Tag Archives: Bari Pipes

Cleaning up a Danish Made Bari Special Handcut B Dublin Freehand


Blog by Steve Laug

The next pipe on the work table is one that I picked up from a fellow in Alberta with several other Bari pipes. It has been here for a while and I am just now getting to it. I try to eventually work the pipes we find into the restoration queue so that I can keep them moving. This one is a Bari Special Handcut Dublin. It has a really mix of flame and straight grain around the bowl and shank. It was stamped on the sides of the shank. On the left side it reads Bari [over] Special [over] Handcut. On the right side it reads Handmade [over] in Denmark. On the underside of the shank it is stamped with the letter “B”. The pipe was dirty with grime ground into the finish. There was a thick cake in the bowl and lava overflow on the rim top. The inner edge of the rim was covered so thickly in lava it was hard to know what was underneath. The vulcanite stem was oxidized and had tooth marks and chatter ahead of the button on both sides. BARI was stamped on the left side of the fancy saddle stem but the B had been buffed out.

Before I started working on it I did a bit of research on the brand to remind myself of the maker. I have worked on quite a few Bari’s in the past so rather than rework all of that I am including the information I found while working on a Bari De Luxe Freehand. I quoted a section from Pipedia on Bari pipes (https://pipedia.org/wiki/Bari). It is good to be reminded of the fact that Viggo Nielsen was the pipe maker.

Pipedia states that Bari Piber was founded by Viggo Nielsen in Kolding, Denmark around the turn of 1950/51. His sons Kai and Jørgen both grew into their father’s business from a very young age and worked there till 1975. Both have become successful pipe makers.

Bari successfully adapted the new Danish design that had been started mainly by Stanwell for its own models. Bari was sold in 1978 to Van Eicken Tobaccos in Hamburg, Germany though the pipes were still made in Denmark. From 1978 to 1993 Åge Bogelund and Helmer Thomsen headed Bari’s pipe production.

Helmer Thomson bought the company in 1993 re-naming it to “Bari Piber Helmer Thomsen”. The workshop moved to more convenient buildings in Vejen. Bogelund, who created very respectable freehands of his own during the time at Bari got lost somehow after 1993. Bari’s basic conception fundamentally stayed the same for decades: series pipes pre-worked by machines and carefully finished by hand – thus no spectacular highgrades but solid, reliable every day’s companions were what they turned out. The most famous series are the smooth “Classic Diamond” and the blasted “Wiking”.

I did a quick look at Pipephil’s site (http://www.pipephil.eu/logos/en/logo-b1.html) and did a screen capture of the section on Bari pipes.Now that I was reminded about the Viggo Nielsen connection it was time to work on the pipe on my end. The pipe was a mess when I took it out of my box here so I was curious to see how well it would cleanup. I took some photos of the pipe before I started my work on it. You can see that it is filthy but has some great grain around the sides of the bowl.     I took some close up photos of the rim top and the stem surface. I wanted to show the condition of the cake in the bowl and look of the rim top and lava overflow. I also took close up photos of the stem to show the tooth marks and the calcification, oxidation and generally condition of the stem surface. I took photos of the stampings around the sides of the shank are faint but readable under the grime. It is stamped as noted above. I removed the stem for the shank and took a photo of the bowl and stem to give a picture of what it looked like. It is a great looking pipe under the grime.I decided to start my restoration by getting rid of the cake in the bowl and cleaning up the rim top. I reamed it with a PipNet pipe reamer and cleaned up the reaming with a Savinelli Fitsall Pipe Knife. I sanded the inside of the bowl with 220 grit sandpaper wrapped around a piece of dowel. Once I finished the bowl was smooth and clean. I was glad to see that there was no internal damage.   I scrubbed the exterior of the bowl with Murphy’s Oil Soap and a tooth brush to remove the grime and grit on the briar and the lava on the rim top. The finish looks very good with good looking grain around the bowl and shank. Once it is polished it will come to life. I scrubbed out the internals of the shank and the airway in the stem with alcohol, pipe cleaners and cotton swabs until the pipe was clean. I rubbed the bowl down with Before & After Restoration Balm. I worked it into the surface of the briar with my fingertips and a horsehair shoe brush to clean, enliven and protect it. I let the balm sit for a little while and then buffed with a cotton cloth and shoe brush to raise the shine.    I set the bowl aside and turned my attention to the stem. I sanded to loosen the oxidation on the vulcanite. I used a needle file to sharpen the edges of the button and redefine the shape.   I scrubbed the stem with Soft Scrub polish to remove the oxidation. While it did not take it all out it removed much of. What was left I would minimize more with 220 grit and 400 grit sandpaper and then would polish out with micromesh sanding pads.I sanded out the scratching and the tooth dents with 220 grit sandpaper and starting the polishing process with 400 grit wet dry sandpaper.    I polished the vulcanite with micromesh sanding pads – 1500-12000 grit pads. I wiped it down with a damp cloth after each sanding pad. I used Before & After Pipe Polish – both Fine and Extra Fine to further polish the stem.  I left a little oxidation around the stamp so as not to damage it more.        This restored Bari Danish Made Special Handcut Dublin is a nice looking pipe. The contrasting brown stains on the pipe worked really well with the polished vulcanite fancy stem. I put the stem back on the bowl and carefully buffed the pipe with Blue Diamond on the buffing wheel. I gave the bowl and stem multiple coats of carnauba wax on the buffing wheel keeping a light touch on the buffing wheel for the bowl. I followed that by buffing the entire pipe with a clean buffing pad. I hand buffed the pipe with a microfiber cloth to deepen the shine. The finished Bari Special Dublin fits nicely in the hand and feels great. Give the finished pipe a look in the photos below. The dimensions of the pipe are Length: 6 inches, Height: 1 ¾ inches, Outside diameter of the bowl: 1 ½ inches, Chamber diameter: ¾ of an inch. If you are interested in carrying on the previous pipe man’s legacy with this pipe send me a message or an email. I have more to work on of various brands. Perhaps one of those will catch your attention. Thanks for reading this blog and my reflections on the pipe while I worked on it.

Fresh Life for a Bari De Luxe 9763 Bent Dublinesque Freehand


Blog by Steve Laug

The next pipe on the work table is a sandblast bent Dublin shaped Bari, at least that is my description of it. The bowl is round with a crowned rim top. On the underside of the shank it reads Bari over De Luxe followed by Made In Denmark and ends with the shape number 9763. The finish is sandblasted on the entire bowl and the blast is deep and tactile with some great grain as well. The rim top is sandblasted and crowned. The pipe was dirty and the oxblood finish flat but otherwise the pipe was in good shape. The bowl had a thick cake and the inner edge of the rim looked to be in good condition. The shank is round and flows out the bowl with a slight bend. The stem is vulcanite and has a fancy round turning before second round edged rectangular bead. The blade of the stem is also a round edge rectangle. It is stamped on the left side of the stem and reads Bari. The stem had tooth marks and chatter on both sides near the button. It was oxidized and had some calcification on the end. Jeff took some photos of the pipe to show the general condition of the pipe before he started his clean up. Jeff took some close-up photos of the rim top and bowl to show the overall condition. There is some light lava in some of the grooves but overall it is just dusty. The edges look very good.He took some photos of the sides and heel of the bowl to show the condition of the finish on the pipe. The photos show the beautiful grain around the bowl. Under the dust and grime it was a nice looking bowl. I think it will be a beautiful pipe once it is restored.He took a photo of the stamping on the underside of the shank. It was stamped Bari over De Luxe followed by Made in Denmark and the shape number 9763.The next two photos show the top and underside of the stem. It is dirty and has calcification on both sides at the button. There is also some tooth chatter and some light tooth marks.I have worked on quite a few Bari’s in the past and did the work on the brand information so rather than rework all of that I am including the information I found while working on a Bari De Luxe Freehand. I quoted a section from Pipedia on Bari pipes (https://pipedia.org/wiki/Bari). I am including the material that I found previously on the brand. It is good to be reminded of the fact that Viggo Nielsen was the pipe maker. I quote:

Pipedia states that Bari Piber was founded by Viggo Nielsen in Kolding, Denmark around the turn of 1950/51. His sons Kai and Jørgen both grew into their father’s business from a very young age and worked there till 1975. Both have become successful pipe makers.

