Tag Archives: bowl topping

Refurbishing a Bjarne Hand Made Nosewarmer


Blog by Steve Laug

In the past weeks I finished up some pipes for a guy here in Vancouver and when he came to pick them up he brought some more for me to work on for him. I finished up some of the ones on the worktable so I decided it was time to work on these. The third of them is a Bjarne bent apple nosewarmer with a short stem. It is another really beautiful pipe. The shape, the rich reddish brown finish along with the black acrylic stem with the bj logo all combine to make this a uniquely beautiful pipe.   The bowl had a thin and uneven cake. The upper half of the bowl was more thickly caked than the bottom half. I would need to ream it to even out the cake. There was some slight darkening on the rim top as well as dents and nicks in the top of the rim. The inside of the shank was dirty and needed to be cleaned. The black Lucite stem had tooth marks and chatter on the top and underside of the stem near the button. There was one deep tooth mark on the top edge of the button. The short saddle stem looked good otherwise. I took photos of the bowl and stem to give a clear picture of the condition of the pipe before I started to work on it.I did a quick review of the history of the brand by turning to Pipedia. Here is the link https://pipedia.org/wiki/Bjarne. I quote from part of that article to give a short synopsis of the history of the brand.

With a demanding job it was hard to find time to make pipes in that quantity, and Bjarne had to choose. His dream had always been to have a company of his own, and if he wanted fo fulfill that dream, now was the time to do it. But to leave a promising career, in which he probably would have become a Danish ambassador in some foreign country, was indeed a big step to take. “Many thought I was crazy”, Bjarne says, “and one of them was my wife. But she supported my decision anyway.”

He made that decision in 1973, and became a fulltime pipemaker. But he soon realized that it was impossible for one person to handle all of it–he could not make a lot of pipes, sell them and collect money for them all by himself. So he decided to find some pipemakers to help him. In those days Preben Holm was one of the biggest makers of fancy pipes, and he employed a great number of pipemakers. But not all of them were happy to work for Preben,m so Bjarne recruited a few of those.

During the first years all of Bjarne’s pipes were sold in the USA, but at the end of the 1970s he visited the pipe show in Frandfurt and found that there was a market for his there as well. However, he found that the Germans wanted a completely different style of pipes–pipes in traditional shapes. So if he wanted to be successful there, he had to add a completely new line to his production. “It was not easy, we learned it the hard way,” Bjarne says. But they certainly succeeded, and for a number of years Germany became the top-selling market for Bjarne’s pipes.

The photo below shows pictures of Bjarne Nielsen. The photo is from the Pipedia article and comes from Doug Valitchka as noted below the photo.I then turned to the Pipephil website – http://www.pipephil.eu/logos/en/logo-b5.html  and did a screen capture of the article there on Bjarne pipes. Bjarne Nielsen distributed his own brand of pipes carved by Danish Pipemakers. It is stamped on the underside of the shank with Bjarne over Hand Made in Denmark. There are no other stampings or numbers on the shank. The pipe was obviously made prior to 2008 when Nielsen died.I started my clean up on this pipe by reaming out the bowl and smoothing out the cake on the walls. I reamed it back with a Savinelli Fitsall Pipe Knife. I sanded it smooth and even with a dowel wrapped in 220 grit sandpaper. Once that was finished the walls were smooth and undamaged and the surface ready for a new cake.I worked over the rim top with micromesh sanding pads – wet sanding with 1500-2400 grit pads and dry sanding with 3200-12000 grit pads. I removed the most of the damage to the rim top with the micromesh sanding pads. I removed the area on the rear that had been darkened. I polished the exterior of the bowl with the pads at the same time. I wiped the bowl down after each pad with a damp cloth. I touched up the cleaned up rim top with a Maple stain pen to match the colour of the rest of the bowl. The match was perfect and once the bowl was waxed and polished would be indistinguishable from the rest.I rubbed down the briar with Before & After Restoration Balm. I worked it into the finish with my fingertips and finished working it in with a shoe brush. I worked over the rim top to blend it into the rest of the stain. The balm works to clean, preserve and enliven the briar. I really like the effect of the product on briar so I took some photos of the pipe at this point. I cleaned out the airway in the stem and shank, the mortise and shank interior with pipe cleaners, cotton swabs and alcohol. It did not take as much as I expected to remove all the tars and oils in the shank and mortise. The stem had some debris in the edges of the slot in the stem.I set the bowl aside and turned to address the stem. I sanded the tooth marks and chatter out of the stem surface with some folded 220 grit sandpaper. I polished the stem with micromesh sanding pads to remove the scratches in the acrylic. I wet sanded it with 1500-2400 grit pads and dry sanded it with 3200-12000 grit pads. I wiped the stem down with a damp cloth after each sanding pad. I polished the stem with Before & After Pipe Stem Polish – both Fine and Extra Fine polishes. I wiped it down with a cotton pad and gave it a final coat of Obsidian Oil. I set the stem aside to dry. I put the stem back on the bowl and buffed the pipe with Blue Diamond polish on the buffing wheel. I carefully avoided the stamping on the underside of the shank. I gave both the smooth bowl and the stem multiple coats of carnauba wax and buffed the pipe with a clean buffing pad to raise the shine. I hand buffed it with a microfiber cloth to deepen the shine. The finished pipe is shown in the photos below. I have five more pipes to finish for him – one move from his personal rotation and four of them that are some finds he made while pipe hunting. This is a fun bunch of pipes to work on. I look forward to moving through the rest of them. Thanks for looking.  

Advertisements

Restoring a Gutta-Percha Woman’s Leg Pipe with a Briar Bowl


Blog by Steve Laug

On Friday my wife and I took a drive out to one of our favourite spots near Vancouver to do a bit of walking and hunting. She likes looking for old cookbooks and I of course am always on the prowl for old pipes. We walked about for a while and enjoyed the beautiful day. We stopped by two antique malls and spent some time looking. She found nothing for her collection but I found three old pipes – A Parker Super Briar Bark 345 Bulldog in decent shape, a French Made Algerian Briar diamond shank Billiard and a Gutta-Percha Leg shaped pipe with a briar bowl. It was in the worst condition of the three pipes.The black cast/molded Gutta-Percha base was shaped like a female leg and even had a ballet slipper on the extended foot. The airway came out at the end of the toe. The base was nicked and dull looking with none of the rich glow that I know comes when the material is polished. But by far the worst part of the pipe was that some had dipped the briar bowl in a gold metallic paint rubbed it into the grain and then covered it with multiple layers of Varathane plastic coat. They had even dipped the threads on the nipple that screwed into the base in the plastic coat and painted the inside of the bowl as well. I say that was the worst part because otherwise the pipe was unsmoked. It would have been NOS (New Old Stock) before whoever did this abomination to the pipe. The bowl is normally a rich reddish brown colour in all the variations that I have seen on the internet so the gold and plastic finish would need to go. I took a close up photo of the rim top to show you the way it looked when I got it – I don’t know if some of you like the look – but I don’t. It is like painting an antique wooden piece with crackly gold paint to give it the look of hammered metal. It just does not work for me. I also took some photos of the base to show the condition of the mouthpiece end of the pipe. There were some nicks in the material but no tooth marks or chatter and the orific airway in the end of the toes was undamaged.I took photos of the bowl with it removed from the base to show how it had been painted with streaks to make it look like vertical grain – it was not as the wood was smooth and bits of it peaked through the gaudy gold finish. You can also see the thick plastic coat on the nipple that is threaded into the bowl almost filling in all of the threads. I topped the end of the nipple with 220 grit sandpaper on the topping board to remove the thick plastic coat that was not even smooth on that portion of the bowl. I did the same with the bowl to remove the plastic and metallic gold paint. Those areas definitely looked better to me but the bowl was a long way from looking normal.I tried wiping the bowl down with acetone to break through the plastic coat – no luck. The brown stains on the cotton pad come from the nipple end and the rim top where I had broken through the finish. There was only one way to remove this abominable coat of plastic and that was to sand it until it was gone… not my favourite thing. Think twice before any of you put that stuff on a pipe. It is truly awful and stops the wood from breathing.I sanded the bowl with 180 grit sandpaper and was able to break through the plastic coat and the gold coat. Underneath the bowl was nicked and damaged. The majority of the damaged spots were merely built up plastic coat and sanding them smoothed things out. But some of them were deep gouges in the wood. I sanded, cleaned with alcohol and filled those in with clear super glue and briar dust. When the repairs had cured I sanded them smooth with 180 and 220 grit sandpaper to blend them into the surface of the bowl. I sanded the bowl with a medium and a fine grit sanding sponge to remove the remnants of the repair and the plastic coat. It took a bit of sanding but the finish was finally smooth to touch. I sanded the bowl with micromesh sanding pads – wet sanding with 1500-2400 grit pads to smooth things out more.With the bowl smooth and clean I decided to stain it with the tan aniline stain I have. I am sure that it is mislabeled as it is far too red to be tan. I figured it would work well with this bowl.I wiped the bowl down with alcohol on cotton pads to even the stain coat and make it a bit more transparent. The trouble was that all of the flaws and nicks in the wood showed up then. I gave it a second coat of stain using a Mahogany stain pen to darken the overall surface of the bowl and still leave it transparent enough to see the grain in the wood. I rubbed some Before & After Restoration Balm into the surface of the bowl to enliven, clean and protect the newly stained bowl. I let it sit for a few moments then buffed it off with a cotton cloth. I took photos of the bowl at this point to show how things were developing. I set the bowl aside and worked on the base. I cleaned out the debris of time on the inside of the base with cotton swabs and alcohol. There were not a lot of tars as the pipe was unsmoked. But there was dust from sitting all these years since it was made.I polished the base with micromesh sanding pads – wet sanding with 1500-2400 grit pads and dry sanding with 3200-12000 grit pads. I wiped the base down after each pad with Obsidian Oil and rubbed it into the material. The pictures tell the story as the base begins to develop a shine. I further polished it with Before & After Pipe Polish – both Fine and Extra Fine to remove more of the scratches from the Gutta-Percha base. I rub the polish on with my fingertips and polish it with a cotton pad to raise the shine. I buffed the bowl and the base independently of each other with Blue Diamond on the buffing wheel to remove minute scratches and give the materials a shine. I gave both parts multiple coats of carnauba wax and buffed them with a clean buffing pad to raise the shine. I put the parts back together and hand buffed it with a microfiber cloth to deepen the shine. The photos below show the finished and restored pipe. I personally like the rich brown over the metallic gold on the bowl when I got the pipe. The dimensions of the pipe are petite – the length from thigh to tip of the toe is 5 ½ inches, the height from the knee to the thigh is 2 inches, the outer diameter of the thigh is 1 1/8 inches and the chamber diameter is 1 inch. It is a unique piece of pipe history and joins the rest of the Gutta-Percha pipes in my collection. Thanks for walking through the restoration of this leg pipe with me.

