Tag Archives: buffing

Jen’s Trove #5: A ‘Savinelli’? Villager Grecian Poker Rescued

4 Replies

Blog by Dal Stanton

When Jenny fished this iconic shaped Poker out of my ‘Help Me!’ basket, her time of consideration was very short.  She added it to her Trove of pipes that she asked me to restore to gift the men her family when she returns to the US at summer’s end.  She has worked here in Bulgaria with us for the past few years and she will be missed!  All her Trove pipes benefit the work we do with the Daughters of Bulgaria, women and girls who have been sexually exploited and trafficked in Europe.  I really like the Poker shape.  It always elicits a ‘down home’ Mark Twain feel for me – I can easily imagine a vintage gathering of card players sitting around a poker table, dealing hands on a riverboat, and one old crust chewing on his ‘Poker’ as he considers his hand.  Taking a puff, then placing the sitter on the table, he changes 2 cards in hope of his fortune changing!  All that by looking at this pipe?  For me, yes!  This Poker got my attention on the eBay auction block and it’s now on my work table here on the 10th floor of our former Communist apartment ‘blok’.  Here is what I see. On the left side of the shank is stamped ‘Villager’ and on the right, ‘Grecian’ in a cursive script. The only reference to a ‘Villager’ in Herb Wilczak and Tom Colwell’s, ‘Who Made That Pipe?’ is to the renown Italian name, Savinelli.  While Savinelli does boast a Poker shape in its Shapes Chart I found in Pipedia, this Villager is lacking some of the usual indicators of the Savinelli brand (Savinelli stamping, stem shield, etc.).  Neither is ‘Villager’ included in the extensive list of Savinelli made sub-brands, seconds & order productions in Pipedia’s Savinelli article.  I’m dubious of the Savinelli origin of this Poker, yet I was not able to find an example of a Savinelli ‘Villager’ line to compare.  The only other marking is on the right side of the shank, ‘Grecian’.  I’m assuming this is pointing to ‘Grecian Briar’ which I’ve seen marked on pipes’ right shank sides.  After searching the ‘Villager Grecian’ together, I come up with nothing that helps to identify or disqualify (Savinelli) the origins of this Poker.  I would welcome any leads!  The one thing I can deduce with great certainty about this Villager Poker, is that it was a well-loved and smoked pipe!  But it needs help!

There is heavy build-up of carbon cake in the chamber and the rim is well-crusted from lava and oils.  The back-left side of the rim appears to have borne the brunt of the former stewards lighting activities – it is burned and the internal rim shape is out of round because of it.  The stummel has normal grime coverage and sports a few small fills which have lightened over time and needing attention. The ‘seat’ of this Poker has been used and shows some wear.  The stem has heavy oxidation and has been chewed on a bit and will need work.  I’m anxious to recommission this Villager Poker for Jenny’s menfolk!

I begin by placing the stem into the OxiClean bath to raise the oxidation.  I let it stew for several hours. Starting on the stummel, I use the Pipnet Reaming Kit to remove the heavy cake from the chamber.  I will not be able to inspect the chamber wall for integrity until this is done.  I take another picture of the chamber to mark the progress. After putting down paper towel to shorten the cleanup, I employ the smallest blade first then use the next two larger sizes.  To fine tune the ream, I then utilize the Savinelli Pipe Knife to remove more carbon.  After this, I roll up a piece of 240 grit paper around a Sharpie Pen and sand the chamber removing more carbon build up seeking a fresh briar surface.  Finally, I wipe the chamber out with a cotton pad wetted with isopropyl 95% to remove the carbon dust.  I do not see any problems with the internal fire chamber’s integrity.  The pictures show the progress. With Murphy’s Oil Soap, I begin working on cleaning the rim and stummel of the grime and oils.  I use cotton pads and a bristled tooth brush to work around the stummel and rim.  Into the scrubbing, I also use a brass bristled brush on the rim – this will not damage the wood.  After rinsing off with warm tap water, I use the flat edge of my Winchester Knife to scrape more carbon off the rim surface.  After rinsing off again with warm tap water, I look at the rim condition.  I am left without any question regarding the need to top this Poker to remove the damaged briar and repair the inner-rim roundness.   Pictures show the progress. Before I move to the external stummel repairs, I turn to the internal cleaning.  I use cotton swabs and pipe cleaners dipped in isopropyl 95% to do the job.  I also utilized needle files and a small flat head screw driver to scrape the sides of the mortise to remove the plethora of tars and oil that have built up.  After some time doing this, and with other commitments with my life on the horizon, I decide to utilize a salt/alcohol soak to continue to wage war even though I’m off doing other things!  I use Kosher Salt, which does not leave an after-taste unlike iodized salt, to fill the bowl and after covering the bowl with my palm, I give the stummel a few shakes to displace and settle the salt.  Then, I stretch and twist a cotton ball to form a wick which is inserted and pushed down into the mortise using a piece of metal coat hanger.  As a wick, it acts to draw out the oils and tars as the alcohol and salt interact.  I then place the stummel in an egg carton to stabilize it and position it at a slight angle and fill the bowl with isopropyl 95% until is surfaces over the salt.  I wait a few minutes as the alcohol is drawn into the mortise and top the alcohol again. The Trojan Horse strategy commences.  Returning several hours later, the salt is discolored and the wick shows the fruit of its labors.  I toss the expended salt in the waste, clean the bowl with paper towel, and use long bristled brushes to rid the mortise of left-over salt crystals.  I return to using cotton swabs and pipe cleaners to complete the internal cleanup job.  Surprisingly, I am still scraping gunk off the mortise walls with small flat edged tools!  This stummel is a nasty little bugger.  Finally, the gunk is removed and cotton swabs are coming out clean.  Mission accomplished!  Pictures show the gunk removal. Turning now to the stem, I remove it from the Oxi-Clean bath and the oxidation has been effectively raised on the vulcanite surface.  Using 600 grade sanding paper, I wet sand the stem removing the mother share of the oxidation.  I follow with 0000 steel wool and then Mr. Clean Magic Eraser to finish the oxidation removal.  Pictures show the process. Using pipe cleaners, I now attack the internals of the stem.  Dipping pipe cleaners in isopropyl 95%, it did not take long before the airway was clean.  The picture shows the results.Turning now to the stummel, I take another closer look at the rim.  The damaged wood needs to be removed and the rim repaired.  I take 240 grit paper and put it on a chopping board to form my topping board.  Inverting the stummel, I rotate it over the paper taking off only as much briar as is needed to refresh the rim.  I check the progress often to make sure I’m not dipping into softer damaged wood – keeping the top true.  I take some pictures to show the progress.  The 4th picture below shows the thinner area at the 2 o’clock section of the rim because of the scorching.  I finish with the 240 grit paper, and I follow by topping it lightly with 600 grit paper.  To shape a more balanced and rounded rim, I create an angled internal bevel of the rim using 120 grit paper.  My aim is to create a bevel that evens out and blends with the angle created by the damaged area as much as possible.  I also create a bevel on the external rim edge to take away damage as well as encourage more balance.  I follow up the 120 grit paper by using 240 and 600 on both the internal and external rim bevels.  I think the beveling looks good and succeeds in masking the problem areas on the rim.  The pictures show the rim restoration. With the rim repair complete, I look to the stummel.  With all the wear nicks and cuts that this loved Poker has endured, I decide to remove the old finish to get down to the natural briar.  To do this I use cotton pads wetted with acetone and work on the surface.  The acetone works very efficiently and the finish comes off easily.  As I inspect the heel of the stummel, I see nicks on the edge.  I decide to lightly ‘top’ the bottom of the stummel with 600 grit paper. I am surprised by how ‘not flat’ the bottom is as I top it.  After finishing the topping of the seat of this sitter, I used rolled-up 240 and 600 grit papers respectively to bevel the bottom edge very lightly.  This removed some remaining dents on the edge that the bevel did not remove.  It looks good.  The pictures show the progress. Next, using a medium grade sanding sponge I sand the stummel removing the nicks and cuts.  I follow using a light grade sanding sponge.  Looking at the fills on the stummel, I dig at them with a sharp dental probe to see if they are solid.  They seem good, but I’ll need to darken them later.  I move directly into the micromesh pad cycles.  Using pads 1500 to 2400 I wet sand the stummel.  Following this, I dry sand with pads 3200 to 4000 then 6000 to 12000.  I take pictures showing the progress of bringing out the briar grain on this venerable Villager Poker.  This part is one of my favorites in restoring pipes – seeing the grain emerge with the hidden beauty displayed! At this point, I take cherry and walnut stain markers and touch up the lighter fills so that they will blend better.  After touching up, I lightly feather dabbed the stained fills with a cotton pad with a lightly wetted with alcohol.  This blended the fills more.  The pictures show the progress. To cover the repairs and to blend increasingly a darkened part of the rim that had been scorched, I decide to go a bit darker in the staining of the stummel.  Yet, I want to keep it lighter.  To do this I mix at a 50% ratio Fiebing’s Dark Brown Leather Dye and alcohol in a shot glass.  I want to start a bit darker, but have the option to lighten it by wiping the finish down with alcohol and cotton pad.  After I mix the dye, I fit a cork in the shank to act as a handle.  I first warm the stummel using a hot air gun to open the grain to receive the dye.  Using a folded over pipe cleaner, I apply dye to the stummel thoroughly, aiming for complete coverage.  I then ‘fire’ the stummel using a lit candle.  This burns off the alcohol in the dye and sets the stain in the grain.  After a few minutes, I repeat the process and then set the stummel aside to rest.With the stained stummel resting, I turn to the stem.  Using micromesh pads, I wet sand the stem using pads 1500 to 2400.  Then I dry sand using pads 3200 to 4000 then 6000 to 12000.  After each cycle, I apply Obsidian Oil to the stem to revitalize the vulcanite.  When completed, I set the stem aside to dry. The pictures show the progress. Turning again to the stummel, it is time to ‘unwrap’ the fire crusting to reveal the grain.  Using a felt buffing wheel mounted on the Dremel, set at the slowest speed, I first purge the wheel using the Dremel’s metal adjustment wrench against the felt surface.  This removes old compound and restores suppleness to the wheel.  Then, I apply the abrasive compound Tripoli to the surface by rotating the buffing wheel methodically over sections at a time, removing the fire crusting.  After completing the Tripoli cycle, I wet a cotton pad with alcohol and wipe down the stummel.  I do this primarily to blend the dye more evenly over the surface. I don’t rub too much because I do not want to lighten the hue – it looks good.  I then mount a cotton cloth buffing wheel on the Dremel, increase the speed a bit, and apply a slightly less abrasive compound to the surface, Blue Diamond. After the Blue Diamond compound, I buff the stummel with a felt cloth to remove the compound dust from the surface.  I also notice that the fills that I had colored earlier had lightened again through the staining process and the alcohol wipe down (see third pictures below).  I touched those up again with a black sharpie pen and a dark stain stick.  The pictures show the progress. I reunite the Villager Poker’s stem and stummel to apply wax.  With the cotton cloth buffing wheel dedicated to applying carnauba wax mounted on the Dremel, I apply several coats over the stummel and stem surface.  I follow this with a clean cotton cloth buffing wheel on the Dremel and then a rigorous hand buffing with a microfiber cloth to raise the shine more.

