Daily Archives: April 9, 2019

Restoring a 1965 Dunhill Shell Briar # 56 F/T 3/4 Bent Billiard


Blog by Paresh Deshpande

I had just finished restoring the fifth Dunhill from my Mumbai Bonanza find, a 1962 DUNHILL SHELL #196 F/T and now this is the sixth. I am left with only one Dunhill pipe to complete from the Mumbai Bonanza, a smooth finish LB.

I was fortunate enough to have heeded to the advice of my dear friend and mentor, Mr. Steve, and struck a deal with a trash collector from Mumbai. He did not know what he was selling and I did not know what I was buying as we reside in different cities!! The argument that Mr. Steve presented was that if not anything, I shall at least have some spares and this was logical. I struck a deal and here are pictures of the pipes that I received in this lot. This lot contains some very nice collectible pipes, a few well known brands and some mediocre brands. Overall, with seven Dunhills, a Preben Holm #1, a couple of “Made in England” Pete System pipes, Charatan’s, Custom-Bilt, Stanwell and other assorted pipes, I would say that I had hit a huge jack pot!! Hence, I like to call this find the “Mumbai Bonanza”.

The pipe that I decided to work on from this find is another Dunhill, a 1965 Shell Briar 3/4 bent billiard, and is marked in pastel pink circle in the picture below. It is stamped on the underside of the shank with the shape number 56 followed by F/T followed by DUNHILL over Shell Briar followed by the COM stamp Made in over England 5 (underlined) which dates it as being made in 1965. This is followed by Group size number 4 in a circle and letter S for Shell. Dunhill White Dot adorns the top of the vulcanite stem. The stampings are very slightly worn out and easily readable.In this short journey of mine in to the world of pipe refurbishing, this particular pipe has one of the deepest and beautiful sandblast patterns that I have come across. The sandblast on this pipe speaks volumes about the skills of the pipe carver. With this thought, I move ahead with the restoration of this beautiful medium sized sandblasted Dunhill bent billiard and restore it to its glory.

INITIAL VISUAL INSPECTION
The chamber is clean with a decent and even thick layer of cake. From what I can see, the chamber walls appear to be without any damage. The chamber is odorless. There is an overflow of lava on the sandblasted rim top surface. The inner and outer rim edges are undamaged. The walls appear to be thin. Is this a case of over reaming or is it because the carver decided to compromise the wall thickness for deeper sandblast patterns?The stummel boasts of some beautiful sandblast pattern of mix of straight and cross grain all around. It is dirty with grime, oils and tars filling in much of the craggy finish. The briar looks lifeless and dull. The mortise shows minor accumulation of dried tars mixed with ash and remnants of tobacco. This will have to be cleaned and refreshed. The vulcanite stem shows a minor damage to the button end with minor chatter on the lower surface. The lip edges have a few bite marks and will have to be reshaped and made crisp. The stem is oxidized; however, the quality of vulcanite is good. The white dot on the upper surface has faded in some places but is still distinctly visible. This cannot be helped and status quo has to be accepted.There are no major issues to address here on this pipe; just a little TLC and the pipe should be good to go…nah, find a place of pride on my rack!!

THE PROCESS
I start this project by tackling the stem first. I sand the stem with a folded piece of 220 grit sand paper to erase the minor tooth chatter on the lower surface, get rid of the oxidation and provide a smooth surface for the intended fill to reconstruct the button edges. I cleaned out the internals of the stem with hard bristled and regular pipe cleaners dipped in isopropyl alcohol. Once I was satisfied with the internal cleaning, I wiped the stem surface, particularly the damaged button end, with a cotton pad and alcohol to remove any traces of dirt and grime. I prepared a mix of CA superglue and activated charcoal and carefully applied it over the damaged lip and set it aside for curing over night. Before moving ahead, I would like to mention here that I had applied this mix in sufficient thickness which would help during the filing and sanding while shaping the button and achieving the correct lip edge profile.While the stem repair was set aside to cure, I moved ahead to deal with the stummel cleaning. With size 3 head of a PipNet reamer, I took the cake down to bare briar. Using a folded piece of 180 grit sand paper, I sand out the last traces of cake and expose the walls of the chamber to ascertain that there are no cracks/ heat fissures. I wiped the chamber with a cotton pad dipped in isopropyl alcohol to remove the carbon dust left behind by all the reaming and sanding process. The walls of the chamber were solid with no damage. This was followed by cleaning the mortise by scraping away at the dried gunk with my fabricated spatula and followed it up with further cleaning using cue tips, pipe cleaners and shank brush dipped in isopropyl alcohol. This eliminated all traces of old smells from previous usage. I followed up the internal cleaning with external. Using a soft brass wired brush I gently scraped away the thick lava coat in the blast of the rim. With a hard bristled tooth brush and dipped in undiluted Murphy’s oil soap, I very deliberately scrubbed the sandblast finish on the stummel and the rim top. The stummel and rim top was dried using paper napkins and soft cotton cloth and set it aside to dry out naturally. The stummel looks fresh and clean. Next, I rub a small quantity of “Before and After Restoration Balm” in to the briar with my finger tips and let it rest for a few minutes. The balm almost immediately works its magic and the briar now has a nice vibrant appearance with the beautiful contrasting hues colors that are unique to this sandblast pipe, on full display. I further buff it with a horse hair shoe brush. I set the stummel aside and turned my attention to the stem repair. The fill had cured nicely and I moved ahead and began the process of filing and shaping the button end with a flat head needle file. For a better blending, I further sand the entire stem with 220 followed by 400, 600 and 800 grit sand paper. This helps to reduce the sanding marks left behind by the more abrasive 220 grit paper. To bring a deep shine to the vulcanite stem, I went through the complete set of micromesh pads, wet sanding with 1500 to 2400 grit pads and dry sanding with 3200 to 12000 grit pads. I wiped the stem with alcohol after each pad and rubbed it down with Extra Virgin Olive oil to rehydrate the vulcanite. The repairs have blended in very well and the stem now looks shiny black and beautiful. The internals of the stem was once again cleaned out using alcohol and pipe cleaners to clear the airway of all the debris resulting due to the sanding. The finished stem is shown below. To finish, I re-attach the stem with the stummel. I mounted a cotton cloth buffing wheel to my local machine which is similar to the Dremel.  I set the speed at about half of the full power and applied White Diamond compound to the entire pipe. I wiped/ buffed the pipe with a soft cotton cloth to clear it of any leftover compound dust. I then mounted another cotton cloth wheel on to the polishing machine and applied several coats of carnauba wax. I finished the restoration by giving the entire pipe a rigorous hand buffing using a microfiber cloth to raise the shine further.The completed pipe looks lovely, fresh and vibrant; the pictures speak for themselves. I really enjoyed working on this pipe and hope that readers too enjoyed walking with me through this restoration. If only this old warrior could share its past life with all of us…if only!! Cheers.

