Tag Archives: repairing tooth marks

Restoring a Made in Ireland  Peterson’s Dublin & London 999 Rhodesian


Blog by Steve Laug

The next pipe I have chosen is another smooth finished Peterson’s pipe. This one is a smooth 999 Rhodesian that has a rich coloured finish around the bowl sides and shank. It came to us from an auction in Garden City, Missouri, USA. The finish is dark and dirty but there is some great grain around the bowl sides and cap. There is some road rash around the rings on the left side and right front of the bowl. It was stamped on the  left side of the shank and read Peteron’s [over] Dublin & London. It was stamped to the right of the shank and read MADE IN IRELAND in two lines with the shape number 999 next to the bowl. It was filthy when Jeff brought it to the table. There was a thick cake in the bowl and a thick overflow of lava on the rim top and the inner edge of the bowl. It was hard to know what the condition of the rim top and bowl were under that thick lava coat. The “P” stamp on the stem was visible but faint. The stem was oxidized, calcified and had tooth marks and chatter on the top and underside on and near the button. Jeff took photos of the pipe before his cleanup work. Jeff took photos of the rim top and stem to show the general condition of the pipe. The bowl is heavily caked and the rim top and edges have some lava overflow. The stem is oxidized and has tooth marks on the top and underside near the button.  Jeff took photos of the bowl sides and heel to show the grain that was around this bowl. It is a nice looking pipe. There is some damage to the twin rings and cap edges on both sides of the bowl. On the left it is the full side and on the right it is toward the front of the bowl. Jeff took a closeup photo of the damage on the sides of the bowl around the cap. It looks like the bowl has been dropped several times on a hard surface.He took photos of the sides of the shank to show the stamping. The stamping is readable in the photos below and is as noted above.  

I am including the link to the Pipedia’s article on Peterson pipes. It is a great read in terms of the history of the brand (https://pipedia.org/wiki/Peterson).

I turned to “The Peterson Pipe” by Mark Irwin and Gary Malmberg to get some background on the Peterson’s Dublin & London Pipe. On page 298 it had the following information.

Dublin & London (c1940-97, 2016-) First mentioned in a 1940 brochure, but probably not widely distributed until ’45, Dublin & London was the highest quality line (aside from the Supreme, introduced in ’53) until about ’86. P-lip or fishtail mouthpiece, polished finish, although sandblast described in ’70 Iwan Ries & Co. catalog. COMs include MADE IN over IRELAND (1940-80) and MADE IN THE over REPUBLIC over OF IRELAND (c1980-97).

Judging from the description above, the pipe I am working on is stamped with the stamp noted in red above. It reads Made in Ireland which narrows the date to between approximately 1940-1980. It was also one of the highest quality lines available by Peterson when it was made. Now it was time to work on the pipe.

Jeff had done a great job cleaning up the pipe as usual. He reamed the pipe with a PipNet reamer and cut back the cake back to the bare briar. He cleaned up the walls with a Savinelli Fitsall Pipe Knife. He scrubbed the interior of the bowl and shank with pipe cleaners, cotton swabs and alcohol to remove the tars and oils. He scrubbed the exterior of the pipe with Murphy’s Oil Soap and a tooth brush to remove the grime from the finish. He worked on the rim top lava and darkening with the soap and tooth brush. He scrubbed the inside of the stem with alcohol and pipe cleaners. He scrubbed the exterior with Soft Scrub and then soaked it in Briarville’s Deoxidizer. (We are using a new product for us to compare it with the Before & After Deoxidizer.) He washed it off with warm water to remove the deoxidizer. The pipe looked far better when it arrived.   I took some close up photos of the rim top and also of the stem surface. I wanted to show how well it had cleaned up. The rim top had some darkening on the top and damage to the inner edges around the bowl. I also took close up photos of the stem to show the tooth marks on the surface near the button.  I took photos of the stamping on the sides of the shank. It reads as noted above.I removed the stem and took a photo of the pipe to have a look at the parts and overall look.I decided to work on the damage to the inner edge of the bowl first. I used a folded piece of 180 and followed that with 220 grit sandpaper to give the inner edge of the bowl a slight bevel to deal with the damaged areas and blend them into the surrounding briar.  Next I turned to the road rash around the side of the ring and the cap. It had been roughened and pitted. I sanded it smooth with 220 grit sandpaper to remove the damage and rework the twin rings and edges on both sides of the ring (above & below). I followed that by sanding it with 400 grit wet dry sandpaper to further smooth out the lines of the twin rings. It is far from perfect but it is looking much better.I polished the briar with micromesh sanding pads – dry sanding with 1500-12000 grit sanding pads. I wiped the bowl down with a damp cloth after each sanding pad.   I worked some Before & After Restoration Balm into the surface of the briar with my fingertips to clean, enliven and protect the briar. I let the balm sit for 15 minutes and then buffed with a cotton cloth to raise the shine. The photos show the bowl at this point in the restoration process. I set the bowl aside and turned my attention to the stem. I “painted” the tooth marks with the flame of a lighter to lift them. I was able to lift most of them. Those that remained I filled I with clear CA glue. Once the glue cured I sanded it with 220 grit sandpaper to blend them into the stem surface. I started polishing it with 400 grit wet dry sandpaper.   I touched up the P on the left side of the stem with Paper Make Liquid Paper. I rubbed it on and worked it into the P with a tooth pick. I rubbed it off with a soft cloth. It is quite readable. I set the bowl aside and polished the stem with micromesh sanding pads – wet sanding with 1500-12000 grit sanding pads. I wiped it down after each sanding pad with Obsidian Oil. I polished it with Before & After Pipe Stem Polish – both Fine and Extra Fine.  I rubbed it down with another coat of Obsidian Oil. I am excited to finish this Peterson’s London & Dublin Made in Ireland 999 Rhodesian. I put the pipe back together and buffed it with Blue Diamond on the buffing wheel. I gave the bowl and the stem multiple coats of carnauba wax. I hand buffed the pipe with a clean buffing pad to raise the shine. It is fun to see what the polished bowl looks like with beautiful straight and flame grain all around it. Added to that the polished nickle band and the black vulcanite stem was beautiful. This smooth Classic London & Dublin Higher Grade 999 Rhodesian is great looking and the pipe feels great in my hand. It is light and well balanced. Have a look at it with the photos below. The dimensions are Length: 5 ½ inches, Height: 1 ½ inches, Outside diameter of the bowl: 1 ¼ inches, Chamber diameter: ¾ of an inch. The weight of the pipe is 55grams/1.94oz. It is a beautiful pipe and one that is already sold, or as Dal calls it “commissioned”. The gentleman who asked for it has the first right of refusal. Thanks for walking through the restoration with me as I worked over this pipe. Thanks to each of you who are reading this blog.

Rebirthing a Republic Era Peterson’s Kapruf 62 Billiard


Blog by Steve Laug

Today is rainy, chilly day in Vancouver. I know in comparison to where many of you live it is not cold but to us it is. It is also the kind of day that my old friend Spencer would have been next to my work table begging for a treat and keeping company. I can’t believe that he died almost four months ago now. I miss him a lot on days like today. The next pipe I have chosen is another Peterson’s Billiard. It is a chunky sandblast pipe but it also was a very dirty pipe. It also came to us from Garson, Ontario, Canada. The grime was ground into the light grooves of the sandblast finish on the bowl sides. I love the way the contrast of the brown and black stains gave the shallow blast a sense of depth. The stain is almost tiger striped. It was faintly stamped on the flat underside of the shank and read Peterson’s [over] Kapruf. To the left of that on the heel was the shape number 62. To the right of the Kapruf stamp it read Made in the Republic of Ireland (three lines). This pipe must have been another favourite as it had been well smoked. There was a thick cake in the bowl and an overflow of lava and darkening on the rim top. The inner edge of the bowl was badly damaged with a chunk missing on the front and the right side. The stem was oxidized, calcified and had deep tooth marks and chatter on the top and underside on and near the button. Jeff took photos of the pipe before his cleanup work. Jeff took photos of the rim top and stem to show the general condition of the pipe. The bowl is badly damaged and heavily caked. The rim top and edges have a lava overflow does little to obscure the damage to the inner edge. The photos of the stem show that it was oxidized, calcified and has deep tooth marks on the top and underside near the button.   Jeff took a photo of the bowl sides and heel to show the blast that was around this bowl. It is a shallow sandblast but the choice of stain adds depth to the appearance of the bowl. He took photos of the stamping on the underside of the shank. It is clear and readable and reads as noted above.I turned to “The Peterson Pipe” by Mark Irwin and Gary Malmberg to get some background on the Kapruf line. On page 306 it had the following information.

Kapruf and “Kapruf” (c.1922-87) Sandblast (hence the name, Kapp-rough) P-lip or fishtail mouthpiece, in catalogs from 1940-87. Early documented specimens stamped IRISH over FREE STATE, no Eire specimens documented. Mid-century specimens may be stamped LONDON MADE [over] ENGLAND or MADE IN ENGLAND forming a circle or MADE IN [over] IRELAND, all dating no later than 1970. Those of recent vintage stamped MADE IN THE[over] REPUBLIC [over]OF IRELAND.

I knew that I was working on a KAPRUF that was made between 1970-1987 as it is stamped MADE IN THE REPUBLIC OF IRELAND as noted above. Now it was time to work on the pipe.

Jeff had done a great job cleaning up the pipe as usual. He reamed the pipe with a PipNet reamer and cut back the cake back to the bare briar. He cleaned up the walls with a Savinelli Fitsall Pipe Knife. He scrubbed the interior of the bowl and shank with pipe cleaners, cotton swabs and alcohol to remove the tars and oils. He scrubbed the exterior of the pipe with Murphy’s Oil Soap and a tooth brush to remove the grime from the finish. He worked on the rim top lava and darkening with the soap and tooth brush. He scrubbed the inside of the stem with alcohol and pipe cleaners. He scrubbed the exterior with Soft Scrub and then soaked it in Before & After Deoxidizer. He washed it off with warm water to remove the deoxidizer. The pipe looked far better when it arrived.    I took some close up photos of the rim top and also of the stem surface. I wanted to show how well it had cleaned up. The rim top photo shows some heavy damage on the right top and inner edge. There is also damage on the front inner edge. The sandblast on the rim top is virtually destroyed. It will take some work to rebuild and refinish it. I also took close up photos of the stem to show the deep tooth marks on the surface near the button.I took a photo of the stamping on the underside of the shank. You can see that it is stamped as noted above. It is faint but readable.I took the pipe apart and took a photo of the pipe. It is a good looking pipe and has an interesting shallow sandblast on the bowl.I started my work on the pipe by repairing the damage on the inner edge and rim top. I rebuilt the inner edge and the rim top damage with clear CA glue and briar dust. I put the glue in place and used a dental spatula to apply the briar dust on top of the glue. I layered it on until I was looking far better.  I wrapped a dowel with 220 grit sandpaper (virtually the same diameter as the chamber of the bowl). I inserted it in the bowl and turned it until the edge was round again. I worked on the inner edge itself with a folded piece of sandpaper to give the rim edge a slight bevel. That took care of the damaged edge very well. The photos below tell the story.  With the edge and top cleaned up it was time to try to match the rim top to the sandblast finish on the bowl. I used my Dremel with the two dental burs shown in the photo below. I carefully attempted to make it look like a light blast. When I got it to the point I was happy I stained it with an Oak and a Cherry stain pen. I intermix the streaks of both pens to approximate the colour of the briar on the bowl sides. I touched up some of the spots that showed up in the photo above with a Black Sharpie Pen to further blend it in. I worked some Before & After Restoration Balm into the surface of the briar with my fingertips and a horse hair shoe brush to clean, enliven and protect the briar. I let the balm sit for 15 minutes and then buffed with a cotton cloth to raise the shine. The photos show the bowl at this point in the restoration process. I set the bowl aside and turned my attention to the stem. I “painted” the stem with the flame of a Bic lighter to lift the dents. I forgot to take photos of the process. However it worked very well and I was able to lift them significantly. What remained I filled in with Black Super Glue and sprayed with an accelerator to keep it from running everywhere. I set the stem aside to cure. Once the repair cured I smooth out the repair and recut the edge of the button with a small file. I sanded the stem with 220 grit sandpaper to blend the repairs into the rest of the stem. I started polishing it with 400 grit wet dry sandpaper.    I polished the stem with micromesh sanding pads – wet sanding with 1500-12000 grit sanding pads. I wiped it down after each sanding pad with Obsidian Oil. I polished it with Before & After Pipe Stem Polish – both Fine and Extra Fine.      I am excited to finish this Peterson’s Kapruf 62 Billiard, Made in Ireland. I put the pipe back together and buffed it with Blue Diamond on the buffing wheel. 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 microfibre cloth to deepen the shine. It is fun to see what the polished smooth rim top and the sandblast bowl looks like with the black vulcanite taper stem. This Classic looking Peterson’s Kapruf Sandblast Billiard feels great in my hand. It is light and well balanced. Have a look at it with the photos below. The dimensions are Length: 5 ½ inches, Height: 1 ¾ inches, Outside diameter of the bowl: 1 ¼  inches, Chamber diameter: ¾ of an inch. The weight of the pipe is 36grams/1.27oz. It is a beautiful pipe and one that is already sold, or as Dal calls it “commissioned”. The gentleman who asked for it has the first right of refusal. Thanks for walking through the restoration with me as I worked over this pipe. Thanks to each of you who are reading this blog.

