Tag Archives: bite marks

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


Blog by Steve Laug

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

Here are the links and the patent drawing photos:

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

 

 

 

Banding and Restoring a Radford Ravel Rhodesian


Blog by Steve Laug

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

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

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

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

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

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

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

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

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

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


Blog by Steve Laug

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

 

 

 

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


Blog by Steve Laug

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

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

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

Comoy’s Royal Falcon Bent Bulldog


Blog by Dal Stanton

The eBay seller from UK gave a decent, though brief, accounting of the origins of Comoy from Saint-Claude, France, and started in the 1820s by Francois Comoy.  His son, Henri, started the London extension of the Comoy name in 1879 with not much more than the tools of his trade – making pipes.  He is cited by Pipedia as being the author of the appellation, “London Made”.  In 1929 the company merged with the macro-concern, Oppenheimer Pipes.  With this, albeit brief history, Pipedia’s describes the present summation:

Comoy’s remained a family owned company until it was finally taken over by Cadogan Investments during the early 1980’s. Cadogan have continued to manufacture Comoy pipes to the present day and, under Michael Adler, the Comoy brand is their flagship and efforts are being made to once more re-instate the well known quality of the brand.

The half-bent Bulldog I rescued from my “Help Me!” basket is marked on the left shank, “Royal” over “Falcon” (curved).  The right shank is marked, “Made In London” (circled) over “England”.  The eBay seller’s listing indicated there was a shape number “13” which I cannot see.  The stem is stamped with the image of a falcon perched on a branch.  Here are the pictures of the Royal Falcon on my worktable: A quick trip to the Pipe Phil site confirms that Royal Falcon appears to be a prominent second of Comoy’s showing an example of the interesting stem stamping of a falcon perched on a branch – much busier than most stamps.

What drew me to bid on this Bulldog was the stem.  Within the Bulldog classification, is seems that most Bulldogs sport straight saddle stems, where the diamond shaped shank culminates in the saddle and the stem is then flat from the saddle to the button.  Rarer still, it seems are the bent Bulldogs which most often are fitted with a saddle stem as above.  Most rare, it seems is what I see now with this Comoy’s Royal Falcon – a half-bent stem that carries the characteristic diamond shaped shank into the stem and then gradually tapers out along the stem – giving the impression that the stem is much longer than perhaps it is with the bow of the diamond shaped shank/stem.  The tapered diamond stem is very nice and will look nice restored with the Falcon perched on his branch!  The chamber as a lite cake residue which I will remove down to the briar for a fresh start.  The rim has hardened crusted lava needing attention.  The front upper dome of the stummel has a nice dent along with several dents and cuts marking both sides of curved part of the stummel transitioning into the diamond shaped shank – an obvious result of the natural placement of the Bulldog on the table or counter.  There are several fills that have lightened and are showing through the old clouded finish.  The stem is heavily oxidized with moderate teeth chatter on the upper and lower bit.  The first thing I do to restore and recommission the Royal Falcon Bulldog is to place the stem in an Oxi-Clean bath after putting petroleum jelly over the falcon stamp.With the paper towel, down to catch the carbon dust and fragments, I use the Pipnet Reaming Kit to ream the chamber.  I use only the smallest blade in the Bulldog chamber and remove the lion-share of carbon.  I follow the reaming blade using the Savinelli Pipe Knife to scrape the chamber wall and remove more carbon. Using a piece of 240 grit paper I fold it over a Sharpie Pen and sand the chamber wall and finish by wiping the chamber with a cotton pad wetted with isopropyl 95%.  The chamber looks good.  The pictures show the progress. Turning directly to the internals of the stummel, using cotton swabs and pipe cleaners wetted with isopropyl 95%, I work on cleaning the stummel.  I also utilize a spade dental tool to scrape the mortise walls to stir up the old tars and oils.  There was a good bit of gunk, but the swabs and pipe cleaners started coming clean.  Later I’ll use a salt and alcohol soak to clean further.Now, I clean the external surface of the stummel using undiluted Murphy’s Oil Soap with a cotton pad and bristled tooth brush I work on the crusted rim as well as the grime on the stummel surface.  Using a tooth pick I scape the grooves circling the stummel. The crust on the rim is not moving so I use a brass bristled brush which removes most of the hard lava crust, but not all.  Using my pin knife, I carefully scrape the rim removing the last crusted carbon holdouts.  After cleaning, I then rinse the stummel in warm tap water to rinse off the grime.  The Murphy’s Soap well removed the thin finish and I’m looking a bare briar for the most part.  Doing a quick inspection of the surface, there are several cuts and some fills in the briar surface.  The pictures show the progress and the inspection. I use a medium grade sanding sponge to sand out the nicks and cuts.  I focus especially on the ‘keel’ of the Bulldog where most thumps and bumps occurred.  On some deeper cuts, I strategically use a rolled piece of 240 grit paper where more abrasion was needed. I also give the rim a ‘semi-topping’ with the firmer coarser sponge.  I follow by sanding with a lite grade sanding sponge to smooth more.  The inner ring of the rim has a bevel and it is darkened.  Using a piece of 120 grit paper I clear out the damaged briar and reestablish a crisp inner bevel.  I follow this with 240 grit paper and finish with sanding sponges.  The pictures show the progress.I put the stummel aside and pluck the stem out of the Oxi-Clean bath.  I start by wet sanding with 600 grit paper to work on the raised oxidation but soon switch to 240 grit paper.  The oxidation is stiff.  I’m careful to avoid abrasion on the Falcon stem stamping.  I’m hopeful that there is enough definition left in the stamping to restore it later with white acrylic paint.  After using 240 grit paper, I then wet sand 600 grit paper then 0000 steel wool.  The oxidation is left over the falcon stamping and I hope that Mr. Clean’s Magic Eraser will help remove the oxidation without damage to the stem stamp.  I think it helped, but there is still discoloration over the area but the stamping is still intact.  The pictures show the progress dealing with the oxidation. Before I forget it, I now turn to the stem internals cleaning it with pipe cleaners dipped in isopropyl 95%.  Without too much resistance, the pipe cleaner come through clean without too much effort.Moving ahead straight away with the stem, I use micromesh pads 1500 to 2400 and wet sand the stem.  Following this I dry sand using pads 3200 to 4000 then 6000 to 12000.  Following each set of 3 I apply Obsidian Oil to the stem to revitalize the vulcanite.  With the last cycle, I set the stem aside to dry.  The pictures show the progress. With the stem completed except for the final polishing phase and repainting the Falcon stem marking, I turn to the stummel using micromesh pads 1500 to 12000.  With the first set of three, 1500 to 2400 I wet sand the stummel, then with the following sets, 3200 to 4000 and 6000 to 12000 I dry sand.  Throughout, I avoided the markings on the shank panels. The pictures show the progress. With the original color leaning toward the darker brown side, I will use Fiebing’s Dark Brown Leather Dye and then lighten as I see need using a cotton pad wetted with isopropyl 95%.   To prepare the stummel, I use a sharp dental probe to trace the twin grooves to remove any leftover briar dust from the sanding.  Then I wipe the stummel with a cotton pad and isopropyl to clean away any dust. Placing my ‘stain board’ down on my work station I put a cork in the shank to act as a handle and then heat up the stummel with a heat gun.  This expands the briar and allows for a better absorption of the dye.  I use a folded over pipe cleaner to apply the dye liberally over the surface.  I fire the aniline dye and the alcohol burns off immediately, setting the hue in the briar.  To make sure the coverage is complete, I repeat the process above including the firing of the dye.  I then set the stummel aside to rest.  The pictures show the fire crusted stummel. With the stummel on the sidelines a while, I look at the falcon stem marking.  Pipe Phil’s example shows a lot of lines and contours shaping the bird and his perch.  I’m not sure my falcon has that much detail left after wear and sanding over the years.  After a closer look, it appears that the imprinted falcons are slightly different – my falcon appears that he’s looking up more than the other.  For comparison, I’ve placed the two together below.  I’ll see what I can do with white acrylic paint. The first approach was to apply paint and then, before drying, to carefully wipe it away, leaving paint in the grooves.  This did not work – seems like there was not enough groove to hold the paint.  Next, I applied more paint and let it dry. That did not work either.  I’m not sure if this is usually done in pipe restorations, but the problem is that the lines of the falcon stamping are too thin and will not hold the acrylic paint.  I decide to take the point of my pocket knife and attempt to sculpt the lines that are there to deepen them.  It took several iterations of sculpting, then applying paint, drying and scraping off with a toothpick, before I arrive at the best I can do at this point!  The pictures show some of the process. With the falcon stem marking completed, it’s time to ‘unwrap’ the fire crusted stummel.  I use Tripoli compound with a felt buffing wheel mounted on the Dremel and use the slowest speed available and rotate the wheel over the surface, without too much down pressure on the briar, but allowing the RPMs of the Dremel and the compound to do the work.  I take a picture into this process.  When completed with the Tripoli, I use a cotton pad wetted with isopropyl 95% to wipe down the stummel to lighten the dark brown dye as well as to blend the dye.  When satisfied (forgot to take a picture!) with the shade, next I mount a cotton cloth wheel and turn the speed up half a notch, to 1.5 and apply Blue Diamond compound in the same manner as with Tripoli.  After the Blue Diamond I give the stummel a good buffing with a flannel cloth to remove the compound dust from the stummel before application of the wax.  After joining stem and stummel, I then mount a cotton cloth wheel on the Dremel and apply carnauba wax to the stummel.  I give the stummel 3 coats of carnauba and then finish by giving the stummel and stem a hand-buff with a micromesh cloth.I’m very pleased with the results.  The Comoy’s Royal Falcon is an attractive Bent Bulldog.  I like the lines of the diamond shank flowing into the tapered stem.  The Royal Falcon looks good re-perched on his branch.  The briar grain is rich and deep.  I sell my restorations with the profits helping the work we do with the Daughters of Bulgaria – those sexually exploited and trafficked.  This Bulldog is ready to serve a new steward.  If you’re interested in adopting him and helping the Daughters, check out The Pipe Steward Store.  Thanks for joining me!