Bari successfully adapted the new Danish design that had been started mainly by Stanwell for its own models. Bari was sold in 1978 to Van Eicken Tobaccos in Hamburg, Germany though the pipes were still made in Denmark. From 1978 to 1993 Åge Bogelund and Helmer Thomsen headed Bari’s pipe production.

Helmer Thomson bought the company in 1993 re-naming it to “Bari Piber Helmer Thomsen”. The workshop moved to more convenient buildings in Vejen. Bogelund, who created very respectable freehands of his own during the time at Bari got lost somehow after 1993. Bari’s basic conception fundamentally stayed the same for decades: series pipes pre-worked by machines and carefully finished by hand – thus no spectacular highgrades but solid, reliable every day’s companions were what they turned out. The most famous series are the smooth “Classic Diamond” and the blasted “Wiking”.

Now that I was reminded about the Viggo Nielsen connection it was time to work on the pipe on my end. When I received it Jeff had once again done an amazing job cleaning the pipe. He reamed it with a PipNet pipe reamer and got rid of the cake. He cleaned up the reaming with a Savinelli Fitsall Pipe Knife so that we could see the walls of the bowl and assess for damage. He cleaned the internals of the shank and stem with alcohol, pipe cleaners and alcohol. He scrubbed the exterior with undiluted Murphy’s Oil Soap and a tooth brush. He rinsed the pipe under warm water. He dried it off with a cloth and then let it air dry. The stem was scrubbed with Soft Scrub and soaked in Before & After Deoxidizer. It came out looking very good. The finish on the bowl and the rim top cleaned up nicely. I took pictures of the pipe to show how it looked when I unpacked it. I took a close up photo of the rim top to show how clean the sandblast was. The inner edge of the rim and the ridges and valleys of the blast looked good. The stem looked good just some light tooth chatter and light tooth marks near the button.I took a photo of the stamping on the underside of the shank and the Bari stamp on the left side of the saddle stem.I took the stem off the bowl and took a picture of the pipe to show the flow of the bowl and the angles of the stem and shank. It is a great looking pipe.The pipe was in excellent condition so I started with the bowl. I worked some Before & After Restoration Balm into the smooth briar with my fingertips and a horsehair shoe brush. The product is a great addition to the restoration work. It enlivens, enriches and protects the briar while giving it a deep glow. I appreciate Mark Hoover’s work in developing this product. I set the bowl aside and turned my attention to the stem. I sanded the surface of the stem with 220 grit sandpaper to remove the tooth marks and chatter. I started the polishing process with 400 grit wet dry sandpaper.I polished the stem with micromesh sanding pads – wet sanding with 1500-12000 grit sanding pads. I wiped it down after each sanding pad with Obsidian Oil. I polished it with Before & After Pipe Stem Polish – both Fine and Extra Fine. I buffed the stem with a soft cloth to raise the shine. I am on the homestretch with this Bari De Luxe. As always I am excited to finish a pipe that I am working on. I put the pipe back together and lightly buffed it with Blue Diamond on the buffing wheel. I used a gentle touch on the sandblast portion of the bowl. I gave the bowl multiple coats of Conservator’s Wax and the stem multiple coats of carnauba wax. I buffed the pipe with a clean buffing pad and hand buffed it to raise the shine. It is fun to see what the polished bowl looks like along with the polished vulcanite stem. This Bari De Luxe 9763 is a nice looking pipe. It is quite comfortable in hand and should be so when smoking. It is quite light and well balanced. Have a look at it with the photos below. The dimensions are Length: 5 inches, Height: 1 ¾ inches, Outside diameter of the bowl: 1 ½ inches, Chamber diameter: ¾ of an inch. It is another beautiful pipe and one that will be residing in my rack at least for a while. I like the shape and feel of this one and I am looking forward to firing up a bowl of Virgina/Perique in it later today! Thanks for walking through the restoration with me as I worked over this pipe. Thanks to each of you who are reading this blog.

Fresh Life for a Bari Matador Freehand


Blog by Steve Laug

The next pipe on the work table is a pipe that came to me from Joe in Georgia. He was selling an estate for a family and sent me a list that had a Bari Matador pipe listed. I had him send me some photos of the pipe so I could see what it looked like. I was initially interested in the pipe and once I saw it we struck a deal and the pipe was on its way to Jeff. Often when I buy pipes from the US I have the sellers send them to Jeff and he cleans them for me before sending them up to me for the rest of the restoration work. It was an intriguing pipe with a combination of sandblast and smooth finishes. The left side of the bowl is sandblasted and the rest of the bowl is smooth. The rim top of the bowl is a plateau finish. The stem was a fancy turned stem with a paneled taper.This Freehand shaped Bari is interesting in that it borders on being a panel. The front and sides are flat making the pipe rectangular while the shank is round. The panel idea follows through to the stem after the fancy turning. The blade of the stem is square. It is stamped on the left side of the shank and reads Bari over Matador in a football shape. On the right side it reads Handmade In Denmark. The finish is smooth on three sides of the pipe (right, front and back) and is sandblasted on the left side of the bowl. It has some great grain around the smooth sides of the bowl and shank. The blast is deep and rugged with some great grain as well. The rim top is plateau and is craggy. The pipe was dirty and the finish flat. There were some dings and scratches in the briar but otherwise it was in good condition. The bowl was lightly caked and the inner edge of the rim looked to be in good condition. The fancy saddle stem was vulcanite and had tooth marks and chatter on both sides near the button. It was oxidized and had some calcification on the end. Jeff took some photos of the pipe to show the general condition of the pipe before he started his clean up. Jeff took some close-up photos of the rim top and bowl to show the overall condition. There is some light lava in some of the grooves but overall it is just dusty. The edges look very good.Jeff took some photos of the sides and heel of the bowl to show the condition of the finish on the pipe. The photos show the beautiful grain around the bowl. Under the dust and grime it was a nice looking bowl. I think it will be a beautiful Freehand pipe once it is restored. He took a photo of the stamping on the left side of the shank. On the shank it was stamped Bari over Matador in the football shape as noted above. In my examination of the pipe when it arrived I could see that it was also stamped on the right side Handmade in Denmark but it was very faint.The next two photos show the top and underside of the stem. It is dirty and has calcification on both sides at the button. There is also some tooth chatter and some light tooth marks with some damage to the button edge. The third photo shows the fancy turning on the shank end of the stem.Paresh has restored a similar Bari Matador and written about it on a blog. It is an informative piece so I have included the link to it here (https://rebornpipes.com/2019/05/15/a-simple-refurbishing-of-a-bari-matador/).

