Tag Archives: fitting a stem

An Unbelievable Find – An Unsmoked Tiny Horn Stem WDC Bent Billiard


Blog by Steve Laug

Jeff picked this one up in an antique shop somewhere along his travels. He is getting as bad as me in not being able to drive by an antique mall or shop without pulling over and having a quick look. We both have very patient wives that humour us with our obsession. He found this little beauty on one of those stops. It is a small pipe – 4 inches long and 2 inches tall. The bowl diameter is 1 1/8 inches and the chamber diameter is ¾ inches. For such a petite pipe the bowl is almost standard size and would hold a full bowl of tobacco. This pipe came from the age of putting the pipe in the pocket when you went to the opera or a show. It would hardly show whatever the pocket you slipped it into.What makes this pipe remarkable to me is that it is unsmoked. There has never been a bowl of tobacco lit and smoked in this old timer. I believe it is an early 1900’s era pipe or possibly earlier. It has a horn stem that is turned which is also unusual. I typically see straight or bent tapered horn stems. I don’t remember the last fancy turned horn stem I have seen. The pipe bears the WCD triangle logo on the left shank and a matching logo on the ferrule. There are a few small fills in the bowl and some issues on the inside that I will speak about when I get to the photos of the bowl and rim. Nonetheless this is a rare find – a pipe that is probably at least 100 years old that has not been smoked. It is new old stock with an emphasis on the old. Jeff took the above photo and the ones that follow when he brought it home from the trip. The finish was a little shop dirty from years of sitting on display. The rim was clean but had some grime in the finish. The issue I referred to above can be seen in the first photo below. There was a large fissure in the right side of the bowl from the rim downward into the bowl for about ¼ inch. It was clean and there was no burn thanks to the unsmoked condition. If the pipe is going to be used for its intended purpose then this will need to be repaired. The inner edge of the bowl is also nicked around the area above the flaw. It makes the inner edge out of round. Though the pipe is new and unsmoked it is dirty with the kind of dust and grime that comes from sitting for a long time on display. The next photos show the grain with the grime and also show the tarnished ferrule and the clear stamping on the shank. The ferrule has been turned as there is a WDC triangle logo on it as well. The next four photos give a closeup picture of the shank/stem fit and the WDC triangle on the ferrule. The turned horn stem really is beautiful under the dust and debris of time. The stem has the old style button with the orific opening on the end. The button is more rounded that new buttons and the round opening at the end is very different from the newer slot opening. Jeff took a photo of the pipe with the stem removed. The threaded bone tenon looks clean and new. This is yet more proof of an unsmoked pipe.The horn stem showed damage from the shuffling around. There were small scratches and nicks in the top side and underside on the flat portion of the stem. There were also small nicks on the some of the edges of the turned area of the stem. These were normal marks of wear and tear and really nothing too big to deal with. Jeff cleaned the exterior of the pipe with some Murphy’s Oil Soap and a tooth brush and rinsed it off under running water. He dried it off with a soft cloth and the grime on the finish was gone. He ran pipe cleaners and alcohol through the mortise and the airway in the shank and stem to remove dust and debris that had collected there and he packed it up and sent it my way for the touch up work. I took photos of the pipe when I unwrapped on my worktable. It is an intriguing little pipe that draws attention, that is for certain. He also turned the loose band so that it lined up properly with the stamping on the shank side. You can see from the photos that the stem is slightly underclocked and will need to be aligned. The next two photos show the damage to the bowl wall and rim edge.The stem had some small nicks that a bit of amber super glue would easily take care of.The ferrule was loose and it took nothing to have it drop off in my hands when I turned the stem out of the shank. The briar underneath looked as if it had never had glue on it. It made me wonder if the band had just been held in place originally by pressure fit and over time the wood shrunk as it dried and the band came free of the shank.To address the flaw in the briar on the right inside of the bowl I mixed some briar dust and clear super glue and filled in the flaw. As the patch dried it shrunk and I refilled it until it was even with the rest of the surround bowl walls. While the glue dried on the repair I put some white glue around the shank, aligned the ferrule and put it in place. Thus while the repair dried the band could also dry. Once the repair in the bowl dried I sanded it smooth with 220 grit sandpaper. I reshaped the inner edge of the bowl with the sandpaper as well and cleaned up the nicks in the edge. I chose not to bevel the rim as it had not been beveled previously. The bone tenons can swell over the years making the fit and alignment less than perfect. I have learned a few tricks over time with over and under turned stems with bone tenons. If the stem is over turned I generally build up the threads on the bone tenon with super glue until thing align properly. If it is under turned like this stem I remove material from the tenon. I carefully sanded the threaded area to reduce the diameter slightly. I checked the fit often and once I had it finish I cleaned up the tenon and put the stem aside. I filled in the nicks on the surface of the stem and near the button with clear super glue. The amber would have dried dark on this light horn. When the repair dried I sanded it smooth with 220 grit sandpaper. I sanded the nicks on the turned areas with 220 grit sandpaper to smooth them out and make them less obvious. I polished the horn stem with micromesh sanding pads – wet sanding it with 1500-2400 grit pads and dry sanding it with 3200-12000 grit pads. I rubbed the stem down with Obsidian Oil after sanding with each micromesh pad. After the final pad I set the stem aside to let it dry. I polished the metal ferrule with micromesh sanding pads to remove the tarnish on the metal. There was a small crack in the underside of the ferrule that I repaired when I glued it onto the shank. I finished with the 12000 grit pad and then rubbed the stem down with a jeweler’s cloth to polish the metal. The silver is a nice contrast between the brown of the bowl and the translucence of the horn.I buffed the pipe and stem with Blue Diamond on the buffing wheel and worked carefully around the band. I gave the bowl and stem multiple coats of carnauba wax. I buffed it with a clean buffing pad to polish the wax and give the pipe a shine. I hand buffed it with a microfiber cloth to deepen the shine. The wax made the grain stand out clearly and the two fills along the front and the back right edge of the bowl running with the grain. They are visible but they do not detract from the beauty of this old unsmoked William Demuth & Company pipe. It is an interesting piece of pipe history and I can only wish it could tell the story of its journey across the United States and now into Canada. Thanks for looking.

