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Copper Cookware Interior Linings

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There’s the ongoing debate (which I suspect will never die) about what interior is better for copper cookware: stainless vs tin vs nickel vs silver. American brand copper cookware is generally made either overseas (ironically) or by small boutique artisans these days, and anyone who cooks in copper has opinions about what they prefer their copper to be lined with. This is my take on it and why, but as always, it’s just my two cents!

First of all, I am completely in the camp that lining a non-ferrous metal (copper) with a ferrous metal (iron) goes against the point of using copper. Copper (and the tin bonded with it) has a thermal conductive speed of over 380W/m K, whereas stainless is around 25W/m K. Plus, if you want something made to last, and won’t slowly rust away, having metals that don’t contain iron is where to place your bets. Copper and bronze ewers used by the Egyptians thousands of years ago and stuck in Nile mud are still found in relatively the same shape and in good condition. Meanwhile, iron cooking pots in Viking digs that date back a mere 900 years are crumbled up and nearly gone to oxidation. Granted, stainless might not oxidize quite that fast (there’s no way to know yet, considering stainless steel has only been around for about 100 years) but you get the picture. I’m all about making something that should last for millennia. (why not?)

 

Anyway, regardless of my opinion, there are four generally used and/or viable metals for lining copper cookware.

The first is silver. This stuff is amazing. It’s the fastest (that means its thermal conductivity is superb, better than copper’s (406 W/m K), and is highly efficient in heating and safe for cooking food. It bonds molecularly with the copper, and lasts a long time if you use wooden or silicon utensils. There’s mainly one problem with silver, and that’s price. Since I know my cookware is already pretty pricey for some people, could you imagine if I coated it with silver? They’d be crazy awesome and super beautiful, but probably not practical. Bloomberg’s luxury list recently popped a silver saucepan, and it’s only you know…few thousand bucks.

The second interior option is nickel. In fact, many old and vintage pieces are wiped with or plated with nickel. Many times they can be refurbished with some good cleaning and a new coat of tin, and this is probably best due to the amount of nickel allergies out there. The nickel doesn’t leach into food the way, say, lead would, but it still would be touching the food and having a slight chemical reaction with it, so if you (or your dinner guests) had any type of nickel aversion, you probably don’t want to be cooking with it. And who wants to be on the line for that type of issue? No maker I know…

Then there’s stainless, which many people like because they say it’s easier to work with. I have yet to receive an answer on why exactly that is. If you’ve got a copper sauce pan that’s 2.5mm but lined with stainless, my guess is you’re still probably hand washing (correct me if I’m wrong and you have a magical dish soap for your washer that doesn’t result in pitting your copper?!) There is some ease in that stainless doesn’t scratch like tin, so you can scrape away at the stainless lining with wire and metal. Bear in mind that stainless is sticky (so clean up is harder) instead of non-stick like tin, and eventually it may pop apart due to the huge range in thermal coefficients between stainless and copper. Or your cookware isn’t pure copper, so it may stick to the stainless without much issue.

Clearly, I’m in love with tin lining. For me, molecularly, thermally, and purely – tin-lined copper takes the cake. Because of the electron exchange that happens when tin and copper are heated together (we’re talking over 500F), the molecular bond allows the thermal conductivity properties (ie: fast!) of the copper to transfer seamlessly through the crystal structure of the tin, allowing the copper to actually work the way it is supposed to when used as copper cookware. Plus, it’s non-stick and you need far lower temperatures to achieve the same thing, so it’s green/energy efficient plus always can be re-tinned over the decades, meaning it’s renewable and sustainable and won’t end up in a landfill. Tin has its downsides, of course. With daily use and proper care, it can slowly wear down. After about 12 -15 years your copper cookware may need re-tinning, which has to be done by hand.

 

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Copper Cookware: Vintage copper cookware seams

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COPPER COOKWARE SEAMS: HOW DO THEY DO THAT?

Before CNC machines and even hand-held lathes to make copper pots, we made ‘em out of copper sheets. This meant that we were stuck using small sheets sent over (and heavily taxed) from England (even though the copper itself was mined in America) and riveting, braising, seaming and pressing those sheets together in order to create nearly all copper cookware.