The only direct identification of the name, ‘Villager’, pointed to a pipe bearing the Italian name, Savinelli.  I was dubious that this Villager Grecian Poker rose to the quality one expects from Savinelli craftsmanship.  Yet, I am very pleased with how this iconic Poker cleaned up.  The rich depth of the briar tones and the variety of grain movement makes this ‘Ole Boy Poker’ a keeper and ready for his next steward, who will enjoy him as much as the last.  Jen’s gifting this Villager Poker to one of her menfolk benefits the work we do with the Daughters of Bulgaria.  For more information about this and my other restorations, take a look at my blog, The Pipe Steward.  Thanks for joining me!

Jen’s Trove No. 4 – Reclaiming a Kaywoodie ‘Flame/Super Grain’ #11 Large Billiard

6 Replies

Blog by Dal Stanton

I think the reason this Kaywoodie stood out to Jen as she was rummaging through my baskets and boxes of ‘Help Me!’ pipes, was the ‘fancy stem’ and the strong, full look of the stummel.  The grain is impressive and it will clean up nicely.  Jen is leaving Bulgaria soon after working with us for a few years.  She’s taking a trove of pipes back to the US to give to the men in her family.  For her too, is the fact that each pipe she purchases will benefit our work with the Daughters of Bulgaria – helping women and girls who have been trafficked in Europe and sexually exploited.  This is the second Kaywoodie she has chosen.  The first was a beautiful Kaywoodie Author (See: LINK) that needed extensive rim repair.  The Kaywoodie now on the work table got my attention too, on the eBay auction block from a seller in North Carolina.  After Jenny rescued it from the basket, I take some pictures of the Kaywoodie she chose. Generally, the pipe is in pretty good shape other than normal time wear and tear issues, but the stem bit might need some work.  The rim and fire chamber are both in good shape, but in need of cleaning and the removal the light carbon cake to bring it to fresh briar for a new start.  In the picture immediately above shows two fills – one filled and one emptied.  The hole looks like a drill hole and I first suspected it was part of a cracked shank repair, but no cracks are evident.  Only these two fills on the stummel will need to be refilled and I’ll see if the other needs to be replaced.  The ‘Fancy Stem’ (I spent time trying to find a name for this type of stem and this is what I came up with via Steve’s assistance!) has serious tooth dents on the upper button lip and a significant dent and chatter on the lower bit.  I also detected that the classic Kaywoodie Synchro-Stem threaded tenon is underclocked a bit – which over time, I discovered, is a normal happening with metal threaded tenons (See from Reborn Pipes: About Stem/Bit Shapes).The nomenclature on the sides of the shank are in bad shape – almost warn off and beyond history’s grasp.  I had to take several looks at the stamping with a magnifying glass at different angles of light – lamp light and sunlight outside on my ‘Man Cave’ balcony on the 10th floor of our former Communist Blok apartment building.  What I can decipher with much effort, is a phantom “Kaywoodie” [over] “***in” offset to the far right of the Kaywoodie stamping above it (under the ‘-die’).  On the shank’s right side, I make a guess at ‘11’ which is a shape number.  These two pictures try to show what I can barely see!  I mark with yellow pen where the ‘K’ starts of Kaywoodie and I underline the ‘***in’ and the 11 in the second picture.With a passion to understand as much as I can about the provenance of the pipes I restore, I know that I’m on a steep learning curve with this only being my second Kaywoodie.  I’ve benefited much from Troy’s expertise, of Baccy Pipes, with Kaywoodie pipes and his help on this Kaywoodie.  I’ve picked up some of the markers that help establish a Kaywoodie’s identity.  The first thing to look at is, what is the “***in” refer to?  Identifying the Kaywoodie line, at least partially, can help place a pipe.  It did not take long as I search Pipedia for a listing of the names of the Kaywoodie lines (see LINK).  What I found is that throughout the years, Kaywoodie has put forward several lines with the word “Grain” making sense of my mystery “***in”:  Straight Grain, Super Grain, Flame Grain, Bird’s Eye Grain, Relief Grain, and Custom Grain – were the Kaywoodie lines that I cataloged from Pipedia.  My next step was to go to the Kaywoodie section of Pipe Phil’s inventory of examples and to see if I could find an example of what appears to be the same script style for the ‘Kaywoodie’ [over] ‘*** Grain’ in cursive, simply to visualize.  The only example I found of the same script for both ‘Kaywoodie’ and ‘Grain’ was this Flame Grain, Meerschaum from the 1947 catalogue that Kaywoodie produced.  A close look of the script follows in picture two.  I think this is a pretty good visual match of the nomenclature style.So, I think it’s safe to say that the Kaywoodie before me was a line suffixed by ‘Grain’.  I don’t know how rare or common the use of the cursive script was with Kaywoodie ‘Grain’ lines, but it could possibly help in identification if one knew.  Another concrete marker I identified was the shape number, ‘11’ which is identified as a ‘Large Billiard’ in the Pipedia Kaywoodie Shapes Guide.   This description seems to be right on with the Kaywoodie before me – a handful of wonderful Billiard briar!  The other marker that I was aware of was the iconic Kaywoodie stem shamrock or club.  From PipePhil.eu, I found this concise description that indicates that the black shamrock in the white dot started to emerge on pipes since 1937:

The cloverleaf logo: the round logo (black cloverleaf in white circle or white cloverleaf in black circle) was first used in 1937. Up until the late 40’s this logo was used on all of the upper grades pipes. The concomitant use of the plain white cloverleaf and the disk inlaid logo continued until the early 80’s.

Up until the late 1940’s/early 50’s, the logo was on top of the stem. After that the logo was moved to the side of the stem (exceptions exist).

The other solid marker that I investigated was the No. ‘11’ shape number.   In Pipedia’s Kaywoodie Shapes Number section, shape number 11 is described:

Shape # Description Years Produced
11 Large billiard 1935-1972

Troy later sent me another helpful link from Kaywoodie My Free Forum that allowed me to see all the Kaywoodie Billiard offerings with the comparison of 2 and 3-digit shape numbers.From the same Forum article, the center column reflects the 2-digit system employed from 1927 to 1972, when the system was changed to a 3-digit system when pipe production (for Kaywoodie, Yello-Bole and Medico) was moved to the Medico factory in Richmond Hill Queens NY as plans for new plant were in process.  The left-hand column above was the 3 digit numbers used during this period for all Kaywoodie and Medico pipes, from 1972 to 1980.  The same article indicated that the 2-digit numbers were only for Kaywoodies produced in the US – that Kaywoodie of London to Cadogan had their own three-digit system.

I took my search for a Kaywoodie ‘Something Grain’, shape #11 to the latest Kaywoodie Catalog that would have a representation of the #11 Billiard at Chris’ Pipe Pages that is consistent with the older Kaywoodie catalogues leading up to it (See: LINK).  See the 5th pipe down on the left:That is the Large Billiard stummel on my work table.  There is one thing that doesn’t line up. The Fancy Stem. I spend extensive time trying to find the No. 11 with a fancy stem flipping through all the Kaywoodie catalogs (referenced above) and found no specimen – not even on another shape.  During this exploration, I sent my forensic findings and some pictures to Troy whose experience with Kaywoodies is extensive.  I wanted to know what I might be missing.  After an enjoyable time of communicating back and forth – pipe restorers’ cyber fellowship, Troy’s experience with Kaywoodie pipes cut through my fog quickly.  Regarding the nomenclature of the Kaywoodie Jenny chose as part of her trove, I’ll let Troy’s observations conclude this Kaywoodie origins adventure!  Thanks Troy!

…if the shank is straight then the only thing I can think of is someone took a pre-1972 #11 and re-stemmed it with a 1970’s type quarter bent stem.  If that is the case then it’s a 1955-1972 #11 Flame Grain with a different stem…. Or it could be a Super Grain (1955-1972) with a later Flame Grain type stem.

With a better understanding of this Kaywoodie in front of me, I start the restoration by reaming the fire chamber.  Since the cake is so thin, I use the Savinelli Pipe Knife to do the job.  After spreading out paper towel to catch the carbon, I employ the knife and it makes short work of the cake.  I follow by sanding the fire chamber with a coarse 120 grade paper, then a 240 grade paper – in both cases wrapped around a Sharpie Pen.  I finish by wiping the bowl with cotton wetted with isopropyl 95% to remove the residue carbon dust.  The pictures show the initial clean up.