Restoring a Made in Ireland  Shamrock 150 Bulldog


Blog by Steve Laug

The next pipe I have chosen is another smooth finished Peterson’s Bulldog pipe. This one is a smooth straight Bulldog that has a rich coloured finish around the bowl sides and shank. It came to us from an auction in Selden, New York, USA. The finish is dark and dirty but there is some great grain around the bowl sides and cap. There are fills on the underside of the shank on both sides and on the heel. It was stamped on the  left side of the shank and read SHAMROCK. It was stamped to the right of the shank with COM circle that read MADE IN IRELAND with the shape number 150 next to the bowl. It was filthy when Jeff brought it to the table. There was a thick cake in the bowl and a thick overflow of lava on the rim top and the inner edge of the bowl. It was hard to know what the condition of the rim top and bowl were under that thick lava coat. The nickel band is tarnished and had wear marks on both sides and a small nick on the underside at the stem end. The unstamped stem was lightly oxidized and had tooth marks and chatter on the top and underside on and near the button. Jeff took photos of the pipe before his cleanup work. Jeff took photos of the rim top and stem to show the general condition of the pipe. The bowl is heavily caked and the rim top and edges have some lava overflow. The stem is oxidized and has tooth marks on the top and underside near the button.  Jeff took photos of the bowl sides and heel to show the grain that was around this bowl. It is a nice looking pipe. The fills on the underside are shrunken and obvious. Jeff took a closeup photo of the right underside of the shank to capture the fills in the briar. He took photos of the sides of the shank to show the stamping. The stamping is readable in the photos below and is as noted above.   I am including the link to the Pipedia’s article on Peterson pipes. It is a great read in terms of the history of the brand (https://pipedia.org/wiki/Peterson).

I turned to “The Peterson Pipe” by Mark Irwin and Gary Malmberg to get some background on the Peterson’s Shamrock Pipe. On page 312 it had the following information.

Shamrock (c1941-2009) Originally stamped SHAMROCK with no brand name, an inexpensive line first described in George Yale (New York) mail order booklet in 1941, imported by Rogers Import. The line was actively promoted beginning in ’45, aggressively promoted in US by Rogers from early ‘50s when they registered the Shamrock logo with US Patent Office, claiming propriety since ’38. Over the years offered with P-lip or fishtail mouthpiece, with or without nickel band, with or without shamrock logo on the band, with or without S stamped in white or later in gold on mouthpiece. Appearing in 2008 as unstained smooth and rustic, fishtail mouthpiece with gold impressed P on the stem. COMS of MADE IN over IRELAND (C1945-1965), MADE IN IRELAND forming a circle (c1945-1965), “A PETERSON’S PRODUCT” over MADE IN IRELAND (c1945-1965), MADE IN THE over REPUBLIC over OF IRELAND9c1948-1998). Model is always difficult or impossible to date.

Judging from the description above, the pipe I am working on is stamped with the stamp noted in red above. It reads Made in Ireland in a circle which narrows the date to between approximately 1945-1965. It is just stamped SHAMROCK with no brand name as an inexpensive a P-Lip stem. Now it was time to work on the pipe.

Jeff had done a great job cleaning up the pipe as usual. He reamed the pipe with a PipNet reamer and cut back the cake back to the bare briar. He cleaned up the walls with a Savinelli Fitsall Pipe Knife. He scrubbed the interior of the bowl and shank with pipe cleaners, cotton swabs and alcohol to remove the tars and oils. He scrubbed the exterior of the pipe with Murphy’s Oil Soap and a tooth brush to remove the grime from the finish. He worked on the rim top lava and darkening with the soap and tooth brush. He scrubbed the inside of the stem with alcohol and pipe cleaners. He scrubbed the exterior with Soft Scrub and then soaked it in Before & After Deoxidizer. He washed it off with warm water to remove the deoxidizer. The pipe looked far better when it arrived. I took some close up photos of the rim top and also of the stem surface. I wanted to show how well it had cleaned up. The rim top looked to be in good condition with some darkening on the top and damage to the inner edges around the bowl. I also took close up photos of the stem to show the tooth marks on the surface near the button.  I took photos of the stamping on the sides of the shank. It reads as noted above.I removed the stem and took a photo of the pipe to have a look at the parts and overall look.I decided to work on the damage to the inner edge of the bowl first. I topped the bowl on a topping board with 220 grit sandpaper to smooth out the rim top. I then used a folded piece of 220 grit sandpaper to give the inner edge of the bowl a slight bevel to deal with the damaged areas and blend them into the surrounding briar.   Next I turned to address the shrunken fills around the underside of the shank. I filled them in with clear super glue. Once the glue cured I sanded the repairs smooth with 220 grit sandpaper to blend them into the surrounding briar. I polished the briar with micromesh sanding pads – dry sanding with 1500-12000 grit sanding pads. I wiped the bowl down with a damp cloth after each sanding pad. I stained each of the repaired areas with a Black and a Cherry Stain Pen to blend them into the surrounding briar and make them less intrusive.  While not perfect it looks better than it did.I worked some Before & After Restoration Balm into the surface of the briar with my fingertips to clean, enliven and protect the briar. I let the balm sit for 15 minutes and then buffed with a cotton cloth to raise the shine. The photos show the bowl at this point in the restoration process. I set the bowl aside and polished the stem with micromesh sanding pads – wet sanding with 1500-12000 grit sanding pads. I wiped it down after each sanding pad with Obsidian Oil. I polished it with Before & After Pipe Stem Polish – both Fine and Extra Fine.    I am excited to finish this Nickel Banded Older Peterson’s Shamrock 150 Straight Bulldog. I put the pipe back together and buffed it with Blue Diamond on the buffing wheel. I gave the bowl and the stem multiple coats of carnauba wax. I hand buffed the pipe with a clean buffing pad to raise the shine. It is fun to see what the polished bowl looks like with beautiful straight and flame grain all around it. Added to that the polished nickle band and the black vulcanite stem was beautiful. This smooth Classic Shamrock 150 Bulldog is great looking and the pipe feels great in my hand. It is light and well balanced. Have a look at it with the photos below. The dimensions are Length: 5 ½ inches, Height: 1 ¾ inches, Outside diameter of the bowl: 1 ¼ inches, Chamber diameter: ¾ of an inch. The weight of the pipe is 40grams/1.41oz. It is a beautiful pipe and one that is already sold, or as Dal calls it “commissioned”. The gentleman who asked for it has the first right of refusal. Thanks for walking through the restoration with me as I worked over this pipe. Thanks to each of you who are reading this blog.

A Peterson’s Product – a Made in Ireland  Shamrock 5 Billiard


Blog by Steve Laug

The next pipe I have chosen is another smooth finished Peterson’s Billiard pipe. This one is a smooth Billiard that has a rich coloured finish around the bowl sides and shank. It came to us in early in 2020 from fellow in Los Angeles, California, USA. The finish is almost bland looking it is so dirty. I can see fills around the bowl but don’t know what to expect. It was stamped on the  left side of the shank and read SHAMROCK. It was stamped to the right of the shank and reads “A PETERSON’S [over] PRODUCT” over MADE IN IRELAND (3 lines) with the shape number 5 next to the bowl. It was filthy when Jeff brought it to the table. There was a cake in the bowl and lava on the rim top and the inner edge of the bowl. The rim top was covered but the inner edge appeared to have some damage. The unstamped stem was oxidized and had tooth marks and chatter on the top and underside on and near the button. Jeff took photos of the pipe before his cleanup work. Jeff took photos of the rim top and stem to show the general condition of the pipe. The bowl is heavily caked and the rim top and edges have some lava overflow. The stem is oxidized and has tooth marks on the top and underside near the button.  Jeff took photos of the bowl sides and heel to show the grain that was around this bowl. It is a nice looking pipe. He took photos of the sides of the shank to show the stamping. The stamping is readable in the photos below and is as noted above.   I am including the link to the Pipedia’s article on Peterson pipes. It is a great read in terms of the history of the brand (https://pipedia.org/wiki/Peterson).

I turned to “The Peterson Pipe” by Mark Irwin and Gary Malmberg to get some background on the Peterson’s Shamrock Pipe. On page 312 it had the following information.

Shamrock (c1941-2009) Originally stamped SHAMROCK with no brand name, an inexpensive line first described in George Yale (New York) mail order booklet in 1941, imported by Rogers Import. The line was actively promoted beginning in ’45, aggressively promoted in US by Rogers from early ‘50s when they registered the Shamrock logo with US Patent Office, claiming propriety since ’38. Over the years offered with P-lip or fishtail mouthpiece, with or without nickel band, with or without shamrock logo on the band, with or without S stamped in white or later in gold on mouthpiece. Appearing in 2008 as unstained smooth and rustic, fishtail mouthpiece with gold impressed P on the stem. COMS of MADE IN over IRELAND (C1945-1965), MADE IN IRELAND forming a circle (c1945-1965), “A PETERSON’S PRODUCT” over MADE IN IRELAND (c1945-1965), MADE IN THE over REPUBLIC over OF IRELAND9c1948-1998). Model is always difficult or impossible to date.

Judging from the description above, the pipe I am working on is stamped with the stamp noted in red above. It reads “A Peterson’s Product” over Made in Ireland which narrows the date to between approximately 1945-1965. It is just stamped SHAMROCK with no brand name as an inexpensive a P-Lip stem. Now it was time to work on the pipe.