A Tale of Three Churchwardens


Blog by Dal Stanton

The first of the 3 was true born, but of hobbit stature.  He dreamed of walking in the world of men and of wizards seeing eye to eye but anxious to serve.  The second was bound to the first but he held no claim to royal lineage. He stood proud in the best sense of the word and cherished his Green Lands heritage and history.  The third of the 3, was free and bound to no man.  He was born into humbler circumstances but found favor in the Maker’s eye and the Maker dubbed him The Wise a valuable gift to any man.  All 3 strong, bound together in one tale, bring hope to the Daughters of men. 

I am sure that if J.R.R. Tolkien were to write this blog about the restoration and creation of 3 Churchwardens, he might begin the tale something like this.  Every pipe man and pipe women, if they do not have a Churchwarden in their collections, are hoping one day to find one – each looking for that special bond.  Why?  Simply stated, Churchwardens are cool.  I have a Churchwarden that I’ve named, Gandalf – there are probably many Churchwardens out there bearing that name.  Why?  Simply stated, Gandalf the Wizard – first The Grey then The White – is cool.  He smoked a Churchwarden like no one else, packed with ‘Old Toby’ and who doesn’t want to be like Gandalf?

There’s A LOT of information on the internet easily obtained by a simple search of ‘Churchwarden’ and I don’t want to repeat what’s easily found.  The short of it is this – ‘Churchwarden’ is an old shape as far as pipes go.  Of course, they were prevalent throughout Middle Earth.  As the story goes, there were men back in the days when they didn’t lock churches at night, who were employed as ‘wardens’ of the church – whose responsibility was to guard the premises.  To be faithful to their charge, they were not allowed to leave the walls of the church.  That created an unusual dilemma between guarding the holy confines and the desire to enjoy one’s evening smoke.  The moral dilemma was creatively solved by a stem.  The length of the stem enabled the church wardens to tend to their evening bowls as they stood vigilantly inside the church walls while the stems extended through the windows…so the story goes (see Pipedia’s article).

Another very interesting factoid about Churchwardens comes from Bill Burney’s Pipedia description of the Churchwarden that it is unique among all pipes:

I want to include one other interesting link for those of you who are Middle Earth and Churchwarden enthusiast.  The question has always been asked by discerning folk, while Gandalf was smoking his Warden, or Bilbo, Merry and Pippen were puffing on theirs, what exactly was packed in their bowls??  Of course, we all know that the bowls had ‘Old Toby’ packed in them – or simply, ‘Pipeweed’.  This link goes to a fun site that explores the minutia of J.R.R. Tolkien’s Middle Earth including the story of pipe smoking and the mystery of what exactly inhabited the bowls of Middle Earth!  Enjoy!

The first of the 3 was true born, but of hobbit stature.  He dreamed of walking in the world of men and of wizards seeing eye to eye but anxious to serve.

My ‘Tolkienesque’ opening, like Tolkien’s ‘Lord of the Rings’, holds some truth in the telling.  The ‘Tale of the Three Churchwardens’ started when I received an email from Toby – yes, I’m not making this up!  Gandalf smoked ‘Old Toby’ and a younger Toby from Germany wrote me about commissioning the “Imperial Churchwarden” (the ‘true born’ Churchwarden with royalty) as a birthday gift for a friend which he discovered in my website’s section, For ‘Pipe Dreamers’ Only.  We came to an accord and I put the Imperial Churchwarden from France in the queue to be restored in time for his friend’s birthday celebration. Later, when I found the Imperial in the “Help Me!” Basket, I was a little concerned.  The stem was shorter than I had originally thought – it was more of ‘Hobbit stature’ – a miniature Warden.  The stem was 5 ¾ inches beyond the shank or the total length of the pipe was about 8 ¾ inches or 22 cm – not really the coveted ‘Gandalf’ size.  I wrote to Toby with a proposal of adding some stature to the Imperial with a longer Churchwarden stem I had on hand – it would be more of a ‘Gandalf statured’ Churchwarden as a result.  I sent this picture with the proposed stem giving a total length of 11 inches or 28 ½ cm.  My Gandalf was on top for comparison.  Toby liked the idea and said that his friend was a huge ‘Lord of the Rings’ fan and that an extra 5 cms was a good investment for his friend to have a ‘Gandalf’ pipe.  

The second was bound to the first but he held no claim to royal lineage.  He stood proud in the best sense of the word and cherished his Green Lands heritage and history.

Then Toby asked if I might have another long warden stem in my stores – he thought it might be good for him to add a Churchwarden to his collection – perhaps that both he and his friend could blow smoke rings into the air in proper wizard fashion on his friend’s day of celebration!  I ordered 3 more 8.5” Churchwarden stems from Tim West at http://www.jhlowe.com and they arrived in Bulgaria from the US with a returning colleague.  At this point I moved from restoring a Churchwarden (true born) to creating a Churchwarden with re-purposed bowls.  I went through my stores to find potential bowls to be wedded to a Warden stem and transformed to a Churchwarden (thank you Bill Burney!).  I sent two options next to the Imperial – a Dublin and a Rhodesian.  Toby chose the Dublin with the canted bowl which to him was more ‘Gandalf-like’.  And so, the Dublin will mast the Churchwarden stem – representing a strong and resilient people proud of their ‘Green’ heritage and history.

The third of the 3, was free and bound to no man.  He was born into humbler circumstances but found favor in the Maker’s eye and the Maker dubbed him ‘The Wise’ a valuable gift to any man.                     

All 3 strong, bound together in one tale, bring hope to the Daughters of men.

