Tag Archives: fitting a stem

Restoring Life to a Early 20th Century Gitana Depose Apple

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Blog by Steve Laug

I was going through boxes of old pipes here, sorting and getting them ready to sell as grab bags. In the process I came across this pipe. It is stamped Gitana in an oval with an L on the left of the oval and G on the right side of the oval. Underneath the oval stamp is the word Depose. There is a polished aluminum band on the end of the shank. The briar is quite nice with birdseye around the bowl. The stem is horn and has a lot of tooth damage next to the button on both sides. There are deep troughs carved by the teeth in the horn material on both sides. The rim had a lot of damage from burn marks and the inner edge had been damaged by reaming with a knife. There was a white waxy substance on the inside of the bowl from the edge down about a ½ inch. There was a light cake in the bowl and some light lava on the bowl top. I took a close up photo of the rim top to show the damage to the inner edge of the bowl from the reaming job. The cake on the bowl sides and the tarry oil on the rim top are also visible. The briar at the top is quite damaged and will take some work to remove the knife cuts and deep gouges in the briar. The stem is also shown with the chewed damage on both sides.  I removed the stem from the shank and was a bit surprised by the aluminum system that was inside. The tenon was aluminum and had a bullet shaped cap on the end of it. The cap had a hole in the top that allowed the smoke to be drawn through the airway in the stem. The previous own had wrapped the aluminum portion of the tenon with what looked like aluminum foil to build it up to fit tightly in the shank. The photos below show the tenon and the system. I was unfamiliar with the brand and was surprised by the tenon system. I did some searching online and could find nothing on the Gitana brand or the Gitana Depose brand. I did happen across a similar pipe on Smokingpipes.com. The writer who described the pipe for the site wrote the following which contained some really helpful information. I quote:

We were able to ascertain a little information about La Gitana, which was a French brand created by Chapel Frés…but this relic from the early 20th century still sports its original horn stem, coupled with a novel aluminum tenon arrangement that we can only assume is meant to trap moisture. Although we aren’t sure how well it achieves this, it does do quite well at looking like an old-school James Bond accessory. It fits securely within a cork-lined mortise, which many briars of this period tended to have. https://www.smokingpipes.com/pipes/estate/france/moreinfo.cfm?product_id=196840

From that I learned that the brand was called La Gitana. It was a French made pipe from a company called Chapel Frés. It was made in the early 20th century and the author had described the tenon system like the one I had.  I also learned that the mortise had originally been cork lined to facilitate holding the tenon snuggly in the shank. This was what was missing in the pipe I had and it had been replaced with the foil mess that is seen in the above photos.

Armed with the name Chapel Frés I looked on Pipedia under French Pipe Companies and found the brand there. It stated that it came from that factory and the brand had been founded in 1904 in Saint-Claude, France. Here is the link https://pipedia.org/wiki/Chapel_Fr%C3%A9s.

Armed with that information I started my cleanup of the stem. I scraped away the foil that was wrapped around the tenon. I examined the bullet shaped cap on the tenon and figured out that it unscrewed from the tenon. I cleaned the metal underneath alcohol, cotton swabs, pipe cleaners and steel wool. I cleaned out the airway in the shank at the same time. The tube in the end of the tenon looked clean. I used alcohol, cotton swabs and pipe cleaners to clean out the inside of the bullet cap. I cleaned out the walls in the shank with pipe cleaners, cotton swabs and alcohol. It was a very dirty pipe that once it was clean had an interesting look to it. I cleaned up the inside of the bowl with a Savinelli Fitsall Pipe Knife. I scraped the walls clean of the carbon build up. I sanded the walls of the bowl with a piece of dowel wrapped with 220 grit sandpaper.To remove the damage on the rim top I topped the bowl until the damaged areas were removed and the rim top was clean. I used a folded piece of sandpaper to smooth out the inner edge of the rim and bring it back to round as much as I could. I washed down the exterior of the bowl with acetone on a cotton pad to remove the finish and the grim on the briar. The pipe looked really good at this point. I needed to round down the outer edges to bring it back to the shape it was when I started but for now it was clean. I took a photo of the stamping on the left side of the shank. The stamping is quite readable and clear.The tenon had some sticky substance for the glue on the foil on the tenon end. The tenon and threads still needed more cleaning to remove the oils.I filled in the tooth marks and troughs in the surface of the horn with clear super glue. I set the stem aside to dry.I decided to try to fit a cork in the shank to line it as suggested above. I cut away some of the excess cork from a wine cork I had. I trimmed it down with a Dremel and sanding drum until the diameter was close to the inside of the shank. I drilled it out with a series of drill bits starting small and working my way up to one that was close to the size of the tenon. I sanded down the cork exterior until it was a fit in the shank. I pressed it in place in the shank.I used a needle file to thin down the inner walls of the cork lining. It needed to be very thin to allow the tenon to fit in the shank. I tried to put the tenon in the shank. The fit was still not right. The cork was too thick to allow a fit. I pulled it out of the shank and slid it over the tenon. I sanded it down with sandpaper and files until it was a good fit. I glued the cork on the tenon and let it dry. When it cured I rubbed the cork down with Vaseline to soften it and allow it to slide into the shank. The fit was very good. I took some photos to show what the pipe looked like at this point in the restoration (I had also started the shaping on the bowl top). I polished the briar with micromesh sanding pads – wet sanding it with 1500-2400 grit pads and dry sanding with 3200-12000 grit pads. I wiped it down with a clean cloth after each pad. The grain began to pop and really stand out. Once the glue repairs cured I sanded them with 220 grit sandpaper to smooth out the repairs. I sanded them to blend them into the surface of the horn. I polished the stem with micromesh sanding pads – wet sanding with 1500-2400 and dry sanding them with 3200-12000 grit pads. I wiped the stem down with Obsidian Oil after each pad. I gave it a final coat and let it dry. The following photos show both sides of the stem. I worked Before & After Restoration Balm into the briar and the horn stem with my fingertips to clean, enliven and protect the wood and the horn. I let the balm sit for about 20 minutes and buffed it off with a soft cotton cloth. I took photos of the pipe at this point in the process to show what the bowl and stem looked like. I am happy with the look of the pipe. I polished the bowl and stem with Blue Diamond to polish out the scratches in the briar and horn. I gave the bowl and the stem multiple coats of carnauba wax. I buffed the pipe with a clean buffing pad to raise the shine. I hand buffed it with a microfiber cloth to deepen the shine. The pipe polished up pretty nicely. The original patina on the bowl came alive with the buffing and worked well with the polished striated horn stem. The pipe has a rich look. The finished pipe is shown in the photos below. The shape, finish and flow of the pipe and stem work give the pipe a very classic look. The dimensions of the pipe are Length: 5 1/2 inches, Height: 1 1/2 inches, Outside diameter of the bowl: 1 1/2 inches, Chamber diameter: 3/4 of an inch. Thanks for reading this while I worked on it. It was interesting and unusual piece to restore and I really enjoyed the work.

A Challenging Restoration of Vintage Era First Choquin “A Metz”

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Blog by Paresh Deshpande

I had been on a short leave to my home town last month and that is where this happened!!!!! Even though there are still a number of pipes from the two of the three inherited boxes of pipes waiting their turn for restoration, curiosity got the better of me and I could not resist the temptations of opening the third box. What happened thereafter is that I had to unpack all the pipes earmarked to accompany me to my work place for restoration in my free time which in turn invited the wrath of my wife who had helped in packing in the first place, and repack the newly selected pipes from the third box!!!!!! In addition to the regular collection of Barling’s, Charatan’s, Comoy’s and other assorted collection, I came across two pipes which caught my fancy!!!!!The pipe on the left bears a football stamp that reads “CHOQUIN” over “A METZ” and the one on the right side simply reads “GBD”  (there are other stampings on the silver ferrule, details of which will be highlighted when it comes up for restoration). Both these pipes looked vintage and unique enough that I immediately Facetimed with Mr. Steve of rebornpipes. His admission that he is willing for a trade with me for these two pipes was an indication enough for me to know and understand their uniqueness!!! Thus these two pipes moved to the top of my unorganized and chaotic list of restoration.

The pipe first on my work table is the CHOQUIN. It is a huge pipe with a humongous acorn shaped smooth briar bowl with a steeply raking shank, the end of which is adorned by a fixed sterling silver ornamented ferrule. This similarly designed sterling silver also masks the tenon of the horn stem.The shank and the horn stem are connected by a push-fit type bone extension. The huge acorn bowl shows beautiful, large and loosely packed birdseye grain on the right side while mixed grain adorns the left side. The stummel on the front, back and the shank displays densely packed straight grains. The only stamping that is seen on this pipe is the football stamp on the left side of the shank and reads “CHOQUIN” over “A METZ”. For its age, the stamping is crisp and clear.This time around, before commencing the restoration process, I posted the pictures of this pipe on the Tobacco Pipe Restorers group on Facebook as my next project. In addition to input from my mentor, Mr. Steve, I collected a lot of valuable information from all the knowledgeable stalwarts. From all the input that I have gathered, the flat bottom bowl, the stamping, the sterling silver adornments, the bone shank extension and horn stem, I can safely place this piece as being one of the first A Metz pipes from the 1858 era!!!!!