Jeff had done a great job cleaning up the pipe as usual. He reamed the pipe with a PipNet reamer and cut back the cake back to the bare briar. He cleaned up the walls with a Savinelli Fitsall Pipe Knife. He scrubbed the interior of the bowl and shank with pipe cleaners, cotton swabs and alcohol to remove the tars and oils. He scrubbed the exterior of the pipe with Murphy’s Oil Soap and a tooth brush to remove the grime from the finish. He worked on the rim top lava and darkening with the soap and tooth brush. He scrubbed the inside of the stem with alcohol and pipe cleaners. He scrubbed the exterior with Soft Scrub and then soaked it in Before & After Deoxidizer. He washed it off with warm water to remove the deoxidizer. The pipe looked far better when it arrived. I took some close up photos of the rim top and also of the stem surface. I wanted to show how well it had cleaned up. The rim top looked to be in good condition with some darkening on the inner edges around the bowl. I also took close up photos of the stem to show the tooth marks on the surface near the button.  I took photos of the stamping on the underside of the shank. It reads as noted above.I removed the stem and took a photo of the pipe to have a look at the parts and overall look.I decided to address the shrunken fills around the sides of the bowl first. I filled them in with clear super glue to even them out. Once they cured I sanded them smooth to blend them into the surrounding briar. They are smooth and look better to me even though they are black. Next I reworked the damage to the inner edge of the bowl. I used a folded piece of 220 grit sandpaper to give the inner edge of the bowl a slight bevel to accommodate the burned areas and blend them into the surrounding briar.I polished the briar with micromesh sanding pads – dry sanding with 1500-12000 grit sanding pads. I wiped the bowl down with a damp cloth after each sanding pad. I stained each of the repaired areas with an Oak Stain Pen to blend them into the surrounding briar and make them less intrusive. It works for the majority of them other than the one on the right and the front. But even then it looks better than it did. I worked some Before & After Restoration Balm into the surface of the briar with my fingertips to clean, enliven and protect the briar. I let the balm sit for 15 minutes and then buffed with a cotton cloth to raise the shine. The photos show the bowl at this point in the restoration process.   I set the bowl aside and polished the stem with micromesh sanding pads – wet sanding with 1500-12000 grit sanding pads. I wiped it down after each sanding pad with Obsidian Oil. I polished it with Before & After Pipe Stem Polish – both Fine and Extra Fine.    I am excited to finish this Nickel Banded Older Peterson’s Shamrock 5 Straight Billiard. I put the pipe back together and buffed it with Blue Diamond on the buffing wheel. I gave the bowl and the stem multiple coats of carnauba wax. I hand buffed the pipe with a clean buffing pad to raise the shine. It is fun to see what the polished bowl looks like with beautiful flame grain all around it. Added to that the polished Sterling Silver band and the black vulcanite stem was beautiful. This smooth Classic Shamrock 5 Billiard is great looking and the pipe feels great in my hand. It is light and well balanced. Have a look at it with the photos below. The dimensions are Length: 5 ½ inches, Height: 1 ¾ inches, Outside diameter of the bowl: 1 ¼ inches, Chamber diameter: ¾ of an inch. The weight of the pipe is 38grams/1.34oz. It is a beautiful pipe and one that is already sold, or as Dal calls it “commissioned”. The gentleman who asked for it has the first right of refusal. Thanks for walking through the restoration with me as I worked over this pipe. Thanks to each of you who are reading this blog.

A True Test – A Cracked Acrylic Ferrule and Shank Break to Restore a Rusticated Butz-Choquin Costaud 1597


Blog by Dal Stanton

This Butz-Choquin Costaud came to me from the auction block in January of 2017 as one in a Lot of 13 pipes from a seller in Nevada.  Several of these pipes have already found their way to new stewards who found them in online ‘Help Me!’ baskets in the ‘For “Pipe Dreamers” Only!’ collection.  It was in the ‘Dreamers’ section that Craig spied the BC Costaud 1597 and reached out to me about commissioning the BC.  The BC Costaud is at the 12 o’clock position in the picture below.

I was interested to find out from Craig later that he lives in Chattanooga, Tennessee, where I also met a young woman at Covenant College atop Lookout Mountain, who in time, became my wife – I married up!  Few in the US haven’t seen signs, bird houses and barn sides with the famous, ‘See Rock City’ or ‘Ruby Falls’ both of which are located on Lookout Mountain overlooking Chattanooga.  I was interested to hear that Craig was also an automotive engineer at the Volkswagen plant in Chattanooga and along with enjoying pipes he races cars on the weekends!  I appreciate Craig’s patience and the pipe he commissioned is now on the worktable.  Here are some pictures of the attractive Butz-Choquin Costaud:   The nomenclature is stamped on the underside shank panel.  The chiseled cursive, ‘Butz-Choquin’ is stamped over ‘Costaud’.  Below this is stamped a very ghosted, ‘ST. CLAUDE-FRANCE’.  A quick look in Google Translate renders ‘Costaud’ as ‘Strong’ in English.  I liked the other adjectival renderings offered: beefy, hefty, husky, and strapping.  The pipe’s deep, rustic, carved style fits this name.If one does a quick search of the BC Costaud line, one discovers quickly that this line was offered by the French pipe maker in many different shapes and each with the very distinctive carved rustication and the same acrylic shank cap.  Here are a few examples from the search results.  The shape number is listed in a picture of BC pipes in the Pipedia Butz-Choquin article.  The 1597 is an attractive, stout square shanked paneled Billiard with a saddle stem friction mounted.  The only difference in the general 1597 shape with the Costaud is that the Costaud’s stem is a friction mounted fishtail.Looking at the condition of the BC Costaud, the obvious elephant in the room is the cracked acrylic ferrule or shank cap.  The crack appears to be a trauma that opened on the left side of the cap and followed the bottom of the ‘BC’ stamping perfectly.  My guess is that the break was caused by the stem hanging on something and the force on the acrylic snapped it.  It is only on the left side and I want to keep it that way!Craig commissioned a striking pipe.  The cracked acrylic ferrule gets the attention quickly and overshadows other issues.  The chamber needs to be cleaned of the cake buildup and the rusticated rim has blackened lava overflow that needs cleaning.  The rusticated stummel is eye catching but needs cleaning in the deep crooks and crevasses of the briar surface.  The fishtail stem has light oxidation and tooth chatter on the upper and lower bit. To begin the restoration of this Butz-Choquin Costaud, I start with the fishtail stem.  The airway is cleaned using a pipe cleaner wetted with isopropyl 99%.To begin working on the light oxidation in the vulcanite stem, 0000 grade steel wool scrubs the surface with Soft Scrub.  I do this in preparation of putting the stem in a soak of Before & After Deoxidizer.Next, after rinsing the stem with water, the Fishtail is put in the Deoxidizer with other pipes in the queue.  The stem is left in the Deoxidizer for several hours.After the stem has soaked for some time, a stiff wire helps to fish out the Fishtail stem and drain the excess Deoxidizer.  I also squeegee the fluid off the stem using my fingers.A pipe cleaner wetted with isopropyl 99% is run through the airway to push out the fluid and to clean.  I cotton pad wetted with alcohol is used to wipe off the raised oxidation from the stem surface.Finally, to help condition the vulcanite, paraffin oil, a mineral oil, is applied to the vulcanite rubber stem.  The stem is then put to the side to absorb the oil.Before going through the process of cleaning the stummel, I decide to move forward with repairing the acrylic ferrule.  I’m doing this first because what often is the case is that during the cleaning process, which uses water, the briar wood in the mortise expands.  I don’t know for certain if this would be the case with the shank during the cleaning process, but I would rather repair the shank cap now than risk a more difficult fix because of a changed environment.  The cap has separated or moved down the shank.  The result is that there is a large gap between the external shank edge and the acrylic shank cap. The first thing needed is to remove the shank cap from the shank.  I need to be careful because I don’t want to put too much pressure on the acrylic as I’m trying to remove it.  I don’t know if old glue used when the cap was originally seated may be hindering an easy removal.  My first attempts to pull and then hand-twist the cap off were unsuccessful.  It feels like it’s glued – no movement at all.  The next thing I try is to wedge first a flat dental spoon into the gap and gingerly try to pry loose the acrylic cap.  Next, the sharp edge of a pocketknife was wedged into the gap to apply gentle even pressure to break the cap loose.  This was not easy avoiding damage to the briar shank and further carnage to the shank cap!As I puzzle and pull and puzzle more, another mystery is birthed.  With the gap between the briar and acrylic, my assumption is that the cap has partially become unseated – perhaps someone was trying to remove it and that caused the acrylic to break?  I would guess that there would also be a gap internally – between the acrylic and the beginning of the briar mortise.  To test my assumption on a second gap, a sharp dental probe is inserted into the mortise and the internal surface is scraped with the point I am expecting to detect another gap indicating that the ferrule had shifted down.  I find no internal gap.  The surface between briar and acrylic is smooth.  This is important because I had been thinking, if I’m unable safely to remove the shank cap then I could try to reseat the shank cap by pressing it back into place on the shank and doing my best to close the gap from the acrylic break.  Yet, if there is no internal gap, there’s no room for any movement of the shank cap to be reseated flush with the shank.  It’s hard to believe a BC pipe left the Saint Claude workshop with a gap that large between the cap and the briar shank….  Three ideas begin to float in my mind  regarding removal of the ferrule.  First, to put the stummel in the freezer.  This is a general method of unsticking things that are stuck.  When the material cools, it contracts and often loosens stuck things.  The second idea, if the freezer method doesn’t help, is to drip some acetone in the gap and the crack.  If the shank cap is stuck because of being glued, acetone can help break down the glue.  This might help, but I’m doubtful.  The third idea is that the acrylic could be heated with a hot air gun and made more pliable – like vulcanite.  This might avoid another break.

First, into the freezer and we’ll see what happens.  Well, the next morning arrived and I was hopeful that the shank cap would break free after cooling and contracting.  To keep the cap stable, I wrap it in a felt cloth and put it in the vice with a gentle snugness.  With the stummel extended, I very gingerly apply a twisting pressure on the shank with hope that the acrylic cap will break free.  Much to my chagrin, the cap did not break free but instead the wood shank insert broke off.  Oh my….  I look at the following pictures of the carnage as one is often drawn to look at a car crash on the interstate…. What to do?  After recovering from the initial nauseated feeling, my first thoughts were to drill out the wood inside the now freed shank cap, to repair the acrylic crack and then figure out the next step.  It did not take long after these initial thoughts to realize I needed to reach out to Steve with pictures to get his feedback and direction – the Sage of rebornpipes!  I recall writing a few years ago in the ‘Helps for Newbies’ section of The Pipe Steward website, that mistakes often are the best way to learn and recording mistakes or mishaps in the writeups helps others and expands one’s abilities in the pipe restoration world.  I have not tackled anything like this before, so the opportunities are there to learn!  Recording the troubleshooting thought processes I believe, are helpful to learn as well.  Here is my initial email to Steve with the above pictures outlining the challenges as I saw it:

Hey Steve,

Ran into a bit of a snag and need your advice.  This pipe came to me with the cracked acrylic shank cap.  My attempts to remove it from the shank obviously failed with me breaking off the briar portion inserted into the cap.  Now I’m looking at cleaning out the wood glued in the cap and setting an insert into the shank that will form the new ‘post’ for the cap.  This is something I’ve not done before and reaching out to you and Charles was the first step.  Of course, I need to clean the wood out of the cap and close and repair the cap.  To connect –  I have the acrylic or Delrin(?) push/pull tenons on hand, but that doesn’t seem like the right configuration.  I know that you and Charles have used Delrin – but I’m not sure what this process is.  Another thought is to take an old stem and flatten the shank facing and counter sink holes in the briar to seat a new mount of sorts for the cap….  Any thoughts to steer me in the right direction – an old write up?  Thanks!

Dal

Steve’s response came quickly:

Not sure what Charles would do but my process is simple.

