Tag Archives: repairing tooth marks

Restoring a Dainelli Silver Lovat with a Horn Stem


Blog by Steve Laug

The next pipe on the work table was also in the bag with the C.P.F. pipes that I brought home from Idaho recently. This one is an interesting little Lovat. It is briar with a horn stem. The briar is in decent condition, just dirty from use and sitting. The stamping on the shank reads Dainelli over Silver. There is no other stamping on the shank. The bowl had been reamed previously by the seller but a thick coat was on the bottom of the bowl. The rim top was clean but was dried out. The grain was an interesting mix of straight, swirls, flame and birdseye. There were a few nicks in the briar on the sides of the bowl. The stem was horn and dried out. There was tooth chatter on both sides and a few deeper tooth marks just ahead of the button. The tenon on this one is aluminum and from my experience it is probably a pipe from the 40s war period. Horn stems made a reappearance during the vulcanite shortage in the war years. I took close-up photos of the bowl and rim top to capture the condition of the pipe when it arrived. The rim top look dried out but clean. The outer and inner edges of the rim look good but there are a few nicks in the outer edge. I took photos of the horn stem surface to show the oxidation and the chatter on both sides near the button. The tooth marks are visible next to the button on both sides.The next photo captures the stamping on the left side of the shank. It reads Dainelli over Silver. I took the stem off the shank and took a photo to show the metal tenon.This is the first pipe with this stamping that I have ever worked on. I am unfamiliar with the brand so some research was in order. I checked on Pipedia and Pipephil to see if there was any information on the brand. There was nothing listed on either site. I checked in “Who Made That Pipe” and once again came up empty. I turned to Lopes, “Pipes, Artisans and Trademarks and again the trail was dead. I broadened the search on Google to look for the brand and even associated it with pipe shops or tobacco companies and still there was not a link at all. It looked like I was not the only one who had never heard of the brand.

Given that information was not forthcoming I put a photo of the pipe on several Facebook Groups hoping someone might recognize the brand and give me a lead. I turned my attention to cleaning up the pipe. I wiped the bowl down with isopropyl alcohol on a cotton pad to remove the grime from the briar. It was not a bad looking pipe. I reamed the bowl with a Savinelli Fitsall Pipe Knife and scraped the cake out of the bottom of the bowl. The buildup on the bottom was thick and heavy. The pointed end of the knife allowed me to remove the remaining cake. I sanded the bowl walls with a piece of dowel wrapped with 220 grit sandpaper.I scrubbed out the internals of the pipe with pipe cleaners, cotton swabs and alcohol. It was a very dirty shank and mortise. I have found that stems with metal tenons seem to draw moisture and tars around the shank walls. I cleaned out the stem with pipe cleaners and alcohol. I used a cotton swab and alcohol to clean out the end of the tenon.I polished the bowl and rim top with micromesh sanding pads – wet sanding it with 1500-12000 grit pads. I wiped the bowl down with a damp cloth after each pad to remove the sanding debris. After the final sanding pad I hand buffed it with a cotton cloth to raise a shine. I am still experimenting with Mark Hoover’s Briar Cleaner to see what I think of it as a possible replacement for my usual Murphy’s Oil Soap scrub. I rubbed it onto the briar, working it into the grain. I wiped it off with a clean cloth. There was still a residue from the cleaner left behind and no matter how I rubbed it off it was hard to remove. I ended up rinsing it with warm water to remove it and dried it with a microfiber cloth. I am still not sure if this is will replace Murphy’s for me. I am committed to working with it. I took photos of the pipe at this point in the process. I really like Mark Hoover’s Before & After Restoration Balm for its restorative properties with dry briar. I worked it into finish of this Lovat with my fingertips to clean, enliven and protect it as I usually do at this point in the process. I let the balm sit for a little while and then buffed with a cotton cloth to raise the shine. The Restoration Balm really makes the grain stands out beautifully. After rubbing it down I noticed some deep dings and nicks in the briar on the right side of the bowl near the rim. I filled them in with clear super glue. When the repairs had cured I sanded them out with 220 grit sandpaper, polished them with 400 grit sandpaper and 1500-2400 grit micromesh sanding pads. I stained the area on the bowl with a Walnut and Cherry stain pen. Once it had cured I polished it with a 3200 grit micromesh sanding pad. I was able to blend the repair into the rest of the bowl. I set the finished bowl aside and turned my attention to the stem. I filled in the tooth marks and the areas where the horn was dry and delaminating. I set the stem aside to let the glue dry.Once the repairs had cured I used a needle file to reshape the button edge and flatten out the repairs. I sanded the stem surface with a folded piece of 220 grit sandpaper to smooth them out. I started the polishing with a folded piece of 400 grit sandpaper to smooth out the scratches. I polished the stem with micromesh sanding pads – wetsanding it with 1500-12000 grit pads. I wiped the stem down with Obsidian Oil after each pad. I polished it with Before & After Pipe Polish – both Fine and Extra Fine and gave it a final coat and set it aside to dry. I put the stem and bowl back together and buffed the pipe with Blue Diamond on the buffing wheel. I polished the briar and the stem until there was a rich shine. This Dainelli Briar Lovat has a classic shape and a rich finish that highlights the grain around the bowl. Once I buffed the pipe the grain popped. The striated horn stem had a rich glow after polishing. The finished pipe is actually quite a beauty in my opinion. The shape does not quite match a British shaped Lovat and has almost a French look to it. It is a beautifully grained Lovat that fits well in the hand and sits right in the mouth. Have a look at it with the photos below. The dimensions are Length: 5 inches, Height: 1 1/2 inches, Outside diameter of the bowl: 1 inch, Chamber diameter: 5/8 of an inch. If any of you have heard of the brand before let me know in the comments section below. I thank you ahead of time for any info you may give. Thanks for walking through the restoration with me as it was a pleasure to work on.

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Restoring Another of Jennifer’s Dad’s Pipes – A Sasieni Four Dot Walnut “Appleby” M


Blog by Steve Laug

Once again time to get back to Jennifer’s Dad’s pipes. The next pipe on the worktable is from the estate of George Rex Leghorn. You may not have read about this estate before, so I will retell the story. I received an email from Jennifer who is a little older than my 64+ years about whether I would be interested in her Dad’s pipes. My brother Jeff and I have been picking up a few estates here and there, so I was interested. Here is the catch – she did not want to sell them to me but to give them to me to clean up, restore and resell. The only requirement she had was that we give a portion of the sales of the pipes to a charity serving women and children. We talked about the organization I work for that deals with trafficking and sexual exploitation of women and their children and she decided that would be a great way to carry on the charitable aspect of her Dad’s character. With some great conversation back and forth she sent the pipes to Jeff and he started the cleanup process on them. Once he had finished cleaning them all he sent them to me to do my work on them.

The next pipe I chose to work on from the lot was an interesting Apple shaped Sasieni with a military type bit. The pipe is stamped Sasieni in script over FOUR DOT WALNUT over London Made over Made in England on the left side of the shank. On the right side it is stamped M “APPLEBY”. It has some beautiful flame and straight grain mixed with birdseye grain around the bowl sides and shank. It had a rich reddish brown stain but it was dirty and hard to see the colour well. There was a thick cake in the bowl and it had overflowed with lava was dirty and tired looking. There was some burn marks and lava on the rim top. The stem was badly oxidized with tooth marks and chatter on the top and underside near the button. The button was in excellent condition. There were four blue dots on the left side of the saddle stem. It had been sitting in boxes for a lot of years and it was time to move ahead with the restoration. Jennifer took photos of the pipes she was sending. I have included three she included from this pipe. When the box arrived from Jennifer, Jeff opened it and took photos of each pipe before he started his cleanup work on them. This interesting looking Sasieni with a round rim top and shank end was different from any that I have worked on in years past. This is a classic shape with a twist. The stem is faux military bit that sits tight against the rounded end of the shank. The pipe appeared to be in good condition underneath the grime and oxidation on the bowl and stem. The finish looked intact under the grime. The bowl had a thick cake that had hardened with time. The lava overflow on the rim but it could very well have protected the rim from damage. We won’t know what is under it until Jeff had cleaned it off. The stem was worn looking with a lot of deep oxidation and scratches in the vulcanite on both surfaces. There was some tooth chatter and bite marks on both sides at the button. Jeff took photos of the bowl and rim top to show the cake in the bowl and the lava build up on the edges of the bowl. It was thick and hard but hopefully it had protected the rim and edges from damage. The lava coat looks horrible and it points to a well-used good smoking pipe.Jeff took photos of the sides and heel of the bowl to show the condition of the finish – the grime and grit all over the sides and flat bottom of the bowl. It is a dirty pipe.Jeff took photos of the stamping on the left and the right side of the shank. The stamping was very readable. On the left side of the shank it read Sasieni in script over FOUR DOT WALNUT. Under that it reads London Made over Made in England. On the right side it read M “Appleby”. Jeff took photos of the top and underside of the stem showing the scratching, oxidation and light tooth damage to the stem surface and slight wear to the edges of the button. I looked on the Pipedia website to see if I could get a bit of background information on the Sasieni Four Dot Walnut (https://pipedia.org/wiki/Sasieni). I quote from that site the pertinent information on the brand:

Once Alfred took over the company in 1946, these elements changed in fairly rapid succession. The first thing to be changed was the nomenclature itself. In place of the elaborate “Sasieni” stamp of pre-war pipes, a simpler, though still script style, “Sasieni” was used. This can be seen on patent pipes which have the small, old style dots.

