Daily Archives: February 26, 2021

A Challenging Old BBK Marte-Rosa Reporter with a Cherrywood Shank and Horn Stem

Blog by Steve Laug

We picked up the next pipe from a fellow in Los Angeles, California, USA. This BBK pipe is a lot like a pipe I have worked on before called a Ropp  La Montagnarde Deposee Reporter (https://rebornpipes.com/2016/08/08/a-ropp-la-montagnarde-deposee-298-horn-cherrywood-briar/). The bowl is an interesting piece of briar with a mix of grain around the bowl and shank. The end of the briar shank has a brass shank cap/ferrule that is dented and dirty. The shank extension is cherry wood and is pressure fit into the mortise with a cherry wood tenon. The top of the cherry wood extension has another brass ring on the end of the extension and a threaded cherry wood tenon that the stem screws onto. The stem is horn and is rough condition. There is a large area on the left side of the stem and half of the underside that has been decimated by worms. The top side has a lot of chewing damage. The pipe is stamped on the left side with the words Marte–Rosa (it is hard to read as there is a flaw through the first word). Underneath that is an oval with the letter B.B.K. stamped in it. On the right side of the shank it is stamped Racine de Bruyere at an angle. The pipe is a real mess. There is a thick cake in the bowl and a thick overflow of lava on the rim top. The inner edge of the rim appears to have some damage but we won’t know for sure until it is cleaned. Jeff took photos of the pipe at this point to capture the condition of the briar and parts. Jeff took photos of the bowl, rim top to show the thickness of the cake in the bowl and the lava on the rim top. This pipe was obviously a great smoking pipe and a favourite. I am hoping that the thick lava coat protected things underneath it from damage to the edges and top. Cleaning it would make that clear! The cherry wood insert was damaged as well with scratches in the bark. He took photos of the top and underside of the stem showing the damage and worm holes in the horn stem material on the left side of the button. The horn stem was a mess. Jeff took photos of the sides and heel of the bowl to show the condition of the briar. You can see the beautiful shape and the grain on the bowl even through the dirt and debris of many years. The brass bands on the shank end and the cherry extension end. At this point in the process it certainly looks its age.   Jeff took photos of the bands and the damaged cherry wood extension. It is a bark covered piece of cherry. The end that fits in the shank of the briar is made of cherry just like the extension. The tenon end that the stem fits on is threaded to receive the threaded stem. The stamping on the left side of the shank read Marte-Rosa and underneath that it is stamped with an oval with the letters B.B. [over] K. On the right side it was stamped The stamping is hard to read on the left side as it has a fill in the middle of the brand name and is faint underneath. The right side is stamped Racine de Bruyere diagonally on the shank which translates as Root Briar or Briar Root.Through the years I have cleaned up several BBK pipes. One of them was a reporter/hunter pipe like this one (https://rebornpipes.com/2016/08/26/an-old-timer-horn-stem-cherrywood-shank-and-briar-bowl-bbk-bosshardt-luzern/). It had a windcap that is a difference from the current pipe I am working on. I quote from that blog below:

When I worked on the BBK Hunter I researched the brand. The BBK was a Swiss made brand as the shanks of all the pipes I had cleaned up and restored were stamped that way. Pipedia was my primary reference in that blog. Here is the link: http://pipedia.org/index.php?title=Bru-Bu. I have included the material from the previous blog below.

“Josef Brunner, oldest son of the farmer Konstantin Brunner from the hamlet Nieder-Huggerwald, belonging to the community of Kleinlützel (Canton Solothurn), was sent in 1871 to a pipe turner in Winkel/Alsace for his apprenticeship. As was usual at that time, Brunner wandered as a journeyman after ending the apprenticeship. Eventually, he went to Saint-Claude, France which was then the world’s stronghold of briar pipe manufacturing. There, Brunner was able to increase and deepen his knowledge in the field of industrial pipe making. When he returned home in 1878, he installed a small turner’s workshop in the house of his father. With the energetic support of his two younger brothers, he began to produce tobacco pipes of his own calculation, taking them to the markets in the surrounding area. In 1893, Bernhard Brunner’s wife inherited the mill in Kleinlützel. At this point, the pipe fabrication was transferred to an annex belonging to the mill. Now it was possible to drive the machines by water power – an important relief to the workers and a considerable innovation compared to the previous pedal-driven system.”