Challenges of a Bakelite Stem Rebuild – A Meerschaum Carved Vineyard


Blog by Dal Stanton

When I first saw the Meer before me on the eBay auction block, I was first attracted by the patina showing on the combination smooth and sculpted surfaces.  The base of the billiard bowl showcases two opposing sculpted frescoes, one with the vineyard in expectation of fruit, and the other with the fulfillment – a rack of grapes appearing from behind the grapevine leaves.  Hope and fulfillment are always pleasing themes for reflection as one smokes a bowl of his (or her!) favorite blend.  The patina of the aging meerschaum is concentrated at the base of the stummel, encompassing the frescoes and then gradually thinning and lightening toward the rim and toward the shank.  The other characteristic that drew my attention was the color and taper of the Bakelite stem completing the bent billiard flow.  It just looked good to me.  I have no idea of a carver as there are no markings on the Meer, and the only information from the seller was that its origins were in Europe – it was a gift to the original owner by his sister who lived in Belgium in the 1970s.  Taking it from the ‘Help Me!’ basket, I place it on my work table here in Sofia, Bulgaria, and record the Meer’s condition when it came to me. The characteristics and make-up of meerschaum are not widely understood – I know because I was among those who looked at the white coral-like material and wondered what exactly it was!  The word ‘meerschaum’ has German origins, literally meaning ‘sea foam’.  This brief description from Meerschaum.com is helpful:

Meerschaum is a very rare mineral, a kind of hard white clay. Light and porous structure of the pipe keeps the smoke cool and soft. The pipe itself is a natural filter which absorbs the nicotine. Because of this peculiarity, meerschaum pipes slowly change their colors to different tones of gold and dark brown. This adds an esthetic enjoyment to its great smoking pleasure. The longer a pipe is smoked the more valuable it becomes due to the color change. Today many old and rare meerschaums have found a permanent place in museums and private collections.

