Monthly Archives: March 2017

One from the Bizarre and Unsuccessful: An LHS LiteAPipe Patent Apple


Blog by Steve Laug

This pipe is one that never seems to have made a real impact on the market. I have never seen another one and I really like LH Stern or LHS pipes. I have had quite a few cross my work table over the years. It is an oddity to my mind. It is an apple shaped pipe with a contraption on the bottom that is a part of the bowl. My brother sent me a link to the eBay sale and it was one that I wanted to have for the collection. I have nothing like it and I wanted to see if I could figure out how the contraption on the bottom worked. The seller included some photos of the condition of the pipe. The finish had a thick varnish coat that was peeling and the seller seemed to wipe it down with furniture polish or wax to make it shine. The metal contraption on the bottom was dirty and the knurled handle on the front was intriguing and the bullet shaped cap on the back of the bowl was also interesting. The pipe is five inches long and very light weight. The rim top was pretty beat up from knocking it out on a hard surface. The nicks and chips in the surface while not deep were numerous and made the surface rough. There was a thick cake in the bowl and the lava had run over the bowl onto the rim top. The bowl had a flat panel on each side that had the finish worn off around the edges. The stamping on the pipe was very clean and strangely it was opposite of most other pipes that I have seen. The name is stamped on the right side and the patent information is on the left. It is stamped on the left side of the shank Pat Apl’d For and on the right side it is stamped with the LHS Diamond and under that LiteAPipe. I did some searching on the US Patent website and could find no information on the brand or the design. I also searched for the series name and found nothing either. The pipe was a mystery. I could not wait to get a hold of it and take it apart and see what I could figure out.While I waited for the pipe I broadened my search for self lighting pipes to see if I could find anything with a search that wide. I found three patents for the same kind of concept – two from the 1940s and one from the 1920s. They have the same basic idea of combining a lighting mechanism within the pipe itself to lessen the tools that the pipeman needs to carry. While there are similarities none of them are really close to the design of this old pipe. I think though that these links help establish a time period.

Here are the links and the patent drawing photos:

https://www.google.com/patents/US2532820https://www.google.com/patents/US2595534https://www.google.si/patents/US1938874The first picture below shows the end cap removed and the knurled cap pulled out as well. There is what appears to be a spongy end sticking out of the back of the contraption. The knurled end seems like it has a flint or some such end sticking out of the end of the tube. The side plate looks rough and could be a striker. The concept seems pretty straightforward – a single unit that contains the fluid, flint, wick and the striker on the base of a briar pipe. The pipe man simple fills the reservoir wool with lighter fluid. He sticks the striker/wick in the unit at the bottom of the bowl and when he wants to light his pipe he pulls out the striker/wick. He strikes it on the coarse bar on the right side of the unit.My brother took some photos of the pipe when it arrived in Idaho. You can see the flaking and speckled finish of the varnish on the pipe. The aluminum is oxidized and dirty. The stem is oxidized. Later photos will show that it is missing a large chunk on either the top or the underside of the stem at the button. The next photo shows the contraption on the bottom of the bowl and how it is fitted into a slot on the bottom.The next two photos show the pipe from the front end. You can see the striker/flint on the end of the knurled tube. The second photo shows the rim top.The next two photos show the condition of the stem. It had a lot of tooth chatter and was missing a large chunk next to the button. The seller had turned it to the underside of the pipe so it was less visible.My brother did his usual stellar job of cleaning up the pipe before he sent it to me. He reamed and cleaned out the airway in the stem and the shank and mortise. He scrubbed the externals with Murphy’s Oil Soap and rinsed it with warm water. The crackling varnish coat and the furniture polish the seller had used rinsed off with the scrubbing. He was able to get the bowl cleaned and most of the lava on the rim was gone leaving behind the beat-up rim top. The following photo shows the rim top and the damage there.I wiped down the finish with acetone on cotton pads to remove the remaining damaged finish. The pads came off with a red colour stain. The grain stood out on the bowl and it was a beautifully grained pipe. I debated for a bit about topping the bowl but because it was so rough I decided to lightly top it and remove the damaged areas on the rim. I did not take off much briar but worked to smooth out the rim top.I took apart the contraption on the bottom of the bowl. I unscrewed the bullet cap from the back end of the pipe and pulled out the striker unit. Once those were removed the insert slid free of the bowl bottom. The striker end had a wick that surrounded the flint post in the middle. Under the end cap there was a felt tube that was pushed into the tube and the end cap. I believe the felt was wet with lighter fluid and then the put back together. The right side bar looked to be a striker bar that the end was struck against to get a spark and flame. The burning wick then would be held above the tobacco and the flame pulled into the bowl.I went through my stem can and found almost a twin stem to the original. The taper is virtually the same. There were no tooth marks and only light oxidation and a few nicks in the vulcanite that needed attention.  I fine-tuned the fit of the tenon in the mortise and the new stem was ready to go. I put in place on the stripped down bowl and took some photos to get a good look at what the finished pipe would be like. I am happy with the flow of the shank and stem and the look of this short nosewarmer. I sanded the rim with a medium and a fine grit sanding sponge and then polished it with 1500-4000 grit micromesh sanding pads. I tested the stain pens I had and the medium brown stain pen was a perfect match to the colour of the stain on the rest of the pipe. I touched up the stain on the bowl sides and the shank. After all of the touch up work I took the photo below to show the match of the rim to the bowl.I touched up the stain on the bowl sides and shank and gave the bowl several coats of carnauba wax to have a look at the grain. It is a beautiful pipe. The combination birdseye and flame grain makes a great looking combination. The rich reddish brown stain makes the grain stand out. I also polished the aluminum on the insert and the bullet cap on the lighter contraption. I polished the stem with micromesh sanding pads – wet sanding with 1500-2400 grit pads and dry sanding with 3200-12000 grit pads. I rubbed the stem down with Obsidian Oil after each set of three pads. After the final pad I gave it a last coat of oil and set it aside to dry. I buffed the pipe and stem with Blue Diamond polish on the buffing wheel to take out all of the scratches on the stem and to polish it. The plastic polish works really well with vulcanite stems. I gave the bowl and stem multiple coats of carnauba wax to protect it. I buffed it with a clean buffing pad to raise a shine. I hand buffed it with a microfibre cloth to deepen the shine. The finished pipe is shown below. It is one that I will keep in my collection of tobaciana because of its uniqueness. If any of you know any information about it please send a message in the comments below.

 

 

 

Banding and Restoring a Radford Ravel Rhodesian


Blog by Steve Laug

I am working on the second pipe I chose to work on in the lot of nine pipes I am restoring for the pipe smoker who dropped by a box of pipes that badly needed attention. This one was stamped Radford Ravel and had a mixed finish of smooth top and sandblasted shank and bottom part of the bowl. It is a Rhodesian and the cap is smooth and the rest is sandblast. It was finished in a dark brown stain. The finish was very dirty and there were quite a few sandpits and nicks in the smooth portion of the bowl cap. The shank was crack on the lower right side and extended from the shank end up the shank about a ¼ inch. The stem was a replacement and had a brass washer on the tenon and glued against the shank. When the new stem was made the maker put a space on the tenon to add colour to the stem. I figure that the new stem is what cracked the shank. When I received the pipe the stem did not fit tightly. There were tooth marks, tooth chatter and a lot of oxidation on the stem. There was also a bead of glue around the washer on the tenon.