Everything that was made with copper was usually required to be waterproof. From boilers to cups to coffee pots to washpans – everything held some sort of liquid. By the 1700 – 1800’s, tin and coppersmiths knew to line the cooking wares with tin in order so the copper and heat wouldn’t combine for an icky combination.

But before anything could be tinned, or considered finished at all, the sheets of copper would need to be cut, fit and joined together with seams which were then either soldered or braised together.

Because there’s few places to list these seams, and there’s buzz about vintage copper cookware out there, I thought I’d put it out in writing in case anyone wants to delve into it. I’ve learned this at the tinsmith and coppersmith apprenticeship I’m so lucky to have at Backwoods Tin!

 

The Lap Seam

This very easy connection is simply when the very ends of the metal sheet (which you’re going to bend or curve) are clipped to your seam/burr allowances. The two metal ends are then placed next to one another, overlapping slightly, and then usually soldered together.

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Example of a lap seam exterior (on a tin mug).

The Crimp Seam

Make your hand into a C shape. Do it with the other hand. Now join the “C’s”. There’s your crimp seam. The copper sheet ends are bent into V shapes that fit together and then are pressed together. Another way to make a crimp seam along the base of a copper pot is to splay the bottom of the copper into a 90” burr, and fit a burred base around the burred bottom. Hammering down the exterior base burr over the top of the copper body burred base creates another version of the crimp seam.

(this can also become a double crimp seam if you take the finished seam and then push it up against the side of the vessel, or fold it over once more)

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Crimp Seam example along the base of a vintage sheet metal copper pot.

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Exterior View of a Crimp Seam on a Copper Pot

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The interior view of a crimp seam on copper cookware.

The Cramp Seam

A lot of very old vintage copper cookware has this particular method along the base. It has been called “dovetail seam” which is one way to describe it, as it certainly looks like splayed versions of the square dovetailing done on woodworking. However, in smith-talk, that’s a cramp seam. Those were insanely hard to do. Not only was the cutting very difficult, but also matching the copper together and then braising it to essentially melt the copper together, was incredibly painstaking. It’s one of the reasons they are rare – they were harder and more expensive to make so a plethora wasn’t made. They are beautiful…but tricky!

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Example of a Cramp Seam on a copper cookware base.

So there you are! Three kinds of seams, all of which can be found on American copper cookware made the old way – sometimes more than one is used, depending on the copper cookware made. Either way, they all helped make those canteens, cook pots and beer mugs waterproof, which was the end goal after all.

{If you want to purchase the modern versions of pure metal American copper cookware, I’d be thrilled to share my copper obsession!}

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What is American Cookware?

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When first starting out to create House Copper & Cookware (formerly branded as Housekeeper Crockery), I only knew I wanted to have wares that were 100% made in America, as locally as possible, and as purely as possible. Just like the “good old days.”

But with that desire comes the irresistible pull of research, as well as the need for it.

What did traditional American smiths create?

What did their wares look like? What kinds of materials were available?

It’s these types of questions that can lead to way too many interesting paths, such as my apprenticeship at Backwoods Tin & Copper, among other things. Visits to makers. Chats with blacksmiths (like my uncle, Doug Merkel). Questions to fabricators. Time begged for of mentors (of which I’m insanely fortunate to have many!).

So much of what we think of as vintage wares usually harkens back to a specific heritage. Designs painted in trays or saved under a potter’s glaze is particular not only to a time period, but another nationality. The beauty of America’s early melting pot was the great variety brought to the shores, but it also is cause for consternation when trying to identify what was actually made in our country and what was imported.

Thankfully, there are a lot of resources (happily re-printed these days by several printers, Amazon included) if one is willing to dig, as well as not be afraid to join a few groups and ask questions.

For those who are interested in learning about everything and anything to do with cast iron cookware here in the States, I highly recommend joining the Griswold & Cast Iron Cookware Association (dues are a simple $25/year and the benefits for identifying myriad unique finds are immeasurable, among a great many other networking and collecting opportunities).

