Tag Archives: refinishing

Another Athens find: Renewing a Stout Peterson System Standard 313 Republic of Ireland

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Blog by Dal Stanton

Athens, Greece, has been fertile ground for me in landing some nice pipes in the Athenian ‘wild’.  An area very close to the well-known Acropolis summit and near-by Mars Hill, where the Apostle Paul gave his defense of the Christian faith, is the Monastiraki market area. I have found several keepers in this area. I was drawn to one antique shop that spilled out onto the sidewalk of a typically narrow, crowded street.  As I looked over the plethora of paraphernalia in the shop, my eye caught sight of two lonely pipes among statuettes, ash trays, jars and lamps.  Immediately I knew one was a definite possibility – a Pete.  I looked quickly to determine if it was Pre-Republic or Republic of Ireland.  It was a Republic, but seemed to carry some weight of years.  What also caught my attention was that it was on the smaller side as far as I’ve seen of Petersons.  The shape number on the right side of the shank was 313.  The other pipe keeping company with the Pete was a Bewlay London Made ‘Reject’.  Interesting.  I’m always interested in pipes with the mark, ‘Reject’. The shop owner was all business and I wasn’t as happy with the bundled deal as I had wished, but I wanted the Pete and he’s now with me here in Sofia, Bulgaria. This Peterson System Standard 313 has been in my ‘Help Me!’ basket for some time until my brother-in-law, Greg, commissioned it to be restored along with a Comoy’s Pebble Grain Modern Poker.  He and his wife, Sarah, my wife’s sister, were visiting us here in Bulgaria, and Greg trolled through my buckets of pipes until he found these two – he commissioned both when he couldn’t decide!  The Pete and the Comoy’s both benefit the Daughters of Bulgaria, helping women and girls that have been trafficked and sexually exploited.  Thanks, Greg!

With this being the first Peterson System Pipe on my worktable, I’m looking forward to learning what I can.  The first thing I did was to identify the shape number of this Peterson.  Not long-ago Steve posted on rebornpipes a very interesting Peterson of Dublin Pipe Catalogue which he thought was dated about 2010.  I enjoyed looking through it then and tucked it away in my mind for when I would bring a Peterson to the worktable.  I found the shape 313 in the Standard Quality Smooth section of the catalogue which I included below.  It’s on the far right of the first row.  The description of the Standard Quality was helpful.What I also found interesting and helpful was the description of the Peterson System Pipe.  When this design hit the market in the late 1800s it was innovative then and continues to be popular today. Two design innovations were the focus: a trap (or sump) that collected the moisture in the mortise and the well-known ‘P-Lip’ stem, which stands for ‘Peterson’.  This design was supposed to be superior by directing the smoke to the upper part of the mouth rather than burning the tongue.  It is also engineered to compress the air as it moves toward the button.  I’ve included the description and a cutout showing the design from the same catalogue.I love working on vintage pipes – I only wish they could talk and tell their stories while I restore them!  With this Peterson now on my work table, I take some pictures to chronicle his condition and to get a closer look. The nomenclature is clear.  On the left side of the shank is stamped in arched fashion, ‘PETERSON’S’ over ‘SYSTEM’ over ‘STANDARD’ in straight letters.  Above this stamp, on the nickel ferule is ‘K&P PETERSON’S’.  The right side of the shank bears the ‘MADE IN THE REPUBLIC OF IRELAND’ placing it in the Republic Era – from 1949 until the present (from the Pipedia article:  A Peterson Dating Guide; A Rule of Thumb, by Mike Leverette).I’ve also been curious about the ‘faux’ hallmarks stamped under the K&P on the ferrule.  From the same helpful Pipedia article I read this:

Before we close this section on silver hallmarks, we must address the marks that many people refer to as hallmarks. Peterson uses three marks on some of their pipes that are not silver hallmarks but are rather another Peterson logo (See Enclosure 4).

These marks are:

  • A Shamrock for the many shamrocks found in Ireland
  • A Prone Fox representing the famous fox hunts in Ireland’s history, and
  • A Stone Tower for the many hundreds of stone towers spotted throughout Ireland

Again, these are not genuine silver hallmarks. I’m indulging in a bit of history to better appreciate the K&P Peterson’s on my worktable.  Another question, “K&P”?  Again, Mike Leverette’s Dating Guide article helps with a concise history along with pictures from Pipedia’s main Peterson article:

The history of Ireland is an old and honorable one; steeped in warfare, family, racial and religious traditions. No other country can compete in comparison. However, the first couple of millennia of Irish history have no relevance to this dating guide. Should you wish to read more on the history of the Irish, I recommend “The Story of the Irish Race” by Seamus MacManus who gives a very vivid, and near as we can tell, an accurate portrayal of their history.

History pertinent to our purposes began in the year 1865; the year Charles Peterson opened a small tobacco shop in Dublin. Later in 1875, Charles Peterson approached the Kapp brothers, Friedrich and Heinrich, with a new pipe design and with this, a very long-lived partnership was formed, Kapp & Peterson. This new pipe design is the now famous Peterson Patented System Smoking Pipe. By 1890, Kapp & Peterson was the most respected pipe and tobacco manufacturer in Ireland and rapidly gaining followers in England and America. In 1898 another of Peterson’s remarkable inventions became available, the Peterson-Lip (P-Lip) mouthpiece, also known as the Steck mouthpiece. So, for the purpose of this dating guide, we will study Irish history, relevant to our pipe dating needs, from 1870s until now.

Before we start with this Peterson dating guide, an observation; the Kapp Brothers originally came from Nuremberg, Germany. They were making pipes at least as early as the 1850s (their Dublin shop opened in 1855) and in many of the shapes we now associate with Peterson since the Kapp Brothers simply took their existing shapes and incorporated Charles Peterson’ s patented design into them. From their inception, Kapp & Peterson’s goal was to make a good smoking pipe that the ordinary, common working man could afford, and we believe they have, very admirably, lived up to this.

With a great admiration for the pioneering businessmen and pipe men, Kapp and Peterson, I now turn to the Peterson System Standard 313 on my table – really a quintessential working man’s pipe. It gives that kind of persona. The chamber is still loaded with the former steward’s tobacco!  Whenever I see this I wonder if this was the last bowl enjoyed on this side of life.  I’ll never know, and the Pete still isn’t talking!  The chamber has moderate cake build-up and the rim has some lava flow and some scorching.  The stummel generally is in good shape with typical marks of wear, but nothing too serious, and it is darkened with grime.  There is one fill I detect on the front, right of the stummel which I record with a picture.  The nickel ferrule has some dark areas on it which will hopefully clean up and shine up.  The System P-Lip stem has a good collection of tooth chatter, but I don’t detect any clench dents.  I begin the restoration of this Peterson by first adding the stem to a soak of Before and After Deoxidizer along with a Peretti and Comoy’s stem that are in the queue along with their respective stummels.  Before I place the stem in the Deoxidizer, I clean the internals of the System Stem P-Lip for the first time, and I now understand some of what I’ve read about the difficulty in cleaning these stems!  They are engineered to narrow down toward the button and the P-Lip draft hole is smaller than usual.  I read from the Pipedia Peterson article above that Falcon pipe cleaners are thinner and can be used well with these stems.  Good to know!  With pipe cleaners dipped in isopropyl 95% I clean the stem and this keeps the Deoxidizer from becoming soiled as quickly. I let the stem soak for several hours.  After removing the stem, I let it drain of the Deoxidizer and then wipe off the raised oxidation using cotton pads wetted with light paraffin oil.  The oxidation wipes off as a nasty brown goo.  The System stem looks good after it is wiped down well.Putting the stem to the side, with the stummel now in hand, I clean the old baccy out of the chamber.  The tobacco still has a sweet aroma to it – I’m not a tobacco blend expert or else I might hazard a guess!  Using the Pipnet Reaming Kit, I start with the smallest blade and ream the chamber removing the carbon cake down to the fresh briar.  Since the bowl diameter is smaller, I only use the first blade.  I then utilize my Savinelli Fitsall Tool, which I find to be very handy. It can remove some carbon at the floor of the chamber missed by the Pipnet blade and it scrapes the walls more closely giving me greater control.  Wrapping a piece of 240 grit sanding paper around the Sharpie Pen, I sand the chamber walls removing even more carbon residue and getting down to the briar for a fresh start. Finally, I use a cotton pad wetted with isopropyl 95% and clean the chamber of the carbon dust.  Looking at the chamber, I see no problems – it looks great. Turning to the externals, I use undiluted Murphy’s Oil Soap with cotton pads to scrub the grime off the bowl and rim.  I also use a brass brush on the rim which is dark from some scorching.  After this, I rinse the stummel with tap water.  While I was doing this, I allowed the water to run over the nickel ferrule and rubbed it with cloth to see if this would help clean it up.  There is still what looks like corrosion on the nickel-plated surface.  I’ll do some Google research later to see what the next step might be to clean the nickel safely.  I also am not able to remove the darkened briar on the rim.  I’ll need to give it a gentle topping to remove it.  While I think about these challenges, I clean the internals of the stummel.  Using pipe cleaners, cotton-buds and shank brushes dipped in isopropyl 95%, I go to work.  Well…, some time later, I’m still not 100% satisfied with the cleaning of the Peterson ‘sump’ and draft hole.  The old tar and oil gunk is thick and only after employing many weapons in the arsenal is it starting to shape up.  The sump has collected the moisturized gunk as designed.  Along with pipe cleaners, cotton buds and different sized shank brushes, I also use both a dental spatula and probe to stir up and scrape the mortise and sump walls.  I take a picture to show this frontal attack – it isn’t pretty.  Now, to continue the cleaning I’ll use the kosher salt and alcohol approach.  Using kosher salt, which does not leave a taste as iodized salt does, I fill the chamber with salt, cup the top of the bowl with my palm and give it a shake to displace the salt.  I then set it in an egg crate to keep it stable.  Using a cotton ball, I create a wick to stuff down the mortise to act as a wick drawing more of the oils and tars out of the briar.  I make the wick by stretching and twisting the cotton ball and then guiding the end down into the draft hole as far as I can get it – I use a piece of thin metal coat hanger wire to push the cotton through the draft hole.  I also push the cotton down into the sump.   Once that is done, using a large eye dropper, I fill the bowl with alcohol until it surfaces over the salt.  After a few minutes – after it’s been absorbed, I top it off again.  I set the stummel aside to soak through the night. The next morning, the salt-alcohol soak did the job!  The salt is soiled, and the cotton wick is full of tars and oils.  After dumping the expended salt in the waste basket, I wipe the bowl out with a paper towel and blow through the mortise to loosen and left-over salt.  I run a pipe cleaner and alcohol through the draft hole and a cotton bud as well in the sump and the mortise walls to make sure all is clean and I’m happy to report that it is!  From this cleaning, I think a wise practice for any Pete steward would be to clean your pipe often!  Don’t allow too much gunk to collect in the sump.Turning to the Peterson-Lip stem, I use 240 grit paper to sand focusing on the tooth chatter on P-Lip button and the upper and lower bit.  I also refresh the lines of the button contours using a flat needle file.  To erase the scratches made by the file and 240 paper, I use 470 paper.   I then employ 600 grade paper sanding the entire stem and follow this with 0000 steel wool which begins the buffing up of the vulcanite. Before moving on to using micromesh pads on the stem, I use Before and After Fine and Extra Fine Polish on the stem to enrich the vulcanite.  For each polish successively, I place a bit on my finger and work it into the vulcanite.  I then wait a few minutes and wipe each successive polish off with a cotton cloth which also buffs up the vulcanite gloss.I put the stem aside and look again at the Peterson stummel.  I have two initial challenges to solve.  The rim’s dark ring from it being scorched.  Secondly, the small fill on the right-front quadrant of the stummel.  I use a dental probe and dig at it a bit to see how solid the fill is.  Some of the fill material flaked off and left a small indentation as a result. This needs to be filled again and masked. I will patch it before moving ahead with the stummel surface.  But first, I work on the rim.  I use a chopping board with 240 grade paper on it.  To top the inverted stummel, I use uniform, easy circular motions and I don’t need to take much off – just enough to remove the scorched wood.  Switching the paper on the chopping board to 600 grade paper, I top the stummel a bit more to smooth out the 240 scratches.  I take pictures to show the progress.   I notice that there is still a bit of dark wood on the outer rim lip. I’ll take care of that when I’m sanding the stummel rounding off the edge slightly.  I’ll stain the rim’s bare briar a bit later to match the stummel’s surface. Now, to address the fill. I again use a dental probe to scrape the old fill and to remove what is not solid.  To darken the old, remaining fill, I use a cherry stain stick to darken and color the fill so that it will blend with the briar grain better – I hope!  I then apply a small drop of clear super glue to the hole.  I use a toothpick to guide the super glue to the patch – while I was doing this, the power went out and I had to finish using the sunlight coming into the open window!  I put the stummel aside and wait for the CA glue to cure and the lights and internet to come back on! I decide to work on the stem using the micromesh pads. Starting with pads 1500 to 2400 grade, I wet sand the System stem. Then, using 3200 to 4000 and 6000 to 12000 I dry sand the stem.  Following each set of 3 pads, I apply Obsidian Oil to revitalize the vulcanite.  I never grow tired of watching the pop in the vulcanite when it turns to that glassy gloss!  The Peterson-Lip System stem is looking good.  I put it aside to dry and absorb the Obsidian Oil. I turn back to the stummel.  The CA glue has cured on the patch and I begin the process of removing the patch mound by using a flat needle file.  The most important part of this process is to keep the file on the hardened glue and not slide off and to impact needlessly the neighboring briar.  I want to keep the area needing repair and refinishing as small as possible!  I file the glue mound down until it’s almost at the level of the briar surface.  Then, using a tightly rolled piece of 240 grit paper, I sand the mound further, so it is flush with the briar.  Finally, I use 600 grade paper to smooth the patch out preparing it for dye stick to blend the patch.  I think its going to blend very well with the briar. Now, to the rim.  I use 240 grit paper rolled tightly and I run it around the outer rim edge to give it a slight rounding to remove the remnants of damage on the rim.  I gently pinch the rolled paper over the rim edge with my thumb, so I create the slight bevel.  I also do the same, very lightly, to the inside rim edge.  I follow by doing the same with a rolled piece of 600 grade paper.  Finally, I take the stummel back to the topping board once more on 600 grade paper simply to redefine a crisp line around the rim after the beveling.  I think it looks great and ready for the next step. I’m hoping that I can match the dye stick color correctly!  I read on rebornpipes, Steve was restoring a Peterson System Standard and needed to use a dye stick on the rim.  He used cherry and said that it matched the Peterson schema well.  I’ll do the same and see how it goes!  I apply dye to the both the fill patch and the rim.  I wait a while for the dye to thoroughly dry before proceeding.I then sand the stummel with micromesh pads.  I wet sand using pads 1500 to 2400, and then dry sand with pads 3200 to 4000 and 6000 to 12000. To protect the Peterson’s nomenclature, I stay clear of the until the later pads – and even then, a very light touch. As you can see in the pictures above and the focused one immediately below, the nickel ferule of this Pete needs help dealing with the corrosion – it is an eyesore.  Care must be given because metals can be a bit tricky.  One approach that works for silver might turn another metal black!  After doing some quick ‘How to clean/polish nickel plating’ searching on Google, the approaches I found were helpful.  The general theme is to start conservatively and then to work more aggressively – that is, simply washing the nickel with warm water (every source warned about the need to use warm water with nickel – not hot nor cold) and a mild liquid dish detergent.  I do this to begin, and it does brighten the ferule but does not help with the corrosion.  The next step is to make a paste using baking powder (a mild abrasive and acidic) with water.  This I do next with better results.  At first, I have too much water, but eventually I find the ratio to create a thicker paste.  I then apply the paste with my thumb and work it in around the entire ferule but concentrating on the corrosive spots – the main one being over the ‘Peterson’s’ stamp. Afterwards, I gently rinse the ferule with warm water.  I like the progress, but I return to the paste and this time use a cotton pad dipped a bit into the paste and use it in a circular motion over the spot and then rinse.  I buff the ferule with a cloth and I like the results! The corrosion on the nickel is greatly reduced and the ferule looks shinier – but not pristine, still holding some scuffs from life.  I think this is good because he is an older Pete after all! The Pete is looking great.  Before moving to the final stages using abrasive compounds on the stem and stummel, I apply Before and After Restoration Balm to the stummel which has a way of enriching and deepening the briar. In keeping with the product’s name, I take some before pictures to compare with the after pictures – that always interests me.  I put some on my finger and work the Balm into the briar.  The Balm starts more liquidy and gradually firms up into a thicker, wax-like consistency.  After applying, I prop the stummel on an egg crate and let it sit for some minutes to absorb the Balm.  Then, after about 20 minutes, I wipe the Balm off, buffing up the shine with a cloth.  Then I take the ‘after’ pictures which are below for comparison.  I like the results. Because of the military style stem, I leave the stummel and stem separated as I apply compounds and wax.  I begin by mounting a cotton cloth buffing wheel to the Dremel dedicated to the application of Blue Diamond compound.  With the Dremel set to the slowest speed, I apply the compound to the stummel in a slow, patient, methodical manner.  I use the sheen created on the briar by the overhead lamp to see the compound as I move it and direct it over the surface.  For the System stem, I switch cotton cloth buffing wheels and apply White Diamond, which is a finer abrasive than Blue Diamond.  For both compounds, I don’t apply much pressure to the wheel but allow the speed and the abrasive compounds to do the work.  After the compounds, I wipe stummel and stem with a felt cloth to remove compound dust before applying the wax. Then, again changing to another cotton cloth buffing wheel, and increasing the Dremel to about 40% power, I apply a few coats of carnauba wax to both stummel and stem and complete the process with a rigorous hand buffing with a micromesh cloth to raise the shine.