There was something about the brand on the pipe that rang a bell for me. I have a tin of their Sunday’s Fantasy Tobacco in my cellar and I wondered if they might have made pipes as well.

I did a bit of digging and found the picture on the left that showed some of the tobaccos made by the company and also a great figurine with the name Thomas Radford mild premium pipe tobacco on the base. On Pipedia I found that Radford’s Private Label Pipes were crafted by Chacom for the Pöschl Tabak GmbH & Co. in Germany. This information was from “Pipes, Artisans and Trademarks”, by José Manuel Lopes. The pipes were mass produced with ebonite and acrylic stems and were introduced by Butz-Choquin, Chacom, and Nording. On the stem there is generally an embossed logo that was a stylized R. The pipes were made to use 9mm filters and are moderately priced and very attractive. The following three links were the sources I used for this information.

https://pipedia.org/wiki/Radford%27s

http://www.poeschl-tobacco.com/en/products/

http://www.pipephil.eu/logos/en/logo-r1.html

I also looked on another website and got a little more information on the brand. The Radford’s pipe appears in 6 models in 3 variations 1x time a year in autumn. The so called Radford’s Depot contains a minimum of 1 dozen pipes of the actual running collection. Connected to the depot is a listing of the depot holder in Radford’s News.

This particular brand RADFORD’S SERIE RAVEL was a series of 6 elegant models within Radford’s Collection. They are made from good briar wood, sandblast, black/brown with a polished head’s border in dark-red shade. Very nice rich-in-contrast ring at the shaft’s finish. Mouthpiece from Acryl for 9 mm filter. http://cigar.supersmokers.biz/radfords/

With all of this information I now knew that the pipe was originally made for a 9mm filter. The mortise was drilled deep in the shank to contain the 9mm filter. The replacement stem was a regular push stem without a filter tenon. I took some photos of the pipe before I started working on it. The finish was in really rough shape. You can see the glue and sticky material on the stem near the shank band. I took a photo of the inside of the shank to show the thick tars that had built up on the walls of the shank. The space in the mortise between the end of the tenon and the extra depth for the end of the original filters was filled with tar and oils. It was thick and sticky.I took a close up photo of the bowl to show the thick cake that lined the walls of the tapered bowl. The photo also shows the damage to the front of the bowl where the pipe had been tapped out against a hard surface. The second photo below shows the crack on the right underside of the shank. It appeared to me from the smooth area and the look of the stain that someone had tried to glue the crack and do a repair but it was not done well.The next two photos show the damage to the stem. The calcium build up on the button end of the stem, the oxidation and glue that is globbed on the stem to hold the washer in place on the tenon and the deep tooth marks on both sides near the button show in the photos.I scrubbed down the surface of the bowl with acetone on cotton pads to remove the damaged finish and the grime and oils in the grooves and crevices of the sandblast. I wanted the surface clean so that I could drill a hole to stop the crack before binding it together with glue and a nickel band on the shank. I drilled two pin holes at the end of the shank with a microdrill bit on a Dremel. The first one was slightly short of the end of the crack so I had to drill a second one.I heated the band to make the fit easier on the shank. I painted the shank end with some slow drying super glue and pressed the band in place against the topping board.I scrubbed the bowl with alcohol on a cotton pad to remove that last of the dust. I took pictures of the bowl with the new bling addition. I reamed the bowl with the PipNet reamer to take back the cake to the bare walls of the bowl. I finished the reaming using a Savinelli Fitsall Pipe Knife to scrape the inside of the bowl smooth. I rolled some 180 grit sandpaper around the end of my finger and sanded the walls of the bowl smooth.To remove the damage to the top of the bowl and to clean up the rough front edge of the bowl cap I lightly topped it on a topping board with 220 grit sandpaper.With the bowl exterior cleaned and the damaged rim top repaired I worked on the inside of the mortise and the airway from the mortise end into the bowl. I used the drill bit that is in the handle of the KleenReem pipe reamer to ream out the airway into the bowl. I turned the bit into the bowl using the knurled end to press it through. I cleaned off the drill bit and used the dental spatula to scrape the walls of the mortise all the way to the end where the airway entered the bowl. The amount of grit and oils that came out with the scraping was phenomenal.I wiped the bowl cap down with alcohol and filled in the sandpits around the outer walls of the cap with clear super glue.I cleaned out the shank and mortise once again with alcohol, cotton swabs and pipe cleaners until I had removed all of the loose debris left in the shank.I sanded the repaired patches on the cap with 220 grit sandpaper until the repairs were blended into the surface of the briar. I used a black Sharpie Pen to darken the spots and then wiped the bowl and cap down with alcohol to blend in the black. I scraped the area around the washer and the tenon with a sharp knife and funneled the end of the tenon to facilitate better airflow in the stem. I cleaned out the airway in the stem with pipe cleaners, alcohol and cotton swabs.I sanded the stem with 220 grit sandpaper to clean up the stem surface and wiped the tooth marks down with alcohol. I filled in the tooth marks with black super glue and set the stem aside to let the glue cure.I stuffed a cotton ball into the bowl and rolled a cotton pad into the shank. I set the pipe in an ice cube tray and used an ear syringe to fill the bowl with alcohol and let it sit during the day. I left it sitting all day while I worked on the slot in the stem. At the end of the day the cotton had yellowed the cotton and the alcohol had pulled out tar and oil from the bowl walls.I used needle files to open up the slot in the button. I used a flat, flattened oval and regular oval file to open the slot. I folded a piece of sandpaper and sanded out the inside of the newly opened slot. After sanding it the slot was open enough to easily take a pipe cleaner. By this time the alcohol/cotton ball soak in the bowl was finished. I pulled the cotton balls out of the bowl and the pad out of the shank and threw them away. I cleaned out the shank and airway once again with cotton swabs and pipe cleaners. Once it was clean I stained the bowl with dark brown aniline stain cut 50/50 with alcohol. I flamed the stain to set it in the grain. I repeated the process until the coverage was what I was looking for.I rubbed bowl down with olive oil on a cloth and hand buffed the bowl with a rough cotton cloth. I took some photos of the new look of this old Radford Ravel pipe. The bowl is starting to look really good and shows some promise. I polished the stem with micromesh sanding pads to remove the scratches and raise a shine on the vulcanite. I removed the brass washer on the stem and polished it with sandpaper. I reglued it onto the tenon with super glue. I wet sanded the stem with 1500-2400 grit pads and rubbed it down with Obsidian Oil. There were still scratches and also some oxidation. I repeated the sanding with those pads and then moved on to dry sanding with 3200-12000 grit pads. I rubbed it down with the oil after each set of three pads. After the final pad I gave it a final coat of the oil and set it aside to dry. I buffed the stem with Red Tripoli to try to remove the remaining oxidation and then buffed the entire pipe and stem with Blue Diamond polish on the buffing wheel. I polished the metal band with a jeweler’s polishing cloth. I gave the stem and bowl multiple coats of carnauba wax and buffed the pipe with a clean buffing pad to raise a shine. I hand buffed it with a microfibre cloth to deepen the shine on the briar. The finished pipe is shown in the photos below. It has come a long way from the way it looked when I received it to work on. I really like the looks and the shape of the pipe. I have now finished two of pipes that the pipe smoker dropped off for me to restore before he left on holiday. I look forward to seeing what he thinks of his pipes.