INITIAL VISUAL INSPECTION
Well, even before I could start my initial visual inspection, I faced the first of the many numerous hurdles that I had to overcome during the restoration of this pipe. The shank extension and the stem would not budge even a millimeter to separate from the shank and the bone extension respectively. I remembered Mr. Steve referring to the technique of freezing the stuck parts in the freezer for a couple of hours for easy separation. I followed his advice and had to put the complete pipe in the freezer for a couple of hours as it could not be dismantled. True enough, the horn stem separated from the shank extension with the application of a little force, but the extension would not budge from the shank!!!! So I went back to Mr. Steve to tap in to his wealth of knowledge and experience. He suggested that I should apply the method of “Hot and Cold” shock treatment in which you gently and carefully heat the stuck part using a heat gun and then get it back in to the freezer. This process may need to be repeated a number of times before the parts separate. Well, I did exactly that, albeit heating with a hair dryer as I did not have a heat gun, and after 3/4 attempts, the extension finally separated from the shank!!!!The first thing that I noticed was that the shank extension and the mortise were completely filled with oils, tars and grime. The shank extension was filled to an extent that a pipe cleaner would not pass through!!!! How very much typical of my Old Man!!!!!!! Through all this muck, just a swipe of the bone extension with a cotton swab dipped in isopropyl alcohol revealed no apparent damage to the shank extension. Cleaning this would need to be a very careful, meticulous, time consuming and a tedious process given the delicate structure of such a vintage bone. Likewise, the tenon also was filled with oils and grime. Air flow through the stem was laborious to say the least!!! Both the upper and lower surface of the horn stem shows significant damage. The lower surface is peppered with 3-4 worm holes with one significantly larger than the other. Thankfully, it had not migrated through the upper surface!!!! The tenon is completely and permanently encased in the sterling silver ornament. The condition of the stummel was an equally horrendous story. Firstly, the rim top is heavily covered in overflowing lava. The overflow is so heavy that it has accumulated over the rim surface in blobs of dried tar and tobacco oil which can be seen in the subsequent pictures. This overflow had not restricted itself to accumulation on the rim top, but has spilled on to the stummel surface covering the stummel in sticky grime which has attracted more dirt and dust giving the stummel a dull and lackluster appearance. The overflowing lava has even accumulated in the junction where the shank and bowl are joined.  Some dents and dings are seen on the surface through the overflow and I do not envisage any major issue like the ones I faced while working on an Imperial Yello-Bole Carburetor that I had I restored. However through all this dirt, tar, oil, grime and damage, lovely grains can be seen on the sides and the shank. It will be a challenge to address these issues and make the grains to reveal themselves in all glory. The chamber is no different story!!! There is a thick build up of cake in the chamber. The inner edge of the rim is covered under the thick cake and as such, its condition can be commented upon only after the cake has been scrapped. The outer edge of the rim, however, shows significant damage in the form of dents, dings and deep scratches to the front in 12 o’clock direction. The cause for this damage is….. Oh, forget it, let’s not even go there!!!! The condition of the inner walls of the chamber can be ascertained only after the chamber has been completely reamed devoid of any cake, but I do not foresee any major damages here as the stummel feels solid to the touch and this huge solid piece of briar can sustain some serious damage. You have to feel the stummel in your hand to understand what I am trying to write. It is one heavy and handful of a pipe!!!!The sterling silver ferrule and tenon ornament was black as is typically seen in heavily oxidized silver. However through all this discoloration, delicate, intricate decorative design can be appreciated. This is another pointer towards the vintage of this pipe.THE PROCESS
I started the process of restoration by polishing the sterling silver ornaments at the shank end and tenon with pipe ash as suggested by Mr. Steve. This was followed by reaming the chamber with size two of the PipNet reamer head and progressing through to size four. Yes Sirs, there is no typo error!!! It is indeed PipNet and not a Kleen Reem reamer as you have gotten used to reading in my write ups !!!!!! Mr. Steve has sent me a set along with some beautiful pipes that I had got from him. I followed up the reaming with scrapping the remnants of the cake from the walls, flat bottom of the chamber and the rim top surface with my fabricated knife (Oh, how I long for a Sav Fitsall reaming knife!!! Hope you are reading this Steve Sir). The cake was so hard, that I invariably ended up scratching the flat bottom surface while scraping. Once the cake was reamed back to the bare briar, I used a 150 grit sand paper followed by 220 grit sand paper to remove all the traces of remaining cake and also to smooth the inner walls of the chamber surface. Finally, to remove the carbon dust, I wipe the chamber with a cotton pad wetted with isopropyl 99%. I gently scrapped the rim top surface with a sharp knife. Removing all the cake from the chamber and rim top revealed that firstly, the rim was out of round and secondly was a web of fissures along the internal walls. There was one crack, which showed prominently after a cleanup with Murphy’s oil soap, bothered me and can be seen in the pictures below which has been highlighted by a red circle. I shared these images with Mr. Steve and Mr. Dal Stanton for their opinion as to the extent of damage and further repairs. They too expressed fears that the crack may have migrated through the stummel. Mr. Steve suggested picking the crack on the top of the rim using a toothpick and filling it with CA superglue. I decided that I would address this issue later after further investigations. I cleaned the internals of the shank, shank extension and the stem using hard bristled and regular pipe cleaners, q-tips, shank brushes, all generously dipped in isopropyl alcohol. I had never used such drastic measures like initially cleaning the bone shank extension by carefully inserting a round needle file for creating an opening through which pipe cleaners could pass through for subsequent cleaning. The heap of pipe cleaners and q-tips that are seen in these pictures are just the proverbial tip of the iceberg. I must have gone through an entire packet of 50 of both types of pipe cleaners, in addition to the q-tips and brush cleaning!!!!! To further deep clean and refresh the internals, I used cotton and alcohol soaks. Using a cotton ball to create a wick, I inserted it through the mortise and into the airway. I then stuffed the bowl with tightly packed cotton balls and placed it in bowl filled with rice grains to provide stability. Similarly I made a tight cotton wick and inserted it through the bone shank extension to further remove all the oils, tars and smells. With a large eye dropper, I then filled the bowl and the bone shank extension with isopropyl 99% until it surfaced over the cotton. I refilled the alcohol in a few minutes after it was absorbed into the cotton balls. I put the stummel and the bone shank extension aside for several hours to soak. After some time, the cotton and the wick were soiled. I discarded the expended cotton and wiped the bowl and the bone shank extension with paper towel. To make sure all was clean, I used a cotton bud and pipe cleaner dipped in isopropyl 99% and they came out clean. I cleaned the stummel with undiluted Murphy’s oil soap and Scotch- Brite pad and rinsed the stummel under running tap water. This cleaning helps in bringing to the fore any other damage which could be hidden under all the dirt and grime. Fortunately, there were no major dents, dings or gouges to the stummel. There were a few minor ones which I think would be addressed when I would sand the stummel surface and subsequent micromesh polish. I dried the bowl with a paper towel and soft cotton cloth. Initially I had decided that I would not be topping the rim top and maintain its original profile. However, in order to ascertain if the crack had migrated through the stummel, I decided to top the rim surface. This would also help to address the numerous dents, dings and scratches on the rim’s top surface and also to remove traces of lava overflow. I topped the rim surface on a 220 grit sand paper. Though it is recommended to have a wooden board with the 220 grit sand paper firmly fixed over it, I just keep the sand paper on a flat table top, holding it firmly with my left hand and rotating the stummel rim top over it with my right hand. I have come to realize that this set up gives me lot more freedom of movement, better control and convenience of storage. Fortunately, it was revealed that the supposed crack was superficial and had not migrated through. Staying with the rim, the next issue that I addressed was the inner rim edge. With a folded piece of 180 grit sand paper pinched between my thumb and fore finger, I created a light bevel on the inner edge. This addressed the issue of uneven and out of round inner edge. The damage to the outer edge was addressed to a great extent when I had topped the rim top surface. Whatever little dents and nicks that remained on the outer edge were very minor, though visible, and I decided to let them be.I sand the stummel surface with a 220, 320, 600 and 1000 grit sand paper, in that order, to remove the minor scratches and marks on the rim and stummel surface. I frequently wiped the sanded surface with a moist cloth to remove the briar dust and also to check the progress of my work. Once I was satisfied with the match, I followed it up by micromesh polishing pads, wet sanding with 1500 to 2400 grit pads. Again, I wiped the bowl with a moist cotton cloth after each pad. I used the 3200 to 12000 grit pads to dry sand the stummel to a nice shine. I was disappointed when after all my efforts up to this stage; there were some very minute chips that were visible in pictures. But overall, at this stage of restoration, the entire bowl, rim top surface and shank is looking fresh and clean. Even though some of the dents and chips could not be completely addressed and are visible only on very close visual scrutiny, in my view, they lend this pipe a battle scarred warrior like a character. I rubbed a small quantity of “Before and After Restoration Balm” with my fingers deep in to the stummel surface. What this balm does is it revitalizes the briar wood and breathes a new life in to the briar. It’s amazing to see the transformation as the balm works its magic on the briar wood. I further buff it with a horse hair shoe brush. Turning my attention to the horn stem, I cleaned the stem surface, including the worm holes, with q-tips dipped in isopropyl alcohol to remove all the dirt and dust before the fill. I filled the worm hole on the bottom and top surface with clear CA superglue and set it aside to cure.  Once the superglue had cured, I sanded the fills with a flat head needle file. To further match the fills with the surface of the stem, I sanded it with 220, 320, 600 and 1000 grit sand paper. I wiped the stem with cotton pad dipped in alcohol to remove the resultant dust. I rubbed some extra virgin olive oil in to the stem and set it aside to be absorbed in to stem. A few minutes later, I polished the stem and also the bone shank extension with micromesh pads, wet sanding with 1500 to 2400 grit pads and dry sanding with 3200 to 12000. I rubbed a little extra virgin olive oil in to both after every three pads. The stem is now nice, smooth and shiny while the extension though smooth and shiny, still had the golden brownish hues of the tobacco oils and tars. I was wondering as to next course of action, Mr. David Goostree, an experienced member from The Tobacco Pipe Restorer group on FB, provided valuable information that the bone is similar to a Meer and absorbs oils from the tobacco and colours just like a meerschaum. Another issue taken care of!!! To finish the restoration, I mounted a cotton cloth buffing wheel to the Dremel (actually it is not the brand machine, but a local machine which is similar).  I set the speed at about 40% full power and applied White Diamond compound to the entire pipe.  Afterwards, I wiped/ buffed the pipe with a soft cotton cloth to clear it of any leftover compound dust. I then mounted another cotton cloth wheel to the polishing machine, maintaining 40% speed and applied several coats of carnauba wax.  I finished the restoration by giving the entire pipe a rigorous hand buffing using a microfiber cloth to raise the shine further. In my excitement mixed with apprehension in using the polishing and waxes for the first time, I completely missed out on taking any pictures. The completed pipe looks lovely, fresh and vibrant. Thank you for having the patience to reach this far while reading the write up. Your comments are of utmost importance to me for improving my skills in restoration process as well as writing about it. Cheers!!!!!

PS: – During this journey of restoring this beauty, I had, on occasions felt low and demoralized as issues kept cropping up like the supposed crack to the stummel, the shank extension not supposedly cleaning up as I had incorrectly anticipated and the 2/3 occasions when the my polishing machine slipped on the surface and caused very minor scratches on the stummel. However, my Guru and mentor, Mr. Steve was always around with his words of wisdom and encouragement to egg me on towards completing this project. Thank you once again, Mr. Steve. I would like to thank all the esteemed members of “The Tobacco Pipe Restorer” group on FB for their interest and valuable inputs, which made this project interesting.

Converting a Zettervig Freehand into a Churchwarden

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Blog by Steve Laug

Sometime pipes come back to you. I had restored and restemmed this pipe for a fellow here in Vancouver not too long ago and made a freehand stem for it. I had also worked on converting a broken shanked Brigham into a churchwarden. The other night he dropped by and we sat and chatted for a bit. He pulled four pipes out of his bag for me to look at. One was a new find from a junk store. The other three were pipes that I had already done for him. The first two were churchwardens and he decided that they just were not for him. He also took the freehand stem out of the Zettervig and put it in the Brigham and said that he had been smoking it that way and really liked it a lot. We talked about options – restemming all three, using the stem from the Zettervig on the Brigham, restemming the churchwardens with shorter stems or just selling the pipes. The one churchwarden would be just a cleanup. The other was a little more involved. It meant fitting the existing churchwarden stem on the Zettervig pipe and seeing if that would move it. We chose the last option selling the two pipes as churchwardens to someone who really wanted them.

Here are some pictures of the Zettervig as it was when I sent it home with him. I thought they would give us a base for the change. The pictures give a clear picture of the beauty of the pipe. The stamping on the pipe is on the underside of the shank and reads Zettervig over Copenhagen over Handmade. Under that it is stamped with the shape number 351 followed by Denmark. As a reminder I quote from the blog on the Zettervig to summarize the history of the brand for you all. Here is the link to the blog: https://rebornpipes.com/2018/07/28/restoring-and-restemming-a-zettervig-handmade-351-freehand/

In the 1960’s and into the early 1970’s Ole Zettervig had a shop in Copenhagen, Denmark where he was carving high quality pipes equal to Stanwell, Larsen, Anne Julie, Thurmann, Bang and others. These early pipes were marked “Copenhagen” and are very collectible. He sold his shop at some point in the 70’s and moved to Kolding and continued to produce pipes as a hobby, but the quality of briar and workmanship is said to not equal the early production. The later pipes he now marked as Kobenhaven rather than Copenhagen, and these were sold by Ole at flea markets throughout Europe.

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

I took the churchwarden stem from the Brigham and reworked it for the Zettervig. I needed to trim the tenon down slightly and reshape the shank end of the stem. I worked on it until the fit was perfect in the shank. I rounded the area above the tenon to fit into the angled plateau on the end of the shank. I used 220 grit sandpaper to shape the tenon and stem. Unfortunately I was on a roll and forgot to take pictures of that part of the process.

I lit a votive candle and used it to heat the stem. I inserted a long pipe cleaner in the stem and turned it over and over until the vulcanite was pliable. I checked the pliability repeatedly and when it was finally bendable I bent it over a round jar to give it an even bend that matched the flow of the bowl and shank. I held it in place until the bend was set. The stem was used by the Vancouver fellow so I needed to remove the light tooth chatter on the top and underside near the button and also clean it to remove the light tars. I cleaned the stem with alcohol and long pipe cleaners. Once the cleaners came out clean that part was finished.I polished the vulcanite with micromesh sanding pads – wet sanding with 1500-2400 grit pads and dry sanding with 3200-12000 grit pads. I wiped down the stem with Obsidian Oil after each pad to protect and polish it. I gave it a final polish with Before & After Pipe Stem Polish – both Fine and Extra Fine. I gave it a final coat of Obsidian Oil and set it aside to dry. The Zettervig bowl had been smoked more than the churchwarden stem from the Brigham. It was dirt in the shank and airway. It also had a light buildup of carbon in the bowl and it was dirty. The finish was also dull so that would need to be address. I cleaned out the shank and airway with pipe cleaners, cotton swabs and alcohol until they were clean. I cleaned out the carbon on the bowl walls with a Savinelli Fitsall Pipe Knife to smooth out the interior of the bowl. I rubbed down the smooth briar with Before & After Restoration Balm. I worked it into the smooth surface of the briar on the sides and the bottom of the bowl and shank with my fingertips. I worked it into the plateau on the rim top and shank end with my finger tips and worked it in with a horsehair shoe brush. I wanted to make sure that the balm got deep into the briar to do its work. The balm works to clean, enliven and protect the briar. I let it sit for a little while and then buffed with a cotton cloth to raise the shine. The following photos show the bowl at this point in the restoration process. The rim looks much better than when I started but still needs to be polished and buffed to raise a shine on it. I the buffed stem and the bowl with Blue Diamond on the buffing wheel to polish out the remaining small scratches and raise the shine. I carefully avoided the stamping on the underside of the shank. I gave both the bowl and the stem multiple coats of carnauba wax and buffed the pipe with a clean buffing pad to raise the shine. I hand buffed it with a microfiber cloth to deepen the shine. The pipe polished up pretty nicely. This turned out to be a beautiful pipe in terms of shape and finish. The combination of the Danish Zettervig bowl and the vulcanite churchwarden stem looks very good. The finished pipe is shown in the photos below. The dimensions are Length: 11 inches, Height: 2 inches, Outside diameter of the bowl: 1 3/8 inches, Chamber diameter: ¾ of an inch. Thanks for walking through the conversion of this bowl to a churchwarden with me.