If you’re up for tackling tin and copperware of days goneby, there’s everything from the annual tinsmith (and coppersmith) convergence in June of each year to the Early American Industries Association, where you can rub shoulders with metalsmiths of all walks, histories and talent.

And here in Wisconsin, there’s the Midwest Fire Fest, where tons of potters are around hawking their wares (and their information and craft) in Cambridge, should you wish to talk about the earliest kitchenware art beyond wood bowls and basket weaving.

So what exactly did American makers create that was unique to this country and was not simply a repair or an obvious echo of past European examples?

Here’s a list of my favorites…and what typically is the catalyst for creating the wares in the HCC line.

COPPER

American coppersmiths first came over from Europe with a repertoire of works they’d learned as apprentices in their homeland. However, limited copper sheet (the British only allowed the colonies to ship raw materials back, then pay to ship the smelted sheets back to America, which meant it was cut to fit inside ships, and expensive) meant adjustments had to be made, which relatively quickly led to American designs and preferences.

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I’m a fan of the taller pots, brought about because one had to use several sheets of copper to curl into a pot. Most handles were usually copper as well (you can imagine how hot they’d get and how bendy once the pot was hot AND full of food) or sometimes wrought iron from a local blacksmith and either detachable, or attached with copper rivets. Later, when brass became more widely available in America, handles were poured at brass foundries, but I’m partial to the original iron handles.

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There were many coppersmith items made here – or repaired here – and one of the items that quickly became part of the American landscape were the many different types of copper lanterns, something that could be easily adjusted to preferences, design and need, as well as decoration. (this isn’t kitchenware, but it’s very American).

A handful of copper skillet examples can be attested to American coppersmiths, and so can copper boilers, which also give me the lines for the copperware we make at HC. All were made in the flat, until the later 1800’s, when machines started to make pressed cookware and accessories.

TIN

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Examples of tinware from the 1800’s. Could be made from copper as well. Photo courtesy of The Art of the Tinsmith by Shirley DeVoe

Because copper was so expensive (and cast iron so heavy), tinware was hugely popular and common in America. And while I don’t make any tin pieces for the HC/HC lines, they are undoubtedly part of the landscape of American cookware design. I am a huge fan of the plain, silvery tin, but some pieces were covered in black asphaltum and then painted with beautiful brushed designs (these were servingware only – if you cook in it, you bake off the decorations).

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Vintage Chippendale painted tin tray for serving. ca 1765, photo courtesy of Early American Decorating Patterns by Peg Hall

Some great examples of American tinwork can be found in a plethora of books, but if you want to get serious about tinware, start with The Complete Tinsmith & Tinman’s Trade, so you don’t have to go digging around old bookstores yourself.

CAST IRON

We had such an amazing array of American foundries and forges that I feel cast iron is intensely American, for all that it originated overseas as a pourable metal.  Even though Darby got the patent in England for creating sand casting molds, it was right after the American Revolution and we were busting to get industrious and self-sufficient here, perhaps latching on this new technology, especially in Massachusetts, with a zeal that came with victory… Regardless, thanks to Griswold, Wagner, Eerie, and many smaller foundries (Main Foundry, Martin Stove & Range, Sidney Hollow Ware, Marion Stove, and Wapak, to name a tiny few), we have an amazing array of cast iron pieces that are uniquely American.

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Spider cast iron skillet, made in America ca 1840 – 1860. Photo from Early American Cast Iron Holloware by John Tyler

Oddly enough, as much as the simple round pan is considered traditional, we had a dizzying array of specialty items that now are rare, but at times were considered very useful, practical and common place. We aren’t, as a whole, making corn pone, mini bundts, cupcakes, and Danish cakes in cast iron pieces anymore, but we did at one time. I hope the cool and funky styles come back!

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Wrought Iron American spider skillet, forged by a blacksmith, not in a foundry. ca 1810 – 1830, photo courtesy of Early American Holloware by John Tyler

But in working to create something that makes sense for today’s kitchens, I went with a tried and true skillet. American skillets in the early 1800s actually often had legs. They could be poured or wrought. As no one really needs skillets with legs anymore, though, I thought it best to stick with more modern examples.

american cast iron skillet, cast iron, skillet, vintage cast ironAmerican-made cast iron fry pan / skillet ca 1860 – 1880, roughly 12″ diameter.