A Very Tired, Very Dirty Stanwell Bent Volcano with a cracked bowl


Blog by Steve Laug

Sometimes when I take in pipes for repair and restoration I am pretty stunned by the condition. This one obviously was an old favourite of the pipesmoker who brought it to me with 8 others in need of some TLC. I sat with him in my living room and went over the repair list of what needed to be done to bring it back to life. It had been restemmed before and the stem was good and heavy so it did not need to be replaced. There were tooth marks near the button on both sides of the stem. It had some deep oxidation that needed attention. Sometime in its life it had been buffed to the point that the stamping was all but gone on the underside of the shank. With a lens I could read Stanwell over Made in Denmark but all but one number of the shape number (1) was buffed away. The finish was sticky to touch from all the waxes and oils on the bowl. The sand blast was pretty worn away and now was shallow. The angled, tapered bowl had a thick cake and it had been reamed into almost an hour-glass shape. The rim top had an overflow of the tars on it and the blast was smooth. There was some damage on the front of the bowl from knocking the pipe out on something hard. There was a small crack on the left side of the bowl from the rim down about a 1/8 of an inch that would need to be repaired. From memory I knew that the bowl was drilled to follow the angle of the exterior of the bowl.When I turned the bowl over the bottom side was covered with cracks. There were four cracks of various sizes that did not go into the interior but rather sat on the surface of heel. They were all different in terms of depth and tended to follow the blast and cut across the ring grain. They were filled with grime and wax. The bottom of the bowl was a real mess.I took a close up photo of the rim to show the damage that had been done to it by reaming it with a knife rather than with a reamer. The cake was sticky and soft and what appeared to be an hourglass shape actually was not it followed the angled bowl walls. I was concerned that the inside of the bowl would also have cracks once the cake was removed. I recommended that we remove entire cake to assess the interior of the bowl. I also took a close up photo of the heel of the bowl to show the cracks.The stem was a replacement that was thick and well made. The fit against the shank was not too bad and there was little gap between the two parts. The stem was oxidized and there was come calcium build up on the first inch on both sides. There were tooth marks and tooth chatter on both sides of the stem near the button.The shank end shows how thick the buildup was inside of the shank. The tars and oils overflow the shank and show up on the end and walls. There were also two small holes drilled to the left and right of the mortise.I reamed the bowl with the PipNet reamer using the largest cutting head. Notice the angle of the cutting head as it shows the angle of the drilling of the bowl. I cleaned up the walls with a Savinelli Fitsall reaming knife.  I sanded the bowl with 180 grit sandpaper wrapped around a piece of dowel. The third photo below shows the bowl after it has been sanded. I scrubbed the exterior of the bowl with acetone on cotton pads to remove the grime and the finish. The grime and oils came off the walls of the bowl and bowl sides and bottom to prepare the bowl for the repairs to the cracks. I drilled each end of all of the cracks with a microdrill bit on a Dremel. There were about 9 holes in the bottom of the bowl and two on the left side at the end of the shank.I put clear super glue into the cracks and pressed it down with a dental pick. I pressed briar dust into the glue and then put more dust in the glue and then more glue on top of the repair to seal it.I used a dental burr on the Dremel to rusticated the repaired areas on the bottom of the bowl and side to match them to the sand blast finish. I knocked off the rough areas of the rustication with 220 grit sandpaper to smooth it into the surrounding finish. The photos show the progress of this process. With the exterior cracks repaired and sealed I turned to work on the internals. The airway in the shank and the mortise was absolutely a mess. I used the drill bit from the KleenReem pipe reamer to clean out the airway into the bowl from the mortise. It was almost closed off with the tars and oils. I turned the bit into the airway until it was smooth. I used a dental spatula to scrape out the inside of the mortise. The scraped tars and oils can be seen in the photos below.There were two small drilled holes in the end of the shank on both sides of the mortise. I filled them in with super glue and briar dust. I cleaned out the inside the mortise and shank with alcohol, pipe cleaners and cotton swabs until they came out clean.The bowl smelled strongly of old tobacco and there were oils in the briar walls. I wanted to remove that smell as much as possible. I stuffed two cotton balls into the bowl, set it in the ice cube tray and used an ear syringe to fill it with alcohol. I left it standing overnight while it pulled the oils out of the briar bowl. In the morning the cotton was stained a yellow brown.I recleaned the mortise and airways after it had soaked using alcohol, cotton swabs and pipe cleaners.I stained the repaired areas on the bowl with a dark brown stain. I used a black Sharpie Pen to fill in some of the grooves in the briar and then restained it. I flamed it with a lighter to set the stain.I buffed the bowl with Blue Diamond on the buffing wheel to raise a shine on the bowl. The photos below show the repaired areas and the blending into the surrounding briar. I set the bowl aside and turned my attention to the stem. I cleaned out the slot with a dental pick and pulled a lot of built up tars from there. I used a sharp knife to bevel the end of the tenon to open the air flow to the slot. I sanded the stem with 220 grit sandpaper to break up the oxidation and to also remove the tooth chatter and some of the tooth marks. Some of them were too deep and they would need to be repaired later. I cleaned out the inside of the stem with alcohol and cotton swabs to remove the buildup in the airway. The slot was very narrow and it was hard to push pipe cleaners through the airway. I decided to open up the slot with needle files to facilitate easier cleaning with pipe cleaners. I did not want to change the shape of the slot, but merely wanted to make it wider and tapered smoothly into the airway. I used both large and small round, oval and flattened oval files to shape the slot. Once I had it large enough for a pipe cleaner to pass through easily I folded a piece of sandpaper and sanded the inside of the slot. I sanded the stem around the button with 220 grit sandpaper and filled in the remaining tooth marks with black super glue. I set the stem aside to dry overnight. In the morning I sanded the stem with more 220 grit sandpaper to smooth out the repairs and blend them into the surface of the stem. I also reshaped the button and smoothed out the repairs I had made there. I wiped the stem down with Obsidian Oil on a cloth to have a better look at where things were at. I noticed a small bubble in the patch on the underside of the stem once I had cleaned it so I put another drop of black superglue on it to fill it in. I polished the stem with micromesh sanding pads – wet sanding with 1500-2400 grit pads and dry sanding with 3200-12000 grit pads. I rubbed the stem down with Obsidian Oil after each set of three pads. After the final set of pads I set the stem aside and let the oil dry. I mixed up a batch of pipe mud – water and cigar ash – and applied it to the inside of the bowl to provide protection to the bare walls while a new cake is formed. When it dried I put the stem on the bowl and buffed it with Blue Diamond polish on the buffing wheel. Blue Diamond is a plastic polish that comes in a block. I load the buffing pad with it and polish the stem and the bowl. I use a light touch on the bowl so that I don’t load up the grooves and crevices with the polish. I gave the stem and bowl multiple coats of carnauba wax and buffed the pipe with a clean buffing pad to raise a shine to the finish. The finished pipe is shown in the photos below. The repairs on the bottom of the bowl blended in very well and those on the stem did also. This is the first of nine pipes that I am repairing for a guy who dropped them off at the house. It is ready for more years of service. Thanks for looking.