Recommissioning a Comoy’s Moorgate 102 of Italy

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Blog by Dal Stanton

I saw this attractive Comoy’s Moorgate on the eBay auction block last year and fortunately provided enough of a bid to bring it home to Bulgaria.  What attracted me to this Comoy’s was the interesting finish which is a darkened, orange hue with nice feathered grain.  This Comoy’s Moorgate also got Jim’s attention after he saw it posted on my website in the For ‘Pipe Dreamers’ Only! collection I list online for pipe men and women to commission.  I enjoyed communicating with Jim via email very much.  Jim not only commissioned the Comoy’s, but he also commissioned a very interesting, older Stanwell Henley Special which I acquired along with 2 brother Stanwell Henleys – 3 pipes I’ve been looking forward to restoring and learning more about.  Along with these 2 pipes that Jim commissioned, were his encouraging words of appreciation for the work we’re doing with the Daughters of Bulgaria – women and girls who have been trafficked and sexually exploited.  Jim was glad that the pipes he was commissioning benefited these efforts.  Thanks, Jim!  Here are a few pictures of the pipes – the Comoy’s and the Stanwell Henley Special – Jim’s is the Saddle Stem Billiard in the middle.  When Jim commissioned these pipes, I’m grateful that he also agreed to be patient as the pipes gradually made it to the top of the queue.  I take some additional pictures to take a closer look at the Comoy’s Moorgate on my worktable here in Sofia, Bulgaria, on the 10th floor of a formerly Communist block apartment building. The nomenclature identifies this Comoy’s as a post-Cadogan era pipe which dates it no older than the early 1980’s when the Cadogan merger took place.  On the left side of the shank is ‘COMOY’S’ [over] ‘MOORGATE’.  The right side of the shank is stamped with the shape number, ‘102’.   The upper side of the stem has the well-known ‘C’ Comoy’s stamp and the underside is stamped, ‘ITALY’. All the stampings point to a post-merger Comoy’s pipe.  The COM being Italy and not ‘Made in London England’ confirms this as Cadogan farmed out the manufacturing.  Interesting also is the shape number, ‘102’.  Pipedia provides a Comoy’s Shape Number Chart that identifies the 102 as being an army mounted, large, straight Pot which does not correspond to the Half Bent Billiard on my table.  The chart most likely pointing to earlier shape numbers.Pipephil.eu provides a Comoy’s Moorgate that matches up with what I’m seeing before me – nomenclature and stampings.  It references a Comoy’s second brand with the name ‘Moorgate’.  I look up the reference and it is a different line altogether – nomenclature and stem stamps and COM as ‘Made in England’.Looking at the condition of the Comoy’s Moorgate on my worktable, it is generally in good condition.  I take a few more pictures to look at some trouble areas.  The chamber has moderate cake build up and some significant lava flow caked on the rim.  The bowl surface has some dents which I’ll try to lift with the hot iron method to preserve the finish.  The stem has moderate oxidation and tooth chatter – no huge problems detected there. To begin, I run a pipe cleaner wetted with alcohol through the draft way and then put the stem in a bath of Before & After Deoxidizer along with several other pipes in the queue.  After several hours soaking, I fish out the Comoy’s stem and allow the Deoxidizer fluid to drain off.  I then take a cotton cloth wetted with alcohol and wipe off the raised oxidation. I continue wiping off oxidation and conditioning the stem by wetting the cotton pad with light paraffin oil.  The Deoxidizer seems to have done a good job. Next, I address the chamber cleaning by reaming it with the Pipnet Reaming Kit. To help with the cleanup, I put down some paper towel to catch the dislodged carbon.  Beginning with the smallest of four blade heads, I ream the chamber. I only use 2 of the 4 blades available.  I follow this by using the Savinelli Fitsall Pipe Tool to fine tune the reaming.  I also use the Fitsall Tool to scrape gently an internal rim bevel that emerges from underneath the carbon cake.  I also use my thumbnail to scratch the carbon off the rim.  Following this, I wrap a piece of 240 grit paper around a Sharpie Pen and sand the chamber.  Finally, to remove the carbon dust, I wipe the chamber with a cotton pad wetted with isopropyl 95%.  With the chamber cleaned, I inspect the chamber walls and I find no issues with heat fissures or cracking. Turning now to the external briar surface, I use undiluted Murphy’s Soap on a cotton pad and clean.  I take my time on the rim to remove the lava.  After cleaning the surface, I use cool tap water to rinse the bowl.Turning now to the internals of the bowl, I use cotton buds and pipe cleaners with alcohol to clean. I also use a dental spatula to scrape the mortise walls more quickly removing the built-up tars and oils.  In time the buds and pipe cleaners start coming out cleaner.  Good for now.  I move on!To achieve a deeper cleaning and refreshing of the internals, I use a kosher salt and alcohol soak.  Using a cotton ball to create a wick, I stretch and twist it and then insert it through the mortise and into the airway.  I then fill the bowl with kosher salt and place it in an egg carton to provide stability.  With a large eye dropper, I then fill the bowl with isopropyl 95% until it surfaces over the salt.  I top the alcohol in a few minutes after it’s absorbed into the salt.  I put the stummel aside for several hours to soak.  After some time, the salt and the wick were soiled.  I tossed the expended salt, wipe the bowl with paper towel, and blow through the mortise to remove salt crystals.  To make sure all was clean, I use a cotton bud and pipe cleaner dipped in isopropyl 95% and they are clean.Putting the cleaned bowl aside, I take the flat needle file and work on the button.  I file the button lips, upper and lower to redefine them.  To erase the scratches of the file, I follow by sanding the bit area, upper and lower with 240 grade sanding paper.  I also sand the entire stem to remove further residual oxidation.  I’m careful to avoid the stem stampings while sanding.  To remove the scratches left by the 240 grade paper, I wet sand using 600 grade paper followed by applying 0000 steel wool buffing to the entire stem.In order to further enrich the vulcanite, I use Before & After Fine and Extra Fine Polish in that order.  I put some Fine polish on my fingers and work the polish in.  After some minutes, I wipe it off.  I follow with the same process with the Extra Fine Polish, giving it some minutes and wiping it off and buffing up the stem.  The stem is cleaning up very nicely.Turning again to the stummel, there are 2 significant dents that I want to see if I can minimize using the heating method with an iron.  I take pictures of the two places I have in mind.  I heat the iron and dampen a cotton handkerchief with water.  I place the cloth over the dent and press the hot iron against the cloth over the dent in the briar.  The heat and moisture are supposed to expand the dent and in this case it does. Interestingly, taking a picture of the two dents afterwards, what emerged is a roughness caused by the heat. Hmmm, not sure why that happened.  The pictures show what I see before and after heating. To remove the roughness caused by the heating and to remove the normal wear nicks, I wet sand the stummel using micromesh pads 1500 to 2400.  I then dry sand with pads 3200 to 4000 and 6000 to 12000.  The grain on this Comoy’s Moorgate is unique as it emerges through the micromesh process.  It looks great! To enrich the natural grain of the bowl, I apply Before & After Restoration Balm.  I apply some Balm on my fingers and work it into the briar surface.  The Balm starts with a thinner oil-like viscosity then gradually thickens to a waxy consistency.  After I apply the Balm thoroughly, I let the bowl stand for several minutes while the Balm absorbs.  I then wipe off the Balm using a microfiber cloth and gradually, as the Balm is removed, I transition to buffing with the cloth. I take a picture while the Balm is doing its thing and after. I’m liking it a lot!Returning to the stem, I now continue with the micromesh sanding phase.  I begin by wet sanding using pads 1500 to 2400, then dry sanding using pads 3200 to 4000 and 6000 to 12000.  Between each set of 3 micromesh pads, I apply Obsidian Oil to continue revitalizing the vulcanite.  The rubber has that glossy pop!  I put the stem aside to dry. Next, I want to refresh the stem stamping, ‘ITALY’.  To do this I place a drop of white acrylic paint over the lettering.  I then use a cotton pad to blotter the excess paint, thinning it so that it dries rapidly. With the flat edge of a toothpick, I then gently scrape the excess paint off the stem.  The pictures show the progress. I now reunite the stem and the bowl and mount a cotton cloth buffing wheel to the Dremel.  I set the speed at about 40% full power and apply Blue Diamond compound to the entire pipe.  Afterwards, I wipe/buff the pipe with a felt cloth to clear it of leftover compound dust.  While I was buffing with the felt cloth, I note that the stem fitting is a little loose for my liking.  This sometimes happens after cleaning the pipe well and scraping the mortise.  To remedy this, I fit a drill bit just larger than the airway diameter and heat the tenon with a Bic lighter.  As the vulcanite tenon heats, it becomes supple allowing me to insert the bit into the airway and it expands the tenon slightly.  I test the fit and it works perfectly, and I am satisfied.  After rejoining stem and stummel, I then mount another cotton cloth wheel to the Dremel, maintaining 40% speed and apply several coats of carnauba wax.  I finish the restoration by giving the entire pipe a rigorous hand buffing using a microfiber cloth to raise the shine further.I’m pleased with the results of this Comoy’s Moorgate.  The briar is spectacular with its diversion of colors and swirls of grain.  Patches of orange settle in the grain knots and from there the colors are an eye catching kaleidoscopes. It is a unique piece of briar and the half-bent Billiard nicely rests in the palm.  Jim commissioned this Comoy’s from the For ‘Pipe Dreamers’ Only! collection and he will have the first opportunity to acquire it from The Pipe Steward Store.  This pipe benefits the Daughters of Bulgaria – women and girls who have been trafficked and sexually exploited.  Thanks for joining me!

A Tiny 2 Star BBB 8881 Apple/Globe Provided An Interesting Challenge

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Blog by Steve Laug

When I spoke with a fellow here in Vancouver who had a pipe that he wanted me to fix it sounded like a simple repair. He said that it had a very loosely fitting stem. He asked if he could drop by to show it to me and see if I could fix it. From past experience I have learned to never jump to conclusions about what sounded like an easy repair. When he arrived he showed me his GBD Faux Spigot. It turned out to need far more work than just tightening a loose stem. I wrote about that restoration in a previous blog (https://rebornpipes.com/2018/11/03/redoing-a-poorly-restored-ebay-gbd-super-q-9436/). We talked about his GBD for a bit and he made the decision to have me do a restoration on it. Then he reached into his pocket and pulled out a small plastic bag with a little BBB 2 Star apple of globe shaped pipe. It was stamped BBB in a diamond on the left side of the shank with two ** – one on either side of the diamond. ON the right side it was stamped Made in England over the shape number 8881. He said that he had found it at his parents’ house and really no one there knew where it came from.