 

CLAY

Spongeware. Meh. Not my favorite style of decorating stoneware. Sometimes (but incorrectly) called spatterware, the pottery is white/cream with a bright and true blue “spongy” looking decoration in stripes or all over the piece, sometimes broken up by a blue band or two. It was intensely an American design starting in the early 1700’s, with high production in New York and Philadelphia. (source)

There was also Rockinghamware, a very common, brown glazed earthenware pottery that quickly became “Americanized” in the early 1800’s. A great book on this particular and little-studied type of pottery was written by Jane Perkins Claney, and can be bought for $28.

I like the blue glaze used in spongeware, and the beautiful, hand-crafted vibe of making each piece by hand on a wheel instead of by machine and slip casting (there’s something to be said for supporting individual potters vs purchasing bulk pieces from companies who just pour clay into molds), so our pieces are created with the blue lines…because it’s still pretty darn true to history.

Yes – there’s a lot of legwork and time in putting together a true American-style kitchen and cookware ensemble…but you know me and my research.

(Which, by the way, apparently researching never ends. It’s like a sickness. Catching a research bug is outrageously fun…and annoying, likely, for the spouse who gets dragged to things and learns all kinds of extra knowledge he was not expecting to have to absorb…but I have an inkling he’s catching it too. He wants to take a class on cooper work…)

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Making a Copper Jambonnière Part 3

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If you’ve been following the saga of pattern creation and remaking a vintage piece of copper cookware from scratch…here’s the final conclusion.  Likely you might be as happy as I am that this is done and I can start posting things like cheese recipes again…

So it was time to create the lid and handles to this crazy jambonnière project – finally! As always, it meant a large amount of guesswork, and fiddling with wood jigs.

Tracing the base, we added some fractions to allow for crimp seams, and went ahead to create a cover jig, which was similar, but not exactly the same, as the base jig. I’m learning, in a very tactile way, that should I ever own my own metal shop, I will inadvertently become an ad-hoc woodworker by necessity. We also went ahead and cut out a pattern to make the big top cover.

(Good thing my husband has lately been into buying every kind of saw invented…now I just need to convince him that a drill press is also necessary…)

Next we folded (twice) the band base and linked the two pieces before connecting them with a lap seam and some extra reinforcement pieces before bending the whole long band over the jig. With a little help from a lot of clamps, we finished forming the cover band inside the body to make sure it allowed for any tweaks and idiosyncrasies creating during the bending of the base.

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Creating the jambonniere lid band

Then it was a simple (for once!) practice of burring edges, clamping the cover piece to the band and hammering the seams together before soldering.

We only had maybe…five? ten?…hang-ups along the way… It likely didn’t help that all three of my children are off school and like to create while they’re at the shop with us and are constantly adding some sort of project to get soldered…

But we had a cover that fit, for the most part, so then it was time to form the handles. This is when Bob’s mini forge comes in handy. We fired up the propane (and Bob, bless him, made a sweet little jig for bending), heated up some super fat solid copper wire, and made handles that look very similar to the old photographs.

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Jig for creating copper handles

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Forming copper handles over a jig after blasting with heat.

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Buffing the copper handles

I should mention, as well, that Jan, from the Netherlands, found this blog and was amazing enough to send photos of the jambonnière pan he has in his vintage collection. The cover looks constructed almost exactly to how we did it in our reproduction, though I do covet the base, which looks either rolled to a bead or somehow wired.

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A vintage jambonniere pan – photo sent to us by Jan in the Netherlands!

After getting the handles connected, and folding and creating a simple, thick cover handle, we riveted and checked all the seams, worked together to double bottom the base for strength, and then settled on the final polishing.

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Top handle for copper jambonniere lid.

And suddenly, amazingly, it’s done!