 

 

 

Breathing Life into a Preben Holm Zodiac Taurus 12 with an under-slung shank


Blog by Steve Laug

Over the years, since I took up the pipe I have been drawn to pipes made by Preben Holm. He was a Danish pipe maker who made freehand pipes under his own label and under the label, Ben Wade for the US market. He shapes the pipes to follow the grain and flow with it. He made both smooth and sandblast pipes that have a variety of shapes and sizes in the freehand style. He also made smaller classic pipes that always were interesting. There seems to be a certain look about them always gets my attention. I rarely buy them unless it stands out to me and calls me. The first good pipe I purchased is a good example of this. It was a stunning, (at least to my novice eyes) Preben Holm, Ben Wade, sandblast freehand. The pipe shop owner helped me choose it from his estate pipes. I went into the shop near where I worked at that time in Vista, California. He handed it to me, and to me it was a very clean estate pipe. I was in the market for something other than my Medico billiard, which was the only pipe I had at that time. I still smoke the pipe and enjoy it. It is close to 50 years old and it is still going strong.I have since added two more Preben Holm pipes to my rack but they are classic shapes with a twist. Both pipes are what I call a “Dublinish” shape and long shanks and a freehand style mouthpiece. They have rounded edges on the square shank and the rim top. There is no raw plateau on either pipe. The finishes show the same care as all of Preben’s pipes that I have seen or worked on. It has a rich multi-hued brown and dark brown finish that makes the grain really stand out. I traded for both of these in lieu of payment for some restoration work I did for a fellow in Northern British Columbia.To my thinking, Preben Holm was a wizard with shapes and finishes. The sandblast on my freehand maximizes the grain while the plateau on the rim and shank end add another dimension to the look. On the two newer trade pipes I have, the rich brown finish has almost a matte look that I really like. The way in which they are stained also give a deep multi-dimensional look to the grain that is stunning. I keep an eye out for his pipes and regularly cruise eBay looking for shapes that catch my eye.

All of that is background to why I was interested when my brother sent me photos of a pipe he had found on eBay listed as a Zodiac. He wanted to know what I thought of it and if I knew who made it. There was something about the look of the pipe grabbed my attention and I encouraged him to bid on it. There were no takers for the pipe so he soon had it in hand. The shape and the design made me think that it might be a Preben Holm made pipe but I was not sure. The underslung shank, the shape of the stem and the look of the finish under the grime led me that conclusion.
I was flying to Idaho for a visit so I knew that I would see it when I arrived and that would help me affirm my conclusions. In the meantime, I did some research on the brand on the web and found a link to Pipedia (https://pipedia.org/wiki/Zodiac) that confirmed that Zodiac pipes were a brand made by Preben Holm. From research on the web I found that the Zodiac line had pipes made that were stamped with different Zodiac names. I found pipes stamped Libra, Taurus and Gemini. I am sure that there were others in the line either made or in design. What was interesting is that the entry did not have much information about the brand other than that the pipe was stamped Copenhagen, Denmark. However, to me the fascinating thing was that there were two photos of the pipe included that were a match to the pipe I am working on.

The next series of photos show what the pipe looked like when it arrived in Idaho. The finish was dirty and worn but there were no serious issues. There was no top coat of varnish or shellac on top of the finish so that was a plus. (I find that some eBay sellers feel it necessary to make the pipes that they sell shiny before they sell them.)My brother took close up photos of the bowl sides and bottom to show the overall condition of the briar and the finish before he began his clean up job. In the photo of the bottom of the bowl you can see what looks like a crescent shaped flaw toward the front of the bowl. I have circled it in red for identification. It had not been filled but was left open and had collected grit and dirt. The next photo shows the stamping on the underside of the shank. It is sharp and reads Zodiac Taurus over Copenhagen Denmark with the shape number 12 underneath.The rim had some tars and lava overflow from the cake in the bowl. There was a light cake that looked like it was a bit crumbly. The inner edge of the rim showed nicks and damage from having been reamed with a knife. The stem was oxidized and had tooth dents and tooth chatter. The fit against the left side of the shank was slightly damaged. The button was dented and worn down on both the top and bottom sides and the slot was filled with debris.My brother did his usual great clean up job on the pipe. He reamed the bowl with a PipNet reamer and took the cake back to bare briar. He scrubbed the internals of the mortise and airways in the shank and stem with pipe cleaners, cotton swabs and alcohol until they were clean. He scrubbed the surface of the briar with Murphy’s Oil Soap and was able to remove all of the grime and grit on the surface. I took some photos of the pipe when it arrived. He had been able to remove a lot of the buildup on the rim top. There was still some darkening to the rim top. You can see the damage to the inside edge of the rim. The outer edge also had some damage from what appeared to have been an habitual knocking out dottle on hard surfaces. The bowl was pretty clean but there appeared to be some hardened cake on the bottom of the bowl around the airway. I topped the bowl on the topping board using 220 grit sandpaper to remove the damage on both edges of the rim. I topped off enough of the rim to leave the top flat and smooth and minimized the damage on both the inside and outside edges.Once the bowl was topped I used a folded piece of sandpaper to bevel the inner edge of the rim. I wanted to bevel it to smooth out the nicks and cuts on the inner edge of the bowl. I sanded out the inside of the bowl with a piece of 180 grit sandpaper on a piece of dowel to smooth out the bits of cake that remained in the bowl. The pictures below show the process and the resultant bowl top and rim edges. The sides of the bowl are also cleaner. I sanded the rim top with a medium and fine grit sanding sponge to remove the scratches in the briar. I sanded the bowl surface with the sanding block to remove as many scratches as possible. I wiped the bowl down with alcohol on a cotton pad to remove the sanding dust. I cleaned out the pit on the bottom of the bowl with alcohol and cotton swabs. Once it was clean I pressed in some briar dust and then dribbled super glue into the repaired area. I added more dust to even out the surface and let it dry. I sanded the repair with 220 grit sandpaper to flatten out the repaired area and blend it into the rest of the surface of the briar.I wiped the bowl down with alcohol a final time and cleaned out the interior of the shank to remove the dust that had collected from sanding the bowl and repair. I gave the bowl a light coat of olive oil so that I could see the scratches when I sanded it with micromesh sanding pads.I polished the briar with micromesh sanding pads. I wet sanded it with 1500-2400 grit pads and wiped it down with a cloth dampened with olive oil. I dry sanded it with 3200-12000 grit pads and wiped it down between the second and third set of three micromesh sanding pads. I buffed it with Blue Diamond on the buffing wheel and then gave it several coats of carnauba wax. I buffed it with a clean buffing pad and hand buffed it with a shoe brush and a microfiber cloth. I took some photos of the bowl at this point in the process and then set it aside while I worked on the stem. The oxidation was brought to the surface of the stem by the cleaning it with a soft scrub cleanser. I started cleaning the oxidation off with Mr. Clean Magic Eraser and warm water. I sanded it with 220 grit sandpaper to remove the surface oxidation. I reshaped the button with needle files and the sandpaper. I sanded out the tooth marks and dents in the surface of the stem. The first two photos show the condition of the stem when I started.The next photo shows it after the initial sanding and scrub with the Magic Eraser. You can still see spots on the black vulcanite but it is pretty clean.  I ran a pipe cleaner through the airway and worked it around the button to clean out any remaining debris. It was pretty clean. (I was on a roll and forgot to take photos of it right after sanding it with the 220 grit sandpaper and reshaping the button.)I polished the stem with micromesh sanding pads – wet sanding with 1500-2400 grit pads and dry sanding with 3200-15000 grit pads. I rubbed the stem down with Obsidian Oil after each set of three pads and after the final pad gave it a last coat of the oil and set it aside to dry. I put the stem back on the pipe and buffed the stem with Blue Diamond. I gave the bowl and stem several more coats of carnauba wax and buffed it with a clean buffing pad. I hand buffed it with a microfiber cloth and took the following photos of the pipe. The finished pipe is shown in the photos below. It is a beautiful example of Preben’s workmanship. The finish may have originally been a light brown stain but I am pretty sure that it was a natural/virgin finish using no stain. This may be one that joins the other ones in my collection of Preben Holm pipes. Thanks for journeying with me in the restoration process.