 

Breathing life into a Superior Real Briar Bulldog


Blog by Steve Laug

This older C.P.F. style bulldog with an ornate rim cap and shank end cap was another pipe that my brother and I found in our pipe hunt in Montana. That hunt yielded a lot of older C.P.F. and WDC pipes from between the late 1890s and the early 1900s. This one is certainly from that time period. The briar is very worn and the finish is gone. The metal rim cap and shank cap or ferrule are brass coloured but blackened with oxidation. The top of the rim is thickly caked with the lava overflow from the heavy cake in the bowl itself. The stem is either Redmanol or Bakelite and has some cracking near the shank/stem junction but nothing that affects the fit of the stem to the shank. There is some tooth chatter and tooth marks near the button on the top and underside of the stem. My brother took the photos that follow before he did his clean up.The pipe has some faint stamping on the left side of the shank. The photo below shows the condition of the stamping. It clearly reads SUPERIOR in a diamond. There seems to be other stamping that is faint underneath SUPERIOR in the diamond but I am unable to read it. On the outside of the diamond there is stamping on either side. It is faint but to the left under the edge of the diamond is faint stamping Real and under the right edge of the diamond it reads Briar. There appears to be something underneath the diamond going across the shank but it is not clear enough for me to be able to read.The next two photos show the pipe from two different angles to give an idea of what the pipe looked like in its entirety. There is some real promise with this old pipe.The rings around the cap on the bowl are in excellent condition. There is some debris lodged in them but there are no chips or cracks in the ring. The finish on the briar is spotty with small remnants of the original finish in place. The grain on the pipe is quite nice underneath the grime. The bowl has a thick cake in it and the lava has flowed over on top of the rim top. The metal rim top is blackened and has a thick cake of lava on it. It is hard to know what the inner edge of the rim will look like at this point because of the cake in the bowl. The carvings/castings in the metal rim cap and the shank end are dirty and have a lot of grime built up in the grooves and crannies. The Bakelite/Redmanol stem had tooth marks and chatter on both sides of the stem from the button forward about an inch. There were some small cracks in the shank end of the stem that would need to be addressed in the repair.Jeff did an amazing job of reaming out the bowl on this one and revealed that the metal cap was folded over and lined the inner edge of the rim thus protecting the rim from damage. He was able to ream the bowl back to bare briar without damaging this inner rim edge. He cleaned out the internals of the pipe with pipe cleaners, cotton swabs and alcohol until they were clean. He scrubbed the exterior of the bowl and the metal with a tooth brush and Murphy’s Oil Soap. This removed the grime in the nooks and crannies of the metal work and also cleaned the briar. He was careful around the already damaged stamping so as not to damage it further. When the pipe arrived in Canada it was clean and ready for restoration. I took photos of the pipe before I began my work to show what it looked like cleaned and ready for me. I love working on clean pipes! He was able to get all of the buildup off the rim cap but the surface was pitted and worn from all of the years of grime sitting on the brass. The bowl looked really good and the brass folded over the inside edge was darkened but undamaged.The stem was cleaned of the tars that were on the inside of the airways. The photos show the cracking at the shank end near the band. While the cracks were not rough to touch they were present. There were also many tiny little spidering cracks on the inside of the airway.I polished the metal rim cap and inner edge with micromesh sanding pads, wet sanding it with 1500-2400 grit pads. I was able to remove much of the pitting and scratching on the surface and the blackening of the inner edge of the cap. I dry sanded it with 3200-12000 grit pads to further polish the cap and edge.I laid the bowl aside for the time being and turned my attention to the stem repairs. I cleaned the surface of the stem around the largest and roughest feeling crack with a water dampened cotton pad. I sanded it with 1500 micromesh and wiped it another time to remove the sanding residue. I filled in the cracked surface with clear super glue and let it cure. When it dried I sanded it smooth with 220 grit sandpaper and also sanded the tooth marks and chatter on both sides of the stem at the button.I cleaned out the interior of the stem with pipe cleaners and water to remove more of the debris from the airway.I polished the stem with micromesh sanding pads – wet sanding it with 1500-2400 grit pads and dry sanding it with 3200-12000 grit pads. I rubbed the stem down with Obsidian Oil after sanding with each micromesh sanding pad, gave it a final coat of oil and set it aside to dry. I turned back to the bowl to finish my work on it. I wiped the briar down with a cotton pad and alcohol being careful around the faint stamping on the shank. I was hoping that when it was wet it would be more readable. Sadly it was not. The SUPERIOR stamp was all that I could read. The briar has some nice grain. I decided to leave the nicks and scratches alone as they were well earned character marks on this 100+ year old pipe. I really like the look of the raw briar on this one so I decided to rub it down with olive oil to make the grain stand out and give the briar some life. The next photos show the grain on the oiled bowl. It looks really good to my eye. I gave the bowl a coat of Conservator’s Wax to protect the briar and when the wax dried I buffed it with a flannel cloth to give it a shine. I put the stem back on the shank and in doing so remembered that it was slightly overturned. The lines of the shank and the diamond stem did not align. I have found that on these old bone tenon and threaded mortises that they wear down slightly over time. A little trick I use to address the wear is to paint the tenon with a thin coat of clear fingernail polish that I swiped from my daughters years ago. It dries clear and just one thin coat was enough to align the stem perfectly when I screwed it into the mortise.I lightly buffed the bowl and stem with Blue Diamond on the buffing wheel to remove the tiny scratches that remained on the brass and the briar. I gave the briar portion of the bowl and the stem multiple coats of carnauba wax and polished them with a clean buffing pad to raise the shine. I polished the brass with a jeweler’s cloth and buffed it with a clean buffing pad. I hand buffed the entire pipe with a microfiber cloth to put on the finishing touches. The pipe is shown in the photos below in all of its beauty. I love the look of these older pipes with all of the bling and the Redmanol/Bakelite stems. They really look elegant and show their era well. Thanks for coming with me on this refurb.

 

 