“The business developed so well after the turn of the century even when a lack of workers in Kleinlützel occurred. The problem was solved by founding a subsidiary company in the small nearby town Laufen an der Birs in the Canton of Bern. This plant didn’t exist too long. The disastrous economic crisis in the 1920’s and early 1930’s forced the Brunner family to restrict the fabrication of pipes dramatically. In addition the big French pipe factories in Saint-Claude – although suffering from the same circumstances – flooded the Swiss market with pipes at prices that couldn’t be matched by Swiss producers. By 1931 approximately 150 of 180 Brunner employees had been sacked – the rest remained in Kleinlützel, where the cheap electric energy ensured a meager survival.”

“In 1932, Mr. Buhofer joined the Brunner family. The company was named Brunner-Buhofer-Kompagnie, and, shortly thereafter, Bru-Bu. Buhofer had made his fortune in the United States but, homesick, returned to Switzerland to search for a new challenge. Bru-Bu’s fabrication program was expanded with many handcrafted wooden art articles: carved family coats of arms, bread plates, fruit scarves, and – more and more – souvenir articles for the expanding Swiss tourism industry. Pipes remained in the program continuously, but the offerings changed from traditional Swiss pipes to the more standard European shaped pipes. Bru Bu is widely known as BBK.”

The last paragraph of the Pipedia article linked BBK pipes to Former Nielsen. I have two of Former’s pipes so this stood out to me. “At some point in the late 1970’s, Bru-Bu went out of business. Some of the Brunners, as far as known, continued as timber traders. But in 1986 new life filled the old Bru-Bu pipe workshop, when Dr. Horst Wiethüchter and “Former” Nielsen started to produce the high-grade Bentley pipes there.”