Soon after, Sasieni enlarged the dots themselves, and they formed an equilateral rather than an elongated diamond. My pet theory on this is the dots were enlarged to make up for the fact there were no longer eight of them, but I can’t prove it. Finally the patent number was discontinued, and the words “Four Dot” were added. The shank thus read:

Sasieni

Four Dot

London Made.

Somewhat later still, this was modified to reflect the finish, e.g. Four Dot Walnut, or Four Dot Natural. All these changes seem to have been made in the years between 1946 and 1950. Therefore a pipe with new style dots and old style stamping almost certainly has a replacement stem.

This system changed little if at all in the ensuing thirty years. When the company was sold in 1979, one of the first things the new owners did was to eliminate the town names from the shanks. The dots were enlarged yet further, and the Sasieni name, though still done in script, was larger, as was the rest of the shank nomenclature, which in all other ways was similar to the Pre-Transition nomenclature. While these pipes are not as collectible as the family made pipes, they were made with care and are high quality.

The pipe in my hand is stamped with four lines on the left side. Under the London Made stamp it reads Made in England. The left side could be a town name – M “Appleby”. This would date the pipe being made between 1946 and 1979. Sometime shortly after 1946 the words FOUR DOT were added. That gives a rough time frame for the making of this pipe.

I wrote to Al Jones (upshallfan here on rebornpipes) and asked what he knew about the brand. He sent back this response this morning. He confirms what I had figured out from the Pipedia article. He adds information that I could not find in terms of the M stamp.

That’s a beauty! Four Dot with town name (Appleby), made between 46-79. The Appleby is usually a tapered stem, but the M stamp indicated a military stem, a bit unusual. Great pickup. Four Dot’s have been one of the few pipes that are still currently holding their value… — Al

Now I had the information that I was searching for. The Sasieni that I have is an interesting Four Dot Sasieni with a military stem. Al says it is a bit unusual and I would concur having never seen one like this before. Thanks Al. 

Before I get on to cleaning up the pipe I thought I would once again include the tribute that Jennifer wrote to her Dad for the blog. She also sent some photos and an article that her Dad wrote for Jeff and me to be able to get a feel for him. I have included those below. Note in each of them that he is holding a pipe in his left hand. I asked her to also send me an email with a brief tribute to her Dad. Here is her tribute from an email to me.

Steve, I want to thank you again for accepting my dad’s pipes.  They were so much a part of my dad’s life that I could not simply discard them. But as his daughter, I was not about to take up smoking them either. *laughing* I think my dad would like knowing that they will bring pleasure to others.  I know that I do.

I’m not sure what to say about his pipes. I always remember Daddy smoking pipes and cigars.

First a bit about my dad. Though my father, George Rex Leghorn, was American (growing up in Alaska), he managed to join the Canadian Army at the beginning of WWII, but in doing so lost his American citizenship.  He was fortunate to meet a Canadian recruiting officer who told him the alphabet began with “A” and ended with “Zed” not “Zee”, and also told him to say that he was born in a specific town that had all its records destroyed in a fire.  When the US joined the war my dad, and thousands of other Americans who had made the same choice*(see the link below for the article), were given the opportunity to transfer to the US military, and regain their citizenship.

After WWII, my dad, earned his degree at the University of California Berkeley and became a metallurgist. There is even a bit about him on the internet.

He loved taking the family out for a drive, and he smoked his cigars on those trips. (As a child, those were troubling times for my stomach.)

I most remember my father relaxing in his favorite chair with a science fiction book in one hand and a pipe in the other… Sir Walter Raleigh being his favorite tobacco… and the pipes themselves remind me of him in that contented way.  If I interrupted his repose, he’d look up, with a smile on his face, to answer me.

It seemed he smoked his Briarwood pipes the most, though he had others.  At the time, it was only the Briarwood I knew by name because of its distinctive rough shaped bowl.  And it was the Anderson Free Hand Burl Briar, made in Israel, which I chose for his birthday one year, because I thought he might like that particular texture in his hand.

At least two of his pipes, he inherited from his son-in-law, Joe Marino, a retired medical laboratory researcher (my sister Lesley’s late husband)… the long stemmed Jarl (made in Denmark), and the large, white-bowled, Sherlock Holmes style pipe.  I believe Joe had others that went to my dad, but Lesley was only sure about those two.

The Buescher, corncob pipe my older sister Lesley bought for Daddy while on one of her travels around the States.

A note on the spelling of my sister’s name…

My dad met my mother, Regina, during WWII and they married in Omagh, Ireland.  My mother was English and in the military herself.  The English spelling of Lesley is feminine, and Leslie masculine, in the UK… just the opposite of here in the United States.  I guess my mom won out when it came to the spelling of the name.

I’ll send you photos of my dad soon, along with his WWII experience story.

Jennifer

*https://www.thestar.com/news/world/2013/10/22/the_americans_who_died_for_canada_in_wwii.html

Jeff cleaned the pipe with his usual penchant for thoroughness that I really appreciate. This one was a real mess and I did not know what to expect when I unwrapped it from his box. 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 finish looks very good with mixed grain around the bowl and shank. There was still some darkening on the front and rear edge of the rim. The briar was rough in those two places. He soaked the stem in Before & After Deoxidizer to remove the oxidation on the rubber. When the pipe arrived here in Vancouver for the second stop of its restoration tour it looked very good. I took photos before I started my part of the work. I took some close up photos of the blackened areas of the rim top and also of the stem surface. I wanted to show what an amazing job Jeff did in the cleanup of the rim top. But I also wanted to clearly show the damage that remained on the surface of the rim top. I also took close up photos of the stem to show the tooth marks and chatter in front of the button on both sides.I also took photos of the stamping on the pipe on the underside of the shank. It read as noted above.The next series of photos show the rim top when we received the pipe (photo 1), after Jeff had cleaned the lava off leaving some damage (photo 2) and my work on it (photos 3-4). I worked over the top and edges of the rim with a folded piece of 220 grit sandpaper followed by a piece of 400 grit wet dry sand paper (photo 3). One I had finished the rim looked very good. I was able to remove much of the damage and leave a clean rim (photo 4). I polished the bowl and rim with micromesh sanding pads. I wet sanded it with 1500-12000 grit pads and wiped it down between pads with a soft cotton cloth. You can see the progress in the shine as you go through the photos. I worked some Before & After Restoration Balm into the finish of the bowl and the rim top with my fingertips to clean, enliven and protect it. I find that the balm really makes the briar come alive again. The contrasts in the layers of stain really made the grain stand out. I let the balm sit for a little while and then buffed with a cotton cloth to raise the shine. The pipe really looks good at this point. I am very happy with the results.  I painted the surface of the stem with the flame of a Bic lighter to raise the tooth marks in the surface of the stem on both sides. I was able to raise some of them but some still remained. I sanded the remaining tooth marks on the stem with 220 grit sandpaper to blend them in and to remove some of the oxidation. I was able to remove much of the damage to the surface. What remained I filled in with clear super glue. I set the stem aside to let the repairs cure. Once the glue had cured I sanded the repairs smooth with 220 grit sandpaper until they were blended in to the surface of the stem. I wiped the stem off with a damp cloth to remove the sanding dust. I put the stem into a bath of Before & After Deoxidizer to let it do its magic on the oxidation that remained deep in the vulcanite. I let it soak for several hours.I took the stem out of the bath and rinsed it in warm water. I blew air through the stem to clear the airway and ran water through it as well. I dried it off with a microfibre cloth and buffed it dry to remove as much remaining oxidation as I could. I ran pipe cleaners and alcohol through the stem to further remove traces of the bath.I took photos of the stem at this point to show its condition.I polished the stem with Denicare Mouthpiece Polish and a cotton pad to scrub off remaining oxidation on the stem surface particularly around the curves. I buffed it with a microfibre cloth to raise a shine and check out the issues remaining.I polished the stem with micromesh sanding pads – wet sanding it with 1500-12000 grit pads. I polished it further with Before & After Pipe Stem Polish – both fine and extra fine. I finished by wiping it down with Obsidian Oil after each pad and set it aside to dry. I put the stem back on the bowl and polished the bowl and stem with Blue Diamond polish on the buffing wheel. I gave the bowl and the stem multiple coats of carnauba wax. I buffed the pipe with a clean buffing pad to raise the shine. I hand buffed it with a microfiber cloth to deepen the shine. The stain and the smooth finish on this briar combine well with the grain. The shine on it makes the variations of colour really pop. The pipe polished up really well. The polished black vulcanite military bit seemed to truly come alive with the buffing. The apple shaped pipe feels great in my hand and when it warms with smoking I think it will be about perfect. It must have been a fine smoking pipe judging from the condition it was when we received it from Jennifer. There should be a lot of life left in this Sasieni Four Dot Walnut “Appleby”. Have a look at it with the photos below. The dimensions are Length: 6 inches, Height: 1 3/4 inches, Outside diameter of the bowl: 1 1/4 inches, Chamber diameter: ¾ of an inch. This is one that will go on the rebornpipes online store shortly. If you want to carry on the pipe trust of George Leghorn let me know. Thank you Jennifer for trusting us with his pipes. Thanks to each of you who are reading this blog. Remember we are not pipe owners, we are pipemen and women who hold our pipes in trust until they pass on into the trust of the next pipeman or woman.