Revitalizing a Distinctive L J Peretti of Boston – Large Full Bent Egg


Blog by Dal Stanton

I’ve grown to like L J Peretti pipes and I guess you could say, that I’ve started collecting them.  Why?  My son gave me my first Peretti for Christmas which I restored by splicing the missing part of the stem by cannibalizing another:  A Christmas Gift in need of a stem splice – L J Peretti Squared Shank Billiard.  It turned out to be a great smoker and I like the stout squared shank.It was my research with this pipe that I discovered the mystique of the Boston-based, L. J. Peretti name and its place in Americana pipe history as the second oldest US Tobacconist started in 1870 (Quoted from Lopes in Pipedia).  The L J Peretti Co. continues to serve patrons today in their Boston shop on 2 ½ Park Square by being one of the few places where one can bring his/her pipe and be guided by experienced tobacconists and test several selections before deciding to purchase!  I was also attracted to the Peretti story because Boston is a cool city – my son lived there and I enjoyed my visits.The next Peretti I serendipitously received was from a colleague working in Ukraine – a square shanked Rhodesian.  He brought it to me when we met last winter in Oslo, Norway, to watch a world-class Biathlon event (skiing and shooting).  He wasn’t utilizing him anymore and asked me if I would.  Yes!  It’s a smaller pipe and good for a shorter smoke.  Suddenly, I had two Perettis of Boston!  Both, strong, squared shanks – I liked them.Then I drank the Peretti Kool Aid.  I bought my own Peretti – well, that’s not the whole truth.  I bought 10 pipes of Peretti in a lot for sale on eBay from a seller located in Everett, Massachusetts, just north of Boston.  I guess you could say that I’m now a Peretti collector!  Of the 10 pictured from the eBay seller below, I chose 4 to add to my personal collection – one of the Oom Paul’s (many to choose from!), the Calabash (top left), the Billiard EX (bottom), and the massive Full Bent Egg in the center of the picture. The remaining Peretti cousins will eventually be restored and put up for adoption in The Pipe Steward Store Front to benefit the Daughters of Bulgaria.  I’m pressing to restore and ready the Peretti Full Bent Egg for service because my wife and I will be returning to the US from Bulgaria for a few months and I was hoping to bring this new Peretti along!  Now on my worktable, on the 10th floor of a former Communist block apartment building, I take some pictures of the L J Peretti Full Bent Egg in the condition he arrived from Everett, Mass. The pipe is generally in good shape.  It shows normal wear and usage.  The briar surface is grimy.  The narrow, cylindrical bowl is laden with cake which needs removal.  The stem is heavily oxidized with tooth chatter and some compressions present.  This L J Peretti has enjoyed a lot of use showing that the former steward enjoyed his company.  The nomenclature is situated on the left-side of the shank and simply reads, ‘LJ PERETTI CO’ and is very worn.  I’ll be careful to preserve it.  There are no other markings that I can tell.  I take a magnifying glass to the left side of the full bent saddle stem to see if there might be a Peretti ‘P’ stamp hiding in the oxidation, but I see no sign.  I’m anxious to recommission this newest of my L J Perretti collection – an extra-large Full Bent Egg.  The first step is to put the full bent stem into the OxiClean bath to raise the serious oxidation on the stem.  I leave it in the bath overnight. Then, using the Pipnet Reaming Kit (minus blade #3 which broke during the last restoration), I attack the cake in the chamber.  I use only the smallest two blades, and the cake easily surrenders.  The carbon cake was crusty – like hard toast, and it comes out readily.  I finetune the reaming with the Savinelli Fitsall Reaming Knife which can reach down the long, deep chamber.  To clean the walls further and to reveal fresh briar for a new start, I wrap 240 grade paper around a Sharpie Pen and sand the chamber.  Finally, I wipe out the chamber with a cotton pad and alcohol – ridding the chamber of the carbon dust resulting from the reaming.  The chamber condition looks good.  The pictures show the progress. Next, I clean the external briar surface.  I do this using undiluted Murphy’s Oil Soap with a cotton pad.  I also employ the use of a brass wire brush to work on the tight rim of the Egg shape as well as my thumb nail to scrape the crusted briar and lava.  Grimy was an understatement.  The stummel was dirty and the rim came clean through the process, but revealed some burn damage to the slender, vulnerable rim.  I’ll need to top the rim gently to remove the scorched, ‘charcoaly’ wood.  The cleaning also reveals a beautiful piece of briar – inspecting the surface I find no fills.  The large Egg bowl shows a lot of grain movement – very nice!  My day is ending and I will let the internals of the stummel clean through the night using a kosher salt/alcohol soak.  I’ve never started with the soak before.  I’ve always worked first on the internals with pipe cleaners, cotton swabs and isopropyl 95% and then followed with a soak.  I’ll do the soak and see how it does.  I fill the chamber with the kosher salt, that does not leave an aftertaste as does the iodized variety.  Then I fashion a cotton wick by stretching and twisting a cotton ball and then stuffing it down the mortise.  Its purpose is to draw the tars and oils out during the soak.  I then fill the chamber with alcohol using a large eye dropper until it surfaces over the salt.  I wait a few minutes and top off the alcohol once more.   Then I set the stummel in an egg cart and turn off the lights. Morning has arrived and I check out the progress with the salt/alcohol soak.  Both the kosher salt and the cotton wick have darkened indicating the nocturnal stealth activities of cleaning.  I remove the expended salt and wipe the chamber with a paper towel and run long-wired bristled brushes in the bowl and through the mortise to remove salt crystals.  I then use pipe cleaners and cotton swabs dipped in isopropyl 95% to clean up the leftover gunk from the soak.  There were additional oils and tars in the mortise – in the moisture trap underneath the airway drilling, but all clean up quickly and well.  I also scrape the mortise walls with dental probes and a pointed needle file to augment the cleaning.  Internals clean!It’s time to take the stem out of the OxiClean bath and clean it up.  The oxidation has surfaced well during the soak and using 600 grit sanding paper I wet sand the stem to remove the top layer of oxidation and tooth damage to the bit.  I follow with 0000 steel wool to reduce the oxidation further and buff up the vulcanite. I now take a closer look at the bit to see what tooth chatter remains.  Using 240 grit paper I sand the areas where tooth dents remain on the top and bottom bit.  There also remains a dent on the lower button lip. At this point I use the heat method to help minimize the dents that remain.  With a lighter, I pass the flame over the bit area and ‘paint’ the vulcanite surface.  I don’t want to ‘cook’ the vulcanite but warm it sufficiently to expand the rubber.  When this happens, the dents seek their original pre-dental positions.  This works very well and the dent on the lower button lip has all but disappeared.  I return to using 240 grit paper, followed by 600 then steel wool and the damaged bit areas look great.  This time around I will not need to use CA glue to repair the dents.With the stem in hand I turn to cleaning the internal airway.  Using only a few pipe cleaners dipped in alcohol and the stem is good to go!Looking now at the scorched rim, I need to remove the charred briar at the 1 to 2 o’clock position on the rim in the picture below.  The Egg shape bowl sets off the rim as the shape tightens as it moves toward the rim.  It creates a very tight look with the top.  The rim appears originally to have been crowned – a gently rounded rim.  I will aim toward restoring the crowned rim.  First, I top the rim very little – it’s not easy as the shank extends further than the plane of the rim so it will not sit on the topping board.  I must hang the shank over the topping board edge to allow the rim to sit flat.  I then gently rotate the stummel in a limited fashion.  I don’t take much off and then switch to 600 grit paper on the board and rotate the stummel more. Now, using 240 grit paper rolled, I sand the inside of the rim creating a beveling effect and removing the remaining damaged briar.  After beveling and cleaning the internal rim lip, I gently bevel the outer lip of the rim.  This is sharpening and restoring a rounding of the tight rim.  I follow using 600 grit paper which smooth the rim more and enhances the crowned effect I want.  The pictures show the results – I like the look of the rim – it enhances the Egg shape.Looking at this large block of briar, the Bird’s Eye grains are wonderfully portrayed in the first 2 pictures below – large landscapes of grain movement – I like that!  From my original Peretti research I emailed the L J Peretti Tobacconist Shop in Boston with a question about where their pipes were manufactured.   Tom was kind enough to respond, saying that over the years they had used many different sources, but most had been produced by Arlington Briars.  I found this about Arlington in Pipedia:

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

Where ever this L J Peretti Full Bent Egg was birthed, the block of briar used was an excellent specimen and it is now showcased in this striking pipe.  I see no fills on this stummel, only minor nicks which is normal for any pipe’s experience.  I use a two grades of light sanding sponges to remove these small imperfections. I continue with the grain’s emergence using micromesh pads.  I begin by wet sanding with pads 1500 to 2400, followed by dry sanding with pads 3200 to 4000, then 6000 to 12000.  There is nothing quite like the natural briar shine that emerges during the micromesh process.  The pictures show the transformation. I will stain the bowl keeping it on the lighter side by using Fiebing’s Light Brown Leather Dye and adding alcohol to it.  I use a 2 to 1 ratio of Light Brown to alcohol.  I first clean the stummel with a cotton pad wetted with alcohol.  I mix the ratio of dye/alcohol in a shot glass and insert a cork into the shank to serve as a handle.  I heat the stummel with a hot air gun to expand the briar better to receive the dye.  After warmed, I use a folded pipe cleaner to apply the dye to the bowl.  After fully covered with dye, I fire the aniline dye using a lit candle.  The alcohol burns off setting the pigment in the grain.  I wait a few minutes then repeat the process.  I then put the stummel aside to rest. With the stummel resting, I turn again to the stem and wet sand it using micromesh pads 1500 to 2400, then dry sanding with pads 3200 to 4000, then 6000 to 12000.  After each cycle, I apply Obsidian Oil to restore vitality to the vulcanite.  The full bent saddle stem was a chore to hang on to and sand with the tight angles, but the stem looks good and has that new vulcanite pop! It is finally time to unwrap the stained and fired stummel to see what we have underneath!  I enjoy this part of the restoration process primarily to see the grain emerge – this large Egg shaped stummel holds great promise.  I mount a felt buffing wheel onto the Dremel and set the speed at the lowest which is 20% of its power.  I apply the more abrasive Tripoli compound to the stummel to do the unwrapping of the crusted shell.  To reach into the crook between the shank and stummel, I switch to an angled felt buffing wheel to remove the wrapper from the hard to reach place. To lighten the stain and to blend the dye, using a cotton pad wetted with alcohol, I wipe the stummel.  This is an advantage of using aniline dyes for staining.  The alcohol wipe clouds the finish but this is normal.  I follow now by mounting a cotton cloth buffing wheel onto the Dremel and set at 40% speed, I apply the less abrasive Blue Diamond compound to buff-sand the stummel, as well as the full bent saddle stem which I remount. After completing the application of Blue Diamond compound on stem and stummel, to remove compound dust before waxing, I buff the pipe with a felt cloth.  Then, I mount a cotton cloth buffing wheel to the Dremel and maintain the speed at 40% and apply several coats of carnauba wax to the Egg shape stummel and full bent saddle stem.  The wax protects the surfaces but it also causes the shine and natural gloss of the briar to shine – I don’t know how to describe the natural beauty of briar when it shines through – and this L J Peretti is making a statement!  After completing the application of carnauba wax I give the pipe a rigorous hand buffing and I’m enjoying the view.This L J Peretti Full Bent Egg is a beautiful example of briar grain coming and going.  The size and the feel of the large Egg stummel in my hand fits like a glove.  The tight, cylindrical bowl’s apex with the thin, crowned rim is classy.  I’m happy to add this Peretti to my Peretti collection and I look forward to trying him out with a bowl of my favorite blend, Lane BC.  The pipes I restore and don’t adopt myself, are put in The Pipe Steward Store Front which benefits our work with the Daughters of Bulgaria, women and girls who have been sexually exploited and trafficked.  Thanks for joining me!

Repairing, Renewing and Rejuvenating a Removable Bowl C.P.F. Pullman Bent Billiard


Blog by Steve Laug

I decided to go back to the older pipes that my brother and I picked up on our virtual pipe hunt in Montana. This old timer was a briar base with a removable bowl pipe. It had a brass separator between the bowl and the base. It had a brass band on the shank and horn stem. It is stamped Pullman in a Germanic Script over C.P.F. in an oval on the left side of the shank. This one is a classic bent billiard shaped pipe but the removable bowl on the briar base is unique. I have had other C.P.F. pipes that had a Bakelite base with a briar bowl but never one with a briar base. It is delicate in terms of size (5 inches long and 1 7/8 inches tall) and feels light weight in hand. Like the other banded pipes in this lot the band on the shank is loose and the same faux hall marks over the C.P.F. oval logo. The finish is very dirty and the rim is damaged around the inner and outer edges of the bowl. The threads on the bowl bottom and the base were worn and the bowl no longer stayed in place. The horn stem is worn and there is tooth chatter on the top and underside of the stem near the button. The stem is underturned in the shank. The photos below show what it looked like before my brother did his clean up on it. If you would like to read about some of the other C.P.F. pipes I have restored I have written about them in individual blogs. They include a C.P.F. French Briar Horn, C.P.F. horn stem bulldog, a C.P.F. French Briar bent billiard, a C.P.F. Remington French Briar military mount billiard and a C.P.F. French Briar Rhodesian. Just a reminder – C.P.F. stands for Colossus Pipe Factory. The pipe was made during the same time period as the other pipes of this brand that I have been working on – the late 1880s and 1890s.Jeff took some close up photos base and the bowl sides and bottom. It shows the crack in the base and the cracked and damaged brass separator plate between the bowl and base. The bowl has a lot of deep nicks and scratches in the outer rim edge and the base has some deep nicks around the crack. The bowl had a thick cake that had run over the top of the rim and formed a thick cake on the rim top. It was rock hard and very thick.The next photos show the faux hallmarks on the ferrule and the C.P.F. oval on the left side of the metal. It was oxidized and worn. The stamping on the shank read Pullman over the C.P.F. oval and both were filled in with gold leaf.Once the bowl was removed from the base you can see the cord that is wrapped around the threads on the bottom of the bowl. The brass separator plate was split and was missing a piece of the folded over portion of the plate. There was a thick cake of tars and oils on the bottom of the bowl and in the base. The threads were worn in the base as well. The ferrule was loose and came off when the stem was removed. The bone tenon was threaded into the shank and was not removable. The stem was underturned and with the grime and build up in the shank as well as the stem it would not align. I had a hunch that the loose ferrule also contributed to that. The dried glue did not allow the ferrule to sit snug and against the end of the shank. The horn stem was in good shape other than the tooth chatter and marks on both the top and underside at the button. When we looked at this pipe during our pipe hunt I wondered if it would even hold together once Jeff had cleaned the briar. The cracked spacer looked delicate as well. I was really curious what it would look like when it arrived in Vancouver. Jeff did his usual regimen of cleaning but proceeded carefully through each step. He reamed bowl with a PipNet Reamer and took the cake back to bare briar. He cleaned up the little remnants of cake with a Savinelli Fitsall Pipe Knife. He scrubbed out the inside of the base and the threads on the bottom of the bowl. He removed all of the cord that had been used to attach the bowl to the base. He cleaned out the internals of the pipe – the airways in the shank, mortise and stem using alcohol, pipe cleaners and cotton swabs. He scrubbed the exterior of the bowl and base with Murphy’s Oil Soap and a tooth brush to remove all of the thick grime. He scrubbed the overflow of lava on the rim top and edges with the soap and tooth brush. He rinsed the pieces under tap water and dried them off with a towel. He scrubbed the exterior of the horn stem with the oil soap and tooth brush as well as it works well with horn.