I also have worked on quite a few Bari’s in the past and did the work on the brand information so rather than rework all of that I am including the information I found while working on a Bari De Luxe Freehand. I quoted a section from Pipedia on Bari pipes (https://pipedia.org/wiki/Bari). I am including the material that I found previously on the brand. It is good to be reminded of the fact that Viggo Nielsen was the pipe maker. I quote:

Pipedia states that Bari Piber was founded by Viggo Nielsen in Kolding, Denmark around the turn of 1950/51. His sons Kai and Jørgen both grew into their father’s business from a very young age and worked there till 1975. Both have become successful pipe makers.

Bari successfully adapted the new Danish design that had been started mainly by Stanwell for its own models. Bari was sold in 1978 to Van Eicken Tobaccos in Hamburg, Germany though the pipes were still made in Denmark. From 1978 to 1993 Åge Bogelund and Helmer Thomsen headed Bari’s pipe production.

Helmer Thomson bought the company in 1993 re-naming it to “Bari Piber Helmer Thomsen”. The workshop moved to more convenient buildings in Vejen. Bogelund, who created very respectable freehands of his own during the time at Bari got lost somehow after 1993. Bari’s basic conception fundamentally stayed the same for decades: series pipes pre-worked by machines and carefully finished by hand – thus no spectacular highgrades but solid, reliable every day’s companions were what they turned out. The most famous series are the smooth “Classic Diamond” and the blasted “Wiking”.

Now that I was reminded about the Viggo Nielsen connection it was time to work on the pipe on my end. When I received it Jeff had once again done an amazing job cleaning the pipe. He reamed it with a PipNet pipe reamer and got rid of the cake. He cleaned up the reaming with a Savinelli Fitsall Pipe Knife so that we could see the walls of the bowl and assess for damage. He cleaned the internals of the shank and stem with alcohol, pipe cleaners and alcohol. He scrubbed the exterior with undiluted Murphy’s Oil Soap and a tooth brush. He rinsed the pipe under warm water. He dried it off with a cloth and then let it air dry. The stem was scrubbed with Soft Scrub and soaked in Before & After Deoxidizer. It came out looking very good. The finish on the bowl and the rim top cleaned up nicely. I took pictures of the pipe to show how it looked when I unpacked it. I took a close up photo of the plateau rim top to show how clean it was. The inner edge of the rim and the ridges and valleys of the plateau looked good. The stem looked good just some light tooth chatter and several deeper tooth marks on the button.The pipe was in decent condition so I started with the bowl. I polished the smooth portions of the briar with micromesh sanding pads – wet sanding with 1500-12000 grit pads and wiping down the briar after each sanding pad with a damp cloth. The briar began to shine. I worked some Before & After Restoration Balm into the smooth briar with my fingertips and the plateau and sandblasted side with a horsehair shoe brush. The product is a great addition to the restoration work. It enlivens, enriches and protects the briar while giving it a deep glow. I appreciate Mark Hoover’s work in developing this product. I buffed the pipe with a micro fiber cloth to raise the shine and took photos of it at this point it the process. It is a beautiful looking pipe. I set the bowl aside and turned my attention to the stem. I “painted” the tooth marks with the flame of a Bic lighter to try and raise them a bit. Remember vulcanite has “memory” and if the marks are not sharp edge the heat well raise them. In this case while they came up some on the blade so that none remained. The damage on the button edge came up a little but it would need to be repaired.I filled in the remaining tooth marks on the button edge with clear CA glue and set the stem aside to dry.Once the repairs cured I used a needle file to flatten them out and recut the sharp edge of the button.I sanded the surface of the stem with 220 grit sandpaper to further blend in the repairs. I started the polishing process with 400 grit wet dry sandpaper.I polished the stem with Denicare Mouthpiece Polish from a tin of it I have in the drawer here. It is a gritty red paste (similar in grit to red Tripoli) that I rub on with my finger tips and work it into the surface of the stem and button and buff it off with a cotton pad. It gives me a bit of a head start on the polishing work.I polished the stem with micromesh sanding pads – wet sanding with 1500-12000 grit sanding pads. I wiped it down after each sanding pad with Obsidian Oil. I polished it with Before & After Pipe Stem Polish – both Fine and Extra Fine. I buffed the stem with a soft cloth to raise the shine. I wiped the stem down with Briarville’s No Oxy Oil to preserve and protect the stem surface. I am on the homestretch with this Bari Matador! As always I am excited to finish a pipe that I am working on. I put the pipe back together and buffed it with Blue Diamond on the buffing wheel. I used a gentle touch on the sandblast portion of the bowl. I gave the bowl and the stem multiple coats of carnauba wax. I buffed the pipe with a clean buffing pad and hand buffed it to raise the shine. It is fun to see what the polished bowl looks like along with the polished vulcanite stem. This Bari Matador is a nice looking pipe. It is quite comfortable in hand and should be so when smoking. It is quite light and well balanced. Have a look at it with the photos below. The dimensions are Length: 6 inches, Height: 2 inches, Outside diameter of the bowl: 2×2 1/2 inches, Chamber diameter: ¾ of an inch. It is another beautiful pipe and one that will be on the rebornpipes store soon. You can find it in the section of Pipes by Danish Pipe Makers. 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.