With two Churchwardens bound to Toby – one for his friend and one for himself, I was thinking, while I’m working on restoring and creating these Churchwardens, why not fashion another to put in The Pipe Steward Store for another steward to add to their collection.  I found a small bowl that I really liked – a Yello Bole ‘Air-control’ Imported Briar.  I looked at the Air-Control stem mechanism and my thought was that no one will ever want this Yelo Bole as he is now attached to his ‘high-tech’ stem, but I really liked the Apple shaped bowl.  I think he’ll look great mounted on a long-bent stem – a third Churchwarden, a wise choice for anyone wanting to add a Churchwarden to his collection!  All three Churchwardens will benefit the Daughters of Bulgaria – women and girls, the ‘Daughters of men’ who have been trafficked and sexually exploited.I want to thank Charles Lemon of https://dadspipes.com  up front for his input that led me to add two new tools to my tool box and expanding my ‘restorative reach’ with pipes.  The first is a PIMO Tenon Turning Tool that I ordered at Vermont Freehand after seeing the tool on Charles’ Worktable and Man Cave blog.  Charles’ later restoration, Re-Stemming a Butz-Choquin Marigny Deluxe Hand-Made Calabash was very helpful providing a step by step description of its use in replacing a tenon and the use of the tool.  The other wonderful tool that I coveted reading the same ‘Re-Stemming’ blog was the electronic caliper which Charles uses hand in hand with his many stem repairs.  I hadn’t seen an electronic caliper in Bulgaria, but then, I had never looked for one either!  Joy of joys, I found a German made electronic caliper in the local ‘Bricolage’ – I was a happy camper!  My new toys – that is, tools 😊 pictured next. As I approach the restoration and creation of the 3 Churchwardens, I will try to work in the reverse – starting with the ‘Free Born’ Yello Bole, then the ‘Green Land’ Dublin and finally, the ‘True Born’ French made Imperial.  Why this order?  As I get used to my new tools, I would rather start with the ‘non-commissioned’ pipe first to hone in on the techniques, working toward the most important Churchwarden, the Imperial, destined to be a gift.  To experiment and practice, I have already turned one stem with the PIMO tenon turning tool – a French Jeantet Jumbo which came to me without a matching stem and has been waiting patiently.  Without description, this is what I did last night while watching the World Cup match between Sweden and Mexico (my wife rooted for Mexico where she grew up!).  Sweden prevailed.  The Jeantet Jumbo will be completed sometime in the future – he’s a ‘big boy’ pipe! Turning now to cleaning the stummels of the Churchwardens, I start first by reaming each with the Pipnet Reaming Kit.  Each stummel uses only the smallest of the 4 blade heads available.  I then fine tuning each with the Savinelli Fitsall tool, followed by sanding the chambers with 240 grade paper wrapped around a Sharpie Pen.  Finally, each is cleaned with a cotton pad wetted with isopropyl 95%.  After clearing the light to moderate cake in each bowl getting down to the briar for a fresh start, the chambers look good in each – no problems I can see. Turning now to the external surface I use undiluted Murphy’s Oil soap and cotton pads to scrub each.  The Dublin (center above) has the most lava over the rim, while the other two, not as much.  In addition to cotton pads, I utilize a brass wire brush for the rims and use a knife blade carefully to scrape the Dublin rim.  The Dublin and the Imperial will both need some sanding on the rim to clean them up.  All 3 stummels’ finishes reveal that they are thin and worn.  Murphy’s took much of the finish off but not all with the Yello Bole and Imperial bowls.  The Dublin’s finish is gone.  During the cleaning, I discover that I missed the remains of a broken off tenon in the mortise of the Dublin.  I keep screws of different sizes on hand for just these occasions.  Using a small diameter screw, I screw into the airway hole of the tenon just enough to grab some vulcanite and gently pull out.  I don’t want to insert it too far into the broken tenon to not expand it and crack the shank.  As hoped, a little pressure and thankfully, the tenon comes loose. With the mortise cleared in the Dublin, I proceed to clean the internals of all 3.  I use pipe cleaners and cotton buds dipped in isopropyl 95% to do the dirty work.  Here is a truism: Just because you’re cleaning a smaller stummel doesn’t mean it’s a smaller mess!  Each stummel required boocoos of cotton buds, pipe cleaners – I also scrape the sides with a sharp dental probe as well as hand-turning drill bits down the mortises to excavate the tars and oils.  The pictures show the finish line of sorts – later, before I turn out the lights, I’ll give each a kosher salt/alcohol soak through the night to provide more stealth cleaning.To remove the old finish from the stummels I wipe them down with isopropyl 95% and cotton pads.  The alcohol fully removes the old tired finish off the Imperial and the Dublin, but the Yello Bole’s old finish is persistent.  The first picture below reveals the sheen left on the Yello Bole but the others are dull.  To deal with the ‘Candie Apple’ finish that remains on the Yello Bole stummel I use acetone on a cotton pad.  This does the trick and now we’re down to the briar on all the stummels.With the stummels clean inside and out, the next step is fashioning the Churchwarden stems from the precast stems I acquired for the job.  I start with the Yello Bole by making an outside measurement of the original stem’s tenon which, of course, fits perfectly.  The measurement with the electronic caliper is 6.83mm.  From Charles Lemon’s blog that I noted above, Re-Stemming a Butz-Choquin Marigny Deluxe Hand-Made Calabash, Charles recommended a conservative approach to using the PIMO tenon turning tool which I employed on my first run with the Jeantet Jumbo, to first do a test cut of the tenon at approximately 40mm more than the target measurement.  This allows a more conservative sanding of the tenon to gradually bring it down to a good fit – not too snug and not too loose.  The Pimo tool comes with a drill bit to pre-drill the tenon airway on the precast stem to serve as a guide for the guide pin on the tool.  Adding my margin of error of 40mm to 6.83mm target size leaves me a practice cut of about 7.23mm to aim at for the conservative approach.  The pictures move through the steps. The tenon turning tool is in the drill shock and when powered rotates at high speed. With the cast stem’s airway guided by the guide pin, I push the stem steadily against the revolving blade of the tool and it peels away the vulcanite.  The blade peels the vulcanite in spaghetti-type curls.  My first practice cut is measured, and it is 8.45.  Another 1.20 mm can come off.  With the enclosed allen wrench, I adjust the Pimo tool to remove more vulcanite and the next measurement is 7.34mm.  That is a .51mm difference and places me in the conservative sanding zone.  Now, I complete the cut of the entire tenon – all the way to the face of the stem.  I haven’t figured out how to minimize the vulcanite shavings that spew out everywhere!  I note that the original stem’s tenon is shorter.  I use a sanding drum on the Dremel and take off the excess. The cut looks good and now it’s time to take file and sanding papers to gradually bring the tenon to size. Now, as I watch several episodes of Grimm which I discovered on Netflix here in Bulgaria, I gradually sand the tenon to a snug but not too tight fit.  I use coarse 120 grade paper to start – always sanding around the tenon to maintain proper round.  Then, using a flat needle file and 240 grit paper, I fine tune the tenon sanding – again, maintaining proper round by sanding around the tenon evenly.  I must admit, when the tenon gets down to the target size – when it starts to marginally slide into the mortise, my stress level increases!  I know how easily one can crack a shank by rushing the tenon’s entry into the mortise.  It takes ‘100s’ of sanding cycles followed by testing the fit (carefully!) before the tenon safely and fully engages and finds a new home!  Success!The tenon is snug and secure, and now I take some pictures to show the ridges that need to be removed and tapered through the shank and stem.  Also, the precast stem has casting ridges down the length on both sides and the button is in very rough form.  The entire Churchwarden stem needs to be sanded, smoothed and shaped along with the shank/stem transition.One picture to show the growth in stature this Yello Bole stummel now enjoys before retiring the old stem to the stem bucket.Several episodes of Grimm later, I’m satisfied with the rough sanding and shaping of the stem.  I show the full length and then some closeups of the shank/stem transition and the button shaping.  I like what I see. The next step is to introduce a gentle bend to the stem.  This will aid the future steward of this ‘Free Born’ to know which way the stem is properly positioned – there is an up and down after the custom sanding and fit – there is no standard stem fit – echoing the words of Charles Lemon’s blog!  To give me an idea of where and how much the bend should be, I used my Gandalf as a template on a piece of paper.  I also draw an outline of the original, smaller Imperial stem for comparison.  I mark the stem at the point that Gandalf’s stem’s bend began.  Bends are very subjective, but this gives me an idea what to shoot for.  After I insert pipe cleaners in both ends of the stem to guard the airway integrity during the bending, I heat the target area of the stem with a hot air gun and bend it when it becomes supple.  I take the bend to the faucet with cool tap water to set the curve.  At the start, I found that I was bending too much.  Thankfully, vulcanite is very forgiving – to correct the bend all I do is re-heat the stem and it straightens on its own.  After a few tries, I find a bend I’m happy with – a compromise between Gandalf’s slightly longer stem and the shorter, original Imperial. I put the Yello Bole ‘Free Born’ aside and now turn to the Dublin.   The following pictures are lacking my standard background working mat – it needed to be cleaned!  I start by doing an inside measurement of the mortise – 7.19mm.  That is the target width of the tenon that is shaped.  I use the drill bit provided and drill the airway to receive the PIMO guide pin.  I then bring the blade down to just touching the tenon and cut a test like before and measure – 8.15mm.  That leaves .96mm to the target size.  I make a quarter turn of the wrench, closing the blade that much and take another cut – 7.46.  The quarter turn took .69mm off the tenon.  I now have .27 mm of ‘fat’ left on the tenon.  Again, the pictures show the steps. Now, well within the conservative sanding zone, I use a flat needle file and 240 grit paper and sand the tenon down to fit with appropriate snugness.  I then sand down the stem and button as before with the Yello Bole.  I’m aiming for a fluid transition from shank to stem.  The Dublin shapes up nicely!I use the same template to give the Dublin’s new fitted stem a gentle bend over the hot air gun. Now to the Imperial.  The same methodology is employed as with the former 2.  I fast track describing the process with each picture.I drill the airway to guide the Pimo guide pin.The mortise is measured for the target tenon size – 7.56mm.With the PIMO tool I cut a ‘fat’ initial tenon that measures about 40mm larger than the target – conservative sanding zone. I measure the length of the original Imperial stem tenon and shorten the precast Churchwarden tenon to match using the flat needle file as a saw.After sanding the tenon down to a snug fit, I’m left with filing and sanding the ridge and tapering the warden stem.  I cover the Imperial’s nomenclature with masking tape to protect it from the shank sanding.After some filing with a flat needle file and sanding with 240 grit paper, the transition from the shank to the Warden stem is shaped and the button is shaped from the rough precast stem. As with the other two, I heated the Warden stem with a hot gun and when it became supple I give it a slight, gentle flowing bend and seal the bend under cool tap water.The 3 are looking good and the transformation is taking shape!I then take each of the Warden stems through a wet sanding with 600 grit paper and then used 0000 grade steel wool to continue the sanding but also buffing up the fresh vulcanite.  To hydrate each of the 3 Wardens I wipe the stems and stummels with light paraffin oil (mineral oil in Bulgaria), which serves to give me a sneak peak at the finished Churchwarden pipes.  I like what I see!With my day coming to a close, I utilize the night by allowing the stummels to clean further by using a kosher salt and alcohol soak.  I fashion cotton ‘wicks’ from cotton balls and insert them down the mortises into the airways.  They act to draw the additional tars and oils out of the briar.  I then fill each bowl with kosher salt which leaves no aftertaste as iodized salt does.  I then fill the bowls with isopropyl 95% until the alcohol surfaces over the salt.  I top each stummel off in a few minutes and I turn out the lights.The next morning, I wasn’t disappointed.  The salt in each bowl had darkened and each of the wicks had discolored indicating further extraction of the tars and oils.  The salt went into the waste basket and I cleared the excess salt by wiping the bowls with paper towel and blowing with some force through the mortises.  I also follow with pipe cleaners and cotton buds to make sure all was clean.  Only the Dublin resisted further but soon pipe cleaners and cotton buds were coming out clean.  Stummels are cleaned and ready for their future stewards!  The picture shows the final carnage.Now, turning from the labor-intensive stem work, I look at the stummels.  Starting with the ‘Free Born’ Yello Bole that drew my attention.  The small Apple shape fits well the classic Churchwarden motif.  The grain is active with lateral grain expressing in bird’s eye perspective on the sides.  There are some fills in the stummel – one larger one on the right side of the stummel then a few pocket fills.  The fills all seem solid, but I will keep my eye on them as I sand. The rim is darkened from tobacco lighting and the inner edge of the rim is scorched.  I decide to give the rim a very light topping using 600 grade paper – more of a clean up to reestablish crisp lines and to remove the charring.  I use a kitchen chopping board and put the 600 paper on it for the topping.  It doesn’t take much. To address the normal nicks and dents on the stummel I use micromesh pads 1500 to 2400 and wet sand the stummel.  After the wet sanding I again look at the old fills that caught my attention before to see if they softened.  They remain solid, but I can see very small pockets that might benefit from repair.  I do not dig out the fills but simply painted the fills with a very thin layer of thin CA glue with a tooth pick – like the repair to miniscule air pockets that emerge with a CA glue/charcoal patch on vulcanite stems.  The painting is thin, so it cures very quickly, and I focus sand the spots again starting with the 1500 micromesh pad to the present was sufficient.  There is no impact on the surrounding briar.  I complete the micromesh cycles by dry sanding with pads 3200 to 4000 and 6000 to 12000.  I keep the Warden stem mounted on the stummel to guard against shouldering the shank face – keeping a nice seamless transition from shank to Warden stem.Here I picture the right side of the stummel to show the results of the ‘paint patching’ the larger fill and a few on the shank.  It blended well. Now, the Dublin is next in line.  This Dublin has ‘Selected Briar’ stamped on the left side of the shank.  It has nice looking briar, but the finish has lost its luster – it’s dull, tired and bored.  The rim is dark and has several dings on the edge.  There is one noticeable fill on the right front of the Dublin stummel.  The canted bowl of a Dublin has always attracted me and when Toby chose the Dublin to mast the Warden stem, I agreed it was a good choice – it will be an impressive looking Churchwarden.  I take a few pictures to get a closer look. I start by taking the Dublin to the topping board using 240 grit paper.  Removing the tired finish and re-establishing the lines of the rim will go a long way in sharpening this stummel.  After turning the inverted stummel on the 240 paper a few revolutions, I switch too 600 grade paper and smooth out the scratches of the 240.  Then, using 120 grit paper I cut an internal bevel on the rim followed by 240 and 600 grade papers.  I also cut a very small bevel on the external edge of the rim with the 240 and 600 papers.  I create the bevels to soften the look of the stummel and to me, it’s a classy touch.Next, I take the stummel through the full micromesh pad cycle by wet sanding with 1500 to 2400, followed by dry sanding using pads 3200 to 4000 and then 6000 to 12000.  The Dublin’s attitude is shaping up nicely! Turning now to the ‘True Born’ Churchwarden, the nomenclature stamped on the left side of the shank is a cursive, ‘Imperial’ over ‘CHURCHWARDEN’ in full block letters.  ‘Algerian Briar’ is stamped on the right.  The COM is France, stamped in very small block letters on the lower shank along the shank face.  These pictures show what I see. It did not take long to match the unique ‘Imperial’ nomenclature found in Pipedia’s very short article about the Imperial Tobacco Co. referencing Lopes:

From Pipes, Artisans and Trademarks, by Jose Manuel Lopés’

The Imerial Tobacco Co. (Imperial Tobacco Ltd.) was founded in 1901 through the merger of several British tobacco companies. In 1902 it went into partnership with the American Tobacco Company to found the British American Tobacco Company.