Meers are popular because they require no breaking in, no cake, and no resting between smokes. Many consider Meers to be a cooler and dryer smoking experience.  The one main issue with Meers is that they don’t like to be dropped on hard floors – that is never a good thing!  Most Meerschaum is mined in Turkey and for the curious who want to know what exactly the material is, one last excerpt from Altinok Meerschaum’s facts page:

The geologist knows the light, porous Meerschaum as hydrous magnesium silicate. The pipe smoker knows it as the perfect material for providing a cool, dry, flavorful smoke. The mineral itself is the fossilized shells of tiny sea creatures that fell to the ocean floor over 50 million years ago, there to be covered and compressed over the ages by layer upon layer of silt. Profound movements in the earth’s crust raised the creamy white stone of Meerschaum above sea level. There men eventually discovered it and created an incomparable pipe from it. The first record of Meerschaum as a pipe dates from around 1723.

The stummel on the Meer before me has a lot of grime and dirt with nicks showing his age and that he has been well used.  The challenge with Meer is always how to clean and restore but not to remove the patina, which for a Meerschaum, is the honorific equivalent of the respect owed to those blessed with gray hair and long life in the Bible.  The rim has thick lava and the bowl has moderate cake which will need to be removed with care – cake is not needed on a Meer!  The more daunting questions focus on the stem.  The obvious challenge is the large chip on the end of the stem which also has removed almost half of the button.  I could prepare for this repair by ordering and having someone bring from the US to Bulgaria Behlen’s Medium Yellow Furniture Powders to form a putty patch.  I will attempt to repair the stem with the help of others – we’ll see!  The other challenge that I was not able to discern from the eBay pictures, was the push tenon.  The mortise was threaded for a screw in tenon but the tenon I see connected to the stem has no threads and only engages the mortise as the mortise narrows after the threads.  You can see how much of the tenon is engaged by the coloration (last picture above) – only about half.  When I test the engaged tenon, there is a bit of a wiggle to the stem and it isn’t solidly seated as one would expect.  While the stem, when connected to the shank is usable, it isn’t ideal.  I’ll give some thought to this challenge and perhaps seek counsel.

Leaving the question about the approach for the tenon, I decide to start on the clean-up of the stummel.  I first clean the rim by using cotton pads wetted with isopropyl 95% – I just want to see how much of the lava and stain will come off.  Not much did.  I then decide to use a medium grade sanding sponge and lightly top the rim – not aiming to take off the meerschaum but to break through the crusty stuff and remove the burnt areas.  That did the trick.  Pictures show the progress. I can now see the inner edge of the chamber wall and using both a pin knife and the Savinelli Pipe Knife carefully I ream the bowl and remove the cake.  I follow this by using 240 grit paper and sand the walls to remove more of the carbon. I wasn’t satisfied with the 240 grit so I rolled up some coarser 120 grit wrapped around a Sharpie Pen and that did the trick. Much nicer.  I complete the reaming with cleaning the bowl with a cotton wipe wetted with isopropyl 95%.  The fire chamber looks good.  To remove the blackening on the inner ring of the rim, I give it a very gentle bevel with 240 grit sanding paper rolled.  The pictures show the progress. With the bowl reamed I clean the mortise internals.  Using pipe cleaners and Q-tips, dipped in isopropyl 95%, I discover quickly that I’m not able to get a pipe cleaner through the mortise through the draught hole.  I twist, turn and angle – it feels like there’s an obstruction.  I blow through the mortise and find that air is moving through without pressure build up.  Finally, the pipe cleaner moved through.  Looking more closely in the mortise with a directed light I see in the throat of the mortise just beyond the end of the threading appears to be a plastic tubing.  I manage to take a picture of it.  I’m not sure if this is part of the internal system or something broken off and lodged. Yet, this plastic tube is what the tenon is engaging.  With great difficulty, I can probe the area what appears to be beyond the tubing and find the airway which seems to be a sharp turn up from the angle of the mortise’s drilling as the pipe cleaner emerges from the plastic tubing.  This doesn’t seem right.  I’ll research more to see what the tubing is.  The mortise is clean, so I move to the cleaning the externals of the bowl.To clean the external surface of the stummel, I use undiluted Murphy’s Oil Soap with a cotton pad as well as scrubbing the sculpted lines of the vineyard frescoes.  The amount of grime on the surface becomes apparent as from the before and after pictures.  The pictures show the progress. I then sanded the bowl with micromesh pads not to remove every scratch, which is a sign of character and age, but to restore the shine of a vital meerschaum surface.  I wet sanded the surface using pads 1500 to 2400 then dry sanded using micromesh pads 3200 to 4000.  I was not aggressive but careful not to damage the patina.  I like the result.Regarding the stem and tenon questions I referenced above, I sent a note off to Steve and about the push-pull tenon system and what to do with this Meer.  In the end, I decide to order a new replacement system.  I sent a note and measurements off to Tim at http://www.jhlowe.com/ and am waiting for his recommendations.  Since I live in Bulgaria, ordering parts from the States is no small thing as I have it sent to someone coming and they carry it for me.  Saves a bit on postage. With the tenon situation on hold and on order, I turn to the technical part of this restoration that I’ve been anticipating for some time.  Repairing the Bakelite stem or per Steve, possibly a similar material called Amberoid, has been a subject of my research.  The stems most often associated with Meerschaums are the attractive, rich honey yellow color.  The challenge in a repair is matching the yellow color and glass-like texture of the Bakelite or Amberoid.   When I researched this question, I came across Reborn Pipes contributor, Joyal Taylor’s (aka holymolar) 3-part series on patching amber colored stems in 2014.  Starting at the first essay, Stem Patch Using Amber Super Glue, Part 1, I benefited from Joyal demonstrating not only what did work well, but what didn’t.  Also of benefit were the comments many others contributed at the end of the blogs.  So, thanks to Joyal’s trial and error approach, I’m able to jump to a solution in Essay 3 that worked best for him.  I hope I can emulate his success!  Before beginning on the repair, I want the stem internals to be clean.  Taking pipe cleaners dipped in isopropyl, I go to work on the stem.  The resistance was a bit more than I expected.  The cavity behind the screw-in tenon was gummed up good and I expended several Q-tips and a sharp and spade dental tools helped scrape the cavity walls to break up the gunk.  There is some dark staining on the internal airway but the pipe cleaners are now coming out clean.In essay 3, Joyal employed the use of Medium Yellow Behlen Furniture Powder (pictured below) which I found on eBay at this LINK.  Previously, he had employed amber colored superglue which came out too clear – lacking the opaque quality needed for a good match.  In the second essay, he tried to employ a mixture of Fiebing’s yellow and orange leather dyes and thick superglue.  He found that the chemistry of the dyes caused the superglue to setup instantly.  Also in essay 2 he mixed StewMac 2-part clear epoxy with Fiebing’s yellow and orange dyes, which mixed well, but the results were less than satisfactory – for both the hue and the texture.  The final essay he tried the powder approach using Behlen Medium Yellow with extra thick superglue and the results were the best.  Below I picture the match-up between the colors of the powder and the stem.  Not bad.  Joyal’s final assessment was helpful for the stem I’m looking at now:

This time I tried Behlen’s yellow powder w/ StewMac’s thick clear superglue.  This is the best so far. Good color and opaque. Some of the powder didn’t mix in but it all polished smoothly. I had to leave the patch thick at the edge because every time I tried to sand it – smooth it [next] to the acrylic, I would remove more of the original color from the acrylic and have to add more patch material. Oh well, this may be as good as I can do, for now.

The last observation is helpful because it lets me know that the basic solidity of the patch could be ‘softer’ relatively speaking, than the stem material so that he was removing more collateral stem material than he wanted.  So, off we go!  I begin the patch on the Meer’s Bakelite stem by taking another close-up focusing on the patch areas.  The patch has two parts.  First, the side of the stem chipped off parallel with the right-side stem edge until it enters the button area.  At this point the break encompasses the entire corner – stem and button.  It appears to me the break was caused by dropping the Meer on a hard surface and the impact point was the end of the stem.  The second part of the patch is to rebuild the button.  To do this, I’ll apply a ‘surplus’ amount of the patch putty not only to the damaged, missing part, but over the entire button.  This will allow me to shape a new button with adequate edges.  To mix with the Behlen powder I have a newly acquired bottle of BSI Extra Thick Maxi-Cure CA glue.  I’ll start the mixture aiming at a 50/50 ratio and eyeball things.  I want to mix it well so that the powder is fully dissolved.  I’m also not sure how much time I have before the new CA glue starts setting.  I first take 240 grit sanding paper and rough up the entire patch area to increase the bonding potential between the Bakelite and patch putty.  Now, I construct a ‘slot mold’ for the button.  The slot area is shaped like a concave canoe that the button edges encompass.  I need to keep putty out of this area and form a mold of sorts for the putty.  The results of this mold would remind one of the Wolverine in X-Men.  As menacing as it appears, the center toothpick anchors the mold in the airhole and the ‘wing-picks’ are wedging the edges. The folded index card forming the mold I cover with smooth tape so it won’t adhere to the putty.  Prep done, I pour some Behlen powder in a plastic egg crate to double as a mixing trough.  With tools and toothpicks at hand to serve as putty trowels, I add BSI Extra Thick Maxi-Cure CA to the powder and begin mixing.  Well, if this were a science experiment it would remind me of my first chemistry set in 5th grade.  Every 10-year-old with a new chemistry set sees the formula included for a ‘skunk bomb’ and tries it as his first experiment.  I was no exception.  After adding the glue to the powder and mixing, the mixture began to smoke and harden very quickly.  After running the smoking egg crate to the bathroom and adding water to the mix, the smoke stopped and I return to the work table and record my science experiment with a picture capturing the toothpick forever encased in the hardened yellow putty.  The pictures show the progression. Now fully in step with Jowal’s methodology of ‘Trial and Error’ progress, I ask the question, what happened?   I’m not sure, but my guess is that I started with too much powder and adding the glue to it was not sufficient to keep it in liquid form.  My guess is that the rapid hardening created the reactions (chemical energy!), which created the smoke, leading to my emergency procedures.  This time I will approach the process like I do with a charcoal and super glue mix – put both powder and glue on an index card together and mix more gradually and see what happens.  Well, I’ve proven that the methodology is not the culprit.  Again, smoke was produced from the mixture on the index card while I started applying the putty to the stem.  At this point, I’m thinking that the new glue I’m using might be the problem.  I’ll try again with a glue I’ve used in the past.  Thankfully, I could remove the hardened putty that did make it to the stem, by carefully scraping with my thumb nail.  The bright side of this is that the color match with the stem looks great!  Lesson 2 learned – what not to do.  Pictures show the progression of lesson 2. While contemplating the next step, an email came in from Tim at J. H. Lowe in Ohio, and as expected, his note is very helpful:

The regular push-pull set is what you need. Are there threads inside the mortise? There are two sizes of these sets but the larger one is only used when the threads are very worn out and the oversize mortise part has to be fitted in the shank to fix this kind of worn out repair sleeve. I sell these by the each for $3 and by the dz. for a discounted price. You’ll need to change out the stem peg and the sleeve in the Meers pipe repair.

I responded by ordering 3 of each size so I’ll have some on hand for future projects.  So, in a couple weeks, the new push-pull system order will arrive with a friend coming to visit Bulgaria.  By that time, the rest of the Meerschaum Carved Vineyard should be ready and waiting with a quick finish to the restoration.