Renewing a Classic Bari Shape – A Bari Opal 8443


Blog by Steve Laug

The next pipe on the table is from one of the unsung pipe makers that I really enjoy working on. It is a Bari pot shaped pipe with a rectangular shank and tapered vulcanite stem. This has some stunning straight and flame grain around the bowl and shank with birdseye on the top of the bowl and the heel. It showed a lot of promise even in its filthy condition. The rim top was quite wide and had a slight bevel on the inside rim edge. The pipe is stamped on the topside of the shank Bari over Opal and on the underside Made in Denmark over the shape number 8443. Lately we have been picking up some really dirty pipes and this pipe was no exception. It was very dirty with a thick cake in the bowl and a layer of lava overflowing on to the rim top. It was thick enough to have some wrinkles in the surface that looked almost like cracks. It was hard to know what the inner edge of the rim looked like because of the lava and cake. From the photos it appeared that the inner edge was in good condition. Other than being dirty the finish also appeared to look very good. The stem was lightly oxidized and the button surface on both sides was worn down from tooth damage. There was chatter on both sides of the stem. Jeff took some photos of the pipe before he started working on it. He took photos of the rim top to show the thick cake in the bowl and the overflow of lava. The cake is thick and hard and the lava overflow is a thicker toward the back of the beveled rim. The bowl and the rim are a real mess. This must have been a great smoking pipe.He took a photo of the right side and heel of the bowl to show some of the grain and the condition of the pipe. There is one small fill at the top of the bowl that will need to be dealt with but otherwise it is a pretty pipe.Jeff took photos of the stamping on the top and underside of the shank to capture the clarity of it even under the grime. It is clear and legible.The vulcanite stem was worn at the button with the sharp edge of the button worn down with tooth marks. The stem also had a lot of chatter both sides and some oxidation.Jeff had already cleaned up the pipe before sending it to me. He had reamed the bowl with a PipNet pipe reamer and cleaned it up with a Savinelli Fitsall Pipe Knife. He scrubbed the exterior with Murphy’s Oil Soap and a tooth brush to clean off the grime off the finish and the heavy overflow of lava on the rim top. He cleaned up the internals of the shank, mortise and stem with pipe cleaners, cotton swabs and alcohol to remove all of the oils and tars in the pipe. When it arrived here in Vancouver it was a clean pipe and I knew what I had to work with. I took photos of it before I started my part of the restoration. I took photos of the rim top and the stem to show their condition. Jeff was able to clean up the thick cake and lava overflow that was shown in the rim and bowl in the earlier photos. He was also able to get rid of the grime and grit in the surface of the briar. The rim top looked a lot better than when he started. There was still some pitting and darkening on the surface of the inward bevel but it should clean up very well.I decided to work on the scratches in the surface of the briar first. I polished the surface with micromesh sanding pads – wet sanding with 1500-2400 grit pads and dry sanding with 3200-12000 grit pads. I wiped the rim down with a damp cloth after each pad. I was able to polish out the scratches without damaging the finish on the bowl or the rim. The finish looked very good once I was done polishing it. On the right side of the bowl there was a fill that stuck out. I touched it up with a black Sharpie pen and buffed it by hand. I used a Maple stain pen to touch up the area around the fill and the lighter areas on the shank end. The finish on the rest of the bowl was in excellent condition. After I was finished with the stain pens and polishing the restained areas I rubbed the bowl and shank down with Before & After Restoration Balm to deep clean the finish on the bowl and shank. The product works to clean, enliven and protect the briar. After it sat for a little while I wiped it off and buffed it with a soft cloth. The briar really began to have a rich shine. I took some photos of the bowl at this point to mark the progress in the restoration. It is a beautiful bowl. I set the bowl aside and worked on the stem at this point in the  process. The stem may well be a replacement one but it is hard to know for certain. It is well made and fits perfectly to the shank. I decided to start by repairing the deep tooth marks on the button and the stem. I filled them in and built up the surface of the button with clear super glue and set the stem aside while I went to lunch.I used a needle file to cut a sharp edge on the button on both sides of the stem. I worked it until there was a definite sharp edge. I sanded the button and the stem with 220 grit sandpaper and 400 grit sandpaper to remove the scratches. I polished the stem with micromesh sanding pads – wet sanding with 1500-2400 grit pads and dry sanding with 3200-12000 grit pads. I wiped the stem down after each pad with Obsidian Oil to remove the sanding dust. I polished Before & After Pipe Stem Polish – both Fine and Extra Fine. I gave it a final hand buff with some Obsidian Oil and laid it aside to dry. I put the stem back on the pipe and the pipe to the buffer. I worked it over with Blue Diamond to polish out the remaining small scratches in the briar and the vulcanite. I gave the bowl and the stem several coats of carnauba wax and buffed the pipe with a clean buffing pad to raise the shine. I hand buffed it with a microfiber cloth to deepen the shine. I love the way that the buffer brings a shine to the pipe. I was happy with the look of the finished pipe. The photos below show what the pipe looks like after the restoration. I have worked on quite a few Bari’s over the years and I am always pleased with the way the shape and the grain work together.  The shape and the look is uniquely Bari and are very elegant. The polished black vulcanite stem looks really good with the contrasting browns of the briar. The dimensions of the pipe are Length: 5 inches, Height: 1 3/4 inches, Outside diameter of the bowl: 1 3/4 inches, Chamber diameter: 7/8 of an inch. This pipe will soon be added to the rebornpipes online store. If you are interested in adding it to your collection let me know. This one should be a great smoker. Thanks for walking through the restoration with me on another beauty!

Life for a Beat up Bari Senior Old Briar Pick Axe


Blog by Steve Laug

The next pipe in the queue came from a pipe that Jeff purchased from an antique shop in Brookings, Oregon. He stopped by there on a trip last fall and picked up a few pipes. He picked up quite a few of his pipes and they included this interesting, Kriswill like Bari Senior. It is stamped on the left side of the shank and read Bari over Senior over Old Briar. On the right side it said Made in Denmark over the shape number 503. It is a pick axe shaped pipe with a deep pointed bowl and a narrow shank. The entire pipe had some beautiful mixed grain around the bowl but it was covered with deep cut marks on both sides and the front of the bowl. The rim top was covered with lava and darkening. The pipe was filthy but the grain underneath was rich and the finish looked like it would clean up well. The stem is vulcanite and has a pinched side on both left and right just past the saddle. The stem is oxidized and had tooth marks and chatter on both sides at the button edge. The photos below tell the story and give a glimpse of the pipe before clean up. Jeff took photos of the bowl and rim from various angles to capture the condition of the pipe before he started his cleanup work. There was a thick coat of lava on the rim and the cake in the bowl. It appeared that the beveled inner edges were in good condition. The outer edges actually appeared to be in excellent condition.He also took a series of photos of the sides of the bowl and shank to show the beautiful grain on the pipe but also the serious damage to the bowl – large gouges in the briar all around the bowl sides and front. The number of the gouges was a nightmare. Jeff took photos of the stamping on the left side of the shank. It reads as noted above. The first stamp BARI is legible. The second line that reads Senior and the third that reads Old Briar are both less legible.The next two photos show the stem surface. They show the tooth marks and chatter on both sides near the button. The stem is oxidized and has a thick build up around the button end. The pinched stem is a beautiful and sleek addition to the pipe.Once again, Jeff did his usual thorough clean up job on the pipe so that  when it arrived here in Vancouver it looked really good. Jeff reamed the bowl with a PipNet pipe reamer and followed up with a Savinelli Fitsall pipe knife to remove the cake. He scrubbed out the mortise and the airway in the shank and the stem with alcohol, cotton swabs and pipe cleaners. He scrubbed the exterior of the bowl, rim, shank and stem with a tooth brush and Murphy’s Oil Soap to remove the oils and tars on the rim and the grime on the finish of the bowl of the pipe. He rinsed it off under running water. He dried it off with a soft cloth. He was able to remove all of the lava build up on the beveled rim top of the pipe. The rim top looked pretty good though there were scratches in the flat top and a little darkening on the inner bevel toward the front of the bowl. The grain was beautiful but there were a lot of deep gouges in the briar around the sides of the bowl. He soaked the stem in Before & After Deoxidizer and was able to remove the oxidation. The pipe looked very good.I took photos of the pipe to show its condition before I started my work. I took a close up photo of the bowl and rim to capture the condition of the pipe before I started my restoration of the pipe. The rim top was clean but had some nicks on the flat surface and some darkening on the inside edge of the rim at the back of the bowl. The stem was quite clean with some light tooth marks and chatter on the top and underside near the button.I took some close up photos of the sides and front of the bowl to show the deep gouges in the briar. They were cuts rather than dents so steaming would not repair them. This would take some sanding and then strategic filling and staining to blend them into the briar. Time would tell if I could achieve what I wanted to do with this one. I started my restoration of the pipe by dealing with this damage. I sanded the damage areas on the bowl sides and front with a folded piece of 220 grit sandpaper. I worked on the areas until the lighter damaged areas were removed and the deeper ones were less visible.I filled in the deeper gouges with clear super glue. You can see the repairs are almost like pock marks around the bowl. They also highlight the extent of the damage on the sides of the bowl were when I started.When the repairs had cured I sanded them smooth with folded 220 grit sandpaper until they blended in to the surrounding briar. As I sanded I also found more damage on the front of the bowl and filled it in and sanded it smooth. I wiped the bowl down with alcohol on a cotton pad to remove the sanding dust. I wanted to remove it in preparation for restaining the bowl.I topped the bowl on a topping board with 220 grit sandpaper to remove the damage on the rim top and edges of the bowl. It did not take too much sanding to remove the damaged areas and leave the top ready for the next step.I sanded the bowl and rim with a medium and a fine grade sanding sponge to remove the sanding marks from the briar on the bowl and rim top. It was the first step in polishing the briar to ready it for staining. I continued to polish the briar with micromesh sanding pads – wet sanding with 1500-2400 grit pads and dry sanding with 3200-12000 grit pads. I  wiped the briar down after each pad with an alcohol dampened cotton pad. I decided to stain the pipe with contrasting stains – a dark brown undercoat and a cherry top coat. My thinking was that this would minimize the visual overload of repairs. I stained the bowl with the dark brown aniline stain and flamed it to set the stain in the grain of the briar. I repeated the process until the coverage was even and then set it aside for the afternoon. My thinking was that the dark stain would highlight the grain and also hide some of the repairs to the briar bowl.I wiped down the excess stain on the bowl with a cotton pad and isopropyl alcohol. I wanted to make the stain a bit more transparent and prepare it for buffing. I buffed the pipe with Red Tripoli on the buffing wheel to remove the excess dark stain. After buffing the bowl the Tripoli the grain was darker and the contrast between the light and the dark on the grain was quite stunning. I wiped the bowl down with alcohol and then rubbed some Before & After Restoration Balm into briar to enliven and preserve it. I buffed it with a soft cloth to raise the shine at this point. Once I had buffed off the balm I gave it a top coat of Danish Oil Cherry stain. I applied it with a soft cotton pad and let it sit for about 30 minutes before buffing it off with a cloth. Here is what it looked like as it dried. With the second coat of stain finished, I worked some Before & After Restoration Balm into the surface of the briar with my fingertips to clean, enliven and protect it. I let the balm sit for a little while and then buffed with a cotton cloth to raise the shine. The following photos show the bowl at this point in the restoration process. The bowl and the rim top look really good and the darkening is lessened. The finish looks very good with the combined rich brown and cherry stain on the bowl and rim. The stem was in good enough condition that I was able to polish out the tooth chatter and marks by wet sanding it with 1500-2400 grit micromesh sanding pads. I then dry sanded it with 3200-12000 grit pads. I wiped the stem down with a damp cloth after each pad. I further polished it with Before & After Pipe Polish – both Fine and Extra Fine. I wiped it down with a coat of Obsidian Oil and set it aside to dry. There was a spot of metal embedded in the vulcanite of the stem on the top left side ahead of the button. I have marked it with a red circle to highlight it for you as you look at the photo. It does not disappear as the stem is polish but seems to go quite deep in the rubber of the stem. Since I had finished both the bowl and stem I put them together and polished them both with Blue Diamond polish on the buffing wheel. I gave the bowl multiple and the stem multiple coats of carnauba wax. I buffed the pipe with a clean buffing pad to raise the shine. I hand buffed it with a microfiber cloth to deepen the shine. The pipe polished up pretty nicely. The grain around the sides of the bowl really began to stand out with contrast as I buff the bowl. The rich dark brown undercoat and cherry top coat finish on the briar works well with polished black vulcanite stem. Bari made some beautiful pipes and this is certainly one of them. The darker stain does the job hiding the repairs to the gouges and makes the grain really show through. This pipe is a great feeling pipe in the hand and I am sure that it will be an amazing smoker. Have a look at it with the photos below. The dimensions are Length: 5 1/2 inches, Height: 2 1/2 inches, Outside diameter of the bowl: 1 1/2 inches, Chamber diameter: 3/4 of an inch. I will be putting this beauty on the rebornpipes store shortly and it can be added to your collection. Thanks for walking through the restoration with me on this Bari Senior Old Briar 503 Pick Axe.