Brands involved: Comoy’sBewlayNordingOgden’sSalmon & Gluckstein, and Steel’s

This example was provided by the courtesy Doug Valitchka to let me know that I had locked into the right company.Pipedia’s article on Imperial Brands goes into more of the history of the multitude of acquisitions that happened in the early 1900s to maintain competitive edge.  Today, Imperial Brands is an international consortium primarily involved in cigarette sales and is based in the UK.  I found only one reference in the article to a French-based connection referencing the closure of a factory in Nantes, France, in 2016.  The company website, http://www.imperialbrandsplc.com contains an extensive history of the company, but I found no references to pipe productions in France!  In Pipedia and in Pipephil – Imperial, references to Imperial, the country of manufacturing is consistently the UK and no mention of France.  So, the French connection to this True Born will remain shrouded in mystery!

The Imperial stummel has a dulled finish as the Dublin but promises a very nice briar grain beneath.  The bowl and rim have normal wear nicks and dents.  I also detect residue shininess of old finish that didn’t come off when I cleaned with Murphy’s Oil Soap. I quickly dispatch this using a cotton pad wetted with isopropyl 95%.Inspecting the surface I find on the left side of the shank, near the ‘Imperial’ stamping, a chip that needs patching. I mix a small batch of CA glue and briar dust to patch the chip – this will blend well after sanded down.  I put a small mound of briar dust on an index card and place next to it a drop of regular CA glue.  I mix a small bit of the briar dust into the glue and when I find the resulting putty about the consistency of molasses, I apply it to the chip and put the stummel aside to cure. While the patch is curing, the large job of continuing the sanding of the Churchwarden stems jumps to the fore.  I decide to do all 3 Wardens together by first wet sanding using micromesh pads 1500 to 2400.  I follow by dry sanding using pads 3200 to 4000 and then 6000 to 12000.  After each set of three pads, I apply Obsidian Oil to each stem to vitalize the vulcanite.  There’s a LOT of vulcanite real estate to sand with a Churchwarden stem!  It’s also not easy taking pictures of the long Warden stems. Turning again to the bowls, and the Imperial’s cured patch of CA glue and briar dust, I carefully file the mound/excess down toward the briar surface.  I’m careful to stay on the excess patch material so not to damage the nearby briar and nomenclature.  I then switch to 240 paper, rolled tightly and then 600.  The patch looks great. As I take a closer look at the Imperial stummel, the rim is blackened on the internal edge.  I start by giving the bowl a very light topping with 600 grade sanding paper to clean it and to reestablish lines.  I then bevel the internal rim edge enough to clean it up as well as giving the external rim edge a bevel to soften the rim and to ‘class it up’ a bit. I like how it’s shaping up. With the rim restoration complete at this level, I use micromesh pads 1500 to 2400 and wet sand the entire stummel.  I follow with dry sanding with pads 3200 to 4000 and finish with 6000 to 12000. I have noticed on the shank a lightened area that was a result of the stem/shank fitting process where more sanding was necessary.  To darken and blend this area, I use an oak Furniture stain stick to do the job and it looks good.  I take a picture.Now, to deepen and enrich the briar of the French made Imperial Churchwarden, I apply Before and After Restoration Balm to the briar surface.  I put some on my fingers and work it into the surface.  The Balm does an amazing job bringing out the richness and the luster of the briar grain that is already beautiful.  After about 20 minutes, I wipe the Balm off the stummel with a clean cotton cloth.  It buffs up nicely.  I take a picture of the stummel with the Balm on it.Next in line is the Dublin bowl.  As with the French Imperial, I take the Dublin through the full 9 micromesh pads, 1500 to 12000.  I show the progress after each set of three pads – the first three wet sanding, the last 6, dry. As with the Imperial, I apply Before and After Restoration Balm to the Dublin bowl.  I put some Balm on my fingers and work it into the briar.  The Balm starts with the texture of light oil then as I rub it into the briar, is thickens into the texture of a thicker wax.  After I work it in I set the stummel aside to absorb the Balm.  After a time, I wipe off the Balm using a cotton cloth – it buffs up as I wipe the stummel.The final stummel is the Free Born Yello Bole.  Since the stummel has already gone through the full micromesh pad sanding process, it is ready to receive the Before and After Restoration Balm to deepen and enrich the nicely emerging briar grain.  As with the others, I apply the Balm with my fingers and after setting is aside for about 20 minutes, I wipe/buff off the Balm.  I take a picture of the Balm on the stummel and afterwards. At this point, using the Dremel mounted with dedicated cotton cloth buffing wheels set at the slowest speed, each of the three bowls I apply Blue Diamond compound and White Diamond compound is applied to the stems.  After the application of the compounds, I buff each Churchwarden with a felt cloth to remove the compound dust before applying wax.  I then mount another cotton cloth wheel on to the Dremel, increase the speed to about 40% full power and apply carnauba wax to stems and stummels.  After applying a few coats of wax, I give each Churchwarden a rigorous hand buffing with a microfiber cloth to raise the shine.

The Tale of the Three Churchwardens is now beginning.  I am pleased with the results.  Each bowl responded well displaying a myriad of grains and patterns.  Each now displays that classic, long, graceful, wise aura of the Churchwarden genre.  It is true, only one of the Churchwardens started has a Churchwarden – the True Born.  He is now no longer of Hobbit stature and will walk with men and wizards.  The other two re-purposed bowls look great – I’m pleased.  Tobias of Germany commissioned the French made Imperial Churchwarden and the Dublin.  He will have the first opportunity to secure these Churchwardens for his friend’s birthday present and for his own collection in The Pipe Steward Store.  As ‘fate’ would have it, the third Churchwarden bound to no man, was claimed also by a person also living in Germany!  A colleague was visiting Bulgaria and saw the 3 Churchwardens on my worktable.  Thankfully, I was able to finish ‘The Wise’ to return with his new steward to Germany.  I declare that Germany receives the Middle Earth Award!  Each of these Churchwardens benefits the Daughters of Bulgaria – a noble cause of helping women and girls who have been trafficked and sexually exploited.  Thank you for joining me in the telling of the Tale of Three Churchwardens!

The first True Born Imperial Churchwarden of France The second was bound to the first, the proud Dublin Green Land Churchwarden The Third ‘Free Born’ Churchwarden

Resurrecting a BIG PIPE Lovat – the first of Anthony’s Dad’s Pipes


Blog by Steve Laug

A few weeks back I received an email from Anthony, a reader of rebornpipes asking if I would be willing to help him clean up his Dad’s pipes. He wrote; “I have a few pipes (8 or so) that haven’t been smoked in 15 years. They were my dad’s. I would like to get someone to restore them”. We chatted back and forth via email and the long and short of the story is that I have eight of his Dad’s pipes in my shop now to work on. The photo below shows the mixture of pipes that he sent me. There are some interesting shapes and most are very dirty and have very little if any of the original finish left on the briar. All have an overflow of carbon on the rim top and all have damaged stems and buttons. They will need a lot of TLC to bring life back to them but it should be fun to give it a go. I went through the pipes and assessed their condition and contacted him and got the go ahead to proceed on the lot. So I have begun.The first pipe I chose to work on was actually the first one that I removed from the mailing envelope he sent them in. It is shown above in the photo of the lot. It is the top pipe of the left column circled in red. It has a carved rustication around the bowl and a smooth thick shank. It is a large, thick shank, rusticated Lovat. It is stamped on the left side of the shank Imported Briar over BIG PIPE. The rim top has some overflow of lava and darkening. There is a thick cake in the bowl that is flaking and peeling from the walls of the bowl. The stem is heavily chewed and has some damage on both sides around the button. It will need to be reshaped and rebuilt. There is some water damage around the shank at the stem, though it is heavier on the underside of the stem. The finish is worn out and there is a lot of dust and debris in the grooves of the rustication. I took photos of the pipe to show its overall condition when it arrived at my work table. I took some close up photos of the rim top and the stem to show what I was going to be dealing with on this pipe. The rim top had a thick cake of lava overflowing from the bowl over the back half. The inner edge of the rim was damaged with a burn on the right side toward the front of the bowl make the bowl out of round. The outer edge of the rim looked to be in good condition. The stem was in pretty rough condition. There were tooth marks on both sides of the stem and button and some deep chunks out of the sides of the stem at the sharp edge of the button. The fit against the shank had a gap because of the dirtiness of the shank. You can also see the water damage to the briar at the stem/shank joint.I took a close up photo of the stamping on the left side of the shank. It is dirty but it is readable and says Imported Briar over Big Pipe.I like working on clean pipes so I decided to clean up both the inside and outside of the bowl and shank. I reamed it with a PipeNet reamer and took back the cake to bare briar. I started with the third cutting head and worked up to the largest cutting head and cleaned the bowl. I used a Savinelli Fitsall Pipe Knife to scrape away the remnants of cake and clean up the walls. I scrubbed the bowl and the stem with a tooth brush and Murphy’s Oil Soap to remove the grime in the grooves of the rustication and clean off the grime and mess on the smooth portions. I also scrubbed the water damaged areas to remove the marking in those areas. I rinsed the bowl under warm running water to remove the debris and the soap. I scrubbed it with the tooth brush until the surface was clean and debris free. I took photos of the pipe after the cleanup. I scrubbed the lava build up on the rim and was able to remove the majority of it with the soap and brush. I removed the stem from the shank of this pipe and from another of Anthony’s Dad’s pipes and dropped them in the bath of Before & After Pipe Deoxidizer to break up the oxidation on the surface. It was fascinating to note that the tenon on this stem was metal and seemed to have been made for a filter.Once the briar dried there were shiny spots on it where the original finish still clung to the wood. It appeared to be varnish or some shiny substance and it was streaky and uneven so it needed to go. I wiped the bowl and shank down with acetone on cotton pads to remove the remaining varnish finish. Now that the bowl was clean and the stem was soaking it was time to start working on the rim top and the burn damage on the front right inner edge. I topped the bowl on a topping board with 220 grit sandpaper to remove some of the burn damage and the nicks and dents in the rim top.I worked over the inner edge of the rim with folded 220 and 240 grit sandpaper to give it a bit of a bevel and remove more of the damage area. The next two photos give a clear picture of how the pipe looked at this point in the process.I polished the rim top with 1500-12000 grit micromesh sanding pads – wet sanding with 1500-2400 grit pads and dry sanding with 3200-12000 grit pads. I wiped the rim down after each pad with a damp cloth to remove the debris. There were some red tints in the briar and I wanted to leave the briar light in colour. I used a tan aniline stain to bring out the red tones in the briar. I applied the stain with a dauber, flamed it and repeated the process until all of the grooves and carvings were evenly stained. To make the stain more transparent and spread it evenly around the briar I wiped the briar down with alcohol and cotton pads. Doing this thins the stain and makes the grain shine through more clearly. I let the briar dry and took photos of the pipe at this time in the process. It is starting to look really good and the grain is showing through the rustication pattern. I used an oak stain pen to fill in the rustication patterns and fill in the light spots in the pattern. I wanted to have a bit of contrast between the smooth briar and the rustication and this would provide it without being too much. I removed the stem from the Before & After Deoxidizer after it had been soaking overnight. I rinsed it down with warm water and blew air through it to clean out the mixture from the airway. The oxidation was at the surface and almost like a dust. The next two photos show the oxidation and the tooth marks and areas that needed to be repaired near the button. I wiped down the oxidation, cleaned out the tooth marks and dents with a cotton swab and alcohol. I dried off the stem and filled in the marks on the surface of the button and the tooth marks in the stem ahead of the button.I smoothed out the repairs with 220 grit sandpaper to blend them into the surface of the stem. I repeated the process with 600 grit sandpaper to further smooth out the scratches.I polished the stem with micromesh sanding pads – wet sanding with 1500-2400 and dry sanding with 3200-120000 grit pads. I wiped the stem down with Obsidian Oil after each pad. I polished it with Before & After Pipe Polish – both Fine and Extra Fine. I gave it a final coat of Obsidian Oil and set it aside to dry. I the polished stem and bowl with Blue Diamond to polish out the remaining small scratches. I gave the bowl multiple coats of Conservator’s Wax and the stem several coats of carnauba wax and buffed the pipe with a clean buffing pad to raise the shine. I hand buffed it with a microfiber cloth to deepen the shine. The pipe polished up pretty nicely. The finished pipe is shown in the photos below. This is first of eight pipes that I am restoring from Anthony’s Dad’s collection. I am looking forward to hearing what Anthony thinks once he sees the finished pipe on the blog. Once I have the other seven pipes finished I will pack them up and send them back to him. It will give him opportunity to carrying on the trust from his Dad. The dimensions are Length: 6 inches, Height: 2 inches, Outside diameter of the bowl: 1 1/2 inches, Chamber diameter: 7/8 inches. Thanks for walking through the restoration with me as I worked over this pipe from Anthony’s Dad’s collection of pipes. Seven more will follow this restoration. Keep an eye out for them because there are some unique pipes in the lot. 