 

 

 

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Restoring and Restemming a Savinelli Capri 915


Blog by Lee Neville

Over the past few months I have been continuing my correspondence with Lee via email. He picked up a couple of pipes for me at a local antique shop in Edmonton, Alberta, Canada and sent them to me. We have fired emails back and forth on restoration questions and issues. He also included Charles Lemon of Dad’s Pipes in the conversations and we had a great time. Earlier this week he sent Charles and me an email about a restoration of another pipe that he restemmed. Charles and I spoke with him of the style and size of stem to use. He did a great job on the restemming and the description of the work so I asked him if I could post it on rebornpipes. He was glad to have me do so. Thanks Lee for your work and this second write up. It is great to have you on rebornpipes as a contributor once again! – Steve

Thought I would share my pipe rehabilitation effort of a Savinelli Capri 915.  It showed up in the Winnipeg Ebay lot as a dirty stummel with a snapped-off stem tenon wedged into its shank. Alas, the original stem was not included in the lot.

This is a “Birks” pipe – Henry Birks & Sons, or what it’s now known by these days – “Maison Birks”, is a Montreal-based jewellery/glassware/fine leather goods/timepieces/ silver & gold flatware / object d’art firm in business here in Canada since the late 1800s.  It appears Birks would commission pipes from manufacturers and stamp them with their house name and offer them for sale during special promotions – Christmas, Father’s Day etc.  This Savinelli is the first of two “Birks” pipes I’ve got on my bench to restore.The plan is to clean this stummel up to the natural briar,  treat it to a wax protective finish and fit a replacement stem.  This will be fun as I just received the PIMO stem tenon cutter tool which will make short work of fitting a properly sized tenon on a replacement stem blank.

Stummel clean up
The bowl was in good shape. The rim showed minor discolouration from lighting.  The rim was not obscured by any lava. The previous owner was not a dottle-knocker – luckily no dents or chips on the bowl rim.  I reamed the bowl out with my newly arrived Pipnet set – I started with the smallest head, applying light twisting force and allowing the tool to make its way into the bowl.  This was repeated by the following two larger reaming heads to remove existing cake close to briar.  This was followed by twists with a dowel covered with 220 grit sandpaper to remove the remaining cake, then more twists with 320 / 400 grits to finish the bowl interior smooth. There are no cracks or burnouts in the bowl. The shank cleaned up with a few runs of alcohol-soaked pipe cleaners and q-tips.

I attacked the stummel with a soft toothbrush and Murphy’s Oil Soap to remove the rim discolouration and surface dirt/grease. The accumulated grunge lifted right off after two scrubbing sessions.  I was delighted to see the proprietary sandblasting/rustication is scarcely worn – the deep relief is quite attractive.

The stummel was then covered with masking tape. I clamped the padded stummel in my dremel vise and using a drill bit sized just over the ID of the snapped off stem tenon, ran it in a smidge gently, then reversed the drill and the tenon remnant came out with the drill bit.  This revealed a very fine crack in the mortise end of the stummel.  Using thin CA glue, I lightly dabbed the crack, watching it wick into the crack, then sprayed accelerant to instantly set the glue.  I lightly sanded the mortise face and mortise with 1000 grit paper to ensure any glue squeeze-out was removed before attempting to fit replacement stem

Fitting a new stem
I viewed the Savinelli web site to glean pipe proportions (stummel to stem) as well as canvassing yourselves for your thoughts on replacement stem length. I also found a high-definition image of a Capri 915 online.  Applying some ‘Edmonton Windage’, I ordered an oval tapered stem blank in a 2.25″ length from Vermont Freehand Pipes.