Oh my! The image that comes to my mind as I look at this Republic of Ireland Peterson, is that of a leprechaun, smoking his newly shined up pipe, doing a jig as he dances down the street!  This is the first Peterson on The Pipe Steward worktable and I’m pleased with the results and appreciate more the history of this well-known, proud Irish pipe name.  The grain of this Peterson System is surprisingly expressive and eye catching for a ‘Standard’ grade – a workingman’s pipe.  The nickel ferule came out great providing a classy transition for the military styled P-Lip System stem.  I’m pleased with the results! Greg commissioned this Peterson System Standard 313 and he will have first dibs on it in The Pipe Steward Store.  This pipe will benefit the work of the Daughters of Bulgaria – women and girls who have been trafficked and sexually exploited.  The pictures start with a before and after! Thanks for joining me! 

Restoring a Beautiful Brass S Stanwell Rhodesian

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Blog by Steve Laug

I have been refreshing some pipes for a friend of mine who used to own a pipe shop and putting them on the rebornpipes store. I have worked on some higher end silver capped Peterson’s and a Peterson’s 2012 Pipe of the Year. All of them were beautiful pipes and all had some measure of attraction for me, but I was able to let them go and put them up for sale on the store. When I opened the next box to look over the pipe inside and see what I needed to do with it before posting it on the store, I was surprised. The labeling on the box could not have been clearer. It said it was a Stanwell Pipe on the lid and on the end it said it was a Stanwell Rhodesian 170. I have seen photos of the Stanwell Rhodesian but had never seen one up close and personal. I was excited to open this box and see what it contained. I took photos of the box before I opened it and also of the process of taking the pipe out and assessing its condition and the work I would need to do with it.It was a beautiful pipe even though it was dirty. As I looked at in the box I did a quick overview of its condition. The stem was oxidized and there was some calcification on the first half-inch of the stem at the button. There was light tooth chatter. The brass band was oxidized on the shank but looked solid. The sandblast portion of the bowl was dirty but the finish looked good underneath the grime. The twin rings around the bowl were dirty and filled in a bit with debris. The rim cap was smooth and dull looking. The top of the rim had a light coat of lava and some darkening. The bowl had a light cake and the pipe smelled like Lane’s 1Q – a sweet vanilla overtone pervaded the entire pipe and box.Just looking at it in the box I could see that this pipe was going to be a hard one to let go of, I can tell you that even before I start working on it. I took it out of the box and put it on the work table and took photos of it before I started to clean it up. You can see all of the points I made above regarding it s condition as you look at the following photos. I took close up photos of the rim top to show the lava and darkening and well as the thickness of the cake in the bowl. The second photo shows the stamping on the lower left side of the shank. It reads Stanwell over Rhodesian over Made in Denmark. The last two photos show the stem condition and the oxidation and tooth chatter on both sides near the button. I reamed the bowl with a PipNet reamer using the second cutting head first then progressing to the third head as it was the same size as the bowl. I wanted to trim the cake back to bare briar and clean the bowl completely. I followed up with using a Savinelli Fitsall Pipe Knife to clean up the remnants of cake. I rolled a piece of 220 grit sandpaper around my index finger and sanded the inside of the bowl smooth. With the bowl clean inside it was time to address the lava overflow on the rim top. You can see from the first photo that the inner edge of the bowl is in good condition as is the surface of the rim top. There are no dents or nicks in the briar. I lightly sanded the rim with a worn piece of 220 grit sandpaper and wiped it clean with a damp cotton pad. I was able to clean off the rim top and remove the lava and darkening. I polished the rim top with micromesh sanding pads – wet sanding with 1500-2400 grit pads and dry sanding with 3200-12000 grit pads. I wiped the rim top off after each sanding pad to remove the sanding dust. I touched up the polished rim top with a Cherry stain pen to match the colour of the rest of the smooth cap on the bowl. I let it dry and repeated the process until I was happy with the coverage. It still needed to be buffed but it matched well.I scrubbed the exterior of the bowl with Before & After Restoration Balm to clean, enliven and protect the finish of the briar. I worked it into the surface with my finger tips and buffed it with a horsehair shoe brush to work it into all the nooks and crannies of the sandblast. I buffed if off with a soft cloth and hand buffed it with the shoe brush. The photos below show the finish at this point in the process. With the outside cleaned it was time to work on the internals. I scrubbed the mortise and the airway in the shank and stem with alcohol, pipe cleaners and cotton swabs. I worked over the inside of the mortise and the airway into the bowl until the pipe cleaners and cotton swabs came out clean. I did the same with the slot and the airway in the stem. I wiped down the outside of the stem to remove the calcification with a cotton pad and alcohol.I sanded out the tooth chatter and remnants of calcification with 220 grit sandpaper and also worked on the oxidation on the surface of the stem. It was light so it did not take too much work to remove the majority of it with the sandpaper.I polished the vulcanite stem with micromesh sanding pads – wet sanding with 1500-2400 to remove the scratching left behind by the sandpaper and also more of the oxidation on the stem. I dry sanded it with 3200-12000 grit pads to polish the vulcanite and give it a real shine. When I finished I polished it with Before & After Pipe Polish – both fine and extra fine polishes. I wiped it down with a final coat of Obsidian Oil and set it aside to dry. I the polished stem and bowl with Blue Diamond to polish out the remaining small scratches. I gave the bowl multiple coats of Conservator’s Wax and the stem several coats of carnauba wax and buffed the pipe with a clean buffing pad to raise the shine. I hand buffed it with a microfiber cloth to deepen the shine. The pipe polished up pretty nicely. The finished pipe is shown in the photos below. I am sure that this one is staying with me. I look forward to carrying on the trust from the previous pipeman. The dimensions are Length: 6 inches, Height: 2 inches, Outside diameter of the bowl: 2 1/4 inches, Chamber diameter: 3/4 inches. Thanks for walking through the restoration with me as I worked over this beautiful Stanwell Rhodesian.

 

Restoring a Unique Comoy’s Pebble Grain 603 Modern Bent Poker

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Blog by Dal Stanton

When I saw this pipe on the eBay auction block, I wanted it!  I was drawn initially by two factors – first, it was a Comoy’s Pebble Grain.  Secondly, I had never seen a Comoy’s with this shape – a very nice Bent Poker and classy to boot!  Or was it a Poker?  The seller’s tagline said: Details about Comoy’s Pre-Cadogan Pebble Grain Lightweight OOM Paul 609 Made In England.  Uh, Oom Paul?  Here is what I saw: Despite the confusing information which I decided I would sort out later, I was able to dodge last second bidders and land this beautiful, blasted Comoy’s Pebble Grain Bent Poker.  This Comoy’s has been in my ‘Help Me! Basket’ here in Bulgaria for some time waiting to unravel the confusion.  Now, fast forward to a recent visit to Bulgaria of my wife’s sister and her husband, Sarah and Greg.  It was great having family visit!  As is often the case, when people visit, they know about my sideline activity of restoring pipes for the Daughters of Bulgaria and often, people visiting our home are interested in the process of restoring, etc.  And VERY OFTEN, people desire to help the Daughters, too, and go through the MANY pipes I have in the ‘Help Me!’ basket and pick out a special pipe for them that will also benefit the Daughters.  Well, Greg caught the bug and wanted to choose ‘a’ pipe for himself which became two pipes because he couldn’t decide between the two!  He chose this Comoy’s as well as a K&P Peterson’s Republic of Ireland – both now in the queue for restoration to benefit the Daughters.  Thanks, Greg!