Next, using undiluted Murphy’s Oil Soap I address the grime on the stummel using cotton cloth pads.  After scrubbing, I rinse the soap off the stummel with cool tap water, not allowing water in the internals. While the stummel is still wet, I probe the fill on the left side of the shank to see if it had softened and might come out.  It was solid.  The pictures show the progress. I now turn to cleaning the stummel internals because I like working on clean pipes.  Using pipe cleaners and cotton swabs dipped in isopropyl 95%, I go to work.  The internal gunk is thick – I use a curved, spaded dental probe to scrape the sides of the mortise and I remove a lot of old tars and oil built up. After some time working like this, I decide to switch tactics and use a retort to clean the internals and make more efficient headway!  After setting up the system, putting a cotton ball in the bowl, and lighting a candle to heat the alcohol in the capped test tube, the alcohol heats and eventually boils.  When it boils, the expansion forces the hot fluid into the stummel.  Much of the alcohol is initially absorbed into cotton ball so I replenish the alcohol and continue the process.  The rhythm of boil, expansion and then removing from the flame and tipping the stummel so that the expanded alcohol runs back into the test tube, is repeated several times. I pour off the first cycle into a Lord of the Rings commemorative shot glass to compare.  I refill the test tube with alcohol, and continue several more cycles, pouring out the expended alcohol in another shot glass and refilling with fresh alcohol for a 3rd and final cycle.  There is a gradual lightening of the expended alcohol as I picture all three for comparison.  After finishing use of the retort, I finish up again using pipe cleaners and cotton swabs.  The pictures show the progress. Looking at the stummel surface, the old finish does not look uniform so I use cotton pads and wipe down the stummel with acetone to remove vestiges of the old finish.  The acetone worked very quickly.  I again look at the suspect fill on the left side of the shank, and this time I detect a gap on the edge of it. I use the sharp dental probe to remove the old fill. Looking now more closely at the rim, there is a dark ring around the external edge simply indicating wear.  I take a picture of the right side of the rim that shows more wear.  To freshen the rim lines, I decide to lightly top the KW Billiard.  Using a chopping board topped with 240 grit paper I evenly rotate the inverted stummel, checking to make sure I’m staying true. After making sufficient progress with the 240, I switch to 600 grade to smooth further the top surface.  The pictures show the topping progress. With the topping completed, I fine tune the rim freshening by beveling the internal edge of the rim.  I use 120 grit paper rolled tightly to cut the initial angle of the bevel.  I follow the 120 with a rolled piece of 240, then 600.  To me an internal bevel adds class to a stummel.  This #11 Large Billiard stummel looks good.  I also lightly sand around the edge external rim.  This softens the lines.  The pictures show this rim fine-tuning process.To address the small holes on the left side of the shank, using a toothpick, I drop fill the holes using HOT STUFF Special ‘T’ – thick CA glue.  I put a little CA glue on close to the end of the toothpick and allow gravity to run it to the tip to allow a surgical application of the glue.  After applying the thick CA glue, I spray it with an accelerator to cure it more rapidly.  In a few minutes, using a flat needle file then a rolled-up piece of 240 grit paper, I bring the CA patch mound down to the briar surface. I finish by using a rolled-up piece of 600 grit paper to smooth the patches more and blend.  The pictures show the process. To prepare the stummel for sanding, to preserve what is the precious little of this Kaywoodie’s nomenclature, I cut small pieces of masking tape to cover the remnants.  First using a medium grade sanding sponge, I sand the stummel gently removing very small nicks and pits to smooth the stummel.  I follow with a light weight sanding sponge.  Using strategically placed thumb and fingers the masking tape guards did the job.Now to the micromesh pad cycles to bring out the grain on this already attractive Kaywoodie Large Billiard.  Using pads 1500 to 2400 I wet sand the stummel, followed by dry sanding with 3200 to 4000 and then 6000 to 12000 – throughout, guarding the nomenclature.  I am impressed by the quality of the briar grain emerging in the Kaywoodie Large Billiard.  The pictures show what I’m seeing. Putting the stummel aside, it’s time to tackle the Fancy Stem.  Using pipe cleaners dipped in isopropyl 95% I work on the internals.  I also employ the use of long wired brushes that more easily work up into the Kaywoodie 3-hole stinger/tenon system.  Following this, I use a brass bristle brush on the exterior of the stinger/tenon and finish with shining it with 0000 steel wool.With stem internals clean, I look again at the work needed on the upper and lower bit.  The upper button area has tooth chatter but more significant is the compression on the button lip that may need rebuilding.  Looking at the upper lip from the slot side, the lip has a dent that compresses toward the slot.  The lower bit has a significant tooth dent and chatter.  The lower button lip is in better shape.  I take some pictures to mark the problem areas. I decide to use the heating method first to see if this will minimize the damage.  By heating the vulcanite over a flame, the expansion of the rubber will seek out its original shape – at least in part.  I’ll give it a try, then move to sanding and filling.  With a candle lit, I pass the button area over the flame – back and forth several times.  The technique helps on the lower bit but not sufficiently.  The upper bit, button repair was not helped much.  So, using 240 grit paper, I work on the lower and upper bit. Using a flat needle file, I also try to remove dents from the upper button lip.  Pictures show the progress. The first pictures below show the sanding/filing progress on the upper lip.  I’m not satisfied with the results as I will need to remove more of the button than I want to remove the dents.  I wanted to see if I could repair the lip without rebuilding the lip, but this will not be possible.  I’ll need to mix activated charcoal powder with CA glue to rebuild the upper button lip and fill the dent on the lower bit.I open one capsule of activated charcoal and mix it with Hot Stuff Special ‘T’ CA glue. This CA glue is extra thick.  After cleaning the patch areas with a cotton ball and isopropyl 95%, I place a small puddle of ‘T’ CA glue on an index card, and use a toothpick as a mixer and trowel. After reaching a molasses-like viscosity with the mixture, I apply the mixture to the dent and the upper button lip.  I apply more mixture than necessary to enable later sanding down, shaping and blending the patches.  To shorten the curing time for the patches, I spray each with an accelerator.  The pictures show the progress. Back to filing and sanding.  Using a flat needle file, I file the patches down.  I follow by using 240 grit paper to fine tune bringing the lower bit dent patch down to surface level.  I blend the patch further using 600 grit paper. I do the same with the lower button lip.  After shaping the bit with the flat needle file, I use 240, 600 grit papers. The process with the button is a gradual filing, sanding and shaping until the button emerges and looks balanced.  Pictures show the progress. Above the slot, during the sanding, I notice a pinhole – what appears to be a small air pocket.  There are also very small air pockets on the upper button lip repair.  This is normal and I use a toothpick and drop-fill the hole with CA glue. I then paint a thin coat of CA glue over the button lip to fill the air holes.  I quickly spray the glue with an accelerator to shorten the curing.  I then finish the button sanding out the air pocket fills. I complete this phase of repair by using 0000 steel wool to the upper and lower bit.   The lower bit patch will blend more as I polish the stem.  The button looks good.  The pictures show progress. With the repair to the bit completed, I now turn to the Fancy Stem.  Even though there is no oxidation, I use 0000 steel wool to buff the entire stem to remove many small nicks and scratches on the surface.  I then begin the micromesh pad process by wet sanding with pads 1500 to 2400.  I follow by dry sanding with pads 3200 to 4000 then 6000 to 12000.   After each cycle, I apply Obsidian Oil to revitalize the vulcanite.  The Fancy Stem is looking good.  The pictures show the progress. I again take the stummel after completing the stem sanding.  During the stem work, I had in the back of my mind the consideration of the next step working with the Kaywoodie ‘Flame/Super Grain’ stummel.  The stummel’s natural briar color is dark and rich with grain flow – horizontal, bird’s eye and flame.  My idea is to add some pop to the grain by staining the stummel with a light brown dye.  This will not darken the stummel, but perhaps it will lighten the softer wood grains.  We’ll see!  I take a few pictures of the stummel to mark the progress.  Using a cotton pad wetted with isopropyl 95%, I wipe the stummel down to assure it’s clean. I use a cork inserted into the bowl to use as a handle and I warm the stummel using the heat gun to warm and expand the grain helping it to be more receptive to the dye.  I then apply a generous amount of Fiebing’s Light Brown Leather Dye to the stummel using a folded pipe cleaner.  When covered thoroughly with dye, I ‘flame’ the stummel with a lit candle which immediately burns off the alcohol in the aniline based dye.  This sets the hue in the grain.  After a few minutes, I repeat the process again and then set the stummel aside to rest.  The pictures show the process. After several hours, the stummel is ready to ‘unwrap’.  Using the Dremel, mounting a felt buffing wheel, at the slowest speed, I apply Tripoli compound to the surface to remove the fired crust.  I take a picture to show the contrast from the crust, and the emerging grain.  After the Tripoli, I lightly wipe the stummel with a cotton pad wetted with isopropyl 95% to blend the dye further.  After this, using a cotton cloth buffing wheel mounted on the Dremel, and notching up the speed to ‘2’ (fastest is 5), I apply the slightly less abrasive compound, Blue Diamond.  I love to see the rich tones of the briar grain emerge during this process.   Before I apply the carnauba wax to the stummel, I have a couple of corrections to apply.  The first is to correct the under-clocked stem.  Using a lit candle, I heat the metal tenon so that the vulcanite loosens its grip and I quickly screw the tenon in until it tightens and I apply pressure carefully to advance the stem.  I repeated the heating process a few times until I reached the desired stem position.  The pictures show the process. The second thing I wanted to do before applying the carnauba wax was to coat the fire chamber with pipe mud.  I have this tutorial bookmarked on Reborn Pipes here: LINK.  I noticed minor heat fissures in fire chamber earlier which is shown in the first picture below.  Applying a coat of pipe mud will simply coat the chamber, filling the fissures, and provide the foundation for a new cake to develop.  To create the pipe mud, I use a mixture of cigar ash (thanks to my colleague, Gary!) and water.  I make sure that the cigar ash is finely ground using the flat end of a pipe nail and I remove any solid debris.  I put ash in a shot glass and water in a small bottle and I add water using a large eye-dropper and mix with the pipe nail until I achieve a paste like viscosity.  I then use a pipe cleaner to paint the mud to the chamber wall and tamp it using the spoon end of the pipe nail tool.  I’ll wait about an hour for the mud to fully set up.  The pictures show the process. Now for the home stretch.  With stummel and stem reconnected, I apply several coats of carnauba wax to the Large Billiard stummel of this Kaywoodie Flame/Super Grain.  I use a cotton cloth buffing wheel mounted on the Dremel at the same speed (2) and methodically apply the carnauba using the sheen reflection on the surface to guide my application.  After applying carnauba, I change to a clean cotton cloth buffing wheel and go over the surface again to bring out the shine and more fully blend the wax.  Finally, I hand buff the pipe with a microfiber cloth to raise the shine more.

While we don’t know with 100% certainty whether this Kaywoodie #11 Large Billiard is a Flame Grain or a Super Grain, I believe the grain is a cut above the norm looking at its quality.  It has a beautiful flow of grains and is quite attractive.  The Large Billiard fills the hand well with an interesting, tapered Fancy Stem, that probably came later and is not original with the older #11 stummel.  I’m happy to provide this Kaywoodie to add to Jenny gift trove as she goes back to the US.  Jen’s purchase benefits the Daughters of Bulgaria, our work here in Bulgaria with women and girls sexually exploited and trafficked.  For more information about this work, take a look at The Pipe Steward.  Thanks for joining me!

 

Rejuvenating a Beautiful Koncak Pegasus Carved Meerschaum

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Blog by Steve Laug

The next pipe I chose to work on today is a nicely carved meerschaum by Koncak. I have never really collected meerschaum pipes so I do not have much knowledge of the various makers or carvers. I did some looking in some of the references I have here in the shop and found that Koncak is a Turkish meerschaum pipe brand. The meerschaum factory was founded by Ekrem Koncak in 1934 in Eskiehir, Turkey. It is one of that country’s oldest producing meerschaum pipe factories. They carve some highly unusual shapes. In 1974, Ekrem was succeeded by his son, Sadat, and in 1980 his daughter, Nurham took over the running of the company. In the meantime, Sedat Koncak bought the Austrian brand Bauer, and the two companies have maintained close commercial ties (from Pipes, Artisans and Trademarks, by José Manuel Lopes).

Jeff bought the pipe on EBay because the carving and shape stood out to him as beautiful. It is a large bowled unique. The sides and back of the bowl are carved with fronds of leaves possibly tobacco leaves. The front of the bowl is carved with reclining Pegasus – winged horse with some pock-marked stone around him. The end of the shank is smooth culminating in a silver band with a rope twist and a single line and a beaded line on each side of the rope. The shank is lined with Delrin and the push tenon is either Delrin or nylon. The stem is Lucite/acrylic and had a saddle and a wide blade that has tooth marks and file marks on both the top and bottom sides in front of the button.

The first photos below on the green background were taken by the seller. I include them here so that you can appreciate what caught my brother’s eye when he saw this beauty.

The photos on EBay show the dirty condition of the pipe but also show that it is in excellent shape under the grime and the dirt. My brother was wise in bidding and winning this beautiful example of Koncak workmanship. The photo of the bowl front shows the winged horse, Pegasus in a reclining position. The carving is quite well done. The details of the feathers on the wings, the mane on the horse’s head and the surrounding foliage around Pegasus are well done.

The bowl was shown with a thick cake that was spread throughout the bowl and there was an overflow of lava on the top. The shank and the underside of the bowl was already beginning to show a golden colouration and once the bowl was scrubbed clean I was pretty certain that the rim top and edge would also show the same kind of developing colour. My brother did very well in his purchase of this one. Now I just need to decide whether I keep it or let it go on the rebornpipes store. I guess that by the time I finish the pipe and do this write up for the blog the decision will have been made. I will let you know once the post has been completed. Thanks.