The stem blank on arrival was a bit wider than the stummel shank, so there was some filing and final sanding required to match the stem to the shank profile.

I mounted the replacement stem into the vise and drilled the stem draught hole to accept the guide rod of the PIMO stem tenon cutting tool.  I then mounted the PIMO stem tenon cutting tool and gently took a succession of cuts to arrive with a couple of thou of tenon final size.  I used a strip of 320 grit sandpaper to work the circumference of the tenon to a snug fit into the stummel mortise.  I used a variety of tools to flatten the stem tenon face so it would meet up with stummel mortise surface properly – needle files, sandpaper, a few licks with a very small chisel – all under a magnifier lens working the stem mating surface – testing fit/working it/test fit/working it until I got the proper fit.

Rough file work was then required to narrow the stem.  This took about an hour.  I then worked in the round with a file to shape the circumference of the stem to match the stummel profile. Last steps were using 220 sandpaper to work the circumference down as close to the final dimension. I followed that with 400 and 600 grit sandpaper.  I was now a scant hairs-width proud on the stem.  I then replaced the masking tape covering the stummel shank with clear scotch tape and brought the stem into line with the shank profile with 1500 and 1800 micro mesh pads.I filed the stem button into shape and from that point on, it was just applying a succession of micro mesh pads to 12000 to polish the replacement stem. Here is the clean stummel and new stem before finishing.Finishing the Pipe 
I treated the stummel to a coat of Howards Feed and Wax (beeswax, carnauba and citrus oils), let it sit for 30 minutes, then wiped off the excess, followed with a thin coating of carnauba wax over the whole pipe and a rub in with a polishing brush.  Using a cotton buff on my Dremel at 4000 rpm, I ran the buff over the entire pipe to bring out the shine. This pipe cleaned up very nicely and is a joy to hold.  I had fun fitting a new stem that is in proportion to the stummel and I think it’s a close resemblance to the stem originally fitted to the pipe.

Thank you Charles and Steve for your help on stem selection.

Onward and upwards!

Lee 

A Fresh Lease on Life for a 1962 Straight Billiard Dunhill Shell Briar # 196 F/T


Blog by Paresh Deshpande

I had just finished restoring the fourth Dunhill from my Mumbai Bonanza find, a 1949 DUNHILL SHELL #52 F/T WITH PATENT No. 417475/34 and decided to complete restoration of all remaining Dunhill pipes from this collection before moving on to other pipes either from this collection or from my inherited pipes. It feels good to have options to choose from for the next project.

I was fortunate enough to have heeded to the advice of my dear friend and mentor, Mr. Steve, and struck a deal with a trash collector from Mumbai. He did not know what he was selling and I did not know what I was buying as we reside in different cities!! The argument that Mr. Steve presented was that if not anything, I shall at least have some spares and this was logical. I struck a deal and here are pictures of the pipes that I received in this lot.   This lot contains some very nice collectible pipes, a few well known brand pipes and some mediocre pipe brands. Overall, with seven Dunhills, a Preben Holm #1, a couple of Made in England Pete System pipes, Charatan’s, Custom-Bilt, Stanwell and other assorted pipes, I would say that I had hit a huge jack pot!!! Hence, I like to call this find the “Mumbai Bonanza”.

The pipe that I decided to work on from this find is another Dunhill, a 1962 Shell Briar billiard, and is marked in green circle in the picture below. It is stamped on the underside of the shank with the shape number 196 followed by F/T followed by DUNHILL over Shell Briar followed by the COM stamp Made in over England 2 which dates it as being made in 1962. This is followed by Group size number 4 in a circle and letter S for Shell. Dunhill White Dot adorns the top of the vulcanite stem. The stampings are slightly worn out but clear.In this short journey of mine in to the world of pipe refurbishing, I have found that I really like the sandblast finish on these Dunhill pipes, more than the smooth ones. Pardon me if I have hurt the sentiments of some of the readers who think otherwise, but this is my personal choice. I love the smooth finished pipes from Barling, Comoy’s and other British and US (Boswell, Tim West, Lakatosh etc.) pipe carvers. With this musing, I move ahead with the restoration of this beautiful medium sized sandblasted Dunhill straight billiard.