The one thing the eBay seller had right about this Comoy’s is that it is Pre-Cadogan, which means that it is pre-1981 the year of the merger.  The origins of Comoy from Saint-Claude, France, started in the 1820s by Francois Comoy.  His son, Henri, started the London extension of the Comoy name in 1879 with not much more than the tools of his trade – making pipes.  He is cited by Pipedia as being the author of the appellation, “London Made”.  In 1929 the company merged with the macro-concern, Oppenheimer Pipes.  With this, albeit brief history, Pipedia’s describes the present summation:

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

Time to sort out the confusion.  I did a simple Google search for a Comoy’s pipe shapes chart which brought me PipePages.com where I found the actual shape 603 (not 609 on the eBay block), described as a ‘Modern – Bent Poker’.  The page provided information associating the Comoy’s pipe chart with the corresponding 1975 Comoy’s of London Catalog which I looked at.  The 603 is on the right, second down in the chart below.  I remember 1975!  I was in college, driving my red ‘68 VW Bug, Gerald Ford was President of the US, and it was the year Jaws hit the cinema (I think!). The catalog described the Pebble Grain line’s qualities and also provided a price list that I found interesting to see how the various Pebble Grain line shapes ranked in monetary value in 1975 – not a cheap pipe! It was tied for second in value with Comoy’s Golden Grain, behind number 1 – Comoy’s Diplomat line (See below). With the confusion dispensed, I take the 1975 Comoy’s Pebble Grain, Modern – Bent Poker, to the worktable and take additional pictures to get a closer look at this classy Comoy’s Pebble Grain Modern Poker. The heel of the Poker contains the nomenclature: ‘COMOY’S’ over ‘PEBBLE GRAIN’ over ‘MADE IN LONDON’ over ‘ENGLAND’ over ‘603’, the shape number.  According to Pipedia’s article, A History Of Comoy’s and A Guide Toward Dating the Pipes, the ‘Made in London England’ was used after WW2.  According to the same article, the ‘Inlaid C’ which this Poker has, was stopped with the Cadogan era in 1981.  So, this Comoy’s is placed after WW2 to the 1970s – the 1975 Comoy’s catalog siting seems to be confirmed.  I found this information about the inlaid C interesting:

“C” was first inlaid in the side of the mouthpiece around 1919. This was a complex inlay needing three drillings. First, a round white inlay was inserted, then the centre of the white was drilled out, and a smaller round black inlay was inserted. Finally, another drilling was made to remove the open part of the “C,” and an even smaller black inlay was inserted. This inlaid “C,” known as the “three-piece C,” was continued until the Cadogan era in the 1980s. However, the “C” in the 1920s and early 30s is much thinner and more delicate than the one post-war. Cadogan first changed the “C” to a single drilling with an inlay that had the “C” in the centre, and more recently it became a laser imprint. I have a cased pair of early 1920’ “Par Excellence” where the “C” is on top of the mouthpiece.

The picture above shows the ‘three-piece C’ detected by the drilling if you look closely.  Very cool!

The condition of the Comoy’s Pebble Grain ¾ Bent Modern Poker is pretty good.  The blasted finish is exceptional, which seems to be a hallmark of the Comoy’s name.  The surface is dirty and needs to be cleaned.  The rim has significant lava flow over it and the chamber is sporting some moderate cake buildup.  The stem has a good bit of tooth chatter but no dents that I detect.  The oxidation is deep.  I want to keep my eye that – not to progress too far finishing the stem and discover oxidation!  That is not fun.  I begin the restoration of the Comoy’s Pebble Grain by first cleaning the internals with pipe cleaners and isopropyl 95%.  I then add the stem to a Before and After Deoxidizer bath along with other stems.  After some hours, I fish out the Comoy’s stem and after allowing it to drain a bit, I wipe off the raised oxidation using cotton pads and light paraffin oil, Bulgaria’s version of mineral spirits.  The oxidation wipes off and then I buff the stem clean with the cotton pad. I run a pipe cleaner through the stem to rid the airway of Deoxidizer fluid. I follow the Deoxidizer bath by applying Before and After Fine Polish and then Extra Fine Polish to further remove oxidation and revitalize the vulcanite stem.  I put a little of the polish on my finger and work it into the vulcanite until it has absorbed well. I do the same with the Extra Fine Polish.  I wipe off each application with a cotton pad.  I take a close look and I can still see the deep greenish haze of oxidation – ugh!  Instead of immediately turning to sanding, I decide to utilize the method I’ve used in the past – an OxiClean bath.  I cover the Comoy’s ‘C’ with petroleum jelly to protect it and I put the stem in the bath with a pipe cleaner inserted in it for easier retrieval.  I leave the stem in the OxiClean bath over nite. With the stem soaking, I turn to the Comoy’s Poker stummel.  I begin by reaming the chamber to remove the moderate carbon cake buildup.  Uncovering fresh briar enables me to examine the chamber walls for cracks or crevices. Using the Pipnet Reaming Kit, I start with the smallest blade after putting paper towel down to ease on cleanup.  I use 3 of the 4 blades available to me in the Pipnet Kit – I’m surprised how large the bowl is for a smaller sized pipe.  I then scrape more carbon out of the chamber using the Savinelli Fitsall tool which is great for getting hard to reach places.  Using a Sharpie Pen, around it I wrap 240 grit paper and sand the fire chamber to expose the fresh briar.  I finish with cleaning the chamber of carbon dust with a cotton pad wetted with isopropyl 95%.  The chamber has no cracks or crevices upon inspection. Next I attack the lava flow on the rim and cleaning the stummel surface.  I use undiluted Murphy’s Oil soap with cotton pads to do the cleaning.  The rim requires the use of a brass brush which doesn’t harm the briar.  I then rinse the stummel using cool tab water careful to keep water out of the internals.  The Murphy’s cleaned the surface well – it was grimy and the old finish was lightened at different places – especially around the rim.  I take a few pictures below to show what I’m seeing. I like working on a clean pipe so I decide to do the dirty work now.  Using pipe cleaners and cotton buds dipped in isopropyl 95%, I work on cleaning the mortise and draft hole.  I find the internals pretty dirty but finally the pipe cleaners and buds are coming out fairly clean.  I like to make sure the internals are clean so I will also use the more subtle approach – kosher salt and alcohol soak.  I use kosher salt because, unlike iodized salt which leaves a taste in the wood, kosher does not.  I fill the chamber with salt and cover the top and give it a shake to move the salt around.  Then I use a cotton ball to create a wick by stretching and twisting it.  I stuff it down the mortise and place the stummel in an egg carton for stability.  Using a large eyedropper, I then fill the chamber with isopropyl 95% until it surfaces over the salt.  After a few minutes, I will top the alcohol again.  The night is late, I leave the stummel to soak over nite and I call it a day. The next morning before heading out for my workday, I need to tend to the kosher salt and alcohol soak.  The salt was discolored and the wick was wonderfully colored – it did the job that was asked of it!  I dump out the used salt in the waste basket and wipe the bowl with paper towel and a bristled brush to remove the leftover salt.  I also blow through the mortise to purge any left over salt in the mortise.  I finish by running a few pipe cleaners dipped in isopropyl 95% through the airway and I’m satisfied.  The bowl is clean!I also fish the Comoy’s stem out of the OxiClean bath.  The bath has raised more oxidation from the vulcanite.  I adjust the aperture on the iPhone camera to show better what I’m able to see with the naked eye.I attack the oxidation by wet sanding with 600 grade paper.  When it’s time to head to work, I’m still not satisfied that the oxidation was conquered and will continue tonight!I continue working on the oxidation when I return in the evening.  I continue sanding using 600 grade paper but change to dry sanding.  I also utilize a disc I fashioned to wedge up to the shank end of the stem to avoid the sanding creating a ‘shoulder’ on the stem – a rounding of the edge. I think I’m making progress.  I follow the 600 paper by buffing the stem with 0000 grade steel wool.  Through out I take a very light approach to sanding on the Comoy’s 3 piece ‘C’, though since it is an inlay, it’s not fragile – at least that is my hope!  At this point, I’m feeling better about the oxidation being subdued for the most part!Now, taking a close look at the bit area to determine tooth chatter needing to be taken care of, I see that the work dealing with the oxidation has almost cleared all the chatter.  There is still a little that will easily sand out.  I take pictures of the minor issues and then use 470 grade paper on the upper and lower bit areas removing the chatter.  I then return to 600 grade paper then 0000 steel wool to erase the tracks of the coarser papers.  The pictures show the progress. Next, using micromesh pads, I wet sand the stem using pads 1500 to 2400.  Following this I dry sand using pads 3200 to 4000 then 6000 to 12000.  Following each set of 3 pads, I apply Obsidian Oil which the vulcanite drinks up.  I think that stems require more time than any other part of the restoration process – they take lots of patience and this Comoy’s stem looks good – he’s really popping! Turning to the Pebble Grain Poker stummel, I’m looking forward to seeing how he will shape up!  The Comoy’s Pebble Grain blasted finish is second to none in my opinion – the three-dimensional perspective of the grain revealed in the blasting process gives a different kind of enjoyment.  I love to see the grain emerge in smooth briars, but a quality blasted surface, as this Comoy’s is, gives a unique grain look and touch all in one package.  Earlier when I cleaned the stummel with Murphy’s Soap, I felt like it lightened the finish at places.  With this classic pipe I want to keep it as close to the original as I can – only refreshing it where its tired.  I reached out to Steve with all his rebornpipes experience to get his input which was helpful as expected!  The working plan is to touch up areas that are worn more and exposed briar is showing.  This is especially true of the outer rim lip – through wear, the finish is thin.  I take a few pictures to mark the start. With a Cherry dye stick, which seems to be a good, subtle match, I touch up the rim as well as a few spots around the base of the shank and on the shank end.  I then apply Before and After Restoration Balm, Steve’s suggestion, by placing Balm on my fingers and working it into the crevices of the Comoy’s Poker blasted finish.  The Balm starts off more liquidy then firms up into a wax-like substance that continues to be supple.  It takes a few applications to my finger to cover the surface well.  I set it aside for a while to allow the Balm to do its thing!  I take a picture with the Balm on the stummel.  After about ten minutes, I wipe the Balm off with a cotton cloth towel until it start shining up.  I’m very pleased with the results – the Balm brought the blasted briar to a rich brown hue with the light reddish flecks that give the briar surface depth and character.I reunite the stem to the Modern Poker stummel and mount a cotton cloth buffing wheel dedicated to White Diamond compound to the Dremel.  With the speed set at the lowest for the Dremel, I apply the compound to the stem to bring out the gloss.  I don’t press hard on the wheel but allow the speed, the wheel and the compound to do the work.  After completing the application of compound to the stem, I mount a cotton cloth wheel on the Dremel to apply Carnauba wax to both the blasted stummel and stem.  What I have grown to enjoy is the up close and personal approach that I have developed with the Dremel.  I am able to apply the carnauba wax by changing the orientation of the wheel to correspond to the terrain of the blasted surface.  This allows me to apply the wax strategically and to avoid too much or too little.  After completing a couple of applications of the wax, I give the Comoy’s Poker a rigorous hand buffing with a mircromesh towel dispense any leftover wax and to raise the shine.

Oh my!  What a classic presentation of this Made in London England, Comoy’s Modern ¾ Bent Poker.  The blasted surface is beautiful – I love the 3 dimensional perspective of the grain.  The process of blasting is different from rustification.  When I started restoring pipes it took me a while to figure this out.  The blasting technique, which Comoy’s has certainly perfected over the years, gently removes the soft wood and leaves the contours of the harder wood of the grain peeks.  This leaves an intricate mosaic of grain pattern to enjoy by sight and by touch as one enjoys his (or her) favorite blend.  This vintage Comoy’s Pebble Grain 603 Bent Modern Poker is a keeper and I’m reluctantly giving him up!  A unique addition to anyone’s pipe collection.  Since Greg commissioned the Poker, he has first dibs on it when I put it into The Pipe Steward Store.  This Comoy’s Pebble Grain benefits the work of the Daughters of Bulgaria – helping women and girls who have been trafficked and sexually exploited.  Thanks for joining me!

Restoring my grandfather’s Custom-Bilt pipe

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Blog by Paresh Deshpande

Now that the WDC Bulldog with Bakelite stem and gold band has been sent to Mr. Steve along with one Linkman’s with Pat Number and one Barling Ye Olde Wood, I suddenly feel relieved off the pressure of messing up with the restoration of these sentimentally valuable old pipes of my grandfather. It always pays to have someone experienced to fall back on in case something goes awry, the way it did with the WDC mentioned above. I am sure that those of who have previously read about the restoration of the Pete System # 31 will be curious to know what exactly went wrong with the WDC that I have mentioned it twice!!! Well, I definitely intend to share this story with you, but all in good time!!!!!

The next pipe from the collection which I decided to work on was a huge Custom-Bilt briar pipe. The large size of the bowl, thick shank and large saddle stem, lends this pipe a weight which I particularly enjoy holding in my hand.The pipe has deep and large vertical rustications along the entire length of the shank and height of the bowl. Within these large vertical rustications are very thin, closely stacked horizontal lines which give this pipe its unique appearance and are its trademark!!! I absolutely loved this pipe. These large rustications end half a centimeter below the outer rim of the bowl giving it the semblance of a rim cap. The rim top is covered with the same thin, closely stacked lines as seen between the vertical rustications.The pipe is stamped on the left side of the shank as “Custom-Bilt” on a plane surface. There is also a five-pointed star on the right side of the shank where the shank and stem meet (this star was revealed later after cleaning the pipe!!!).I searched the internet for information in order to date this pipe. Pipedia has  a lot of information about this pipe and just typing in Custom-Bilt in the search bar of the site will reveal the required information. There is an interesting review given by Richard Esserman  on a book written by   William E. Unger, Jr., PhD, which deals with the study of Custom-Bilt pipes. The author authoritatively states, after a lot of research and study that the stamp as seen on this particular pipe dates it from between 1938 – 1946!Initial inspection of the pipe revealed the following:

There is a thick layer of cake in the bowl. Though the cake appears thin, the sheer size of the bowl makes it appear so.The rim is covered in the overflow of lava, dirt and grime. The outer edge of the rim appears to be in good condition with no damage. The condition of the inner edge will be determined only after removing the cake.