For the third go – I repeat roughing the patch area with 240 grit sanding paper to remove putty residue from Lesson 2.  Then, after replacing Wolverine, I change glues using Hot Stuff Special ‘T’ CA glue and mix the same way that I did in Lesson 2, placing a puddle of glue alongside the Behlen Medium Yellow powder and gradually mix by drawing the powder into the glue until (hopefully) the mixture reaches a molasses like consistency.  If it doesn’t ‘smoke’ this time, we’ll know the problem of Lessons 1 & 2. Unfortunately, the ‘smoking’ is repeated and the putty hardened very quickly.  My conclusion to the problem, and the pictures below show the progression of my solution.  The problem is that I’m adding too much Behlen powder to the mix or not enough glue.  I’m estimating that instead of a 50/50 mixture, I need an 80/20 ratio of glue to powder.  I’m not sure of the chemistry involved, but the smoke produced happens when the mixture hardens.  I had more time gradually to build up the patch with the greater glue ratio.  Of course, the question remains, will the lesser powder content change the color match or texture?  We’ll see.  The pictures show the several cycles of building the patch around the button area.  I had only so much time before the hardening would happen and I would make another small batch.  The last picture shows the successfully removed Wolverine mold and the success of guarding the slot area from the putty.  The proof of this yellow pudding will be in the filing, sanding and shaping of the Behlen powder and superglue putty patch.  I use needle files and 240 sanding paper to do the initial shaping.  Starting from the slot side – the end of the stem, I like to create a baseline by re-establishing end by removing the excess.  After removing excess putty on the end, I find the original button.  Since the left side of the button needs to be totally rebuilt, as it was broken off, I use the remaining right side of the button and slot shape to help me form the left side of the slot so it will match. With the baseline established, using the flat edge needle file, I begin to contour the general proportions of the button – lower then upper.  The pictures show the gradual progress. With the general contours of the button established, I then score a line with the flat needle file to mark the upper button lip edge.  With this edge established, I then file down the score line to establish the lip.  I turn the file vertically and use the short edge as a saw and set the edge deeper.  I like to have that edge established so that I can then begin to remove methodically the excess patch putty more accurately to the left of the lip on the second picture below.  After removing as much of the excess putty as possible with the flat needle file, to avoid collateral filing into the Bakelite, I then use 240 grit paper to smooth the surface and remove the putty.  The upper bit looks good so far!  The pictures show the progress. I flip the stem over and repeat same process starting with defining the bit and creating a lip to guide the excess putty removal.  While I work, I’m keeping an eye on the right side (lower in the picture below) of the stem where the major stem rebuild was.  I recall Joyal’s observations of having to keep the patch high because during the smoothing and blending process sanding on the edge of the patch was taking too much of the stem material in the process.  He then described having to refill with more patch the ‘border’ between patch and stem.  The pictures show the progress on the lower bit area. The next two pictures show the completion of the filing and use of 240 grit sanding paper.  I then use 600 grit paper to smooth and blend more and finish with briskly rubbing with 0000 steel wool.  At this stage of the stem repair, I look at the patch areas (3rd picture) and the use of Behlen Furniture Powder Medium Yellow and Special ‘T’ CA glue is strong.  Building up the chip area and missing button portion wasn’t easy but it looks good.  The color is good though it has a speckled quality to it created by small air pockets in the patch which were exposed during the sanding. This I have found is normal.  To fill the pockets, I apply a dab of Hot Stuff CA glue on the stem patch and then ‘paint’ it over the patch using a toothpick.  I do the same with the button lips – upper and lower.  I repeat sanding with 600 grit and then steel wool (I forgot to take pictures of filling the air pockets!).  The pictures show the progress. With the repairs to the stem completed, using micromesh pads 1500 to 2400 I wet sand the stem.  Following this, I dry sand the stem using pads 3200 to 4000 and then, 6000 to 12000.  The Bakelite (or Amberoid, I’ll have to figure out how to tell the difference) stem gradually shines up nicely with each successive micromesh cycle.  The pictures show the progress.I follow the micromesh cycles with applying Blue Diamond compound to the stem with the cotton cloth Dremel wheel set to the slowest speed.  I then mount the carnauba cotton cloth wheel on the Dremel and give the stem 3 coats of carnauba wax.  I follow the carnauba with a hand-buff using a microfiber cloth. Wow!  I like it. The Bakelite or Amberoid has the appearance of glass – the patch has no textural differences with the original stem.  The last two pictures are flipped to show what I’m seeing after the buff. Stem completed for now – the new push-pull tenon system should be in transit. With the stem completed and on hold for the tenon, I look to complete the stummel of this Meer Carved Vineyard.  With of the unique characteristics of Meerschaum pipes, they’re like wine – they get better with age!  For Meerschaums, their value increases with use as the oils in the tobacco interact with the unique composition of the Meerschaum the bowl will change color gradually, darkening to the golden, honey brown which is its patina.  The Carved Vineyard displays this growing patina and to enhance this natural coloring process, treating the stummel with bees’ wax is the long-used practice of choice.  This is my first application of bee’s wax to a Meer and Charles Lemon’s, of Dad’s Pipes, descriptive posts have been helpful as I’ve done my research (See: Quick Clean-up of a Tulip Meerschaum Sitter).  One thing very much available in Bulgaria is bees’ wax, which I found in a local outdoor market at the honey kiosk.  My price was 3BGN for 100gr (Translation: $1.63 for 1/5 pounds).  I don’t know if it’s a deal or a steal.   After I unwrap the package, I break off some chunks of the bee’s wax and put them in a small mason jar, which I’ll be able to keep unused wax for the next Meer treatment.  Using my hot air gun, I melt the wax in the mason jar.  After melting the wax, I hold the Meer over the hot gun to warm up to better absorb the wax.  Blame it on Bulgarian winters, but when I finish warming the Meer, the wax has already cooled down and congealing!  So, a more rapid wax melting follows, and a re-warming of the Meer stummel.  I used a Q-tip cotton swab to paint the bowl with the melted bee’s wax.  I was careful to paint the sculpted vineyard lines – getting the wax in the nooks and crannies.  I put the stummel aside to cool.  Since this was my first time to apply the bee’s wax treatment to a Meer, I was a little surprised how thick the congealed wax was on the stummel after it cooled.  It could be that the Meer wasn’t hot enough and the wax was cooling too quickly.  Either way, the Meer received a treatment!  After cooled, I try buffing with a towel to remove the thicker waxy residue, and I discover that it’s not too easy.  I’m thinking that the wax is too thick and it congealed to fast (3rd picture below). I improvise and I think the improvisation benefited this Meer.  Using a Q-tip as a brush, I start passing the thick-layered bees’ wax stummel over the air gun – like passing over a lit candle, it liquefies the wax on the portion impacted by the heat.  As the wax liquefies, I paint it into the surface – working it in well and removing the excess with the Q-tip. This time applying wax around the Meerschaum seems to absorb the wax instead of being smothered by it. It didn’t take long and the application of bees’ wax is complete (4th picture below)!  Then, before the stummel cooled down, while yet warm, I buff the stummel with a towel and then with a microfiber cloth and WOW.  I’m a believer.  The shine and deepening of the patina is evident!  The pictures tell the story. With the Meerschaum’s stem and stummel complete – almost – I set both aside waiting for the arrival of the push-pull tenon from the US.  I’m beginning to wonder whether this Meer Carved Vineyard should go to The Pipe Steward store, or remain in my collection – often I have that problem 🙂 !