Here is what I saw. Starting with externals. The pipe was small – kind of a pocket pipe. The grain on the bowl was quite stunning – a mix of flame and birdseye all around the bowl and shank. The rim top was coated with a thick lava coat and it went into the bowl. The inner edge of the bowl was in rough shape having been hacked clean with a knife. There was a crack on the right side of the shank curving to the underside. It looked to me it was made by the poorly made stem being shoved into the shank. The stem was larger in diameter than the shank and had been rounded over with a file. There were deep bite marks on the surface ahead of the button on both sides. Moving to the internals. The end of the tenon was carved with a knife to make it fit the mortise in the small shank. The inside of the shank was dirty but less so than I expected. The inside of the bowl had a light cake but most of that was gone from the knife job that had left a wounded inner edge on the rim. Looking at the pipe I explained what I would have to do to bring it back to life and restore it to use. It would need, cleaning, reshaping on the rim, a band on the cracked shank that would leave the stamping readable, and a reworking of the stem to make it a fitting addition to the lovely briar of the bowl. The pipe was going to be a fun challenge. I took these photos to give you an idea of what I saw. The previous pipeman who had fit a new stem to an old favourite pipe had done a functional job but it looked rough. It was pretty clean on the inside so it was cared for. It must have been a great smoking pipe for him to fit a new stem and not give up on it when the previous one broke or was lost. It was smokable. I took a close up photo of the rim top to show the condition. It is hard to see but the rim top was not smooth. The lava build up was pretty thick and there were some deep nicks and chips in the flat top. The close up photos of the stem reveal the scratches in the vulcanite, the tooth marks and the worn and ill-defined button.  The oversized diameter – prettified to look nice is clear in the photos. I took photos from the side of the pipe to show the stamping on the shank and the prettified stem. In the second photo you can see the crack in the shank curving downward to the underside.I decided to address the cracked shank first. With the crack as large as it was and movable I did not want to further damage it when I worked on the stem and fit of the tenon. I knew that it needed to be banded but that would cover the stamping on the shank so adjustments would have to be made. I used a Dremel and sanding drum to reduce the size of the shank to fit the band I had chosen. I did not take of too much briar and I only damaged the M in Made In England as part of it would end up being covered by the band.I repaired the crack in the shank with super glue and pressure fit the band onto the shank to the point of the end of the sanded portion. I used a Dremel and sanding drum to cut back the band to the width that I wanted. Compare the photos above with the one below to see how much I took off of the band. I topped the band on a topping board with 220 grit sandpaper and smooth out the sharp edge with 1500 grit micromesh. I decided that since I was already working with the Dremel and sanding drum that I would take down the excess diameter on the stem as well. I reduced it to sit snugly against the band giving the pipe a classy look.I cleaned up around the inside edge of the band and edge on the shank with a folded piece of 2220 grit sandpaper to smooth things out and make the fit and transition smooth. I lightly sanded the blade portion of the stem and the area of the tooth marks next to the button with 220 grit sandpaper to remove the oxidation and clean it up. I fit the stem in the shank and took a photo of the pipe at this point in the process. It was beginning to look like a classic BBB to my eye. With the stem roughly fit to the shank it was time to address the bowl top. I topped it on a topping board with 220 grit sandpaper. At that point I called it a night. I had to catch a train down to the southern part of Washington from Vancouver in the morning so I thought I would bag up a couple of pipes I was working on and take them with me.I caught the train south from Vancouver, BC at 6:30am. Once we had our seats we were in for an 8 hour train ride. I figure it would be a good opportunity to work on these two pipes. You can see my work table in the photo below. I used the fold down table. It had a lip around it so I spread out a couple of napkins for the dust and went to work on the pipes.I started working on the BBB by addressing the damage to the inner edge of the rim. It was significant with cuts and burns. My topping worked had helped with the top damage and smoothed that out but I need to work on the rim edge. I used a folded piece of 220 grit sandpaper to smooth out the sharp edges and bring the bowl back to round. Once I had the rim as round as I could get it and smoothed out the damaged edge I polished it with micromesh sanding pads. I polished the bowl and the rim at the same time. I wet sanded with 1500-2400 grit micromesh sanding pads and dry sanded with 3200-12000 grit pads. I wiped the bowl down with a damp napkin after each pad. I touched up the stain around the front of the band and stained the rim top and inner edge with Maple and Cherry stain pens. Together the two stains matched the rest of the bowl.I rubbed down the briar with Before & After Restoration Balm. I worked it into the smooth surface of the briar with my fingertips to clean, enliven and protect it. I let the balm sit for a little wall and then buffed with a cotton cloth to raise the shine. The following photos show the bowl at this point in the restoration process. The rim matches well but still needs to be polished and buffed to raise a shine on it. I used a folded piece of 220 grit sandpaper to reshape the button and also to smooth out the marks left by the Dremel when reducing the diameter of the stem. I sanded the tooth marks near the button on each side of the stem to smooth them out.I polished the stem, tenon and metal work with micromesh sanding pads – wet sanding with 1500-2400 and dry sanding with 3200-12000 grit pads. I wiped the stem down with Obsidian Oil after each sanding pad. I was able to remove the damage on the tenon and polish out the dripping varnish on the metal adornment. The stem looked much better at this point in the process. I the polished stem and bowl with Blue Diamond to polish out the remaining small scratches and raise the shine. I gave the bowl and the stem several coats of carnauba wax and buffed the pipe with a clean buffing pad to raise the shine. I hand buffed it with a microfiber cloth to deepen the shine. The pipe polished up pretty nicely. This turned out to be a beautiful little pocket pipe in terms of shape and finish. The new nickel band adds a touch of class in my opinion and gives the pipe a new elegance. I look forward to hearing what the fellow who dropped it off for repair thinks of it once he has it in hand and is smoking it. The finished pipe is shown in the photos below. The dimensions are Length: 4 inches, Height: 1 3/8 inches, Outside diameter of the bowl: 1 inch, Chamber diameter: 3/4 of an inch. Thanks for walking through the restoration with me.

Salvaging a ‘Really’ Poor Richard’s of Italy Giant Billiard

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Blog by Dal Stanton

Let’s be honest. When I saw this Poor Richard’s on the eBay auction block I thought the name was a joke by the seller.  He WAS huge (L: 6 3/4”, H: 2 1/8”, Rim W: 1 1/2″, Chamber W: 7/8”, Chamber D: 1 7/8”, Weight: 74gr), no doubt, but his condition could qualify him for the title: King of the Basket Pipe Realm.  His condition was indeed poor and adding to the ‘joke’ was that he was displayed on satiny royal purple material.  But the clincher was coming. Adding insult to injury, the seller’s byline description under Poor Richard’s picture was: Poor Richard’s Classic Bulldog Large Estate Pipe Beautiful !!!  Nice  !!!  Bulldog?  I felt sorry for him.  I placed a bid and when the auction ended, it was no surprise that mine was the only bid seeking a new life for Poor Richard’s.  My wife’s response when she first saw Poor Richard’s was that Poor Richard’s dog got a hold of him!  Here are the pictures I saw. After bringing Poor Richard’s back to Bulgaria, I put him on my website in the For ‘Pipe Dreamers’ Only! section where my friend and fellow Pipe Dreamer from India, Paresh, saw him.  Poor Richard’s became the fourth pipe Paresh commissioned – all of them on the larger side and each one of them advancing our work here in Bulgaria benefiting the Daughters of Bulgaria, helping women and girls who have been trafficked and sexually exploited.

Taking more pictures on my worktable on the 10th floor of a formerly Communist ‘Block’ apartment building, the nomenclature on the left shank is ‘PoorRichard’s’ in what I call an ‘Old World’ script.  There are no other markings on the shank.  The stem is stamped with an interlocking ‘PR’.  The bottom of the stem is stamped with the COM, Italy.When I began doing the research on this Poor Richard’s, I recalled that rebornpipes’ contributor, Al Jones (aka: Upshallfan), had recently posted a restoration of a Poor Richards 9438 Cordovan Rhodesian shape.  Reading Al’s write-up was helpful because it clued me into the ‘mystery’ surrounding the origins of the Poor Richard’s name.  I noticed that our pipes shared the ‘Old World’ script nomenclature as well as the interlocking ‘PR’ stem stamp.  The obvious difference was the COMs – his, London, England and mine, Italy and his included a shape number, and mine, without.As I’ve done in the past with much benefit, I wrote to Al asking about the differences between our Poor Richard’s and what to make of the differing COMs?  His response was helpful:

Dal

Unfortunately, there is nothing but speculation about these Poor Richard pipes.  The one shop here, with that name, can’t even conclusively determine if they had shop pipes.

I suspect it was a shop pipe, made by various makers for this shop.  But a shop in Montana having shop pipes doesn’t exactly make sense either.  Usually shops with their own pipes were larger, and in metro areas, not out in the wilderness of Montana.

Poor Richard pipes are not listed in “Who Made That PIpe”, so my guess is still a shop pipe.  Perhaps that Montana shop was bigger than I presumed. 

I suspect Italian companies, like GBD made shop pipes as well.  Perhaps that one was made by Savinelli or other?  Without a shape number, it’s impossible to determine.

Have fun restoring it!

Al

Al referenced the pipe shop in Montana that in a subsequent email he referenced that Steve had also worked on a Poor Richard’s attributed to the ‘Poor Richard’s’ pipe and tobacco shop in Bozeman, Montana. However, Al said that Steve’s Poor Richard’s pipe had a totally different nomenclature with Montana stamped on the pipe.  I found this write up on Rebornpipes and what a write up!  It was one of Steve’s and Charles Lemon’s classic collaborations including a pinning tutorial.  When these two masters get together, its fun to see the wonders happen!  (See this post which is worth the read:  A Humpty Dumpty Cross Canada Project – Could this Poor Richards Select Square Shank Billiard 9489 ever be whole again?)  Steve’s research on the Montana shop is good and saved me time and steps.  Since Steve’s write up in 2016, the website had changed and a description of Poor Richard’s history beginning in 1962 can be found here: History.  The following pictures show the shop early on and what it is today.Even with the mystery and the discrepancies with the nomenclatures, in researching different pipe shop pipes in the past (L. J. Peretti, Pipe Pub), I found that it’s common to have pipes manufactured in various places.  Another indicator that the Poor Richard’s nomenclature refers to a shop is simply because it is possessive – Richard’s, pointing to something else.  Whether there’s another Poor Richard’s shop other than the one in Bozeman, I don’t know.  This question has been lost to history.