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Finished copper jambonniere ham pan

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Making A Copper Jambonnière Part 2

My ongoing apprenticeship at Backwoods Tin & Copper has been mostly obsessed with finishing up the copper jambonnière pan – not least because we wanted to have it done to show at the tinsmith convergence in Indiana this month.

So the craziness continued.

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Tinning the copper jambonnière in the flat.

After finally creating the bottom pattern that seemed to work, we set about organizing the sides of the jambonnière. Besides knowing they should be about 8” high, we had to figure out a length and a process. This, apparently, was another part where we had to make a few examples and mess up a few  more times.  (I’m starting to realize that creating a new pattern from scratch is about 65% of making copper and tin wares…)

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Preparing the sides for wiring.

Bob finally was able to figure out that putting the wire in when the two sides were joined as a huge circle was the best way to handle it, but that was only after we’d tried to form the sides on the hollow mandrel first, and then wire it. We ended up poking the steel out of the soft tinned copper.

Whoops.

And then there was the math. I’m not very good at math, which is why my husband handles the company accounting for House Copper, etc (thank heaven!) but this tinsmithing math also deals with fractions. Which, to me, is even worse, because they’re never normal fractions – a gripe I often voice when at the tinshop. I believe after Bob tinkered for hours after I left (read: defeated and needing to get my children from school), he ended up with sides that measured 26 5/16”.

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Forming the sides of the jambonnière by hand on the hollow mandrel.

But we still had to free-hand form the sides to match the base, and then create a jig to fit inside the jambonnière base that we then sawed apart and screwed back together in order to create a tight enough structure to allow for seam setting.

We spent more time measuring and creating jigs than we actually did making the base!  But the bottom seam is set, and then we soldered it with a lot of heat.

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Setting down the base seam of the jambonnière

Next will be some time to organize a cover that fits our insane bottom pan shape.

If something ends up measuring something along the lines of 26 15/16” I think I might cry.

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The (re) Making of an American Copper Skillet

In case it hasn’t been obvious, I’m a little enamored with the notion of recreating American copper cookware pieces that have been lost along with the slow disappearance of the hand-made, coppersmith trade itself.

So – surprise! I’ve made a skillet next.

Though most copper skillets were relatively small in terms of today’s expectations (and uses!), they all had high sides (not rounded) and a sharp edge. In fact, they were nearly identical in terms of form and shape to cast iron skillets, even though the copper pieces were made by hand and usually had relatively long wrought iron handles.


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Copper skillet in the tinshop in Metamora IN

Today, you’ll usually see low-sided copper skillets – some lined with tin, and some with stainless. They are softly curved, and have shorter handles. Part of this is because most of us don’t need to hang our copperware right next to the hearth, or stick it in and need an easier way to grab it out of the fire. It’d be very hard to wield the copper skillets of the 1800’s on today’s stoves, or put in the oven.

But I still believe there’s a place for the traditional, slightly tapered, straight-sided skillet in our kitchens. We just have forgotten they existed, and so have stopped looking to use them.

{Photo from American Copper & Brass book by Henry J. Kauffman}

Imagine a cast iron skillet that performs just like a copper pot!? That’s kinda what I thought. And I’m stupidly over-excited about this next piece. Thanks to the help from my good friend and product architect, who can take my sketches, the finds in old books, and my rough descriptions and make it a transferable file, and the master smith I apprentice under…AND all the guys from the tinsmith convergence this June, who are weighing in…as well as the feedback from the people actually spinning the bodies…

Well, it’s coming along!

It’s a big piece – bigger than the other pots in the House Copper line, and it’s thicker too (3mm) because I’m not flaring or rolling the edges (many older, (smaller) versions had wired rims or a beaded edge to help with strength, especially since these were usually formed by hand out of a thinner gauge copper sheet). And though the ductile handle won’t be long, it will still look similar to what was typical in the 1800’s for wrought handles.

house copper

Prototype of the 12″ American copper skillet

And of course, it will be lined with tin.

The skillets of old (and especially ones contributed to an American smith) are hard to find according to Henry Kauffman’s books, and yet they were the easiest to make for the beginning apprentice coppersmith. As it was typically formed from one circle and required no soldering, cuts (other than the circular blank itself) or fancy forming, it was typically a “trial” piece made with nothing but a stake and a hammer.