Rescuing Another L. J. Peretti Oom Paul: An Upside-Down Stem and Other Hurdles!


Blog by Dal Stanton

As with people, when you look at pipes, the way you look at them can be cursory – like walking down the sidewalk in the city center of Sofia.  You see colors, fashions, groupings of people, a quick intake of information and not much of the information reaches longer term memory in our brains.  I’ve been looking at the Peretti Lot of 10 that has been my focus over the past weeks as I’ve recommissioned each, one by one.  Interestingly though, not until a pipe reaches the status as “the one” on the worktable do you really start seeing it. The difference might be like walking the city sidewalk as I described above and then comparing this to looking at your new granddaughters for the first time just after their births – which I’ve had the pleasure of in the past several months!  Oh my, you look at toes, each one, fingers, how the ears hang and curl…. There is no end to the enjoyment of taking in the fulness of the detail!  When looking at the ‘the one’ close-up – the detail of an estate pipe in need of restoration, the detail will not be tented with the rose-colored glasses affixed when looking at grandchildren!  Here are the pictures I took from the city ‘side walk’ of the next Peretti Oom Paul now on my worktable when I was cataloging the Peretti Lot of 10 when they arrived here in Bulgaria together. After restoring several of these Perettis, all having the same steward, I’ve become familiar with what to expect.  Each Peretti has the former steward’s ‘MO’.  This Peretti falls in line.  It has thick cake in the chamber and thick, crusty lava covering the rim.  The left side of the chamber/rim is scorched and charred from the tobacco lighting habit of excessively pulling the fire over the side and damaging the briar.  Even as I do what I can to correct it, this Peretti will also leave the worktable with the same limp as his 9 brothers and cousins did in different degrees – an imbalanced and out of round rim/chamber.  Additionally, this Peretti Oom Paul’s stem is dented and chewed with almost the same ‘finger prints’ as the others.  These are the issues stemming from the former steward’s pipe smoking practices.  And yet, the stummel shows great potential – like the others, the grain on this large Oom Paul stummel is quite eye catching under the dirt and grime.  I see normal nicks and bumps of being a faithful servant in the rotation – the briar will clean up well, I’m sure of this.

Unfortunately, there’s more to the story.  In my previous write ups of the other Perettis, I had commented that some of the Oom Pauls’ stems were not aligned well with the shanks due to less than ideal drilling precision.  I have never made a pipe and my hat is off to those whose interests and creativity take them in this direction – there are many beautifully done Free Style pipes I see all the time posted by fellow pipe men and women.  I understand that the drilling of a stummel is one of the more complex parts of making pipes – especially when sharp angles require multiple drillings.  When I took a closer look at the pipe my eyes focused on the fact that there was a huge ridge overhanging the shank.  As I turned the pipe over looking at it from different angles, it appeared that somehow the wrong stem was mistakenly joined with this shank!  I looked at the other Oom Paul I have left in the basket to restore, in the queue for a new steward, and it was obvious that the other stem was not matching this stummel.  I came to the sad conclusion that this drilling job simply was shoddy.  Here’s what I see of ‘the one’ on my work table: No matter which angle I chose or how I squinted my eyes it didn’t make what I was looking at any better!  Oh my.  The next thought I had was of Abraham, a Californian and fellow pipe man and member of the Facebook group, ‘The Gentlemen’s Pipe Smoking Society’.  What would he think when he reads this blog after having commissioned this pipe, waiting patiently over the weeks as it slowly moved up in the queue!  Fortunate for him, I AM a man of prayer and this pipe WILL benefit the Daughters of Bulgaria!  I’m already wondering what I will do to rescue this ailing Oom Paul!  I remembered my research on Peretti for my first Peretti restoration a few years ago.  I wondered where the Boston-based L. J. Peretti Co., manufactured their pipes.  I sent an email to the Peretti Tobacconist in Boston and was amazed that I received a response. Here is what I learned:

Hello Dal,

We have been sourcing our proprietary pipes from a number of different manufacturers. That said, it is most likely that Arlington Briars made the pipe you have in your possession. Photos would help us identify the pipe further. I will have to look through some of our old content and see what I can find.

Hope this helps, Tom  LJP

Per Pipedia: Arlington Briar Pipes Corporation was founded in 1919 in Brooklyn, New York, and produced the Arlington, Briarlee, Firethorn, Krona and Olde London brands among dozens of others, primarily acting as a subcontractor making pipes to be sold under other brand names. Among others, in the 1950’s, Arlington turned pipes for the famed Wilke Pipe Shop in New York City. The corporation was dissolved by the State of New York as inactive on December 6, 1978. 

I don’t know for certain that Arlington Briar Pipes produced the Peretti Lot of 10, but when I looked at the Pipedia page, this picture of Arlington’s own brand, this Oom Paul was staring at me.  He looks very familiar!  Well, we won’t know for sure, but the history of L. J. Peretti and the drilling of this Oom Paul interests me!  In the back of my mind as I begin restoring this pipe, is the huge misalignment of the stem and stummel.