A Review of “Rattray’s Booklet on Tobacco Blending: A Disquisition for the Connoisseur,” and the Original Text


Review by Robert M. Boughton

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Photos © the Author except as noted

“Look at almost any painting.  Three-quarters of the can vas is covered by the background.  Tradition is the background of our life.  Take away the background, and you have spoilt the painting.”
— Charles Rattray (1880-1964), quoted in “Up in Smoke,” article by Russell Kirk, Chicago Sunday Tribune, December 9, 1956A FOREWORD FOR MODERN TOBACCO CONNOISSEURS

Charles Rattray

Had I not chanced upon one of Gregory L. Pease’s always informative and entertaining essays in a browser search for better information about Charles Rattray, the late great Scottish tobacco blender, than the scads of teasing, contradictory bits and pieces that clutter the so-called Information Superhighway, I might never have learned about the “Disquisition.”  I was working on a review of Rattray’s Jocks Mixture, determined to dig up some real dirt about the blend and the methods of the man whose name was on the tall orange tin.  Just when I thought I had wasted almost an hour making frequent refinements to the search terms, up popped Mr. Pease’s listing at the top of the page, with the wholly irrelevant seeming title “Those Pesky Non-Polar Molecules.”  Doubtful but intrigued, I scanned the URL’s blurb that ended with the incomplete sentence, “In fact, Charles Rattray, in his ‘Disquisition….”  Stifling some very ugly words even though I would have been the only human to hear them, but with the presence of mind to consider the sensibilities of my cat, Tiger Lily, I jabbed the blue link.

Speed reading the piece, the gist of which was fine and dandy but all about the different ways to preserve tobacco and maybe even improve its taste, blah-blah-blah, I came across the sentence I was gasping to find.  As I read, I stopped breathing altogether.  Here are the only words in the entire essay, which I saved to my Favorites because I gathered enough to know I would enjoy the real subject more at a later date (as I did), that began my quest anew: “In fact, Charles Rattray, in his ‘Disquisition for the Pipe Smoker,’ wrote that the last bowl from his tins would be the best.”

And so, typing the given title for another search, I saw there were 1,950 entries, the top three being other links to the same article by Mr. Pease, followed by everything from pipe smoking in Middle Earth to a disquisition on the evils of using tobacco.  Well, I can tell you, I had just about had it.  But being relentless, I added “rattray” before the same title, and although the possibilities were a touch fewer at 1,139, well down the first page I felt a glimmer of hope in the description of a site called “Welcome to the Pipe Tobacco Aging, Storage, and Cellaring FAQ!”  Maybe the exclamation point stopped me enough to spy, among various sentence fragments separated by more damned ellipsis marks, one with Rattray’s in bold and another being “Disquisition for the Connoisseur.”  Clicking on this link to verify that Mr. Rattray was indeed the author of said Disquisition, I had to exercise a level of patience that is atypical to my normal threshold, and forced myself to venture 47 pages – or halfway down my scroll bar – into the bowels of the collection of documents, on the subject with the exclamatory heading noted above, before I came across yet another Mr. Pease quote, this one referring to Rattray’s “Disquisition for the Connoisseur.”  Why, in the name of all that’s holy, I beseeched myself, had I not just Googled that whole term in the first place?  At any rate, there is a purpose to all of this verbiage.

Mindful of not being the only tobacco pipe aficionado to have read the famous and extraordinary discourse by Mr. Rattray, founder of the famed House of Rattray, I am certain of the high probability that still many more like-minded pipe folks out there remain oblivious to its existence.   The sole reasons for such a detailed description of the blocks I encountered while hunting for a bona fide version of the work are to demonstrate the sometimes arduous task of locating the exact document one knows exists somewhere, even with search terms one would have every right to believe are sufficient, and to make the fruit of this personal crusade available with fewer trials to others who also seek accurate details of Mr. Rattray’s lifework, including his own published wisdom.  The Disquisition that follows my foreword is essential reading toward that end.  The clear opinions in this opening commentary are my own.

Steve Laug is, as am I, an acknowledged enthusiast of the habitual conditions called Pipe Acquisition Disorder (P.A.D.), Tobacco Acquisition Disorder (T.A.D.) and Pipe Tobacciana Acquisition Disorder (PTAD) – which I propose henceforth be referenced in combined form as Pipe, Tobacco and Tobacciana Acquisition Disorder, or PTTAD for those of us who are self-diagnosed or in denial.  As such (with an emphasis on PTAD, under which category I suppose the Disquisition falls), Steve published the same copy in 2012, calling the booklet a catalog and adding only a brief opening comment recommending it to readers.  The full name of the 30-page tract is somewhat misleading given the use of the prepositional phrase “on Tobacco Blending” followed by the subtitle “A Disquisition for the Connoisseur.”  The two parts combined suggest far more particulars of the contents of the Rattray’s mixtures, meaning the nine available when the Disquisition was written, than the blender’s seminal publication reveals.  Even so, the work remains a fascinating insight into the personality and philosophy of its author as much from its disclosures as its omissions.  Some of these show apparent deliberation while others tend perhaps toward the subconscious.  By the way, as of today, more than 40 Rattray’s blends have been released.

My frustration locating an online copy of the great work, even after the attempts already described and one more that pulled up a boggling number of references in tobacco discussions, articles and commentaries, turned out to be the result of my own failure, which I concede in advance was a bit stupid, to add the single word “online” after the second part of the Disquisition’s name.  In frustration, and with my tail between my legs, I dispatched a message to Mr. Pease, an eminent blender of fine pipe tobaccos in his own right, soliciting his aid.   His quick and thoughtful response led to the copy included here in its entirety, and by example to links of many others.  A quick but excited first reading set my mind abuzz with perceptions garnered from the primary source of this review that for the most part I did not find echoed anywhere else in my research.