The large vertical rustications are filled with dust, oils, dirt and grime to such an extent that the horizontal lines lying within are barely visible. Same goes for the rim top.  The stem is firmly stuck to the shank and will not budge. However, there is only one light bite mark below and above the stem near the lip. This is a big surprise since all the other pipes are heavily chomped up!THE PROCESS

Before I could start the work of cleaning the pipe, I kept it in the freezer overnight so as to separate the stem from the shank. Come morning, I removed the pipe from the freezer and tried to remove the stem, but it still did not budge! I let it rest outside for an hour and after applying considerable force, the stem came free, revealing an aluminum tenon fixed permanently into the shank.My first impression was that of having broken and ruined the stem. Further examination of this protrusion confirmed two airways, a larger one above a smaller one, both with the same draught hole at the other end.There is also a gap between the end of this aluminum protrusion and the airway hole inside the stem. This gap is covered in oils, tars and gunk. My guess is that the smoke drawn is swirled and the turbulence results in a cool and dry smoke. Any confirmed inputs will be highly appreciated.Using a Kleen Reem pipe tool, Abha, my wife removed all the thick cake from the bowl. She further cleaned the bowl down to the bare briar using a knife that I have especially fabricated for cleaning pipes. It may not be as classy as a Savinelli Fitsall knife, but performs efficiently to our satisfaction.A sanding down of the insides of the bowl by a 220 grit sand paper made the inner surface of the bowl nice and smooth. Abha had sanded down the inside of the bowl down to its briar. On close scrutiny of the insides of the bowl, I saw what appeared to be cracks in the bowl and that had me in sweats!!! Immediately forwarded pictures of the same to my mentor and Guru, Mr. Steve who laid my fears to rest by assuring these were not cracks and that further sanding should take care of these things. These lines which appeared like cracks disappeared after sanding down with a 220 grit sand paper.Thereafter, using Murphy’s oil soap ( undiluted ) and a hard bristled toothbrush on the exterior of the bowl, shank and rim, the pipe was thoroughly cleaned and rinsed under running tap water. I immediately wiped it down with a soft cloth. The long vertical rustications and the horizontal lines within were now clean and the briar looked clean and solid. I then left the briar to dry out. This product, I find to be very easy to use and the results are really amazing. The briar takes on a new look and a new shine. While the briar was drying out, I turned my attention to the stem. Since there is only one small, light bite mark on both the sides of the stem near the lip, I felt that it can be addressed by holding it over a Bic lighter and during sanding down using a 220 grit paper followed by micromesh sanding pads. Since there is no stamping on the stem, the work progressed relatively faster. After a 220 grit sanding, I wet sanded it with 1500 – 3200 micromesh sanding pads and dry sanded with 3400 – 12000 grit sand paper. In between each micromesh pad, I wiped it down with extra virgin olive oil, which I find is a perfect substitute for Obsidian oil which is not available in India and olive oil also tastes great! The stem is now nice and shiny. However, the light bite marks on both upper and lower sides can still be seen even after the using the Bic lighter and the sanding down process. This should have been addressed right at the beginning by either filling it with black super glue (which I do not have) or by using activated charcoal as suggested by my Guru, Mr. Steve. Well, this was a lesson learnt during this project.

Once the briar had dried out completely, I rubbed in Before and After Restoration Balm deep into the rustications as well as the rim top. The bowl was then wiped vigorously with a soft cloth and buffed with a horse hair shoe brush. The result is very pleasing and satisfying to the eyes! I am happy with this progress. This balm is a fantastic product for infusing a new life into the briar and giving it a new lease of life.While on a FaceTime call with Mr. Steve, I had conveyed that I do not have a buffing wheel and other waxes. He advised me to use boot wax which is readily available with us, it being an inescapable requirement in my profession and believe you me, it works wonders. I can rely on his vast experience to come up with such simple, uncomplicated and practical solutions, specifically tailor-made for you. Thank you, Sir.

The finished pipe is as shown below. I enjoyed working on this large Custim-Bilt pipe belonging to my grandfather. There are still a number of pipes which I have to work on and the next one is an old Stanwell, de-Luxe # 482 with Regd number 969-48 and a KRISWILL “CHIEF” #20. I have to work really hard and fast so as to complete as many pipes as possible before my leave ends!!!!

Recommissioning Another L. J. Peretti of Boston: An Oom Paul Sitter

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Blog by Dal Stanton

After restoring my first two Oom Pauls (see: LINK) from the L. J. Peretti Co., Tobacconist of Boston, this is the next Oom Paul that came to Bulgaria in the Peretti Lot of 10 I acquired off the eBay auction block.  I posted the picture of the 10 (below) on my favorite Facebook pipe groups (The Gentlemen’s Pipe Smoking Society, Old Codgers Smoking Pipe, Pipe Smokers of America, and Tobacco Pipe Restorers) letting interested pipe men and women know that except for one, the Oom Pauls would be available for personal collections.  All the Perettis restored and placed with new stewards benefit the Daughters of Bulgaria, an effort to help women and girls (and their children!) who have been trafficked and sexually exploited.  This L. J. Peretti Oom Paul Sitter from the Lot of 10 has been commissioned by a pipe man in neighboring Romania, just to the north of Bulgaria.  After restored, he will have first dibs on this Peretti now on my worktable!Along with the large stummel, what makes this Peretti stand out is the fact that it is a Sitter – a very nice feature when one is at the table enjoying friends and board games or a hand of cards!  I wish that the L. J. Peretti Co., had put out a shape chart in the past – if they had, I haven’t been able to find it!  This pipe, with another Sitter in the Lot of 10, might be just a bit shy of full bent status which is the technical norm for Oom Pauls according to Bill Burney’s description of the Oom Paul in Pipedia, but it is clear that Peretti used the same tall, long, full stummel with the Sitters, but widened the bend a bit, perhaps to allow the better balance as the Sitter is seated.  My call is that it is very close and either way, will serve his new steward well!  Here are pictures I took of the Peretti Oom Paul Sitter on my worktable here in Bulgaria. The left side of the shank is stamped with L. J. Peretti with no other markings on the stummel or stem.  Along with his brothers and cousins in the Peretti Lot of 10, this Oom Paul Sitter shares the thick carbon cake in the chamber and the rim abuse of incessant lighting over the side of the rim.  The extent of the erosion to the briar around the rim due to this scorching I’ll know after the reaming and cleaning of the stummel/rim.   The bowl shows normal nicks, scratches and grime that has darkened and obscured the briar.  I detect no fills on the surface, but the Sitter’s heel has a large, lightened blotch/fill to be addressed along the way. The stem has moderate oxidation, but the bit is chewed up like all his Peretti brothers and cousins.  The former steward liked to chew on his Perettis!  The upper/lower bit and button lip have sustained compression dents.

I start the restoration process by addressing the oxidation of the stem.  Previously, along with several other stems of pipes in the queue, the Sitter’s stem went into a soak using ‘Before and After Deoxidizer’ to remove the oxidation from the vulcanite stem.  I first had cleaned the internals of the stem with isopropyl 95% and pipe cleaners.  The stem stayed in the soak for several hours and after removing it from the Deoxidizer, I wiped it down with cotton pads and mineral spirits (in Bulgaria, light paraffin oil).  The oxidation wipes off as a nasty brown on the cotton pads.  I continue to wipe with cotton pads and paraffin oil until it cleans and is buffing up.  The Before and After Deoxidizer does a good job. To continue the Before and After process, I now apply first the Fine Polish by putting some on my finger tips and working it into the vulcanite.  The polish starts off thick and gritty, but liquifies as I work it around and absorbs into the vulcanite.  After a while, I buff off the polish with a cotton pad and then, in the same manner, apply the Extra Fine Polish.  I take a picture of the stem after I worked this polish in but before buffing it off.  You can make out the texture of the polish on the surface.  I then buff it off with a cotton pad.  The stem looks clear of oxidation and has a deep black hue.I look now to the stummel.  I begin by reaming the heavily caked Oom Paul chamber.  I also work on the rim surface with very thick, crusted lava flow.  There is no way to determine the condition of the chamber wall or the rim until the cake is removed.  This is a consistent characteristic of all the L. J. Peretti Lot of 10.  I use the Pipnet Reaming kit to begin the job starting with the smallest blade over a paper towel to minimize clean up!  I use 3 of the 4 blades available.  I then use the Savinelli Fitsall Tool to continue to remove carbon from the chamber walls by scraping the chamber wall and reaching the difficult areas.  When I detect the walls are scraped smoothly – no more crunching of carbon, I sand the chamber using 240 grit paper wrapped around a Sharpie Pen.  Finally, after sanding I wipe the chamber with cotton pads wetted with isopropyl 95% to remove the carbon dust.  Looking into the chamber, I see no cracks or crevices. It looks good! I take pictures along the way.  Now, to attack the thick gunk on the rim, I use undiluted Murphy’s Oil also to clean the entire stummel which is darkened by the grime.  I use a cotton pad and Murphy’s and the grime is coming off.  I’m pleasantly surprised to see what I thought was a fill on the heel of the stummel disappear!  It too was simply gunk on the briar surface.  The rim put up some resistance!  I first use the cotton pad but quickly utilized a brass brush to scrub the lava over the rim.  I also used my pen knife to scrape gently the rim surface.  To complete the cleanup, I rinse the stummel and rim with cool tap water.  The stummel surface looks good – it cleaned up well and I can see some impressive grain patterns lurking underneath.  As with the other Peretti Oom Pauls I’ve restored, the plane of the rim is dropping a bit to the left of perpendicular with the shank, but I’ll leave it as is.  I also note that the left side of the rim has eroded somewhat because of the practice of lighting the tobacco over the edge.  The result is that there is an inconsistent rim width around the circumference.  I’ll seek to correct this, or at least help it along by creating an internal rim bevel. Since I like working on clean pipes, I turn to the internal cleaning of the stummel using a shank brush, pipe cleaners and cotton buds dipped in isopropyl 95%.  I also utilize a dental spatula to scrape the sides of the mortise to remove old tars and oils.  After the frontal assault on the gunk, I decide to employ the stealthier approach – a kosher salt and alcohol soak.  This approach helps to freshen the internals as well as remove more latent tars and oils.  I fill the stummel with kosher salt, cup the chamber with my palm and give the stummel a shake to displace the salt.  I then create a wick with a cotton ball by pulling and twisting it.  I stuff the wick down the mortise and through the draft way.  Then I place the stummel in an egg carton to stabilize it and fill the bowl with isopropyl 95% until it surfaces over the salt.  I wait a few minutes and top it off again.  The day is late, and I set the stummel aside to let it soak through the night.The next morning, I discover that the salt had not discolored much but the wick had been successful drawing out the oils.  I clean out the stummel getting rid of the expended salt and wiping the chamber with a paper towel. I run a long shank brush through the mortise and draft hole to clear the remnants of salt.  Now, a clean stummel!Now, to the rim.  I take a closer look and take a couple close ups to mark the starting point.  The damage is not as extensive as I’ve seen on some of his Peretti brothers.  Cleaning the scorched briar on the rim and creating an internal bevel in order to remove the damaged wood is the goal – fresh, healthier briar to form the rim.  Starting, I gently top the stummel with 240 sanding paper on a chopping board only removing what is necessary. Rotating the inverted stummel on the board I discover that I don’t need to take off much.  I then switch to 600 grade paper and smooth the rim – lightly topping it more.  The pictures show the progress. The topping went well.  Now, to cut the internal bevel, I roll a piece of 120 grade paper tightly around a hard wood disk to provide a flat, firm backing to help with a crisper b.  I then work the paper around the internal rim circumference edge to cut the initial bevel.  In the same way, I sand with 240 grade paper and finish it off with 320 and 600 grade papers.  I think the rim looks great. I’m enjoying how this Peretti in cooperating.  The stummel surface has normal nicks and minor dents which this Peretti has received over the years.  To remove these, using sanding sponges on the surface is my usual approach.  I start by employing a rougher grade sponge, middle grade and then finish going over the surface with a light grade sanding sponge.  I am careful to protect the L. J. Peretti nomenclature on the shank as I sand. After the sanding sponges I transition to using micromesh pads to sand out the briar surface more using finer sanding surfaces. I begin by wet sanding with pads 1500 to 2400 then dry sanding from 32000 to 4000 and then 6000 to 12000.  I enjoy watching the grain start to show through the micromesh pad cycles. The L. J. Peretti is looking good as I look at it now.  The pictures show the progress. Turning now to the stem, I take another look at the bit showing tooth chatter and dents. I first use a flame from a Bic lighter to paint the area expanding the vulcanite.  As the vulcanite expands as the natural result of heating it, I’m hopeful that the dents and chatter might rise and make for less sanding.  I believe the process helped but did not fully remove the dents.  I took before and after pictures first with the upper bit comparison, then the lower bit. To address the dents, after wiping the area with alcohol to clean the surface, I apply drops of Black Medium KE-150 CA glue to the dents.  I start on the upper bit.  I put CA glue on the 2 main dents and run more glue along the button to fill in the chatter there.  I then wait for an hour or so for the CA glue to set, so that I can flip the stem and apply glue on the lower bit. After the Black CA glue has cured, I start the process of filing and sanding the patch down to the vulcanite surface and sanding out the chatter.  Starting with the flat needle file and 240 sanding paper I do the initial sanding and refreshing the buttons of both the upper and lower bit with the file.  I follow by sanding with finer grades, 470 then 600.  I finish this phase by buffing the entire stem with 0000 grade steel wool.  The pictures show the progress finishing out the bit repairs. With this initial stem repair and sanding completed, I now use micromesh pads to continue sanding the stem with even finer sanding grades.  I begin wet sanding with pads 1500 to 2400, then dry sanding with pads 3200 to 4000 followed by pads 6000 to 12000.  After each set of 3 pads I apply Obsidian oil to revitalize the vulcanite.  I love to see the vulcanite’s glassy pop!  The pictures show the progression. Now, I take another look at the Peretti Oom Paul Sitter seated on my worktable!  I like that characteristic of this large stummel.  I study the attractive grain patterns that have started to emerge through the sanding process.  To enhance the grain further, I mount a felt buffing wheel on the Dremel and I apply the coarser Tripoli compound with the lowest speed setting. Before I start the sanding process, I purge the wheel with the Dremel’s metal tightening wrench.  I apply the compounds by rotating the wheel over the surface of the briar.  I don’t apply too much lateral pressure on the buffing wheel, but I allow the speed, wheel and compound to do the work. After asking nicely, my wife takes a picture of me applying the Tripoli compound with the Dremel.  After the Tripoli compound, I apply the less coarse compound Blue Diamond.  I apply it in the same manner as Tripoli but with a cotton cloth buffing wheel instead of a felt wheel.  When completed, I wipe the stummel with a cotton cloth to remove residue compound dust. The next step is to apply Before and After Restoration Balm to the Peretti’s briar surface.  With the other restorations I’ve done with the Peretti Lot of 10, I have been very pleased with the results of applying the Restoration Balm.  I very much like the natural briar look and the original Peretti motif has the lighter, natural patina.  The Balm seems to take the natural briar grain and deepen and enrich it.  I take a before and after picture of the stummel to show the difference.  I’m afraid the lighting of the pictures does not show the subtle deepening that I perceive with the naked eye.  To apply the Balm, I squeeze a little Balm on my fingers and work it into the briar surface.  As I do this, the Balm progressively thickens to almost a wax-like consistency.  I take a picture of the Balm on the stummel as I allow it to sit for a few minutes to give an idea of its consistency.  I then use a cotton cloth rag to wiping it off at first, and then buffing it as the surface is exposed.  I then use a micromesh cloth to give the stummel a hand buffing.  The pictures show to process comparing each side in succession. I remember that I forgot to apply Blue Diamond compound to the stem. So, I attach the stem to the stummel and apply Blue Diamond compound to the stem and then wipe the entire pipe with a felt cloth to remove excess compound dust.  Now, applying the carnauba wax, I mount a cotton cloth wheel to the Dremel, increase the speed to about 40% full power and apply the carnauba to the stem and stummel.  After applying a few coats, I use a micromesh cloth to give the pipe a rigorous hand buffing to raise the shine even more.