Restoring a Second Bari De Luxe Mahogany Freehand…


Blog by Steve Laug

I was emailing back and forth with a pipeman in Edmonton who wanted to sell of his pipes. He was cleaning up things and thought he would see if I was interested in them. He said that he had several Bari’s that were in the lot and he wanted to move those out. He sent me photos of the pipes he had and we soon struck a deal. Since we were both in Canada it did not take long for the package to make its way to me. I opened it and went through his pipes to see what I had to work on. There were some pipe racks and accessories in the box as well. I went through the pipes and set them aside. Today I decided it was time to start working on them. I chose a second Bari De Luxe Mahogany Freehand as the second of those Bari’s that I would work on. I have included two of the photos of the pipe that he sent to me before I purchased the lot. You can see that it was a well-loved pipe and one that he smoked often. The finish on the sides and shank was in good condition but dirty. The shank end was a nice natural plateau but not as craggy as the previous one. The rim top had an over flow of lava on the top and there was a burn mark on the back inner edge of the rim. Under the tar and lava it looked like the rim top was in good condition. The stain highlighted the beautiful grain on the briar and the plateau was stained black in stark contrast to the reddish brown of the bowl. The bowl was caked and would need to be reamed but otherwise good condition. The stem was cleaner than the previous one and did not have any sticky substance on it. There was some oxidation under the oil but there were not any tooth marks or chatter on the surface. Tenon end was chipped and broken and would need to be repaired. I took the following photos of the pipe before I began the cleanup. (The pipe came in an original Bari pipe sock.) I took some close up photos of the rim top and the stem to show the condition of the pipe when I started. The rim top shows damage at the back inner edge of the bowl and on the rim top at that point as well. Other than general darkening and tar around the inner edge of the bowl the rim shows some nice grain. The plateau on the shank end is in excellent condition. The stem surface is in good condition other than some oxidation. When I took the stem out to examine the tenon and shank I found a surprise. When I spoke with John he was unaware of the issue as well and was surprised. The tenon had a large chunk out of the top side. There was almost half of the tenon missing.I took photos of the stamping on both sides of the shank. On the left it was stamped Bari over De Luxe over Mahogany and on the right side it was stamped Hand Made in Denmark. The stamping was faint toward the bowl on both sides of the shank but was still readable.In the previous blog on the Bari De Luxe Freehand I quoted a section from Pipedia on Bari pipes. Here is the link to the article on Pipedia: https://pipedia.org/wiki/Bari. I summarize the material that I found there as it gives a clear picture of the brand. I have been working on several pipes by Viggo Nielsen recently so it was a good reminder.

Pipedia states that Bari Piber was founded by Viggo Nielsen in Kolding, Denmark around the turn of 1950/51. His sons Kai and Jørgen both grew into their father’s business from a very young age and worked there till 1975. Both have become successful pipe makers.

Bari successfully adapted the new Danish design that had been started mainly by Stanwell for its own models. Bari was sold in 1978 to Van Eicken Tobaccos in Hamburg, Germany though the pipes were still made in Denmark. From 1978 to 1993 Åge Bogelund and Helmer Thomsen headed Bari’s pipe production.

Helmer Thomson bought the company in 1993 re-naming it to “Bari Piber Helmer Thomsen”. The workshop moved to more convenient buildings in Vejen. Bogelund, who created very respectable freehands of his own during the time at Bari got lost somehow after 1993. Bari’s basic conception fundamentally stayed the same for decades: series pipes pre-worked by machines and carefully finished by hand – thus no spectacular highgrades but solid, reliable every day’s companions were what they turned out. The most famous series are the smooth “Classic Diamond” and the blasted “Wiking”.