The EBay sellers photos also showed the condition of the stem (at least from the top view).When the pipe arrived in Idaho, Jeff took some more photos of it so that I could see the condition of the pipe. While it looked much like the seller’s photos it was both in better condition and worse condition at the same time.The case it came in was well fitted to the pipe. It was in good condition though there were places that the leather cover would need to be reglued. (When it arrived in Vancouver this was the first thing I took care of and set the case aside to let the glue cure.) There was a sewn in Koncak logo on the inside top of the case. The dirtiness of the pipe was as shown in the seller’s photos and surprisingly there were no areas that were damaged or broken. I was grateful that the pipe was in dirty but undamaged state.The next two photos show the condition of the cake in the bowl and the lava overflow on the rim top. The cake was thicker than it had appeared in the seller’s photos and the lava overflow was heavier and thicker.The next series of photos show the ornate leaf carvings around the bowl and shank leaving the centre of the front piece open for the carving of Pegasus, the winged horse. The next two photos show the stem and band work on the pipe. The silver band is quite beautiful and really stands out against the colouring meerschaum shank. The next photos that my brother took show the condition of the stem far better than the seller’s photos had. It had a lot of tooth chatter and dents on both the top and underside near the button extending about one inch up the stem. Jeff reamed the bowl carefully with a PipNet reamer and a Savinelli Fitsall Pipe Knife scrapping the cake back to the meerschaum wall of the bowl. He scrubbed the exterior of the pipe and rim with Murphy’s Oil Soap and was able to remove the entire lava overflow on the rim and the dust and grime from the nooks and crannies of the carving. He cleaned the internals with pipe cleaners, cotton swabs and alcohol until the surface was clean and refreshed. I took photos of the pipe when it arrived in Vancouver to show his craftsmanship in the cleanup phase of refurbishing. He does very good work and it makes my job much easier on this end. His work on the rim top is an example of how clean he gets the pipes. He was able to remove all of the lava overflow and leave behind a bit of patina.He had cleaned up the tooth chatter with the soap and scrubbing and what tooth chatter was left behind was minimal. There were also some tooth marks that would need to be addressed.I sanded out the tooth chatter and the tooth marks with 220 grit sandpaper to clean them up as much as possible. I wiped down the surface of the stem with a damp cotton pad to remove the sanding dust. I filled in the deeper tooth marks with clear super glue and set the stem aside to wait for the repair to cure. While the repairs cured I worked on polishing the bowl. I used micromesh sanding pads to polish the smooth portions of the pipe. I wet sanded them with 1500-2400 grit pads and wiped the bowl down with a damp cotton pad between each grit of micromesh. I dry sanded it with 3200-12000 grit pads and repeated the wipe down after each pad. By this time the glue had cured so I sanded the repairs on the stem smooth with 220 grit sandpaper blending them into the surface of the stem on both the top and bottom sides. At this point the stem is looking really good. Still work to do in reshaping the button but the repairs are getting there.I recut the sharp edge of the button with a needle file and smoothed out the edge with the thin edge of the file. The button was looking right. Now I needed to polish the stem.I polished the stem with micromesh sanding pads – wet sanding it with 1500-2400 grit pads. I wiped the stem down with a damp cotton pad to remove the dust. I buffed the stem with red Tripoli on the buffing wheel before continuing to polish it with micromesh sanding pads – dry sanding with 3200-12000 grit pads. When I had finished the polishing I wiped it down with a damp pad and gave it several coats of Conservator’s Wax. I buffed the stem with a microfiber cloth to deepen the shine. I gave the bowl a coat of softened white beeswax called Clapham’s Beeswax Polish and hand buffed it with a shoe brush. I hand buffed it with a microfiber cloth to deepen the shine. It is a large pipe whose dimensions are length: 6 inches, height: 2 ½ inches, outer diameter of the bowl: 1 ½ inches, chamber diameter: 7/8 inches. The finished pipe is shown in the photos below. Well the decision has been made as I hoped it would by this time in the write up of the restoration. While working on the pipe and cleaning it up I realized that it is too big for my liking and thus I will part with it on the rebornpipes store. I will list it shortly and if it is a pipe that you want to add to your collection you can email me at slaug@uniserve.com or send me a private message on Facebook. It truly is a stunning pipe. Thanks for walking with me through the cleanup.

Out Damn Spots – a C.P.F. Cromwell Double Vertical Stem Bent Billiard

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Blog by Steve Laug

Like other older C.P.F. pipes this one has some real charm. It is on the petite side of things – 4 ½ inches long and 1 ½ inches tall. It is not a bad piece of briar, a mix of grains. The silver collar on the shank is stamped with faux hallmarks and the C.P.F. in an oval logo. It is probably silver or at least plated but I am not sure. The stem is the unusual part of the mix. It has two silver plated spigot tenons that fit into openings in the silver collar. The twin stems merge into one single airway. Looking at it I could not wait to examine it and see what it looked like with the stem removed and what the mortise looked like. The finish was worn but the pipe looked like it still had some life in it. The left side of the shank is stamped in worn gold leaf C.P.F. in an oval over Cromwell in script. There is no other stamping on the bowl. The stem is also stamped on the left side and reads PURE RUBBER on the top stem and C.P.F. in an oval on the lower stem. This pipe is also from the virtual pipe hunt my brother and I did in Montana. He took photos of the pipe from a variety of angles to show the uniqueness and the condition.I did some digging online and found a WDC Marlborough that had a similar configuration though far more boxy. It did not have the elegance that the C.P.F. does in my opinion. Playing around with the mechanics of the smoke and how it flowed through the stem I examined the dual mortise and the way the stem was laid out. I fed a pipe cleaner through the stem and found that natural flow of the cleaner was from the button through the top of the stem and into the top mortise. I could plug the lower tenon and the air was unobstructed from tenon to button. When I plugged the upper tenon and blew air through it I could feel it against my fingertip and then it made its way out the lower tenon. The airflow seems to have flowed against my finger and back a short distance to an opening between the two stems and out. From that I figured out that the smoker draws smoke through the upper mortise and into the airway on the stem. It flows into the bottom stem and mortise (which is a sump like the Peterson System pipes have) where moisture is collected and the smoke exits up the lower stem and into the button and into the mouth of the smoker. In my online search I found a photo of the Marlborough with the airpath drawn out as I conceived it in my words above. I drew the same kind of pattern on the C.P.F. to show how it appeared from my experiments. Here is the link to the Marlborough;  http://pipesmagazine.com/forums/topic/wdc-marlborough-double-airway. I used the drawing on that link to draw in the airflow on the Cromwell that I have. You can see that in the diagram below.I did some more digging on the internet to see if could find any more information on the brand. I found that C.P.F. did a second dual stem pipe called the Lafayette. Both pipes had military style bits so both were pocket pipes. Was it possible that C.P.F. did a line of pipes in honour or military leaders and these were two of those? You had Cromwell – potentially Oliver Cromwell, Lord Protector in England and Jean Lafayette, mercenary during the US Revolutionary War.The finish was very worn and there are a lot of scratches on the briar. I wonder if this little pipe was somebody’s pocket pipe and bumped against coin and whatever else was carried in the pocket of the pipe man who owned it. The bowl was caked and there was a lava overflow onto the rim top. There were some nicks and sandpits on the rim and the bottom of the bowl. My brother took photos of the stem and the mortise of the pipe. It is an unusual set up. The top portion of the twin stems fits in the mortise and the airway into the bowl is high at the bottom of that mortise. The second mortise for the lower portion of the stem is merely a dead space. It appears that the smoke came up the stem and circulated in the lower mortise before being drawn to the mouth of the smoker – perhaps it is a cooling system somewhat like the sump in Peterson System pipes. The twin ends of the stem are covered with a silver end mount and from the looks of the photos the pipe had been sitting for quite a while and cob webs had formed. The stem was oxidized for sure but something about the colour of the stem made me wonder what was happening with it. He did a lot of cleaning and scrubbing on this pipe and in the process we learned some interesting facts about the repair work that had been done on this pipe. The entire stem had been coated with what appeared to be a black paint. It was flaking and bubbling at the button end as can be seen in the photo above. The oxidized stem had some really strange patterns in the oxidation and there seem to be deep staining in spots on both the top and underside surfaces of the stem. On the topside there was a white repair that looked and felt like putty. The black paint had hidden that repair. Jeff had stripped the remaining finish off the dirty bowl, reamed the bowl and cleaned the rim top. The silver band on the shank looked better and the metal tenon ends on the military style tenons looked more brass than silver. He had cleaned out the two mortises and the airway into the bowl and the shank. Note the spotty appearance of the vulcanite stem. I took a close up photo of the rim top to show the condition of the surface and the damage on the right inner edge of the bowl. The bowl was out of round once he had removed the cake and the sandpits in the flat surface stood out.The next two photos I took show the condition of the stem. The stamping on it is very clear – Pure Rubber on the top stem and C.P.F. in an oval on the lower stem. I have not seen this spotty pattern in the oxidation before and I am wondering if in the process of the previous repair the repair guy did not damage the surface of the rubber. Note the putty fill as well. It is quite large.I used a dental pick to remove the putty fill and you can see from the photo below that it was quite large. It covered a large portion of the top and right side of the upper stem. I wiped the surface down with a damp cloth to remove the debris left behind by the putty in preparation for repairing the damage. I greased a pipe cleaner and put it in place in the airway in the stem so that it would not accidentally fill in from leakage of the repair. I mixed a batch of charcoal powder and black super glue putty and filled in the damaged area. I purposely overfilled it on the top to give me room to work. I carefully filled in the right side of the stem so as not to fill in the groove between the two parts of the stem. I put aside the stem so the repair could cure. Once the repair had dried I used a flat file to smooth out the ridges and peaks in the new surface. I sanded the repaired area with 180 and 220 grit sandpaper to further smooth it out and shape it.I wiped the stem down with a damp cloth and checked for air bubbles in the repair and areas that needed to be built up. I applied some more black super glue to the surface of the repair and smoothed it out with a dental spatula to ensure that all of the air bubbles had glue in them. I set the stem aside to dry.While the stem repair was curing I worked on the rim. I used a folded piece of 220 grit sandpaper to work on the damage to the inner edge of the bowl. It took a bit of work to blend in the damaged areas and smooth them out. I filled in the sandpits with clear super glue. It did not take too long to cure so when it had hardened I sanded it smooth and blended it in with the rest of the rim top. I wiped the bowl down with alcohol on a cotton pad to clean off any debris left behind by my rim work and used some European Gold Rub n’ Buff to touch up the gold in the stamping on the shank. I applied the product and rubbed it into the stamping and wiped off the excess with a cotton pad. The next three photos show the fresh shank. By this time the stem repair had hardened and I sanded the surface with 220 grit sandpaper to smooth things out. I used a folded piece to smooth out the grooves between the upper and lower stems. The stem is looking much better but the reddish spots in vulcanite really looked odd to me. I wondered if I would be able to polish them out of if I was going to be stuck with them in the finished pipe. The finish on the bowl was rough and there were a lot of scratches and worn areas on the sides and bottom. I sanded out the ridges and as many of the deep scratches as possible with 320 grit sandpaper. In the photos below you can still see the scratches but the feel in the hand is much better and the bowl is beginning to look smoother. I sanded these marks smoother with 400 grit wet dry sandpaper and then polished the bowl with micromesh sanding pads. I wet sanded with 1500-2400 grit pads and dry sanded with 3200-12000 grit pads. The next sequence of photos show the progress in smoothing and polishing the bowl. The stem still needed a lot of work. I shaped the repaired area and worked the surface over with 220 grit sandpaper to remove as much of the oxidation as I could. While it was definitely looking better the spotty areas were still visible. I still needed to polish the stem with micromesh pads to see how much more of the spotty surface I could clean. I also needed to finish polishing the silver tenon caps. I worked over the surface with 400 grit wet dry sand paper and 1500-2400 grit micromesh sanding pads and still could not remove the stained spots on the rubber. I decided to try something different. I stained those spots of the stem with a black aniline stain to see if that would bring the red spots more in line with the rest of the stem. When the stain dried the spots were definitely better, but they still stood out. Time to go back to the sanding and polishing! I wet sanded it some more with 1500-2400 grit micromesh sanding pads. I still had those obnoxious spots present in the rubber. They were deep and it really appeared that I would not get them out. I sanded the stem some more to try to remove more of the damaged areas. It did not seem to matter how much I sanded the spots remained. I decided to try one more trick. I used a black Sharpie Pen to colour in the spotted areas. I let the ink dry. I was hoping that these Permanent Markers would actually be permanent and cover the spots. Once the ink had dried I lightly sanded it with 3200-12000 grit micromesh sanding pads. The black seemed to stay in the spots better than any of the other methods so far. Maybe I had some success but polishing would tell the story. The more I polished most of the coverage remained but there were still remnants of the spot in the vulcanite. I polished the metal tenon caps with micromesh sanding pads and finished polishing them with a jeweler’s cloth to remove any remaining tarnish.I lightly buffed the stem with carnauba wax and buffed it with a clean buffing pad to raise the shine. I hand buffed it with a microfiber cloth to deepen the shine. I gave the bowl multiple coats of carnauba wax and buffed it with a clean buffing pad to raise a shine. I hand buffed it with a microfiber cloth. I put the parts back together and rebuffed it by hand. The finished pipe is shown in the photos below. The stem looks far better than when I first started but the spots still show through the polish. The pipe as a whole is a beautiful old piece of history. It does not look too bad for its age – over 125 years old. Thanks for walking through this restoration with me. It was a challenge and it was a pleasure to resurrect this old piece of tobacco history.