  1. DO NOT Clean out the wood from the shank extension.
  2. I would take one of your tenons and shape it with your dremel to provide a tube or you can use stainless.
  3. Once you have that glue it in the shank end and let it set.
  4. Give the extending end a coat of glue (epoxy probably is best.)
  5. Put glue on the cracked ends and clamp it together and let it cure
  6. Fill in the split in the extension with super glue. Once it is filled in smooth out the shank extension and reshape it

    Steve

My response and further questions to hone in on a path forward:

Thanks, Steve.  So, you would NOT remove the wood in the shank cap to try to close the acrylic crack gap?  Also, there’s a gap between the extension and the shank before I broke it.  You would leave that??  Essentially, you would not have tried removing the cap to do these repairs.  I’m not sure how the cap would have come off cleanly having been glued on.  Fill the acrylic crack and leave the gap?

Dal

I appreciate Steve’s experience which provides an important component in dealing with the myriad of problems and possibilities that are ‘part and parcel’ of pipe restoration: improvisation.  With more information and thought, Steve was able to help me bring into focus the options:

Dal…. one thought since you mentioned the gap is to flatten out the broken piece on the shank and extension to smooth out the fit to the shank.

If you want to try to bind the crack in the shank extension since it is already off you could drill out the wood and try gluing and clamping the cracked shank extension.

On the Danish ones with the joint is typically done with a threaded tenon in the shank and the piece can be wiggled free and unscrewed… This did not allow for that.

As something completely different you could take a nice piece of smooth hardwood (walnut) and make a similar piece drill and anchor it to the shank as noted before. That would look really good and be your own touch.

My thought processes continue – I had already contemplated flattening the shank facing to remove that gap as Steve suggests.  The last option that Steve put forward of fashioning a piece of walnut or another hardwood and seating it into the shank would probably be the classiest repair but I’m not sure my tools are precision enough to drill out the shank to create the counter sink space for the hardwood ‘plug’.  Steve also mentioned removing the wood from the cap and repairing the acrylic gap, which was my first inclination.  This approach would also necessitate then, fashioning a wood plug to then seat the friction mounted Fishtail stem.

The bottom line is that I cannot suffer leaving the acrylic break there and not try to repair it! – especially since this was the primary reason for trying to remove the cap in the first place.  With Steve’s input, the course that I will follow is to fashion a hardwood joint.  Whether I simply drill a counter-sink hole in the shank or attempt the Danish method of threading the joint, I will continue to consider.   I do have a tap & die set that I’ve never used, and this would be a great opportunity perhaps!  The question between these two approaches – counter-sink hole along or threaded – has to do with how much wiggle room there will be when cementing the joint in the shank making sure the cap seats flush against the shank facing and not again, leave gaps.  Whichever way I end up proceeding, the first step is to drill out the briar wood that remains in the cap.

To remove the briar remains from the shank cap, I begin the process with drill bits.  Using a bit just larger than will freely pass through the airway, I hand turn the bit to ream out the wood a little at a time.  I then graduate to two larger bits, hand turning and expanding the bite each time and removing a little more briar.I also used different burrs mounted on the rotary tool to fine tune the clearing.  The following picture is after quite a bit of time of gradually removing the briar without further damaging the shank cap.  You can see just a small amount of wood left against the acrylic lip marking the beginning of the mortise where the stem is seated.These next pictures show all the tools used for the mini-project and the finished job.  Success with the first phase. Next, the crack in the acrylic needs to be glued.  The acrylic shank cap is placed in a small desk vice cradled by two cotton pads to protect the acrylic. The vice will provide constant pressure to allow the CA glue to cure fully through the night.The cap is situated lower in the grips.  I do this so that the press of the vice will focus on the top of the cap to close the gap and not put pressure on the entire cap.I  use Loctite Precision Pen semi-gel CA glue to lay a line down the crack to avoid too much excess on the acrylic.  Then a toothpick is used to push down and spread the CA glue on the crack edge to get maximum coverage and hopefully, effect.The vice is then gently closed to close the gap.  I’m careful not to put too much pressure on the cap with the vice – I don’t want it to crack again!  The day has come to an end and the lights go out allowing the glue to fully cure through the night. The next morning, I am anxious to release the vice and hopefully, the acrylic cap won’t snap open!  As hoped, the cap repair is successful – yes! Next, 240 sanding paper is used to surgically remove the excess glue from the acrylic surface.  My caution is to do hopefully little damage to the ‘BC’ cap stamp removing the glue.  After beginning to remove the excess patch material sanding with 240 paper, I noticed a separation in the crack.  It seems that the extended time the acrylic cap was cracked, the acrylic was memorizing the expanded orientation.  The excess glue over the crack was serving as reinforcement for the patch and when removed, the patch faltered.I may need to transition from CA glue to using an epoxy.  While the patch is still half-way holding, the thought came to mind about possibly relieving the expanded memorized orientation by heating the acrylic.  The cap is positioned in the vice with the crack away from the hot air gun.  The opposite side of the crack needs to relax.  With the vice gently closed on the crack side, the opposite side is heated.  If the theory is correct, as the tight side of the cap heats, the acrylic becomes more supple and relax and hopefully will un-memorize the broken condition – like a splint.  After heating for some minutes, the cap cools.Amazingly, this works like a charm!  The gap has closed, and the expansion torque has been released.  I wish I had thought of this before applying the patch.  Now, I may need to redo the patch but the complication with that is cleaning away the old patch material.  I’ll continue sanding with 240 to remove the excess and see how it looks.I continue to remove the old patch material with 240 grade paper trying to salvage as much of the BC stamping as possible – though I know that it will not remain unscathed.  The good news now is that with the torque issue resolved, when the cap is mounted on a newly fashioned briar plug later, there should be no stress on the acrylic.  The cap will simply go over the plug like a glove and glued in place.  The mounting and the glue on the inside will again reinforce the patch.  So, the crack repair doesn’t necessarily need to be uber strong but becomes more of a cosmetic issue – in theory!The sanding with 240 paper is complete and I continue sanding over the patch with 600 grade paper and then 0000 grade steel wool.Next, the entire acrylic ferrule is sanded with the full regimen of micromesh pads – from 1500 to 12000.Putting the cap aside for now, I use a sanding drum mounted on the rotary tool to remove the excess briar protruding out of the shank after the break. Even though it’s a bit anti-climactic, before continuing with the shank repair, I want to clean the stummel first.  After the shank cap is remounted, the last thing I’ll want to do is backtrack and start cleaning!  The chamber has carbon cake build up and to give the briar a fresh start, the chamber is reamed with the Pipnet Reaming Kit.  After taking a fresh picture of the chamber, reaming starts with the smallest of the blade heads and then the next larger one.  After this, the chamber walls are scraped with the Savinelli Fitsall Tool and then sanded with 240 sanding paper wrapped around a Sharpie Pen for leverage. After wiping the bowl, and inspection of the chamber reveals healthy briar.Next, undiluted Murphy’s Oil Soap is used to scrub the rusticated stummel and rim surface.  The rim has some lava flow and the distinctively carved BC Costaud stummel will undoubtedly have grime and dirt in the cracks and crevasses. A bristled toothbrush is used to get in the nooks and crannies and a brass bristled brush also assists with cleaning the rim. The stummel then goes to the sink where shank brushes continue the cleaning in the mortise with warm to hot water using anti-oil liquid dishwashing soap.  After the stummel is thoroughly rinsed the results of the cleaning are examined.The rim cleaned to a degree.  There remains dark charring on the internal rim edge.The briar seems parched throughout the rusticated surface.  With this much carving, it’s difficult to tell if the finish has disappeared for the most part.  It does look a bit ragged.  The third picture below of the nomenclature on the underside of the stummel seems to indicate this is true with the splotchiness.  Before contemplating adding dye to the mix, I decide to apply Mark Hoover’s Before & After Restoration Balm to the stummel to see how the dry briar responds.  The Balm does amazing things to smooth briar and the rough surface on the Costaud bowl may perk up nicely.  To apply the Balm, I put Balm on my finger and work it into the crevasses.  I think this pipe has won the award for the most Balm needed to do the job!  After the Balm is thoroughly applied, I allow the stummel to sit for a time to allow the Balm to do its thing (pictured below).  When I have this ‘liquid gold’ (Mark’s price isn’t cheap 😊), none is wasted.  I grab a blasted billiard off my own pipe rack and work the excess Balm in.  There seems to be a smile on the Billiard’s face!After 15 minutes or so, the stummel is buffed with a microfiber cloth to remove the excess Balm.  It takes a bit of work, but the bowl looks better; and for now, I will think about adding any additional coloring.  I move on. Earlier, the Fishtail stem went through a Before & After Deoxidizer soak.  The stem looks good with no apparent residual oxidation.  The upper and lower bit have tooth chatter, and the vulcanite surface is rough.  To address the chatter, I use a Bic lighter and paint the bit with the flame to heat and expand the rubber compound.  As the vulcanite heats, it also expands reclaiming its original disposition or at least in part.   The before and after pictures show the results.  This stem responded well which means that sanding will now be less. Next, the entire stem is sanded with 240 grade paper with a special focus on removing any residual roughness on the bit from tooth chatter.The 240 sanding is followed by wet sanding with 600 grade sanding paper and then 0000 grade steel wool is applied.Next, the full regimen of 9 micromesh pads is used starting with wet sanding with pads 1500 to 2400.  Following the wet sanding is dry sanding with pads 3200 to 4000 and 6000 to 12000.  I apply Obsidian Oil between each set of 3 pads to further condition the stem and to guard the vulcanite from developing oxidation. While restoring the stem, I’ve had more time to consider the next steps in the shank cap repair.  Since this is my maiden voyage doing this kind of repair, the brain has been ticking through the process one step at a time weighing the logical sequential steps. To get a frame of reference, I measure the width of the former joint or ‘plug’ and the corresponding internal width of the shank cap with the result of 7/16 inches or 11mm.  The standard airway is 3/16 inches, and this airway corresponds.The depth of the internal cavity of the shank cap where the joint plug would be seated is 9/16 inches or 15mm.  If this length were to be generally doubled to the depth of the countersink hole to be drilled into the shank, the total length of the joint would be about 1 1/8 inch or 30mm.In Steve’s earlier email, he suggested using walnut as the joint material or a hardwood of some sort.  I do not have walnut on hand, but I do have another hardwood – cherry.  The cherry wood is a flat piece serving as a shelf end on my worktable!  It used to be an extender of a cherry wood table that became my worktable!I cut a piece off the end of the piece which should give me enough ‘meat on the bone’ for a small margin of error in drilling the airway through the center.  I set the block of cherry in the table vice, and eyeball the drill hoping for the best!The exit hole is about 1/16 inch off center, but I think there’s enough margin to make this work.With the airway drilling ‘good enough’ for now, with enough excess cherry to make it work, the next step is to sand off the corners of the block to form the rough cylinder that will more easily mount on the PIMO Tenon Turning Tool.  To do this I use a sanding drum on the rotary tool.The following pictures show the corner-by-corner progression of rounding the block. This should do!  Progress! The closest thing in my tool chest to a lathe is the PIMO Tenon Turning Tool I acquired from Vermont Freehand.  I have only used the tool to fashion vulcanite tenons mainly for fashioning Churchwarden stems for repurposed bowls.  I’m hopeful that I can make the PIMO work for this application on cherry wood.  The challenge will be holding the wood firmly and having to do a flip-flop in order to cut both ends.  The reach of the carbide cutting arm is only 5/8 of an inch which means the joint for the Costaud will need to be reversed and cut from both sides to do the job.  The length of the joint now will mean that as I cut, a ‘donut’ of uncut wood will be left in the middle.  My thinking is that as I cut both sides to establish the drilled airway as the center axis point, then I can shorten the joint a bit to be able to remove the ‘donut’.  The key, as in most everything about pipe restoration, is patience in the shaping process.  The picture shows the flip-flop issue – the short reach of the cutting arm.The carbide cutter arm is adjusted to barely contact the cherry wood and tightened.  The target diameter is about 7/16 inches or 11mm – the diameter of the acrylic shank caps interior.After a few cuts and flip-flops, the anticipated donut is forming.I discovered that using a pair of pliers to hold the end of the joint work better than with my hand.After several more flip-flop cuts the donut is fully formed and the airway now is the center axis point. The ‘meat on the bone’ cherry wood, has equalized the slightly off centered airway drilling.  You can see in the picture below that the donut is almost flat/flush on the bottom side, but the top side is fat.  The cutting from the PIMO Tool stayed true to the center axis point and removed the uneven wood (or meat on the bones!) around it.As I mentioned above, at some point I would shorten the joint so that the donut could be removed.  That time is now.  30mm or 1 1/8 inches is about the target length of the needed joint (sorry for going back and forth between the metric and the standard systems! After living in Europe over 25 years the metric is more usable and precise to me!). With the mark made and after mounting the cutting blade onto the rotary tool, the excess is removed.  A few more cuts with the PIMO Tool and the donut is removed and now I am working with a uniform dimension.Flip-flop cuts continue until I’m down close to the width of 11mm.  I cut a test cut and measure.  The measurement is right at 11mm. I finish the cut after measuring and the fit is perfect in the shank cap.  It has a slight amount of wiggle room which is what I want to not put outward pressure on the repaired acrylic and to allow a little fudge factor when it is permanently attached later.The next step is to expand the joint airway to match the airway diameter of the Costaud.  That diameter measures 3/16 inches. I hand turn the drilling by gripping the drill bit end in the vice and turning the joint plug.  I start with a drill bit slightly larger than the current hole and turn.  It takes a bit of time to hand turn the drilling.  I carefully used pliers when the drill bit was advanced in the hole and became difficult to turn. It took 3 drill bits to arrive at the 3/16 inches.  Using metric drill bits too gave a half-step between sizes that made it a little easier between steps. The length of the joint is long now.  I’ll deal with that later after drilling the counter sink hole in the shank.  I’m nervous about this next step.  The diameter of the joint is a bit less than the diameter of the original looking at the shank, but I’m ok with this.  The picture below shows the narrowness of the outer shank structure.  I’ll stay a little bit more on the safe side as I drill a counter-sink hole.Starting with a drill bit that is a bit larger than the airway, the end of the bit is clamped in the vice and the stummel is rotated.  I hand turn the stummel allowing the bit to follow the airway’s path of least resistance.  The depth I’m aiming for is about 1/2 inch and I mark off drill bit with tape.  The most difficult part is starting the drill bit making sure it’s as straight as possible and avoiding wobbles.  Once the bit starts tracking down the airway it becomes easier.  Ten drill bits later, I reach a comfortable diameter as the counter-sink hole moves closer to the outer shank edge.  I haven’t cracked the shank yet and I want to keep it that way!  The hole is a bit small, but I transition to sanding the joint for custom fit. To sand down the shank side of the joint, a coarse 120 grade paper is used.  The paper is pinched around the joint and rotated.  This keeps the joint in round. In time the joint begins to make its way into the shank and finally about 1/2 inch is inserted.  Success!  The pipe cleaner confirms continuity through the airway. What a relief.The next step is to sand down the stem side of the joint so that the acrylic shank cap fits over the joint and is flush with the shank.  With the joint seated a half-inch in the shank, the picture shows the excess length – about 1/16 inch.A sanding drum is used to do this.  After mounting the sanding drum on the rotary tool, the end of the joint is gradually sanded down to a good length. The progress is checked along the way to make sure too much isn’t removed. The pictures show the alignment of the joint airway.  As I’m looking at the airway, I begin to think about how the military mount fishtail stem will fit into the shank cap.I size up the stem’s tenon with the now repaired shank cap opening and another puzzle unfolds but another puzzle is possibly solved.  The tenon simply does not fit.  Nor did it ever fit this shank cap.  The opening of the cap is 1/4 inch wide.  The tenon is 1/16 inch larger. I don’t believe the stem is the original BC Costaud stem but apparently a replacement stem that’s a good match, but had been previously used.  A quick look at the internet shows that this replacement stem looks BC authentic by comparing with other Costauds (LINK).  This is good news indeed.  The puzzle that is possibly solved now is the cause of the acrylic cap’s break – the original stem was lost, and the replacement stem was forced into the shank cap mortise without proper sizing and there just wasn’t enough room to accommodate the oversized tenon and the acrylic gave way.  After this possible scenario played out fully in my cerebral cinema the question that came to mind was, ‘Why didn’t I catch this earlier?’  The answer followed – when the acrylic crack was wide open, of course it fit!  After fixing the crack and closing the gap, my assumption of the stem fit was grandfathered in.   But looking back at earlier pictures, the stem was not fitting – the tenon was not fully engaged seated in the mortise.  This I HAD assumed, too.  This earlier picture shows that the tenon was simply hanging out on the entry lip of the acrylic cap, not seated in the briar mortise inside the cap.The pathway forward is to glue the joint in the shank making sure that it lines up with the acrylic cap.  After this the acrylic cap is permanently attached.  The mortise needs to be drilled out to be flush with the cap opening and deep enough to receive the tenon.  The tenon of the stem then needs to be custom resized to be able to friction mount the mortise so that the tenon facing is flush with the shank cap opening.