Jeff cleaned up the pipe and reamed the bowl with a Pipnet Pipe Reamer and cleaned up the bowl with a Savinelli Fitsall Pipe Knife. He cleaned out the shank and the airways in the stem, shank extension and the mortise with alcohol, pipe cleaners and cotton swabs. He scrubbed the briar with Murphy’s Oil Soap and a tooth brush to remove the grime and the build up on the rim top. He carefully scrubbed the cherry wood the same way. He cleaned out the airway in the stem with pipe cleaners and alcohol to remove the grime and tars. The horn stem was clean but had on the topside and had a huge worm hole on the left side and left underside of the stem. The brass bands on the shank and the cherry wood were dented and worn but still looked very good. The glue that held them in place on the shank and cherry had given way and they were loose. I took some photos of the pipe when it arrived in Vancouver to show its condition after Jeff had cleaned it. I took a close up photo of the rim top to show the condition of the rim top. It had a few nicks in it and the inner edge of the rim had damage and darkening. I took photos of the stem to show the damage to surface on both sides.I took the pipe apart to show the various components of the pipe. The cherry wood extension in the centre of the photo has a tapered end that fits into the shank and a threaded end that the stem screws onto. The cherry extension has some damage on the sides. There is also a fill that is shrunken on the left side of the shank and in the middle of the stamping. I took photos of the stamping on both sides of the shank. You can see it is readable but damaged.  I cleaned up the inner edge of the rim with a folded piece of 220 grit sandpaper. I brought the bowl back to round. I did not take a photo of the rim top but it is visible in the polishing  photos that follow.I glued the band on the shank but the glue did not hold so I removed it. I polished the briar with micromesh sanding pads – dry sanding it with 1500-12000 grit pads and wiping it down after each pad to remove the dust. I spread white all-purpose glue on the shank end and pressed the band on the shank. This time I used more than the first time and set it aside to cure. Once it cured I took photos of the pipe with the band on the shank. I set the bowl aside and turned my attention to the cherry wood shank extension. I filled in the splits in the bark with clear CA glue. Once the repairs had cured I sanded them smooth with 1500-2400 grit micromesh sanding pads.I used a dental spatula to spread the white all-purpose glue on the end of the extension and pressed the brass band onto the extension. I set it aside to allow the glue to cure. I took a photo of the band on the shank end and on the cherry wood shank extension. The bands look very good. I rubbed the cherry wood down with some Before & After Restoration Balm to protect, clean and enliven the wood. It worked very well. I let it sit for 15 minutes and buffed it off with a soft cloth. I greased the end of the wooden tenon on the cherry wood shank extension with Vaseline. It made the fit in the shank smooth and snug.I put the extension back in the shank and rubbed the bowl down with some Before & After Restoration Balm to protect, clean and enliven the wood. I worked it into the surface of the briar with my fingertips. I set the bowl aside and let it sit for 15 minutes. After it had been sitting I buffed it off with a soft cloth. I set the bowl and shank extension aside and turned my attention to the stem. I greased a pipe cleaner with Vaseline and inserted it in the shank. I wanted to protect the airway when I filled in the damaged area with super glue. I filled in the worm damage with clear super glue. I layered it in with several fills. While it was curing I read Dal Stanton’s blog on mixing in a sprinkling of charcoal powder with the glue to help blend the repair into the horn. I mixed some in and layered more and more glue on top of it. The black of the charcoal did not really blend in well. It migrated together and left a black spot on the top of the stem and a black ring on the underside. In the past I did not use the charcoal and certainly will not do so again. I sprayed the repairs with accelerator to speed the hardening process of the repair. I used a pair of files to flatten out the repairs and to reshape the button on both sides of the stem. Once I had reshaped the button I sanded the stem surface with 220 grit sandpaper and started polishing the stem with 400 grit wet dry sandpaper. I polished the horn stem with micromesh sanding pads – wet sanding with 1500-12000 grit pads. I rubbed the stem down with Obsidian Oil between each set of three pads. I polished it with Before & After Polish – both Fine and Extra Fine. I gave it  a final rubdown with Obsidian Oil to protect it. I gave the threads on the shank end tenon a coat of Vaseline to make it easier to turn the threaded stem onto the end of the shank.With everything finished I put the BBK Marte–Rosa Racine de Bruyere Reporter Pipe back together and buffed it by hand with a microfibre cloth and polished the metal with a jeweler’s cloth. The finished pipe is shown in the photos below. I love the way the grain just pops on this old pipe. The cherry wood shank extension adds not only length but also a touch of rustic to the pipe, though this particular piece of cherry wood has bark that is quite smooth. The dark striations of the horn stem also go well with the wood. The brass bands at the stem and the shank give this old timer a real look of class. The finished pipe is shown in the photos that follow. The repair to the button while not invisible is smooth and solid and should last a long time. It is a beautiful pipe to my eyes. The dimensions are Length: 5 ½ inches, Height: 2 inches, Outside diameter of the bowl: 1 ¼  inches, Chamber diameter: 7/8 of an inch. The weight of the pipe is 70grams/2.47oz. I will be putting it on the rebornpipes store shortly. If you are interested in adding it to your collection let me know. Thanks for walking through the restoration with me as I worked over this pipe. Thanks to each of you who are reading this blog.

Salvaging a Sculpted Edelweiss – A Challenging Button Rebuild of a Horn Stem

Blog by Dal Stanton

I remember well when I received this beautifully sculpted ‘Edelweiss’ in 2017.  Kari, a gifted young Bulgarian lady who is a fellow colleague working with the Daughters of Bulgaria in Sofia, Bulgaria, saw the pipe in a second-hand shop on a visit to London while visiting her parents who lived and worked there.  Among colleagues of Daughters of Bulgaria, my pipe restoration exploits benefiting the daughters, is well-known.  Kari purchased the pipe and gifted it to The Pipe Steward for the Daughters on her return to Sofia.  Kari’s support did not end there!  She ALSO commissioned a pipe for herself which also benefited the Daughters.  That pipe was a graceful beauty which joined our fellowship during a break at work (pictured below) in Sofia a few years ago (See: A Lady’s Choice – WDC Milano Swan Neck Billiard).   Kari, along with several other staff and volunteers, are the courageous ones who go where few go to help women and girls who have been trafficked and sexually exploited.  Thank you, Kari, not only for the pipe but for all you do!