Restoring a Beautiful Parker Super Bruyere Cherrywood 287

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Blog by Steve Laug

The next pipe on the work table comes from the estate lot that I received from a local pipe shop. It originally belonged to an old customer whose wife brought them back to the shop after his death. I am cleaning them up and selling them for the shop. This one is a beautiful little Parker Cherrywood. It is significantly more petite than the sandblast version that I restored earlier (https://rebornpipes.com/2017/06/17/parker-super-briarbark-cherrywood-809/). The stamping on the left side of the shank reads Parker over Super in a diamond over Bruyere.To the left of that is the shape number 287. On the right side of the shank the stamping reads Made in London over England and the number 4 in a circle denoting the group size.There is no date stamp next to the D in England.When I brought the pipe to the table it was obviously one of the old pipeman’s favourite smokers. The finish was dull and dirty and the stem oxidized with some calcification and buildup around the button area forward and a few minor tooth marks.I took a close up photo of the rim top and bowl to show the lava overflow onto the rim top and the thickness of the cake in the bowl. I find that the cake in these older pipes is like concrete. It is very hard and takes a lot of effort to break it down when reaming the bowl. I also took some photos of the stem to show the condition of the end near the button before my work began. The hard cake in the bowl demanded a bit different reaming strategy. I needed to use multiple pipe reamers to remove it. I started the reaming process with a PipNet reamer using the smallest head and working my way up to the largest one that could take the cake back to bare briar walls. I finished the reaming with a Savinelli Fitsall pipe knife and a KleenReem pipe reamer. I used the drill bit from the end of the KleenReem reamer to clear out the airway between the mortise and the bowl. It was almost clogged with a buildup of tars and oils that had hardened there. The pipe had been smoked to a point where it must have been like sucking on a coffee stirrer and having a thimble of tobacco in the chamber. It was definitely a favourite and obviously a good smoking pipe.With the bowl reamed, I turned my attention to working on the stem. I sanded the stem to remove the calcification around the button and smooth out some of the tooth marks. I also broke up some of the oxidation on the rest of the stem with the 220 grit sandpaper.I “painted” the stem end with a Bic lighter to raise the tooth dents on the surface of the stem. It did not take too much work to raise all but one of them. What remained of the sole dent was a small divot. I wiped down the stem with alcohol and filled in the divot with a drop of black super glue. I set the stem aside so that the glue would cure.I scrubbed the rim top with cotton pads and saliva to remove the tarry buildup there. It took a lot of elbow grease but I was able to remove all of it. There was some burn damage to the front inner rim edge from consistently lighting it in the same place. I remove the damage by blending it into the rest of the rim bevel with a folded piece of 220 grit sandpaper. I restained the edge and the rim top to blend in with the rest of the bowl using a medium and a dark brown stain pen. I mixed the stains on the rim surface and rubbed it in with a soft cloth. I gave it a light coat of Conservator’s Wax to further blend in the stain on the rim. The photos below show the rim top after the stain and after the waxing.With the pipe’s externals cleaned and polished I turned my attention to the internals of the mortise and airway in the shank and the stem. I scrubbed them with alcohol, cotton swabs and pipe cleaners until they were clean.I decided to work on the oxidation on the stem using a combination of the Before & After Stem Deoxidizer and Polish and Brebbia Mouthpiece Polish. I applied the Deoxidizer and Polishes with cotton pads to scrub the surface of the stem. I was able to remove the oxidation without doing any damage to the Parker Diamond stamp on the top of the stem. I buffed the pipe and stem with Blue Diamond on the buffing wheel and then gave the entire pipe multiple coats of carnauba wax. I buffed it with a clean buffing pad to raise the shine and hand buffed it with a microfibre cloth to deepen the shine. The finished pipe is shown in the photos below. It is a beautiful pipe that fits well in the hand. The dimensions of the pipe are; Length: 5 ½ inches, Height: 1 ¾ inches, Outer diameter of the bowl: 1 ½ inches, Chamber diameter: ¾ inches. It will soon be available on the rebornpipes store. If you are interested in adding it to your collection email me at slaug@uniserve.com or send me a private message on Facebook. Thanks for looking.

Stem Button TIME SAVER on a 1940’s Dunhill LB

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Blog by Henry Ramirez

I was ghosting through Ebay listings looking for a cracked shank to experiment with when this old classic appeared.  The auction was won for a song because in addition to a cracked shank, the year stamping had been buffed off the shank. The usual whole lotta cake and dented stem story.I started with the stem, which was really in great shape.  I have come to love the stumpy profile of the patent LB’s with their constricted contour button.  An Oxyclean bath was followed by an isopropyl alcohol scrubbing with a shank brush and pipe cleaners. I wanted to use heat to raise the bite marks as much as possible to not only decrease my work load but to minimize the inclusion of foreign filler. To this end I also wanted to learn the proper temperature needed to reproduce my results consistently.

Using a heat gun, I took my time and warmed up the vulcanite until my nose told me it was getting close to burning.  If that happens the surface becomes a porous charred stinky mess!  I quickly used a laser temperature gun to obtain a surface reading of 275 degrees F.  Amazing how quickly the surface cooled off once the heat was removed.I was not impressed by the amount of rebound and it looked like filling and filing was in my future.

Having nothing to lose, I pressed my wife’s oven into service, knowing that I could set the temperature substantially higher than previous attempts without fear of ruination. I set the oven temperature at 265 degrees F to have a 10 degree safety zone and watched as the whole stem “stretched out”.  This was more like it! The dents were now depressions that needed the light to shine just so to be seen.  Little CA and polishing was needed.

I should mention that these values are for older Dunhill vulcanite only.  The composition of vulcanite has changed over the years, according to some posts I’ve read, and I’ve noticed it in the depth of polish ability.Now it was the time to clean and evaluate the briar. While I ream the mortise and bowl I am wishing that I had Steve’s magical Savinelli Pipe knife. Boy, those things are rarer than hen’s teeth and this old cake is super hard. That is followed by total immersion in an isopropyl bath with various scrub brushes stripping the briar. I couldn’t save the original finish because the shank crack needed to be clean and open as much as possible for the bonding. One of the perks of the alcohol bath is that after the bowl dries out, if there is any residual cake stuck to the chamber walls, it shrivels up and is easily removed.The shank crack was now very evident but the year stamping was not.Getting back to the stem, I wanted to know if the alcohol retort was worth the hassle.  I had been as meticulous as possible with the pipe cleaners and cold alcohol.  The color of the used alcohol in the distillation flask tells the story, close but no banana! I could now address the cracked shank.  I had previously repaired such a problem using a micro-screw and bonded dental composite resin.  I was concerned that threading the screw into old dry briar could start micro-fractures and crazing.

This time I elected to drill a channel spanning the crack and passively bond a post fabricated from longitudinal glass fibers encompassed in a strong composite resin matrix.  This would also provide some flex in the repair to accommodate the dimensional changes that briar goes through because of temperature changes during smoking.

At this time I also drilled a post hole at the end of the crack to prevent further spidering.  Because the crack was significantly wide I made sure to introduce my resin with a size 06 endodontic file.  I had planned to use a C clamp to close the gap but I chickened out when finger pressure did nothing.  Not sure how to make briar temporarily more flexible….

After filling the post hole and cementing the fiber post with dual cure composite resin, I trimmed off the post and blacked out the white resin with black CA.

Before beginning to start the staining process I wanted to open the pores of the cellulose to not only gain greater absorption of the dye but also improve the briar’s capacity to absorb tars for a sweeter smoke.  I had noticed such a phenomenon with the Missouri Meerschaum corn cob pipes.

I found that this particular wheel had already been invented by the folks who refinish wooden decks.  I tracked down some relatively non-toxic materials which did the job and whose run off wouldn’t hurt plants.

Sodium percarbonate does the cleaning and oxalic acid removes the smear layer, thus opening up the wood’s pores.  Looking around online for a source I realized that I already had both chemicals in the laundry room!  Oxyclean is the percarbonate and states on the container that it’s great for wood decks, siding and lawn furniture.  Bar Keeper’s Friend has oxalic acid as its active ingredient and states on the container that it works on teak wood.Indeed after scrubbing with both and rinsing with water, I noticed that the chamber’s surface looked and felt less dense.Now it was time to stain the briar with Oxblood diluted 50% with isopropyl alcohol in two coats, both flamed with the micro-torch.I was lucky that the original black stain in the depths of the blast remained.An overlay stain of light brown was applied in 2 coats.After a rub down with an old t-shirt to remove any xs dye, I applied 2 coats of Halcyon wax.  A quick buff on the lathe and then a hand strapping with a shoe bristle brush brought the shine up.  I want to mention that my wife gifted me her silver brush which is narrow and has long soft bristles which easily accesses the crotch of the pipe without fear of collision. This has proved most useful on bent pipes.Another very helpful tip came from a pipe maker’s blog about dead-faced files to add crispness to the button area.  They are the dead faced nut seating file by Stewart MacDonald, a luthier’s supply house and the pillar files which have the dead side on the edge from OttoFrei, a clock makers source.Well I’m now satisfied with the pipe but not finished. They say we abandon these projects because we reach a point where better becomes an enemy of good. Boy that was fun and I hope to share more adventures with these fabulous old pipes!  Regards, Henry

 