Recommissioning an Italian La Strada Scenario Canadian 130


Blog by Dal Stanton

Pipes come to me in many ways – pipe picking in bazaars, second-hand shops and antique shops.  The eBay auction block is another way I procure pipes to restore to benefit the Daughters of Bulgaria, our work here in Bulgaria helping women and girls who have been trafficked and sexually exploited.  Another gratifying way pipes have come to me are from people who hear about the Daughters and want to help.  They donate pipes from their own collections or pipes that were passed on from loved ones.  In 2017, my wife and I were in Butler, PA, speaking at a church that has financially and prayerfully supported the work we do in Bulgaria for many years.  We were invited to visit the home of Dan and Jane Hartzler, who we’ve known for many years.  We had a great time visiting and Dan said he wanted to give me something.  He brought out 4 very well-used pipes in a rack and offered them to me to use to benefit our work with the Daughters.  The pipes came from his now deceased father, Rex, who was an Ohioan all his life from his birth in 1922 till his final day in July of 2011.  When I receive pipes in this way I always try to find out about their former steward – it adds depth of story and meaning when I restore pipes that are passed on.Dan shared with me about his father during that visit and in subsequent emails after we departed Butler. It’s not possible to capture an entire lifetime in the brevity of this write-up, but I found very interesting was that Rex had a yearning for adventure in his early years.  When he started college in 1940, he also took flying lessons and subsequently joined the Navy pilot program during WWII.  This choice in his life as a young man brought him into an interesting role during WWII.  He piloted blimps flying protective duty over the Panama Canal – a critical naval east/west artery to connect the Atlantic and Pacific naval operations.  This description from BlueJacket.com is interesting and adds insight to Rex’s duties as a ‘lighter than air’ pilot.  The primary role of the blimp was directed toward anti-submarine warfare.  The toll on merchant marine fleets were heavy during the beginning years of the Atlantic theater supporting the Allied war effort in Europe.  The ‘Lighter Than Air’ units played a key role in turning the tide of these major naval losses.  To guard shipping using the Panama Canal, blimps were stationed on both the Pacific and Atlantic sides to ward off submarine attacks on shipping.  Dan told me that is father never piloted again after the end of the war and settled into married life in 1946 and raised a family in Ohio.

Dan looked for a picture of his father smoking his pipe that I could add but couldn’t find one.  One reason for this was probably the fact that Dan’s mother didn’t like pipe smoke in the house, so Rex would normally load up the bowl with his favorite blend and go outside where he walked among the trees – and by looking at some of the pipes that Dan gave me, we concluded that he probably knocked on the trees or on other hard surfaces to clear the ashes!  I’m thankful for Dan’s contribution of his dad’s pipes to benefit the Daughters.  I brought them back to Bulgaria and placed them in the ‘For “Pipe Dreamers” Only!’ collection online and this is where Jim found the Canadian he wanted to commission.  Jim came to my Dreamers inventory with Canadians on his mind.  After looking at different offerings he came down to Rex’s La Strada, which I was very pleased to commission and now, begin restoring this well-used La Strada Scenario from Rex to a new steward.

Jim added one more request for the La Strada Canadian when I began work on it.  He sent this short note with a link:

dal,
noticed this as an improvement for many pipes. would it do well for the pipe you’re working on for me?  https://pipedia.org/wiki/Airflow:_The_Key_to_Smoking_Pleasure

 jim

The title of the Pipedia article piqued my interest and it introduced me to debate regarding “opening” the airway in a pipe to improve the physics of airflow.  The author of the article, Ken Campbell, originally posted it to The Pipe Collector, the official newsletter of The National Association of Pipe Collectors (NASPC), I believe in 2011 where he makes a compelling argument.  Ken Campbell sited those who did not agree with his assessments, but what I found interesting was the science behind the proposition that increasing the diameter of the airway, if done correctly, according to the author. can enhance the enjoyment, reduce gurgles, difficulties in keeping the bowl lit, etc.  A step closer to pipe smoker’s nirvana!  The science is interesting, and whether it’s correct or not, I’m not sure, but it’s compelling.  I’m repeating this paragraph from Campbell’s, ‘The Key to Smoking Pleasure’ in toto including the pipe artisans he sites to make his case:

My first clue came from an article I read in Pipes & Tobacco in the Winter/1996/97 edition, early in 1997. The article was entitled “Nature’s Designs” by Dayton H. Matlick and was about Lars Ivarsson, his pipe making and some of his philosophy and knowledge about smoking. I quote Messrs. Matlick and Ivarsson from this article: “Unrestricted airflow through the entire channel is essential for an easy-smoking pipe….’Once you pick the shape and size of pipe you like, test the airflow,’ says Lars Ivarsson. ‘Draw in through the empty pipe at normal smoking force. There should be no sound or, at most, a deep, hollow sound. This means the airflow is not restricted, an essential element of a good-smoking pipe. If you have any whistling sounds,… meaning restricted airflow, you will probably have trouble keeping it lit and it will probably smoke wet. According to Lars, ‘You’re getting turbulence in the airstream when you exceed a certain speed. The sound of that turbulence indicates that the smoke will get separated. Smoke is actually microdrops of moisture containing hot air and aroma. When air passes quickly through a restricted passageway, turbulence moves the heavy particles, including the moisture, to the perimeter, like separating cream from milk. This can be caused by too small a diameter or sharp corners in the smoke passage [which is] an extremely important issue….[T]he physics of the boring of your pipe will definitely have an impact on the taste of the pipe and your smoking pleasure. For all of his pipes, Lars uses a four millimeter [Ed. about 5/32nd of an inch] channel from one end of the pipe to the other. This may vary with the pipe maker, but the sound test will still hold true.”

The article is interesting, and I’m always interested in trying new things to expand my restoration repertoire, so I responded to Jim saying that I would give it a try, but because I had not done this before, I would need to research it more to make sure I get it right.  So, opening the airway of this La Strada Scenario Canadian is what I need to investigate and look for longer drill bits to add to my collection.

These were the pictures of Rex’s Canadian posted in ‘For “Pipe Dreamers” Only!’ that got Jim’s attention.