The condition of the giant Poor Richard’s before me now is poor. I take more pictures to take a closer look. The chamber has moderate cake build up that needs to be removed to inspect the condition of the chamber.  The lava flow on the rim is thick.  The stummel surface reminds one of a moonscape with all the craters in need of attention!  Along with the pits and holes there are dents and scrapes.  The oxidation on the stem is joined by bites and compressions on the lower and upper bit.  With a better understanding of the Poor Richard’s name, I begin the salvage of the giant Billiard by running pipe cleaners dipped in isopropyl 95% through the stem and then adding it to a soak of Before & After Deoxidizer along with several other commissioned pipes in the queue.  The Poor Richard’s stummel and stem are first on the left.  After letting it soak overnight, I fish out the Poor Richard’s stem and let the fluid drain off.  I then push a pipe cleaner through it to help remove the Deoxidizer.  I then wipe the stem with cotton pads wetted with isopropyl 95% to remove the raised oxidation from the vulcanite stem.  After wiping off with the alcohol, I then wipe again using a cotton pad and light paraffin oil (mineral oil) to clean and condition the stem further.  Finally, I run another pipe cleaner through the stem dipped in isopropyl 95%.  The pictures show the process. Taking the stummel, I use the Pipnet Reaming Kit to clean the chamber.  After putting paper towel down on the table for easier clean up, I start reaming using the third largest blade head since the chamber is so large.  I also use the fourth and largest blade to ream.  Following the reaming, I use the Savinelli Fitsall Pipe Tool to scrape the chamber walls removing additional carbon cake – especially down in the floor of the chamber with the difficult angles.  Then, after wrapping 240 grit paper around a Sharpie Pen, I sand the chamber walls removing additional carbon and smoothing the chamber surface.  I clean the chamber next using a cotton pad wetted with isopropyl 95%.  While inspecting the chamber, I do see some hairline heat cracks that are very small, but not serious enough to warrant repair.  Next, using undiluted Murphy’s Oil Soap I work on the external briar surface using a cotton pad.  I also use a brass wire brush on the rim to remove the lava and follow by carefully scraping the rim surface with a flat knife edge.  After scrubbing, I rinse the stummel in the sink with cool tap water.Turning to the internals, I use pipe cleaners and cotton buds dipped in isopropyl 95% to clean the mortise and airway. I also use a small dental spatula tool to scrape tars and oils off the mortise walls.  The cleaning wasn’t too bad. Later, I’ll continue cleaning the internals with a kosher salt and alcohol soak.With the internals cleaned, I now look at the stummel surface.  I have several fills to dig out and to fill.  My main tool in doing this is a sharp dental probe.  The goal is to only have a solid base in the holes – either old filler material or briar.  It takes quite a bit of time, but I move from fill to fill doing the needed excavation work. With the holes excavated, I prepare a batch of briar dust and CA glue patch to apply to the problem areas.  I scoop briar dust in a small mound on an index card and put a glob of thick CA glue next to the briar dust.  Using a dental spatula, I mix briar dust into the CA glue until I reach a thicker consistency, like molasses.  I then trowel the patch mixture into each of the holes leaving excess to be sanded down after cured.  The pictures show the process. With the Briar Dust patches curing, I turn to the stem.  After the soak in the Before & After Deoxidizer, much of the oxidation was removed.  But looking more closely, there remains oxidation but it’s much subdued. I decide to place the stem in another soak – this time with OxiClean.  I put a pipe cleaner through the stem and put it in the OxiClean to let it soak overnight.With the day ending, I continue the cleaning and refreshing of the stummel internals.  To do this I employ a kosher salt and alcohol soak.  First, I form a wick by stretching and twisting a cotton ball and with a stiff piece of wire, I stuff it down the mortise and airway.  It will serve to draw out tars and oils.  Then I fill the bowl with kosher salt and place the stummel in an egg crate to keep it stable.  With a large eyedropper, I fill the bowl with isopropyl 95% until it surfaces over the salt.  After a few minutes, I top off the alcohol as it is absorbed and turn out the lights.The next morning, there isn’t too much discoloration of the salt which means I didn’t put in enough alcohol or that the internals are clean.  The wick is darker.  I toss the expended salt into the waste, wipe the bowl with paper towel and blow through the mortise to remove remaining salt crystal.  I then use a shank brush on both the bowl and the mortise – blowing again.  Finally, to make sure all is clean and ready to go, I wet a cotton bud and pipe cleaner with isopropyl 95% and run them through the mortise and airway.  They come out clean and it’s time to move on. I put the stem in an OxiClean soak through the night and it’s time to fish it out.  I take a picture of the additional oxidation that has been raised and I take the stem to the sink and wet sand the stem with 600 grade paper to remove the oxidation.  It looks cleaner now after sanding.Looking more closely now at the bit area, there are good sized compressions.  The button also has some bite marks.  The first step is to use the heating method to see if it will expand the vulcanite reducing the severity of the compressions.  I use a Bic lighter and paint the upper- and lower-bit areas. The areas were lessoned, but not erased by heating the vulcanite. I then use 240 grade paper and sand the upper- and lower-bit areas as well as redefine the button with a flat needle file.  I take pictures of each step. First, the upper bit progress:After heating:After 240 sanding and filing:Progression of the lower bit area:After heating:After 240 sanding and filing: I’ve sanded out as much as will sand and now I will patch the areas that did not sand out.  I first wipe the stem with alcohol to clean the area.  I then apply black CA glue to the areas.  And I wait, and wait, and wait….  Well, I just discovered that Black CA glue can go flat and lose its ability to bond.  Reading the directions, is says to refrigerate to prolong shelf life.  Well, the shelf life must have been reached.  I wipe the old CA glue off and thankfully, I had purchased another bottle of Hyper Bond Black Rubber Reinforced CA glue.  I discover that the bottle mouth is larger than the squirt spouts that I have so I end up troweling a small bit of the glue on the end of a pointed dental spatula and apply it to the spot.  It works!  To advance the curing time I spray the upper and lower patches with an accelerator which does the trick.  The first picture, upper that didn’t cure and the new glue on the lower.  New bottle of glue is heading for the fridge! Next, taking a flat needle file I start filing the black CA patches staying on top of the glue mounds.  I then follow by using 240 grade sanding paper to bring the excess CA glue to flush with the vulcanite surface.  First, pictures showing the upper bit: The next step with the stem is to wet sand it with 600 grade paper then I follow by buffing the stem with 0000 steel wool to prepare the vulcanite surface for the micromesh pad phase of sanding.  The patches on the bit blended very nicely.I put the stem aside because I’m anxious to get started on the Poor Richard’s stummel.  I decide to start from the top and work down.  I will establish fresh lines for the rim and remove the surface scratches by topping the stummel.  I first use 240 grade paper on the chopping board and invert the stummel and rotate the stummel over the paper. After the 240 paper, I use 600 grade paper for another few rotations.  It looks good. To dress this Poor Richard’s up a bit, I create an internal bevel.  To me, an internal bevel softens the rim lines and is a classy touch.  I cut the bevel initially using a rolled piece of coarse 120 grade paper then follow with 240 and 600.  I simply pinch the rolls of sand paper under my thumb and rotate around the internal circumference of the rim.  I like it. Now, time to work on filing and sanding all the briar dust putty patches all over the stummel surface.  I use the flat needle file to work the mounds down to near the briar surface then I finish off with 240 grit paper, bringing the patch flush with the surface.  The pictures show the process.  Lots of filing and sanding! With the patches all repaired, I use sanding sponges to sand the entire stummel to remove additional nicks and scratches and to blend the patch areas.  I start with a coarse sponge, follow with a medium then light sponges. I like the way sponge sanding cleans up a rough bowl.Moving on to the micromesh stage, I wet sand the stummel with pads 1500 to 2400 then dry sand with pads 3200 to 4000 and 6000 to 12000.  I love the way the micromesh process teases out the briar grain. This Poor Richard’s is looking good! To mask the plethora of fills scattered on this Italian Poor Richard’s stummel, I will give him a dark stain.  I use Fiebing’s Dark Brown Leather Dye to do the job.  With it being an aniline based dye, later I can wipe the bowl with alcohol to blend and lighten as I choose.  I assemble the components used in applying dye on my worktable.  I mount a cork in the mortise to act as a handle and I pour the dye into a shot glass.  I use a folded pipe cleaner to apply the dye and a lit candle to flame the aniline dye.  I begin by wiping the stummel with alcohol to clean the surface.  I then warm the stummel using a hot air grain. This expands the briar grain aiding in it being more receptive to the dye.  Using the pipe cleaner, I then apply dye liberally to the entire stummel making sure to cover the rim well.  I then ‘flame’ the stummel with the lit candle and the alcohol immediately combusts leaving the pigment sealed in the grain.  After letting the stummel ‘rest’ a few minutes, I repeat the process of applying dye and flaming.  I then put the stummel aside to rest for several hours helping to assure that the dye is set and will not rub off later on hands when the pipe is put back into service.  The pictures show the process. With the flamed stummel resting, I turn again to the stem.  Using micromesh pads 1500 to 2400, I wet sand the stummel.  Following this, I dry sand using pads 3200 to 4000 and 6000 to 1200.  After each set of three micromesh pads, I apply a coat of Obsidian Oil to the stem to revitalize the vulcanite.  The stem is looking good. The stained stummel has rested for about 24 hours and it’s time to unwrap the flame crust. After mounting a 1 inch felt buffing wheel on the Dremel, I set the speed to the lowest RPM and apply the more abrasive compound, Tripoli, to remove the crust revealing the newly stained briar surface.  As I have refined my technique using the Dremel during the compound phases, I’ve learned that using a felt buffing wheel and Tripoli allows me to have more control over the degree of opaqueness allowed through the stain, especially when using darker stains like with this Poor Richard’s.  When I begin removing the crust with the felt wheel and the coarser Tripoli compound, the initial pass of the buffing process removes the top crusty layer, but thick, ‘blotched’ stain remains.  These blotches, or darker patches of stain hide the grain underneath.  After this first pass, my practice is to purge the wheel quickly on the side of the chopping board that is on my lap, providing the work platform for all the buffing.  After I purge the wheel of the thick stain residue from the flaming, I load more Tripoli to the felt wheel and then begin additional passes over the same area – frequently purging and reloading the felt wheel with Tripoli.  Through this process I can determine how the grain is presented.  More Tripoli buffing, the lighter hues are raised in the grain, giving more definition.  When I’m working an area where a patch is located, I tend to allow it to remain darker to enhance the masking.  After staining, I would say that this phase applying the Tripoli is the most critical for the finished look of the grain.  Why?  The coarse Tripoli combined with the coarser felt wheel does the heavy lifting by increasing the opaqueness of the stain when desired which sets the stage for the finished look.  The following less coarse compounds, such as Blue Diamond, and using the cotton wheel, provides more buffing of what is there rather than remove it.  The pictures below give a hint of what I’m describing.  For those who use a Dremel, I hope this is helpful. To blend the stained finish, I lightly wipe the stummel with a cotton pad wetted with alcohol.  I don’t need to lighten the stummel, only blend.After wiping down the stummel with the cotton pad, the Tripoli with felt wheel had lightened more than I wanted in order to provide a darker shading to blend and to mask the fills.  I decide to stain the stummel again, but the second time around, I use a cotton cloth buffing wheel and Tripoli instead of the more aggressive felt wheel.  Saving on pictures repeating the same process, here is the stummel after the second staining and flaming.  Again, I wait several hours allowing the stain to rest.Following the Tripoli compound, I mount another cotton cloth buffing wheel in the Dremel, increase the speed to about 40% full power, and apply Blue Diamond compound to both the stem and stummel which I reunite.  After completing the application of Blue Diamond, I wipe/buff the pipe with a felt cloth to remove the residual compound dust in preparation for the wax application.Before applying wax, I refresh the Poor Richard’s stem stamping, the interlocking ‘PR’ and the country of manufacturing stamp, ‘Italy’.  Using white acrylic paint, I use a pointed cotton tip to apply paint to the stamps.  While still wet I lightly wipe the excess paint off leaving the stamps filled.  It works well, and the Poor Richard’s is shaping up well! To finish the buffing stage, I mount another cotton cloth wheel to the Dremel, leaving the speed at 40%, and I apply carnauba wax to stem and stummel.  I follow by giving the pipe a rigorous hand buffing with a microfiber cloth.

I’m pleased with the transformation of the Poor Richard’s.  The dark brown dye helped to mask the repairs done to the stummel and it looks great.  This straight Billiard is a classic shape and as large as this Poor Richard’s is, I believe it will serve its new steward well.  Paresh commissioned him from the For ‘Pipe Dreamers’ Only! section on The Pipe Steward site.  He will have first opportunity to acquire the Poor Richard’s from the The Pipe Steward Store which benefits the Daughters of Bulgaria – helping women and girls who have been trafficked and sexually exploited.  Thanks for joining me!

Recommissioning a Hefty Ben Wade Bent Billiard Made in London England

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Blog by Dal Stanton

I saw this large Ben Wade Bent Billiard on the eBay auction block a few years ago and secured it with the winning bid.  This was the first time I had acquired a Ben Wade, so my initial thought was to add it to my own collection.  I noticed that Ben Wade stamped pipes usually attracted more than usual bidding attention and so I was looking forward to restoring it and learning more about the name.  In the end, I put him in the For ‘Pipe Dreamers’ Only! section on the Pipe Steward site and this is where Paresh saw it and commissioned it to add to his collection and this benefits the Daughters of Bulgaria.  The Ben Wade, without question, fits the profile of being a ‘hefty’ pipe fitting well in the hand.  Here are some of the pictures that got Paresh’s attention: I take some additional pictures on my work table in Sofia, Bulgaria, looking at the stamping.  On the left shank is ‘Ben Wade’ in cursive script over MADE IN [over] LONDON ENGLAND.  The right shank side has 79 stamped – I’m assuming a shape number. The stem also has a BEN WADE stamp. Pipedia’s article on Ben Wade is interesting and very helpful in explaining the history.  The ‘Family Era” (1860 to 1962) is described as the ‘hay day’ of the British pipe maker:

The company was founded by Benjamin Wade in 1860 in Leeds, Yorkshire, where it was located for over a century. Ben Wade started as a pipe trader, but yet in the 1860’s he established a workshop to produce briar pipes. The pipes were made in very many standard shapes – always extensively classic and “very British”. Many models tended to be of smaller dimensions. Ben Wade offered a very high standard of craftsmanship and quality without any fills. Thus, the pipes were considered to be high grade and a major competitor to other famous English brands.

Along with most pipe manufacturers, the Second World War was a difficult time for Ben Wade.  German air raids destroyed the factory in Leeds, but the Ben Wade Co., quickly rebuilt after the war.  The Pipedia article gives several examples of the Ben Wade based in Leeds nomenclature during the Family Era (courtesy of Doug Valitchka):The ’Family Era’ ended when the business was sold in 1962:

…the owner family decided to leave pipe business and sell off the firm. The family went into negotiations with Herman G. Lane, president of Lane Ltd. in New York at about the same time as the Charatan family. Lane Ltd. bought both firms in 1962. Herman G. Lane had been Charatan’s US sole distributor since 1955 and Charatan always remained his pet child. But Ben Wade was treated in another way by its new owner. The fabrication of pipes was reduced and the factory in Leeds was closed in 1965 finally.  So this was the end of Ben Wade pipes stamped “Made in Leeds, England”.

The ‘Lane Era’ is described as a time when the historic quality of Ben Wade declined to a ‘second’ with reference to the production of standard shapes:

Alas the “new” Ben Wades were quite usual series pipes, copies of well-known standard shapes. The pipes often showed hardly masqued fillings and were processed quite coarsely with hardly polished pre-moulded Ebonite stems. Therewith Ben Wade degenerated definitively to a second brand.