I started my cleanup of this pipe by working on the internals. I reamed out the cake with a PipNet pipe reamer and took the cake back to the bare briar. I scraped out the remnants in the bowl with a Savinelli Fitsall Pipe Knife. I sanded the walls in the bowl with a piece of dowel wrapped with 220 grit sandpaper to smooth the walls. I sanded the rim top with a folded piece of 220 grit sandpaper to remove the burn damage on the back side of the bowl. I polished the sanded area with micromesh sanding pads – wet sanding with 1500-2400 grit pads and dry sanding with 3200-12000 grit pads. I wiped the surface down with a damp cloth after each sanding pad. The first photo is a reminder of where things were at when I started the cleanup. While the burn mark was not totally removed it looked much better than when I started the cleanup. I used an Oak stain pen to restain the entire rim top. I used a Mahogany stain pen to touch up the inner edge of the bowl to try to blend in the darkening around the edges. Once the stain dried I rubbed it lightly with an alcohol dampened cotton pad to blend the colours together.I rubbed some Before & After Restoration Balm into the surface of the briar to enliven, clean and preserve it. I rubbed it in with my fingertips working it into the briar. I worked it into the nooks and crannies in the plateau on the rim and the shank end using a cotton swab. I brushed those areas with a shoe brush to work it in more deeply and spread it out. I set it aside for a little while to let the balm do its work. I buffed it off with a cotton cloth and then buffed it with a microfiber cloth. The photos below show the pipe at this point in the restoration process. I scraped the mortise walls with a sharp pen knife to remove the lacquer build up from tobacco juices and oils. It was thickly coated. Once I had that finished I cleaned out the mortise and the airway in the shank with cotton swabs, pipe cleaners and alcohol. It was dirty but I was surprised it was as clean as it was all things considered. I cleaned the airway in the stem the same way as the shank.I set the bowl aside and turned my attention to the stem. I reshaped the button with a needle file and sharpened the edge against the surface of the stem. I sanded the surface of the stem with 220 grit sandpaper to remove the light tooth chatter on the surface of the stem and to break up the oxidation that was prevalent in the grooves and spindles of the stem.  I started the process of rebuilding chipped tenon. I have done this on one other pipe and was quite happy with the results. I mixed a batch of charcoal powder and super glue to make a putty to start the rebuild. I applied it to the edge of the tenon with the sharp tip of a sanding stick. I wanted to layer the edge until the tenon was sharp and smooth. It would be a process of layering and shaping to get what was needed. The process was quite simple – set a base of the superglue and charcoal and shape the repair. Add more of the mix to the tenon and shape it again. The process would be repeated until the tenon was even all the way around. The pictures tell the story of the rebuild process. I applied another coat of the glue to fill in the airspaces left from the charcoal powder. I sanded the rebuilt tenon smooth with 220 grit sandpaper. I wiped the end down with Obsidian Oil after sanding it smooth. It is starting to look really good and once the repair cures it will be durable.I set the stem aside and let it cure overnight and worked on other pipes. When I picked it up again this morning I polished it using micromesh sanding pads – wet sanding with 1500-2400 grit pads and then buffing on the wheel with red Tripoli. I dry sanded the stem with 3200-12000 grit pads to further polish it. After each pad I wiped it down with Obsidian Oil to protect and enliven the stem. I polished it further with Before & After Pipe Polish – both Fine and Extra Fine. When I finished with the polish I gave it a final coat of oil and set it aside to dry. This second Bari De Luxe Mahogany Freehand is another beauty with swirling, straight and flame grain all around the bowl. The shank end has some interesting looking plateau that is deep and craggy. The smooth rim is quite nice and has some swirls of grain undulating in the briar. The brown of the bowl and the black of the plateau look really good with the black of the turned vulcanite stem. I buffed the bowl and the stem with Blue Diamond polish to raise the shine on the briar and the vulcanite. I lightly buffed the rim top and shank end as well. I was careful to not buff the stamping and damage it. I gave the bowl and stem multiple coats of carnauba wax. I buffed the entire pipe with a clean buffing pad to raise the shine. I hand buffed it with a microfiber cloth to deepen the shine. The finished pipe is shown in the photos below. The dimensions of the pipe are: Length: 6 inches, Height: 2 1/8 inches, Outside Diameter: 1 3/4 inches, Diameter of the chamber: ¾ of an inch. This is the second Bari De Luxe that I have worked on and it more average or medium in size. The combination of smooth and rugged looking plateau on the shank end makes it an interesting pipe. Thanks for walking through the restoration with me.

This Petite Bari De Luxe Freehand Speaks to me…


Blog by Steve Laug

I was emailing back and forth with John, a pipeman in Edmonton who wanted to sell of his pipes. He was cleaning up things and thought he would see if I was interested in them. He said that he had several Bari’s that were in the lot and he wanted to move those out. He sent me photos of the pipes he had and we soon struck a deal. Since we were both in Canada it did not take long for the package to make its way to me. I opened it and went through his pipes to see what I had to work on. There were some pipe racks and accessories in the box as well. I went through the pipes and set them aside. Today I decided it was time to start working on them. I chose a little Bari De Luxe as the first of those Bari’s that I would work on. I have included two of the photos of the pipe that he sent to me before I purchased the lot.You can see that it was a well-loved pipe and one that he smoked often. The finish was in good condition but dirty. The plateau on the shank end and the rim top was dusty and dirty. The rim top had a lot of tars and lava on the surface filling in some of the roughness of the finish. Under the grime the pipe looked to be in good condition. The stain highlighted the beautiful grain on the briar and the plateau was stained black in stark contrast to the reddish brown of the bowl. The bowl was caked and would need to be reamed but otherwise good condition. The stem had a sticky oily substance on it that almost smelled nutty. There was some oxidation under the oil but there were not any tooth marks or chatter on the surface. I took the following photos of the pipe before I began the cleanup. (The pipe came in an original Bari pipe sock. I have included it in the photos to give you an idea of the small, petite size of the pipe.) I took a photo of the pipe with the stem removed to give a look at the style of the fancy stem.I took photos of the stamping on both sides of the shank. On the left it was stamped Bari over De Luxe and on the right side it was stamped Hand Made in Denmark. The stamping was faint toward the bowl on both sides of the shank but was still readable.I went to Pipedia and refreshed my memory on Bari pipes. I was pretty sure that they were connected to Viggo Nielson but wanted a reminder. Here is the link to the article on Pipedia: https://pipedia.org/wiki/Bari. I summarized the material that I found there as it gives a clear picture of the brand. I have been working on several pipes by Viggo Nielsen recently so it was a good reminder.

Pipedia states that Bari Piber was founded by Viggo Nielsen in Kolding, Denmark around the turn of 1950/51. His sons Kai and Jørgen both grew into their father’s business from a very young age and worked there till 1975. Both have become successful pipe makers.

Bari successfully adapted the new Danish design that had been started mainly by Stanwell for its own models. Bari was sold in 1978 to Van Eicken Tobaccos in Hamburg, Germany though the pipes were still made in Denmark. From 1978 to 1993 Åge Bogelund and Helmer Thomsen headed Bari’s pipe production.

Helmer Thomson bought the company in 1993 re-naming it to “Bari Piber Helmer Thomsen”. The workshop moved to more convenient buildings in Vejen. Bogelund, who created very respectable freehands of his own during the time at Bari got lost somehow after 1993. Bari’s basic conception fundamentally stayed the same for decades: series pipes pre-worked by machines and carefully finished by hand – thus no spectacular highgrades but solid, reliable every day’s companions were what they turned out. The most famous series are the smooth “Classic Diamond” and the blasted “Wiking”.