‘La Strada’ simply means, ‘The Street’ in Italian.  The information gleaned from Pipedia and Pipephil.eu (See LINK) point to the La Strada name being primarily an Italian pipe production made for export, especially to the US.  Pipedia also added this bit of information: La Strada was an Italian export brand. Its large formats had some success in the USA, and were included in the 1970 Tinder Box catalog.  Steve restored a very nice looking La Strada Staccato found on rebornpipes (See LINK) where he posted this page from Tinderbox showing La Strada Offerings.  The Scenario shown on this page is a Bent Stem Sitter.  Interestingly, the Staccato example is the Canadian shape that I have on the worktable. As I was looking at the Staccato line, I recalled that I have a nice quarter bent Billiard La Strada Staccato in the ‘For “Pipe Dreamers” Only!’ collection available for commissioning!  The ‘strapped’ sculpting and matte finish is the Staccato hallmark which I like.Looking at the La Strada Scenario Canadian now on the worktable, it is evident that it was put in service a good bit and the thick, uneven cake in the chamber shows this.  The lava over the rim is also thick revealing the signs of Rex’s stummel thumping practice as he would flip the Canadian over in his hand and thump it on a nearby tree to dislodge the ashes.  I take a few pictures below focusing in this area.  The rim’s fore section is nicked and chipped from this.  The second picture is looking at the back side of the bowl and the darkened area over the rim which was most likely how Rex lit his pipe.  Both pictures reveal the grime covering the stummel in need of cleaning.  The short stem of the Canadian reveals deep oxidation in the vulcanite and bite compressions on the upper- and lower-bit areas.With the initial assessment of the pipe’s condition completed, I begin the restoration by adding the stem to a soak of Before & After Deoxidizer to begin addressing the deep oxidation in the stem.  I don’t believe that the soak will fully remove the oxidation, but this is a start in the right direction.  The first picture below shows the La Strada on the far right after the communal activity of cleaning the airways before putting the stems into the soak.  Using pipe cleaners wetted with isopropyl 95%, I ream out the oils collected in the airways.  I not only am cleaning the airway but sparing the B & A Deoxidizer bath from undo contamination!  The stuff is expensive, and I want it to stretch as long as possible!  After cleaning the airway, I place the La Strada’s stem in the bath for several hours. After some hours, I fish the stem out of the bath and drain the excess Deoxidizer back into the bath.  I then use a cotton pad wetted with isopropyl 95% to wipe the stem down removing the raised oxidation resulting from the soak.  I also clear out the airway of fluid and clean it again with pipe cleaners wetted with isopropyl 95%.  As expected, my naked eye still detects the dark green evidence of residual oxidation in the stem – the pictures do not pick it up.  For now, to start the stem revitalization, I coat the surface with paraffin oil (a mineral oil) and put the stem aside to absorb the oil and dry. Now, looking to the Canadian stummel, I take a close-up of the chamber area showing the thick carbon cake. To address this, I start by reaming the chamber with the Pipnet Reaming Kit starting with the smallest of the 4 blade heads available.  After putting down paper towel to help in cleaning, I go to work.  Reaming the chamber not only cleans and gives the chamber a fresh start, but it allows me to see the briar underneath the cake to identify any potential burning issues with the chamber. I use 3 blade heads to ream the chamber then I shift to using the Savinelli Fitsall Tool to further scrape the chamber wall and to reach down to the floor of the chamber. After this, I sand the chamber using 240 grade paper wrapped around a Sharpie Pen to give me reach and leverage as I sand.  Sanding removes the final carbon cake hold outs and helps smooth the chamber surface.  The second picture shows the full arsenal of tools used to address the chamber reaming. After I wipe the carbon dust with a cotton pad wetted with isopropyl 95% to clean, I give the chamber an inspection.  About 2/3s down into the chamber there are evidences of some heat cracking which I don’t believe are serious enough to address with more than providing a new protective layer on the chamber wall.  I’ll do this later with a coating of either pipe mud or using a mixture made from activated charcoal and yogurt (or sour cream).  I take two pictures, the first with an open aperture to see more clearly the cracking.  Below the cracking, a small reaming ‘shelf’ has developed from too much forced pressure from the reaming tool.  I’ll work on smoothing that out with sanding aiming for a uniformed chamber contour. Next, to address the grime and oils on the Canadian bowl and long shank and to work on the lava flow on the rim, I first take a few pictures going ‘around the horn’ showing the starting condition. Next, I start by using undiluted Murphy’s Soap with a cotton pad and scrub the surface.  I also use a Winchester pocketknife to carefully scrape caking on the rim.  A brass wire brush also helps in this effort on the rim which helps clean but does not add to the rim erosion.  I start with the scrubbing using the Murphy’s Soap and work through scrubbing the smooth surface and scraping and brushing with the brass wire brush the rim area.I do an initial rinsing of the soap in the sink, and then immediately dive into cleaning the internals using pipe cleaners and cotton buds dipped in alcohol as well as the full range of long shank brushes reaching through the long Canadian airway.  I also excavate much oil grime and tars from the mortise and reaching into the airway using a dental spatula.  I then take the stummel to the sink, and using warm water, I rinse the stummel again and use dish soap and warm water with the shank brushes to continue cleaning the airway.  This picture shows the conclusion of the carnage!After completing the cleaning, I inspect the external surface and am glad to find no large fills or holes revealed after the cleaning.  I like the potential of this briar to come out well.  But I do detect one more problem to add to the list. Looking closely at the distinctive vertical grain pattern running upward from the heel just to the right of the shank, I detect a crack.  At first, I think that it may simply be a ‘gap’ between the grain lines, but the more I look at it, I believe it’s a crack that needs to be addressed or it will possibly grow along the grain line. I decide to address this problem straight away.  I first mark the terminus points on each side of the crack.  Using a sharp dental probe tool, I press an indentation at each of these points.  I need a magnifying glass to correctly identify the ends of the cracks.  I press these indentations at the end points for two reasons.  First, I can better see where I need to drill counter-creep holes with the Dremel, but also the probe holes create a guide hole or a starter to guide the Dremel’s drill bit which I’m applying freehand!  The first two pictures are of the lower guide hole and then the next two, the upper guide hole. Next, I mount a 1mm drill bit in the Dremel and with a steadier hand than usual, I drill both counter-creep holes freehand. The guide holes help a good bit.  The picture shows the holes drilled at each end.  Not bad!I use a thin CA glue to run along the crack to shore it up as well as in the counter-creep holes.  I use thin CA glue to encourage seepage into the crack to provide a better seizing of the crack.  I then sprinkle briar dust over the holes and the crack to encourage blending.Not long after, the crack patch has set up enough for me to continue my work on the stummel.  I turn my attention to the battered rim.  There is no question that it will be visiting the topping board.  I take another closeup of the fore section of the rim to show its raw, battered condition.  The second picture shows the deterioration of the front side progressed to the point it appears to be sloped forward.  The normal disposition of the plane of the rim on the Canadian will be close to parallel to the shank.  I’ll need to remove some of the rim to bring proper orientation back to the rim. I cover the chopping board with 240 grade paper, and I start rotating the inverted stummel over the paper.  I intentionally lean to the rear to help move the rim line toward level.  The next pictures show the progression of topping. At this point I’m satisfied with the progression.  The rim has evened out and even though there are residual chips on the front side of the rim, I believe the small ones can be dispatched with a slight beveling.  The larger ones remaining will need more attention.I switch to 600 grade paper on the chopping board and give the stummel a few more rotations to smooth the surface more.The smaller skinned-up area on the right should disappear with some gentle bevel sanding.  I’ll first apply some briar dust putty to the larger remaining chips on the left, and then sand these areas out.  One larger chip remains on the aft of the rim which will also receive a fill of briar dust putty.  It should work well.I use a plastic disc to serve as my mixing pallet and I also put down some strips of scotch tape to help with the cleanup.  I mix some briar dust with regular CA glue.  I first put a small mound of briar dust on the pallet and then add a small puddle of CA glue next to it.  I gradually draw the briar dust into the CA glue until it thickens enough to trowel to the chipped areas using a toothpick.  The pictures show the progress. With the patches on the rim curing, I turn to the La Strada Scenario’s short Canadian stem.  When the stem came out of the Before & After Deoxidizer soak, I noted that I could still detect deep oxidation.  I need to address this, but first I will work on the tooth compression on the bit.  They aren’t severe.  First, I use a Bic lighter and paint the bit with the flame to heat the vulcanite.  When heated, the physics of the rubber expands with the heating and hopefully will lessen the severity of the compressions.  This works well, but I still need to sand.  I sand using 240 grade paper to work on the remaining tooth compressions and the residual oxidation.  I use a plastic disk I fabricated to sand against to avoid shouldering the stem facing.  I also use a flat needle file to sharpen the button definition.I widen the aperture on this picture to show the continued residual oxidation near the disk – more sanding needed.After using the file and 240 grade paper, I wet sand the stem using 600 grade paper then follow using 0000 steel wool. I like the progress.I’m on a roll with the stem.  Next, I wet sand using micromesh pads 1500 to 2400.  I follow by dry sanding with pads 3200 to 4000 and 6000 to 12000.  After each set of 3 pads, I apply a coat of Obsidian Oil to further rejuvenate the vulcanite stem.  I love the newly polished vulcanite pop! The briar dust patches filling out the chips on the rim are fully cured.  Using a flat needle file, I first work to file the excess patch material on the topside of the rim.  I file the excess briar dust patch down until close to the rim surface. When each of the three main patches are filed down vertically, I switch to filing the sides of each patch down close to the briar surface. I then take the stummel back to the topping board and light turn a few revolutions on 240 grade paper and then 600 grade.  This brings the patches down flush with the rim.Using 240 grade paper again, I create a soft bevel on the external rim lip.  This both shapes the patches and cleans up the smaller nicks on the circumference of the rim’s edge. I also do the same on the internal edge of the rim.Finally, I go over both the external and internal bevels with 600 grade paper to smooth and blend.  I like what I see!  This phase of the rim repair is complete.Next, I address the crack repair patch.  Again, I use a flat needle file to file the excess material down to the briar surface then follow with 240 and 600 grade papers. While I have the sandpaper handy, the front of the bowl has some skins and pits.  I quickly dispatch these using 240 and 600 grade papers. I follow the rough sanding by utilizing sanding sponges before the micromesh regimen.  I use a coarse, medium, and then light grade sanding sponge and sand the entire surface.  I’m careful around the nomenclature on the shank.  I like using the sanding sponges to clean the surface of minor imperfections, but they are not invasive.Turning now to the micromesh pad regimen, I wet sand using pads 1500 to 2400.  I follow by dry sanding with pads 3200 to 4000 and 6000 to 12000. Wow!  I’m liking the way this grain is coming out. I’ve come to a juncture and decision point.  The grain has come out beautifully and I like the rich honey brown tone of the briar.  Yet, the patches on the rim and for the crack repair stand out and to me, distracting.  The pictures below show this and for this reason, I decide to apply a darker hue to mask the repair work. The patches will not disappear totally, but the contrast will be minimized.  I like using Fiebing’s Dark Brown for this purpose.  As an aniline – alcohol-based dye, I can lighten it by wiping the stained surface with a cotton pad wetted with alcohol. After I assemble all the components for staining on my worktable, I warm the stummel using a hot air gun to expand the briar which enhances the reception of the dye pigment.  After the stummel is warm, I use a folded over pipe cleaner to apply the dye.  I apply the dye in swatches and then flame the aniline dye with a lit candle.  The alcohol combusts and sets the pigment in the grain.  After I methodically apply dye and flame the entire stummel, I repeat the process again assuring thorough coverage.  I set the stummel aside to rest through the night to allow the new dye to settle in.  And for me, I turn out the lights and call it a day. The next morning, the flamed stummel has had enough time to rest the new dye.  To ‘unwrap’ the stummel removing the crust, I mount a felt buffing wheel on to the Dremel, set it at the slowest possible speed and begin the methodical process of both removing the crust as well as polishing the briar with Tripoli compound. I stop to take a picture during the process to show the emerging briar grain after the staining process.  It’s amazing as I uncover the briar.  I’m pleased with the hue that I’m seeing. Not pictured above is that I changed the felt wheel to a cotton cloth buffing wheel, increased the speed of the Dremel to about 40% full power and when over the entire surface again with Tripoli compound.  Unlike with the felt wheel, with the cotton wheel I can reach into the crook of the shank and bowl to apply compound removing the crust.  I also fine tune the polishing using the cloth wheel – it brings out and sharpens the grain a step more.

Below, after completing the use of Tripoli compound, I wet a cotton pad with alcohol and I very lightly wipe the stummel.  This helps to blend the newly applied stain as well as lighten the finish a bit.Next, I rejoin the stem and stummel (after I took this picture!) and mount another cotton cloth wheel to the Dremel, maintaining the same 40% power setting and I apply Blue Diamond compound to both stem and stummel.  After completing this, I wipe the pipe down with a felt cloth to remove the compound dust before applying wax.Before applying wax, to provide the chamber with a starter layer to encourage the develop of a protective cake, I mix Bulgarian natural yogurt and activated charcoal to form a mixture which I apply to the chamber walls.  After I stick a pipe cleaner through the stem and the draft hole, to guard the airway from being blocked, I mix the yogurt and charcoal dust to a point where the mixture does not drip off the pipe nail tool as I hold a dollop of the mixture in the air.  I then apply and spread the mixture over the chamber evenly and fully.  Satisfied with the progress, I then put the mixture aside for it to set-up after a few hours. I then mount another cotton cloth wheel to the Dremel and apply a few coats of carnauba wax to the Canadian.  To finish the restoration, after applying the wax I give the pipe a hearty hand buffing with a microfiber cloth to raise the shine even more.