Refurbishing an Yves St. Claude Glacier 80 Bent Billiard

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Blog by Steve Laug

The next pipe I chose to work on today was one that came from the friend of mine who has the pipe shop. He had been given a large number of pipes from a customer’s estate to sell and he had given them to me to clean up. This one is a rusticated billiard that has a slight upward bend to the shank and a Lucite stem with a ¼ bend. It was stamped on the underside of the shank Yves St. Claude in script over Glacier. Next to that it was stamped with a COM circle that read Made in France. At the end of the shank near the stem/shank junction it is stamped with the shape number 80. The finish was very dirty and almost lifeless looking. The striated rustication was well done but the grooves were all filled with grit and grime. The bowl had a light cake and the rim had some darkening and tar on the back side. The stem had some light tooth chatter but no deep tooth marks. The variegated yellow/gold stem went well with the rustication.In searching the web I found several references to Yves Grenard, trained in Comoy’s England factory, purchasing the Chacom plant in St. Claude. He managed the factory and it passed on to his son afterward. I am pretty certain that this Yves St. Claude pipes was made by Chacom in France with the stamping bearing Yves name.I took a close up photo from the top looking into the bowl to show the light cake in the bowl and the darkening to the back side of the rim. The rim top is a bit oddly shaped in that the back outer edge of the bowl slightly flattened and then rusticated over the top of the shape. I also took photos of the chatter on both sides of the stem at the button. I sanded out the tooth chatter with 220 grit sandpaper and it did not take much to smooth out the marks. There were also some marks left behind from when the stem had originally been bent that sanded out quite easily.I scrubbed the bowl with undiluted Murphy’s Oil Soap and a tooth brush to remove the grime. I used a brass bristle brush with the soap on the rim surface to remove the darkening and tars. I rinsed the bowl under warm water to remove the soap and grime. I took photos of the cleaned bowl and included them below. I decided to use a dark brown aniline stain thinned with isopropyl by 50% to make it more of a translucent medium brown. The colour once it was dried, buffed and polished would really look good with the yellow stem. I applied the stain, flamed it and repeated the process until I was happy with the coverage.There were some thick, hard tars on the inside of the mortise walls so I scraped them out with a dental spatula. Afterwards I cleaned out the mortise and the airway in the shank and stem with alcohol, cotton swabs and pipe cleaners. I worked on the stepped tenon with alcohol and cotton swabs to remove the darkening at that point. I wiped down the outside of the stem with a damp pad. I used white acrylic paint to fill in the YSC stamp on the left side of the saddle. Once the paint dried I scraped the excess off and polished it with 1500-2400 grit micromesh sanding pads.I polished the Lucite stem with micromesh sanding pads – wet sanding with 1500-2400 grit pads and dry sanding with 3200-12000 grit pads. I wiped the stem down with the damp pad between each set of three pads. I put the stem on the pipe before taking the photo of the stem after I had finished sanding with the last three pads. The new stain looked really good with the yellow Lucite stem. The contrast worked really well on my opinion.I buffed the stem and bowl lightly with Blue Diamond polish on the buffer. I gave the bowl multiple coats of Conservator’s Wax and buffed it with a shoe brush. I gave the stem multiple coats of carnauba wax. I buffed the entire pipe with a clean buffing pad to raise a shine and finished by hand buffing it with a microfibre cloth to deepen the shine. The finished pipe is shown in the photos below. The dimensions of the pipe are, Length: 5 ½ inches, Height: 1 5/8 inches, Outer bowl diameter: 1 3/8 inches, Chamber diameter: 7/8 inches. The pipe has been thoroughly cleaned and prepared for the next pipeman who wants to add it to their rack. I will be putting on the rebornpipes store shortly but if you want it email me at slaug@uniserve.com or send me a message on Facebook. Thanks for looking.

 

 

Parker Super Briarbark Cherrywood 809

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Blog by Steve Laug

The grain on this Parker is absolutely stunning. The sandblast follows the cross grain around the bowl with a deep, craggy blast. The shape is a classic poker or Cherrywood. It is stamped on underside of the shank with the brand name Parker over Super in a Diamond over Briarbark over Made in London England. Next to the shank/stem union it’s stamped with the shape no. 809 and a circled 4 designating the bowl size. There is a Diamond P on top of the stem. The finish is in decent shape with a medium to dark brown stain. When I received the pipe it had a thick cake in the bowl and the lava had overflowed onto the rim filling in the grooves of the sandblast. It is hard to tell if there was rim damage as it is so caked and encrusted on the rim. The stem had calcification from a softee bit on the first inch from the button forward. There were deep tooth marks on top & bottom side of the stem near the button. The following four pictures show the general condition of the pipe when I brought it to my work table. The next photo shows the rim top and the thickness of the cake. The cake was very hard and it would take some serious work to remove it from the bowl. It also looked to me like there was rim edge and bowl damage on the front left side. Once I had reamed it I would know for sure. (Just a side note – this is where I really appreciate my brother’s clean up work. I really like working on pre-cleaned pipes.)The cake was very hard. I have found that on some of these older pipes the tobacco must have been significantly different as the cake is like concrete whereas on the newer tobaccos it is never this hard. Could it be just the fact that the pipe has been sitting for a long time? I reamed it with the PipNet reamer starting with the smallest cutting head and working my way up to the third head. I used the Savinelli Fitsall Pipe Knife to work on the cake as well. It took a lot of time to get the pipe cleaned out. I probably spent over 45 minutes just reaming this bowl. The second photo below shows the bowl at the end of the 45 minutes of work. Still work to do on it as you can see the remnants of the cake on the walls. I used the Savinelli Fitsall to clean it up further.I picked at the lava on the rim with a dental pick to loosen the rock hard buildup and a brass bristle brush to clean off the debris once I had it loosened. The photo below shows the cleaned out bowl and the cleaned rim. Notice the damage to the front left inner edge of the rim.With the bowl cleaned and reamed I turned my attention to the internals. I scrubbed out the mortise and the airway in the shank and the stem with pipe cleaners, cotton swabs and alcohol. It took some coaxing with the swabs and cleaners to finally get the internals free of buildup and debris.The stem had a thick calcified buildup on the first inch from the button forward on both sides. This too was rock hard. I sanded the calcification off the surface of the vulcanite. Doing so revealed the tooth dents on the surface of the both sides of the stem near the button.I “painted” the stem with a Bic lighter flame to raise the tooth dents as much as possible. While they came up significantly some of the edges were sharp and the dents would rise no more. I wiped the stem down with some alcohol to clean out the dents and filled them in with black super glue. I set the stem aside so that the repairs would cure and headed off to work.When I returned in the evening the patches had cured. I sanded the repairs with 220 grit sandpaper and sharpened the 90 degree angle of the button with needle files. I sanded the stem surface some more to remove the oxidation.I decided to take a bit of time and work on the bowl so I set the stem aside for a while. I touched up the worn spots on the rim and on the shank end with a dark brown stain pen. The colour was a perfect match to the rest of the bowl and it blended in very well. I waxed the briar with Conservator’s Wax. It is a soft rub on past that work well with sandblast and rusticated finishes. I buff it with a shoe brush and I am able to polish even the deep grooves in the grain so that no wax sits in those and hardens, dulling the finish. I lightly buffed the bowl with a soft microfibre cloth to raise the shine. The photos below show the bowl at this point in the process. I decided to polish the stem using a different method than my normal routine. I sanded it with 1500-2400 grit micromesh sanding pads to remove the scratching in the vulcanite. I use a product that I have used before called Before & After Pipe Stem Deoxidizer to work over the remaining oxidation. I repeated the process until the vulcanite was clean. I polished it with the Before & After Pipe Polish in both Fine and Extra Fine grits. I rubbed the stem down with a soft cotton pad to remove the polishing compound and buffed it with Blue Diamond on the buffing wheel. I rubbed it down with a coat of Obsidian Oil and set it aside to dry.I used an artist’s fine bristle brush and white acrylic paint to fill in the Parker Diamond P stamp on the stem. I wiped it down afterwards and lightly buffed it with Blue Diamond to remove the excess paint.I buffed the pipe and stem with Blue Diamond on the buffing wheel – with a light touch on the bowl. The finish shows up beautifully, the sandblasted ring grain standing out front. It is one of those rugged blasts that are a tactile wonder as it heats up during a smoke. I gave the bowl another coat of Conservator’s Wax and the stem multiple coats of carnauba followed by a buff with a clean buffing pad. I hand buffed the bowl with a shoe brush and then with a microfibre cloth to deepen the shine. The finished pipe is shown in the photos below. The dimensions of the pipe are Length: 6 inches, Height: 2 inches, Outer diameter of the bowl: 1 1/2 inches, Chamber diameter: 7/8 inches. The contrast of the dark brown and a medium brown that shines through give the finish a rich patina. The bowl has been cleaned and the entire pipe is ready to smoke. The stem is in great shape. The tooth marks have been removed though there is slight scratching on the vulcanite. It is a beautiful pipe, just a little big for my liking or I would hang on to it. I will be putting it on the rebornpipes store soon. If you are interested in adding it to your collection email me at slaug@uniserve.com or send me a message on Facebook. Thanks for looking.

 

 

Fanfare for the Everyman Pretender

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Blog by Robert M. Boughton

Member, International Society of Codgers
Member, North American Society of Pipe Collectors
Member, Facebook Gentlemen’s Pipe Smoking Society
Website Roadrunner Restored Pipes
Blog RRP
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Photos © the Author except as noted

From their inception, Kapp & Peterson’s goal was to make a good smoking pipe that the ordinary, common working man could afford and we believe they have, very admirably, lived up to this.
— From A Peterson Dating Guide: A Rule of Thumb, by Mike Leverette

INTRODUCTION

The restoration this blog recounts has nothing to do with Peterson’s pipes.  Still, the litany of near fabled proportions in pipe lore, that Charles Peterson and the Brothers Kapp, Friedrich and Heinrich, experienced a mutual epiphany of good will toward all, even the less fortunate commoners, still rings forth in perfect, ever-flowing three-part harmony.  The more probable truth, after all – that the good men of K&P had a capital brainstorm in the form of a simple but revolutionary merchandising notion to market early designs of Peterson’s System pipes starting sometime in the last quarter of the 19th century – lacks a certain universal, perpetual attraction, as it were.

Now, I should at least attempt mitigation of the foregoing critique I ’am sure will be perceived by some as an unwarranted attack on one of the last bastions of master pipe craftsmanship, as some readers may misinterpret the kind of remarks I’m prone to make after I’ve spent a good deal of time thinking a matter through.  No kind of disrespect on my part for Peterson of Dublin could be farther from the truth.  One fellow on the Smokers Forums UK who had never met me other than a few cursory cyber comments back and forth once made me the butt of a snarky but harmless jab after I posted a brief description of my restoration of a nice though common System Pipe that I decided to offer for sale given the number of finer samples in my collection.  So far, I’ve bought about 33 Petes I kept, not counting those I passed on to others with the gleam of love in their eyes I know so well.  As I recall the unhappy SF member’s words in typed reply, they were: “Wonders never cease!  I didn’t think I’d live to see the day you would say you could have enough Petersons!”  The member in question warmed up quite a bit after I began flooding his posts with compliments, and they were even genuine.

The real mystery of this blog is the single mark of nomenclature on the entire pipe, even counting the original black Vulcanite/Ebonite bit of the style called “fancy,” but which proved to be broken beyond my time and patience if not ability to repair.  Even the relative ease of the kind of work needed by the likes of Steve to mend a gap in the upper lip of the mouthpiece as gaping as that shown below requires, as our host notes in the blog cited under Sources, much practice.  Also – and this is an important factor, not an excuse – I intend to sell the pipe, not keep it for the shop, and at times have different standards for the two choices.See the date and time stamps?  I worked on the infernal bit from then until a couple of weeks ago before settling on the better part of valor.  As can be seen from the stummel, the pipe is called, with somewhat disingenuous simplicity and similarity to the well-known The Everyman London Pipe by Comoy’s of London (with all of that and more stamping packed onto even the sandblasted versions of the latter).  From the beginning, when I acquired the bedraggled waif in an estate lot at least two years ago and sat on it until late September last year, I had one of those uneasy feelings in my stomach at the mere idea of committing myself in print to the conclusion that it was in fact somehow part of the Comoy’s brood.

Before I snapped my habitual first seven shots of the pipe as it presented in O.R.  with more worthy candidates ahead of it in triage, I began my online search that only further clogged the veritable obstruction in my intestines.  Having made some genuinely heroic efforts on real Everyman and Guildhall London Pipes in my limited time learning this wonderful tradecraft, in the combined senses of the words as well as the more clandestine meaning of the singular, I knew just what to expect from Pipephil and Pipedia but visited both once again anyway.  Variations on this theme continued off and on during the interim period until a few days ago when I took the

Google approach of “I’m feeling lucky” and again entered the terms “Everyman Pipes.”  I swear I typed the same simplest of many search terms I had tried for two years, but this time, in one of those inexplicable flashes of serendipity, the top listing was for P&K Everyman Pipes at JR Cigar!