I started my cleanup of this pipe by working on the internals. I scraped out the remaining cake in the bowl with a Savinelli Fitsall Pipe Knife (I totally forgot to take photos of that part of the process). I cleaned out the airway in the shank and the stem with pipe cleaners and alcohol. I cleaned out the mortise in the shank with cotton swabs and alcohol. It was dirty but I was surprised it was as clean as it was. I rubbed some Before & After Restoration Balm into the surface of the briar to enliven, clean and preserve it. I rubbed it in with my fingertips working it into the briar. I worked it into the nooks and crannies in the plateau on the rim and the shank end using a cotton swab. I brushed those areas with a shoe brush to work it in more deeply and spread it out. I set it aside for a little while to let the balm do its work. I buffed it off with a cotton cloth and then buffed it with a microfiber cloth. The photos below show the pipe at this point in the restoration process. I set the bowl aside and turned my attention to the stem. I wiped the oily, sticky stuff off of the surface of the stem with alcohol on a cotton pad. The smell of the stuff was almost nutty, like peanuts or something similar. It needed to go so that I could work on the stem.I sanded the light tooth chatter out of the surface of the stem and also worked over the oxidation that was prevalent in the grooves and spindles of the stem using 220 grit sandpaper. I forgot to take photos of that part of the process. I polished the stem using micromesh sanding pads – wet sanding with 1500-2400 grit pads and then buffing on the wheel with red Tripoli. I dry sanded the stem with 3200-12000 grit pads to further polish it. After each pad I wiped it down with Obsidian Oil to protect and enliven the stem. When I finished the last pad I gave it a final coat of oil and set it aside to dry. This small Bari De Luxe Freehand is a real beauty with straight and flame grain all around the bowl. The shank end and bowl rim are both beautiful plateau that is deep and craggy. The brown of the bowl and the black of the plateau look really good with the black of the turned vulcanite stem. I buffed the bowl and the stem with Blue Diamond polish to raise the shine on the briar and the vulcanite. I lightly buffed the rim top and shank end as well. I was careful to not buff the stamping and damage it. I gave the bowl and stem multiple coats of carnauba wax. I buffed the entire pipe with a clean buffing pad to raise the shine. I hand buffed it with a microfiber cloth to deepen the shine. The finished pipe is shown in the photos below. The dimensions of the pipe are: Length: 5 1/4 inches, Height: 1 3/4 inches, Outside Diameter: 1 1/2 inches, Diameter of the chamber: ¾ of an inch. This is the first Bari De Luxe that I have worked on and the petite size and rugged looking plateau make it a pipe that I may hang on to for a while and enjoy. I am looking forward to enjoying my first bowl in it. Thanks for walking through the restoration with me.

 

 

 

The Resurrection of a Bari Special Handcut 848 Pinched Stem


Blog by Steve Laug

For the past month or more I have been carrying on an online conversation with a Colonel in the Indian Military about his own pipe refurbishing and repair work. In the process of talking through a variety of the processes of pipe restoration he asked if I would be willing to work on a few of his pipes that had chipped or broken stems. We decided to look into what it would take to ship them to Canada from India. It seemed like a pretty daunting task but nonetheless he has some pipes in transit to me in Vancouver. In the meantime he wrote and said he had picked up a Bari and a Savinelli Alligator pipe and had the Ebay seller send them directly to me in Canada so I could refurbish them for him and add them to the box of other pipes I would be sending back to him. I agreed and this week the pipes arrived.

The first one that I decided to work on was a Bari Special Handmade, a really delicate and interesting looking pipe. The bowl has a pretty thick cake but otherwise looks sound. The finish and the rim are very dirty with dust and grime from years of use and then sitting unused. The finish is an interesting wire rustication that follows the angles of the bowl and looks good under the grime. The interior of the mortise and shank are very dirty and the stem does not fit the shank well – very tight because of the tars. In fact it will not seat all the way in the mortise at this point. The style of the stem is one I have seen on Bari pipes before – a pinched stem is how it has been described. You can see why when looking at it from the top or bottom view. The stem is very oxidized and also has some deep tooth marks on both sides of the stem at the button. It is a very delicate stem. There is something about the pipe that assures me that it will look very good when it is finished. I took photos of the pipe to record the condition it was in when it arrived here in Vancouver. It gives me a benchmark to measure the finished pipe against as well. I took a close up photo of the rim top and bowl. The bowl had a thick cake in it all the way down to the heel. It was thick enough that I could not get my little finger into the bowl. It is a narrow conical bowl anyway but the cake is very thick and hard. The rim top has some lava overflow but it is not too bad. The stamping on the underside of the pipe is quite readable through the grime. It reads Bari over Special over Handcut. Next to the shank/stem junction the shape number 848 is also readable. Both are stamped in a smooth unrusticated band on the underside of the shank.I took photos of the stem condition as well. You can see why it is called a pinched stem from the photos. It is oxidized and very delicate. The tooth marks on both sides are visible in the photos below. You can see the ones on the underside as they are worse. There is a number 10 stamped on the underside of the saddle portion of the stem. My guess is that it is a replacement stem number should one be required by a repairman back when the pipe was made.I dropped the badly oxidized stem in a bath of Before & After Pipe Stem Deoxidizer to soak away the oxidation. In this case the oxidation was quite thick and the stem was delicate so I did not want to do a lot of sanding so the deoxidizer could do its work. I put the lid on the airtight container and left the stem to soak overnight.I turned my attention to the bowl and the cleanup that was awaiting me there. I reamed the bowl with a PipNet pipe reamer using the smallest cutting head to work away the heavy cake. I worked at it very slowly so as to keep the blade from ruining the roundness of the bowl and to keep from splitting or damaging the delicate bowl. I finished up the reaming with a Savinelli Fitsall Pipe Knife taking the cake back to bare briar and smoothing things out. I used a folded piece of 180 grit sandpaper to work on the inner edge of the rim and smooth out that edge of the bowl and down into the bowl about an inch. With the bowl reamed it was time to clean out the internals of the bowl and shank. I used 99% isopropyl alcohol, cotton swabs and pipe cleaners to remove the accumulated tars and grime in the shank and airway. I folded the used pipe cleaners and swabbed out the walls of the bowl with them. I scraped out the walls of the mortise using a small pen knife blade to remove the buildup on the walls that kept the stem from seating.I wiped the exterior of the bowl with a damp cloth and then scrubbed it with the Before & After Restoration Balm. I wanted to see how well it would work with the wire rustication pattern and the dirty condition of the finish on this pipe. I worked it into the grooves of the rustication with my fingers, rubbing it deep into the grooves. I used a shoe brush to further work it into the finish. I wiped it off with a clean cloth and buffed it on the buffing wheel with Blue Diamond using a light touch. The photos below show the bowl after the complete treatment I described. It is looking really good at this point. Once the stem is done I will buff it a bit more and give it several coats of wax but for now it is finished and I am calling it a night. I took the stem out of the bath of Before & After Pipe Stem Deoxidizer and wiped it down with a paper towel to remove the excess deoxidizer. I ran pipe cleaners and alcohol through the airway to clean out the buildup inside. The stem was very clean and the oxidation was gone. The tooth marks in the surface of the stem on both sides near the button were visible.I painted the tooth marks with a Bic Lighter flame to lift the vulcanite. One of the beauties of vulcanite is its “memory”. When heated the dents will come back to the surface. In this case the tooth dents on the top of the stem came up almost even. The ones on the underside were greatly reduced but still present (first two photos below). I sanded out the tooth marks and was able to blend the majority into the surface of the stem (third and fourth photo below). Those that remained I filled in with clear super glue (fifth and sixth photo) and after the repairs dried sanded them smooth to blend (seventh and eighth photo). The photos below tell the story. I worked over the stem with micromesh sanding pads. I polished out the sanding scratches and marks in the vulcanite – wet sanding it with 1500-2400 grit pads and dry sanding it with 3200-12000 grit pads and wiped it down with Obsidian Oil after each one. When I finished with the 12000 grit pad I gave it a final coat of oil and set it aside to dry. I put the stem back on the bowl and took the pipe to the buffing wheel to work it over. I gently buffed the rusticated bowl with Blue Diamond to polish the briar. I buffed the stem at the same time to raise the gloss on the vulcanite carefully working on the delicate stem. It would be very easy to break it at the pinched area. I gave the bowl multiple coats of Conservator’s Wax and the stem several coats carnauba wax. I buffed the entire pipe with a clean buffing pad to raise the shine. I hand buffed it with a microfiber cloth to deepen the shine. The finished pipe is shown in the photos below. I am hoping that the fellow I am restoring it for enjoys this beauty. For now he will have to enjoy it by looking at the photos but soon it will wing its way back to India. Thanks for looking.