Before completing the restoration, I received an email back from Jim regarding his request that I ‘open’ the airway from the factory drilling to a .4mm width.  I did some reading and found a long enough .4mm drill bit to do the job.  Yet, while it would not be a difficult thing to open the straight Canadian airway, my concern was that I really could not change the airway construction of the small, Canadian stem.  I didn’t know whether this continued compression point of the air passage would defeat the physics advantage of opening the airway.  I left it to Jim to decide and what he decided to do was to first test the airway’s factory diameter and then open the airway himself to compare smoking experiences.  This sounded good to me and I hope to hear from Jim the results of this comparison.

What can I say?  Rex’s La Strada Scenario Canadian has been reborn and ready to begin a new lifetime!  The pipe required some attention, but I’m pleased with the masking of the patches on the rim and for the crack repair.  The grain is exceptional on this Italian La Strada.  The bowl showcases both flame and vertical grains with some bird’s eye on the heel.  The longer Canadian shank is also a great plus – a cooler smoking experience.  Jim saw the potential of this Canadian in the For “Pipe Dreamers” Only! collection and since he commissioned it and waited patiently for me to restore it, he has the first opportunity to purchase the La Strada Canadian from The Pipe Steward Store which benefits the Daughters of Bulgaria – helping women and girls who have been trafficked and sexually exploited.  I thank Dan Hartzler for donating this pipe for this purpose, and I thank you for joining me!

Bringing a Silver Match Toronto 115 Squat Lumberman Back to Life


Blog by Dal Stanton

I acquired this Silver Match Toronto from what I have called, the ‘French Lot of 50’.  It was on the French eBay auction block and I was fortunate enough to have the winning bid.  When the Lot arrived here in Bulgaria from France, I unpacked it, took pictures of each pipe and posted them in the ‘For “Pipe Dreamers” Only!’ collection for potential new stewards to find and commission.  I have already restored many treasures in this French Lot of 50 for new stewards.  Robert saw the Silver Match Toronto 115 Squat Lumberman in the ‘Dreamers Only!’ collection and wrote me about commissioning it.  In my interchanges with Robert describing the pipe and what was involved in commissioning it, he wrote this in response:

Dal I’m still interested in commissioning the lumberman pipe and I’m in no rush. My wife and I just had a baby he just turned 1 week old! I found out about your restorations on Facebook on The Gentleman’s Pipe Smoking Society.  Thanks for returning my email and I can’t wait to see the outcome of this little pipe!

I also found out that he and his family reside in central Virginia and when we were writing, it was getting ready to snow where he lived!  Well, that was last November, and it has taken this long for Robert’s Lumberman to work its way up the queue and I’m thankful for Robert’s patience! – As well as all the stewards who commission pipes which benefit the Daughters of Bulgaria – women and girls who have been trafficked and sexually exploited.  Here’s a picture of the original Lot of 50 in the ‘wild’ that I saw on eBay – the Lumberman it identified with an arrow.Now with Robert’s commission on my worktable, I take more pictures to show this smart squat Lumberman – I call it ‘Squat’ but the bowl is large and will handle a nice packing of one’s favorite blend. The nomenclature is stamped on the upper and lower sides of the oval stem.  On the upper is stamped ‘SILVER MATCH’ [over] ‘TORONTO’.  The lower shank bears what I’m assuming to be a shape number: ‘115’.  The stem is also stamped with a design which I assume is the flame of a match being depicted – my best guess at this point, but I’m not sure! The information about the Silver Match name is thin.  A quick search on the internet shows that Silver Match has been the name of tobacco accessories manufacturer since the 1800s, but mainly of lighters.  Silver Match lighters seem to be highly collectable with vintage lighters dating back to the 1800s but most listed that I saw have a French origin.  The only information in Pipedia refers to Silver Match in the list of British pipe makers as an inexpensive brand sold by Roy Tallent Ltd., and marked with the stamping SM (LINK).  This is confirmed in my copy of Wilczak & Colwell’s, ‘Who Made That Pipe?’ that Silver Match has English origins and manufactured by Roy Tallent LTD/S’Elite LTD – both of which seem more to be in the accessories market than focusing on the manufacturing of pipes.  Pipephil.eu (LINK) brings these two together in the following panel.  It pictures pipes distributed by the famous lighter brand, Silver Match, but shows the two different stem stampings that may indicate either French or British manufacturing – the flame (French) and the SM (England).  If this is correct, the Silver Match Toronto 115 has a French origin, but I found no other information to corroborate this.  Arriving from France in my ‘French Lot of 50’ is anecdotal evidence perhaps supporting this.I’m calling this Silver Match a ‘Squat’ Lumberman because he meets all the qualifications of his place in the Canadian family with the oval shank, but he’s on the shorter side but I’m impressed with the nice ample bowl. I did look at both French and British made shape charts to see if I could discover a lead on who produced the Silver Match but found no matches with 115 that provided this information.