A few weeks later the push-pull tenons arrive via a friend who was willing to carry them to Bulgaria.  I open the package sent by Tim West at J.H. Lowe in Columbus, Ohio, and have my first look at what a new push-pull system looks like.  I unscrew the old tenon and easily screw the new one in place.  The mortise sleeve’s threads worked perfectly as well.  The problem though, is that it will not screw all the way in.  Previously, I identified a tubing of sorts deeper in the mortise which was the only thing the old tenon was locking into – though poorly.  My first inclination was to cut the new mortise tenon sleeve so that being shortened it would fit in the limited space.  It was then that I started questioning whether what I was looking at was part of the design or that it was in fact, the left-over remains of the bottom end of the old mortise sleeve which had broken off.  After looking closely at the inner tubing, I can see fragments of the old break.  Ok!  Now I understand that I need to exorcise this vagabond mortise sleeve. I first try wedging a small flat head screw driver in the tubing to ‘unscrew’ it by turning it counter-clockwise.  I was hoping that it might be loose, but will not budge.  So, using appropriately size drill bits and wood screws, gradually I clear out the obstructing portion by shaving off the material of the old sleeve which I think might be acrylic. I am careful to keep the bits and screws straight so they do not nick the Meer threads.  This was not an easy or fast process, but eventually I was satisfied to remove most of the old sleeve – leaving only a very thin ‘skin’ over the threaded area deeper in the mortise, which may indeed help in keeping the mortise cleaner.  After this, I screw the new insert into the mortise and trim and sand the protruding ‘head’ of the sleeve to improve the fit and alignment of the mortise and stem.  I also sand down the tenon diameter to improve its fit into the sleeve.  I’m pleased with the results.  The pictures show the replacement of the push-pull tenon system.  I’m pleased with the stem rebuild that has blended very well with the Bakelite stem and has put this Meerschaum back in service for a new steward. The patina of the Meerschaum Carved Vineyard has a very healthy start and will only season more with good, aromatic tobaccos.  I also like the blending of smooth and carved Meerschaum – a very stylish pipe.  If you would like to adopt this Meerschaum Carved Vineyard, look at the Pipe Store in my new blog site at ThePipeSteward.com.  The profits of my pipe sales go to help women and children who have been sexually exploited and trafficked through the Daughters of Bulgaria, an organization we work with here in Bulgaria.  Thanks for joining me!

The Striking Grain of a GBD Americana – Made in London England Bent Billiard


Blog by Dal Stanton

When I saw this pipe on the eBay auction block, I was drawn to it first by the grain.  The dark veins of grain were an anomaly and immediately the questions that came to my mind were, “Is that natural or were the darker veins introduced through the manufacturing processes of GBD?  Or, are they discolorations that came afterwards through aging?  The questions raised my curiosity enough to stand back and look at the pipe itself – a GBD Americana half Bent Billiard.  The grain beyond the dark veins were interesting – one side of the stummel was almost exclusively a pattern of peacock feather eyes – bird’s eye grain, but larger and flowing.  The other side appeared as a tree flowing up from the heal of the stummel and fanning out midway to the rim, with more bird’s eye grain taking the form of the foliage of the tree.  Unapologetically, I’m a briar grain addict!  Well, with the winning bid cast, the GBD made its way from the United States to my “Help Me!” basket here in Sofia, Bulgaria.  Here are the pictures that first got my attention on eBay – the black vein grain and the flowering tree: This attractive Bent Billiard has markings on the left side of the shank of, “GBD” (oval encircled) over “Americana”.  The right side of the shank bears, “Made in London” (circular lettering) over “England” with the shape number “508” immediately to the right.  The bottom of the shank has “M” imprinted standing alone.  The traditional brass GBD rondel garnishes the stem. The story of GBD pipes is an interesting one starting in France in 1850 with an unexpected partnership, not coming from businessmen, but fellow pipe makers who felt they could make a go of it.  This excellent article, Finding Out Who Created GBD – Story of a Pipe Brand – Jacques Cole was reposted on Reborn Pipes and is an excellent read for framing a historical appreciation for a pipe name and its development – GBD.

Who were these creators? Ganneval, Bondier and Donninger were three ‘Master Pipemakers’ who got together in Paris in 1850 to manufacture meerschaum pipes. It was a bold decision as these were troubled times in France. Charles Louis-Napoleon Bonaparte has returned after the 1848 revolution and become President of the Republic. Following a coup d’etat in 1851, he made himself Emperor Napoleon III in 1852. He was incidentally a keen pipesmoker and may well have owned one or more early GBDs.

 The pipe of Emperor Napoléon!  Does it get much better than this?  The picture to the left bottom is not Napoleon depicted, but with pipe in hand, the ‘charge’ gives one an image to imagine!  The focus of the ‘GBD’ enterprise in the late 1800s was primarily the production of meerschaum pipes but in the 1850s, with Saint-Claude’s discovery of briar and its special qualities for making lasting, heat-resistant pipes, GBD adapted and added briar to its list of materials.  GBD boasted in the end of the 19th Century as having 1500 models that customers could choose from – though Pipedia’s article on GBD clarifies this unbelievable number as counting each shape three times due to three different stem materials used.  GBD straddled its French identity and its adopted English identity through various acquisitions and changes in ownership, yet, keeping the initials of the founders firmly in place.  Pipedia’s history is helpful to understand these historical iterations:

There is a very simple explanation for GBD’s program to turn more “British”: GBD became a British company soon after the turn of the century! In 1902 Marechal and Ruchon sold GBD to A. Oppenheimer & Co. in London. Charles Oppenheimer had founded this successful trade business in 1860 as an import-/export house. His brothers David and Adolphe and brother-in-law Louis Adler soon joined him. Adolphe took over when Charles went to Germany as British ambassador. Briar pipes were among the first products traded. The business relation to GBD in Paris began as early as 1870. Being the most important customer in the English-speaking world, Oppenheimer & Co. were designated as sole distributor for Great Britain, the USA and Canada in 1897.