This Peretti Oom Paul Sitter cleaned up very well – I’m pleased with the results.  After restoring several Peretti pipes and I’ve concluded that not only have I found them to be good smokers, but the briar used for the production of these pipes seems to be of a higher quality and very pleasing to the eye on the whole.  The grain on this Peretti has not disappointed.  The large stummel showcases well the lateral grain on the lower regions and then bird’s eye grain dominates the opposite side of the bowl.  Codruț, a pipe man in neighboring Romania, saw this Peretti when I posted several Peretti Oom Pauls that were to be restored and made available.  He commissioned this Peretti and he will have first dibs on it when it goes into The Pipe Steward Pipe Store.  This Peretti Oom Paul Sitter benefits the Daughters of Bulgaria, our work here in Bulgaria helping women and girls (and their children) who have been trafficked and sexually exploited to find a new life.  Thanks Codruț(!), and thank you for joining me in this restoration!

Recommissioning a Sculpted Gourd Calabash for a Man Serving His Country

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Blog by Dal Stanton

Last year, when my wife and I were in the US for some months for our periodic furlough reconnecting with friends, family, and sponsors of our work in Bulgaria, I was also trying to connect with pipes –  I love the search!  As I’ve done many times before, I was trolling through the eBay offerings.  I came across a listing for a lot of pipes, which the seller described as:  Huge Lot Of 66 Smoking Pipes Pre-Owned Pre-Smoked and Deeply Loved.  The further description was that the Lot of 66 was a donated item, that the collection belonged to one owner, and they repeated that the collection had been “Loved”.  There were several other pictures providing break downs of the overview below.  As you might expect, I started going through the pictures to see what I could see – the seller said that they were not pipe people, they did not know the brands nor the specific histories.  This is always a good sign – treasures could be lurking in the mass of 66 pipes!  I could see very easily one OBVIOUS treasure – a Gourd Calabash.  Well, I did the math, determined a budget, and with my wife’s blessing, went to the auction block and I won – which surprised me.   There turned out to be several treasures in the Lot of 66 which will gradually make their way to The Pipe Steward worktable to be restored and recommissioned to benefit the Daughters of Bulgaria, helping women and girls, and their children, who have been trafficked and sexually exploited.  I toted the Lot of 66 back to Bulgaria with me (thanks to a very patient wife!) and now the Sculpted Gourd Calabash is now on the worktable.  What prompted the Calabash’s retrieval from the ‘Help Me!’ basket was a text message I received from a man who said he was looking for a Meerschaum pipe and a Calabash.  Brian had met one of my colleagues in Plovdiv, Bulgaria, and through their conversation, he discovered that I restored pipes and that he had a bucket list of sorts, of pipes he was trying to acquire while in Europe for a short work stay.  Brian and I began to text back and forth, and I told him I did have a Calabash and a few Meerschaums.  He was able to look at the Sculpted Gourd Calabash on The Pipe Steward site in the ‘For Pipe Dreamers Only’ section – unrestored pipes that folks may commission. We agreed on the Calabash and since he was leaving Bulgaria soon, I went to work straight away on his ‘Bucket List’ Calabash along with the other projects on my worktable.  Only later, as we continued to text each other, did I discover that Brian was an Airforce serviceman from Washington State and lives on a farm where he and his wife provide foster care for children.  He said he was on a short military training exercise in Bulgaria.  My sense of appreciation grew – not only for the service to his country, but their care and concern for children.  I also discovered that Brian has become very interested in pipe restoration and may give it a go!  So, to work on the Calabash.

One of the discoveries I made when I looked at the Calabash for the first time in hand – what I could not see in the pictures, was that the gourd was sculpted – a very interesting and attractive design that both adds an unexpected ‘fresco’ of sorts on the gourd, and also a different, tactile feel.  On my worktable here in Sofia, Bulgaria, I take pictures of the Sculpted Gourd Calabash to chronicle his condition. The first thing that draws the attention to this Gourd Calabash after the sculpted design is taken in, is the sheer size of the pipe.  From the end of the Meerschaum cup to the end of the fancy push tenon stem is just at 9 inches!  The cup is 2 ¾ inches wide and the cup chamber is 1 3/8 inches deep. The pipe has no markings to reveal its origins.  The gourd is generally in good shape and carries with it the normal signs of age – nicks and scrapes on the gourd surface.  The surface shows the latent shininess of former finishes which look like blotches in the pictures above – these need to be removed.  When I investigate the inside of the gourd I see dust and loose particles that need to be cleaned.  The cork gasket which forms the connection between the Meerschaum cup and the gourd is in good shape but is dry. On rebornpipes, one of Steve’s best practices is to apply a little petroleum jelly to the gasket to condition it and to create a renewed seal.  I’ll try this out as well.  The cup itself is solid but sports some small chips on the top, near the chamber opening.  There are also nicks and scratches revealing the bumps and bruises he’s collected along the way.  I’ll work on sanding these out.  The push tenon stem has significant oxidation and tooth chatter.  The shank extension is made of plastic and is scraped up a bit on the end, but it should clean up nicely.

I begin the restoration of this treasure of the Lot of 66 for Brian’s bucket list by first cleaning the internals of the stem with pipe cleaners and isopropyl 95%.  After this, I add the stem to the Before and After Deoxidizer bath, along with a couple other stems in process. I let the stem soak in the Deoxidizer overnight.  The next morning, I fish out the stem from the Deoxidizer, let it drain off, and wipe liquid and oxidation off with cotton cloth pads wetted with light paraffin oil.  This removes the raised oxidation.  I wipe and buff the vulcanite and put it aside to dry.  The Before and After Deoxidizer has grown in my appreciation for the job it does.  The stem looks great. Turning now to the gourd, I look again inside the gourd and the walls are dark, with some dried tars.  I won’t be able to get it all cleaned, but I take a dental spatula to scrape what I can off.  I put down some paper towel to help in cleanup. I also employ a long-wired shank brush to reach into the gourd and travel the curve.  I do the same thing with a brush through the mortise into the gourd.  This loosens more hardened tars.  After I finish with the scraping and the brushing, I clean the mortise with pipe cleaner and cotton bud dipped in isopropyl 95%.  The internals are as clean as I can manage! Before I turn to the external surface of the gourd, I finish the internal by applying petroleum jelly with my finger to the cork gasket to rejuvenate it.To clean the grime from the gourd surface and in the sculpting crevices as well as to remove the old shiny finish, I use undiluted Murphy’s Oil Soap with cotton pads and a bristled tooth brush.  I then gently rinse the gourd using the toothbrush and a very light flow of water – avoiding water getting inside the gourd. I hand dry the gourd with paper towel and let it set to dry thoroughly.  While I had the Murphy’s out, I did a quick clean over of the Meerschaum cup using a cotton pad. After the gourd thoroughly dries, I want to rejuvenate the surface.  Using Before and After Restoration Balm I work the balm into the sculpted gourd with my fingers.  I take two pictures to mark the beginning for comparison. I’m looking forward to seeing what the Balm does with the thirsty, dry gourd!  I was not disappointed – oh my!  The richness of color that exemplifies a classic Gourd Calabash is evident.  Every pipe man and woman hopes to have at least one Gourd Calabash in their collections!  I put the gourd aside to rest and pick up the Meerschaum cup.  I take another close look at the chamber and at the chipping on the cup dome.  I think that the chips are too deep to sand out totally, but I take a piece of 470 grade paper and lightly sand the surface of the Meer cup.  I strategically and lightly sand out nicks on the surface and the bevel of the cup.  I’m not able to remove the deepest divots next to the chamber lip but it looks better. As I sand, I use a dampened cotton cloth to wipe off the Meer dust. Before going further with the Meer cup surface, I take the Savinelli Fitsall Tool and gently scrape the chamber.  The cake is very light, and it doesn’t take much.  I follow by sanding the chamber with a piece of 240 grade paper around a Sharpie pen and then wipe the chamber with a cotton pad and alcohol.  Now I bring the Meerschaum cup through a micromesh pad cycle by wet sanding with pads 1500 to 2400 then dry sanding with pads 3200 to 12000.  As I sand, I do not get carried away!  Sanding Meerschaum is a much gentler activity than briar!  As I progress to the latter, more polishing pads, the Meerschaum begins to reflect like glass.  Nice!The next step with the restoration of the cup is to apply bee’s wax to the Meer surface.  Bee’s wax is excellent in protecting the Meer surface as well as encouraging a rich patina.  I have Bulgarian bee’s wax available and I melt it with a hot gun.  When it liquifies, I apply it to the surface with a cotton bud. I also warm the Meer cup with the hot air so that it allows for the more even application of the melted wax.  I prop the cup in a small plastic cup.  As I apply the melted bee’s wax with a cotton bud, the wax congeals very quickly as it cools on the Meer surface.  At the end of the application, the wax is caked on the surface.  It takes some work as I begin removing the excess, congealed wax, using a cotton cloth.  As the excess comes off, it reveals the surface and it buffs more easily.  Finally, with all the excess removed, I use a micromesh cloth to give the cup a hearty hand buffing.  The Calabash’s Meer cup is now ready for a gourd.  It looks good. Now, to the fancy push tenon stem.  The bit is rough with chatter.  I will remove it by using a piece of 240 grade paper.  I also take a flat needle file to redefine the button.  I follow the 240 paper with 470 grade paper removing the scratches left by the 240 paper.  Then, I use 600 grade paper and sand the entire stem to remove rough spots in the vulcanite as well as removing the tracks of the 470 paper.  Finally, I buff the entire stem with 0000 grade steel wool. Following the steel wool buff, I want to rejuvenate the vulcanite.  First, I apply Before and After Fine Polish then Extra Fine Polish to the stem. I work each in with my fingers throughout the stem.  After each application, I wipe/buff the polish with a cotton cloth.  The vulcanite responds well with a deeper black – it looks good.Now to the micromesh pads.  With pads 1500 to 2400 I wet sand followed by 3200 to 4000 and 6000 to 12000 are dry sanded.  After each set of three I apply a coating of Obsidian Oil.  The polished vulcanite pop is nice to behold! Now to the Calabash’s sculpted gourd.  Using the Dremel, I mount a cotton cloth buffing wheel dedicated to Blue Diamond compound.  Using the fine abrasive compound, I sand the smooth gourd areas to bring out more gloss.  I also want to test carefully the application of the compound to the sculpted area which has peeks and valleys.  I’m interested to see if Blue Diamond will also enhance this area.  Using the slowest speed on the Dremel, I work the buffing wheel around the gourd – both smooth and sculpted.  The sculpting is very intricate and the more I look at it the more amazing it is – very nice touch on an already classic shape.  I can work the compound into the sculpting and the results are good.  The surface is shining up well.  I take a picture applying the compound – no small feat with only two hands!  I also run the buffing wheel with Blue Diamond on the shank extension as well as on the unattached fancy stem.No – this next picture is not repeated from above, unfortunately.  In the interest of full disclosure, as I was working the Blue Diamond compound on the stem, I noticed oxidation that I did not see before – or wasn’t as obvious until I started buffing up the vulcanite with the compound.  Well, I’ll spare you all the pictures of starting from the beginning by re-sanding the stem starting with 240, 470, 600, steel wool and the full run of 9 micromesh pads…  Let this picture represent the whole…. Thankfully, back to ‘now’ with the second picture.I give the gourd and stem a quick hand buff with a felt cloth to remove compound dust in preparation for the application of wax.  I mount another cotton cloth buffing wheel dedicated to carnauba wax onto the Dremel.  I increase the speed up to about 40% and apply the wax to both gourd, stem and shank extension – the cup and stem are not assembled.  I find that the compact Dremel buffing wheel allows me to work in a much more directed way.  To spread the carnauba wax over the sculpted, rougher area, I steer the buffing wheel in the same direction as the sculpted valleys.  In this way, the wax does not gum up but continues to spread evenly over the surface and crevices.  As I watch the waxing unfold, oh my!  Gourd skin loves carnauba wax!  After some coats of wax, I use a micromesh cloth to buff up the gourd and stem surface.  I also buff the Meerschaum cup with the cloth.