I can see some nice briar underneath the thick layer of grime over the briar surface, but I see one large fill that will need attention on the lower shank near the shape number.  The cake is thick in the chamber with corresponding lava covering the rim.  The stem has oxidation and the button is chipped and will need to be rebuilt.  With this inventory of the challenges this Silver Match Toronto Lumberman faces, I start the restoration by adding the oxidized stem to a soak of Before & After Deoxidizer along with other pipes in the queue.  I first clean the airway with a pipe cleaner wetted with isopropyl 95%. After several hours I fish the Silver Match stem out of the Deoxidizer and use a cotton pad wetted with alcohol to wipe off the raised oxidation. I also run another pipe cleaner wetted with isopropyl 95% through the stem to clean the Deoxidizer remaining in the airway.The Before & After Deoxidizer does a good job and it preserves the white in the Silver Match stem stamp logo – I still can’t figure out for sure what it’s depicting!  I follow by applying paraffin oil to the stem to begin the rejuvenation process.  I put the stem aside to dry and absorb the oil. Next, I address the very thick cake in the chamber.  The chamber is almost closed off as the cake angles down the chamber.  Using the Pipnet Reaming Kit, starting with the smallest blade head, I use 2 blades of the 4 available to me.  I follow the reaming by using the Savinelli Fitsall Tool to further scrape and clean out the carbon build-up.  Finally, I sand the chamber after wrapping a piece of 240 grade paper around a sharpie pen to give me reach and leverage.  To remove the carbon dust, I wipe the chamber with a cotton pad wetted with isopropyl 95%. After the cleaning, I inspect the chamber and it doesn’t have any cracks and fissures from heating damage.  It looks good!Next, I continue the cleaning by using undiluted Murphy’s Soap on the external surface using a cotton pad to scrub.  I also use a Winchester blade to scrape the rim addressing the thick lava you can see in the picture above. I also use a brass wire brush on the rim which doesn’t damage the briar.  After being in India, I learned about some of Jeff Laug’s (Steve’s brother) cleaning techniques and I decide to employ some of them.  After cleaning the stummel with Murphy’s, I take the stummel to the sink and clean the external surface with a bristled toothbrush with regular dish soap – the kind that is anti-oil.  I also use shank brushes to clean the mortise with the dish soap and warm water. After rinsing well, I dry the stummel with a cloth.  It came out well.As I observed earlier, there is a very large fill on the underside of the shank.  As expected, the cleaning of the stummel softens the old fill material and most of it fell out with the cleaning.  Using a sharp dental probe, I continued to excavate the material from the hole to clean it.Addressing the internals, I now use cotton buds, pipe cleaners, shank brushes and a dental spatula to scrape the mortise wall.  Using my tools to clean takes a bit of effort, but after some time, the buds started coming out lighter.  Later I will give the internals a further cleaning using a kosher salt and alcohol soak.Next, I patch the huge crater on the shank.  After I make sure all the old fill material has been removed, I clean the hole with alcohol. In the recent trip to India I discovered that there was some mild controversy around my method for filling holes using a putty created by mixing CA glue and briar dust.  Both Steve and Paresh said that they could not duplicate what I’ve been doing for some time – mixing the two components and creating a putty that remained supple.  What they experienced was the CA glue instantaneously solidifying when it touched the briar dust.  We discussed many different possible factors that would cause this difference in results – elevation, kind of glue, etc.  Another possible difference I suggested was that when I used an index card as a mixing platform, I would first cover the card with a strip of packing tape so that the glue would not be absorbed into the paper – which may, if it did absorb, cause the CA to solidify more rapidly.  Both Steve and Paresh were mixing on an index card surface without the tape.  I don’t know if they’ve had better results yet!  I decide to use a plastic lid as my new mixing platform.  You can see that I also put some scotch tape down so that I can clean easily.  I place briar dust on the tape and add BSI Extra Thick Max-Cure CA glue.I gradually pull briar dust into the puddle of CA glue and mix it with a toothpick.  I don’t overwhelm the glue with a lot of briar dust but gradually mix more in.As you can see, the CA is not solidifying as I add more.When the resulting mixture thickens to that of molasses, I use the toothpick and trowel the putty to the shank and fill the huge hole.  After filled, I put the stummel aside to allow the briar dust putty to cure.With the hour becoming late, I further advance the internal cleaning with a kosher salt and alcohol soak.  The patch on the shank has set up sufficiently.  I fashion a ‘mortise wick’ using a cotton ball. I stretch and twist the cotton until it creates a wick that will serve to draw out the tars and oils from the mortise.  I stuff the wick down the mortise with the help of a stiff wire.  After placing the stummel in a egg carton for stability, I fill the bowl with kosher salt which doesn’t leave an aftertaste as does iodized salt.  I then add isopropyl 95% to the bowl until it surfaces over the salt.  After a few minutes, the alcohol absorbs, and I top off with some additional alcohol and then put the stummel aside to soak through the night.   The next morning, I see what I was hoping to see.  The salt has soiled and after I draw out the wick it shows that it has continued the internal cleaning process of drawing out the tars and oils. After thumping and dumping the expended salt in the waste, I wipe the bowl with a paper towel and blow through the mortise to remove the salt crystals.I follow with a pipe cleaner and cotton bud wetted with isopropyl 95% to clean residue left behind after the soak.  I find that the internals are clean and refreshed for the new steward.  I move on!The crater fill on the lower side of the Lumberman shank has cured, and I begin the process of removing the excess briar putty using a flat needle file.  I file the mound down almost to the briar surface and then I switch to sanding with 240 grade paper to bring the patch flush with the briar surface. As is often the case, from the picture above, you can see the air pockets left in the sanded patch material.  To blend this, I touch up the patch with a dye stick after sanding the patch further using 600 grade paper.Turning now to the rim, the front and sides of the rounded rim have been skinned up a good bit which the following two pictures show. I use 240 grade paper on the rim and go with the rounded rim flow and sand out the roughened areas around the rim. I follow the rim sanding using sanding sponges over the entire stummel, including the rim.  I use a coarse sponge, followed by a medium sponge and finish with a fine sanding sponge.  The briar on this Silver Match Toronto is expressive and It’s coming out nicely with the sanding. After the sponge sanding, I identify a pit on the lower left side of the bowl. I decide to apply a clear CA glue patch to fill this pit.  After cleaning this area with alcohol, I blacken in the pit using a fine point Sharpie Pen then apply a drop of regular clear CA glue and set the stummel aside for the glue to cure. Not long after, the CA glue cures and I file the patch with a flat needle file followed by 240 and 600 grade papers. The result of this quick patch looks good.Waiting in the wings is the short stem of the Lumberman which sports a chipped button.  The button will need to be rebuilt using a mixture of activated charcoal powder and CA glue.I form an initial triangular insert from index card stock which fits into the slot of the button fully.  I had covered the inserted part with a layer of scotch tape to serve as a barrier to the patch material – to easily be able to remove the insert after the charcoal powder and CA mixture cures.  I then insert another triangular piece of card stock into the initial insert.  This serves to expand and tighten the insert.I open one capsule of activated charcoal dust on the plastic disc (also put a few strips of tape down for easier cleaning) and add BSI Maxi-Cure Extra Thick CA glue in a small puddle next to the charcoal powder and mix in gradually using the toothpick.  As with the briar dust putty, I draw charcoal powder into the CA glue until it reaches the viscosity of molasses and then trowel the putty to the stem to fill the missing button cavity. I trowel enough to fully over-coat the area.As hoped, after the charcoal patch sets up after a few minutes, with a bit of wiggling, the insert comes out leaving the slot and airway clear of the patch material.After several hours, the patch material has fully cured, and I go to work using a flat needle file.  I first work on clearing the excess patch material on the end of the stem.To more rapidly remove the mound of excess patch over the button I employ a small sanding drum mounted on the Dremel.  This removes the patch material very easily. I follow using the flat needle file to bring about the fine shaping of the button repair. I follow the filing and shaping of the button with 240 grade sanding paper to further smooth and shape.  I notice significant air bubbles being revealed by the sanding – ugh…Following the 240 paper, sanding with 600 grade paper and 0000 grade steel wool – upper and lower stem, brings out the air pockets even more distinctly. To address the significant presence of air pockets in this button repair, I first darken the pockets with a fine point Sharpie Pen then I paint thin CA glue over the button lip.  I put the stem aside for the CA to cure.Putting the stem aside for the time, I turn back to the stummel sanding it with the full regimen of micromesh pads.  Beginning with pads 1500 to 2400, I wet sand the stummel.  Following this, I dry sand using pads 3200 to 4000 and 6000 to 12000.  Wow!  The grain on this Silver Match Lumberman is nice.  You can tell that when the grain patterns in the briar are random, as in this stummel, it is usually a good indication that it was cut from the upper part of the burl which is called the ‘branch wood’ section where the branches of the briar shrub form.  This article I’ve found helpful in understanding better the nature of briar grain – Published in Pipes & Tobaccos, Fall 1999, GRAIN: The first of an infrequent series of articles concerning THE BRIAR PIPE By R. D. Field (See: LINK).  The grain that emerges through the micromesh process is very nice – the Silver Match Toronto is shaping up well. The thing that bothers me like a burr under a saddle is the huge crater fill on the underside of the shank. Even with a darkened stain to mask the fill, it will still be there.  Yet, the light briar surrounding it in the current state is too much contrast for me to swallow!  I come to a decision to stain the stummel a dark brown to provide as much blending as possible and to use the staining process to tease out in greater contrast of the grain. I assemble on the worktable all the needed components for applying stain to the stummel.  I will use Fiebing’s Dark Brown Leather Dye with the possibility of lightening the dye because it’s an aniline dye – alcohol based.  I can wipe it with a cotton pad wetted with alcohol to lighten the finish and blend it.  I first clean the surface using isopropyl 95% and a cotton pad and using a cork inserted into the shank as a handle, I heat the stummel with a hot air gun.  This expands the briar and helps the grain to be more receptive to the dye.  I then use a folded over pipe cleaner to apply dye in swatches and then I flame the wet dye using a lit candle.  This immediately combusts the alcohol in the dye and it sets the dye pigment into the surface.  I methodically apply dye to the surface and flame as I go.  I then set the newly dyed stummel aside to allow the dye to rest – I’ll let it sit through the night.  This helps setting the new stain so that it will not come off on the hands when the stummel is first fired up when it goes into service. With the stummel resting, I return to the patched button addressing the air pockets.  Unfortunately, I forgot to take pictures during this process, but the result is shown.  I use a flat file to remove the some of excess patch material and then gently sand with 240 grade paper and 600 paper.  I finish this phase using 0000 steel wool over the entire stem.  I’m not 100% satisfied with the button rebuild, but the stem is structurally ready to return to service.I move straightaway to using micromesh pads on the stem.  I begin wet sanding with pads 1500, 1800, and 2400 and follow with dry sanding with pads 3200, 3600, and 4000 and finish with pads 6000, 8000 and 12000.  Between each set of three I apply Obsidian Oil to the stem to help rejuvenate the vulcanite and the expected high-level gloss of the stem makes an appearance.  Nice.  I put the stem aside to dry and absorb the oil. The newly stained stummel rested through the night and it’s time to unwrap the stummel from the flamed crust residue revealing the grain below.  To do this I mount a new felt cloth buffing wheel to the Dremel and set the speed to the slowest possible to reduce the possibility of overheating with the friction.  I then apply Tripoli compound to the entire stummel.  I have been asked how long this process takes as I ‘plow off’ the crust and ‘clean’ the residue dye revealing the grain detail.  I timed it this time and the Tripoli compound application took me one hour and 10 minutes – yep, that long. When the help of my wife, she takes a picture of the process of removing the crust and revealing the hue of the newly stained briar underneath.  I’m pleased with the results.  The crater fill on the underside of the shank almost disappears as it blends with Fiebing’s Dark Brown Leather Dyed grain.  After I complete the application of Tripoli with the felt cloth wheel, I switch to a cotton cloth wheel, increase the speed to about 40% full power, and again apply Tripoli to the stummel.  I do this for two reasons.  First, with the cotton cloth wheel I’m able to reach into the crook of the bowl and shank which the felt cloth wheel cannot reach.  Secondly, I find that it sharpens the grain presentation as additional excess dye is taken away.  The result is almost like a luminescent effect. After applying the Tripoli, I give the stummel a gentle wipe with a cotton pad wetted with alcohol.  This lightens the hue a bit and helps blend the new dye.Next, I mount another cotton cloth buffing wheel and maintain speed at 40% and apply Blue Diamond compound, less coarse than Tripoli, to both stummel and stem.Next, I again detach the stem and I want to freshen the Silver Match ‘flame’ stamping.  It took me a while to figure out that was what it was – at least that’s what I think it is!  I apply white acrylic paint over the stamp and then gently wipe it off while still wet using the flat side of a toothpick. I use a cotton bud and the point of the toothpick to clean off the excess. The result is about 80% success.  The upper part of the flame wasn’t deep enough to catch the paint.  The result still looks good.After reuniting the stem and stummel, I mount another cotton cloth wheel to the Dremel, maintaining 40% full power, and apply carnauba wax to the entire pipe.  I give the pipe a few coats of wax then I give it a rigorous hand buffing with a microfiber cloth to raise the shine and complete the restoration of this nice looking pipe.

This Silver Match Toronto Squat Lumberman came out well.  The grain is striking with a smattering of swirls, waves, bird’s eye, and flame…, it’s an expressive piece of briar!  The darkened stain works great and masked the fill on the underside of the shank almost to perfection.  I’m pleased with the button rebuild, though I want to work more on reducing the air pockets in the process.  Overall, this stout Lumberman is ready for service.  Robert commissioned him and has the first opportunity to purchase this pipe from The Pipe Steward Store.  This pipe benefits the Daughters of Bulgaria – helping women and girls who have been trafficked and sexually exploited.  Thanks for joining me!