Though English owned, pipe production continued in Paris and soon Oppenheimer acquired two factories in Saint-Claude in 1906, increasing its production.  Also during this period, Oppenheimer continuing to expand, built a pipe factory in London, but this operation failed to live up to expectations until the genesis of WW I when demand for pipes increased for the front line and production fell in the French factories as men were called to the front lines.  The shift of GBD being identified more distinctly as a British pipe emerged after the close of the war even though production continued in London and France through the 1920s.  I find the next Pipedia excerpt interesting because it marks well how GBD had fully transitioned from its origins, the handshake of 3 French pipe makers, to a macro-business continuing through the 1900s.

In 1920 Oppenheimer had purchased BBB (Blumfeld’s Best Briar, formerly A. Frankau) and little later Loewe & Co. and large shares of Comoy’s of London. The economic crisis in the early 1920s induced the foundation of Cadogan Investments Ltd., named for its seat at Cadogan Square in London. The Cadogan group was a superordinated holding company, in order to tune all activities of Oppenheimer’s brands in the pipe industry. Whereby an extensive independence of the single brands was preserved. Remember, the Oppenheimers and Adlers weren’t pipe specialists, but rather sales people who depended on their experts in the British and French plants.

This link is to a 50 page catalog featuring Oppenheimer’s product line – it is fascinating.  The index page is pictured below.  In 1952 the Paris factory moved to Saint-Claude and since the 1980s most GBD pipes come from London.  The higher-end GBD pipe lines are of good quality and many feel they stack up well against the array of Dunhill offerings yet more affordable.  The Pipe Phil history of GBD says that the Saint-Claude pipe factory closed in 1981 leaving only London as the producer of GBD pipes.This list comprises the better grades of GBD pipes in descending order: Pedigree, Pedigree I, Pedigree II, Straight Grain, Prodigy, Bronze Velvet, Virgin, Varichrome, Prestige, Jubilee, New Era, Prehistoric, International, Universe, Speciale Standard, Ebony, Tapestry, New Standard, Granitan, Sauvage, Sierra, Penthouse, Legacy, Concorde.

According to the José Manuel Lopes, the Americana before me now is a GBD second associated with L&H Stern, Pioneer, and Appleby.  The closest indicator of dating of this GBD Americana comes from Pipe Phil that GBD’s metal stem rondels were discontinued after 1981 when GBD merged with Comoy.  After seeing Reborn Pipes’ contributor, Al Jones’ comments in several GBD discussion threads, I sent him a note with some questions and pictures about this Americana.  His response was helpful and his description of ‘Odd Duck’ helps me place this pipe in context:

Dal:

You’ve got an odd duck! 

Typically, the stamping used on pre-Cadogan pipes is the straight line COM, “London, England” stamp (see attached) combine with the brass rondell stem logo.  Cadogan era pipes (made after 1981) have the round “Made in London” (with England under) COM, as shown on your pipe.  But, they typically have stamped stem logos. I see these pipes occasionally, and my assumption is they were made after the merger, until the brass rondell inventory was exhausted. One common denominator on these pipes is a single letter.  I have no idea as to what it may mean, but M is frequently used. These pipes also had many more finish names, like your Americana, that were not seen before.  Comoy’s started doing the same thing, adding lines and letters just after the merger. I’ll look forward to seeing the restored pipe, it looks like a good candidate.

Thanks,

Al With Al’s ‘Odd Duck’ description in place, my best summation of this GBD Americana, is that it is placed after 1981, but in the early 80s, after the Cadogan merger, but before the brass rondel bucket emptied which more than likely indicates a cost-saving measure that may indicate a lowering of GBD quality – perhaps, only my guess.  I took a quick look in the early 80’s GBD catalog listings on Chris’s Pipe Pages, perchance to find a listing for an Americana, but came up empty.

With a greater appreciation for the name and history of the GBD Americana pipe before me, and the other GBDs waiting in my “Help Me!” basket, I take additional pictures on my work table to fill in the story and take a closer look. I like the appearance of this GBD Americana bent Billiard.  The cake build up in the chamber is thick and will need to be removed to the briar for a fresh start.  The rim is covered with lava flow and will need cleaning before I can see what lies beneath.  I’m interested to see what happens with the dark briar veins on the stummel surface when I clean it up with Murphy’s Soap.  I detect some pits and dents on the stummel surface – normal wear and tear.  The stem shows significant oxidation coupled with moderate teeth chatter and some dents on the bits.  The first thing I do to begin the restoration and recommissioning of this GBD Americana is to plop the stem into an Oxi-Clean solution for a good soak to raise the oxidation. After soaking several hours, I pluck the stem out of the Oxi-Clean bath and the solution did the job of raising the oxidation.  After I take a picture, I wet sand the stem using 600 grit sandpaper that takes the mother-load of oxidation off.  I continue using 0000 steel wool to remove more oxidation and work the grooves around the button.  I also work around the GBD rondel with the steel wool, working on the oxidation and shining the brass as well.  The pictures show the progress.I then take pipe cleaners dipped in isopropyl and clean the internals of the stem.  There was not too much resistance and the pipe cleaners returned clean very quickly.