When I received the pipe from Kari, I found that it had no branding, but the sculpting whispered ‘Edelweiss’ very clearly.  A Wikipedia article gives the Latin name, Leontopodium nivale, and describes the small, delicate flower with noteworthy characteristics – several reminiscent of those working to combat human trafficking and exploitation world-wide:The Edelweiss was put in the For “Pipe Dreamers” Only! collection and eventually, it caught one pipe man’s eyes.  Bob is retired in a small town near Keene, New Hampshire, where my wife and I have some family connections.  Even though Bob described himself as ‘retired’ in our communications, he also has a hand at restoring pipes specializing in what I would describe as ‘truly vintage pipes’ – Viennese coffeehouse pipes, Turkish and Kenyan pipes.  What I found fascinating as well was that Bob collects clays and has found a niche providing reed pipes to Civil War reenactors.  After looking at the pipes he has posted on Estsy (See: GlenwrightPipes), I was doubly impressed that the Edelweiss caught his discerning eye.  Here are a few pictures of the Sculpted Edelweiss with a diamond shank and horn stem: The only marking on the Edelweiss is on the upper left panel of the diamond shank.  ‘Bruyere’ is stamped inside a rhombus trapezoid for those of you who are geometric fans!  Underneath the trapezoid is stamped, EXTRA.  I am guessing that the pipe has French origins – it has that feel and appearance.  It could possibly date from the 1940s, probably a post-WW2 pipe when Europe was going through the shortages with rubber and horn came to the forefront, especially in France. The ‘Bruyere’ spelling lends toward France as well but not exclusively.  These are guesses at this point and probably will remain guesses because the nomenclature is not detailed. Looking at the condition of the pipe itself, the chamber needs reaming with a thick cake buildup.  Reaming will give the briar a fresh start and allow me to inspect the chamber walls.  The rim has lava flow and needs cleaning.  It is a given that the sculpted briar surface needs scrubbing.  The smooth panels of the sculpted briar surface will come out looking good.  The challenging issue with this pipe is the horn stem.  The short, bent horn stem is nice – I like horn stems and the rustic look they offer.  The challenge for this horn stem is that the button is totally obliterated. It looks as though it was chewed off.  If there is a silver lining, it is that there is a remnant of the slot facing remaining.  This will help guide rebuilding the button.