According to the Pipedia article, after the death of Herman G. Lane, the business was sold to Dunhill Pipes Limited in 1978 and the new owner had no need to produce ‘seconds’ coming from the acquisition.  The Ben Wade Bent Billiard on my work table comes from the ‘Lane Era’ produced between 1965 and 1978 matching the nomenclature during this period.  “Made in London England” or just “London” replaced “Leeds” with the characteristic cursive script and ‘Ben Wade’ stem stamp (again courtesy of Doug Valitchka):I had one other question regarding the name ‘Ben Wade’ – the Danish connection? In 1971, the young, Danish pipe maker, Preben Holm, came to Lane with financial difficulties and in need of a new US distributer of his pipes made in Denmark.   The new partnership put the Ben Wade name on the Freehand production coming from the Danish factory into the burgeoning US ‘Freehand’ market with a commitment to quality rather than quantity.  The market grew through the 70s until 1985, when the market for these pipes fell resulting in the downsizing of the factory in 1986 but the production of Danish Ben Wade pipes came to an end in 1989 after the death of Preben Holm.  The Pipedia article concludes by describing the status of the Ben Wade name.  Duncan Briars purchased rights to the Ben Wade name from Dunhill Pipes in 1998 and continues to produce pipes at the same factory where Dunhill pipes are made:

The bowls are carved at the world famous 32 St. Andrews Road, Walthamstowe pipe factory, in London, England. The same factory where Dunhills are made. Every pipe is drilled spot on and exhibits a good blast and all have high quality German Vulcanite mouthpieces. Every pipe is stamped “Ben Wade, Made in London, England”. The craftsmanship and smokability have always been superb.

With a greater appreciation for the Ben Wade name, I take another look at the Ben Wade Bent Billiard on my worktable.  Even though the Pipedia article gave more of a negative view of traditional shapes of Ben Wades produced in the Lane Era, the pipe I’m looking at doesn’t reflect this.  The grain is beautiful, and I see no fills on the surface.  The chamber appears to have been cleaned and the briar surface is clean as well showing normal nicks and scratches.  The stem does have some minor oxidation and tooth dents on the button.  I also detect that there is a gap between the shank and stem – I’ll see if cleaning might correct this.  I take some close ups of these issues. To begin the cleanup of the Ben Wade, I run a pipe cleaner dipped in isopropyl 95% through the stem.  Then, along with other pipes in the queue, I put the stem in a soak of Before & After Deoxidizer to remove the oxidation.  After a few hours, I remove the stem and wipe off the raised oxidation using cotton pads and light paraffin oil – mineral oil.  I also run another pipe cleaner through the airway to remove Deoxidizer. Turning to the stummel, I remove the very light cake in the chamber. With the chamber so large, I jump to the largest blade head from the Pipnet Reaming kit.  I follow this by using the Savinelli Fitsall Pipe Tool and scraping the chamber walls further.  I finish by sanding the chamber wall using 240 grit paper wrapped around a Sharpie Pen.  To remove the carbon dust residue, I wipe the chamber with a cotton pad wetted with isopropyl 95%.  The pictures show the progress. One of the purposes of removing the old cake to bring the chamber down to the briar, is not only for a fresh start.  When the carbon is removed the chamber can be inspected for problems usually pertaining to heat fissures and potential burn throughs.  Inspecting the Ben Wade, I detect on the forward part of the chamber a sloping indentation that is a little to pronounced to ignore.  Using the Savinelli Fitsall Tool again, I scrape carbon out of the indentation to make sure I’m getting down to the briar.  This reveals the full extent of the abnormal burning.  I take pictures to show what I see, but the picture doesn’t do too well.  Changing the aperture, the picture is lightened, and I outline the perimeter of the indentation in the final picture below.  I need to address this budding burn through later after cleaning the stummel.  Next, I clean the external stummel surface using undiluted Murphy’s Oil Soap and a cotton pad.  The stummel cleans up well but reveals a tired, lackluster, thin finish. I then clean the internals of the stummel using cotton buds and pipe cleaners dipped in isopropyl 95%.  The grunge is thick, so I also employ a dental spatula to scrape the mortise walls as well as a drill bit to hand turn down the airway to excavate the old tars and oils.  To save on pipe cleaners I also utilize a long shank brush to scrub the airway.  Eventually, the tide begins to turn, and the buds and pipe cleaners are emerging less soiled.   I take a picture of the tools I use.To continue cleaning the internals, I use a kosher salt and alcohol soak.  I like to do this additional step in cleaning to further clean the tars and oils out of the internal briar and to freshen the pipe.  I use kosher salt because it doesn’t leave an aftertaste.  I stretch and twist a cotton ball to form a wick that I then insert down the mortise and airway pushing it with a straight, stiff wire.  I then fill the bowl with kosher salt and place the stummel in an egg crate to keep it stable.  With a large eyedropper, I fill the bowl with isopropyl 95% until it surfaces over the salt.  I put the stummel aside to soak for several hours.Again, I look closely at the stem that had already soaked in the Before & After Deoxidizer and I see that there remains deeper oxidation.  Instead of going directly to sanding out the oxidation, I decide to put the stem in the OxiClean bath to let it soak overnight – to see if more oxidation would be raised.  I put a small bit of petroleum jelly over the Ben Wade stem stamping and I put the stem in the OxiClean and turned out the lights.  Another day is finished.The next morning the soak had done the job. After tossing the expended salt in the waste, I wipe the chamber with paper towel and blow through the mortise to clear any residual salt crystals. I also use a long shank brush down the mortise.  To make sure the internals are clean, I finish by using a cotton bud and pipe cleaner dipped in isopropyl 95% down the mortise and airway.  They come out clean.Next, I fish the stem out of the OxiClean where it has been soaking through the night.  More oxidation has surfaced.  I begin sanding the entire stem using 240 grit paper careful to protect the Ben Wade stamping and shouldering the stem.  I focus on the bit area removing the minor tooth chatter.  Using a flat needle file, I freshen the button edges.  I follow by wet sanding with 600 grit paper and then 0000 steel wool.  The oxidation appears to be removed for the larger part except for some around the Ben Wade stamping which I won’t sand for the sake of preserving the stamp. Taking it one step further, using Before & After Fine and Extra Fine Polish, I rub each into the vulcanite in succession.  Putting some on my finger, I work the polishes into the vulcanite and let the stem sit for a time to absorb the polish.  The polishes are advertised not only to revitalize vulcanite but also to continue to remove the oxidation.  After each polish is absorbed, I then wipe the stem down with a cotton pad.  The pictures show the progress.Putting the stem aside for now, I work on the budding burn through in the chamber.  Previously, I dug out any remaining charring in the indentation.  To make sure the area is fully clear, I sand the area again and wiped the chamber with a cotton pad wetted with isopropyl 95% to clean the chamber.  As far as chamber burn throughs go, this one is minimal.  It has not progressed far and the size and the thickness of the bowl means that there was never any imminent danger.  Yet, for the long-term view and use of this beautiful Ben Wade Bent Billiard, I repair the problem where it is before it grows and becomes a worse problem.  I mix a small batch of J-B Kwik Weld on an index card.  After combining the two components, ‘Steel’ and ‘Hardener’, I have about 4 minutes to apply the mixture before it starts setting. I use a flat dental spatula as a trowel and apply the J-B Weld to the indentation in the chamber.  I put the stummel aside to allow the J-B Weld to thoroughly cure. After it cures, I use a sanding drum mounted on the Dremel to sand the excess.  I follow this using the Sharpie Pen wrapped with 240 grit paper to leave the chamber smooth and shaped. I’m pleased with the results and glad I went the extra mile to arrest the potential burn through.  Later, I’ll apply a coat of activated charcoal and sour cream mixture to the chamber wall to improve the aesthetics and to aid formation of a new protective cake. Before continuing, I reunite the stem and stummel to examine the shank junction.  Earlier I saw a gap between the shank and the stem.  Often, after cleaning these problems are resolved.  I find that this indeed was the case as the stem is now seated as it should be.  Pictures are before and after.With the stem now properly seating, I turn again to the stem and using micromesh pads 1500 to 2400 I wet sand the stem.  Following this, I dry sand using pads 3200 to 4000 and 6000 to 12000.  Following each set of three pads, I apply a coat of Obsidian Oil to revitalize the stem.  I love the glassy pop of a micromeshed stem! Turning now to the external surface of the stummel, I take a closer look at the condition of the briar.  I identify some very small fills which are solid except for one, which is pitted.  Along with normal dents and scratches from wear, there is a small skin mark on the forward outer lip of the rim.  For the pitted fill, I dig out more of the old fill with a sharp dental probe.  Since I will put clear CA glue on the pitted fill, I color the fill with a walnut dye stick to aid in blending.  I then spot drop CA glue on the area and set the stummel aside allowing the glue to cure. After a full work day, the CA glue patch I applied this morning is fully cured.  I remove the CA glue mound starting with a flat needle file.  The key is to stay on the mound and gradually bring it down close to the briar surface.  I don’t want to impact any surrounding briar.  I follow the filing by using a tightly rolled piece of 240 grit paper to bring the glue down until it’s flush with the briar surface.  My rule of thumb is to sand until I can feel no roughness.  The patch looks good – blending well with the briar.To address the rim nicks, I decide to give the rim a very light topping.  Using a chopping board as my topping board, I place a sheet of 240 grade paper on the board.  Inverting the stummel, I rotate the stummel a few times on the board to freshen the rim lines and remove the nicks.  I follow with a few rotations on 600 grade paper.  The pictures show the progress. Next, to address the briar surface, I use in succession rough, medium and light grade sanding sponges to work out the cuts and nicks in preparation for the micromesh pads.  I find that using sanding sponges on smooth briars helps clean the surface of the old, tired finish without being greatly invasive.  The sponges also smooth and soften the rim lines after the topping.  I enjoy watching the grain begin to take center stage through the process.Next, using micromesh pads 1500 to 2400 I wet sand the stummel.  I follow by dry sanding with pads 3200 to 4000 and 6000 to 12000.  I forgot to take a picture of the first set of 3 pads.  The grain is coming through nicely. Rejoining stem and stummel, I mount a 1-inch cotton cloth buffing wheel to the Dremel set at about 40% full power and apply Blue Diamond compound to the entire pipe.Before applying carnauba wax to the stem and stummel, I need to touch up the Ben Wade stem stamping with the hope there’s enough tread left in the ‘Wade’ portion of the stamp to hold the paint.  Using white acrylic paint, I apply paint over the stamping and sponge off the excess while still wet and allow the paint to dry. After dry, I gently scrape the excess with the flat edge of a toothpick.  I’m less than satisfied.  I try reapplying more paint and wiping while still wet.  After working with it for some time, I’ve come to the best I can do.  The ‘Wade’ part of the stamping simply does not have enough depth left to fully hold paint.  The picture shows my less than hoped for results. One more project to finish before the final waxing.  After completing the chamber repair using J-B Weld and sanding, to aid the aesthetics and to provide a starter layer for developing a protective cake, I mix together sour cream or natural yogurt with activated charcoal to form an application to cover the walls of the chamber.  When I first heard about this mixture from Steve on rebornpipes, I was a bit doubtful then, but no longer.  I have used this application many times and after applying and drying, the result is a very sturdy layer.  After the pipe goes into service, the only caution is when cleaning out the bowl after use do not scrape the chamber with a pipe tool.  I simply use a folded bristled pipe cleaner to scrape the wall after dumping the ash.  This has worked well for me.  I place a pipe cleaner in the draft hole to keep the airway open.  Here in Bulgaria, yogurt is very plentiful, so I scoop some natural yogurt in a small bowl and add some activated charcoal powder and mix it.  After it mixes and thickens enough so it won’t be runny, I trowel the mixture into the chamber with a pipe nail tool and spread it evenly.  After it’s distributed well, I set the stummel aside for a time to allow the charcoal/yogurt mixture to cure. After the Charcoal/Yogurt coating sets, I reunite stem and stummel.  Using the Dremel, I mount another cotton cloth wheel, leaving the speed at about 40% and apply carnauba wax.  After a few coats of wax, I give the pipe a rigorous hand buffing with a microfiber cloth to raise the shine.

This hefty Ben Wade Made in London England Bent Billiard turned out very well.  The horizontal grain on the huge stummel flows in a striking picture and is joined by large bird’s eye pools. The bowl rests very nicely in the palm and will provide its new steward with much enjoyment. Paresh commissioned this Ben Wade and will have the first opportunity to acquire it from The Pipe Steward Store.  This pipe benefits the Daughters of Bulgaria – helping women and girls who have been trafficked and sexually exploited.  Thanks for joining me!