Restoring my Grandfather’s “Brakner” with Steve and Jeff Laug


Blog by Paresh Deshpande

How often does it happen in one’s life that the person/ persons you are very keen to meet do finally meet up for a week or so? This, especially with the background when each of these friends is from across the world, has to cross the seven seas, numerous hurdles of visas and fine tuned itineraries of all the stake holders!! Well, believe you me readers, these remain as the most treasured days.

I recently had this great experience when Mr. Dal Stanton (The Pipe Steward) from Sofia, Bulgaria, Mr. Steve Laug (rebornpipes.com) from Vancouver, Canada and his brother Jeff from Idaho, USA, visited my family. The following week was a flurry of activities, which also included learning the finer nuances of pipe refurbishing while restoring some nice pipes from my grand old man’s collection, it was something like OJT (on the job training). One such pipe that was selected by Steve was this Brakner. This pipe was nowhere in the “To Restore” list of pipes that I had drawn out as I thought it to be some run-of-the-mill pipe, but was cherry picked by Steve with a smile while sifting through the pile of pipes.

This uniquely rusticated billiard shaped pipe is stamped on the smooth surface on the left side of the shank as “BRAKNER ANTIQUE” over “DENMARK”. The smooth surface on the right side of the shank is stamped as “HAND-CUT” followed by # 108, most likely the shape number. The vulcanite stem is adorned with a green dot (larger than a Dunhill stem logo), which has now faded to a light brown color. There is a smooth band around the end of the shank.I researched this maker and it was then that I realized the uniqueness of this brand and why Mr. Steve had selected it to work on. I visited rebornpipes.com and sure enough, Mr. Steve has worked on a Brakner before and researched the maker/ brand in detail. Here is the link to the write up that he has posted on his web page: https://rebornpipes.com/2018/08/26/breathing-new-life-into-a-brakner-antique-hand-cut-807/

From this write up, I have picked this picture which shows the Brakner design # 108 (ticked in red) that we were working on. The only variation is that my inherited pipe has a smooth band on the stummel below the rim.Having read the detailed account, I now know that I am holding a piece of pipe history and cannot thank my lucky stars for the inheritance and having being introduced to Mr. Steve.

INITIAL VISUAL INSPECTION
As is generally observed with most of my grandfather’s pipe, the chamber of this pipe too is filled with a thick cake with overflowing lava covering the rim top surface. The thick cake hides the condition of the inner walls of the chamber and will be ascertained only after the cake has been taken down to bare briar. Similarly, the condition of the rim top surface will be commented once the overflowing lava has been scraped off. However, with the inner rim edge, Steve and I suspect charring in the 4 o’clock direction and is highlighted in pastel blue circle. The outer rim edge too shows damage in the 6 o’clock direction and is circled in yellow. There is a thin smooth briar band extending down from the outer rim edge, which too, is covered in overflow of oils, tars and grime. The contrast of dark and medium brown stains on the rim top and the band should highlight the beautiful grain on the briar and will go well with the rusticated finish on the bowl and shank once cleaned up. The mortise and the shank air way are clogged as expected making the air flow restricted and laborious. However, with the draught hole being right at the bottom of the chamber and the perfect alignment of the stem airway, tenon and the shank airway should make this one a fantastic smoker. The excitement of restoration and fun filled involvement of Steve, Jeff, Abha and me, all resulted in none of us taking any pictures of before and detailed pictures of the process. Each one thought that other was taking the pictures and the end result was that none of us took any!! Lol…

The unique rustications on the stummel surface are covered in oils, tars, grime and dust of all these years of use and storage. However, once cleaned up, the dark of the stummel should contrast beautifully with the smooth brown shank end band, the rim top and the band below the rim outer edge. The vulcanite stem is heavily oxidized and showed heavy tooth chatter and deep tooth marks on the upper stem surface. The button on the upper surface has bite marks and will have to be rebuilt and reshaped. The same holds true for the lower stem surface, albeit with less severity. As brought out earlier, the trademark green dot on Brakner pipe stem has turned a shade of brown. The tenon does not seat flush inside the mortise. This issue, in all probability, should get addressed once the mortise is cleaned off the entire accumulated gunk. Sorry again, I did not take sufficient pictures of the stem either!!All in all, judging from the initial examination, we do not envisage any major/ serious issues to present themselves in the course of restoring this beauty, with the exception of charred inner rim edge and damaged outer rim edge.

THE PROCESS
Even before Steve and Jeff had arrived, it was decided that Abha, my wife who helps me in the initial clean up, and Jeff who does it for Steve, would work together on the initial clean up and Steve and I would do the repairs and final finish on these pipes. This would help us understand and learn the techniques and processes involved in restorations. This exactly what we did while working on this pipe, but with a twist, which I shall bring out later.

Abha and Jeff reamed the chamber with Castleford pipe reamer set (one of the many gifts for Abha from Steve and Jeff) followed by cleaning the mortise and shank airway using dental pick, cotton buds/ hard and soft bristled pipe cleaners dipped in isopropyl alcohol. Once the shank internals were cleaned, we called it a day.

And this is where the twist occurs!!

When we met again over breakfast the next day, the Brakner was completed!! In short, what really started as a combined project was eventually completed by Steve and Jeff alone. What follows is the narrated sequence and pictures that Steve and Jeff shared with me over a pot of coffee (perfect brew was demonstrated by these two gentlemen as we are predominantly tea drinkers).

Once the chamber and shank were cleaned, Jeff cleaned the external surface of the stummel and the smooth rim top surface with Murphy’s Oil soap and cotton swabs followed by scrubbing the rusticated surface with a toothbrush and dish washing soap. This rid the stummel rustications of all the accumulated dust, dirt and grime and both the smooth brown bands around the rim and shank now contrasts beautifully with the dark stummel surface. However, the inner and outer rim damage revealed itself in all its ugliness and this is what Steve decided to tackle at this stage in restoration. No pictures available to show the condition of the stummel at this point…sincere apologies!!

Steve began the process of addressing the inner rim damage by creating a bevel to the inner rim edge to mask the blackened rim and address the out-of-round chamber with a folded piece of 220 grit sandpaper. Once satisfied with the repairs, he polished the entire rim top surface with micromesh pads, wet sanding with 1500 to 2400 grit pads and dry sanding with 3200 to 12000 grit pads. The rim top surface now appears amazing and the repairs appear to be almost non-existent. To enliven the briar wood and further enhance the contrast of the bands with the rest of the dark stummel surface, he rubbed a little quantity of “Before and After” balm in to stummel surface and set it aside for 20 minutes for the balm to be absorbed in to the briar. Thereafter he hand buffed it with a microfiber to deepen the shine. The stummel looks nice and vibrant. All this while, Jeff was busy working the stem. He cleaned the internals of the stem using pipe cleaners dipped in isopropyl alcohol. Once the stem internals were clean, he cleaned the stem surface with cotton pads dipped in isopropyl alcohol. This step also helps to remove surface oxidation to some extent. With this, he handed the stem back to Steve to address the tooth chatter and deep bite marks.To address the issue of bite marks and tooth chatter on the stem surfaces, Steve flamed the surface with the flame of a Bic lighter. Vulcanite has the property to return to its original shape when heated and this is exactly what was being done. The tooth chatter and deeper bite marks were raised to the surface to a great extent. The remaining minor tooth indentations were filled with clear super glue and set aside to cure. Once the fill had hardened (and it was pretty quick, thanks to the 43 degrees temperature that was prevalent at that point in time!!), he sanded the fill and the entire stem surfaces with a folded piece of 220 grit sandpaper. This not only ensured a nice blend of the filled areas with the rest of the stem surface, but also removed the oxidation from the surface. He rubbed the stem surface with some Extra Virgin Olive Oile and set it aside to be absorbed in to stem surface. It was at this stage that self, Abha and my kids joined them for breakfast. After a hearty breakfast, I launched a determined assault on the stem, subjecting it to the complete cycle of micromesh polish. The end result is a gorgeous, smooth and shiny looking black of the vulcanite stem. This was followed by the routine regime of polish with carnauba wax using my hand held rotary tool. The Brakner looks unique and oozes quality. Here are a few pictures that should give you a fair idea about the end results… Thank you all for being a part of this journey and all the encouragement and support extended. P.S. – As I mentioned above, the excitement of working and learning from Steve and Jeff coupled with the ambiguity of who is taking pictures and not to mention the chilled Beer and humorous banter, all resulted in a limited number of pictures.

Secondly, those of you who have been following rebornpipes.com regularly, would surely have read the detailed write up on the restoration of an 1846 BBB Amber stem by the master story teller, Dal Stanton (https://rebornpipes.com/2019/05/30/west-meets-east-in-india-to-restore-a-grandsons-treasure-an-1846-bbb/) !! While in one corner of the world, on the 10th floor apartment in Sofia, Bulgaria one of the longest write ups on rebornpipes.com was being shaped, here I was trying to piece all the processes involved in restoration of this unique piece of pipe history from memory and ending up with what could be the shortest write up on rebornpipes.com.