The first step in the restoration of this L. J. Peretti Oom Paul is to add the stem to a bath of Before and After Deoxidizer.  After several hours in the bath with other stems, I take out the stem and drain it of Deoxidizer and wipe it down with a cotton pad wetted with light paraffin oil (mineral oil) to remove the oxidation that was raised during the soak. I then use Before and After Fine Polish followed by Extra Fine Polish to further condition the vulcanite and remove oxidation.  I work the polishes in with my fingers and after a time, wipe them with a cotton cloth.Turning to the Oom Paul stummel, I see that there is still tobacco at the floor of the chamber.  I clear that, and I ream the thick cake using the Pipnet Reaming Kit.  I start with the smallest blade and working to the larger blades as the cake is incrementally removed.  I use three of the four blades in the Pipnet Kit.I then turn to the Savinelli Fitsall Tool to fine tune the reaming job.  This is the most painful part for me – carefully removing the charred briar on the rim and watching the rim grow thinner on the damaged side and out of round!  The good news is that the chamber itself looks stellar. To clean the chamber further I use 240 grit paper wrapped around a Sharpie Pen and sand the chamber.  Finally, I wipe the chamber out with a cotton pad wetted with alcohol to remove the carbon dust for all the reaming.  The pictures show the process. With all the other Perettis, the basic cleaning of the external surface and the rim revealed beautiful grain underneath the grime.  I have the same expectations for this Oom Paul stummel.  Using undiluted Murphy’s Oil Soap and a cotton pad I go to work on the briar surface and the lava on the rim.  I also use a brass brush to work at removing the lava on the rim.  To carefully scrape the rim, I utilize the flat sharp edge of the Savinelli Fitsall Tool.  I rinse the stummel with tap water.  The pictures show the progress, before and after.  Quite a difference!  My eye is drawn to a spider web grain pattern on the stummel’s left side – shown in the first two pictures – very nice! I turn now to clean the internals and it doesn’t take too much. I use pipe cleaners, cotton buds and a shank brush to work on the draft hole and mortise.  Even though the internals are cleaning up nicely, I like to utilize a kosher salt and alcohol soak to freshen and clean even more thoroughly preparing the pipe for a new steward.To prepare the soak, I form a wick using a cotton ball.  I stretch and twist it and then push it down the mortise and draft hole. I use a straight piece of an old wire clothes hanger to push and guide the wick. This wick acts to draw out the residual tars and oils as the salt and isopropyl 95% do their job.  I then position the stummel in an egg carton for stability and fill the chamber with kosher salt.  I asked the question when I first saw this method used, why kosher?  The answer I received was that it didn’t leave an aftertaste as does iodized salt.  Sounded reasonable to me.  I then give the stummel a shake with the chamber cupped to displace the salt.  Then, using a large eye dropper I fill the chamber with isopropyl 95% till it surfaces over the salt.  After a few minutes I top it off with a bit more alcohol because it has absorbed into the fresh cotton wick and salt.  I put the stummel aside and let the soak do its thing. The next morning as expected, the darkening of the salt and wick indicate that more tars and oils were pulled out of the internals.  I thump the stummel on my palm releasing the expended salt in the waste.  I wipe the bowl with paper towel, blowing through the mortise to dislodge remaining salt.  I also use a multi-sized shank brush to do this.  Finally, I run another pipe cleaner and cotton bud dipped in isopropyl 95% in the mortise and draft hole to finalize the cleaning.   After reuniting the stem and stummel again, I take another long, hard look at the goblin stem that was lurking in my subconscious!  I have been mulling over the stem/shank junction and what it would take to repair –  counting the cost in sanding and lost briar.  As I fiddled with the stem, twisting it around checking the looseness of the fit, I stumbled onto the solution to the alignment conundrum!  When I reversed the stem, so that it was upside down, the saddle of the stem and the shank lined up almost perfectly!  The old 70s song came to mind, “Oh happy day!” I have absolutely no idea what was going on in the production line of the Arlington Briar Pipes factory that day, if indeed it was there, but there was a breakdown in communication between the drill man and the stem bending man (or women!).  My mind wonders whether they had a few beers over lunch….  I’m scratching my head, but this restoration was just made a little less difficult!  The junction between the end of the shank and saddle stem shows a bit of gap (daylight) but that can be addressed.  My plan: re-bend the upside-down stem, thereby turning the upside-down stem to right-side up!  Did you follow that? The pictures show the discovery! To make sure I retain the same angle of bend, which seems to be on the money, I trace the stem’s angle on a piece of paper which I’ll use as a template for the reversing bend.  I use a narrow-rounded glass bottle to provide the back-board for the bending.  I then insert a pipe cleaner through the draft hole to help to maintain the stem’s integrity during the heating and bending.  Using a heat gun, I gradually heat the stem in the bend area and when the vulcanite becomes pliable I bend it over the glass and size it up on the template.  When I think I have it right, I place the stem under cool tap water to cool the vulcanite and set the bend.  The first time through, I’m not satisfied that I create enough bend.  I repeat the process again.  The second time was the charm.  I like the bend – the fit is now much, much better in the shank. While I’m on the stem adjustment, I now address the gaps or ‘daylight’ I can see between the shank base and the stem saddle.  I start using by 600 grade paper on the topping board and I VERY gently top the shank base primarily to clean and start with a flat surface.  I then use a piece of 600 grade paper, folded over once, inserting it between the shank base and saddle of the stem as a two-side sanding pad.  I work on sanding down the high spots so that the gaps close.  After a while, I’m not making progress too quickly, so I switch to 470 grade paper – a little coarser, and it does the trick.  It takes quite a while sanding and testing repeatedly and making sure the stem stays in proper straight alignment during the sanding. I’m able to sand the high spots and achieve a much better, not perfect(!) union between the stem and shank. Another adjustment is needed with the fit of the tenon and mortise.  The fit now is looser than I prefer.  I will tighten the fit hopefully by heating the tenon while inserting a slight larger drill bit into the tenon’s airway and expanding it.  I heat the tenon with a Bic lighter and gradually work the smooth end of the drill bit down the airway.  I cool the vulcanite with tap water to hold the expansion and withdraw the bit and test in the mortise.  The fit is now snugger and that is good.  That completes the mechanical adjustments to the stem – its working well!  Even after the stem was turned ‘upside down’ to achieve better alignment, the saddle of the stem is enlarged over the shank at different places creating a ridge as I move my finger toward the stem over the junction.  To correct this, I use 240 sanding paper to work on these ridges of vulcanite.  I keep the stem inserted into the shank to do this.  As I sand at the edge, dealing with the ridge, I’m also sanding up the saddle to taper the angle.  I don’t want a mound of vulcanite to circle the saddle, so I blend the angle through the entire saddle – rounding it as well.  The first picture shows the evidence of a ridge with the vulcanite dust collecting.  The rest of the pictures show the stem flush with the shank and the tapering work on the saddle.  Of course, the ‘L. J. Peretti Co.’, stamping on the shank is carefully safe-guarded during the sanding. After the 240 grade paper, I go over the same area with 470 grit paper followed by 600 which goes much faster because the purpose is to erase the scratches of the previous sanding paper.  I am truly amazed at the recovery of this Oom Paul’s shank/stem alignment issues.  The entire structure of the pipe is now tighter and sharper.  The pictures show the completion of this part of the restoration for which I am thankful!  Now I remove the stem from the stummel and flip the stem over to the bit area to repair the tooth chatter and dents.  I take pictures of the upper and lower bit as well as a severe dent on the lower button lip to mark the starting point.  The first step is to employ the heating method. I use a Bic lighter and paint the vulcanite with the flame.  As a rubber composite, the vulcanite expands with the heating and so the dents will rise reclaiming their original place in the whole – or almost.  The dents have been lessened but not removed.  The lower bit’s dents have almost vanished and will probably only need sanding.  The upper bit and the button lip still have quite a bit of damage. I then take 240 grit paper and sand the bit and button to see what is left to patch. While I’m at it I sand the entire stem since it was re-bent in the extreme opposite, I want to remove any residual ripples in the vulcanite.  The lower bit dents sanded out completely.  The upper bit and button need to be patched.  Pictures show the progress – first, upper then lower bit and button after sanding with 240 grit paper. Now I will patch the upper bit using BSI Maxi-Cure Extra Thick CA glue mixed with activated charcoal dust. I will patch the two dents as well as the left side of the button lip.  It needs to be rebuilt.  After I put a small amount of charcoal dust on an index card, I drop a little CA glue next to the activated charcoal dust.  Then, using a tooth pick, I draw charcoal dust into the dollop of glue mixing it as I go.  Gradually, as I draw more charcoal dust into the CA glue it begins to form a thicker putty.  When it reaches the right consistency – like molasses, I use the tooth pick as a trowel and apply the patch putty to both dents and to the left side of the lower button lip to rebuild it.    I put the stem aside to allow the patches to cure.With the stem patches curing, I now look to the rim damage.  I take another close-up to get another look….  It’s amazing how things jump out – when I took the picture of the rim to begin working on cleaning it up, in the picture I notice what I hadn’t seen before – look beyond the rim to the shank….When I first saw it, I thought it might simply be a wet line left over from cleaning the stummel.  But after closer examination with a magnifying glass it confirmed what I was hoping against!  A crack in the shank emanating from the ‘crook’ or where the shank and bowl join.  I had almost the same thing in a previous Peretti Oom Paul restoration (See: Two of Boston’s L. J. Peretti Oom Pauls Recommissioned) – a shank crack that came from the crook and worked up toward the stem but did not reach the shank end.  I closely inspect the mortise for evidence of an internal crack and I see none.  I really don’t know how this crack started – it appears to be trauma created from the inserted tenon pushing forcefully toward the top of the mortise because of a drop which forced the stem down – my guess.  I would think if this were the case, you would expect more trauma on the back of the shank – as a reaction force.  But I see no indication of this.  I take a few close-ups of the crack to see it more clearly.The good news is that the crack is localized in the briar and has not crept all the way to the end of the shank.  As I did before, to block the ‘crack creep’ I drill small holes at both ends of the crack which will arrest its growth.  Drilling in the crook is not easy!  With the aid of a magnifying glass, I mark the ends of the crack with the sharp point of a dental probe.  I use these as a drill guide (first picture below). I then mount a 1mm drill bit into the Dremel and I VERY carefully drill the holes – not an easy feat holding the Dremel free hand!  I wipe off the area with a cotton pad this apply thin CA glue to both holes as well as along the line of the crack.  The thin CA glue will seep more deeply into the crack helping to seal it.  I then sprinkle briar dust on the entire repair area to help blending later when I sand.  I set the stummel aside to let the crack repair cure. While I’m working on the stummel, I also detect two places that have very small gaps in the briar that I want to fill.  I apply a drop of regular CA glue to each gap.  After applying the first drop, I wait an hour or so for the glue to set so that I can flip the stummel and apply the other patch.  After the first patch sets, I apply the drop of glue on the other side and set the stummel aside to allow the CA glue patches to cure. With stummel patches curing I turn again to the stem and the charcoal dust and CA glue patches are ready to be filed and sanded on the bit and to reshape the button.  I start by using a flat needle file to bring the patch mounds down to the vulcanite surface level.  I also shape the new button with the file.  The pictures show the filing progress.  Switching to sanding paper, I first use 240 grit to bring the patch mounds down to the vulcanite surface and to blend, erasing the file scratches.  I continue to shape and blend the button profile.  Then I switch to 600 grade paper and sand the entire stem to erase the scratches left by the 240 grade paper.  Finally, I use 0000 grade steel wool to sand/buff the entire stem to smooth out the scratches left by the 600 grade paper.  I like the results.  The reformed button looks good.  With a closer look at one of the patches, I detect very small air pocket cavities in the patch which is common.  To rectify this, using a tooth pick, I paint both patches, to be on the safe side, with a thin layer of thin CA glue to fill the cavities.  I wait a few hours for the CA glue to cure and I sand the patch again with 600 grade paper and then again with the 0000 steel wool.   I have sanding patch projects on the stummel to address.  I start first with the crack repair on the shank.  Using 240 grit paper I sand down the patch over both holes on each side of the crack as well as the crack itself.  I then follow with 600 grit paper over the entire area.  The repair looks good and will blend well as I finish the pipe.  The main thing was to protect the pipe from a creeping crack – this is done.Turning to the patches on both sides of the stummel, I use a flat needle file, then 240 grit paper followed by 600 on both sides.  As I file/sand, I try to stay on top of the patch mound to minimize impact on surrounding briar. Patches on the stummel are finished.  Now I turn to the rim repair. I feel like I’ve been around the block a few times with the repairs to the stummel and now I’m finally looking at the rim repair.  I take another picture to get a closer look and mark the starting point.  In the picture below, the bottom of the picture is the left side of the rim that has sustained the most damage from burned briar because of the former stewards practice of lighting his tobacco over the side of the rim instead of over the tobacco. I cannot replace the lost briar but what I try to do as I remove the damaged briar is to restore the balance to the rim as much as possible.  I do this through beveling. First, I take the stummel to the topping board which for me is a chopping board covered with 240 grit paper.  After inverting the stummel, I rotate it over the board in an even, circular motion.  I check the progress often to make sure I’m not leaning in the direction of the damaged area.  It is especially a challenge topping an Oom Paul because his shank is extended beyond the plane of the rim.  So, I hang the shank off the side of the board as I top.  I utilize a flat sanding block as well to direct the topping in specific areas.  When I’ve taken enough off in topping, I switch the paper to 600 grit on the topping board to give the rim a quick smoothing by removing the 240 scratches.  You can see in the pictures below how I unintentionally nicked the shank in the process….Next, to remove the internal ring of scorched briar I use a tightly folded piece of coarse 120 grade paper to cut a bevel around the internal edge.  I increase the bevel on the ‘fat’ areas of the rim seeking to balance the roundness a bit – even though nothing will solve it completely!  The goal is to give the appearance of more balance.  After completing the main shaping of the bevel with the coarser 120 paper, I continue using a rolled piece of 240 grit paper.  I take a picture at this point to mark the progress.I take the stummel back to the topping board with 600 grit paper to define the rim lines again.One last step in the rim repair.  The external edge of the rim is sharp because of the topping.  To soften the appearance of the rim and to enhance the overall presentation of the rim, I cut a small, gentle bevel on the external edge.  I do this with 240 grit paper rolled, then follow with 600 grit paper.  I pinch the paper on the edge of the rim with my thumb and move methodically and evenly around the circumference.  We live in a broken world and many people live their lives with a limp – it reminds us of our frailty.  This Peretti Oom Paul will always have a limp of a bowl that is out of round because of the damage he sustained in the past.  Despite this, the rim looks pretty good considering from where we’ve come! Anxious to move the stummel along, I now address the briar surface.  Using micromesh pads 1500 to 2400 I wet sand the stummel.  I follow this with dry sanding with pads 3200 to 4000 then 6000 to 12000.  I enjoy watching the briar grain emerge through this process! With the previous Peretti restorations, and with this one, I strive to maintain the original Peretti light, natural grain motif.  I have used Before and After Restoration Balm to deepen and enrichen the natural grain color.  I’ve been more than satisfied with the previous restorations and will apply the Balm to this Peretti Oom Paul as well.  I apply Balm to my finger and then I work it into the briar surface with the ends of my fingers.  The Balm starts with an oily feel then it gradually transforms into a thicker wax-like substance.  After I work it in, I set it on the stand to allow the Balm to work.  I take a picture of this and then after several minutes I wipe/buff the Balm off with a microfiber cloth.  The results look great. With the stummel awaiting a stem to catch up, I turn to the stem.  The CA glue painting of the air pocket cavities in the bit patch is ready for sanding and I use 240 grade paper to sand down to the stem surface.  I then use 600 grade paper followed by 0000 grade steel wool to finish it out.  The bit repair is done, and it looks good.  All the air pockets have been removed.I move on to the micromesh pad cycles.  First, I wet sand using pads 1500 to 2400.  I follow by dry sanding with pads 3200 to 4000 then 6000 to 12000.  After each set of 3 pads I apply Obsidian Oil to the stem which rejuvenates the vulcanite.  I love the glassy shine of polished vulcanite! After reuniting stem and stummel, I mount the Dremel with a cotton cloth buffing wheel and apply Blue Diamond compound to the pipe.  I set the Dremel to its slowest speed and apply the compound in a methodical way – not applying too much pressure to the wheel but allowing the speed of the Dremel and abrasiveness of the compound to do the work.  I then wipe the pipe with a felt cloth to remove compound dust.  Then, mounting another cotton cloth buffing wheel to the Dremel, and increasing the speed to about 40% full power, I apply a few coats of carnauba wax to the stem and stummel.  I finish the process by giving the pipe a good hand buffing with a microfiber cloth to raise the shine.