To begin, I focus first on the stem.  Before beginning the repair on the button, I clean the airway.  I’m hopeful that the nickel stinger can be removed to help.  I’m not concerned whether the stinger is threaded or not.  Either way, I’m not able to easily remove it gently using pliers.  To try to loosen it, the nickel tenon is heated with a Bic lighter and that does the job.  I discover that the stinger is threaded.  The stinger goes into a little dish with alcohol to soak to clean.Next, after one pipe cleaner wetted with isopropyl 99%, the airway is cleaned.  Steel wool also removes the staining on the end of the nickel tenon.Next, the button rebuild.  Knowing that the Edelweiss with the button rebuild was coming up in the queue, I have given thought to how to approach this repair.  I am confident that CA glue will provide a good, sturdy rebuild of the button.  The challenge leans more on the cosmetic side of the rebuild – matching as close as possible the translucent, wavy, horn hues.  I know it will be difficult to reproduce the shade patterns in the horn, but I can try to get in the ballpark.  I take some fresh pictures to get a closer look.  In the next two pictures looking down onto the top of the stem and then the lower side, the shades of the horn are clear.  The upper button is totally bisected exposing the airway.  The second picture shows the gnawed condition in progress.  The airway is not yet compromised. The lateral view in the next picture shows the sideline of the diamond shank as it runs down the side of the stem and disappears into the carnage.  The sideline will dictate the width of the button contouring.As I said before, the silver lining is that there remains some of the original slot facing.  The single hole slot will make it easier fashioning the button without having to craft a slot inset which is true for most vulcanite stems. I use an amber medium thickness CA glue to nuance the coloring I want to match the horn.  After covering a piece of paper with clear packing tape to serve as the mixing palette, I put a small dab of the amber glue on the palette to test the color and how it acts when I add to it.  To the amber CA is added just a small amount of activated charcoal and mixed to see how it reacts.  Only a small amount of the charcoal is used because too much and it will turn black.  I want there to be a lighter hue in the mixture with darker hints mingling with the amber.I like the look of the color of the glue – it has potential.  Before mixing more CA, to fashion the button and to protect the airway, a pipe cleaner wrapped with scotch tape and with petroleum jelly dabbed on the tape is inserted in the airway.  This forms the airway channel and protects it from being filled with glue.  The petroleum jelly helps to keep the pipe cleaner from adhering permanently to the CA glue – that would be problematic.Now, to thicken the CA/slight charcoal mixture, I add extra thick CA glue and mix with a toothpick.  Thickening the mixture helps when it is applied to the stem to not be as runny.With the pipe cleaner inserted, I put an initial layer of the CA mixture over the pipe cleaner to form the initial airway channel.  The glue is immediately sprayed with an accelerator which quickly cures the glue and holds the pipe cleaner  in place. Rebuilding the button was a repetitive dance of adding a bit more charcoal, amber CA and extra thick CA and mixing and applying to the button area with the toothpick – wrapping the glue around the toothpick as one wraps pasta around a fork.  After each application of the CA mixture, the button is sprayed with the accelerator.  The following pictures show the progress in gradually adding layers to rebuild the button.After sufficient layers have been laid, as hoped, with a bit of wiggling, the pipe cleaner comes out without problem.  The excess rebuild patch material that has been applied was intended.  From the excess the filing process whittles down the excess to shape the button as needed. The airway formed around the taped pipe cleaner as hoped.  My only concern at this point is that the patch material above the airway is not sufficiently thick as I begin filing.  I’ll be cognizant of this later.  I set the stem aside to allow the button rebuild patch to thoroughly cure.With the stem on the side, I take a closer look at the stummel before starting the cleaning process.  The rim has thick lava flow.  The grime on the bowl also is evident. The clean up of the stummel starts with reaming the chamber using the Pipnet Reaming Kit. The reaming required 3 of the 4 blade heads available.  