In seating the joint in the shank, it’s important that there’s a bit of play in the fitting so that the joint can be adjusted after the glue is applied.  To increase the hold of the CA glue, I use a burr to cut some channels in the joint. Thick CA glue is then applied around the base of the joint and then inserted into the shank counter-sink hole.  I use thick glue because thin CA glue is absorbed while thick spreads. I want the glue to spread fully around the joint.  While the glue is still pliable, the cap is mounted onto the joint to guide the orientation for the joint so that the airway is centered, and the shank cap is flush with the shank facing. I let the stummel sit for several hours to allow the joint’s position to become permanent as the CA glue fully cures. With the glue fully cured, seating the joint into the shank, the next step is to attach the acrylic cap.  Again, the joint is scored several times with the burr to increase the gripping of the CA glue.Thick CA glue is then applied around the joint and the shank cap is mounted onto the joint and while the glue is still pliable, I make sure the cap is lined up with the shank. Thankfully, the airway is centered in as well! To complete the structural issues, the replacement fishtail stem’s tenon needs to be properly sized to navigate safely the mortise.  To do this, the tenon diameter is decreased and the mortise is expanded to accommodate the resized tenon.  I use a coarse 120 grade sanding paper to sand down the tenon.  I do this by pinching the paper around the tenon and rotating the stem.The mortise is also expanded to match the diameter of the acrylic shank cap’s diameter.  A burr is carefully used to expand the mortise. To deepen the briar mortise – gradually, a drill bit is hand turned.The process was a dance between sanding the tenon to shape it and drill and smooth the mortise – testing a lot!  The goal is to seat the tenon so that the tenon facing is almost flush with the acrylic ferrule.  This picture shows a large gap between the tenon facing and the acrylic.After a lot of slow work, the tenon is seated without placing too much stress on the repaired acrylic shank cap.  The structural repair to the BC Costaud is done – I move on!What remains is now the cosmetic restoration – I am not finished yet!  The charred inner ring of the chamber needs to be cleaned. To do this, 240 sanding paper is used to sand the upper chamber edge. Looking again at the condition of the rusticated surface of the bowl, after applying the Before & After Restoration Balm earlier, I had hoped that that would be sufficient.  Looking now at the briar’s condition, it is apparent the finish is gone in places giving a light dried look.  The nomenclature panel on the underside shows an uneven splotched finish. The decision comes easily to apply a dye to refresh the stummel hue.  After wrapping the acrylic shank cap with painter’s tape, Fiebing’s Light Brown Leather Dye is used.  To begin, the stummel is heated to help to absorb the dye.With the deep rusticated surface, I do not fire the aniline dye as I would with a smooth briar pipe because it would be difficult to remove the resulting crusted shell and the Red Tripoli compound used to remove the crust.  Instead, the stummel is simply painted with the dye using a pipe cleaner.  After the dye is thoroughly applied to the rough, crevassed surface, I let the stummel to rest through the night to set the dye.The next morning, a cotton pad wetted with alcohol and used to wipe down the newly dyed stummel to remove excess dye and to blend.   A microfiber cloth in then used to hand buff the stummel rigorously to remove additional excess dye.Next, with a clean felt wheel mounted on the rotary set at about 40% full power, the rustication is further buffed and cleaned of fresh dye.  The reason for all this buffing is to prevent dye from leaching after it’s put into service.  It’s difficult not to have some dye on the hand when the stummel is fired up the first time, but these steps help to minimize this leaching. Next, to create an attractive contrasting in the rusticated surface, the 1500 grade micromesh pad is employed to sand the peaks of the rusticated peaks.  This creates a reddish fleck contrasting that I like in a rusticated surface.Again, the surface is buffed up with the felt buffing wheel.One last effort to avoid dye leaching.  To emulate a bowl in service, the stummel is heated with the hot air gun and again buffed with the microfiber cloth to remove the leached dye.The home stretch – Using a cotton cloth buffing wheel on the rotary tool set at 49% full power, Blue Diamond compound is applied to the stem, acrylic ferrule, and smooth briar shank underside.  Compound is not applied to the rusticated surface because it would clog the wood crevasses and be a bear to clean.  A felt cloth is used to wipe off the compound dust where applied.  Not pictured, after applying the Blue Diamond compound, another cotton cloth wheel is mounted on the rotary tool and carnauba wax is applied to the pipe.  The wax is very lightly applied to the rusticated surface with the speed of the rotary tool a bit faster – at about 60 full power.  I do this to create more heat which helps the wax to dissolve and not get stuck in the crevasses.  Using the rotary tool buffing wheel helps as well as the bowl is rotated around to allow the wheel to go with the valleys and contours. Wow!  This was perhaps the most involved restoration that I’ve done to date.  There were a lot of moving parts, processes and structural issues to resolve to put this pipe back into service.  I’m pleased with the results and the opportunity to learn some new techniques.  The rusticated surface of the Butz-Choquin Costaud is now the focus of this handsome, stout pipe – as it should be.  The rustic feel of the bowl looks great with the bright contrasting of the acrylic ferrule. The slightly bent stem adds a gentle class to the overall bold appearance of a gentlmen’s pipe. As the commissioner, Craig will have the first opportunity to acquire the Costaud from The Pipe Steward Store which benefits the Daughters of Bulgaria – helping women and girls who have been trafficked and sexually exploited.  Thanks for joining me!

New Life for a Savinelli Made Fader’s Bel Air Billiard


Blog by Steve Laug

The next pipe on the work table is a Savinelli Made Rusticated Billiard that we purchased in 2018 from an online auction in Wilkes Barre, Pennsylvania, USA. It is a rusticated pipe a shape that I would call a Billiard from the  flow of the stem and shank. It is stamped on the underside of the shank and reads Fader’s [over] Bel Air followed by Savinelli Product and Italy. The rustication on the pipe reminded me of the finish found on pipes in the Savinelli Antique Shell line. The bowl had a thick cake and lava overflow on the rim. It was hard to estimate the condition of the rim top with the cake and lava coat but I was hoping it had been protected from damage. The outer edge appeared to be in good condition. The finish was like many of the rustications that I have seen on Savinelli Pipes. The finish was dusty and tired but had some nice grain under the grime and the finish appeared to be in good condition. A lot would be revealed once Jeff had worked his magic on it. There was a triple band that was a part of the stem. The stem was dirty, oxidized, calcified and had tooth chatter and tooth marks near the button on both sides. Jeff took photos of the pipe before he started his cleanup work. Jeff captured the condition of the bowl, rim top and stem with the next series of photos. You can see the work that is ahead of us in the photos. The cake is very thick and heavy. The next two photos of the stem show the top and underside of the stem. It is oxidized and calcified an you can see the tooth marks and chatter on the surface of both sides. Jeff took a photo of the side of the bowl and heel showing the condition of the finish and what is underneath the grime and debris of time and use. It will be interesting to see what happens as the pipe is cleaned and restored. He captured the stamping on the underside of the shank. They are clear and readable. It reads as noted above. The stem also had a faint Savinelli S shield on the top of the taper.I had heard of Fader’s Tobacconist but did not know if it still existed or even what city it was located in. I turned to  Pipedia to see what I could find out (https://pipedia.org/wiki/Fader). There was a short article on the shop and I have included it below.