When the pipe arrived I was excited to have a look at it. Here is what I saw once it arrived. It was clean and everything was loose – the separator plate, the bowl and the ferrule all moved freely. The cracks and the sandpits in the base were visible and the nicks and damage to the outer edge of the bowl were also very visible. I took photos of the pieces before I began to work on the pipe. The horn stem looked really good and the striations that run the length of the stem will polish up well giving the stem a unique appearance. The variations in horn stems are part of the allure to me and keep me looking for them.The next photo shows the missing piece of the separator plate and the damage to the rim top and the outer edge of the bowl.I put the pieces together enough to take a picture of what the pipe would look like as a whole. Nothing was permanent in these photos as just picking the pipe up would cause a jumble of parts on the work table. I took a close up photo of the rim top to show the condition of the edge of the bowl. Interestingly the photo does not show the damage to the outer edge. It does show the nicks and scratches on the inner edge of the bowl and some of the nicks in the rim top.The next series of photos show the process of the repairs of the sandpits and the nicks on the base. I also scratched out the crack with a dental pick and filled it in with super glue while I did the same with the sandpits. Once I had sanded the repaired areas on both sides of the base I reglued the brass plate on the top with the cracked and damaged portion facing the back side toward the bend in the shank. It would not show as much once the bowl was in place. Once the repairs had been done on the base I used clear fingernail polish to build up the threads in both the base and on the bottom of the bowl. It took several coats to build it up enough to give them enough material to connect.I removed the ferrule from the shank and cleaned the dried glue on the shank and inside the ferrule with acetone on a cotton swab. I sanded the area under the band with 220 grit sandpaper to smooth out the surface so that the ferrule would seat correctly on the shank. I painted the shank end with a folded pipe cleaner and all-purpose glue. I aligned the faux hallmarks and the C.P.F. oval with the stamping on the side of the shank and pressed the ferrule in place on the shank. I screwed the stem on the shank to check if things aligned now and everything was perfect. The repair to the ferrule had taken care of the underturned stem.I set the base aside to let the glue harden. I turned my attention to the bowl itself. I cleaned off the damaged outer edge of the rim with acetone on a cotton pad. I circled the damaged area in the photo below for ease of reference. I filled the damaged area in with clear super glue and let it dry. Once the glue had cured I sanded it with 220 grit sandpaper to blend it into the surrounding briar.I topped the bowl with 220 grit sandpaper on a hard board to remove the damage to the rim top, inner and outer edge from the top view. It did not take too much to get things smooth again. I polished the bowl sides and top with micromesh sanding pads – wet sanding with 1500-2400 grit pads and dry sanding with 3200-12000 grit pads. The bowl began to show some very nice grain patterns as the polishing made them stand out. I wiped the bowl down with a damp cotton pad after each micromesh sanding pad and hand buffed it with a microfiber cloth before moving on to the next step of the refurb. I polished the brass separator plate between the bowl and base and the ferrule with micromesh sanding pads and wiped them down with a jeweler’s cloth to bring out a smooth shine.I polished the briar base with micromesh sanding pads – wet sanding with 1500-2400 grit pads and dry sanding with 3200-12000 grit pads. I wiped the base down with a damp cotton pad after each micromesh pad. With the work on the bowl and base finished I set them aside and turned my attention to the stem. I sanded out the tooth marks on the surface of the stem on both sides at the button with 220 grit sandpaper. I polished the horn with micromesh sanding pads – we wet sanding with 1500-2400 grit pads and dry sanding with 3200-12000 grit pads. I rubbed the stem with Obsidian Oil after each micromesh pad and after the final rubdown I set it aside to dry. I polished each part of the pipe separately with Blue Diamond polish on the buffing wheel. I gave each part multiple coats of carnauba wax to protect the briar and the horn and help the brass from oxidizing. With all the parts cleaned and polished it was time to put the pipe back together again. I thread the bowl onto the base and screwed the stem onto the shank. I aligned everything and carefully hand buffed the pipe with a microfiber cloth to deepen the shine. The finished pipe is shown in the photos below. For a pipe over 125 years old it looks pretty good. It is cleaned and ready for its first smoke post restoration. It should work well and should last a lot longer than this old refurbisher will. It will pass on into the hands of another pipeman who enjoys the unique qualities of old briar and horn stems. Thanks for looking.

 

 

 

 

Giving New Life to a KBB Yello Bole Imperial 3068C


Blog by Mike Rochford

In the last two weeks, I have been corresponding with Mike about a pipe he had. He wrote and sent photos of it and asked if I thought it was repairable. Those of you who have been reading the blog for a while know that I rarely put a pipe in the bin to burn. We wrote back and forth as he did the work and he sent photos along the way. I asked if he would mind doing a blog on the refurb job he did. He sent me the following. Without further introduction, I will let Mike tell you about himself and then share his work with us. Welcome Mike.

First a bit about me. I am a retired FBI Special Agent of 30 years. My grandfather had a wood pattern shop in downtown Chicago. I always enjoyed woodworking projects, but never had much time for complicated projects. This project was pretty easy as long as I did not hurry each step. Patience and your guidance helped me a lot. I am now pretty confident that I can handle another project if one comes along. – Mike

My brother Tim bought me a very worn out KBB YELLO Bole Imperial 3068C pipe. He knew I loved its look. But its issues were many: gaping hole in bowl, rotting wood on ferrule, bite marks on stem, and a slight tool mark on the crowned our area of the stem below the Yellow circle.

I was prepared to throw the pipe out or just relegate it to a shelf. But I found Steve Laug on rebornpipes. He advised me step by step how to restore and make my pipe smokeable again.

First, I completely cleaned out the inside of bowl down to the briar in order to relieve pressure on the crack in the bowl. Then I used a 1/32 drill bit to drill out the bottom of the crack.  I stripped and cleaned the outside of the pipe and combined briar dust with super glue and filled in the crack on the outside of the bowl. I was surprised that the chemical reaction caused a flash fire on my first try. But I worked through that. The paste dries very fast so I had to apply it to the crack quickly, using a Popsicle stick.  I then let it set. Then I applied JBWeld for wood to the cracked area inside of the bowl. I put a pipe cleaner inside the opening to ensure no weld found its way into the airway blocking up my smoking end of the bowl. I let that dry and set it aside for the evening. Then I used 500 grit sand paper on the outside and inside of my bowl. Once I was satisfied, I applied Aniline dye stain to the outside of the bowl and painted the inside of my bowl with a charcoal powder/ sour cream paste.Next, I worked on the cracked and damaged shank end using the 1/32nd inch bit on the end of the cracks in wood and my super glue briar dust paste to fix the damaged areas. Sanding it after it set.I then used the charcoal powder and super glue paste to patch up the bite marks on my stem, using a pipe cleaner with Vaseline on it to ensure it did not super glue my stem closed. I used some 800 grit sand paper to buff the entire stem clean of oxidation and to clean off excess super glue charcoal powder once it dried. I also used the 800 grit sand paper to clean up the tool marks on my stem below the Yellow circle. I did not have any obsidian oil, so I used some sesame seed oil on my stem to slick it up. I also super glued the silver metal ferrule on the end of the shank as it was much too loose. I then resanded and repasted the inside of my pipe bowl.

I sent before and after pictures to Steve. I am very pleased and thankful to Steve Laug for guiding me through this process. My pipe is truly “Reborn!” Thanks!

Reclaiming a Hard Smoked KB&B Borlum Unbreakable Stem Billiard


Blog by Steve Laug

The next restoration on my worktable was a Borlum Bent Billiard. It came to me in the lot of older pipes that my brother brought home from our virtual pipe hunt in Montana. It was in rough condition with the finish very worn and almost non-existent. The bowl had a thick cake that had overflowed the bowl onto the rim top. The previous owner had obviously loved this pipe and the condition was testimony to it being a great smoker. He also seemed to have a very utilitarian view of his pipes. This one appeared to have never been cleaned – a veritable stranger to the aid of a pipe cleaner. The outer edge of the bowl had been knocked about a lot and there was lots of damage to the edge – it was broken down and rounded all the way around. He had obviously knocked the pipe out on a fence, a rock or his boot heel when finishing a bowl. There were dings and nicks in the sides and bottom of the bowl. The stem was oxidized and had some tooth marks on the top and underside near the button. Jeff took the next photos of the pipe before he started to work on cleaning it.From an earlier Borlum pipe that I had refurbished back in 2014, I had learned a lot about the background of the manufacturer of the brand. I quote from that blog to summarize the historical background of the pipe (https://rebornpipes.com/tag/kbb-borlum-pipes/). The italicized portions of the text come from the blog with minor edits.