This is followed with the Savinelli Fitsall Tool to further scrape the chamber removing the carbon buildup.  Finally, the chamber is sanded using 240 sanding paper wrapped around a Sharpie Pen.  An inspection of the chamber after the reaming process shows healthy briar.Moving now to the sculpted briar surface, undiluted Murphy’s Oil Soap is used on a cotton pad to scrub.  A bristled toothbrush is also used to get into the grooves of the sculpting and a brass bristled brush helps with the lava buildup on the rim surface.  The lava on the rim proved to be stubborn.  The sharp edge of the pocketknife was also used to carefully scrape the surface.   The stummel is next taken to the sink where the cleaning continues with shank brushes.  Using the brushes and anti-oil liquid dishwashing soap, the mortise is cleaned using warm to hot water.  The bristled toothbrush is used again to clean the external surface.  After a thorough rinsing, the bowl is taken back to the worktable.Next, to fine tune the internal cleaning, pipe cleaners and cotton buds wetted with isopropyl 99% scrub the mortise and airway.  From the picture below, the number of buds and pipe cleaners used was quite a bit.  A dental spoon also was useful in scraping the sides of the mortise.  I discovered at the beginning of the cleaning that the mortise has what appears to be cork lining affixed to the sides to keep the metal tenon snug.  During the cleaning process, I cleaned over the cork not wanting to damage it more than it was.  I call a truce on the cleaning for now and will plan to do a kosher salt and alcohol soak through the night to further clean and freshen the internals.After the cleaning of the stummel I look back at the results.  There persist some darkened, scorched areas on the rim and just inside the chamber on the left-hand side – the lighting side.  I will need to do some remedial sanding to clean this. The stummel has cleaned up well.  I’m looking forward to the sanding phase when the grain in the smooth briar sections of the sculpting will emerge.  This will look good.  The finish, what there was of one, seems to be non-existent after the cleaning. I begin to address the issues with the rim by topping the stummel to reestablish fresh lines and to remove the darkened areas. Using 240 paper on the chopping board, the stummel in inverted and rotated on the flat surface.  I expect the progress often not wanting to remove more briar than is necessary.At this point, I am satisfied with the progress even though the burn spot on the left side of the stummel (the bottom in the picture) is still evident.  I will try to address this by cutting a smart bevel on the inner lip of the rim.  I am hopeful this will remove more charring.To complete the topping, the paper is changed to 600 grade paper and the stummel is rotated several more times to smooth the rim surface further.Next, a bevel is cut using 240 paper then 600 paper by pinching the rolled paper with a hard surface backing the paper.  This removes the dark ring nicely and I’m satisfied with the results even though a small dark spot remains.Next, sanding sponges are applied to the sculpted briar surface.  Three sponges are used, first a coarser grade, then medium and finishing with a light grade.  The sponges do a great job cleaning the briar surface. With my workday closing, the internal cleaning is continued using a kosher salt and alcohol soak through the night.  This helps to draw the oils out of the internal briar and freshen the stummel.  First, a cotton ball is stretched and twisted to form a ‘wick’ which is then pushed/guided down the mortise with the help of a stiff wire.  The wick helps to draw the oils out. The bowl is then filled with kosher salt which does not leave an aftertaste.  After putting the stummel in the egg crate for stability, the chamber is filled with isopropyl 99% until it surfaces over the salt.  After a few minutes, the alcohol is absorbed into the salt and a little more alcohol is added to top it off.  The lights are then switched off. The next morning, the soak had continued the cleaning through the night as evidenced by the salt and cotton wick being soiled.  After clearing the salt crystals from the bowl and wiping with a paper towel, I also blow through the mortise just to make sure that the salt was removed.  To make sure the cleaning was successful, a few pipe cleaners and cotton buds wetted with isopropyl 99% reveal that more cleaning is necessary.  After a good bit of work, the buds emerged lighter and I declare the job done! Next, I’m anxious to work on shaping the new button.  