Fader’s has been a tobacconist in Maryland since 1891, founded by Abraham Fader. Abraham died in 1934 and the business was taken over by Ira B. Fader, his son, until his eventual death in 1959. At that point Ira “Bill” Fader took over and ran the shop for decades himself. It was Bill Fader who first expanded the store, opening the Towson, Maryland location as the second in the chain in 1965.

Sadly, in 1998, this 107 year long family business was passed on not to a fourth generation, but to AFADCO Corporation of Baltimore, a cigar and tobacco retailer, which merged with Lancaster Venture and changed the name of the concern to Fader’s. Bill Fader continued to work as a tobacconist and as the Retail Tobacco Dealers of America, of which he was the executive director.

Only four years after the sale of A. Fader & Son, Inc., however, the cigar “boom” tapered off and the stores were split up among the various investors.

While Fader’s continues to offer pipes from a great many makers, they do not currently offer their own line of pipes. However, they often offered house lines over the years, including the Fader, made by the Shalom Pipe Factory in Israel, Fader’s Calvert, named for the store’s flagship location at 12. S. Calvert Street in downtown Baltimore, Fader’s English Rough, Fader’s M/L, lined with African meerschaum, Fader’s Tan Blast, which was made in Italy, Fader’s Naturals, and Fader’s Filter Pipe.

Prior to the early 1960s, Fader’s also employed its last in house master pipe craftsman, Josef “Hoffie” Hoffman, now a broken pipe.

Pipedia also had the following collage of photos that I have included below.Now it was time to work on the pipe. The pipe has been here for a few years now so it is about time I worked on it. I took it out of the box where I had stored it and looked it over. It was amazingly clean and looked like a different pipe. He reamed it with a PipNet pipe reamer and cleaned up the reaming with a Savinelli Fitsall Pipe Knife. He scrubbed out the internals with alcohol, pipe cleaners and cotton swabs until the pipe was clean. He scrubbed the exterior of the bowl with Murphy’s Oil Soap and a tooth brush to remove the grime and grit on the briar and the lava on the rim top. The bowl looked very good. The rim top showed a lot of darkening but the inner bevel was in good condition. Jeff scrubbed the stem with Soft Scrub to remove the grime and soaked it in Before & After Deoxidizer. When he took it out of the soak it came out looking far better. I took photos before I started my part of the work. I took some photos of the rim top and stem. The rim top and the bowl are very clean. The close up photos of the stem show that is it very clean and the deep tooth marks are very visible.When I removed the stem from the shank I was surprised to find that it had a white tenon and the “band” was part of the stem. I also found that the tenon had an adapter in place which converted it from a filter pipe to a regular pipe. The pipe smelled heavily of vanilla cased tobacco and would need a bit more attention.I decided to take care of the strong stench of Vanilla clinging to the pipe first. I cleaned out the shank once again with alcohol, pipe cleaners and cotton swabs. I remove the adapter from the tenon and clean out the stem and adapter with pipe cleaners, cotton swabs and alcohol. The vanilla smell was definitely toned down.I worked some Before & After Restoration Balm into the surface of the smooth briar with my fingertips. The product works to clean, enliven and protect the briar. I let the balm sit for fifteen minutes and then buffed with a cotton cloth to raise the shine. The photos show the bowl at this point in the restoration process. I set the bowl aside and turned to deal with the stem. I “painted” the stem surface with a flame of a Bic lighter to try and lift the tooth indentations. I was able to lift the majority of them. There were to larger ones that I filled in with clear CA glue. Once it cured I sanded the repairs with 220 grit sandpaper to blend them into the vulcanite. Once I had smoothed them out and broken up the remaining oxidation I started polishing the stem with 400 grit wet dry sandpaper. I polished the vulcanite stem with micromesh sanding pads – dry sanding with 1500-12000 grit sanding pads. I wiped it down after each sanding pad with a cloth containing some Obsidian Oil. I finished polishing it with Before & After Pipe Stem Polish – both Fine and Extra Fine and buffed it off with a cotton cloth. I gave the stem a final coat of Obsidian Oil to preserve and protect it.I paused the polishing to touch up the shield S logo on the stem before I forgot to do so. I rubbed the surface down with some Rub’n Buff Antique Gold and worked it into the stamp with a tooth pick. I buffed it off with a soft cloth. While still weak it is nonetheless readable. I continued my polishing of the stem.

This Savinelli Made Fader’s Bel Air Billiard was another fun pipe to work on and I really was looking forward to seeing it come back together again. With the grime and debris gone from the finish and the rim top cleaned up and rusticated it was a beauty and the colours in the rustication are beautiful. I put the stem back on the bowl and buffed the pipe with Blue Diamond on the buffing wheel. I carefully avoided the stamping on the shank during the process. I gave the bowl and the stem multiple coats of carnauba wax on the buffing wheel and followed that by buffing it with a clean buffing pad on the buffer. I hand buffed the pipe with a microfiber cloth to deepen the shine. The rich finish on the bowl looks really good with the polished brass and acrylic stem band and the black vulcanite stem. It is very well done. Give the finished Billiard a look in the photos below. I can only tell you that it is much prettier in person than the photos capture. The dimensions of the pipe are Length: 5 ¾ inches, Height: 2 inches, Outside diameter of the bowl: 1 ½ inches, Chamber diameter: 7/8 of an inch. The weight of the pipe is 43grams/1.48oz. This is truly a great looking Savinelli Product Fader’s Bel Air Billiard. Thanks for walking through the restoration with me as I worked over another beautiful pipe. I will be adding it to the Italian Pipe Makers section of the rebornpipes store soon. If you want to add it to your collection send me an email or a message! Thanks for your time.

New Life for a Sasieni Berkley Club 755SR Lovat


Blog by Steve Laug

The next pipe on the work table is a Sasieni Made Rusticated Lovat that we purchased in 2016 from an antique store on the Oregon Coast, USA. It is a rusticated pipe a shape that I would call a Lovat from the  flow of the stem and shank. It is stamped on the underside of the shank and reads 755SR [over] Berkley Club [over] London Made. Toward the heel it is stamped Made in England in a Rugby Ball shaped stamp. The bowl had a thick cake and lava overflow on the rim. It was hard to estimate the condition of the rim top with the cake and lava coat but I was hoping it had been protected from damage. It appeared that there was a lot of damage on the outer edge with the heaviest damage on the back and left side. The finish was a classic Sasieni rustication. The finish was dusty and tired but had some nice grain under the grime and the finish appeared to be in good condition. A lot would be revealed once Jeff had worked his magic on it. The stem was dirty, oxidized, calcified and had tooth chatter and tooth marks near the button on both sides. Jeff took photos of the pipe before he started his cleanup work. Jeff captured the condition of the bowl and rim top with the next series of photos. You can see the work that is ahead of us in the photos. The cake is very thick and heavy. The next two photos of the stem show the top and underside of the stem. It is oxidized and calcified an you can see the tooth marks and chatter on the surface of both sides. Jeff took a photo of the side of the bowl and heel showing the worn finish and what is underneath the grime and debris of time and use. It will be interesting to see what happens as the pipe is cleaned and restored. He captured the stamping on the underside of the shank. They are clear and readable. It reads as noted above.I have worked on Berkley Club pipes in the past. The most recent Berkley Club I worked on was a billiard. I turned to the blog on that pipe (https://rebornpipes.com/tag/berkeley-club-pipes/) that was written in July 31, 2016. I quote the information on the brand from that blog below.

I went online to Pipephil’s site Logos and Stampings (http://www.pipephil.eu/logos/en/logo-b4.html) and found the brand and the reminder that had niggled at the back of mind. The Berkeley Club with this stamping was made by Sasieni. The photo below came from that website and shows the same finish and the same stamping on both the shank and the stem.The pipe has been here for a few years now so it is about time I worked on it. I took it out of the box where I had stored it and looked it over. It was amazingly clean and looked like a different pipe. He reamed it with a PipNet pipe reamer and cleaned up the reaming with a Savinelli Fitsall Pipe Knife. He scrubbed out the internals with alcohol, pipe cleaners and cotton swabs until the pipe was clean. He scrubbed the exterior of the bowl with Murphy’s Oil Soap and a tooth brush to remove the grime and grit on the briar and the lava on the rim top. The bowl looked very good. The rim top showed a lot of darkening but the inner bevel was in good condition. Jeff scrubbed the stem with Soft Scrub to remove the grime and soaked it in Before & After Deoxidizer. When he took it out of the soak it came out looking far better. I took photos before I started my part of the work. I took some photos of the rim top and stem. The rim top is clean but there is a lot of darkening around the top and edges. The bowl itself looks very clean. The close up photos of the stem show that is it very clean and the deep tooth marks are very visible.I removed the stem from the shank and took a photo of the bowl and to give a sense of the proportion of the pipe. It is a nice looking Lovat.I decided to take care of the damage on the rim top and inner edge first. I topped the bowl to give it a smooth surface. I built up the damaged areas on the outer edge with super glue and briar dust to take care of the damage. I cleaned up the inner edge of the rim with a folded piece of 220 grit sandpaper. The second photo below show the inner edge of the rim after the work.I topped it on a topping board with 220 grit sandpaper to prepare the surface for the rustication I planned to do to bring it back to what it looked like originally.I then used my Dremel and a series of burrs and dental burrs to replicate the original rustication on the rim surface from photos I found online of a similar rim top. I worked through each burr carving a patter in the smooth rim surface and blending in the damaged areas on the front left and the repaired back of the bowl. I was very happy with the rustication once I finished.I stained the rim top with a combination of Walnut, Maple and Cherry stain pens to match the colour around the sides of the bowl and shank.I worked some Before & After Restoration Balm into the surface of the smooth briar with my fingertips. The product works to clean, enliven and protect the briar. I let the balm sit for fifteen minutes and then buffed with a cotton cloth to raise the shine. The photos show the bowl at this point in the restoration process. I set the bowl aside and turned to deal with the stem. The stem had an inner tube that was bound in the shank and when I heated and carefully pulled on it to remove it the tube snapped. I flattened on the tenon end with sandpaper to make the break smooth. I sanded out the oxidation and tooth marks on the stem surface with a folded piece of 220 grit sandpaper. Once I had smoothed them out and broken up the remaining oxidation I started polishing the stem with 400 grit wet dry sandpaper.I polished the vulcanite stem with micromesh sanding pads – dry sanding with 1500-12000 grit sanding pads. I wiped it down after each sanding pad with a cloth containing some Obsidian Oil. I finished polishing it with Before & After Pipe Stem Polish – both Fine and Extra Fine and buffed it off with a cotton cloth. I gave the stem a final coat of Obsidian Oil to preserve and protect it. This Sasieni Made Berkley Club 755SR London Made Lovat was another fun pipe to work on and I really was looking forward to seeing it come back together again. With the grime and debris gone from the finish and the rim top cleaned up and rusticated it was a beauty and the colours in the rustication are beautiful. I put the stem back on the bowl and buffed the pipe with Blue Diamond on the buffing wheel. I carefully avoided the stamping on the shank during the process. I gave the bowl and the stem multiple coats of carnauba wax on the buffing wheel and followed that by buffing it with a clean buffing pad on the buffer. I hand buffed the pipe with a microfiber cloth to deepen the shine. The rich natural finish on the bowl looks really good with the polished black vulcanite stem. It is very well done. Give the finished Lovat a look in the photos below. I can only tell you that it is much prettier in person than the photos capture. The dimensions of the pipe are Length: 5 ½ inches, Height: 2 inches, Outside diameter of the bowl: 1 ¼ inches, Chamber diameter: ¾ of an inch. The weight of the pipe is 49grams/1.73oz. This is truly a great looking Sasieni Made Berkley Club London Lovat. Thanks for walking through the restoration with me as I worked over another beautiful pipe. I will be adding it to the Italian Pipe Makers section of the rebornpipes store soon. If you want to add it to your collection send me an email or a message! Thanks for your time.