I already knew that Kaufmann Brothers and Bondy was the oldest pipe company in the USA, established in 1851. The Club Logo predated Kaywoodie with the “KB&B” lettering stamped within the Club, and a multitude of KB&B lines were in production long before “Kaywoodie” first appeared in 1919. Therefore, I knew that the pipe I had was a pre-1919, pre-Kaywoodie KB&B Made BORLUM.

This particular pipe is stamped on the left side of the shank with the words BORLUM in an arc over KB&B in a cloverleaf. The cloverleaf is faintly stamped but still readable with a bright light and lens. Underneath that it is stamped ITALIAN BRIAR in a reverse arc. On the right side of the shank it is stamped UNBREAKABLE BIT. As stated above it was made before Kaywoodie became the flagship name for pipes from Kaufman Brothers & Bondy (KB&B). It was made before the Kaywoodie invention of the “Stinger” was added, and even before shank logos, model stamps and other features invented by Kaywoodie came to be standards of the pipe making industry. It comes from a time when names like Ambassador, Heatherby, Melrose, Suez, Rivoli, Cadillac and Kamello dominated the pre-Kaywoodie scene. Borlum is one of those names.

I learned while researching for that blog and rediscovered while working on this one that the Borlum pipe featured some innovations that were new for the time but commonplace to us. These included (1) a solid rubber bit (vulcanite, ebonite), (2) an aluminum inner-tube construction in the stem that stabilized and strengthened the stem explaining the stamping of “Unbreakable Bit” on the right side of the shank, (3) a standard nickel-plated band (marked KB&B) to strengthen the shank connection for the stem. (This particular pipe does not have the nickel-plated band and does not appear to have had one).The stem features the older style more rounded bit tip/orific button, and you can see the aluminum inner-tube fitting just inside the tip.

I have included several pictures that I found on the internet that show the unique stem tube in the Borlum that gives rise to the claim that it has an Unbreakable Bit. The first photo shows the bent stem, third from the left with the same metal tube showing at the button. The second photo shows the other end of the tube in the tenon in the Borlum stem. That told me that the pipe I had was made after 1851 and before 1919. I am guessing that because of the other pipes in this lot dating in the late 1890s to about 1905 this one is probably from that same era. Not too bad for a 100+ year old pipe. During the hunt for information, I also found the next photo of a Borlum display and sales card. What is particularly interesting to me is the diagram at the top of the card showing the interior of the stem in place in the shank. It also includes the claim, “Guaranteed against Breakage”. I love the advertisements and sales brochures of these old pipes. The descriptive language that promises so much and the prices the pipes sold for are a nostalgic journey to the past. Note the $1 and up price tag on the sales card.

The pipe that I am working on presently is identical to the bottom pipe on the right side of the photo. I have circled it in red. It has the identical shape, curved shank and lack of a nickel-plated band as mine. It has the hard rubber stem with an orific button. It is more rounded than the modern flat stem but it is still a comfortable feeling stem in the mouth.

Jeff took some close up photos of the pipe bowl to give an idea of the condition of the pipe before we started to work on it. The first two photos show the sides of the bowl. You can see from those photos that the bowl is in rough shape. The outer rim has a lot of damage to it and the finish is worn and tired.The next two photos show the rim top and the clean bowl. Note how beat up the edge of the rim is in both photos. The third photo below shows the heel of the bowl and all of nicks and dents in the surface of the briar. The stamping on the left side of the shank and the right side of the shank is readable in the next two photos.The next photos show the condition of the stem. It is oxidized and there is a dark line across the top of the stem that looks like a crack. Under a bright light there is no crack visible, it is merely a mark on the vulcanite.Jeff rarely varies his established process for thoroughly cleaning the pipes he sends to me. He reamed the bowl with a PipNet reamer and touched it up with a Savinelli Fitsall Pipe Knife. He scrubbed out the mortise and the airway in the shank and the stem with pipe cleaners, cotton swabs and alcohol. He scrubbed the exterior of the pipe with Murphy’s Oil Soap to remove the grime and grit on the bowl. He worked over the rim and removed the lava overflow. He scrubbed it with a tooth brush and the oil soap until he removed the buildup and clean up the damaged edges of the rim. The grain on this pipe is quite stunning. He soaked the stem in an Oxiclean bath to bring out the oxidation and scrubbed the debris from the exterior of the stem. I took photos of the pipe to show the condition it was in when it arrived in Vancouver. I took a close up of the rim to show the damaged condition of the edges. It really is a mess and will be an interesting restoration. The idea is to get it back to a smooth condition without changing the profile of the pipe.A lot of the grime and grit on the stem disappeared in the OxiClean soak. The dark line on the top left of the stem disappeared and showed that there were no cracks in the “Unbreakable Bit”. There were some tooth marks on both sides of the stem near the button. The ones on the underside were definitely deeper. The last photo below shows the inner tube from the button end view.I decided to try something a little different this time around on the removal of the oxidation. Months ago I had purchased some Before & After Pipe Stem Deoxidizer from a guy on Facebook. His name is Mark Hoover and he is on the Gentlemen’s Pipe Smoking Society Group on Facebook. He has a pen making site where you can email and order the deoxidizer and the polishes (http://www.lbepen.com/). I have actually never used it according to the directions. I have sponged it on and scrubbed it off. In talking with Mark the concept was simple – put the stem in the Deoxidizer to soak. The Deoxidizer will do its work and leave the stem oxidation free. With a bit of skepticism I poured the mixture into a tray and set the stem in it to soak overnight.I worked on the bowl for a while that evening before calling it a day. I lightly topped the bowl to remove some of the damage on the top surface of the rim and leave a flat, smooth surface. I wiped down the bowl with alcohol on a cotton pad to remove the dust. I carefully filled in the outer rim edge with clear super glue to build up the chipped and damaged areas. I think that this is the first time that I have worked on a pipe with this much damage and chipping all the way around the outer rim. It did not take too long for the glue to dry and when it did I sanded the outer edge of the rim smooth blending the fills into the surface of the briar and ‘sharpening’ the edge itself. The photos that follow tell the story. When I finished smoothing out the fills I wiped the bowl down with alcohol on a cotton pad to remove the sanding dust and check to make sure I had sanded the rim edge enough. If any spots are still too large and not blended they will show up glaringly when the bowl is stained. I stained the bowl with a dark brown aniline stain mixed 50/50 with isopropyl alcohol. I flamed the stain on the bowl and repeated the process until the coverage was even. I set the bowl aside for the evening. In the morning I “unwrapped” the bowl (borrowing one of Dal Stanton’s terms) to see what the stain had done. I wiped it down with alcohol on cotton pads to make it more transparent. Once I finished it was still too dark to my liking and obscured the grain too much. I sanded the bowl with micromesh sanding pads to remove more of the stain. After sanding with 1500-2400 grit pads I wiped it down with a bit of alcohol on a cotton pad and I was pleased with what I was seeing. I polished it some more with 3200-12000 grit pads and finished by giving it a light buff with a microfiber cloth. Now the colour was what I was aiming for – a reddish brown that highlighted the grain and muted the repairs and some of the imperfections.  I buffed the bowl on the buffing wheel using Blue Diamond polish and hand buffed it with a cloth. The following photos show what the finish looked like after the buffing. I still needed to wax it but I really liked what I saw. I took the stem out of the deoxidizer bath and wiped it down with cotton pads. The bath definitely had removed much of the oxidation and wiping it down afterward it was clear to see how much had come off the brown looking stem. I ran a pipe cleaner through the airway to remove the deoxidizer from the inside of the pipe. The stem clearly looked better than when I had started. The surface was dull and there was still some stubborn oxidation on the curve. The tooth marks in the surface are very visible in the photo of the underside of the stem.I painted the tooth marks with the flame of a lighter to lift them as much as possible and filled in the remaining tooth marks with clear superglue. I chose to use the clear super glue rather than black as I have found it blends better with the hard rubber stems on these older pipes. When the repair had dried I sanded the stem with 220 grit sandpaper to smooth out the area on the underside and used a needle file to sharpen the edge of the button on the top and underside.I polished the stem with micromesh sanding pads – wet sanding with 1500-2400 grit pads and dry sanding with 3200-12000 grit pads. I wiped the stem down after each pad with Obsidian Oil and after the final pad gave it a last coat and set it aside to dry. I buffed the stem with Blue Diamond and then gave the pipe mulitple 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. I am not a 100% happy with the stem – the flash seems to reveal some more oxidation in it but to my eye it looks fine. I will do some more polishing and buffing to get it do the rich black that my eye sees but the camera does not at this point. Ah well, the refurbisher’s work is never finished. Thanks for looking.