Growing breathless, I clicked on the link and saw, more or less, my pipe in two other shapes but with the same distinctive fancy bits and rugged vertical striations around the bowls, and both were straight.  One was a billiard, the other a pot, and both, marked down $10, were still, to me, listed at an outrageous $31.95.  Despite all that, I was quite pleased with myself to read the blurb at the top of the page:

“A true example of eye-catching yet economical handcrafted tobacco pipes, the P&K Everyman selection by the famed Comoy’s of London promises a premium pipe-smoking experience at prices that can’t be beat.”

 I scanned further down the search result page, spotting a listing for the same pipe brand at Santa Clara Cigar, possessed of a remarkable resemblance to JR but with the Comoy’s blurb, ahem, omitted.  Nevertheless, at the fourth of five shapes down, there was my pipe, the P&K Straight Rustic #9, a Dublin.  Better later than never, the idea of looking up P&K Everyman pipe images occurred to me and at the top I saw the following, being the perfect factory image of my pipe.

OK, then.  As supremely pleased with myself as I was at this morsel of intel, even if some faiths that consider pride a sin could be right, I am not now nor have I ever been a member of the Nitwit Party, whose followers believe everything they read on the Internet or hear on TV is the truth.  There are many reasons for my worldview, not the least of which being my years as a newspaper journalist and photographer, as opposed to a photojournalist.  I sold my first news article when I was 15, and when I was 17 became credentialed by the Los Angeles County Sheriff’s Office as an official police and justice beat reporter for a community paper.  My publisher, editor and I tried the year before, and although there was no real age clause at the time (1978), the powers-that-were in the L.A.S.O. were too – well – pig-headed to relent until I gave everyone in the issuing bureau a major headache re-applying on the first of every month.

I try, no joke, not to pester Steve with questions to which I can find or – OMG! – figure out on my own using the brain that was between my ears at birth and, operating best on the right side of it, form a working plan to press on.  One of my best qualities is the willingness to admit at once when I am wrong, which in fact is a very good thing because I have had much more experience with that than, say, repairing bits with outlandish holes gnawed through them by people with Intermittent Explosive Disorder or tardive dyskinesia.  And no, I’m not making fun of people with disabilities, in particular schizophrenics, who seem to have been drawn to me all of my life, other than most of those in my family for some reason.  It’s sort of Cole Seer’s dramatic need in The Sixth Sense, having to be like a shrink to dead people. At any rate, Steve is one of the busiest, most productive persons I know, traveling the world almost non-stop, it seems at times,  doing good works while never letting on that his constant other full-time “job” writing and publishing mostly his own pipe restoration adventures and posting those of other contributors online.  All of this last part is by way of a drum roll of sorts.

You see, had I not called and left a brief message on Steve’s phone before emailing him more than the full details, as par for the course, I never would have received back the following concise words of wisdom as to the possibilities of who really made the Everyman Rustic Dublin on which I’m so very close now to describing all of the work I did!  Yes, I am!  Steve’s reply, in pertinent part, read:

I got your message when I got home late last evening and then read the email this morning.  I have not heard of the P&K brand and Everyman pipe does not at all look English to me. I am wondering if it could  possibly be from one of two original makers.

1. Alpha pipes Israel made for the cigar shop – the finish, style of the bowl and the stem make it look very much like many Alpha Israel pipes ) pre-Grabow ownership.

2. Lorenzo pipes Italy as they made many basket pipes for different shops.

That is as much as I would hazard to guess.

If I’ve ever needed Steve’s direction in research for a restore, this was it!  There is no way I would have reached those conclusions with such apparent ease and speed, in fact not ever, no how, no way, because I just don’t have his experience.  I mean, if there were a way I could get him to donate me a spare kidney or maybe his spleen so I could, like, grow all of his knowledge, why, I’d lie down on the table and do it in a heartbeat.  For now I guess I just need to get busy buying up and devouring and going back to again and again all of the great reference books out there, such as Who Made That Pipe?  The bottom line here is that Steve’s tip came back so fast my head spun like Linda Blair’s in The Exorcist, not to overdo the whole movie thing.

All I had to do was figure out how to look up the Lorenzo and Alpha possibilities, which I knew I could manage, and I did a few minutes after reading Steve’s email.  The funniest place the Lorenzo idea led me was to some images of my own restoration of a gigantic Spitfire by Lorenzo Mille I restored and blogged just before Hallowe’en 2014.  The money card turned out to be with the pre-DrG Alphas made in Israel.  I found the following oddly familiar-appearing Burl Briar Freehand Pipes on eBay, complete with the same fancy bits curved just so.

Case closed.

RESTORATION

The bit aside, the only real problem with the pipe, and it was a real problem to be sure, was the rim.  Char and even the worst blistering from a close call with full-blown combustion, which so far I’ve had the opportunity to witness only with homemade corncobs, have often occasioned rise to heated anger but never cold feet.  (I – tender my apologies for all three puns.)  My mother for many years rose in the nursing world and enriched my vocabulary with terms the likes of crispy critter, with all of their brio, and sometimes spread cat cadavers across the dining room table, both extenders in place, on a single large thermo scientific wrap-around cover.  Thus I looked at the “easy” heat damage and the acute and problematic jagged rim edge and unequal width of the bowl’s peak with a logical, methodical approach that began to form.

I expect to blog my restores with the methods fresh in my mind.  There are even some of the jobs I hold special from the past few years that I’m sure I’ll never forget a single detail.  Not to suggest this was common or insignificant, but after nine months I can’t remember the specifics of how I accomplished the result of the first shot below.  The chamber had to be reamed, and when I do that I always follow up with 150-, 220- and 320-grit paper, so that’s a given.  I’m guessing I started with micro mesh on the rim just for the sake of trying and found it ineffective.  Then I would have turned to sandpaper and chosen 220 with the same rationale as the micro mesh but opted for 180 with the usual progression up to 400 before starting in on micro mesh and stopping when I realized I would have to solve the other obvious problems with more drastic steps.  Here are the results I just described, and after the drastic measure of a file.Healing the wounds of a procedure I consider radical enough that I have only used it less than the number of fingers I have on a hand (or, rather, considering the thumb is not technically a finger, the same number), in fact is not all that difficult in most cases, and seeing the result of the steps is always a great pleasure.  I used 180-, 220-, 320- and 400-grit paper, and then 1500-12000 micromesh on the rim.Then, I began the rest of the outer stummel.  Starting with super fine “0000” steel wool to lighten the color of the wood and easily get between the grooves, I switched to the full micro mesh.It was time for the retort.  As always, I was glad I did it, because this little stummel was filthy!  I have done as many as six retorts on a single pipe, and this one “only” needed three, all of them clearer.  I had no bit to connect to the shank and therefore had to stretch the rubber connector over the opening.  I show only the first round below.  I also followed the final retort with three cleaners dipped in alcohol alternated with three dry, all of which came out clean.Applying alcohol-based leather stain and flaming it is always fun, and I used Fiebings Medium Brown on all but the rim to leave a definite two-tone.  When it cooled, I wiped away the char and a little extra darkness with 8000 micro mesh. I hand-rubbed a sparing amount of Halcyon II Wax into the wood and crevices of the rusticated pipe for which it is made, not to be frugal but because a little goes a long way.  In most cases, I let it dry or set or whatever as much as it can, in general 20 minutes or so but sometimes a considerable time longer, and wiped the excess off with a soft cotton rag while rubbing more into the pores of the wood.  Other times, I let the setting process go on for a considerable time longer, but not often.  I was then almost finished with the long project and was more than prepared to accomplish the final main task,  filled with joy to tackle (thinking of football) the key part of the  experience: fitting one of two fancy Lucite stems, an orange and a yellow, that arrived in the mail – eight months after I finished the stummel.  In case anyone wondered at my persnickety comments regarding the amount of time I spent on a certain bit of work trying to repair a part of the original Everyman that I will now leave unnamed, in my own way, that’s why.

I went with the golden bit to the right.  As a point of interest, the popular online site where I bought a total of three bits in one order listed these two as gold, but the system is a touch odd, to me at least, and also the viewing system for the product you in fact get wasn’t working that day for all items, including the yellow bit.  But I can use it, and it was inexpensive!  Having none of the finer and more expensive equipment for tenon cutting, I hand-sanded the shank insert end down to where it had a nice, tentative fit for the time being.  That task took another day.  Making use /of another of Steve’s blogs, on bending stems, I chose the oven method because it had worked so well on several occasions in the past with Vulcanite.  BTW, I doubt the Lucite was the problem.  I always take a look in the mirror before pointing a finger lest I see three others pointed right back at me.  I say, go figure!  After that mishap, I switched to the boiling water method that worked better but I’m sure was spoiled by already having baked the bit. I repeated the boiling method and achieved the desired bend.  Halcyon II was is meant to be used in place of regular buffing wheel waxes and compounds, but I wanted a slightly brighter finish, and so I ended with spins of Red Tripoli and carnauba.

CONCLUSION

Even regardless of its look, and by that I mean nothing rude, the likelihood of this pipe being of British make – lacking any indication of such origin, whether the city or country of manufacture, a line name, or the often top secret coded markings of which our friends across the Pond are so fond – is so paltry as to end any further debate lacking official admissible documentary evidence.  WikiLeaks might suffice, in particular if the disseminator were to flee his country or be arrested or renditioned or still more conclusively, become the subject of cover page stories of the world’s tabloid toilet wipes.  On the other hand, and here I am not being facetious, if my already stated conclusion that the simple but honorable Everyman is a blast from the past of the pre-Dr. Grabow Alpha days of Israel, made by the Shalom Pipe Factory, and I am in fact wrong, I would as always appreciate input from any authorities or scholars among us.

SOURCES

https://www.jrcigars.com/brand/pipes-accessories/p-k-everyman-pipes

https://www.santaclaracigars.com/brand/pipes-accessories/p-k-everyman-pipes

https://rebornpipes.com/2015/07/18/bringing-new-life-to-a-gift-pipe-a-gasparini-mgm-elegante-brandy/comment-page-1/#comment-21243

https://pipedia.org/wiki/Stanwell_Shape_Numbers_and_Designers

http://www.ebay.com/itm/ALPHA-Burl-Briar-Freehand-Estate-Tobacco-Pipe-Made-In-Israel/332252221412?_trksid=p2047675.c100011.m1850&_trkparms=aid%3D222007%26algo%3DSIC.MBE%26ao%3D1%26asc%3D41376%26meid%3D0c2217f15e5f4850ad0061cb84cc5850%26pid%3D100011%26rk%3D1%26rkt%3D12%26sd%3D121269666970

http://www.ebay.com/itm/Vintage-Shalom-Select-Imported-Tobacco-Pipe-Vintage-smoking/322513288986?_trksid=p2047675.c100011.m1850&_trkparms=aid%3D222007%26algo%3DSIC.MBE%26ao%3D1%26asc%3D41376%26meid%3D0c2217f15e5f4850ad0061cb84cc5850%26pid%3D100011%26rk%3D5%26rkt%3D12%26sd%3D121269666970\

https://rebornpipes.com/2012/07/15/bending-vulcanite-stems/

 

Jen’s Trove No. 2–Perhaps a LHS London Royal Full Bent Billiard – Oom Paul

1 Reply

Blog by Dal Stanton

I don’t usually begin a blog with an addendum, but just before I sent this to Steve to publish on Reborn Pipes, I sent a picture of this pipe along with a few other pipes with the question, “Oom Paul or Full Bent Billiards?”  Here are the two pictures I sent – the first, Jen’s #2, and two others: This is the fun part of learning the fine art of pipe shape identification!  I was identifying the third pipe, (far right) as definitely an Oom Paul – mainly by the way the shank and bowl merge vertically and then the shank/stem breaks away but stays real tight in a full bend.  The other two, have more of a ¾ bend, but they also have more of a merge between shank and bowl creeping upwardly.  I called the 2 on the left, full-bent Billiards for that reason.  I loved Steve’s response:

Dal

To me they are all variations on an Oom Paul Shape which is actually a full bent billiard. LOL! The joys of identifying shapes.