New Life for an Oscar Aged Briar 704 Birks Liverpool


Blog by Steve Laug

The next pipe on the work table is a Savinelli Made Liverpool that we purchased in 2018 from a fellow in Scottsdale, Arizona, USA. It is a thin pencil shank pipe in a shape that I would call a Liverpool from the  flow of the stem and shank. It is stamped on the left side of the shank and reads Oscar [over] Aged Briar. On the right side it is stamped with a Savinelli “S” shield followed by the shape number 704 [over] Italy. On the underside of the shank it is stamped Birks. The stem bears the stamp of BB with the left B stamped backwards. The bowl had a thick cake and lava overflow on the rim. It was hard to estimate the condition of the rim top with the cake and lava coat but I was hoping it had been protected from damage. The bowl was smooth and a natural finish. The finish was dusty and tired but had some nice grain under the grime and the finish appeared to be in good condition. A lot would be revealed once Jeff had worked his magic on it. The stem was dirty, oxidized, calcified and had tooth chatter and deep tooth marks near the button on both sides. Jeff took photos of the pipe before he started his cleanup work. Jeff captured the condition of the bowl and rim top with the next series of photos. You can see the work that is ahead of us in the photos. The cake is very thick and heavy. The next two photos of the stem show the top and underside of the stem. It is oxidized and calcified an you can see the tooth marks and chatter on the surface of both sides. Jeff took some great photos of the sides of the bowl and heel showing the worn finish and what is underneath the grime and debris of time and use. It will be interesting to see what happens as the pipe is cleaned and restored.He captured the stamping on the sides of the shank. They are clear and readable. The left side reads Oscar [over] Aged Briar. On the right side it has the Savinelli Shield S followed by the shape number 704 [over] Italy. On the underside it is stamped Birks. The stem bears an interesting BB logo. All of the stamping is understandable as it is a typical Savinelli made pipe. The only stamp that leaves me a bit mystified is the Birks stamp. I know that Birks is a designer, manufacturer and retailer of jewellery, timepieces, silverware and gifts, with stores and manufacturing facilities located in Canada and the United States. I wonder if that is the connection with the stamping on this pipe. Was it a gift made by Birks and sold as such? Was it a line they sold in their stores? I have worked on these in the past and that is the best I can find.

The pipe has been here for a few years now so it is about time I worked on it. I took it out of the box where I had stored it and looked it over. It was amazingly clean and looked like a different pipe. He reamed it with a PipNet pipe reamer and cleaned up the reaming with a Savinelli Fitsall Pipe Knife. He scrubbed out the internals with alcohol, pipe cleaners and cotton swabs until the pipe was clean. He scrubbed the exterior of the bowl with Murphy’s Oil Soap and a tooth brush to remove the grime and grit on the briar and the lava on the rim top. The bowl looked very good. The rim top showed a lot of darkening but the inner bevel was in good condition. Jeff scrubbed the stem with Soft Scrub to remove the grime and soaked it in Before & After Deoxidizer. When he took it out of the soak it came out looking far better. I took photos before I started my part of the work.   I took some photos of the rim top and stem. The rim top is clean but there is a lot of darkening around the top and edges. The bowl itself looks very clean. The close up photos of the stem show that is it very clean and the deep tooth marks are very visible.I took photos of the stamping because they had cleaned up very well. I removed the stem from the shank and took a photo of the bowl and to give a sense of the proportion of the pipe. It is a nice looking pencil shank Liverpool.I decided to take care of the damage on the rim top and inner edge first. I worked over the rim top and the inner edge with a folded piece of 220 grit sandpaper and was able to remove much of the darkening. Once I had finished the bowl was round and the edge looked very good.I polished the briar and the shank with micromesh sanding pads – dry sanding with 1500-12000 grit pads. I was able to blend in the repairs into the side of the bowl. I wiped the bowl down after each pad with a damp cloth. The grain really began to stand out and the finish took on a shine by the last sanding pad. The photos tell the story! I worked some Before & After Restoration Balm into the surface of the smooth briar with my fingertips. The product works to clean, enliven and protect the briar. I let the balm sit for fifteen minutes and then buffed with a cotton cloth to raise the shine. The photos show the bowl at this point in the restoration process. I set the bowl aside and turned to deal with the stem. I filled the tooth marks with clear CA glue. Once it had hardened I sanded it with 220 grit sandpaper and 400 grit wet dry sandpaper to blend it into the surface of the vulcanite. I touched up the BB stamp on the left side of the taper stem with Rub’n Buff Antique Gold. I rubbed it on and worked it into the stamping with a tooth pick. Once it had been sitting for 5 minutes I buffed it off with a cotton cloth. The BB was worn but it definitely looks better. I believe that it is the logo for Birks!I polished the vulcanite stem with micromesh sanding pads – dry sanding with 1500-12000 grit sanding pads. I wiped it down after each sanding pad with a cloth containing some Obsidian Oil. I finished polishing it with Before & After Pipe Stem Polish – both Fine and Extra Fine and buffed it off with a cotton cloth. I gave the stem a final coat of Obsidian Oil to preserve and protect it. This Savinelli Made Oscar Aged Briar 704 Liverpool was another fun pipe to work on and I really was looking forward to seeing it come back together again. With the grime and debris gone from the finish it was a beauty and the grain just pops at this point. I put the stem back on the bowl and buffed the pipe with Blue Diamond on the buffing wheel. I carefully avoided the stamping on the shank during the process. I gave the bowl and the stem multiple coats of carnauba wax on the buffing wheel and followed that by buffing it with a clean buffing pad on the buffer. I hand buffed the pipe with a microfiber cloth to deepen the shine. The rich natural finish on the bowl looks really good with the polished black vulcanite stem. It is very well done. Give the finished pipe a look in the photos below. I can only tell you that it is much prettier in person than the photos capture. The dimensions of the pipe are Length: 5 ¾ inches, Height: 1 ¾ inches, Outside diameter of the bowl: 1 ¼ inches, Chamber diameter: ¾ of an inch. The weight of the pipe is 33grams/1.16oz. This is truly a great looking Oscar Aged Briar. Thanks for walking through the restoration with me as I worked over another beautiful pipe. I will be adding it to the Italian Pipe Makers section of the rebornpipes store soon. If you want to add it to your collection send me an email or a message! Thanks for your time.

Help for what looked like a hopeless 1956 Dunhill Shell Briar LBS Long Billiard


Blog by Steve Laug

A friend of mine, Scott picked up this deeply sandblasted Dunhill LBS in a shape I would call a Liverpool but Dunhill called a long billiard. He bought it off eBay and when it arrived it had a lot of surprises for him under the thick build up of cake and grime. He has purchased enough estate pipes know what he was getting into but this one had even more issues than he reckoned it would have. He sent me the eBay sellers photos and I have included them below. This is what he saw and honestly if I had seen the pipe I would have sprung for it immediately. The sandblast though dirty, is quite rugged and stunning. The seller dated the pipe as a 1956 based on the following stamping. On the heel of the bowl it was stamped with the shape designation – LBS followed by DUNHILL [over] SHELL BRIAR (Sandblast finish) on the shank. That was followed by MADE IN ENGLAND6 . Next to the shank/stem junction it was stamped with a Circle 4S – the group 4 size designation and the S for Shell Briar.  I turned to PipePhil’s Site and looked up the shape letters that Dunhill used on the helpful chart that is included there (http://pipephil.eu/logos/en/dunhill/shapes-l.html). I did a screen capture of the pertinent part of the chart to show the shape letters noted above.   I have included that below.The bowl had a very thick cake and the rim top had a heavy lava  buildup. The bowl had a crack running down the back side of the bowl. It was hard to know how bad it was because of the filth of the dirty pipe. It was a good bet that it would be messy inside the bowl under the cake! The stem was oxidized, calcified and had deep tooth dents on both sides at the button as well as wear on the button surface itself. It would be a challenge.When the pipe arrived at Scott’s place it was in rougher condition than he had expected. Nonetheless he went to work on it. He knew that he needed to ream the cake back to bare briar and clean up the exterior of the bowl to know for sure how bad the damage was on the inside and outside of the bowl. He did a great job cleaning up the exterior and reaming and cleaning out the bowl so the damage on the inside and out were incredibly visible. This pipe was in serious trouble. Scott and I share and affinity for these older craggy Dunhills so he sent me an email. I have included that below.

Hi Steve, Great job on that 1936 Dunhill.  Are you going to be putting it up for sale?  If so, I’m interested.  Also, I have a large 1956 shell briar Dunhill billiard that has a great blast and good stem, but has a crack in the front and a bad interior.  It’s out of my comfort zone – will you do such work for pay?

Thanks,  Scott

We sent several emails back and forth regarding the pipe discussing what needed to be done. I asked him to send me some pics of the pipe after his clean up. He did so along with the email below.

Hi  Steve, Here are pics of the Dunhill.  The crack is on the shank side, straight above the shank – it’s splits to form two cracks (hard to see).  I cleaned the bowl (inside and out) then put a clamp around the bowl to see if it would push together, and it moved a lot, but not all the way, so the next step would have been to use compressed air to get any slivers/dust out  of the crack.  That’s where I stopped, figuring it had waited for 30 or so years, so it would be okay.

There also seems to be some rot on the rim of the bowl and there is a small chunk out at the top of the crack.  My plan had been to sand down the top after the repair was done.