I am very, very pleased with the results of this Sculpted Gourd Calabash.  The design created on the gourd surface attracts the eye and holds it.  The smooth gourd ‘bands’ below the Meerschaum cup and over the gourd shank, connecting to the shank extension, create a symmetry that works well.  The Meer cup looks good.  It carries some of the former scars and cuts – a sign of the Calabash’s history.  I’m glad that Brian will take good care of this Calabash as he returns to the US after his tour of service in Bulgaria.  I appreciate his service to his country and that his bucket list Sculpted Gourd Calabash benefits the Daughters of Bulgaria, women and girls (and their children) who have been trafficked and sexually exploited.  Thanks Brian and thanks for joining me through this restoration! 

New Life for an Italian Made Harvey Futura Bent Sitter

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Blog by Steve Laug

The next pipe on the work table is another pipe that came to me from the estate of a Vancouver pipe smoker whose widow left them with a local Pipe Shop after he died. I was asked to clean them up and sell them for the shop as it has since closed. The photos below show the pipe as it was when I brought it to my work table. It is a nicely shaped bent sitter – with birdseye and cross grain all around the bowl and shank. The unusual patterns of the grain on the briar is unique and a bit captivating. The bowl was heavily caked with a lava coat on the top of the rim. It was hard to tell how the inner and outer edge of the rim actually looked until the bowl was reamed. The bowl was dirty but the finish was still shiny as if it had a top coat of varnish or shellac over the stain coat. The stem had some tooth chatter and marks on the top and underside near the button. The pipe had promise it was very dirty. Since it was an Italian Made Pipe I did a bit of research to see if I could find it on the web. I checked on the PipePhil website and it was not listed there. I also check on Pipedia and found a listing under Italian made pipes that read Harvey pipes but gave absolutely no information on the brand. I have a theory that the brand was made by Rossi because I knew that the factory made many pipes for various sellers around the world. I have no proof of it of course but it is a good possibility. I have no idea of the connection between Rossi and Harvey pipes but I sense that there is one.

I took photos of the stamping on the shank to show the stamping around the sides and bottom of the shank. The top photo shows the left side of the shank which is stamped HARVEY over Selected Grain over FUTURA. The second photo shows the Made In Italy stamp on the right side of the shank. The third photo shows a number stamped on the underside of the shank. It reads 29-827. When I went back to the States after Christmas to visit my parents and brothers I took a box of these pipes to Jeff to clean up for me. He reamed this Harvey Italian Made Bent Sitter with a PipNet pipe reamer and cleaned it up with a Savinelli Fitsall Pipe Knife. He scrubbed the exterior with Murphy’s Oil Soap and a tooth brush to clean off the grime on the finish and the heavy overflow of lava on the rim top. He cleaned up the internals of the shank, mortise and stem with pipe cleaners, cotton swabs and alcohol to remove all of the oils and tars in the pipe. When it came back to Vancouver it was a quite different pipe. I took photos of it before I started the restoration. I took photos of the rim top and the stem to show their condition. Jeff was able to clean out the bowl completely and the rim top. He removed the tars and lava to reveal some peeling of the varnish coat on the rim and some very obvious fills that can be seen in the first photo. The stem was oxidized and pitted. There were scratches, tooth chatter and marks on both sides near the button. I worked on five of the pipes from that estate at the same time. I put all of the stems in a bath of Before & After Pipe Stem Deoxidizer to soak. I submerged them all of the stems in the bath and let them soak overnight to break down the oxidation.While the stem soaked I worked on the rim top with 220 grit sandpaper to remove the darkening and light remnant of lava. I wiped it down with a damp cloth and dried it off.I polished the rim with micromesh sanding pads – wet sanding with 1500-2400 grit pads and dry sanding with 3200-12000 grit pads.  I used a cherry stain touch up pen to blend the sanded and polished rim top with the colour of the rest of the bowl. Once the stain dried I wax it with carnauba wax and buffed it with a buffing wheel to polish and make it shine.I rubbed the bowl down with Before & After Restoration Balm to deep clean the briar. The product works to clean, enliven and protect the briar. I hand rubbed it with my fingers and worked it into the finish. I wiped it off with a soft cloth. I buffed the bowl with a micromesh cloth to polish it. The briar really began to have a rich shine. I took some photos of the bowl at this point to mark the progress in the restoration. I set the bowl aside and worked on the stem. I took it out of the deoxidizer and rinsed it under warm water to rinse off the mixture. I blew air through the stem and ran water through it as well to rinse out the mixture there as well. The stem still had some oxidation spots but it was all on the surface as seen in the first two photos below. I painted the surface of the stem with the flame of a Bic lighter to lift the tooth marks. One of the benefits of the lighter is that it burned off the sulfur on the surface of the stem. I sanded out the tooth chatter with 220 grit sandpaper until the tooth chatter was gone. I filled in the tooth marks with black super glue and set the stem aside to let the repairs cure.  When the repairs had dried, I sanded the repaired spots with 220 grit sandpaper to smooth them out and blend them into the surface of the stem.I polished the stem with micromesh sanding pads – wet sanding with 1500-2400 grit pads and dry sanding with 3200-12000 grit pads. I wiped the stem down after each pad with a damp cloth to remove the sanding dust. I used the Before & After Pipe Polish to remove the small minute scratches left in the vulcanite. I finished by wiping the stem down with a final coat of Obsidian Oil and set it aside to dry. I put the stem back on the pipe and carefully worked the stem over with Blue Diamond to polish out the remaining small scratches. I gave the bowl several coats of Conservator’s Wax and the stem several coats of carnauba wax and buffed the pipe with a clean buffing pad to raise the shine. I hand buffed it with a microfiber cloth to deepen the shine. The pipe polished up pretty nicely. The finished pipe is shown in the photos below. This interesting Italian made Harvey Futura pipe came back to life nicely with the restoration. This one will be going on the rebornpipes store shortly. It will be a great yard pipe or working pipe. The dimensions of the pipe are Length: 5 1/2 inches, Height: 1 3/4 inches, Outside diameter of the bowl: 1 1/4 inches, Chamber diameter: 3/4 inch. Thanks for walking through the restoration with me.

My First Pipe Restoration – My Grandfather’s Royal Falcon

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Blog by David Lasher

I was traveling this past week for work and received an email from David regarding this pipe. He sent me photos of the pipe and the write up that follows. I was glad to hear from him and see his work. The pipe is a beauty and I think you will agree with me that he did a great job on the restoration. Welcome to rebornpipes David. We look forward to hearing more from you. –Steve

My grandfather was a New England hat maker. As a chemist, he made the dyes used to color the fur and felt of Stetson hats. He collected many things, including tobacco pipes like the ones he used. I recently grabbed one from my parents’ basement. After stumbling onto your website, I jumped in with both feet and attempted to restore my first pipe, a Royal Falcon 214. The following photos document the before and after of this pipe. From the start, your website was instrumental. You even helped me determine that Royal Falcons were produced as the seconds of Comoy’s.

Beautiful color of the Briar wood bowl. Note the teeth chatter and oxidation on the stem. Also, the Falcon engraving (with missing paint).Below, the bowl after being stripped with Murphy’s Oil Soap.Substantial Teeth Chatter and oxidation on the stem.Following guidance found on rebornpipes.com, the final product is—I think—fairly decent, especially for my first pipe restoration. It isn’t perfect, but thankfully I have nine more to work on and practice with.

The stem after soaking in Oxy-Clean and scrubbing, sanding, and polishing it. Who knew that 12000 grit sandpaper even existed?The imprints on both sides of the pipe. The right side of the bowl before refinishing the wood. Before and After: The Final Result

The pipe as it sat in a basement for the last three decades. Below, the pipe today with the oxidation removed from the stem and the stem polished. The bowl was stripped, re-stained, polished, and waxed. The wood is beautiful…and complimented with the restored deep black stem featured the painted falcon.Below, the final touch…the restored (repainted) Royal Falcon imprint on the stem.This was possible only through the guidance I received from rebornpipes.com. Thank you very much!

An Unexpected Find in Athens – A Savinelli Oscar Aged Briar 614

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Blog by Dal Stanton

When I first laid my eyes on this Savinelli, I didn’t realize it was a Savinelli.  I was in Athens, Greece, tooling through the Monastiraki market area at the foot of the Acropolis, next door to the Forum.  As I explored I found one shop nestled on a tree-covered side street with a table set on the front sidewalk with all kinds of paraphernalia. It drew me like a bee to pollen!  Two congenial men were sitting behind the table conversing in Greek. I assumed they chatted about all manner of life, family, politics…, and what is usually the case, as I drew near, their conversation stopped, and the English began.  As I perused the table with strategic disinterest, I saw one pipe on the table that did not grab me too much.  The shop owner asked me if I was interested in pipes?  I said yes, and he said that he had many more that he didn’t know what to do with…. “Oh, my…” – my heart skipped a beat!  In his wonderfully, friendly, thick Greek accent and manner of hospitality, he said, ‘Come with me.”  As he pulled a chain out of this pocket a full ring of keys followed. He led me down a narrow, alley walkway along the side of the shop.  We stopped and he unlocked a side door that led immediately up the stairs to an ‘upper room’ where, as he explained with a subdued, secretive flourish, he seldom brought customers.  When we entered the room, I saw why.  It was his special place – family pictures were arrayed everywhere, icons of the Greek Orthodox Church were given special deference as they hung from places of honor. Many shelves full of his collections.  He pulled my attention away from the array to a slew of pipes displayed in a case hanging on the wall and arranged beneath on a cluttered table. I took it all in.  He explained that his good friend, from Armenia, asked him to sell off his collection of pipes and he gave me a price for everything, including the wall-hanging display case.  With gratitude to him for his generous offer, I had to decline as I was flying back to Sofia and would have no room in my luggage for all of it.  I suggested to him that his friend could possibly make more money if he sold the pipes and case separately and he confided that he knew little about pricing pipes individually.  As we talked, I discovered that he was a board member of a foundation that assisted orphaned children Armenia – the home of his friend.  That opened the door for me to share that I too, was a board member of the Daughters of Bulgaria Foundation and I shared with him why I collected pipes – to restore and sell them to benefit the Daughters and their children.  He encouraged me to go through the collection and pull out pipes that interested me and make him an offer.  In Mediterranean culture, very much like Bulgarian culture – relationship is supreme, and we had talked of things near and dear to our hearts.  Pipes became the doorway to a deeper fellowship that we both understood and appreciated.   I left the shop owner with a firm handshake, a parting picture, and an appreciation for him and his journey. I also left his shop with some special pipes and friendly prices 😊: Lorenzo Carnevale Sanremo of Italy (on top in picture below), a Savinelli Roley Pocket Pipe (bottom, below), and a sorry looking ¾ Bent Billiard (center below) that appeared to have no name – at least in the dim light of the upper room, I could not see any.  It appeared the pipe had been left out in a sun-drenched field through a few seasons – showcasing a terribly oxidized stem and a bleached-out bowl, but the old boy had nice form and I liked him.  It struck me that this pipe reminded me of a Southern US epithet, ‘Bless his heart, he can’t help how ugly he is!’  The ‘Bless his/her heart’ is the softener or honey before the hard news! The pipes were unwrapped when I returned home to Sofia.  I was anxious to look at them, take some pictures, and to do my normal ‘information intake’ for each pipe I collect so that I can remember later when they emerge from the ‘Help Me! Basket’ heading to The Pipe Steward worktable.  With a magnifying glass in hand, I discovered that the ‘Bless his heart’ charity pipe was a hidden prince with great potential – a Savinelli Oscar Aged Briar 614 of Italy.  The Oscar is a popular line of the well-known Italian pipe family, Savinelli.  I was surprised and happy to see what I could do to help him out!  On the left side of the shank was stamped in cursive script, ‘Oscar’ over ‘AGED BRIAR’.  The right side of the shank was stamped the Savinelli ‘S’ logo on the left, and to its right was shape number ‘614’ over ‘ITALY’. I took some other pictures of the Savinelli Oscar on my worktable to catalog his condition when he arrived from Athens. Fast forward now nearly a year. Many of my restoration projects start because a pipe is commissioned, and it is plucked from the ‘Help Me!’ Basket.  This often happens when a pipe  listed in the “For Pipe Dreamers Only!” on The Pipe Steward site attracts someone.  Or, here in Bulgaria, when folks are in our home and know about my pipe restoration work, they often will pour through the many pipes in the ‘Help Me!’ Basket (and boxes 😊) in search of just the right one!  That was the case with the Savinelli Oscar. Taylor, a colleague and blooming pipe man, wanted a couple of pipes for himself and one for a friend in the US. The favorite he chose, or did the pipe choose him 😊(?), was the Savinelli Oscar which is now on my worktable.