Time to work on the stummel.  I begin by removing the moderate cake build up in the chamber.  I first put a paper towel down on the work space to collect the carbon dust and then take the Pipnet Reaming Kit and I use two smaller of the 4 blades available.  Starting with the smaller blade, I turn it until the crunchy resistance of the carbon cake is absent, then I move up to the next larger blade removing the cake.  Following the reaming blades, I use the Savinelli Pipe Knife and fine tune the reaming by scraping the chamber walls removing even more carbon.  Then, I roll 240 grit sanding paper around a Sharpie Pen and sand the chamber walls.  Finally, I use a cotton pad wetted with isopropyl 95% to remove the residue carbon dust and clean the chamber.  Inspecting the wall of the chamber, all looks good – no problems detected.  The pictures show the progress. I like working on a clean pipe so I turn now to the internals of the stummel.  Using pipe cleaners and cotton swabs dipped in isopropyl 95% I attack the mortise and the airway. The tar and oils are not putting up too much resistance and the pipe cleaners and swabs start coming through clean.  Later, I will give the internals a salt/alcohol soak to clean the stummel further and freshen the pipe. With the internals clean, I now turn to the external surface.  I’m anxious to see what the Murphy’s Soap does regarding the dark veins on the surface – I’m not sure if it’s actual dark grain color or something else.  I use undiluted Murphy’s Soap with cotton pads and bristled tooth brush to scrub the surface and remove the grime.  To clean the rim, I also employ use of a brass bristle brush which will clean but not damage the wood.  Without a doubt, I am looking at an amazing piece of briar with dark, blackish veins in the grain – unique and striking.  The surface itself is in good shape.  I detect very small fills but they are solid and will easily blend.  The rim shows damage on the front-left edge – possibly scorching from lighting the pipe over the rim.  There is also a bevel on the inner rim. To remove the damage to the rim and to reestablish crisp lines, I will lightly top the GBD – only taking off as much as needed.  I use a chopping board on my work table with a sheet of 240 grit paper over it.  I invert the stummel and rotate the stummel in a circular motion – careful not to lean to the softer damaged area of the rim. I take a picture mid-way to show progress.  After removing enough of the top, I then switch to a 600 grit paper and give the rim a few more rotations on the topping board, primarily to smooth the rim.  Burning and discoloration remain on the inner rim after the topping.  I take 120 grit paper, tightly rolled, and cut a new inner rim bevel.  I follow with 240 grit paper rolled, then a 600 grit rolled paper to complete the bevel.  The pictures show the rim’s progress. With the stummel before me, I decide to proceed with sanding the externals.  I first use a light grade sanding sponge, followed by the micromesh pads from 1500 to 12000.  In sets of three, I wet sand using micromesh pads 1500 to 2400, followed by dry sanding with pads 3200 to 4000, and then concluding also dry sanding with pads 6000 to 12000.  The grain in this GBD Americana is unique and the way the grain emerged through the micromesh cycles was striking.  The pictures show the sanding process. I now clean and freshen the internals of the stummel more and I use kosher salt and alcohol to soak the stummel.  The kosher salt will leave no residual taste as will regular iodized salt. I first stretch and twist a cotton ball to stuff down the mortise acting as a wick to draw out the tars and oils.  I then fill the chamber with kosher salt and set it in an egg carton where it will have the right angle and be stable.  Then using a dropper, I fill the chamber with isopropyl 95% until it rises above the level of the salt.  I top it off after a few minutes because the alcohol is drawn down initially into the mortise and the cotton wick.  I then set the stummel aside for several hours to soak.  The pictures show the progress.With the stummel soaking, I start the stem polishing process.  I first work around the GBD rondel using a small piece of Mr. Clean Miracle Eraser.  I detect left over oxidation ringing the rondel in the vulcanite.  I do not want to bear down on the rondel with an abrasive so I’m hoping that Mr. Clean will do the job and the result confirms this.  Previously, when I removed the oxidation with 600 grit paper, it cleaned the button area of teeth chatter very well.  I detect on both the upper and lower lip edges residue oxidation that was shielded by the lip overhang.  I fold a piece of 240 grit paper to create a sharp blade/edge and sand the lip edge.  This removes the oxidation as well as sharpening the button definition.  I follow doing the same with 600 grit paper and then buff the bit, upper and lower with 0000 steel wool.  The pictures show the fine-tuning stem work. I’m ready to begin the micromesh pads polishing process.  First, using pads 1500 to 2400, I wet sand the stem, followed by pads 3200 to 4000 then 6000 to 12000, I dry sand the stem.  After each cycle of 3, I apply Obsidian Oil to revitalize the vulcanite and take a picture to mark the progress.  The GBD stem rondel has a pop with the black backdrop of the newly revitalized vulcanite stem.  The pictures show the progress. Back home after a day at work, I’m looking forward to finishing and recommissioning this GBD Americana for service to a new steward.  The salt and alcohol soak has had all day and there isn’t that much discoloration of the salt – hopefully this means there wasn’t that much left to clean!  I thump the bowl on my palm to dislodge the used salt and dump it.  I then take a dry paper towel and wipe out the excess salt from the chamber and after removing the cotton wick, I use multi-sized round bristle brushes to remove excess salt from the airway and mortise.  Then I complete the job by wetting a cotton swab and a pipe cleaner with isopropyl 95% and plunge them, only to discover that the internals were indeed cleaned and ready to go. With the stummel cleaned and stem waiting in the wings, I reassemble the pipe to get a bird’s eye view of things.  It does not take long to decide not to apply a stain, but to leave the natural finish on this striking and graceful Bent Billiard.  The color combinations of the black veins and black stem, the golden briar and the brass stem rondel are eye-catching.  This is one nice looking pipe! I use white diamond compound with a felt wheel mounted on the Dremel at the lowest speed.  Before I apply the compound, I purge the wheel of old compound using the edge of the Dremel’s adjustment wrench.  I apply the compound to both stem and stummel. I rotate the wheel over the surface, not applying much downward pressure on the surface but allowing the RPMs of the Dremel and the compound to do the work.  After the White Diamond, I mount a cotton cloth wheel at the same lowest speed, and apply Blue Diamond compound to both stummel and stem.  With the compounds completed, I buff the pipe with a flannel cloth not so much to shine it but to remove the excess compound dust before I apply wax.  With the carnauba wax I mount the cotton cloth wheel, increase the speed one notch faster, 2 with the fastest being 5.  I apply several coats of wax to stem and stummel.  I finish the polishing process with a hand buff using a micromesh cloth to deepen and bring out the shine.

This GBD Americana Bent Billiard has perhaps the most striking briar grain I have yet to see.  The black veined grain gives a marbling effect that draws the eyes to look closer.  When one looks closer the grain is a myriad of shapes and bird’s eye swirls that make me ponder again one of God’s little creations.  Then, the black grain on the left side of the stummel, dips underneath the heel, and emerges on the right side as straight vertical grain resembling a mature tree, beginning with the roots, then trunk, replete with foliage fanning out above as it reaches toward the rim – a virtual canvas.  If I decide to sell this pipe (I’m conflicted, this one may indeed be a keeper!), you will see it in the store at my blog site, The Pipe Steward.  All the profits of pipes that I sell go to help the Daughters of Bulgaria – the organization we work with here in Bulgaria helping women and children who have been sexually exploited and trafficked.  Thanks for joining me!