 

 

 

Breathing Some Life into a Bari Squash Full Bent 7811


Blog by Steve Laug

Bari1When my brother sent me a picture of this Bari Squash there was something about it that reminded me of the teardrop shape that Julius Vesz, a Canadian pipemaker, carved. It was more egg-shaped however but the similarity caught my attention. He was able to pick it up on Ebay for a decent price and it only remained for me to get it in hand and work on it. Once I got the pipe to the work table I could see that it really was in decent shape. The pipe fit nicely in the hand and is 4 3/4 inches long, the bowl is 1.875 inches tall, inside diameter of bowl is 3/4 inches. The stamping on the smooth portion on the bottom is unevenly stamped and reads: Bari over Squash. Next to that is reads Made in Denmark with the shape number 7811 at the end. Bari2 Bari3I know next to nothing about the Bari brand so I looked it up on Pipedia. Here is the link: https://pipedia.org/wiki/Bari. I summarized the material that I found there as it gives a clear picture of the brand. I found several pipes in my latest hunt by Viggo Nielsen so this was very interesting information.

Pipedia states that Bari Piber was founded by Viggo Nielsen in Kolding, Denmark around the turn of 1950/51. His sons Kai and Jørgen both grew into their father’s business from a very young age and worked there till 1975. Both have become successful pipe makers. Bari successfully adapted the new Danish design that had been started mainly by Stanwell for its own models. Bari was sold in 1978 to Van Eicken Tobaccos in Hamburg, Germany though the pipes were still made in Denmark. From 1978 to 1993 Åge Bogelund and Helmer Thomsen headed Bari’s pipe production. Helmer Thomson bought the company in 1993 re-naming it to “Bari Piber Helmer Thomsen”. The workshop moved to more convenient buildings in Vejen. Bogelund, who created very respectable freehands of his own during the time at Bari got lost somehow after 1993. Bari’s basic conception fundamentally stayed the same for decades: series pipes pre-worked by machines and carefully finished by hand – thus no spectacular highgrades but solid, reliable every day’s companions were what they turned out. The most famous series are the smooth “Classic Diamond” and the blasted “Wiking”.

The finish on the Bari Squash that I was working on was dirty and tired looking but the blast was really nice. The rim was clean and both the inner and outer edges were in great shape. I had reamed the pipe back to bare briar while I was traveling. It looked to be in excellent shape. There was some wear on the front outer edge of the rim that would need a touch up of stain. The stem was oxidized and scratched. The top of the button had a tooth mark that indented it mid button along the sharp edge but not on the outer curve. The stamping on the left side of the stem read BARI and was light and uneven. After reading about the factory I wonder what era of the Bari life span this pipe came from. Bari4 Bari5Once I got home to the workshop I cleaned up the “field” reaming with a Savinelli Pipe Knife to smooth out the walls of the bowl.Bari6I cleaned out the shank and airway in the bowl and the stem with alcohol, pipe cleaners and cotton swabs. The darkening on the cotton was a combination of tobacco juices and brown stain. It looked as if the inside of the shank had some stain.Bari7 Bari8I scrubbed the exterior of the bowl with Murphy’s Oil Soap and then rinsed it off and dried it. I gave it several coats of Conservator’s Wax and hand buffed it with a shoe brush.Bari9I gave the bowl a light buff on the wheel with a clean buffing pad to raise the shine.Bari10 Bari11 Bari12 Bari13 Bari14With the bowl finished it was time to work on the stem. There was a bite mark on the top of the button that needed to be addressed. I used some black super glue to fill in the divot on the top and smooth out the damage.Bari15Once the glue dried I sanded and shaped the button with needle files and sandpaper. The photos below show the shape developing from the repair to the finished look. Much polishing still needed to happen but it was shaped and ready.Bari16 Bari17 Bari18I wet sanded the stem with 1500-2400 grit micromesh sanding pads. I gave it coat of Obsidian Oil and then dry sanded the stem with 3200-4000 grit pads. I gave it another coat of oil and then buffed it with Blue Diamond on the wheel. I took it back to the table and sanded it with 6000-12000 grit pads and gave it a final coat of Obsidian Oil. I set it aside to dry.Bari19 Bari20 Bari21I buffed the pipe stem with Blue Diamond and then with multiple coats of carnauba wax. I buffed the pipe with a clean buffing pad to raise the shine. I hand buffed it with a microfibre cloth and took the final photos below. I love the shape of this little pipe and the feel of it in hand. It came out beautifully in my opinion. Thanks for looking.Bari22 Bari23 Bari24 Bari25 Bari26 Bari27 Bari28 Bari29 Bari30

A Quick and Simple Refurb on a Bari Senior Mandarin


Blog by Steve Laug

This Danish pipe stamped Bari Senior Mandarin was in my pipe box for quite awhile before I got to it. You have to understand that at that point box of pipes awaiting refurb was full of about 300+ pipes. It is down to about 30 now. It was a busy winter and spring as I cleaned up the lot. It rains here in Vancouver for most of the winter, so refurbishing is a nice dry past time.

The Bari Senior Mandarin came out of the box looking like the pictures below. I grabbed my camera and took a couple of shots of the pipe before I worked on it. It is a large bowled pipe with nice grain. It was dirty and just needed reaming and cleaning. The rim had a build up of tars and what some lovingly call pipe lava. The finish looked to be okay under the dirt. There were a few small dents in the sides of the bowl that would need to be looked after. The stem had some oxidation but no tooth marks or dents. ImageImage

The stem was a relatively simple cleaning job. The oxidation was easily removed with a good buff of Tripoli and White Diamond. I scrubbed the inside and outside of the stem to get rid of the tars and tobacco juice in the airway. The bowl was reamed back to a thin coat of cake and the rim was cleaned of the tars and lava buildup with Murphy’s Oil Soap (undiluted) I wiped the bowl down with a soft cloth and some oil soap to clean away the grime and grit on the bowl and shank. I cleaned the inside of the bowl and shank with a shank brush, bristle pipe cleaners and regular pipe cleaners dipped in isopropyl alcohol until they came out clean. I steamed out the dents with a wet cloth and hot butter knife. Once they were repaired I then buffed the bowl and stem with multiple coats of carnauba wax.

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