To learn more about the Savinelli Oscar Aged Briar, I look at the Savinelli Pipe Shape guide to identify shape 614.  I locate it in the chart and it looks to be a 3/4 Bent Billiard. I circle the 314 in the chart and it’s interesting to see the other Bent Billiards nearby to compare.  I’m thinking that the Oscar is a 3/4 Bent but I am surprised to see, that comparing it to all the other Savinelli bent shapes, it seems to be the most fully bent shape that Savinelli offers – at least from this chart.Then, with a simple search on Google using the name and the shape number, 614, I’m hoping for an Oscar 614 in pristine condition to guide the restoration of this sad boy.  I find this example of an Oscar Aged Briar 614 formerly on the AntiqueAuctionsNow website – a nice looking classic bent stem Billiard.Ah ha! As I look closely at the picture above, it cues me into the possibility of the Savinelli Shooting Star stem stamp on the Oscar – impossible now to see with the heavy oxidation.  I look to another regular place, PipePhil.eu, which gives me more information and understanding.  The Savinelli Oscar line, along with three others, is marked with the Shooting Star stamp.Looking at the overall condition of the pipe, I have already noted the oxidation and a hope that the Shooting Star stamping can be salvaged.  The bit also has very minor tooth chatter with a single dent on the upper button. The bowl almost appears like it has been bleached by the sun and the nomenclature stampings on the sides of the shank are thin and will take some care not to diminish more.  The rim has some scorching over the left quadrant and has minor cake build up in the chamber.  The internal rim has a smart bevel that I will refresh.  I’ll ream the chamber to get down to the briar for a fresh start. A few small fills are detected on the lower shank and a significant divot is evident on the shank end, just below to the left of the Savinelli ‘S’ logo.

The first thing to address is the stem’s oxidation.  I add the Oscar’s deeply oxidized stem with a batch of other stems into a bath of Before and After Deoxidizer to remove the oxidation on the stem.  Aligned with each stummel, the stems are put into the solution for a few hours.  The Savinelli Oscar is on the left.  I’m hopeful that the Before and After Deoxidizer might uncover the Shooting Star stem stamp – hopeful, but doubtful.After a few hours, using a toothpick, I fish out the Oscar’s stem and allow it to drip-drain the Before and After Deoxidizer.  I then wipe the stem with cotton pads and mineral spirits (light paraffin oil here in Bulgaria) which removes layers of raised oxidation off the surface.  Miraculously, the Savinelli shooting star stamp appears out from underneath the oxidation!  It is very thin and I’m not sure there’s enough depth left of the stamp for acrylic paint to find purchase. Continuing with the stem, I use Before and After Fine Polish then Extra Fine Polish to further condition the stem.  With both, I place some polish on my finger and work it in on the vulcanite surface until it is absorbed.  After each, I buff it further with cotton pads.  The stem looks great – though the Shooting Star stamp doesn’t look like there’s much I can do with it but save what’s left of it!Turning to the stummel, I use undiluted Murphy’s Oil Soap to scrub the surface and rim with a cotton pad.  Whoops!  Usually, I do the reaming before this – I’ll need to back track.  I rinse the stummel with cool tap water and it cleaned up very well – the rim gunk is gone.  I decide to apply a coat of light paraffin oil (mineral oil) to the surface to rehydrate the briar.  I set it aside for a while for the paraffin oil to absorb fully.  The grain looks good. Now, back to the chamber cleaning that I missed.  I use the Pipnet Reaming Kit to ream the light cake out of the chamber. I use only the two smaller blades.  I then fine tune the reaming with the Savinelli Fitsall Tool.  Finally, I wrap 240 grade paper around a Sharpie Pen and sand the chamber down to the fresh briar.  I finish the chamber cleaning by wiping it with a cotton pad wetted with isopropyl 95%.  The pictures show the progress. To the internal cleaning – using cotton buds, pipe cleaners and a shank brush I clean the mortise.  I also use a dental spatula to scrape the mortise walls to remove gunk.  With my day ending, to give a more thorough cleaning, I use a kosher salt and alcohol soak to penetrate the tars and oils left in the bowl and mortise overnight.  I fill the bowl with kosher salt – not iodized that leaves a taste.  I give the bowl a shake with my hand covering the top to disperse the salt.  I then form a wick to stuff down the mortise to draw out the oils and tars.  I stretch and twist a cotton ball to do this.  With the cotton wick in place, I place the stummel in an egg crate to keep it steady.  I then use a large eyedropper to fill the chamber with isopropyl 95%.  I wait a few minutes and top it again.  Time to call it a day. The next morning, the soak has done the job of pulling even more oils and tar out of the internals.  I dump the used salt in the waste and use a paper towel and shank brush to wipe out the expended salt left in the bowl and mortise.  I also blow through the stummel to make sure there’s no old salt left.While I’m inspecting the stummel after removing the salt, looking at the scratch by the nomenclature and small chip on the shank end, I notice what I didn’t see before.  A stamp on the lower side of the shank that is nearly invisible.  I can make out only some of the stamping with a magnifying glass – Sav… over Produ….  I look again at the examples of the Oscar from Pipephil.eu (above) and sure enough, it shows a lower stamp as well – Savinelli over Product.  I take a picture to show what I found.I take a few shots of some problem areas – a cut or possibly a hairline crack, just above the shape number, the internal bevel of the rim is worn from lighting practices.  I want to refresh the bevel and rim, which is already in good shape.  I begin with the divot on the shank.  I decide to apply a drop of regular, clear super at the divot to build it out.  I’ll let it cure a few hours before sanding and blending it.  After a couple of hours, the shank end divot has set up enough for me to work on the cut/crack.  I’m not convinced it is a crack – a cut is more likely I think.  I decide to lay a very small line of regular super glue over the cut using a toothpick to guide the glue.  It will be close quarters with the shape number when I sand it down, but I think it will look better.After the glue cures, I first use 240 grit paper to sand both the divot and the cut down to the briar.  I stay on top of the glue mound as much as possible to not impact the briar surface.  I then use 600 grit paper to smooth and blend.  These were small issues, but I feel better for addressing them – the Savinelli Oscar will look good.  Now, I turn to the rim.  It’s in good condition but there are some nicks and dents on the edge of the rim.  There is also a darkened area from minor scorching from lighting the tobacco. (11 o’clock in the first picture).  In this area, the internal bevel has also eroded.  I decide to give the stummel a very light topping using 600 grade paper to reestablish the lines of the rim and bevel. After this, I wrap first a 120 grade paper around a tapered wooden disk to provide a hard surface behind the paper to cut a more distinct bevel.  I work the 120 paper around the damaged bevel area to shape the bevel.  I then follow in the same manner with the wooden disk, 240 then 600 paper to finish the rim and bevel repair.  The rim now looks fresher – I like it. I put the stummel aside for a time to address the stem.  After deoxidizing the stem, discovering the Shooting Star stamp hanging on by threads, I look closely at the stem and the bit is in good shape.  There are only shadows of tooth chatter and one small dent on the upper button lip.  To bring up the button dent, I try painting it with a flame from a Bic lighter to expand the vulcanite enabling me to sand out the dent.  After several attempts, I was still left with a dent.  I decide to apply a drop of Black Medium KE-150 CA glue to the dent.  I put the stem aside to let the patch cure. While I wait for the stem patch to cure, I pick up the stummel and start the external finishing process by first using a light grade sanding sponge to work the surface – addressing minor nicks.  I then wet sand the stummel using micromesh pads 1500 to 2400.  I follow this by dry sanding using pads 3200 to 4000, then 6000 to 12000.  I take pictures after each set of 3 to show the progress. I enjoy this part of the restoration process!  With each cycle of micromesh pads, the beauty of the grain emerges.  This Oscar has attractive grain.  I am drawn to the knot pattern on the heel as it gravitates outwardly and up the stummel with lateral grain having a feathered texture – bird’s eye grain as well on the upper bowl.  Very nice! With the black CA glue cured, I now return to the stem.  Using a flat, needle file, I remove the patch area above the vulcanite and redefine the button.  I follow with 240 grade paper to erase the tracks left by the file.  I then use 320 grade paper followed by 600 grade to smooth the area further.  I flip the stem and sand the lower bit with 600 grade paper to remove the light tooth chatter.  Finally, I buff the entire stem, watchful of the Shooting Star stamp, using 0000 steel wool.  The pictures show the progress. Following the steel wool buff, I now wet sand the stem with micromesh pads 1500 to 2400. After finishing with this first wet sand cycle, I was bushwhacked by oxidation resurfacing on the Oscar’s stem!  Ugh!!  After all the sanding and roughing up the surface, sometimes it’s difficult to see the oxidation left behind until the fine tuning with the micromesh pads. The first picture below doesn’t show what I can see with the eye – a deep shadow of oxidation.  I take another picture adjusting the aperture, so you can see the source of my frustrations!  I send a note to Steve with questions and his response was good news and bad.  The good news was that it wasn’t my process but that Savinelli stems are notoriously difficult to exorcise oxidation.  The bad news is that I simply will go back to work, sanding with 240 grit, 320, 600, then again steel wool buff and application of Before and After polishes….  I did all these, including a few times going through the first set of 1500 to 2400 micromesh pads, so that I am finally satisfied with the Savinelli Oscar’s stem.  Yet, I haven’t rid the oxidation 100%, but time to move on!Again, at the end of the first cycle of 3, wet sanding with micromesh pads, 1500 to 2400, I then dry sand with pads 3200 to 4000, then 6000 to 12000.  After each cycle I apply Obsidian Oil to the (almost!) exorcised vulcanite.  When I look at the stem now, it looks pretty good! With the Savinelli Oscar’s bowl back in front of me, I begin the final sanding and waxing process.  I first mount the felt buffing wheel on the Dremel and apply Tripoli compound to the briar’s surface.  I first set the speed at the slowest speed, purge the wheel with the Dremel’s tightening wrench’s sharp edge, and I apply the compound.  I apply compounds, which are abrasives, not waxes, in a methodical, circular motion, not applying too much downward pressure on the wheel but allowing the compound, speed and the wheel to do the work.  Following the Tripoli, I apply Blue Diamond compound in the same manner, with a cotton cloth buffing wheel mounted on the Dremel, set at about 40% speed.  During the application of the compounds, I love to watch the natural shine of the briar start reflecting like glass.  The beauty of this Savinelli’s grain is popping. With the help of my wife, the picture below shows the application of Tripoli compound.  You can see how I use the sheen of the lamp to ‘steer’ the compound around the briar surface allowing the action to buff out the microscopic lines and nicks.  With the compounds finished, I buff the stummel with a clean felt cloth to remove the compound dust left behind.  The last restoration I did of the L. J. Peretti Oom Paul (see LINK) which I added to my own collection, I utilized for the first time the Before and After Restoration Balm.  I liked the results a lot.  The Restoration Balm maintains the lighter hues of the natural grain but enriches the patina.  I use the Balm with the Savinelli Oscar as well.  I reunite the stem and stummel and I put some Balm on my fingertips and I work it into the briar surface as well as the stem.  As I rub, the Balm thickens until it has almost a stickiness.  After application, I lay it aside for a while to allow the Balm to do its thing – while it’s doing its thing, I take a picture.  I then wipe it down and buff it with a cotton cloth pad.  I like the rich luster that the balm brings up from the briar. The vulcanite stem also responds very well.I follow the Restoration Balm by applying carnauba wax to the stem and stubble.  I mount the Dremel with a cotton cloth buffing wheel dedicated to applying wax.  With the Dremel speed still at 40% I apply several coats to the pipe and follow the wax with a hearty hand buffing using a micromesh cloth that bring up the shine even more.