 

A Hardcastle Bulldog Run Roughshod over: The Original Restoration

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Blog by Robert M. Boughton

Copyright © Reborn Pipes and the Author except as cited
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Grace is neither gentleness nor fragility.  Grace is treating yourself, others and even inanimate objects with respect.
— Kamand Kojouri, Iranian-born novelist and poet

INTRODUCTION
A former roommate, one of Stephen King’s Constant Readers, once remarked with ridicule-tainted respect that I have always been attracted to needful things.  He was speaking of someone I met not long before then whose tragic life had left him wounded to the core, one of the results being his over-demanding, often verbally corrosive and manipulative treatment of me.  The roommate, who like almost everyone had plenty of his own flaws if less obvious and abusive, said my other acquaintance was no friend of mine.

“That may be true,” I replied, “but I’m his friend and the only one he seems to have, and I just can’t give up on him because that’s not what friends do.”

The physically and emotionally damaged person I undertook to help ended up becoming and remaining my genuine though stormy friend until he died at home 14 years later from an unusual and excruciating autoimmune disorder for which there is no cure.  He was 46.

My affinity for care-challenged pipes, therefore, should come as no surprise.  I try to avoid those with fatal flaws such as bad cracks or burnouts and for the most part reject any with serious holes in the stem, but as a restorer I prefer estate pipes that need some real attention to rehabilitate as opposed to the few I find ready to sell or to keep in my collection with minimal effort on my part.

I don’t even remember how the Hardcastle Special Selection #7 smooth bulldog came into my custody or why I chose to ignore the obvious void of vulcanite below the lip on the underside of the stem.  Other than that handicap, the pipe was nowhere near as mistreated as I’ve seen but was plagued enough by dings, scratches and other problems to keep me happy.

One final initial note: I repaired this bulldog to almost like-new condition more than a year ago but failed to blog it because of personal distractions that have left me with a large backlog.  I sold it for next to nothing to one of my present housemates who decided he wanted me to refinish it as a black dress pipe.  The same pipe is the subject of Part 2 of my series on that subject, and so I was going to include this original restoration in that blog.  But anyone who reads my harrowing account of the experience that could be called too much of a bad thing will understand why I broke the overall work into two blogs.

Intrigued by the atypical presence of a stinger in the Hardcastle, and an unusual one at that, I searched online for such phenomena with a faint hope of dating the bulldog.  Of course, at the top of the list was one of Steve’s blogs from 2014.  No other road I found led anywhere close to Rome, as it were.  Steve’s pipe is a Dental Briar brandy, bearing the Registered Design Number 857327, with a unique – or bizarre – dental stem, a system-type metal rod in the shank extending to the mortise hole, and a different short stubby little stinger of its own.  Here is the Dental Briar stinger before Steve’s restoration and the pipe after his usual fantastic work.Steve narrowed the date of manufacture to the Family Era and concluded his pipe was created from 1949-1967 using the National Registry link below.  However, looking at the same link, I see in Table 6.5 that designs numbered 548920-861679 were registered between 1909 and 1950 and suspect the 857327 might have been pre-1949 – no disrespect intended to the master!  Besides, he’s right to note that his Dental Briar could have been made at any time between its registration and 1967 when the family lost all control of the brand.  His pipe is also stamped MADE IN LONDON ENGLAND on the right shank.

I am not so fortunate.  The bulldog has no Registered Design Number or even the usual right shank nomenclature (London Made, British Made, Made in London England, Made in England).  This nomenclature is not faded, it’s just not there.  Only the left shank identifies it as a HARDCASTLE/SPECIAL SELECTION/7.  All I know for sure is that I tried it out after a basic sanitization, and it was quite good.

For a great synopsis of Hardcastle’s history, see Steve’s blog below.  Details are in the Pipedia link.

RESTORATION I would have removed the stinger anyway as useless, but it was also bent and more fragile than usual, and so I experienced even less than usual emotional distress heating the pointless thing with a Bic and twisting it out.Considering the appreciable grime, I started by swabbing the stummel first with purified water and then alcohol.  In hindsight, I should have skipped the water method that had little effect.  The blemishes stand out even more after the cleansing with alcohol.  The one shot below showing the minor rim damage, an unevenness being the only bad part, and decent chamber condition was taken with a flash and therefore looks pre-water and -alcohol cleaning.  I’m still having to do the best I can with a cell phone cam.  I used 150-, 220-, 320- and 400-grit papers to start shaping up those areas.After that I re-addressed the chamber and unevenness of the rim with a Senior Reamer and the blade from my Peterson’s Pipe Tool and made them a little better with 150-400-grit paper.I gave the shank a preliminary alcohol cleaning and retorted the pipe with a meerschaum stem that wasn’t crippled by a hole but somehow forgot to snap a pic of the latter.With 220- and 320-grit papers I was able to remove the dings and scratches as well as giving the chamber a semi-final what-fer.For some reason, the band popped off, and I still wasn’t happy with the color.  I decided to go at it once more with the 220.A full micro mesh buff made the old pipe begin to shine as it should.By now I should be somewhat known for fancying two-tones with bulldogs and Rhodesians where the top of the bowl above the two lines curves upward to the rim.  For the most part, at least, I’ve left this area lighter than the rest of the stummel, although on occasion I’ve dabbled in darkening it with, say, maroon stain.  This one screamed at me to lighten the top of the bowl as usual under these circumstances.  And so I stained the stummel below the lines with Lincoln brown leather dye, flamed it and after letting it cool took off the char and a little of the darker color with 8000 and 12000 micro mesh pads.  By the way, I was alarmed when I got a look at the first pic below and noticed what to every appearance seems to be a wicked and poorly repaired crack in the shank.  I assure everyone it’s a trick of the light or whatever, as the other pics prove. Gluing the band on again was a formality after buffing it on the electric wheel.Okeydokey, then.  There could be no more avoiding the chomped and degraded stem with its hole on the underside and other shortcomings. I had already given it an OxiClean soak, and it wanted repair.  Just to get an idea of what the stem would look like when finished, I gave it a quickie micro mesh rub.   I cut a little strip of card stock from the business leftover of someone with whom I didn’t care to do any more business and lubed it and a very small tweezers with a dab of petroleum jelly.  I inserted both into the mouth opening of the stem, with the cleaner behind the paper, until they were firmly in place inside the airway to a point just below the hole.  Finding my trusty old vulcanite stem that was long ago destroyed by another stem abuser, I shaved some fine flakes onto a small piece of paper with one side of a narrow, relatively smooth triangle rasp.

This was where I had to be prepared to act fast: I moved the flakes into a pile and added a few drops of black Super Glue, stirred the two into a gritty paste and scooped up a gob with the part of a three-piece pipe tool made for clearing tobacco from the chamber.  As fast as possible without making a mess, I slapped the goop liberally over the hole and set it aside to dry, removing the card stock and tweezers when the vulcanite mixture was dry on the inside but still a little wet on the outside.It’s a good thing I have an excellent recall of what I did in a particular restoration because the photographs I took of this project were more jumbled and duplicated than those from any other pipe on which I’ve worked.  I had so many of the same thing from alternate angles and differing clarity, for example, that I had to delete quite a few to make sense of it.  I concluded this was because of two things, trying different ways to get a good shot with my poor cell phone camera at the time and lack of sleep during the process.  It’s clear, excuse the pun, that some of the “best” are quite indistinct.  The following photos, as a result, are incomplete, but I always have the words to describe what I did.

For example, after the previous step, I started sanding with 150-grit paper and then smoothed it up with 220-, 320- and 400.  A common, less serious groove resulted, and I added more of the black Super Glue/vulcanite mix and let it dry again.  The mixture settled in well.That’s when I got serious with the sanding, using 150-, 220-, 320- and 400-grit paper and super fine “0000” steel wool.There’s still a small lump visible under the lip that I handled with as little abrasion as possible before the stem was done.  And that was it – for the bottom side.  I still had the top to do.  In every way other than the hole in the bottom, the top was worse, although it only needed a dab of black Super Glue/vulcanite solution to fill a small divot following the same initial OxiClean soak and a more vigorous sanding before filling a small divot with.  Considering again the top of the stem when I received it, close up, notice the wear below the square shank fitting before the rest of the work. The stem never quite fit the shank, which had been given a replacement band somewhere along the way, not to mention the band was damaged. After beginning to re-sand the bottom of the stem, the original hole caved in again.  Accepting defeat, I chose a new bulldog stem I had that needed serious filing at first and then sanding of the 9mm tenon to fit the shank. I bent the stem.  That required heating the stem – with a pipe cleaner inserted through the airhole – at 210° F. for about 15 minutes and bending the nice and pliant material over a complex tool.

Remembering the cell phone photos were atrocious and I had to edit them using every halfway adequate means of adjustment available with my so-called photo editor to show any similarity whatsoever to the actual result, here one last time is the stummel as it in fact looked when it was one step from completion before electric buffing.And these are the final photos of the pipe.  The most offensive discrepancies to me are the obscurity of the two-tone and the lack of shine the pipe had.  The bad twist on the stem in the fifth shot of the rear is all on me!

CONCLUSION
This blog being the occasion of my official announcement in this forum of my new webstore on  my own site, https://www.roadrunnerpipes2k.com/, is unfortunate in that the depictive presentation almost convinced me to give up any idea of writing the blog.  The poor quality and lack of photographs, as well as other stated reasons, were overwhelmingly opposed to the idea of even trying.  Then I thought of the work I put into the briar and the stem alone. In the end, I know how smooth, golden brown and at least hardly blemished the Hardcastle bulldog looked when I was done with it.  Whether anyone else does is of no importance to me.

SOURCES
https://rebornpipes.com/2014/06/27/a-unique-piece-of-pipe-history-almost-lost-a-hardcastles-dental-briar-reg-design-no-857327/
http://www.nationalarchives.gov.uk/help-with-your-research/research-guides/registered-designs-1839-1991/
https://pipedia.org/wiki/Hardcastle

Restoring a pair of Comoy’s Blue Riband Billiards

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Blog by Steve Laug

Not long ago I received a package in the mail from a reader of the blog, Scott in California, US containing two Comoy’s Blue Riband Billiards. There was a note in the box regarding what he wanted done with the pipes. He wrote:

…As you can see both stems do not seat all the way in the shank of the pipes. The pipe in two separate wrappings is in a little better shape than the other one. Both need the stems refinished, bowls reamed and cleaned, etc. Would like to keep the original patina on the outside wood if possible. Thanks again for your help and let me know if you have any questions.