Traditional coppersmith copper skillet formation. {Photo from American Copper & Brass by Henry J Kauffman}

I’m excited to see each piece come to life – the guys in Ohio will be spinning the copper components from the Texas copper and the handles poured by the family-owned foundry in Lodi CA. And as for the actual drilling, riveting, tinning, polishing and buffing? Well, that’s going to happen (if all goes well) by…me. Because it will help with the pricing so more people can get pure metal cookware in their homes. And because I’d like to use much of what I’m learning in my own apprenticeship.

It’s just like the good old days, isn’t it?

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The Truth about Copper Moscow Mule Mugs

I was going to post a recipe today. Very “garden fresh and organic!” and all that.But instead there’s all this buzz about copper: copper Moscow Mule cups, copper cookware, unlined copper.

And before there’s yet another article published that cites the same source or two, I thought I’d throw my hat in the ring as an American coppersmith and copper cookware manufacturer. I bend copper using tools from the 1800’s, I apprentice under a master smith, and I can tin my copper pots. Suffice to say, I touch a lot of copper.

So first and foremost: copper itself, in the proper amount, is not poisonous.

In fact, it’s a micro-nutrient the World Health Organization says everyone needs to live and many of us fall short of our daily dietary intake. (Sources: US National Library of Medicine National Institutes of Health, Copper Development Association UK/ CDA Inc (USA). Copper is safe in the proper amount.

There are two exceptions to unlined copper: Jam Pans and Bowls. Jam pans are not lined at all because of the science that goes with the sugar process that happens during cooking jam. Bowls aren’t lined because of the science that goes with egg whites and the fact that you’re not heating them.

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But COOK with acidic foods in unlined copper? I’m the first to tell you it’s not safe.

That means using unlined copper with tomatoes, many kinds of hard alcohol, limes and lemons, wine, and the like is a big no-no. (Here is a really lovely chart showing the alkaline and acidic nature of many foods and drinks). Copper is reactive, releases copper molecules easily, and too much of a good thing is never…good.

Copper gets a tricky reputation because we all apparently have long memories when it comes to it (because it was the first metal we really utilized as Neolithic farmers, perhaps…). Some people talk about copper and lead in the same sentence, and that’s also true – back a LONG time ago, copper cookware pieces were held together with solder (“metal glue” as my kids call it) that contained a lot of lead, so people would eventually get lead poisoning. Thankfully, we’re all wiser, and now solder for old cookware repairs are 100% lead free.

And thankfully we’ve learned to line our copperware with something.

The Moscow Mule mugs out there – if they’re silver on the inside – are usually made from stamped/formed/spun aluminum or stainless, with a thin coat of copper on the outside for looks…or even copper paint! Why? Because it’s cheaper and easier to do that than to actually use pure, real, solid copper. These mugs are readily available and relatively inexpensive to make if you’ve got a factory to spin ‘em. So you’re not actually drinking out of a copper mug, but a stainless or aluminum one just dressed up to look like copper.

(How to know if it’s aluminum and not real copper? Pick it up – it’ll be really lightweight! Stainless will be a bit heavier but you’ll also see the circular spinning marks inside so you know it’s not tin or nickel.)

Sometimes you’ll find real, pure copper mugs lined with tin (we do it, but we do it by hand – there’s no other way to tin something), especially vintage pieces. And yes, I know we have the unlined version in the shopping list. I have to tell Bob that he might want to take it off. He has received orders in the past for people who want unlined copper drinking cups – they leave the water (a neutral! no pH!) in the unlined copper overnight and drink it in the morning, believing the copper to have purified the water due to its antibacterial properties.

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Something else that I want to point out – there are several articles that mention using nickel as a lining. That’s totally true and possible to do as the two metals bond, but there’s a reason most of us cookware makers don’t line the copper with nickel much any more – if at all – (and this is true for American coppersmiths as well as the many over in Europe) and that’s because of nickel allergies. If you have a nickel allergy, make sure your copper cookware is lined with something else.

Nearly all copper should be lined.