This surprising Savinelli Oscar find in Athens turned out better than I expected.  The grain is eye-catching, with plentiful bird’s eye captured around the bowl.  The knot on the heel though, grabs my attention.  The deep briar that I see now is a far cry from the sun-bleached conditioned that I found it in.  This Savinelli Oscar will go into the Pipe Steward Store and since Taylor commissioned this pipe as his first pipe, he will have first dibs.  The restoration of this Italian Savinelli Oscar Aged Grain 614 will benefit the Daughters of Bulgaria – helping women, girls, and their children, who have been trafficked and sexually exploited.  The first picture is a reminder of before and after.  Thanks for joining me!

Paresh’s Grandfather’s Pipe #7 – Charatan’s Make De Luxe 140 Billiard

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Blog by Steve Laug

I have repaired 6 of the 7 older pipes (1937-1950s) left to Paresh by his Grandfather. I have enjoyed working on and researching them. His Grandfather was a pipeman who worked for the Indian Railroad. Paresh recently learned that his Grandfather smoked a pipe. This 7th pipe is a Charatan’s Make De Luxe 140 Billiard with a taper stem. I took photos of the pipe before I stated to work on it. The bowl was in rough shape with a series of cracks running down two spots on the bowl – one on the left side at the centre of the top and running down the bowl and connecting with another crack just right of the centre of the bowl at the back. It was a U shaped crack that went all the way through the bowl. The finish was dirty and the rim top had damage and lava on the rim top. The bowl was out of round. The outer edge of the bowl was damaged from knocking out against hard surfaces. The stem had tooth marks on the top and underside near the button. The stem had the CP stamped on the left side. The rim top had been cleaned and the bowl reamed. There was still some cake in the bowl. Abha (Paresh’s wife) had once again done a great job cleaning the finish. She had scrubbed it with Murphy’s Oil Soap and removed all of the debris and dust from the smooth finish. The cracks showed up on the outside of the bowl and also on the inside of the bowl. The inner edge of the bowl was damaged and slightly out of round. I also took a close up photos of both sides of the stem. You can see the tooth marks on both the top and underside of the stem just in front of the button. The surface of the stem is lightly oxidized.The stamping is readable. On the left side of the shank reads Charatan’ Make over London, England over De Luxe. Next to that is the shape number 140 next to the stem shank junction. There was no stamping on the right side of the shank. I looked up an article on determining dates of manufacture of Charatan Make pipes (https://pipedia.org/wiki/Dating_of_Charatans). That article helped me date this pipe with some level of certainty to the Rueben Era Charatan made between the years 1910-1960. I quote from the portion of the article that gave the identifying characteristics of that era. I quote in full.

Identification of a second era pipe (Rueben’s era, 1910-1960)

Pipes belonging to this period are rare, however is it possible to come across one. They can be distinguished from a pipe of the first era mainly because their larger size. Their characteristics are similar to the ones of the previous era.

1) Pipes can be larger, up to the dimension of a Dunhill group 5

2) The mouthpiece is tapered or saddle.

3) No double comfort

4) the CP logo is engraved so that the C enters the P

5) Absence of £ on the pipe shank (note that from 1955 all the pipe imported in the USA by Lane has it, however that stamping is not synonymous of the Lane era).

6) Absence of the letter X on the shape code engraved on the shank (for ex. 2502 and not 2502X)

7) Absence of letters DC after the shape number (for ex. 2502 and not 2505DC)

8) Absence of the engraving “MADE BY HAND” on the shank (introduced for the first time in 1958)

9) Presence of the writing “CHARATAN’S MAKE LONDON ENGLAND” on 2 lines

10) The CP logo is finer than in following eras

All ten of the items in the above list apply to the pipe in hand. From the stamping on the stem where the C enters the P to the missing L which places it as pre-1955 to the lack of a double comfort bit all help to place this pipe in this time period.

With that I reread Paresh’s biographical write up on his Grandfather once again. There Paresh stated that his Grandfather had visited England in 1946 and that later after 1947 the British left India for good. Many of the Superior Officers gave his Grandfather pipes as parting gifts. I am fairly confident that this was one of those gift pipes given to him around 1947. I am including his bio now as part of the background information on this pipe. Here is Paresh’s tribute.

Respected Sir,

Now that the first batch of my Grandfather’s pipes has reached you, I would like to share my memories of him with you, the aim being to provide you with an insight to his personality, the era in which he lived, and a brief history associated with the pipes that I have inherited from him.

My Grandfather, Ananta (named after an exotic seasonal white flower having lovely fragrance), was born in a small coastal town of Konkan region of Maharashtra, India, in 1918. These were very turbulent times when India’s freedom struggle against British rule was gathering momentum and the atmosphere was charged with “Quit India Movement”. Having completed his graduation from Bombay, he joined Railways in 1937. This also marked the beginning of his journey into the world of pipe smoking!!!!!

Having seen his potential, in 1945, he was sponsored by the Government to visit England, for gaining further experience and expertise in his profession. This was a period when India’s Independence was round the corner and efforts were being made to train Indians for various administrative appointments in future Independent India. He returned back to India after a year, in 1946 and with him came some pipes that he had purchased in England. I believe a few of his Petes, Barlings, Charatans and GBDs are from this visit.

In 1947, when the British finally left India for good, my Grandfather was gifted pipes by his British peers, subordinates and Superior Officers as a parting gift. He stayed in touch with a few of them over all these years, even visiting them in 1959-60. Some of his later era Charatans and Barlings and Petes are from this trip. He quit smoking in early 1970s (before I was even born!!!!) and his pipes were packed up. There were a number of pipes which were used as TINDER for lighting fires (CAN’T BELIEVE IT…… I have not overcome my grief of this loss till date!!!!!) due to ignorance!!!!!!

My Grandfather was a very strict disciplinarian and temperamental (I did not know this as he was neither when dealing with me as I am the youngest of all his grandchildren!!!!!! He was always the most understanding and loving person in my life). I later learned that in his office, he was not to be disturbed when his pipe was lit, as he would be in his thinking/ contemplating mode while it was just the opposite as he lit his pipe in the evening while at home, when he would be at his relaxed best!!!!.

The interesting part is that neither of us knew that we each smoked a pipe until after his demise in Jan 2018!!!! In our culture, to this day, smoking or alcohol consumption is socially never talked about (mute acceptance!!!). It was during his last rites that absent mindedly I lighted my pipe and looking into the flickering flames of his funeral pyre, remembered and recollected all the wonderful memories and talks that we had shared. No one said a word to me about my lighting up a pipe!!!!!! Immediately thereafter, I rejoined my duty station. A few days later, my wife, Abha, received a box from my Uncle with a note that said “Grandfather would have loved Paresh to have these”. This box contained a collection of his fountain pens and 8-10 of his pipes (since then as my folks are winding up his belongings, I have received 2-3 packets and a large number of pipes, some in decent condition and some in unspeakable state). Abha immediately messaged me with pictures of these pipes and pens. I had been collecting and restoring (no major repairs, though) fountain pens since long and immediately recognized some of them as highly collectibles, however, pipes were a totally different ball game! I was inexperienced with no knowledge/ information regarding various brands/ pipe makers, shapes and materials. I knew nothing about the value of these pipes, nothing about pipe restorations, nothing about caring for them; I mean zero knowledge about collecting pipes. I smoked some real cheap Chinese pipes which were readily and unfortunately, the only ones, available in India and some inexpensive pipes from eBay India!!!!! Also regular pipe cleaning, pipe rotation, pipe cleaners and such things were unknown to me.

Thus, to know more about the REAL pipes, I embarked upon the journey of exploring finer nuances of pipe brands/ makers, their history and watching “How to videos” on packing a pipe, cleaning, repairing and caring for ones pipes. I found it extremely interesting and satisfying. It was while meandering through this confusing quagmire of pipe world that I came across rebornpipes.com website and eventually established contact with you, Mr Steve, who has since been my mentor, guide and GURU, making this journey a wonderful and satisfying experience.

Sir, there is one more thing that I need to thank you for and that is when you asked me to write a brief about my grandfather and his pipes, I realized how little I knew about him, in fact, knew nothing, as I was not even aware that he was a “pipeman” as no one in my family ever spoke about it being taboo subject and since he had quit a long time before I was even born!!!! This led me to ask the elders in my family, questions on the subject and came to know the above details. I cannot thank you enough for prodding me to get to know my grandfather and his pipes a lot better. Sir, these pipes of his, with your help and guidance, will remain with me forever in mint condition…

I began work on the pipe by cleaning up the reaming of the bowl first with a PipNet pipe reamer. I began with the smallest cutting head and worked on cleaning up the inside of the bowl. While I cleaned it up the cracked section of the bowl came loose. I cleaned up the unbroken portion of the bowl and the broken chunk with a Savinelli Fitsall Pipe Knife to remove the remnants of cake left behind. I cleaned off the edges of the broken chunk of bowl and the remaining bowl with alcohol on cotton swabs. I used a slow curing clear super glue to repair the cracked chunk of briar. I painted the edges of the bowl and the chunk with the super glue and pressed the chunk in place in the bowl side. I held it in place until the glue had set and the chunk was firmly in place. I wiped the bowl down with alcohol on a cotton pad to wipe off the excess glue. I sanded the repaired cracks with 220 grit sandpaper and smoothed out the finish to blend in the repairs with the rest of the bowl. Once I had cleaned up the repairs I touched them up with clear super glue to fill in the divots in the repair. I sanded the bowl with 220 grit sandpaper to smooth out the repair further after the touch ups. I took pictures of the repair at this point to show the progress.I topped the bowl with 220 grit sandpaper and a topping board to smooth out the finish on the top. I removed the damaged areas, removed the glue that had squeezed out from the repairs and cleaned up the rough areas on the outer edge of the rim.I polished the bowl with micromesh sanding pads to blend the repairs into the finish of the bowl. I wet sanded with 1500-2400 grit pads and dry sanded it with 3200-12000 grit pads. I wiped it down with a damp cotton pad after each grit sanding pad. I mixed up a batch of JB Weld and applied it to the inside of the bowl with a paper clip and a folded pipe cleaner. I worked it into the inside of the cracks and lined the bowl walls all around the cracks until it was smooth. I set it aside to let it cure.Abha had done a great job cleaning out the internals of the mortise and shank with pipe cleaners, cotton swabs and alcohol. I ran a pipe cleaner through the shank to remove any of the debris that I had loosened when reaming the bowl. It was pretty clean so it did not take much as the interior was clean.I worked Before & After Restoration Balm deep into the briar of the bowl and shank to clean, enliven and protect it. I worked it in with my fingertips and set it aside for a few minutes to let the balm work. I wiped it off and buffed it with a soft cloth to polish it. The briar really began to have a deep shine and the grain began to shine through. I took photos of the bowl at this point to mark the progress in the restoration.   I worked on the inside edge of the rim with a folded piece of 220 grit sandpaper to smooth out the damage to the edge of the bowl.I stained the briar with a Dark Brown aniline stain and flamed it with a Bic lighter to set the stain. I repeated the process until I had even coverage on the bowl. I wanted to leave the stain pretty opaque to blend the repaired crack into the rest of the briar. I let the Dark Brown stain dry. Once it was dried I gave the bowl a coat of Conservator’s Wax, let it dry and then buffed the bowl by hand. I repeated the wax until the pipe looked good to my eye. I set the bowl aside and began the work on the stem. There were some deep tooth marks in the surface of the stem near button. I cleaned the areas with alcohol and filled in the marks with black super glue.  When the super glue cured I sanded it with 220 grit sandpaper to blend it into the surface of the stem. I used a needle file to sharpen the inside edge of the button.I sanded the repaired areas with 220 grit sandpaper to smooth out the repairs and blend them into the surface of the surrounding vulcanite.I cleaned out the airway on the stem with pipe cleaners and alcohol to clean out the tar and oils. It did not take much work to remove all of the remaining tars because Abha had done a really good job cleaning out the stem.I polished the stem with micromesh sanding pads – wet sanding with 1500-2400 grit sanding pads and dry sanding with 3200-12000 grit pads. I wiped the stem down with Obsidian Oil after each sanding pad and set it aside to dry. I polished it with Before & After Pipe Polish – both Fine and Extra Fine polishes. I wiped it down with some Obsidian Oil to fine the polishing process. With the stem polished I put it back on the pipe and lightly buffed the bowl and stem with Blue Diamond. I gave the bowl multiple coats of Conservator’s Wax and the stem multiple coats of carnauba wax. I buffed the pipe with a clean buffing pad to raise the shine and hand buffed it with a microfiber cloth to deepen the shine. The pipe polished up pretty nicely. I left a little oxidation around the CP stamp on the stem so as not to damage it. The finished pipe is shown in the photos below. It is the final pipe from Paresh’s Grandfather’s pipes that I finished and I will get them packed up and sent across the sea to India where he can carry on the legacy. I know that he is looking forward to having them in hand and enjoying a bowl of his favourite tobacco in memory of his Grandfather. Thanks for walking through the restoration with me as I worked this pipe over.