Unlike some facsimiles, the PDF to which I was guided includes curious handwritten notes on the title page and one other.  Having exhausted every means of deciphering the words, which I considered might or might not be in English, and even consulting online Scottish alphabet and cursive handwriting sources, I made an unconditional surrender as to the words on the title page.  Regarding those on page 22, I ventured a guess that I thought was grasping.  In the end of this particular pursuit, I reached out for Steve’s almost encyclopedic opinion.  Two mornings ago, just in time to begin the final revisions to this review (or so I thought), I was rewarded with his agreement, in the latter of two responses via email, that the second note seems to be “write re shipping.”  But Steve’s initial response, appearing in my inbox below the other and concerning the title page, astounded me.  He interpreted it as a name, “Sh q. Jensen.”  Smiling and nodding in silence, almost laughing out loud, I revisited the title page and could only concur – with one suggested amendment: building upon Steve’s astute conclusion, the notion that Sh might be an abbreviation taken from some book owners’ proprietary need to write or in other more OCD examples stamp words to the effect of “From the library of (insert name),” I reasoned that Sh could be an abbreviation for “shelf,” as in “From the shelf of Q. Jensen.”  With a final search for words and acronyms involving the two letters in question, I confirmed the wild guess at the fifth Web link in my list of sources.

Nevertheless, the original year of the Disquisition’s distribution remains a mystery, but be assured I will not give up trying to find a definitive determination.  For now, I can report with certainty that the booklet was issued much later than I had believed, considering the extended quote on page 2, replete with the type of romantic nostalgia popular to many Scots of great and lesser renown, and most often encountered in the bawdy singing heard in pubs of that proud and sentimental country that forms roughly the northern half of Great Britain.  Attributed to a certain gentleman whose prose leaves no doubt he was a Scotsman with literary aspirations, by the name of B.A. Forbes, the essay, titled “Snuff – and the ‘Forty-Five’,” appeared in Chambers’s Journal of Popular Literature, Science, and Arts in August 1936.  For the edification of anyone familiar with or interested in this magazine, it was published under that name in London from 1854-1956 as the continuation of its predecessor, Chambers’s Edinburgh Journal (1832-1853, published in Edinburgh).

For a glimpse at Rattray’s nationalistic pride and his personality in general, and tobacco blending philosophy in particular, the primary source of which I have already hinted, of course, is Rattray’s Booklet on Tobacco Blending: A Disquisition for the Connoisseur.  Again, there are frequent mentions of “Rattray’s Disquisition” or just “the Disquisition,” the latter reminiscent of rare classical music masterpieces, for example Johan Pachelbel’s Canon in D Major for strings, with its alternating melancholy and somewhat more upbeat parts, being referred to as “the Canon”; J.S. Bach’s Toccata and Fugue in D Minor for organ, called “the Fugue,” and Tomaso Albinoni’s Adagio in G Minor for strings and organ, a work of a profound  sense of impending doom that builds into an almost harrowing conclusion, known as “the Adagio.”

The Disquisition is divided into eight parts: an informal preface; the foreword proper; a synopsis of the five elements of creating what the master blender and author called the House of Rattray’s “adherence to the true unhurried craftsmanship, the secret of our success;” six blends specifically identified as Scottish Mixtures, showing their domestic prices; “Cabinet,” or sampler pack choices with their prices; three All-Virginian Mixtures giving the same pricing; Export Prices for the pipe tobaccos, and, described last but with effusive pomp, Rattray’s Hand Made Cigarette (the Golden Leaf of Old Virginia), the reason “why we have one cigarette and one only,” again with domestic and Export Prices depending on the quantity ordered.  All prices are stated in shillings and pence.  For example, the lowest domestic price per ¼ lb. tin of Red Rapparee and Black Mallory is shown as 9/2, or nine shillings two pence.

Every pipester, as Mr. Pease sometimes calls us, whether he coined the term or not, should give the Disquisition thorough consideration.  If the reader is as inquisitive as I am, he (and I use the pronoun in the formal writing sense, not to exclude the many women among us) will find himself more and more engrossed, compelled to keep turning the pages, as it were.  In fact, I, for one, hope someday to own a genuine, ink and paper original printed edition of the prideful, almost swaggering presentation.  Moving forward from the weathered but elegant title page, take in every detail and nuance that combine to create a portrait of Charles Rattray, the man, the Scot and the tobacco blender.

Read every word of the text, as all of them were chosen by the author with the skill of a master craftsman, the cunning and wile of a politician avoiding the real answers to questions, the reluctance of the true chef to reveal too many secrets of his recipes – and, last but above all else, the fierce pride of the Scotsman who created the invaluable legacy of the now almost forgotten traditions of quality tobacco blending.

Study every image of antique statuettes and jars, each of them a special illustration of the centuries old history, traditions and values of the tobacconist’s trade, and singled out by the hands of the founder of the House of Rattray from his family’s vast, treasured collection.

Don’t miss a single quote related to the enjoyment of pipes and tobaccos, selected by Mr. Rattray with the same attention to history and tradition that is the theme of his Disquisition, which further illustrate the purpose behind his vocation and business, and when combined with the images of priceless tobacciana are especially telling of his sentiments.    Beginning with the longest from B.A. Forbes found at the end of the preface, the quotes, all derived from sources subject to the British Crown, continue in small bars heading each page of the following Foreword and the synopsis of the four fundamental preparatory acts, with the fifth being the final choices of which leafs and their quantities to choose for a given blend, and provide an enhanced understanding of the Rattray story.

That story and a large part of Mr. Rattray’s pride began with the Clan Rattray.  According to legend, the Clan dates to the early11th century, when Malcolm II, born c. 954, King of Scots from 1005 until his death in 1034,  granted one of the first men of the Rattray surname –which at the time was an ancient variation –the position of Laird of Rattray.  The royal appointment as laird, or landed proprietor, gave the early Rattray immediate authority over the occupants of Perthshire, now the County of Perth, and also made him accountable to the king for payment of certain incomes in that period’s equivalent of taxes.  It was true then as it is now: every promotion comes with a price.  For more details of the legend of Clan Rattray’s origin, based on the accounts passed down through the family for more or less a millennium, there is as always a link in my sources.

When Mr. Rattray died in 1964, his son, Charles Rattray, Jr., inherited the Scottish tobacco throne.  At some unclear point in the 1970s (or, in the alternative provided by less reliable sources, the 1960s), Robert McConnell Tobaccos of London assumed responsibility for some of the Rattray’s blends.  Which specific blends is unclear, depending on the source consulted.  Some say all of the Rattray’s English blends were assigned to McConnell; others posit the vague notion that “blends intended for export to the U.S.,” which category begs interpretation as either specific blend names made for sale in the U.S. alone, or those that were available here.  Either way, the latter idea seems, perhaps only to me, laughable considering the lack of any handy evidence supporting a theory that any product made by Rattray’s was excluded for sale in the rest of the world or not available to U.S. importers.  The tenuous claims I have mentioned are intended for the reader’s own conclusion or, I hope, to inspire debate, and in no way alter the fact that both McConnell and Kohlhase Kopp became involved in the evolution of the House of Rattray after the founder’s death, with the latter at whatever date assuming current ownership.  I always desire and appreciate input readers may have concerning these or any other statements I make in my various contributions to this forum.

The complete transition of Rattray’s ownership is also subject to debate.  Kohlhasse Kopp & Co. of Germany was formed in 1979, not long before the universal dating of the House of Rattray’s closure in 1980.  The question remains, however, whether McConnell ever had complete control of Rattray’s production until 1990, when the best sources I can find assert Kohlhasse Kopp’s acquisition.  There is no doubt, at least, that Rattray’s pipe tobaccos are now manufactured in Denmark.

