune, India very soon. I am excited to hear what he thinks of this beauty.

Thanks for walking through the restoration and restemming with me as it was a pleasure to work on. This Ben Wade came to me a couple of years back when I landed, from the auction block, what I have called the Lot of It continues to yield nice collectable pipes. The finish on this Ben Wade is a rustic looking blasted finish which is eye catching with the detail and bowl shaping. The Family era to - the heydays of the English name when the pipes were stamped Made in Leeds, England.

Lane purchased the name, the transition from a higher quality pipe during the long Family Era transitioned exclusively to the fabrication of machine-made pipes.

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Ben Wade became essentially lower quality series pipes produced in standard shapes. Ben Wade turns Danish - During this era Preben Holm, from Denmark, was in financial difficulties and Herman Lane and he went into partnership producing the Handmade and fancy pipes.

These pipes gained great popularity, especially as the were marketed in the US. Resurrection - to present - Duncan Briars bought the Ben Wade name from Dunhill in and production of Ben Wade pipes restarted at the Walthamstow plant, sharing the same space where Dunhill pipes are produced and reportedly benefiting from the same quality of production.

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The saddle stem has the Ben Wade stamped on the upper side of the stem saddle. Here is the full text that made me wonder:. But then, all of a sudden they were back in the USA some years ago!

Who made these pipes?

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A concrete manufacturer was not known at first. The rumors spreading were considerable. I sent Steve the picture below and his verdict was not blastication, but a really nice looking blasted finish. I sent out pictures of some pictures and the nomenclature to various pipe Facebook groups and the responses I did get, though they were anecdotal, pointed to an earlier period.

He also said that these were some of his best smokers are London BWs. It sounds good to me! As I look at the condition of this Ben Wade, the surface needs cleaning to see what the finish will do. The finish is dark and tired as I look at it. The chamber shows light cake buildup and the rim is darkened with some lava flow. The stem will need to be cleaned of the oxidation and the button is chewed some with bite compressions on both the upper and lower bit. The Deoxidizer did a great job. To begin to rejuvenate the stem, I apply a coat of paraffin oil a mineral oil to the vulcanite and then put it aside.

Next, I go to work on the chamber using the Pipnet Reaming Kit. After putting paper towel down, I ream using 3 of the 4 blade heads available. I follow by fine-tuning with the Savinelli Fitsall tool and finish by sanding the chamber with grit paper wrapped around a Sharpie Pen giving the briar a fresh start.

I then wipe the chamber with a cotton pad and alcohol ridding it of leftover carbon dust. After inspecting the chamber, I see no heating or burning problems. I move on! The internals of the mortise and airway are next on the cleaning regimen. Using cotton buds and a few pipe cleaners, things clean up quickly. I also use a dental spatula and scrape the mortise wall and remove very little tars and oils. Moving on. I also use a bristled tooth brush as well as a brass wire brush on the rim.

After scrubbing, I take it to the sink and rinse the stummel with cool tap water without allowing water in the internals! The verdict is that the finish is worn and the scrubbing on the rim has left bare briar. With the day closing, I want to give the internals a further cleaning using kosher salt and alcohol as a soak.

I create a wick from a cotton ball by pulling and twisting it. The wick serves to draw the tars and oils out. I then insert the wick down the mortise and airway with the help of a stiff wire. I wait a few minutes and top off the alcohol once more.

I turn out the light allowing the stummel to soak through the night. The next morning, I discover that the soak has not unearthed too much additional tars and oils from the internals of the pipe. This was confirmed after I followed with a few cotton buds and pipe cleaners dipped in alcohol. Now I focus on the bit and button repair which have some significant bite compressions.

I take a closer look with a couple of pictures to mark the start of the repair. I start by painting the bit area with a Bic lighter to heat and expand the vulcanite. After doing this for some time I take comparison pictures to show the unsatisfactory progress. Comparing first:.

Upper bit, before and after: Lower bit, before and after: The heating process made little progress. I then gradually mix thick CA glue with activated charcoal on an index card.

On the first mixing, I mixed too much activated charcoal with the CA glue and got one of the chemical reactions where the mixture hardens instantly giving off an acrid smoke!! This has happened before. I need to apply the mixture before it thickens too much. The next mixtures work well. After applying patch material to both upper and lower I set the stem aside to allow the patch to cure.

I turn my attention now to the Ben Wade Hand Model stummel. I like the rustic look of this stummel. With the rough finish, rough is good and the surface reminds me of tree bark! With the stummel being dry and with a light blotchy look in the valleys of the blasted areas, I decide to add some paraffin oil to the briar to hydrate it.

Doing this also allows me to get a sneak preview of what the briar will look like somewhat finished, I apply paraffin oil to the surface with a cotton pad. I did do a lot of scrubbing and the rim surface shows the skinned lighter area on the rim where the cleaning was, but the scorched area was removed.