After opening the wrappings in the well packed box I found the two pipes. I took pictures of both pipes to capture their condition when they arrived. The first set of photos show the one that he said was “in a little better shape”. The finish still had a shine on the bowl and shank. The rim top was in decent condition. There was a light cake in the bowl and some light lava on the rim. The stem did not seat in the shank completely and when I looked the shank was very dirty and caked with tars. The stem was oxidized and had tooth marks and chatter on both sides near the button. I took some close up photos of the rim top and the stem to give a clearer picture of the condition of the pipe.I took photos of both sides of the shank to show the stamping on the pipe. The left side read COMOY’S over BLUE RIBAND with the three part C in the left side of the stem. The right side had the circular COM stamp and read MADE IN LONDON over ENGLAND followed by the shape number 291. You can see the stunning Blue Riband grain on the photos above and below. It is a beautiful pipe.The next set of photos show the second Blue Riband which was far more worn and dirty. The finish dirty and did not have the glow of the other pipe. The rim top had darkening all around the inner edge and there were some dents and marks in the top surface. The cake in the bowl on this one was thick and rock hard, narrowing about midbowl. There was some light lava on the rim. The stem did not seat in the shank completely and when I looked the shank was very dirty and caked with tars. The stem was not as oxidized as the other pipe and had tooth marks and chatter on both sides near the button. There was some calcification on the surface around the button. I took some close up photos of the rim top and the stem to give a clearer picture of the condition of the pipe.I took photos of both sides of the shank to show the stamping on the pipe. The left side read COMOY’S over BLUE RIBAND with the three part C in the left side of the stem. The right side is a bit harder to read as the stamping is worn but it also had the circular COM stamp and read MADE IN LONDON over ENGLAND followed by the shape number 97. It is a bit smaller sized than the previous pipe but also has stunning Blue Riband grain. It is also a beautiful pipe underneath all of the grime.I reamed both bowls with a PipNet pipe reamer working through the cutting heads to take the cake back to the bare briar so I could check for damage to the interior walls of the pipe. I cleaned up the reaming with a Savinelli Fitsall Pipe Knife and finished with a piece of dowel wrapped in 220 grit sandpaper to smooth out the walls. The first pipe was definitely cleaner than the second. The cake came out easily. The second pipe had a cake that was rock hard and I had to switch between the smallest cutting head on the PipNet and the Fitsall Knife to break through the cake. I worked my way alternating between the two until the bowl was reamed and then sanded it smooth. I scraped the mortise walls of both pipes with a pen knife to remove the buildup of hardened tars and oils. I cleaned out the mortise and the airway into the bowls as well as the airway in the stems of both pipes with alcohol, cotton swabs and pipe cleaners. Unfortunately I forgot to take photos of the second pipe at this point… Arghh this is why I generally do one pipe at a time…. But I can tell you that the second pipe was far dirtier than the first.I took a photo of both pipes together at this point to show the clean bowls and the condition of the rim tops.I removed the stems from both of the pipes and put them in a bath of Before & After Pipe Stem Deoxidizer. I let them sit while I turned my attention to the two bowls.I worked on the rim top of the second pipe (shape 97) with micromesh sanding pads – wet sanding it with 1500-2400 grit pads and dry sanding it with 3200-12000 grit pads. I was able to remove the damaged areas and leave the rim top clean. There was still darkening around the inner edge but I have chosen to leave that for now. I worked Before & After Restoration Balm into the briar of both bowls with my fingertips to clean, enliven and protect the wood. I let the balm sit for about 20 minutes and buffed it off with a soft cotton cloth. I took photos of both at this point in the process. The first set of four photos show the more damaged bowl (shape 97) and the second set of four photos show the bowl that was in better condition (shape 291) when I started. Both bowls are looking quite good at this point. The stems had been sitting in the Before & After Deoxidizer overnight by the time I removed them from the bath. I rinsed them under running water and ran pipe cleaners dipped in alcohol through the airway to remove the solution from the airway. I took photos of the stems at this point.I decided to polish the top stem in the photos. It was the stem for the newer (shape 291) pipe. I polished it with micromesh sanding pads – wet sanding it with 1500-2400 grit pads and dry sanding with 3200-12000 grit pads. I rubbed it down with Obsidian Oil between each pad. I polished it further with Before & After Pipe Polish – both Fine and Extra Fine. I gave it a final coat of Obsidian Oil and set it aside. With that stem completed I turned to the second stem (shape 97), the older, dirtier pipe. I used a needle file to sharpen the edge of the button on both sides of the stem. I cleaned up the file marks with a folded piece of 220 grit sandpaper to remove the file marks and smooth out the edge.I polished it with micromesh sanding pads – wet sanding it with 1500-2400 grit pads and dry sanding with 3200-12000 grit pads. I rubbed it down with Obsidian Oil between each pad. I polished it further with Before & After Pipe Polish – both Fine and Extra Fine. I gave it a final coat of Obsidian Oil and set it aside. I polished the bowls and stems with Blue Diamond to polish out the scratches in the briar and rubber. I gave the bowls and the stems multiple coats of carnauba wax. I buffed the pipes with a clean buffing pad to raise the shine. I hand buffed them with a microfiber cloth to deepen the shine. Both pipes polished up pretty nicely. The original patina on both bowls came alive with the buffing and worked well with the polished black vulcanite stems. Both pipes have a rich look. The finished pipes are shown in the photos below. The first pipe is the one that was in “better condition” when it arrived. I think it is a bit newer than the second one. The shape, finish and flow of the pipe and stem speak well of the Blue Riband brand. The dimensions of the first pipe, shape 291 are Length: 6 inches, Height: 1 7/8 inches, Outside diameter of the bowl: 1 1/4 inches, Chamber diameter: 3/4 of an inch. The dimensions of the second pipe, shape 97 (the older one) are Length: 5 ¾ inches, Height: 1 ¾ inches, Outside diameter of the bowl: 1 ¼ inches, Chamber diameter: ¾ of an inch. This pair will soon head back to California so that Scott can enjoy them.  Thanks for walking through the restoration with me as I worked over this beautiful pair of Comoy’s Blue Riband pipes… now I need to find some for myself!    

 

Restoring My Grandfather’s Kaywoodie “Super Grain” Bent Billiard

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Blog by Paresh Deshpande

I had just finished restoring a Kaywoodie Handmade ¾ bent Apple pocket pipe that I had found in the pile of pipes inherited from my Grandfather. The next pipe that I have selected for restoration is again a Kaywoodie, but a Bent Billiard with a 4 holed stinger, also from my grandfather’s collection. To date, these are the only two Kaywoodies that I have come across in my large inherited pipe collection.

This Kaywoodie is in immaculate condition and appears to have been smoked maybe only 3 to 4 times. This pipe has a medium sized bowl and the stummel has some beautiful mixed grains that can be seen through the dull and lifeless finish on the stummel and the shank. It fills the hand nicely and is light weight, making it comfortable to hang from the lips.

This beauty is stamped on the left side of the shank as “Super Grain” in cursive hand over “KAYWOODIE” in block capital letters and the right side of the shank bears the shape number “14”. The stem bears the inlaid Clover leaf on left side in white. All the stampings are clear, crisp and easily readable.I searched the net for information on this brand in general and this pipe in particular. The first site I always visit is Pipedia. I gathered a lot of information about the brand and some important snippets of information are reproduced below:

Kaywoodie was the name a pipe offered by Kaufman Brothers & Bondy Company (KBB), first appearing in February of 1919. The Dinwoodie pipe, also by KBB, appeared in November of 1919. Sometime before 1924, the Dinwoodie had been discontinued and the Kaywoodie name was beginning to be used on an extensive line of pipes that ultimately would be the name of the company. The origin of the name Kaywoodie is a combination of the K from Kaufman and wood, as in briar. Not much is known of the original KBB company other than it was started in 1851 by the German born Kaufman brothers when they opened a small pipe shop in the Bowery section of New York City. In the back room of this shop, they made their first pipes. From this meager beginning, the Kaywoodie name and organization was to emerge.

When one of the men from the New York office got “gold fever”, he carried a large supply of pipes with him to California that he sold along the way. This early “national distribution” did much to build the reputation of KBB. By the late 1800’s, branches of KBB were opened in Chicago, Atlanta, San Francisco and St. Louis with family and friends acting as agents. The trademarks, for the inlaid cloverleaf and the cloverleaf with the KBB initials inside, were issued in 1881. KBB’s pipes became more popular and were in constant demand by the end of the century. Orders were streaming back east and KBB needed to move to larger manufacturing facilities. By 1915 the move was made to larger facilities in the old Union Hill section of Union City, New Jersey. The salesroom offices were located at 33 East 17th. Street, New York. When the Kaywoodie pipe was first introduced by KBB it came with a hand cut rubber mouthpiece fitted with an aluminum Inbore Tube. This device was to “assure a clean, cool smoke.” Other KBB pipes such as Ambassador, Heatherby and Melrose also had the Inbore tube. The early Drinkless Kaywoodies from 1924 through 1931 had push bit stems. In 1931, after three years of research, the new Drinkless Kaywoodies with the synchro-stem, (threaded drinkless screw-in mouthpiece) were introduced. The drinkless attachment was advertised as cooling the smoke from 850 degrees in the bowl to 82 degrees when it entered the mouth. By the mid 1930’s, all Kaywoodie’s came with the screw mounted Drinkless attachment. (Export Kaywoodies, available briefly from 1950-1955, had push bit stems and were available in all the same shapes and finishes as the drinkless versions.)

Throughout much of the 1940’s, 50’s and 60’s, the Kaywoodie family of pipes consisted of 11 basic grades of briar pipes; though new grades were frequently added to the line and some older grades were discontinued or downgraded. These 11 basic grades of pipes, listed in ascending order of quality, were:

  1. Drinkless
  2. Hand-made Super Grain
  3. Super Grain
  4. Relief Grain
  5. Flame Grain
  6. Silhouette
  7. Oversize Kaywoodies
  8. Meerschaum Inlaid Kaywoodies
  9. Connoisseur
  10. Ninety-fiver
  11. Centennial

Thus from the above, I can safely infer that this pipe was a higher grade Kaywoodie from the 1940s to 1960s.

Armed with this information, I carried out my detailed initial visual inspection of the entire pipe. This assessment helps me in identifying the issues that are seen as well as understand likely issues that may present themselves subsequently while making a mental map of the entire restoration process.

INITIAL VISUAL INSPECTION
The stummel is clean with a dull appearance due to all these years of storage. There are a few dings and dents seen all around due to careless storage and will have to be addressed. The bowl is clean with a very thin layer of cake. The rim top is clean with no dents or chips and no overflow of lava. Both the inner and outer rim edges are crisp, even and intact. The chamber is odorless and dry to the touch.The stem is lightly oxidized with no tooth chatter or bite marks on both surfaces. The lips on both sides is crisp, however, as seen on the earlier Kaywoodie, the surface of the lip is flattened. The inlaid clover leaf stamp is intact and prominently visible. The only issue with the stem is that it is off centre and not perfectly aligned with the shank and the stummel. This will have to be addressed. The biggest relief is that unlike the other Kaywoodie Apple pocket pipe, the aluminum spacer in this pipe is completely intact. As expected, the airway is clogged and a test draw revealed that the air does not pass through the airway in the stem. This will have to be cleaned.

THE PROCESS
The first step that I usually follow is the reaming of the bowl. Since I had appreciated the cake to be thin, I started the process of reaming the chamber with my fabricated knife. I was very careful during the reaming so as not to create deep gouges in the inner walls of the chamber. Contrary to my appreciation, the amount of cake that was reamed out from the chamber was quite substantial. To smooth out the inner surface of the chamber and completely remove the last traces of remaining cake, I sanded the inner surface with a 220 grit sand paper. Once the chamber was cleaned, I decided to address the dings and dents on the stummel by sanding the bowl with a 150 grit sand paper followed by 220 and 340 grit sand papers. I wiped the stummel with a moist cotton cloth after each sanding. This helps in removing all the briar dust and shows the progress of the sanding. This was followed by micromesh polishing pads, wet sanding with 1500 to 2400 grit pads. Again, I wiped the bowl with a moist cotton cloth after each pad. As I finished sanding with 2400 grit pad, I observed three fills in the stummel which were exposed after the last wet sanding pad. These were spot filled with CA superglue and set aside to dry overnight. I sanded the cured superglue fill with a flat head needle file and further matched it with the rest of the stummel surface by sanding these fills with a 220 grit sand paper. This was again followed by sanding with 1500 to 2400 grit micromesh pads.Once I was through with the wet sanding pads, I used the 3200 to 12000 grit pads to dry sand the stummel to a nice shine. I rubbed some “Before and After Restoration” balm deeply in to the stummel with my fingers. This balm helps in rejuvenating and protecting the briar wood. The immediate and incredible transformation that takes place is a worthy reward for all the efforts!!! The mixed grain can now be clearly appreciated. I let the balm be absorbed by the briar for about 15-20 minutes and then polished it with a soft cotton cloth. The bowl now looks fresh and attractive with the grains popping out any which way you look at the briar.

Turning my attention to the stem, there were three issues which needed to be addressed; one was the oxidation, second was the flattened lips and third was the off center stinger. I started by creating a crisp edge by careful sanding the area around the edges with a flat head needle file. Once I was satisfied with the created edge, I began with sanding the stem with a 220 grit sand paper. I was especially careful around the edges and the stampings. Using the crisp edge of the folded sand paper, I reshaped the buttons and sanded it to even out the surface. Thereafter, I sanded the stem with 320 and 440 grit sand paper. To finish the stem I went through the complete set of micromesh pads, wet sanding with 1500 to 2400 pads and dry sanding with 3200 to 12000 grit pads. I wiped the stem with a cotton swab dipped in alcohol after each pad and rubbed olive oil into the stem after every three pads. The stem looks crisp, shiny and like new. I addressed the issue of the stinger being off center with the shank by carefully heating the stinger with the flame of a Bic lighter. The heating done should be just enough to loosen the glue around the stinger. I inserted the threaded stinger in to the mortise and turned the threads till the stem was perfectly aligned with the shank. Thereafter, I set it aside to let the stinger cool down and the glue to harden again.Having addressed the “appearance” aspects of this beauty, I turned my attention to the “performance” aspect to ensure that this beauty smokes as well as it looks. I thoroughly cleaned the shank internals using shank brush, pipe cleaners, cue tips and isopropyl alcohol. The stem airway was cleaned using regular pipe cleaners and also bristled ones dipped in alcohol. The airway is now clean and the draw is full and open.To complete the restoration, I rubbed a minute quantity of PARAGON WAX on the stummel and the stem. After a few seconds, using muscle power and a microfiber cloth, I polished the entire pipe to a lovely shine. The finished pipe is shown below. Thank you for your valuable time spent in reading this chronicle of my journey.