It can be stainless steel, tin, nickel, silver, (heck, gold would bond as a non-ferrous metal) and even ceramic in some cases.

And while there are endless debates on which type of lining works best for copper cookware or even copper moscow mule mugs, as long as you don’t see any copper where you’re putting food or booze, you’re just fine.

Bottoms up!

PS – this article on Refinery29 is also really great on this super current topic.

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Creating Copper Cookware

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Sara here. Today I’ve spent the majority of the morning working with copper and nothing else. Copper is on the brain.

Copper cookware is an art form that is, to me, timeless because it really does last a ridiculously long time. Copper cookware has been dug up in Egypt, relics of cultures lost thousands of years ago. But what remains? The copper pieces. Copper doesn’t rust, doesn’t crumble the way iron can, and the beauty of my day job is that the tin-lined copper pieces I’m holding over the buffing wheel could very easily be dug up in an archeological dig 5000 years from now.

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That’s insane to realize, but very very true.

It’s not why you buy copper cookware, obviously. You don’t go in a store and say “Clearly, this will last millennia, and therefore I should buy it!”

You purchase cookware based on its ability to perform on your stove, or based on the contents of your wallet. I get it, because I’ve done just the same.

Yes, I create copper cookware in my garage/copper/tin shop. So I’m biased. But let’s go where the discussion about copper cookware purchasing goes first. Your pocketbook.

Figure you purchase a handful of (likely non-stick, paint coated) pieces from the local Target or Walmart. Or maybe you even go to Macy’s, but you’re still not spending top dollar. (I know I didn’t for years!) Fast forward about five years later, and your non-stick coating doesn’t work the same, and might even be chipping off and it’s time to throw that piece of cookware into the trash. The landfill. Then you go out and buy some more. Let’s be generous and say each piece of cookware is $40/e to balance out the really inexpensive and relatively expensive. And let’s say you only buy 1 kind of pot ever. But you have to toss it for safety reasons or because it breaks about every 5 years. And let’s hope you live to be 90, and you started cooking at 30. That’s roughly 13 rounds of $40, so you’re spending $520 to have one pot in your house, which all ends up in the landfill. And that assumes you only get 1 piece – most of us who cook have at least 4 – 7 pieces ofcookware in our kitchens.

Copper cookware is going to last you the rest of your life, plus it’s safe (copper cookware is not made with any non-stick stuff that’s um…not exactly safe and pure) and healthy and green/energy efficient (it’s 25x faster using less heat than stainless), so your gas bill is lighter too.

One copper pot and lid will run you around $500, give or take. And it’ll last you…you know. Forever. No landfill. No unhealthy plastic in your food. Just pure metal cookware. Healthy, transparent, and safe. Just like what we say we want with our actual food. Is it so much to want the same from our cookware?

(You all know tin is non-stick, right? As in… ‘nature’s teflon’ – it’s honestly just like that. Except made in nature. You know. Healthy and safe. Pure.)

I create my copper cookware knowing that I’m supporting a lot of craftspeople in the country – my neighbors, and other family owned and operated small businesses – by working with local sources. I like shaking their hands and watching them spin the copper bodies on the machine (which, by the way, is one of the few things I can’t do in my garage). I appreciate seeing the huge furnace at the foundry (because the other thing I can’t do in my garage is melt and pour ductile iron) where the owner is the guy answering the phones and my emails. And it’s a blast taking the kids up to the rivet maker, where they hunt for old rivets in the cracks while I get a lesson on machinery built in the early 1900’s that still works today to make my copper rivets right up the road from my house.

Am I old fashioned to like such handshaking and supporting local? Yeah, I guess. Do I love manufacturing copper cookware? Heck yeah. Am I obsessed with learning the vintage tinsmithing trade from the master smith, Bob? Definitely. Do I believe in making something (in this case, copper cookware made entirely in America!) that will actually help everyone in the long run, creating a wave of people who cook in something that’s cheaper to heat, won’t end up in a landfill – as proven for the past several thousand years? Absolutely.

So now I’ll get off the soapbox. Go buy some copper. Real copper cookware.