INITIAL VISUAL INSPECTION
The chamber is clean with a thin layer of cake near the top and thick at the bottom near the draught hole, an indication that its previous Steward had either quit pipe smoking early or could never smoke beyond half a bowl full. From what I can see, the chamber walls appear to be without any damage. The chamber is odorless. There is an overflow of lava on the sandblasted rim top surface. The inner and outer rim edges are undamaged.The stummel boasts of some beautiful sandblast pattern of mix of straight and cross grain all around. It is dirty with grime and tar filling in much of the craggy finish. The briar looks lifeless and dull which is nothing serious to address. The round shank of the Billiard flows into a long tapered stem which has a flare, like a fish tail, at the button end, justifying the stamp F/T. The vulcanite stem shows damage to the button end with light tooth chatter on the upper surface. The lower surface has a couple of deep tooth indentations. The lips have bite marks, distorting the lip edge and will have to be sharpened. The stem is very heavily oxidized; in fact the oxidation has bubbled on to the surface and has the stem has taken on a reddish brown coloration. However, the quality of vulcanite is good. The horizontal slot is clogged with dried oils and tars and so it is safe to assume that even the stem’s airway would require a thorough cleaning. The fit of the tenon in to the mortise (which is has an accumulation of dried oils and tars) is loose and will need to be addressed. Overall condition of this pipe indicates that this should be an easy project, but those who have traveled this route before, will bear with me that there are surprises and pitfalls lurking around every corner on this road.

THE PROCESS
I start this project by tackling the stem first. I flame both the surfaces of the stem with a Bic lighter. The heat from the flame raises the vulcanite to the surface and takes care of the tooth chatter and bite marks that was seen earlier to a great extent. I sand the stem end with a folded piece of 220 grit sand paper to erase the scratches and provide a smooth surface for the intended fill. However, I soon realized that the oxidation was so deep that I needed to use a coarser grit paper and ended up using a piece of 150 girt sand paper!!! I cleaned out the internals of the stem with hard bristled and regular pipe cleaners dipped in isopropyl alcohol. I literally had to dig out the gunk which had clogged the horizontal slot with my fabricated spatula. Once I was satisfied with the internal cleaning, I wiped the stem surface, particularly the damaged button end, with a cotton pad and alcohol to remove any traces of dirt and grime. To begin the stem repairs, I smeared a folded pipe cleaner with petroleum jelly and inserted it in to the stem airway. I prepared a mix of CA superglue and activated charcoal and carefully applied it over the damaged lip and set it aside for curing over night. Before moving ahead, I would like to mention here that I had applied this mix in layers, to achieve sufficient thickness which would help during the filing and sanding while shaping the button and achieving the correct lip edge profile.While the stem repair was set aside to cure, I moved ahead to deal with the stummel repairs. There was practically no cake in the chamber and so I directly used a folded piece of 180 grit sand paper to sand out the traces of cake and expose the walls of the chamber to ascertain that there are no cracks/ heat fissures. But, I soon realized that the layer of cake in the chamber was not thin, but quite thick and ended up using size 2 and 3 head of the PipNet reamer. I followed it up by sanding the walls with a 180 grit sand paper. I wiped the chamber with a cotton pad dipped in isopropyl alcohol to remove the carbon dust left behind by all the reaming and sanding process. The walls of the chamber were solid with no damage. This was followed by cleaning the mortise by scraping away at the dried gunk with my fabricated spatula and followed it up with further cleaning using cue tips, pipe cleaners and shank brush dipped in isopropyl alcohol. This eliminated all traces of old smells from previous usage. I used my fabricated knife to gently remove the crusted lava from the rim top surface. Continuing with the cleaning regime, using a soft brass wired brush I gently scraped away the thick lava coat in the blast of the rim top surface. With a hard bristled tooth brush and dipped in undiluted Murphy’s oil soap, I very deliberately scrubbed the sandblast finish on the stummel and the rim top. The stummel and rim top was dried using paper napkins and soft cotton cloth and set it aside to dry out naturally. The stummel looks fresh and clean. Next, I rub a small quantity of “Before and After Restoration Balm” in to the briar with my finger tips and let it rest for a few minutes. The balm almost immediately works its magic and the briar now has a nice vibrant appearance with the beautiful contrasting hues colors that are unique to this sandblast pipe, on full display. I further buff it with a horse hair shoe brush. I set the stummel aside and turned my attention to the stem repair. The fill had cured nicely and I moved ahead and began the process of filing and shaping the button end with a flat head needle file. For a better blending, I further sand the entire stem with 220 followed by 400, 600 and 800 grit sand paper. This helps to reduce the sanding marks left behind by the more abrasive 220 grit paper. To bring a deep shine to the vulcanite stem, I went through the complete set of micromesh pads, wet sanding with 1500 to 2400 grit pads and dry sanding with 3200 to 12000 grit pads. I wiped the stem with alcohol after each pad and rubbed it down with Extra Virgin Olive oil to rehydrate the vulcanite. The repairs have blended in very well and the stem now looks shiny black and beautiful. The internals of the stem was once again cleaned out using alcohol and pipe cleaners to clear the airway of all the debris resulting due to the sanding. The finished stem is shown below. To finish, I re-attach the stem with the stummel. I mounted a cotton cloth buffing wheel to my local machine which is similar to the Dremel.  I set the speed at about half of the full power and applied White Diamond compound to the entire pipe. I wiped/ buffed the pipe with a soft cotton cloth to clear it of any leftover compound dust. I then mounted another cotton cloth wheel on to the polishing machine and applied several coats of carnauba wax. I finished the restoration by giving the entire pipe a rigorous hand buffing using a microfiber cloth to raise the shine further.The completed pipe looks lovely, fresh and vibrant; the pictures speak for themselves. This pipe too is being added to my rack housing Dunhill pipes. I really enjoyed working on this pipe and hope that readers too enjoyed walking with me through this restoration. As always, your inputs and valued suggestions are very important as they help me grow and improve my skill set in pipe refurbishing methods. PS: The stem turned out beautiful, in fact, it is one of the nicest in terms of blending in of the fills and shine. The spots that are seen near the white dot and on the lower surface in the above pictures may appear as blemishes, but they are simply reflection of some light. 