Steve

So, with addendum completed, Jen pulled this very nice Full Bent Billiard, (Oom Paul!) out of the ‘Help Me!’ basket and added it to the trove she has asked me to restore for her.  She will be transitioning back to the US at the end of the summer and she will be packing several of The Pipe Steward’s restorations to give as gifts to the special men in her family.  I’m happy to oblige!  Jen’s purchases will benefit the Daughters of Bulgaria, and bring much joy to her family!  I found this pipe on eBay as one in a lot of 13 pipes – I acquired some interesting pipes that await restoration in the basket!  The pictures I saw from the seller in Nevada included Jen’s Oom Paul – at 8 o’clock below and then a closer view following. The seller’s attempt to identify the Oom Paul were helpful and set me on the path:

Unknown – Markings appear to be rubbed out from handling. I think I see the word “London” followed by some indiscernible word.

On my work desk in Sofia, Bulgaria, I take some additional pictures to fill in the gaps. Looking at two pictures above and the nomenclature on the left side of the shank, I tend to agree with the seller that the first word appears to be London in a cursive-type script with a flared line underneath.  The second word appears to start with a “P” also in a script with a flare line underneath. To see if I can make a possible identification with a pipe name starting with “London P…” I go to Wilczak & Colwell’s “Who Made That Pipe?” and I find some Comoy contenders – “London Pipe” and “London Pride”.  Neither of these candidates seem likely because the corresponding Comoy stem mark, “C” was absent.  Yet, the pipe could have a replacement stem, but not likely.  I then go to Pipephil.eu and simply search anything starting with “London”.  What I found was very interesting and possibly a match.  The clipping from Pipephil below shows the ‘London Royal’ nomenclature – looking at my specimen, what I thought was a “P” very likely is an “R”.  The flare lines underneath is a convincing indicator as well.  Also matching was the right side “Imported Briar”.  Again, missing is any stem marking – a hat in the specimen below.

While I cannot be 100% sure in the identification, “London Royal” may indeed be on target.  Pipedia gives a short description of the LHS company:

Ludwig Stern, a successful pipe manufacturer since 1893 and closing around 1960, reorganized his company along with his brother Hugo Stern, opening a factory in 1911. They named the company L&H Stern Smoking Pipes & Holders. The newly formed company was moved into a six-story building on the corner of Pearl and Waters street Brooklyn, NY.

The American company produced such pipe names as Sterncrest, Purex, Silvercrest, Barrister, Marwyn, Park Lane, Radmanol and Warwick.

Whether (or not) the Oom Paul (Billiard) before me is a LHS London Royal, it is a very attractive pipe with quality grain movement.  Overall, it is in good shape and I’m hoping an easier than normal clean-up and recommissioning.  There are a few nicks on the rim and some fills that need attention.  The chamber has very mild cake.  The stem bit shows some tooth chatter and no oxidation that I can see.  I begin the restoration of this possible, LHS London Royal by reaming the chamber bringing it to the briar for a fresh start.  I also plop the stem into the Oxi-Clean bath even though there is no visible oxidation.   Starting with the smallest, I use 2 of the 4 blades available in the Pipnet Reaming Kit.  I follow with the Savinelli Pipe Knife to fine tune the ream then sand the chamber using 240 grit paper.  I then wipe the bowl with a cotton pad wetted with isopropyl 95% to remove carbon dust.  The pictures show the progress. Turning now to the internals, I use cotton swabs and pipe cleaners wetted with isopropyl 95% to clean.  I discover the internals are pretty gummed up.  With the hour becoming late I decide to use the stealth method of cleaning.  I use kosher salt and alcohol to soak in the chamber overnight.  I first twist a cotton ball to form a wick to stuff down the mortise to draw out the oils and tars from the briar.  I then fill the bowl with salt and after placing my palm over the top give it a shake to displace the salt.  Then I carefully fill the chamber with the alcohol until it surfaces over the kosher salt.  I put it aside and turn the lights off.  The pictures show the cleaning process.Turning to the stem the next day, I remove it from the Oxi-Clean bath and even though it is minimal, the bath has successfully ‘raised’ oxidation to the surface.  Using 600 grit paper, I wet sand the stem.  Following this, I utilize 0000 steel wool to remove more and begin the polishing of the stem.  I still detect some tooth chatter especially on the lower bit and a small compression dent on the upper.  I use the heating method to raise the chatter by passing the end of the stem carefully over a lit candle.  The vulcanite when heated like this will naturally expand and seek its original place.  The heating helps, but I still need to do some sanding in the upper and lower button area using 240 grit paper.  Using a flat needle file, I use the opportunity to sharpen the upper and lower button lips. Following the 240 grit paper, I use 600 grit to further smooth and polish then conclude with 0000 steel wool.  The pictures show the progress. The stummel has been in a kosher salt/alcohol soak through the night.  Kosher salt is used because, unlike iodized salt, it does not leave an after-taste.  I remove the wick from the shank and it has done its job of pulling oils and tars out of the stummel.  I toss the used salt in the waste and clean the bowl with paper towel and a long-bristled brush.  I also use a brush reaching into the mortise to remove residue salt.  I follow by continuing use of cotton swabs dipped in alcohol and pipe cleaners to finish up the internal clean-up.  The pictures show the progress.With the stummel internals cleaned, I turn to the internals of the stem.  Using pipe cleaners dipped in isopropyl 95% I attack. It did not take long because the pipe cleaners emerged clean.With the internals clean, I now turn to the stummel surface.  I use Murphy’s Soap and cotton pads to clean the stummel surface. As advertised, Murphy’s does a great job cleaning the oils and grime that build up on the surface. After scrubbing, I rinse the excess off using tap water careful to keep water out of the internals. The cleaning reveals two fills on the surface which appear to be solid after I probe them with a sharp dental tool.  The rim has a scorch mark over the 10 o’clock area in the picture below.  There are also scuff marks at the 6 and 8 o’clock areas.  The pictures show what I see.I decide to do a light topping using 240 grit paper on a chopping board.  I don’t need to take off much – only enough to remove the scuffing and surface part of the scorching.  I will make an internal rim bevel which will remove damage along the inner rim edge.  It is a little tricky, because the shank extends beyond the height of the stummel top.  I do the topping on the edge of the board as a result.  After rotating the stummel on the topping board, periodically checking to make sure I’m staying true, I switch to 600 grade paper to smooth the top further.  Using a coarse 120 grit paper, I cut an internal rim bevel to remove damage as well as soften the rim lines.  I follow with 240 grit paper.  On the outside rim edge, I give it a light bevel with 240 followed by 600 paper – again, removing the left-over nicks as well as softening the lines of the rim.  I think bevels add a touch of class to a rim.  The pictures show the rim progress. With the rim repair complete, I move straightaway to the stummel surface.  I’m anxious to see how the briar grain emerges during the micromesh pad process.  I’m careful to stay away from the almost non-existent ‘London Royal’ nomenclature on the sides of the stummel.  I want to preserve what I can. Using micromesh pads 1500 to 2400 I wet sand.  I follow wet sanding by dry sanding with micromesh pads 3200 to 4000 and then finishing with 6000 to 12000.   As hoped and expected, the pictures show the grain emerge.  As I look at the grain, I’m beginning to think that this stummel is a candidate to remain as the natural grain color and not to stain.  There are a few fills that I darken and blend with stain sticks.  It looks good!  I think Jen will like how this Full Bent Billiard (aka Oom Paul) is coming along.  I’ll finish the stem before making the final decision about whether to apply a stain.  Turning now to the stem, I wet sand using micromesh pads 1500 to 2400 then dry sanding using pads 3200 to 4000 then 6000 to 12000.  After each set of 3 micromesh pads, I apply a coat of Obsidian Oil to the thirsty vulcanite stem.  This oil revitalizes the vulcanite.  I love the vulcanite ‘pop’ as the pads do their magic! Moment of decision.  I reassemble stummel and stem to get a look at the big picture.  The possible LHS London Royal Oom Paul is without doubt a handful of pipe.  The grain presents bird’s eye on both sides of the stummel with lateral straight grain in the front and on the shank top and bottom.  A very nice feel to it as well, as I hold it and balance it in my palm.  The rim looks great too with soft beveled lines.  Decision point – do I leave the stummel the natural grain color or do I stain it?  If I stain it, I will use a light brown hue simply to tie together what is already there.  The original appeared to have been leveraged toward the lighter hue as well.  With some input from my wife, who has more color coordination DNA in her gene pool, I decide to stay with the original, natural, saddle, leathery color – leaving it just as it is. With that decision made, I fine tune and bring out the natural finish by using Tripoli compound which applies a fine abrasion, then Blue Diamond compound – more abrasion but finer than Tripoli.  I use a cotton cloth wheel with the Tripoli compound (not my usual felt wheel) because I’m not cutting through the fired crust of a stained stummel.  After mounting the buffing wheel on the Dremel, I set the speed at 2 of 5 (fastest) and purge the wheel to clean it from old compound. I apply the compound over the stummel, rotating the wheel over the surface, not apply a great deal of downward pressure.  I let the compound and the RPMs do the work.  After completing the Tripoli cycle, I attach the Blue Diamond compound cotton cloth buffing wheel, reattach the stem and stummel, and give both the Blue Diamond buffing using the same approach as with Tripoli.  When completed, I hand buff the pipe with a felt cloth to remove the compound dust preparing for the wax.  Then, switching to the carnauba wax cotton cloth wheel, also with Dremel set at speed 2, I apply several coats of carnauba wax to stem and stummel. During the carnauba wax application, I notice that the stem has loosened during the process.  I use a technique of expanding the tenon a bit so that it gains more purchase in the shank from Charles Lemon’s blog site, Dad’s Pipes.  The procedure usually uses a drill bit, where, after gently heating the tenon, a next larger drill bit is inserted into the supple tenon expanding it microscopically.  Instead of a drill bit, I find that a Dremel shaping tool sized up a little better than the drill bit.  After heating the tenon, the shaping tool eased into the tenon.  It did the trick giving the tenon a better fit in the mortise.  The pictures show this procedure.With the tenon now a bit snugger, I complete the application of the carnauba wax. After the carnauba cycles, I mount a clean cotton buffing wheel on the Dremel and do a ‘clean’ buff over the entire pipe.  I do this to assure that no pockets of wax are left on the surface and to raise the shine.  After this, I hand buff the pipe using a micromesh cloth to deepen and raise the shine of the briar grain more.

This possible LHS London Royal Full Bent Billiard, Oom Paul has turned out very well.  I think that whichever of Jen’s family of men receives this pipe, he will enjoy it for many years to come as its new steward.  As I said earlier, the profits of this pipe benefit the work we do here in Bulgaria with women who have been sexually exploited and trafficked, the Daughters of Bulgaria.  Check out my blog, The Pipe Steward, for more information about this.  Thanks for joining me!