 

 

Refreshing a French Jeantet D’Orsay Billiard Found in Burgas


Blog by Dal Stanton

The first time I saw the Jeantet D’Orsay was looking at a picture of it on my iPhone 6s.  My fellow colleague, Gary, who also lives and works here in Bulgaria, was with his wife on the Black Sea coast strolling down the main walking street of Burgas.  Gary has previously culled pipes for me during his travels as he keeps his eyes open and sends pictures of possibilities.  Gary also is my main supplier of ‘quality’ cigar ash which is the main ingredient in making ‘Pipe Mud’ to coat the inside of bowls.  The picture he sent was of two pipes, the Jeantet (top in picture below) and a nice hefty bent Billiard marked only with Bruyere [over] Garantie.  My primary interest was the product of Saint Claude, France, the Jeantet, but I encouraged him to do a bundle deal which landed both in my ‘Help Me!’ basket.  Thank you, Gary!I’ve not been restoring pipes long, but among my earliest restorations were French made and I enjoyed those initial forages of discovery of a pipe’s heritage and the geopolitical significance of the name.  My first restoration of a Jeantet was a Fleuron and it was discovered at my favorite antique shop, dubbed, The Hole in the Wall, here in Sofia.  It was then I discovered the historical importance of Saint Claude, the pipe production center in Europe for much of the 1800 and in the 1900s until pipe production peaked in the 1960s, causing many corporate closings and consolidations (See Pipedia’s article on Jeantet).  Saint Claude became the a center for pipe production and the place many prominent pipe houses called home, not because of the accessibility of briar, but it was where industrious monks and artisans turned their abilities from making toys and religious paraphernalia to pipe making after briar pipes first started being mass produced (See: fumerchic.com) when briar was discovered to have heat resistant qualities.   The Jeantet D’Orsay now on my worktable enjoys a part of this heritage, though most likely produced toward the closing chapters of Jeantet’s history.  On my worktable, I take more pictures of the Jeantet D’Orsay to fill in the gaps. The nomenclature is stamped on the left side of the shank, with ‘Jeantet’ (in fancy script) [over] ‘BRUYERE’, and to the right of this is ‘D’Orsay’ (in diagonal fancy script).  The stem bears the ‘J’ ensconced in a heptagon.  As I research the D’Orsay line, I have found a dearth of information as I’ve looked for and through catalogues trying not only to ID the D’Orsay, but even finding any systematic information on Jeantet pipes in general is a challenge.  If there is any clue in the name ‘D’Orsay’, I’m not sure what it is.  Today, Orsay is a smaller suburb of Paris, primarily known as a center in the development of technology with different educational institutions based there.  Historically, this Wiki article is informative:

There has been a village called Orsay on this site since 999, and the first church there was consecrated in 1157. From the sixteenth century, the town and surrounding area were owned by the Boucher family, and it was in honour of this family that Louis XIV gave the quai d’Orsay its name. This is the reason that the Musée d’Orsay is not in Orsay. In the eighteenth century, the family of Grimod du Fort bought the land and received the title of comte d’Orsay. In 1870, during the Franco-Prussian war, Orsay was occupied by the Prussian army. 88 young “Orcéens” were killed in the First World War.