Rejuvenating the Amazing Grain of an EWA Trophee of St. Claude, France 909


Blog by Dal Stanton

Next on my worktable is another pipe I acquired from a ‘Lot of Treasures’ I found on French eBay.  This French Lot of 50 has rendered some real keepers with historic interest and collectability.  The EWA Trophee I’m now looking at is a classic Bent Billiard with a flare – the acrylic stem, banding and picturesque briar holds out great potential, but it come with some challenges as well.  Pipe man, Scott, commissioned the EWA – a friend on FB and regular contributor on different Face Book Groups, and a former US Navy man who I appreciate very much.  Scott reached out to me on FB Messenger and had been looking at the pipes available for commission in my For “Pipe Dreamers” Only! collection and there were 5 pipes he was dreaming about that he had seen, but settled on one, the EWA Trophee.  I appreciate Scott’s patience in the speed of my pipe restoration production line!  His patience is now paying off, and his commission benefits the Daughters of Bulgaria – our work here in Bulgaria helping women and girls who have been trafficked and sexually exploited.  Here are the pictures that drew Scott’s attention. I can see why this pipe got Scott’s attention.  I have worked on several French named pipes, and this was the first with ‘EWA’ stamped on the left shank flank.  Underneath and at an angle is stamped ‘TROPHEE’.  The acrylic stem also is stamped with a distinct EWA.  The right side of the shank is stamped ‘BRUYERE’ [over] ‘ST. CLAUDE’ [over] ‘FILTRE’.  Tucked on the lower side of the shank is stamped the shape number, ‘909’.  Information about this nomenclature was readily available in the Pipedia article on EWA pipes and with this being my first look at the EWA name of St. Claude, I include more of this article.

From Pipes, Artisans and Trademarks, by José Manuel Lopes

EWA is a French brand of Pipe EWA-Ets. Waille SARL. Launched in the 1970s by Michel Waille, the brand began in the Waille factory founded in 1860 by Horace Waille., and has been passed down from generation to generation ever since. He was succeeded by his son, René (1902-1932), his grandson Adré — who obtained the rank of ‘CAP de Pipier’ in 1926 and was in the company from 1920 to 1974 — and his great grandson, Michel Waille.

Michel, ‘Meilleur Ourrier de France’ but retired today, is currently President of the Pipe Club de Saint-Claude. He joined his father in 1968 and was at the head of the firm until 2002, when the brand was sold, first to Mr. Gigandet, and later to Denis Blanc, of Ad Hoc Pipe. [link is dead]

The company specialises in the production of horn, acrylic and cumberland stems, and today is the only maker in Saint-Claude producing horn and Lucite stems. It also makes the Terminus system pipes, employs half a dozen people and export 25% of its production. From site Ad Hoc Pipe [link is dead]

Horace Waille, the great-grandfather was a pioneer in the history of Pipe story of Saint Claude and created in 1860 a pipe workshop.  Rene Waille, his son, has continued the activity from 1902 to 1932 and was specialized in the initial shaping.

Andre Waille, son of Rene, obtained a “CAP de pipier” (Pipe maker degree) in 1926 and has pursued the activity of the familial company from 1932 to 1974. He is the only pipe maker, who obtained a Pipe maker degree. In 1968 Michel, son of Rene, actual Manager of EWA pipe joint the familial company and transform in 1974 the company in SARL PIPE EWA.