Thanks, Scott When I saw the pipe in his pictures I fell in love with the shape and the rich, rugged looking blast. I could see at once why Scott had been drawn to it. We chatted back and forth and the long and short of it is that it is now on my work desk to see what I can do with it. I will give it a shot and then send it back to Scott once it is finished. I took photos of when I received it. The rim top looked rough. It was beat up and missing a chunk over the crack on the back of the bowl. The finish was pretty much removed. The bowl was clean and the damage on the inside was extensive. The stem had cleaned up well. The tooth marks are visible in the photos of the stem that I have included below.I took a photo of the stamping on the underside of the shank. It is faint in spots but is still very readable.I removed the stem from the shank to prepare to work on the bowl. I put the stem aside and took pictures of the bowl to just savor the rugged sandblast. Even the rim top, as damaged as it was still has a bit of the sandblast finish that I thought would be redeemable. I cleaned out the cracks on the exterior with alcohol to remove the remaining debris. I checked the entire bowl with a bright light and lens to make sure I could see all the cracks and not be surprised with ones I had missed. Sure enough they were all around the back side of the bowl. They ran from the rim down and then turned to the left and then down once again. I layered briar dust and clear CA glue in the cracks. I repaired the chip out of the back side of the rim top at the same time in the same manner. Before it completely dried I used a brass bristle brush to clean up the repairs and blend them into the nooks and crannies of the sandblast finish. I find that if you do not do this you end up with flat spots where the repair occurredOnce the repair cured I wiped the areas down with alcohol on a cotton pad and stained the areas with a walnut stain pen. I would use a combination of stains later to further blend them in. I just wanted to see what the repair looked like and be able to send photos to Scott.With the exterior finished it was time to work on the inside of the bowl and deal with all of the spidering cracks and large cracks around the interior walls. They were not just confined to the back of the bowl but covered the majority of the bowl and heel surface. I mixed a batch of JB Weld with a dental spatula and applied it to the walls of the bowl with a folded pipe cleaner to act like a paint brush. I pushed the JB Weld into the cracks in the bowl walls and gave the entire interior a coat of the product. I have checked out the research on the product and find that it dries inert and does not gas off when heated. I have used it on my own pipes and smoked them for over 10 or more years with no issues. With that finished I called it a night and set the bowl aside for the repairs on the interior to cure overnight. In the morning I sanded inner edge of the bowl with a folded piece of 220 grit sandpaper to smooth out that area. I wrapped a dowel with 220 grit sandpaper extending it just below the dowel so that it would form a cone on the end and allow me to sand the bottom of the bowl. I worked on it to smooth the repairs and remove as much of the JB Weld as possible while leaving it in the cracks and fissures of the walls. With the bowl repair finished I stained the bowl and rim with Mahogany, Walnut and Black stain pens to match the combination of stains used on the bowl that was not repaired. I was happy with the overall look of the pipe. I rubbed the bowl and shank down with Before & After Restoration Balm. I worked it into the surface of the bowl sides and shank with my fingertips and a horsehair shoe brush to get into the nooks and crannies of the blast. The product works to clean, enliven and protect the briar. I let the balm sit for 15 minutes and then buffed with a cotton cloth  and shoe brush to raise the shine.      I cleaned the interior of the bowl and shank with pipe cleaners, cotton swabs and isopropyl alcohol to remove my sanding debris and residual tars and oils in the mortise and airway. I cleaned the internals of the stem the same way. Once finished the pipe was clean and repaired inside and out.Now it was time to mix a bowl coating. Different folks used different things for this. I use a mix of sour cream and charcoal powder. I learned this from a pipe maker friend. I use it on a bowl that I have repaired with JB Weld because when I sand the bowl it is very smooth and I want to facilitate the building of a carbon cake. The bowl coating does that. Surprisingly it cures neutral in taste and imparts no flavour to the tobacco when smoked. Within a few bowls it is basically covered with the developing cake. It works for me!I applied the mixture to the bottom and walls of the bowl with a folded pipe cleaner. I paint it on and smooth it out with the pipe cleaner. I am not looking for a thick coating of the product but merely a top coat. Too thick a coat will just peel off when the pipe is smoked. I want it to stay put for a few bowls anyway! I set the bowl aside for the bowl coating to cure and turned my attention to the stem. I “painted” the stem with the flame of a Bic lighter to lift the tooth marks. The method worked extremely well and I was able to lift the majority of them. There were two marks – one on each side that lifted but needed to be filled. I filled them in with clear CA glue. Once it cured I sanded them smooth with 220 grit sandpaper and reshaped the button edges. I started the polishing with 400 grit wet dry sandpaper. I polished the vulcanite stem with micromesh sanding pads – 1500-12000 grit pads. I wiped it down with Obsidian Oil after each sanding pad. I used Before & After Pipe Polish – both Fine and Extra Fine to further polish the stem.     This really is a beautiful Dunhill Shell Briar LBS Long Billiard.  The relatively short vulcanite taper stem just adds to an already great looking pipe. If you did not know where the cracks were you would never be able to find them now. The rich combination of Mahogany, Black and Walnut stains on the bowl give depth and dimension to the sandblast. It came alive with the polishing and waxing. I gave the bowl multiple coats of Conservator’s Wax as I did not want to fill in the valleys. I gave the stem multiple coats of carnauba wax on the buffing wheel and followed that by buffing the entire pipe with a clean buffing pad. I hand buffed the pipe with a microfiber cloth to deepen the shine. The finished Dunhill Shell Briar LBS Group 4 pipe is a beauty and fits nicely in the hand and looks very good. Give the finished pipe a look in the photos below. The dimensions of the pipe are Length: 5 3/4 inches, Height: 2 inches, Outside diameter of the bowl: 1 ¼ inches, Chamber diameter: 7/8 of an inch. . The weight of the pipe is 40grams/1.41oz. Once the bowl coating completely cures I will be packing it up and sending it back to Scott. I can’t wait to hear what he thinks of it when he has it in hand. Thanks for reading this blog and my reflections on the pipe while I worked on it.

Next on the table is an Edward’s Algerian Briar 706M5 Prince


Blog by Steve Laug

Courtesy Doug Valitchka

The next pipe on the work table is an Edward’s pipe that we bought from a fellow in Los Angeles, California, USA. It is a classic Prince in terms of the flow of the stem and shank. The bowl had a thick cake and lava overflow on the rim. It was hard to estimate the condition of the rim top with the cake and lava coat but I was hoping it had been protected from damage. The bowl was smooth and a natural finish. The finish was dusty and tired but had some nice grain under the grime and the finish appeared to be in good condition. There were small fills all around the right side of the bowl. A lot would be revealed once Jeff had worked his magic on it. The stem was dirty but came with tooth chatter and deep tooth marks near the button on both sides. Jeff took photos of the pipe before he started his cleanup work. Jeff captured the condition of the bowl and rim top with the next series of photos. You can see the work that is ahead of us in the photos. The cake is very thick and heavy. The rim looked like it might have some damage on the back inner edge of the bowl. The next two photos of the stem show the top and underside of the stem. It is oxidized and calcified an you can see the tooth marks and chatter on the surface of both sides. Jeff took some great photos of the sides of the bowl and heel showing what is underneath the grime and debris of time and use. You can see the fills in briar on the right side. It will be interesting to see what happens as the pipe is cleaned and restored. He captured the stamping on the sides of the shank. They are clear and readable. The left side reads Edwards. On the right side it reads Algerian Briar 706M5.I turned to Pipedia to have a look at a bit of history on the brand and refresh my memory of the pipe line (https://pipedia.org/wiki/Edward%27s). I quote the article in full below.

Edward’s pipes were originally produced in Saint-Claude, France when Francais actually was a world-class pipe maker with longstanding business & political connections to Colonial Algeria that allowed them to obtain the finest briar.

During the tumultuous 1960’s, Edward’s created a business model to offer the finest briar available in both Classic and Freehand shapes – all at a fair price. They bought the company & equipment and cornered the market on the finest, choice Algerian Briar just before the supply vanished in political turmoil of Algeria’s independence. Edward’s packed up both machinery and briar-treasure to America, safely caching the essentials to create a new pipe-making dynasty. This was a coup, for the 70’s and 80’s were grim years for pipe smokers as quality briar all but disappeared.

Edward’s Design Philosophy is hard to pin down, think of their style as the “American Charatan” with unique & clever twists all their own. Today, they fashion pipes in several locations across the USA. All of Edward’s pipes are Algerian Briar – a fact very few pipe companies can claim, and all are oil-cured utilizing natural finishes – no strange concoctions are used to interfere in your tastebud’s dance with the briar. Algerian, Calabrian, Sardinian, Corsican – take your pick, but Algerian Briar is generally considered the finest smoking briar ever used. When combined with oil-curing, Algerian takes on a magical quality that even Alfred Dunhill recognized as far back as 1918 as the choice for both his Bruyere and Shell.

Now it was time to work on the pipe. I took it out of the box from Jeff and looked it over. It was amazingly clean and looked like a different pipe. He reamed it with a PipNet pipe reamer and cleaned up the reaming with a Savinelli Fitsall Pipe Knife. He scrubbed out the internals with alcohol, pipe cleaners and cotton swabs until the pipe was clean. He scrubbed the exterior of the bowl with Murphy’s Oil Soap and a tooth brush to remove the grime and grit on the briar and the lava on the rim top. The bowl looked very good. Jeff scrubbed the stem with Soft Scrub to remove the grime and soaked it in Before & After Deoxidizer. When he took it out of the soak it came out looking far better. I took photos before I started my part of the work. I took some photos of the rim top and stem. The rim top is clean but there is a lot of damage to the inner edge on the front half of the bowl. The bowl itself looks very clean. The close up photos of the stem shows that is it very clean and the deep tooth marks are very visible. It almost looks as if the  previous owner had lightly carved grooves to emulate a dental bit on the top of the stem.I took photos of the stamping because they had cleaned up very well.I removed the stem from the shank and took a photo of the bowl and to give a sense of the proportion of the pipe. It is a classic Prince for sure.I decided to take care of the damage on the rim top and inner edge first. I worked over the inner edge with a folded piece of 220 grit sandpaper and repaired the existing bevel to obscure the damage to the edge. Once I had finished the bowl was round and the edge looked very good.I polished the briar and the shank with micromesh sanding pads – dry sanding with 1500-12000 grit pads. I was able to blend in the repairs into the side of the bowl. I wiped the bowl down after each pad with a damp cloth. The grain really began to stand out and the finish took on a shine by the last sanding pad. The photos tell the story! I worked some Before & After Restoration Balm into the surface of the smooth briar with my fingertips. The product works to clean, enliven and protect the briar. I let the balm sit for about twenty minutes and then buffed with a cotton cloth to raise the shine. The photos show the bowl at this point in the restoration process. I set the bowl aside and turned to deal with the stem. I “painted” the surface of the stem with the flame of a Bic lighter to lift the tooth marks on the underside and grooves on the top side. I was able to lift most of them significantly. The few that remained I filled in with Loctite 380 CA glue. Once it had hardened I sanded it with 220 grit sandpaper and 400 grit wet dry sandpaper to blend it into the surface of the vulcanite. I polished the vulcanite stem with micromesh sanding pads – dry sanding with 1500-12000 grit sanding pads. I wiped it down after each sanding pad with a cloth containing some Obsidian Oil. I finished polishing it with Before & After Pipe Stem Polish – both Fine and Extra Fine and buffed it off with a cotton cloth. One irritation for me is that the repairs of the grooves on the topside with the Loctite 380 CA glue are not quite the same black as the stem surface. Because of that the grooves in the stem show even though they are smooth too the touch!! Arghhh. This oil cured Edward’s Algerian Briar 706M5 Prince was another fun pipe to work on and I really was looking forward to seeing it come back together again. With the grime and debris gone from the finish it was a beauty and the grain just pops at this point. I put the stem back on the bowl and buffed the pipe with Blue Diamond on the buffing wheel. I carefully avoided the stamping on the shank during the process. I gave the bowl and the stem multiple coats of carnauba wax on the buffing wheel and followed that by buffing it with a clean buffing pad on the buffer. I hand buffed the pipe with a microfiber cloth to deepen the shine. The rich natural finish on the bowl looks really good with the polished black vulcanite stem. It is very well done. Give the finished pipe a look in the photos below. I can only tell you that it is much prettier in person than the photos capture. The dimensions of the pipe are Length: 6 inches, Height: 1  ¼ inches, Outside diameter of the bowl: 1 ¼ inches, Chamber diameter: ¾ of an inch. The weight of the pipe is 35grams/1.23oz. This is truly a great looking Edward’s. Thanks for walking through the restoration with me as I worked over another beautiful pipe. I will be adding it to the American Pipe Makers section of the rebornpipes store soon. If you want to add it to your collection send me an email or a message! Thanks for your time.