Interesting, but not too helpful regarding the heritage of this French made pipe.  Generally, the pipe is in great condition.  The chamber has moderate cake.  The rim has trace amounts of lava and grime – not too much to clean.  The stummel has nice grain, but many very small fills to be examined. Not much in the way of oxidation or tooth chatter on the stem.  Of interest to me is the long stinger system which reaches all the way to the draft hole – visible looking down the chamber.  I will keep the stinger since it’s such a goliath.  Perhaps it does help deliver the dryer, cooler smoke which has been the holy grail in pipe technological innovations.  The cleanup and recommissioning of this Jeantet begins with placing the stem in the OxiClean bath after covering the ‘J’ stamp with petroleum jelly to protect it.  Even though it has little oxidation, I’ll let it soak.  I also easily remove the stinger as I discover that it is threaded and unscrews with a little help.  The nickel divider band also comes off. I use the Pipnet Reaming Kit to address the moderate cake.  Starting with the smallest blade, I remove the cake, bringing the fire chamber to fresh briar.  I use two of the four blades available.  To fine tune the reaming, I switch to the Savinelli Pipe Knife and scrape the chamber wall further.  Then, wrapping a piece of 240 grit paper around a Sharpie Pen, I sand the bowl removing the vestiges of carbon.  Finally, I wipe the chamber with a cotton pad wetted with alcohol.  The chamber looks good – no problems that I see. Next, using undiluted Murphy’s Oil Soap and a cotton pad, I scrub the external briar surface and rim.  I also use my pin knife to scrape the crusting on the rim.  I do this by dragging the blade over the surface rather than pushing the blade to not cut into the briar.  Afterwards, I rinse the stummel in tap water.  Examining the stummel more closely, the cleaning reveals a gouge on the internal rim lip.  I also picture several of the small fills in the surface.  I use a sharp dental probe to test the strength of the fills to see if they need replacing.  What I discover is mixed news – some need more attention than others.  I dig out the weaker fills and will need to refill them.  I will simply use clear CA glue to fill them, but first I will darken the pits with a dye pen to improve blending.  I use Special ‘T’ CA glue and spot drop on each pitted fill using a toothpick.  I place a bit of glue on the toothpick and gravity pulls it to the tip and I apply it to the pit.  I spray them with an accelerator to quicken the curing time.  In all, 6 fills were patched.  The pictures show the progress. Using a flat needle file, I bring each of the CA glue patches down near to the briar surface.  Then I use 240 grit sanding paper to bring the patch flush with the briar surface.  I try as much as possible with both the file and sand paper to file/sand only on the patch footprint.  The second picture below shows a ‘slip’ off the footprint by the lower patch – ugh.  The pictures show the progress. Turning now to the rim gouge mentioned earlier.  There was already an internal bevel on the rim.  To erase the damage, using 240 grit paper then 600 grit paper, I recut the bevel.  That does the job. With the stummel repairs completed, I take a medium grade sanding sponge and apply it to the surface to remove surface nicks and to start blending the fill patches.  I follow with a light grade sponge.Before I proceed further on the external surface, I need to address the internal unpleasantness.  I’m curious what collects in the mortise with the tenon extending right to the draft hole?  Unless, its design is to bypass all the sludge.  Well, it didn’t take long to discern the latter to be the case!  With cotton swabs, alcohol and a bit of scraping the edge with a needle file the mortise started cleaning up.  Later, I will still utilize a Salt/Alcohol soak to clean and freshen further for the new steward of this classic Billiard.The stem has been soaking in the OxiClean bath and I take it out to start removing the light oxidation on the vulcanite.  After reattaching the stem with the stummel, divided by my separation disk, I wet sand using 600 grit paper followed by 0000 grade steel wool.  I’m not sure how I did it but it looks like I nicked the Jeantet ‘J’ circle during the sanding – that is a grand bummer.  I’ll try to fix it later.  The tooth chatter was removed by the 600 grit and steel wool.  The pictures tell the story. Before moving further on the external sanding, I need to clean the internals.  Using bristled and smooth pipe cleaners and isopropyl 95%, I do the job – the internals take more effort than I was expecting.  I also use a long, wired, bristled brush to work on the stinger.  In the end, I soak it in alcohol to make sure it’s clean. Turning back to the stummel, I plunge into the micromesh sanding by wet sanding with pads 1500 to 2400, then dry sanding with 3200 to 4000, finishing with 6000 to 12000.  With the completion of the micromesh process on the stummel, my work-day here in Bulgaria will soon demand my full attention.  Before heading out the door, I want to give the bowl a Salt/Alcohol soak through the day.  I pour kosher salt, leaving no aftertaste, into the bowl until almost full.  Then I twist and stretch a cotton ball to act as a wick in the mortise – drawing out the remaining tars and oils.  I palm the top of the bowl and shake it causing the salt to settle into the internals and set the stummel in the egg carton.  Then, with a large eye dropper I fill the bowl with isopropyl 95% until it surfaces over the kosher salt.  I wait a few minutes as alcohol is absorbed, and then I top the bowl off again.  I set the egg carton aside and let the alcohol and salt do their thing – off to work!  Back from work!  The salt has darkened a bit, but not much.  This means that the job of cleaning was well along the way. After cleaning away the expended salt with paper towel and a bristled bush in the mortise, I put a cotton swab into the mortise to make sure and it came out clean.  Clean as a whistle – nice! After the salt/alcohol soak, I see a fill on the inner rim lip that I did not see earlier.  After digging it a bit with a dental probe, I drop fill it with ‘T’ CA glue, let it cure, file it down with a half-circle needle file, sand it with 240, 600 and then the full spectrum of micromesh pads – all these focused on bringing this patch up to the speed with the rest of the stummel! The Jeantet D’Orsay Billiard’s stinger was soaking in alcohol.  I take it out and the alcohol had cleaned it up.  I buff it with 0000 grade steel wool.  While I was at it with the steel wool, I also buffed up the nickel band divider to clean and shine it.I love the classic leather brown look on work-horse Billiards.  To blend the fills overall, I use Fiebing’s Light Brown Leather Dye to do the job.  I set up my staining workstation and take a picture of it.  I wipe the stummel down with a cotton pad wetted with alcohol to clean dust off the surface.  I use a whittled cork in the stummel as a handle and I warm the stummel using a hot air gun to expand the grain helping it to be more receptive to the dye.  When warm, I use a folded-over pipe cleaner to apply liberally the dye to the stummel – I want full coverage.  Then, with a lit candle, I fire the stummel – burning off the alcohol in the dye which sets the pigment in the grain.  I repeat this process after a few minutes, then I put the fired stummel aside to rest for several hours. With the dyed stummel resting, I turn to the stem.  Earlier, I was using MagicEraser on the Jeantet’s ‘J’ stem stamp and I noted then that the paint was readily coming off because of it.  I decide to go ahead and remove the paint and clean the stamp with the MagicEraser with the view to refreshing the ‘J’ stamp later.  I then wet sand the stem – mindful of the ‘J’ stem stamp, with micromesh pads 1500 to 2400.  Then I follow successively with pads 3200 to 4000 and 6000 to 12000, and applying Obsidian Oil after each set to revitalize the vulcanite stem.  I’m hoping that there is enough tread left in the Jeantet ‘J’ stem stamp to hold new paint.  Using white acrylic paint, I dab paint onto the area of the stamp.  Instead of waiting for it to dry, I gently wipe the excess off while wet.  Then I dab a little more wet where it is thin, and gently wipe off the excess. After some time has elapsed, it’s time to ‘unwrap’ the fired, dyed stummel.  After mounting the felt buffing wheel on the Dremel, setting the speed to slow – 20%, I buff off the crust by applying Tripoli compound.  The second picture below shows the contrast and progress. After the application of the more abrasive, Tripoli compound is completed (1st picture), I wipe down the stummel using a cotton pad and isopropyl 95% to both lighten the stain and blend it.  The alcohol wipe leaves a cloudy film on the stummel.  I remove this by going to the next compound, Blue Diamond.  I mount a cotton cloth buffing wheel on the Dremel and increase the speed to 40% and buff the briar surface.  During this buffing, the grain starts to come out more distinctly and I like the deep rivers of grain that divide the stummel like a watermelon rind. I use a little CA glue and reattach the nickel band divider to the shank.  I then use the Blue Diamond compound on the stem and band as well.  The pictures show the progress. After completing the Blue Diamond buffing, I hand buff the stummel and stem with a felt cloth to remove the compound dust before waxing.  I mount a cotton cloth buffing wheel on the Dremel, also at 40% speed, and apply a few coats of carnauba wax to both the bowl and stem.  Completing the restoration, I give the pipe a rigorous hand buffing with a microfiber cloth to heighten the shine and distinctiveness of the briar grain.

When I started this restoration, I saw a classic straight Billiard that had potential.  The Jeantet D’Orsay that Gary found for me in the antique store in Burgas, on the Black Sea, has proven to be a very attractive pipe with the light brown leather-look finish.  The grain pops.  I like the band divider – it’s not a precious metal but it provides a nice accent.  This Jeantet D’Orsay is ready for a new steward!  If you are interested in adding this pipe to your collection you can check it out in The Pipe Steward ‘Store Front’.  All the pipes I restore benefit the Daughters of Bulgaria – women and girls we work with here in Bulgaria who have been trafficked and sexually exploited.  Thanks for joining me!