The information I gain from Pipedia that is useful – the Waille name is long-standing in France’s pipe center of Saint Claude.  I’m especially interested in the information that the company has historically specialized in the production and use of horn, acrylic and Cumberland stems which is relevant for the pipe on the worktable.  Pipephil.eu was my next stop and information there clarified the age of this EWA Trophee and the meaning of EWA.  The name was changed in 1979 from simply Waille to EWA from “Etablissement WAille” (English: Establishment).  So, the acrylic stemmed Billiard on my table dates at the earliest starting at 1979 with the genesis of the EWA stamp.With a better appreciation of the heritage and age of this EWA Trophee of St. Claude, I look more closely at the pipe itself.  The grain and classy acrylic stem and banding/shank ring shows promise, but there are also some issues and challenges in bringing this pipe back to a more presentable state.  I take several more pictures to catalogue the issues I see.  The fittings of the pipe have come apart.  As I disengage the stem and stummel, the 8mm filter sleeve is unattached to the stem and needs to be reattached.  The shank ring is also loose. The pipe has been heavily smoked and loved and the cake in the chamber is substantial.  By lightening the picture, you can see how the cake expands as it descends into the chamber.  There is no way to assess the health of the chamber wall until this cake is removed to allow the briar a fresh start and to inspect the wall for heat fissures or cracks.The rim corresponds to the lack of maintenance and cleaning of the chamber.  Thick lava has flowed over the rim and must be removed and cleaned to liberate the briar rim presentation.I like the grain on the stummel – very expressive.  What I don’t care for is the thick shellac finish that was used on this stummel – my classic ‘candy apple’ finish.  I love shine, but briar shine not chemical shine!  I will need to strip this stummel down to the raw briar to allow the grain I see to breathe again.There is a deep gouge on the left side of the shank that creeps toward the shank end where there is another dent next to the edge. The heel of the stummel has seen better days!  There are a few good-sized dents and divots that must be addressed.Probably the most fun will be cleaning the acrylic stem.  The external acrylic surface will not be difficult, but the discolored airway is another thing altogether coupled with the issue of not being able to use the normal cleaning attack with the use of alcohol.On close examination, my concern grows for the cleaning of the airway as I can see microscopic veins splaying from the airway – mainly at the bend of the stem. This next picture is looking into the mouth of the stem that the 8mm filter sleeve has vacated.  This needs to be cleaned thoroughly making way to reattach the filter and afterwards, the ring.We have work to do!  To begin the restoration of Scott’s choice of this EWA Trophee Bent Billiard of St. Claude, I start with the cleaning of the stummel by reaming the chamber which is nearly closed by the growth of the cake.  I take another picture to mark the start and then, starting with the smallest of the blade heads of the Pipnet Reaming Kit, I begin the cleaning process.  To help in the cleanup I first put down paper towel. The cake is hard and stubborn and takes some time and effort for the smallest blade to penetrate to the floor of the chamber.  I take a picture about three quarters of the way down the chamber. I use 3 of the 4 blades available and then switch to using the Savinelli Fitsall Tool to scrape chamber walls.  Finally, I sand the chamber with 240 grit paper wrapped around a Sharpie Pen.  To clean the chamber of the carbon dust, I wipe it thoroughly with a cotton pad wetted with isopropyl 95%.  The picture below shows the huge pile of carbon that was removed from the chamber. After inspection, the chamber appears to be in good shape.  What I notice after the reaming is complete is the rim width imbalance that is now evident after the cake was removed.  The left side of the rim (bottom in the picture) is thinning where fire was drawn over the rim during the lighting. Next, to clean the exterior surface of the stummel, I use undiluted Murphy’s Oil Soap on a cotton pad to scrub.  I also use a brass wire brush to work on the lava crusted on the rim as well as gently scraping it with a knife edge.  The cleaning helps, but the rim remains darkened from the lava and the ‘candy apple’ finish is still very much in place. To complete the stummel cleaning regimen, I use pipe cleaners and cotton buds wetted with isopropyl 95% to clean the internals. After many pipe cleaners and cotton buds, and scraping the mortise walls with a dental spatula, the color of the buds started coming out less soiled.  I decide to stop at this point – the internals were clean enough at this point.In order to strip the ‘candy apple’ finish I put the stummel in a soak of acetone. This should strip the stummel of all the old finish.  I leave it in the soak overnight. Turning to the acrylic stem, before I started on the restoration and as I was thinking about my approach, something in the recesses of my memory was ringing a warning concerning the approach to cleaning the clear, acrylic stem, but I wasn’t sure what it was. I decided to send Steve an email with the stem’s picture and my questions.  With his vast rebornpipes experience, as always, his response was helpful to help chart a course:

Hey Dal

The clear stems like that (if on a GBD are Perspex and early acrylic) are not resistant to alcohol. They can shatter or at least craze. I will often use lemon juice to start with and also liquid cleanser or soft scrub with bristle pipe cleaners or shank brushes. Sometimes you can use a needle file to work the insides. The airways are often rough inside so they need to be smoothed out. It is pretty labour intensive to clean out the stains as originally the airways were clear…

Steve

In a subsequent note he also added this:

Ok… the GBD brand was originally a ST Claude Brand. Perspex is an early acrylic. It was on GBD Prehistoric pipes… Lucite is another brand name for acrylic… both are acrylic.

I have soaked the stems and it does help some, but I have also put the cleanser on a pipe cleaner and let it soak as well. I have even used comet cleanser… big thing is no alcohol if at all possible. Too risky.