I must admit, I was so occupied with the technical aspects of this restoration that I didn’t fully appreciate the beauty of this pipes color and grain until now.  I especially like the ‘burst’ on the left side of the large Oom Paul stummel.  Earlier I called it a spider web effect – now it looks more like a center of clustered circles, the bird’s eye grain, and sunburst expanding out from it.  Very striking grain showcased on this classic Oom Paul shape. He’s overcome an upside-down stem, a crack in the crook of the shank, a chewed up bit and a burned up rim – I would say he’s looking good now for what he’s been through!  This Peretti was commissioned by Abraham in California and he will have first dips on this L. J. Peretti Oom Paul when he goes into The Pipe Steward Store.  This pipe benefits the work of the Daughters of Bulgaria – helping women and girls (and their children!) who have been trafficked and sexually exploited.  Thank you for joining me!

Working on Paresh’s Grandfather’s Barling’s Make Ye Olde Wood Fossil 271


Blog by Steve Laug

As I mentioned in my previous blog, Paresh, my friend in India reached out to me over Whatsapp to talk about a few more of his Grandfather’s pipes. He was confident in working on many of them but there were a few that he wanted me to try my hand on. His wife Abha would ream and clean them for me so I would be able to start with a relatively clean pipe. The third pipe was a sandblast Barling’s Make billiard with a vulcanite stem. It was another pipe that was in rough condition when Paresh and Abha started working on it. They reamed the thick hard cake with a KleenReem pipe reamer and clean up the exterior of the bowl with Murphy’s Oil Soap. They also cleaned the interior with alcohol, cotton swabs and pipe cleaners. The pipe was in very rough condition. There were cracks in the bowl on the front and the left side. The rim was beat up and out of round. It had been reamed with a knife sometime in its life. The stamping on the underside of the bowl and shank read Barling’s in an arch over Make over Ye Olde Wood. Next to that was the shape number 271. Further down the flattened shank it was stamped with an EL followed by Made In England, Fossil and T.V.F. The stem was lightly oxidized and had some tooth chatter and marks on both sides. It had a faint Barling’s cross logo on the top. I took photos of the pipe to show its condition when it arrived. I took some close up photos of the damage on the bowl to give a better idea of what I was working with on this pipe. The rim top was a real mess with nicks, chips and damage under a coat of tars. The bowl was out of round but workable. There were two cracked areas – one on the front of the bowl from the rim down and one on the left side from the rim down. Paresh and Abha had reamed the bowl for me so the inside was quite clean. The stem was in pretty decent shape with a few tooth marks and chatter on both sides of the stem near the button and some oxidation. The bowl was a real mess and it would be a challenge. I took photos of the stamping on the underside of the shank. As noted above it reads Barling’s in and arch over Make and the Ye Olde Wood over 271 on the bottom of the bowl. The shank is stamped EL followed by Made in England, Fossil and T.V.F.I decided to clean up the remaining thin cake in the bowl to get back to bare briar. I wanted to see the extent of the damage on the walls of the bowl interior before I addressed the damage on the outside of the bowl. I used a Savinelli Fitsall pipe knife to scrape away the remaining cake. Once it was clean, I sanded the inside of the bowl with a piece of dowel wrapped with 220 grit sandpaper to smooth out the bowl walls and the inner edge of the rim.To clean up the rim top and remove the serious damage on that portion of the pipe I topped it with 220 grit sandpaper on a topping board. I remove the damage portion and flattened the top of the rim. I would need to repair the cracks in the rim top and then rusticated it to match the finish on the bowl.I wiped down the surface of the briar with alcohol on a cotton pad to clean off the grime. I drilled tiny pin holes at the end of each crack on the exterior of the bowl in hopes of stopping the spread of the crack. I filled in the damaged areas around the bowl and on the rim with briar dust and clear super glue. At this point in the process the repairs appear quite crude. Lots of work still remains to blend them into the sandblast finish of the bowl. I used a brass bristle tire brush to work over the repaired areas on the front and side of the bowl. I wanted to clean up the rough edges of the repair and try to blend it into the finish around it. The bristles are stiff enough to remove the edges and I think works well to blend it into the surface of the surrounding sandblast. I lightly topped the bowl again to smooth out the roughness of the repairs on the rim surface.I used some small burrs on my Dremel running at a slow speed of 5 to try to recreate the look of the sandblast on the rim top. It took a bit of doing but I think it gives the rim top a better look than the smooth finish. I blended a walnut and a Maple stain pen to approximate the mottled finish on the rest of the bowl. It worked pretty well I think. I will show full photos shortly. To fill in the cracks on the inside of the bowl and to protect it from burn out or further cracking I mixed up some JB Weld. It dries hard, is heat resistant and when dry is inert and does not gas off or breakdown (according to all I have been able to read). I used a dental spatula to apply it to the inside of the bowl. Once it cures for a day I will sand it out and remove the majority of it other than what will remain in the damaged areas. I wiped off the rim top with a cotton pad and alcohol to remove the small drops of JB Weld that were on the surface and restained the rim top and the repaired areas on the side and front of the bowl. I will still need to buff the bowl and wax it but it is getting very close to the look I am aiming for with this repair. I worked some Before & After Restoration Balm into the grooves and crevices of the sandblast finish with my fingers and a horsehair shoe brush. I want the product to go deep into the finish because it works to clean, enliven and protect the briar. Once I was confident that it was deeply worked into the blast I wiped it off and buffed it with a soft cloth to polish it. The pipe really began to have a rich shine. I took some photos of the bowl at this point to mark the progress in the restoration. I set the bowl aside and went to work on the stem. I cleaned the inside of the stem with pipe cleaners and alcohol. Once the stem was clean I checked it with a light for more potential problems inside. It was clear and spotless. I sanded the stem surface with worn 220 grit sandpaper to break up the oxidation (carefully avoiding the stamping on the top of the saddle).I filled in the tooth dent on the top of the button on the top side of the stem and the two tooth dents on the underside with clear super glue.Once the glue hardened and cured I filed the repairs flat and reshaped the button with 220 grit sandpaper. I worked over the surface of the stem again with the sandpaper to blend in the repairs.I polished the vulcanite stem with micromesh sanding pads – wet sanding it with 1500-2400 grit pads and dry sanding with 3200-12000 grit pads. I wiped it down with Obsidian Oil after each sanding pad. I rubbed the stem down with Before & After Pipe Polish – both Fine and Extra Fine to polish out the scratches. I gave it a final coat of oil and set it aside to dry. I avoided the stamping on the top of the saddle. There is still some oxidation there that I left because I did not want to damage the stamp. It is a nice looking stem nonetheless. I carefully polished bowl and the stem with Blue Diamond to polish out the remaining small scratches. I gave the bowl multiple coats of Conservator’s Wax and the stem multiple coats of carnauba wax and lightly buffed the pipe with a clean buffing pad to raise the shine. I hand buffed the pipe with a microfiber cloth to deepen the shine. The pipe polished up pretty nicely. The transparent mixed brown stain worked really well with the black vulcanite stem. The sandblast finish looked really good. The finished pipe is shown in the photos below. The dimensions of the pipe are Length: 5 1/2 inches, Height: 1 3/4 inches, Outer diameter of the bowl: 1 1/4 inches, Chamber diameter: ¾ inches. This is the third of the three of Paresh’s Grandfather’s pipes that he sent me to finish. I will pack the pipes up and send them back to India this week after I give the bowl a bowl coating. I look forward to hearing what he thinks of them once he gets to load them with his favourite tobacco and carry on the pipe man’s legacy of his Grandfather. Thanks for walking through this restoration with me as I worked over this beauty. 