I will leave the final point of contention in the worldwide community of tobacco pipe smokers, relative to the overall quality of Rattray’s products after Mr. Rattray’s death, to the many members of that clan.

Antique Fairweather & Sons tobacco tin, courtesy of the Internet

If there is such a thing as predestination, Charles Rattray is the perfect example.  The man who can reasonably be credited with perfecting if not creating a style of tobacco known today as the Scottish mixture was born in Dundee – where he began learning the skills and knowledge that led to his long reign as the premier blender in Scotland – at Fairweather & Sons.  Some of his early blends while in the employ of Fairweather were deemed suitable for sale at that establishment.

House of Rattray, found on Pipedia

The details of Rattray’s ascension to the throne vary in the sources cited at the end, but my account of his rise is based on the most reliable of these.  He remained in Dundee until 1903, when, at only 23, he set out for the capitol city of Perth and worked at the Brown Tobacco Shop on High Street 158, which he purchased eight years later and renamed as the House of Rattray. The rest, as the saying goes, is history.

SOURCES

http://archives.chicagotribune.com/1956/12/09/page/24/article/up-in-smoke#text
http://glpease.com/BriarAndLeaf/?p=28
https://rebornpipes.com/tag/rattrays-tobacco/
http://www.glpease.com/about.html
https://www.allacronyms.com/SH/Construction
https://pipedia.org/wiki/Rattray’s
https://www.lincolnwatchclinic.co.uk/rattray-s-tobacco
http://atthebackofthehill.blogspot.com/2008/11/astleys-no-99-full-latakia-mixture.html
http://www.loringpage.com/attpipes/tobdatepaper.html
http://www.tobaccopipes.com/blog/rattrays-past-present-and-future/
http://kohlhase-kopp.com/ceemes/tabak/rattray-s/?ref_pfeifentabak
http://www.clanrattray.com/about-the-clan.aspx
http://de.kompass.com/et/c/kohlhase-kopp-co-gmbh-co-kg-tabakwaren-import-und-grosshandel/de187782/
http://www.fumeursdepipe.net/telecha/rattraysbooklet.pdf

A Desirable REJECT London Made


Blog by Dal Stanton

When I came across this classic half bent billiard while I was trolling through 100s of offerings on eBay’s auction block, I paused. The first thing that claimed my attention was its size. If there was ever a ‘meat lovers sized’ pipe, to use the American burger sound bite, this would be it. The UK seller simply described it as a ‘superb large bowl’. When the pipe arrived, I measured it and it is: length 6 5/16 inches, height 2 3/8 inches, chamber diameter 7/8 inches, chamber depth 1 13/16 inches, and the full stummel width is 1 3/4 inches – 68 grams for those who weigh pipes. A fist-full of stummel! Here is the eBay picture of the Billiard.The other interesting thing about the eBay offering was its marking.  The left shank side reads “REJECT” over “LONDONMADE”.  The only lead I found for this “REJECT” stamping was in ‘Who Made That Pipe?’ by Herb Wilzak and Tom Colwell, which provided only one reference to “Reject” as belonging to the W. H. Carrington Co. started in 1891 by William Henry Carrington in Manchester, England.  This came from the brief Pipedia article which also states that after a century of operation it went out of business.  I found more information in a Pipes Magazine Forum thread  but the source of the information was not cited.

WH Carrington as an entity dates back at least to the late 1880s. It continued to exist for about a century, with liquidation notices appearing in the London Gazette in 1987. Whether or not the business remained in the family that whole time is another matter; I doubt it, but have no evidence one way or the other.

Most threads I read commenting on WHC pipes were about earlier turn of the century pipes with hallmarks – a much earlier vintage.  I came up empty finding information that would confirm that the Reject before me is indeed a WHC pipe except for Wilczak and Colwell’s reference.  With a very nice looking Reject on my work table now, I take additional pictures to fill in the gaps. The question that begs asking is what is ‘Reject’ about this pipe?  Overall, it’s in good shape.  The chamber has very mild cake build up, and the stummel surface shows some small fills and usual dents of wear.  The stem has been cleaned, it seems, very little chatter or oxidation.  I only detect two issues as I look at the Reject London Made.  First, the finish on the stummel is shiny and acrylic-like, which, to me, hides the natural briar.  It is cloudy and I’ll remove it and work on the broad landscape of this stummel real estate to bring out the briar.  I like this challenge!  The other issue is the stem – it is under-clocked and a bit catawampus.  I will heat the vulcanite and restore a good bend in alignment with the pipe.  The reason this pipe was stamped ‘Reject’ coming out of the factory is a mystery to me unless it was destined to be a higher end pipe and the briar had too many imperfections…. Only conjecture and I would appreciate anyone’s input on this.