I have read of guys chucking a pipe cleaner in their drill like a drill bit and spinning it in the stem but have not tried that myself…  Anyway..,

 Enjoy

Steve

To begin the ‘enjoyment’ in tackling what proves to be a very stubborn project, I take a picture to mark the starting block.Using a sharp dental spoon, I work on digging gunk out of the slot cavity and scraping the hard stain buildup there.In Bulgaria we do not have ‘Soft Scrub’ but we have a product in the same genre called CIF that I next use to begin addressing the rough stains in the bent stem airway.  I use a bristled pipe cleaner and dip it in the cleanser and go to work.  With the pipe cleaner serving as a back drop I can see that microscopic veins are already evident in the airway lining. This is the ‘crazing’ effect that Steve mentioned in his note.  Removing stain from these will be an effort.  The veins are concentrated at the bend of the stem.To up the ante a bit, I decide to try the technique that Steve described that others had tried – to chock a pipe cleaner in a hand drill and utilize the high-speed rotation to enhance the cleaning process of the acrylic airway.  In order to increase the diameter of the pipe cleaner ‘bit’ I twist and wrap an additional pipe cleaner that I had already used.  I then insert this into the chuck and tighten it down.  I use another bristled pipe cleaner as the ‘drill’ and dip it in CIF cleanser.  I then insert the end of the pipe cleaner into the shank side of the stem and start the drill rotation gradually as I slowly insert the pipe cleaner into the airway – I haven’t done this before so I’m watching to see what happens!  It works like a charm.  As I insert the pipe cleaner, I increase the speed of the rotation and there is no wobble at all.  With the drill speed rotation engaged, I then push and draw the stem back and forth to create more cleaning movement.  I do this also with a soft pipe cleaner and cleanser.  The pictures show the pipe cleaner drilling.Well, I hoped for perfect results, but as feared, the stains in the veins remain visible and these are concentrated at the outer bend of the stem.  Because of this, it is evident that these veins have been here a while.  The rest of the airway is looking good.Next, from Steve’s suggested assault options, I squeeze lemon juice into a dish.  I will use the natural acids of the lemon to work on the airway.  I use the pipe cleaner too, but since the night is late, I settle at this point to put the stem into the lemon juice to soak through the night.  With the stummel soaking in the acetone and the stem in the lemon juice, I turn off the lights and end another day. The next morning, I use a pipe cleaner on the stem again.  The lemon soak through the night did seem to work, but the veins and the discoloration in the veins remain.  A reminder that we live in a fallen world where perfect pipes and restorations do not exist.  I accept this and decide to move on, but I decide to leave a pipe cleaner wet with CIF cleanser in the airway to continue to work on the stains while I turn to the stummel.The stummel has been soaking in acetone through the night to remove the ‘candy apple’ finish.  I fish it out of the acetone and the first appearance is that it still has the sheen showing that old finish was still present.  The finish has been greatly softened through the soak and with the gentle help of 0 grade steel wool I remove the finish without difficulty.  With the old thick finish removed, I examine the shank and the heel areas again where I saw significant dents and pits and discover that these are not as pervasive as they appeared before.  Most of the visible damage was to the thick finish and not to the briar.  Well, that’s one argument in favor of thick finishes!  The second picture below of the close-up of the grain – the bird’s eye grain is fantastic! Looking at the rim, it is thinner on the left side (bottom in the picture) and that edge is deteriorated.  The entire rim presentation needs freshening and to try to improve the width balance some. To address this, I take out the chopping board and put 240 grade sanding paper on it.  I give the stummel a minimal topping to give the rim a fresh start.After taking as much briar off the rim as will be helpful, I switch the board to 600 grade paper and rotate the stummel a few more times to smooth and blend.After the topping, the thinning on the left side of the stummel (bottom in picture above) remains thinner and more topping will not improve this because the stummel width descending in the chamber is thinned because of burning and lighting on that side.  To top until the rim width starts evening out would require too much briar real estate.  The way to mitigate against this, but not fully remove it, is to create an internal rim lip bevel.  On the ‘fatter’ side of the rim I increase the amount of bevel somewhat to help even out the round of the chamber.  I use a coarse 120 grade paper to begin, then follow with 240 and 600 grade papers.  The results I believe have improved the rounding, but again as with the stem airway, perfection is not achieved but it is looking very good none the less! Again, looking at the dent on the stummel heel and on the shank, just below the Trophee stamping, I examine the dents and how to repair them.  I go out on our 10th floor balcony, which is my ‘Man Cave’, and use the steaming method to raise the dent that’s on the heel of the stummel.  I wet a cotton cloth with water, and using my wife’s iron, I apply heat to the wet cloth.  When I do this, the moisture in the cloth evaporates and creates steam which is forced into the area of the briar compression.  The porous composition of wood expands with the forced heat and moisture and the result is the dent hopefully shrinks as the wood reclaims its original state.I apply the hot iron to the wet cloth over the dent.The results are excellent.  If I look hard at the place, I can still see an imprint but there is no longer a compression of the wood.I do the same to the small compression on the edge of the shank and the results are equally as good. To clean the entire stummel of the minor nicks and scratches, I utilize the less invasive approach of sanding sponges.  I use a coarse grade, then follow with a medium and light grade sponges.  