The patch rebuild material has cured through the night and I begin by filing the end of the stem to shape the button facing.  I flat needle file begins the process of removing the excess patch material to flatten it.It does not take long filing to discover I have some problems.  I mentioned earlier I was concerned about the thickness of the top bit area.  The reason for my concern was that I did not realize until after the initial CA glue application to establish a solid airway, that the tape-wrapped pipe cleaner, the airway template, had popped up just a little when the attention was on troweling the glue mixture to the rebuild with a toothpick.  The form was set when I quickly sprayed the CA with the accelerator.  The picture below shows the form of the airway pushing too far upward.  The problem with this therefore, results in a cavity where there should be hardened CA glue.  Looking through the slot you can see daylight – the translucent light coming through the hardened CA.  The second picture shows this area looking down on the upper bit.   Undeterred, I believe the best approach is to file down the upper bit as I would normally do – shaping it as it should be. As I file, I expect the cavity will be breached providing the means to add more CA mixture to fill the cavity.  The pipe cleaner with the scotch tape wrap will also again be in place when more CA is added.  On we go!  Using the flat needle file, I work on the upper bit forming the button lip.  A few pictures show the gradual progress.As I file close to being flush with the horn surface, filing is transitioned to sanding with 240 grade sanding paper to shape the button further.  I am surprised when there are no breaches exposing a cavity in the button.I transition to filing the lower button.  Instead of a flat needle file, a squared filed is used.  It doesn’t take long, and 240 grade sandpaper continues the sanding process. Next, the flat needle file is used to shape the button itself.  The general approach is to follow the curvature of the horn stem on the upper and lower button lip.  In addition, the button is filed to taper toward the sides of the stem so that the upper and lower button meet flush with the side of stem.  This results in a uniform edge running down from the diamond shank sides through the stem/button.  Sanding and shaping the button continues with 240 grade paper and is expanded to sand the entire stem to clean small nicks and smooth.  A plastic disk is used to prevent shouldering the edges while sanding.The button is looking good but still in a rough state.  As is often the case when working with CA glue patches, pits appear from air pockets caught in the glue when it solidifies.   I take a few pictures to show the progress. Even though filing and sanding did not open a cavity as I was expecting, there is a gap where there shouldn’t be a gap and there is a small cavity behind the gap where  there shouldn’t be and this concerns me.  The approach that came to mind was again to wrap a pipe cleaner in scotch tape.  After applying petroleum jelly to the tape to reduce the CA glue sticking to it, the pipe cleaner was again placed in the airhole and into the airway.  If I had three hands, I could have taken pictures of the following process, but with the picture below serving as the starting point, it shows the gap created earlier is exposed while filling the accurate airway with the pipe cleaner. A precision spout is then attached to the Black CA glue bottle and reinforced with tape.  With the tip of the precision spout being small, I am able to insert it into the gap hole and ‘inject’ the Black CA glue into the cavity.  This was done very slowly because it was difficult pushing the CA through the small exit and I did not want to blow the spout off with the pressure – therefore the spout is reinforced with tape!  When the glue emerges out of the gap, I spray accelerator on it to solidify in place the excess black CA emerging from the cavity assuring that the slot hole remains firm.  After about 5 minutes, I gave the pipe cleaner a slight twist to see if the petroleum jelly prevented the sticking.  It snapped and moved, but I left it in place as the black CA glue injected in the cavity fully cures.  I put the stem aside again to let the CA glue fully cure. With the stem on the sideline, the sanding process with the stummel is continued following the sponges.  The full regimen of micromesh pads is applied by first wet sanding with pads 1500 to 2400.  Dry sanding follows with pads 3200 to 4000 and 6000 to 12000.  I enjoyed watching the emergence of the smooth briar grain during the micromesh process.  It’s looking great!