Working on Paresh’s Grandfather’s Linkman’s Zulu


Blog by Steve Laug

As I mentioned in my previous blog, Paresh, my friend in India reached out to me over Whatsapp to talk about a few more of his Grandfather’s pipes. He was confident in working on many of them but there were a few that he wanted me to try my hand on. His wife Abha would ream and clean them for me so I would be able to start with a relatively clean pipe. The second pipe was a Linkman Zulu with a vulcanite stem. It was in rough condition when Paresh and Abha started working on it. They reamed the thick hard cake with a KleenReem pipe reamer and clean up the exterior of the bowl with Murphy’s Oil Soap. They also cleaned the interior with alcohol, cotton swabs and pipe cleaners. The pipe was in very rough condition. The sides of the bowl, the rim top had been beaten up heavily. There were gouges all over the sides and rim top of the bowl. It was a mess and it was very dirty. The stamping on the shank read Linkman’s over Dr Grabow with a silver shield next to the stem/shank junction. On the underside of the shank it was stamped De Luxe over Bruyere with a shape number 9700. On the left side of the shank it was stamped PAT. No. 1896800. The stem was oxidized but in decent condition. I took photos of the pipe to show its condition when it arrived. The tenon is the patented threaded Linkman shovel stinger apparatus. It is a single unit rather than an inserted stinger as in later models. The top of the stem has a Linkman propeller logo.I took some close up photos of the damage on the bowl to give a better idea of what I was working with on this pipe. The rim top was a real mess with nicks, chips and damage under a coat of tars. Paresh and Abha had left the cake in the bowl to me to work on because of the other damage to the pipe. The stem was in pretty decent shape with a few tooth marks and chatter on both sides of the stem near the button and some oxidation. The bowl was a real mess and it would be a challenge. I took photos of the stamping on the top, bottom and left side of the shank.I checked some of my usual sources to get some information on the brand and how it fit into the Linkman/Grabow hierarchy. The first link I checked was the Pipephil logos and stampings site. I include the link as follows http://www.pipephil.eu/logos/en/logo-l4.html. I quote as follows.

The M. Linkman and Co. was established by Louis B. Linkman and August Fisher in 1898. The company closed down in the 1950s and the Dr Grabow branch was sold to Henry Leonard and Thomas Inc.

I then went to the Pipedia website to get some more details and information. There was also a photo of Linkman that I thought added a nice touch to the work I was going to do on this pipe. Here is the link from the site if you want to check it out in full. https://pipedia.org/wiki/M._Linkman_%26_Co.

The name is often said to stand for Mary Linkman & Company. Mary Linkman was the mother of Louis B. Linkman, originator of the Dr. Grabow pipe. This Chicago company produced meerschaums and briars both.

BACK IN 1898, two ambitious young men reached the momentous decision to go into business for themselves. They were Louis B. Linkman and August Fisher. From the time they were in knee pants they had worked for a pipe jobber in the mid-west.

Diligently saving a portion of their earnings, they accumulated a few hundred dollars, and in 1898 formed a partnership under the name of M. Linkman & Company. They opened a small shop on Lake Street, Chicago, employed two additional people, and started to manufacture pipes. {The article never mentions what the “M” stood for, or the reason for the name chosen.}

In 1890 {? — 1899, perhaps?} another young man, Anton Burger, who had also been employed by a pipe jobber in the mid-west, approached them and was taken in as a partner. M. Linkman & Company proceeded as a partnership; the business developed rapidly through the untiring efforts of these men in producing quality pipes and rendering good service to their customers.

The business continued to grow, and in 1907 M. Linkman & Company was incorporated with Louis B. Linkman as president, August Fisher, vice-president, and Anton Burger, secretary and treasurer. In 1914, Richard J. Dean, who had joined the firm in 1911 was appointed general sales manager.

The business was growing and expanding rapidly, and the executives soon realized the quarters in the Wells Street Bridge Building were inadequate, so in 1922 Linkman built a modern three-story reinforced concrete building at the corner of Fullerton Avenue and Racine, housing one of the most complete and modern pipe plants in America.

I finished by doing a Google search to find the US Patent Search site so that I could see if there was a patent document on file there for this patent number. http://patft.uspto.gov/netahtml/PTO/srchnum.htm. I entered the patent number and found a patent filed by L.B. Linkman for the pipe on April 11, 1932 and granted on February 7, 1933. I include that below. I decided to clean up the bowl interior before I addressed the damage on the outside of the bowl. I reamed the bowl with a PipNet pipe reamer starting with the smallest cutting head and working up to the second head which was the same size as the bowl. I reamed the cake back to bare briar to see if there was any internal damage to the bowl. I sanded the inside of the bowl with a piece of dowel wrapped with 220 grit sandpaper to smooth out the bowl walls and the inner edge of the rim. I sanded the rim top with a folded piece of 220 grit sandpaper to smooth out the damage and reshape the inward bevel on the rim. I wiped down the surface of the briar with alcohol on a cotton pad to clean off the grime. I filled in the damaged areas around the bowl and on the rim with briar dust and clear super glue. I sprayed it with an accelerator (that is why it appears white in the following photos). The extent of the damage is very clear in the photos below. I started to sand the bowl with 220 grit sandpaper to begin to smooth out the repairs. It would take a lot of sanding to smooth out the filled areas. The patches were rock hard. The photos that follow show the progress of the sanding. I polished the sanded briar with micromesh sanding pads – wet sanding with 1500-2400 grit pads and dry sanding with 3200-12000 grit pads. I wiped the bowl down with a damp cotton pad after each sanding pad. The briar took on a shine and the filled spots though dark were better than all of the damage present before. To help hide the repairs on the bowl I decided to stain it with a dark brown aniline stain. I applied the stain with a folded thick pipe cleaner, flamed it and repeated the process until I was pleased with the coverage on the bowl. The photos below tell the story. Once the stain had dried, I wiped the bowl down with alcohol to make it a bit more transparent without making the repairs stand out. It is a tricky balance to work out as too much transparency reveals all of the blemishes while not enough makes it opaque and lacklustre. Once I polish the pipe I will know if I did enough or too much… time will tell. I forgot to take a photo of the stem before I put it in the Before & After Deoxidizer overnight and forgot about it. Today after lunch I remembered it and took it out of the mix. I wiped off the excess and ran it under warm water to rinse off the mixture. I was unable to run water through the stem so I dried it off to have a look. It looked better but it was absolutely plugged tight. That generally means there is something like a pipe cleaner broken in the stem but I would need to take it apart to tell for sure.I tried several different ways of opening the airway. I tried to push stiff pipe cleaners through the stem from the button. By measuring the length of the pipe cleaner with the stem I could see that the blockage was in the stinger itself. I tried pushing a straightened paper clip through the blockage from both ends – the button and the airway in the stinger. Nothing worked. I heated the stinger and tried again with the paper clip and again no luck. It was time to move forward. I heated the stinger with a lighter to loosen the tars holding it in place. Since it was a 1930 era pipe I figured it would be a threaded end the stem. Sure enough, once it was heated I unscrewed from the stem.

The photo below shows the culprit – a really stinky broken off pipe cleaner jammed in the stinger. The pipe cleaner was almost the length of the stem as well so it was clear that I was merely sliding by the jam with the stinger in place. With a pipe cleaner that old and worn I was worried I would just break off more in the stinger. I heated the stinger with the lighter and then carefully wiggled the pipe cleaner free of the stinger. The second photo shows the culprit freed from the stinger. You can also see that some of the fluff on the cleaner had come off inside the stinger and left it plugged. I could still not blow air through the stinger. (I have circled the ‘fluffless’ pipe cleaner end in the second photo below.)I tried to push through the clog with the paper clip pictured above, twisting it into the threaded end but was not able to break through. That left only one option for me. I chucked a 1/16 inch drill bit in my Dremel, set the speed to 5 and slowly worked my way through the rock hard plug. It took some doing to work it through the plug but I worked it back and forth until the airway was clean and I could blow air through it. I ran pipe cleaners soaked in alcohol back and forth through the stinger and removed all of the grit and tar that had built up around the plug. It was pretty nasty stuff. But after it was said and done I had a clear and clean stinger. I cleaned out the inside of the stem with pipe cleaners, cotton swabs and alcohol. Once the stem was clean I checked it with a light for more potential problems inside. It was clear and spotless.I lightly greased the threads on the stinger and turned it back into the cleaned stem. I aligned it with the mortise in the shank. The stem was getting there. I still needed to work on some oxidation but it looked a lot better and I could blow through it easily. I polished the vulcanite stem with micromesh sanding pads – wet sanding it with 1500-2400 grit pads and dry sanding with 3200-12000 grit pads. I wiped it down with Obsidian Oil after each sanding pad. (I polished the metal stinger as well at the same time.) I gave it a final coat of oil and set it aside to dry. After staining the briar and wiping it down with alcohol, I touched up the repaired areas with a Black Sharpie Pen and blended in by rubbing it. I have been using Before & After Restoration Balm after staining to further blend and clean the briar. The product works to clean, enliven and protect the briar. I hand rubbed it with my fingers, working it into the exterior of the pipe. I wiped it off and buffed it with a soft cloth to polish it. The pipe really began to have a rich shine. I took some photos of the bowl at this point to mark the progress in the restoration. I carefully polished bowl with 3200-12000 grit micromesh sanding pads. I polished the stem with Blue Diamond to polish out the remaining small scratches. I gave the bowl multiple coats of Conservator’s Wax and the stem multiple coats of carnauba wax and lightly buffed the pipe with a clean buffing pad to raise the shine. I hand buffed the pipe with a microfiber cloth to deepen the shine. The pipe polished up pretty nicely. The transparent dark brownish red stain worked really well with the black vulcanite stem. The finished pipe is shown in the photos below. The dimensions of the pipe are Length: 6 inches, Height: 1 3/4 inches, Outer diameter of the bowl: 1 1/4 inches, Chamber diameter: ¾ inches. This is the second of the three of Paresh’s Grandfather’s pipes that he sent me to finish. I will set it aside and when the others are finished I will pack them up and send them back to India. I look forward to hearing what he thinks of it once he gets to load it with his favourite tobacco and carry on the pipe man’s legacy of his Grandfather. Thanks for walking through this restoration with me as I worked over this beauty.