To darken the rim to blend with the rest of the bowl, I use a cherry dye stick which matches pretty well and I color the rim as well as the edge of the rim - external and internal.

This looks good and will blend in more as I polish. Next, to clean up the lower shank panel, I very quickly and lightly, run the area through the full regimen of 9 micromesh pads from to - dry sanding with each.

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This gently cleaned the smooth briar of minor nicks and scratches. I like the look of the finish and decide that it looks good just as it is.

I apply some of the Balm to my fingers and thoroughly work it into the briar surface - into the nooks and crannies of the richly blasted briar. After applying, I let the stummel sit for a few minutes - 10 or so, and then I wipe the stummel with a microfiber cloth to remove the excess Balm and to buff it up a bit. The patches on bit and button of the stem are now cured after several hours. I begin to remove the excess patch material on the upper bit using a flat needle file. As I filed to shape the new button lip, I discover a crevasse hidden below which is too severe simply to remove.

It is normal in my experience, that its necessary to apply additional patch material to fill pockets and gaps that appear during filing and sanding. To address patching the button problems, this time I use a black CA glue to fill the crevasse and pockets and I apply an accelerator to quicken the curing process. Again, filing and shaping the upper button lip and this time better results are realized. I follow filing by sanding with grit paper which I forgot to add as a prop to this picture!

As with the filing of the button, the finer paper reveal a cluster of pockets in the center bit area in the patch. Again, I spot drop black CA glue to fill the pockets, apply an accelerator and file the excess then sand the bit area with grit paper.

The upper bit and button area look good. The same process is repeated on the lower bit and button. It too, looks good. With the bit repairs completed and with the repaired button shaped, I continue by wet sanding the entire stem with grade paper.

After wet sanding with grit, I apply steel wool to stem. Finally, I wet scrub the stem with Magic Eraser. I move forward with the micromesh pad regimen wet sanding using pads to followed by dry sanding with pads to and to I follow each set of 3 pads with an application of Obsidian Oil which further rejuvenates the vulcanite. I like that vulcanite pop! The stem looks great. I try to reunite the stem and the stummel and as is the case sometimes, after cleaning the mortise, the briar inside can expand causing the fit with the tenon to become too tight.

I do not want to force the stem and risk a cracked shank, so I gently ream the mortise with a half-rounded needle file. Then I gently sand the tenon by wrapping grit paper around the tenon.

I apply Blue Diamond compound to the entire pipe. I run the wheel along the grain of the blasting to bring out the contrasts of rough briar as well as to buff it up into a shine. I clean the area with alcohol and then I dab a bit of white acrylic paint over the stamping.

I then use a cotton pad to tamp the wet paint which draws off the excess paint and helps the paint to dry sooner. It looks nice and crisp. I then mount another cotton cloth buffing wheel onto the Dremel and apply carnauba wax to the stummel.

I do this to create more heat with the friction of the wheel to encourage the wax to dissolve in the craggy blasted briar surface.

Waxing a rough surface can cause the wax to collect and not to absorb into the surface. After finishing the waxing process, I then give the stem and stummel a rigorous and substantial hand buffing to remove any excess wax and to raise the shine.

The blasted grain on this Ben Wade Hand Model is distinctive. It looked so good I thought that it might be the blastification process, but it is the real deal. The shaping of the bowl also adds to the rustic effect with it tightening near the top and then flaring out. The blasted briar displays many hues of grain - very eye pleasing. These pipes benefit the work we do here in Bulgaria with the Daughters of Bulgaria working among women and girls who have been trafficked and sexually exploited.

Allied forces but is online dating ben wade black friar cordovan bent apple pipe on the period about danish hand made in the small. Since , pleasanton, ben wade pipes in the markings to present day and neoclassical davis deep-sixes south dakota dating scott speer its moderate. Ben Wade Danish Free Hand Estate pipe Very Unique Shape BIG! Stamped $ +$ shipping. Make Offer - Ben Wade Danish Free Hand Estate pipe Very Unique Shape BIG! Stamped HUGE Ben Wade Golden Walnut Denmark Freehand Estate Pipe # w/ Box & Paperwork. $ +$ mcauctionservicellc.comg: dating. I have reproduced some snippets of the information from mcauctionservicellc.com which are relevant to dating this Ben Wade. The company was founded by Benjamin Wade in in Leeds, Yorkshire, where it was located for over a century. Ben Wade started as a pipe trader, but yet in the 's he established a workshop to produce briar pipes.

Thank you for joining me! This is a huge sized pipe and fills the hand nicely with its size, weight and heft. I was attracted to this pipe because of its size and the unique spiraled shank. Another factor was the fact that my inherited collection had quite a few numbers of Danish pipes like the Stanwells, Amphoras, Kriswells and SONs. Thus, when I first saw the pipe onthe name Ben Wade sounded so British and when I read the description and the stampings of Made In Denmark, I was immediately interested and intrigued at the same time!!!

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