I begin by plopping the stem in an Oxy-Clean bath even though the oxidation seems very light.  While the stem is in the bath, I use the Savinelli pipe knife to clean up the chamber walls which takes little time.  I follow by sanding the chamber wall with 240 grit paper wrapped around a Sharpie Pen.  To clean the carbon dust residue, I wipe the chamber with a cotton pad wetted with isopropyl 95%.  The pictures show the progress. I like working on a clean pipe so I work on the internals using cotton swabs and pipe cleaners dipped in isopropyl 95%.  With very little effort the mortise and draft are clean.Moving to the external stummel surface, I use Murphy’s Soap undiluted with cotton pads and a bristled tooth brush to clean the grime off.  The Murphy’s Soap does a good job removing the old shiny finish.Looking closely at the surface, the dent I saw earlier I want to remove using the iron approach, that I have yet to try, but this dent looks like a good candidate.  I’ve read several other restorations where this method was used.  Using a heated clothes iron, I use a wet wash cloth and lay it over the dent area and then I apply the iron to that point.  The concept is based upon the water content of wood being heated and absorbing the water and expanding the dented area – wood is a sponge-like material when wet.  I apply the iron several times and gradually I see the severity of the dent lessening with each heat application.  I can still see the dent but it should be more easily removed using a sanding sponge. Using a medium and light grade sanding sponge I work on the stummel to remove the minor wear nicks and dents on the surface. I like a softer edge on the inner rim lip so I introduce a gentle bevel both to give it a softer look and to remove some scorched areas. I think an inner bevel adds a bit of class as well.  I first use a coarser 120 grit paper to cut the bevel then I follow with 240 grit and 600 grit paper to smooth and blend the bevel.  The pictures show the progress. I now turn to the micromesh pad cycles.  Using pads 1500 to 2400 I wet sand the stummel followed by dry sanding with pads 3200 to 4000 and then 6000 to 12000.  Throughout the sanding, I’m careful to avoid the Reject markings. The grain is looking good.  The pictures show the progress. I put the stummel aside and fish the stem out of the Oxy-Clean bath.  Very little oxidation has surfaced.  I use 600 grit paper and wet sand the stem followed by sand buffing the stem with 0000 steel wool.  The pictures show the progress.Before I proceed further with the internal cleaning of the stem and the external polishing, I want to correct the bend of the stem.  With great difficulty, I am able finally to pass a smooth pipe cleaner through the stem.  The pipe cleaner helps to maintain the airway integrity while I heat and re-bend the stem. Using the heat gun to heat the stem, I turn the stem to apply the heat evenly over the stem to soften the vulcanite making it pliable.  I then straighten both the stem clock-wise to correct the under-clocking.  While still pliable I re-establish the bend over a block of wood and set the new shape under cool tap water.  The first time around, the button was still not ‘clocked’ to my satisfaction.  I reheated and made the additional adjustment and again, set the shape under cool tap water.  I reattach stem and stummel to eyeball things and the newly aligned stem bend and clocked button look good.  I take pictures to chronicle the progress with the stem. I now clean the internals of the stem using pipe cleaners dipped in isopropyl 95%.  The stem is clean but I find that even though I’ve re-bent the stem the pipe cleaners will not move through the bend of the stem.  I decide to open the slot area with a round pointed needle file moving it back and forth in the slot.  After this, I take a drill bit, smaller than the slot opening, and insert it into the airway rotating it against the edges of the airway hoping to expand the internal airway area as it enters the slot.  This seems to help yet the bend is still tight on the pipe cleaners, but they are passing through.  The stem is clean.  The pictures show the progress. Time to bring out the micromesh pads to finish the stem.  With pads 1500 to 2400 I wet sand the stem.  I follow by dry sanding with pads 3200 to 4000 and then 6000 to 12000.  With each set of 3 I apply Obsidian Oil to the stem to revitalize the vulcanite, and I love to see the pop of the vulcanite as it moves through the micromesh cycles!  I put the stem aside to dry.  The pictures show the progress. Turning back to the stummel, I decide to apply Fiebing’s Dark Brown Leather Dye to the Reject London Made to emulate the darker hues of the original finish.  Since it is an aniline dye, I can lighten the finish to taste by wiping the stained stummel with cotton pads wetted with isopropyl.  The large stummel has a lot of briar real estate to show off with a smattering of different grains – pleasing to the eye and a handful of stummel to boot!  I just acquired Fiebing’s Black Leather Dye and I decide to experiment.  I will add a touch of it to the dark brown to create the blend.  The first snag I run into is that this is the largest stummel I’ve worked on and my usual corks that I use to prop the stummel on the candle stick during the staining process were too small.  I rummaged through our cork supply and found only one large enough.  I warm the stummel to expand the briar enabling the dye to absorb better into the grain.  I apply the dye liberally over the surface with a pipe cleaner folded over.  Then I fire the wet dye and the alcohol content burns off setting the stain.  I repeat the process again to assure total coverage and set the stummel aside to rest.   After several hours, I ‘unwrap’ the fired stummel using the Dremel mounted with a felt buffing wheel.  With the Dremel at its slowest speed, I move methodically over the stummel applying Tripoli compound to remove the crusted fired surface.  I don’t apply too much downward pressure on the briar but I allow the RPMs and the compound to do the work for me.  After completed, I use cotton pads wetted with alcohol to wipe down the stummel to lighten the stained finish and to blend the dye.  After this, I mount a cotton cloth wheel on the Dremel and apply Blue Diamond compound and methodically work the wheel over the entire surface.  After completed, I again wipe the stummel with cotton pads wetted with isopropyl 95%.  I follow this by doing another quick tour over the stummel with the Blue Diamond.  The use of black dye with the dark brown has the effect of darkening the grain which I’m liking as I see the grain surfacing through the compound cycles.   The pictures show the progress.To remove the compound dust, I hand buff the stummel with a flannel cloth.  After mounting the Dremel with a cotton cloth wheel and increasing the speed to 2, one notch over the slowest, I apply several coats of carnauba wax to the stummel and reattached stem.  I follow this with a rigorous hand buffing with a micromesh cloth.  When I experimented by adding black dye to the dark brown I didn’t anticipate the unique hue that would result.  The briar grain veins seem to have latched on to the black and the lighter grains came out with a golden/copper kettle blend that is striking – very interesting and attractive.  If this REJECT – LONDON MADE is a product of the W. H. Carrington Co., I cannot say why it received this factory stamp.  For those who like huge pipes that fill the hand, this big boy, bent billiard fits the bill and needs a new steward!  All the profits of pipes I sell help the Daughters of Bulgaria, an organization we work with that helps women and children who have been trafficked and sexually exploited.  If you’re interested in this REJECT, hop over to my blog site, The Pipe Steward.  Thanks for joining me!

 

 

Replacing a broken tenon on a L’Anatra dalle Uova d’Oro Apple


Blog by Steve Laug

I got a call from a customer of a local pipe shop about a possible pipe repair. He had dropped his L’Anatra dalle Uova d’Oro pipe and the stem had snapped at the tenon. He wanted to know if I could repair it for him. He stopped by yesterday afternoon for me to have a look at it and today I had the time to work on it. This kind of break is actually a nice one if you are going to have them. It snapped off pretty close to the stem end and he was able to pull it out of the shank. This is actually the first L’Anatra pipe that I have worked on and one I could easily have added to my collection. It is my kind of shape. I have looked at them in various pipe shops and always like the look and the feel but this is the first one that has crossed the work table. The pipe is stamped on the left side of the shank with the name of the brand L’Anatra, under that it read dalle Uova d’Oro. Underneath it reads Made in Italy. L’Anatra dalle Uova d’Oro in English means “The Duck that Lays Golden Eggs”. On the underside of the shank it is stamped with three eggs which refers to the grade of the pipe.

When he dropped the pipe off, I took some photos of the broken tenon. The first three photos show the pipe before I started the repair. I used the Dremel and sanding drum to flatten out the end of the stem and finished it on the topping board to make a flat surface for the new tenon to sit against. I started drilling out the airway with a drill bit slightly larger than the airway and worked my way up to the same size as the threaded end on the new tenon. I do not use the power on the drill but rather carefully turn the stem onto the drill bit slowly making sure to hold the stem straight against the bit.Once the airway is opened to the length of the threaded portion of the new tenon I used a tapping tool to thread the sides of the newly drilled airway so that I could screw in the new tenon.Once the airway was tapped I used a knife to cut a small bevel in the end of the stem so that the new tenon would sit tight against the face of the stem. I used the knife to also bevel the end of the tenon to match the original tenon that had broken off. With all the preparations done I screwed the tenon in place to check the fit. Once I knew that the fit was correct I unscrewed it from the stem, brushed the threads with some slow drying epoxy and turned the new tenon into the stem. This was a case of a perfect fit. The photo below shows the newly replaced tenon.I noticed there was some light tooth chatter on the stem so I polished it out with micromesh sanding pads. I wet sanded with 1500-2400 grit pads and dry sanded with 3200-12000 grit pads. I wiped the stem down with a damp cloth to remove the sanding dust. I polished the tenon with micromesh sanding pads to remove the sanding marks and scratches in the Delrin. I put the stem in place in the shank and buffed the bowl and stem with Blue Diamond on the buffing wheel and then gave the stem and bowl several coats of carnauba wax. I buffed it with a clean buffing pad and hand buffed it with a microfiber cloth to give it a deep shine. The finished pipe is shown in the photos below. The owner will soon pick up his pipe and fire it up again with his favourite tobacco. Thanks for looking.