While sanding with micromesh pads, I had more of a focus on the beautiful carving design of the Edelweiss.  Both sides of the bowl display an Edelweiss flower in full bloom, but more subtle is the leafy branch design holding up the flowers from below.  The leafy branch extends from the shank into the bowl’s heel and then flowering upward encompassing the bowl – amazing!  To bring more relief to the sculpted leaf and flower panels I decide to apply Fiebing’s Tan Leather Dye to the stummel.  My thinking is this – the tan will freshen the overall color, but it will not be distinctively different from the lighter briar surface.  The main effect I am looking for will be on the ‘unnoticed’ rough, sculpted cuts, which surround and define the leaves and flowers.  The fresh dye will absorb and should darken the rough briar, I believe, and provide more of a contrast pop for the overall briar canvas.  At least, this is what I think will happen!  As can be seen in the above pictures, there is compacted briar dust lodged in the cut lines and edges.  Using a sharp dental probe, I carefully scrape and blow the debris out of the cracks and cuts. After assembling the materials and tools on the worktable, in preparation for the dye, I first wipe the bowl with alcohol to further clean the surface.  Next, the bowl is warmed with the hot air gun to heat and expand the briar.  I believe this helps the wood to receive the dye. After the stummel was warmed, a pipe cleaner is used to apply Fiebing’s Tan Leather Dye to a portion of the bowl and then it is ‘flamed’.  The aniline dye is combusted with a lit candle and when the alcohol quickly burns off, the pigment is set into the briar.  I debated whether I should fire the dye given that it will be more difficult to remove the resulting crusted surface. I decide that the cuts and crevasses are accessible enough that it should clean up with the rotary tool and buffing wheels.  After thoroughly applying the dye and firing it, the bowl is put aside to rest allowing the dye to settle in.With the stummel resting, the injection of black CA glue into the cavity of the button slot has cured.  With a bit of nervousness, I pull and twist the tape wrapped pipe cleaner which had been covered with petroleum jelly to prevent sticking.  Thankfully, it was dislodged with no problems.To clean the excess black CA glue the flat needle file is used followed by 240 grade sanding paper.  A round pointed needle file is used to fine tune the rounding of the air hole.  It looks great!  I breathe a bit easier.  The draft hole is correctly formed and the rebuild is now solid other than the airway running through it.To smooth the horn stem and button rebuild, 600 grade paper is used to wet sand followed by applying 0000 grade steel wool. The horn is looking great and the coloring of the button could not be much better.  Looking more closely at the button, there remain some pits that need to be filled and smoothed. To address this, thin CA glue is carefully spread over the button to fill the small pits on the button lip and above the airhole.  After the CA is cured in a few hours, again I wet sand with 600 paper and 0000 steel wool, focusing on smoothing the button.  I am pleased with the results of the button rebuild.   Next, the horn stem is sanded with micromesh pads.  Starting with pads 1500 to 2400, the stem is wet sanded.  Following this, pads 3200 to 4000 and 6000 to 12000 are used to dry sand.  To condition the horn material, Obsidian Oil is applied between each set of three pads.  The horn almost drank the oil, and the pop of this horn stem is great! The newly dyed Edelweiss stummel is next.  It has rested for several hours and the next step is to remove the flamed shell.To do this a felt buffing wheel is mounted to the rotary tool and set to a slower speed – about 25% full power. This reduces the heat generated by the felt and the Tripoli compound, a coarser abrasive compound.  Tripoli is applied to the stummel with the felt wheel and I navigate the wheel to put an edge down into the crevasses as much as possible.  The rotary tool makes it easy to address the different angles of the sculpting contour.  After using the compound, a cotton pad wetted with alcohol is used to wipe down the stummel.  I do this to lighten the dye and to blend the new dye more evenly over the sculpted surface.Next, a cotton cloth buffing wheel is mounted to the rotary tool and the speed is increased to about 40% full power.  I do not apply more compound with this wheel but simply buff through all the crooks and crannies to remove any excess Tripoli compound that may have gotten lodged.  This also continues to buff up the new dyed surface.After reattaching the nickel stinger to the tenon, the stummel and horn stem were reunited.  After changing to another cotton cloth buffing wheel with the speed remaining at 40%, Blue Diamond compound is applied to the entire pipe.  I use a light touch with the compound so not to clog the nooks and crannies with compound dust.  As before, the wheel is navigated over the smooth surfaces as well as in the carved valleys and cuts.Not shown is that I again wipe the stummel one more time with a cotton pad wetted with alcohol to continue to reduce the dye residue.  The final step to reduce dye leaching onto the hand after the pipe is put into service is to emulate the heating of the bowl.  To do this the bowl is warmed with the hot air gun and when hot, the stummel is rubbed with microfiber cloth which removes residue created by the heating.The final step is to apply carnauba wax to the pipe. After changing the buffing wheel again at the same speed, the wax is applied to the entire pipe.  Again, little is more when applying the wax, especially not wanting to muck up the sculpting with excess wax.  After the wax is applied to the horn stem and Edelweiss stummel, the pipe is given a hearty hand buffing with a microfiber cloth to raise the shine and to distribute and remove excess wax.My goodness – I am pleased with the results of the restoration of this Sculpted Edelweiss horn stem that Kari donated to benefit the Daughters of Bulgaria.  What a beauty!  Rebuilding the button to blend well with the horn stem was a challenge, but the mixing of the different CA glue hues had the effect of a wavy translucence that emulated very well the horn coloring.  The sculpting of the edelweiss flowers and leaves is exquisite and coupled with the rustic, earthy horn stem, an eye-catching ensemble is created.  Bob had the vision to see the potential and commissioned the Sculpted Edelweiss Horn Stem and will have the first opportunity to claim it in The Pipe Steward Store benefiting the Daughters of Bulgaria – helping women and girls who have been trafficked and sexually exploited.  Thanks for joining me!