I like using sponges because they can find the hard to get places as sponges, but they help remove the small nicks and pits in the briar surface.  The grain on this stummel is amazing – the dark grains appear almost cloudy as they cluster. Next, I take out the micromesh pads and wet sand utilizing pads 1500 to 2400. After finishing the wet sanding, I notice a fill on the underside of the shank next to the shape number that doesn’t look solid. Using a sharp dental probe, I test it and it doesn’t take much to remove it.  Before continuing with the micromesh process, I need to refill the pit left behind.I wipe the area with a cotton pad wetted with alcohol and mix a small amount of thick CA glue and briar dust.  I place a small amount of briar dust on an index card then drop some CA glue next to it.  Using a toothpick, I gradually pull briar dust into the CA glue until it thickens to the consistency of molasses. I then apply a small amount of the putty over the patch area, careful not to go over the shape number.  I put the stummel aside for the putty to cure.Several hours later, the patch has cured, and I begin the process of filing the patch down with a flat needle file.I’m careful to remain on the patch as I file avoiding collateral damage with nearby briar.After bringing the patch mound down almost to flush with the briar surface, I switch to using the sharp edge of a piece of 240 grade sanding paper to bring the patch down to the briar surface.  Again, keeping the sanding process tightly confined to the patch area.When the patch is smooth to touch, I then switch to 600 grade paper to smooth the patch and blend further.When the 600 grade has finished its work, I catch up the patch area in the micromesh process utilizing pads 1500 to 2400.With the patch completed, I continue by dry sanding using pads 3200 to 4000 and 6000 to 12000.  I love the thick grain on this stummel!There is no question in my mind about whether this grain can stand on its own!  At this point I apply Before & After Restoration Balm to the briar surface.  The B&A Restoration Balm does a great job simply deepening the richness of the natural briar.  I apply some to my fingers and rub it into the briar surface.  As I rub it in, it thickens to a wax-like consistency.  After I apply it thoroughly, I let it stand and absorb for about 20 minutes then I wipe off the excess and buff up the surface with a microfiber cloth.  I’m loving the grain!With the stummel on the side, I now turn to the clear Lucite stem. I begin by washing the stem with dish soap and warm water.  Looking closely at the bit area, the top lip of the button is compressed.  I take a picture of it but it’s not easy to see!  There is also roughness from tooth chatter.The lower bit has a tooth compression as well as tooth chatter.I apply clear CA glue to the lower tooth compression and spray the CA glue with an accelerator to hold the glue in place and to quicken the curing process.To deal with the compression on the top button lip, I simply sand it out using 240 grad paper.  I smooth out the tooth chatter as well.I then use 240 grade paper to sand and smooth the patch on the lower side as well as to remove the tooth chatter and roughness of the bit and button.  I follow the 240 sanding by wet sanding the entire stem with 600 grade paper to take out the small nicks and scratches.Following the 600 grade paper, I sand/buff the entire stem with 0000 steel wool.Following the steel would I wet sand the stem using micromesh pads 1500 to 2400 and then dry sand with pads 3200 to 4000 and 6000 to 12000.  After each set of three pads I apply a coat of Obsidian Oil to the stem. The stem is ready to go.  I take the nickel shank ring and clean it with Tarn-X.  It does a great job shining up. Now it’s time to reattach the 8mm filter sleeve.  I want to make sure its straight and seats accurately in the mortise.  I first slip the ring over the sleeve without attaching it with CA glue.  I want to simply use it as a spacer for the first step of reattaching the sleeve.  With the ring over the sleeve, I apply CA glue around the end of the sleeve that is inserted into the stem cavity. After I insert the sleeve into the cavity, before the CA glue sets up, I quickly seat the filter sleeve into the mortise with the ring compressed between the shank and stem.  I hold the stem firmly in place with proper orientation until the CA glue sets.With the sleeve properly seated, I then apply a few drops to the stem side of the ring and then reattach it, again seating the stem into the mortise.  It looks good – no gaps and a straight snug fit.To spruce up the EWA stem stamping, I apply Rub ‘n Buff European Gold.  I apply a little over the stamping and simply wipe it lightly off with a cotton pad.  The stamp is a little thin, but the Rub ‘n Buff holds well, and it looks good.Now the home stretch.  I mount a cotton cloth buffing wheel to the Dremel set at about 40% of full speed and apply Blue Diamond compound to the stem and stummel. I then separate the stem and change to another cotton cloth wheel dedicated to applying Blue Diamond to nickel and I buff up more shine on the shank ring.  After reuniting the stem and stummel again, I then wipe the pipe with a felt cloth to clean off the compound dust in preparation of the application of the wax.  I then change to another cotton cloth wheel with the same speed and apply a few coats of carnauba wax to stem and stummel and then finish with a rigorous hand buffing to raise the shine.

The unique grain cluster constellation that I see in the EWA Trophee is amazing.  The heel grain pattern shows color, swirls and vortexes that remind me of pictures of the planet Jupiter.  It is truly amazing and mesmerizing to look at.  The Lucite stem came out well – it is classy with the complimentary gold and black band ring providing a nice transition.  My only wish is that I could have purged the stem airway totally of the discoloration in the crazed veins that will remain as a reminder of this pipes battle scars from its past!  Even so, the EWA Trophee of St. Claude, is a beautiful Bent Billiard and Scott did well in seeing the potential of this pipe when he commissioned it.  As the commissioner, he has the first opportunity to acquire it in ThePipeSteward Store.  This pipe benefits the Daughters of Bulgaria – women and girls who have been trafficked and sexually exploited.  Thank you for joining me!