Restoring an Algerian Briar Lovat from the Bertram Lot


Blog by Steve Laug

Rather than repeat myself and give readers grief with the repetition please refer to the previous blog posts on the collection of Bertrams and a smattering of other brands that Jeff and I purchased. I can’t adequately describe the sense of being overwhelmed that I have when I look at the 200+ pipes that need to be restored but there is only one way to move ahead – 1 pipe at a time. I am glad Jeff is helping with the clean up on the lot as that would be more than I could handle by myself in moving through this many pipes. From his cleaned pipes I chose an interesting little Lovat with amazing grain to be the next pipe that I would work on. It was a small Lovat with a saddle stem. There was a thick cake in the bowl and heavy lava overflowing on to the rim top. It was hard to know the condition of the edges due to the cake and lava. The stem showed some light oxidation and some tooth marks and chatter on the top and underside. The photos below tell the story and give a glimpse of the pipe. Jeff took close-up photos of the bowl and rim to capture the condition of the pipe when it arrived. The rim top had a thick coat of lava and the bowl had a thick cake.Jeff took pictures of he bowl sides and the heel to show the marvelous grain on the bowl. It really is quite stunning and very dirty!Jeff took a photo to capture the stamping on the left side of the shank. The photo shows the stamping on the shank which read ALGERIAN BRIAR. The stamping on this pipe is clear and readable. The next two photos show the stem surface. They show the light oxidation and the chatter on both sides near the button. The tooth marks are visible next to the button on both sides.On the previous blog on the Algerian Briar – the Lumberman, I mentioned that Jeff and I have been working through the collection of Bertram pipes. Many of the other pipes in the lot are also from pipe shops in Washington, D.C. There are A. Garfinkel pipes, Ansell Pipes, National Pipes along with the Bertrams. Also included in the lot are pipes that have no other stamping than “ALGERIAN BRIAR”. This is the second of those pipes and while there is no way to be sure about the shop that these pipes came from I think it is safe to make a few conjectures. This pipe is stamped in a way very similar to the A.Garfinkel pipes that I am working on. Some of them have the stamp Algerian Briar along with the shop name. The lettering on the stamp is the same on both pipes. This one does not have FRANCE stamp on the underside of the stem. I thought I would I quote some of the information I included in the blog on the A. Garfinkel pipe once again (https://rebornpipes.com/2019/05/28/new-life-for-an-a-garfinkel-washington-d-c-large-billiard/). In the fourth paragraph below I have highlighted in Dark Blue the pertinent section that links this Algerian Briar pipe to the A. Garfinkel shop.

Before I started my part of the restoration I did a bit of research to see what I could learn about the brand. I turned first to the Pipephil website and did not find any information on the brand. That surprised me a bit but such is the hunt for information. I turned next to the Pipedia website and was more successful. Here is the link to the article – https://pipedia.org/wiki/Garfinkel. I quote in full below.

Garfinkel Inc. was a celebrated Washington, D.C. importer and retailer of pipes, tobaccos and cigars. The founder was Arnold Garfinkel (1903-1988). Arnold was originally from Germany, and the family had already been in the tobacco trade for two generations before he was born; his father sold tobacco to Kaiser Wilhelm in Berlin. Fleeing Nazi Germany in 1938, Arnold soon settled in the District of Columbia; in 1940 he established his first tobacco shop there, although it closed a few years later during the Second World War.

It wasn’t until July of 1960 that Arnold established A. Garfinkel. Originally located at 720 14th Street, N.W., in April of 1980 the shop advertised its move to 1585 Eye Street, N.W. The new location of was a block from Lafayette Square and not much further from the White House. In 1972, author Hugh Sidey wrote in Newsweek that while interviewing then President Richard M. Nixon he spotted some pipes and a tin of Garfinkel tobacco on Nixon’s desk.

Among aficionados the shop remains well known to this day for the imported tobacco blends sold under its own name; these were manufactured by Robert McConnell and Sobranie. In addition custom blending was done for customers both domestic and foreign, with Arnold sometimes using recipes he had brought with him from Europe. A. Garfinkel carried pipes under its own name as well; these too were apparently manufactured elsewhere. Pipes were stamped A. Garfinkel, Wash D.C.; some are marked Algerian Briar and others simply Imported Briar. Many appear to be Made in France. Finally, A. Garfinkel was renowned for its selection of cigars.

In 1940 Arnold married Esther Kolker. One of their four children, Larry, was managing A. Garfinkel by May of 1980 and eventually took over sole responsibility for running the shop. Notwithstanding Arnold remained active at A. Garfinkel throughout his life, with son Larry noting that “He had a great personality and a great smile…and a very good head for business.”

A victim of declining demand reflecting both increased pressures on smokers and changing tastes, A. Garfinkel shut its doors in the summer of 1992.

Given that information I think the link can be made to the A. Garfinkel pipe shop in DC. I think that there is also a tenuous tie to the Bertram shop in DC as well as all of the pipes in this lot are very similar in terms of finish and style. I suppose we will never really know for sure but I think it a pretty good surmise.

Since Jeff follows the same pattern of work in his cleanup we do not include photos but rather just a simple summary. Jeff reamed the bowl with a PipNet pipe reamer and followed up with a Savinelli Fitsall pipe knife to remove the cake. He scrubbed out the mortise and the airway in the shank and the stem with alcohol, cotton swabs and pipe cleaners. He scrubbed the exterior of the bowl, rim, shank and stem with a tooth brush and Murphy’s Oil Soap to remove the oils and tars on the rim and the grime on the finish of the bowl. He rinsed it under running water. He dried it off with a soft cloth. He was able to remove lava build up on the rim top and you could see the great condition of the bowl top and edges of the rim. There was some darkening on the rim top at the rear of the bowl but the edges were in good condition. He soaked the stem in Before & After Deoxidizer to remove the oxidation. I took photos of the pipe before I started my work. I took a close up photo of the rim top to show the condition of the bowl and rim after Jeff had cleaned up the grime and lava. The burn damage on the front and back inner edge of the bowl is visible in the first photo below. The rim top has some darkening but otherwise looks very good. The stem photos show that the oxidation is gone. The light tooth chatter is hard to see but like the other pipes in this lot that I have already restored; I should be able to sand it out quite easily.I also took a photo of the stamping on the right side of the shank showing how the stamping was laid out.I worked on the darkening on the rim top and back edge with a folded piece of 220 grit sandpaper to remove the damage and the darkening. I polished the rim top with 400 grit wet dry sandpaper to remove the scratches. The photo shows how the rim looked at this point.I polished the bowl and rim top with micromesh sanding pads – dry sanding it with 1500-12000 grit pads. I used the micromesh dry this time as I wanted to preserve the original patina on the bowl. I wiped the bowl down with a damp cloth after each pad to remove the sanding debris. After the final sanding pad I hand buffed it with a cotton cloth to raise a shine. I really have come to appreciate Mark Hoover’s Before & After Restoration Balm for its restorative properties with dry briar. I worked it into finish of the briar with my fingertips to clean, enliven and protect it as I usually do at this point in the process. I let the balm sit for a little while and then buffed with a cotton cloth to raise the shine. The Restoration Balm really makes the grain stands out beautifully. I set the finished bowl aside and turned my attention to the stem. I used a folded piece of 240 grit sandpaper to blend the tooth marks and chatter into the surface of the stem. Once the surface was smooth I sanded out the scratch marks and started polishing the stem with a folded piece of 400 grit sandpaper. I wiped the stem down with Obsidian Oil.I polished the stem with micromesh sanding pads – wetsanding it with 1500-12000 grit pads. I wiped the stem down with Obsidian Oil after each pad. I polished it with Before & After Pipe Polish – both Fine and Extra Fine and gave it a final coat and set it aside to dry. I put the stem and bowl back together and buffed the pipe with Blue Diamond on the buffing wheel. I polished the briar and the stem until there was a rich shine. This Algerian Briar Lovat has a classic shape and a rich oil finish that highlights the amazing grain on a proportionally well carved pipe. Once I buffed the pipe the grain just popped. The black vulcanite stem had a rich glow. The finished pipe is actually quite stunning in my opinion. It is a beautifully grained Lovat and like the other pipe in this Bertrams lot it fits well in the hand and sits right in the mouth. Have a look at it with the photos below. The dimensions are Length: 5 1/2 inches, Height: 2 inches, Outside diameter of the bowl: 1 1/4 inches, Chamber diameter: ¾ of an inch. I will be putting this pipe on the rebornpipes store soon. If you are interested let me know. Thanks for walking through the restoration with me as it was a pleasure to work on.

Restoring another from the Bertram Collection – an Algerian Briar Lumberman


Blog by Steve Laug

Rather than repeat myself and give the blog readers grief with the repetition please refer to the previous blog posts on the Bertrams to learn about how we got this collection. Just know that we have a collection of Bertrams and a smattering of other brands that when they were unwrapped filled three boxes. The photo below is included to show the size of the collection we had purchased. To be honest it was a bit overwhelming to see all of the collection in boxes. We were looking at a lot of work to bring these back to life.I am really glad that Jeff is working through the clean up on this lot as they are really quite dirty and there are so many! It would be a more daunting task than it already is if I had to clean and restore all of them. I am leaving it to him to choose which pipes to work on. He has chosen some interesting shaped ones to restore. I chose an interesting little Lumberman to be the next pipe that I would work on. This pipe was another dirty one! The smooth finish was grimy and dusty but some beautiful grain shone through showing a stunning pipe. It was a small Lumberman with stubby tapered stem. There was a thick cake in the bowl and heavy lava overflowing on to the rim top. It was hard to know the condition of the edges due to the cake and lava. The stem showed some light oxidation and some chatter on the top and some tooth marks on the underside. The photos below tell the story and give a glimpse of the pipe. Jeff took close-up photos of the bowl and rim to capture the condition of the pipe when it arrived. The rim top had a thick coat of lava and the bowl had a thick cake.Jeff took pictures of he bowl sides and the heel to show the marvelous grain on the bowl. It really is quite stunning and very dirty!Jeff took 2 photo2 to capture the stamping on the right side of the shank and the underside of the stem. The first photo shows stamping on the right side which read ALGERIAN BRIAR. The stamping on this pipe is clear and readable. The second photo shows stamping on the underside of the stem that reads FRANCE. Interestingly this is the same stamp that is on the A. Garfinkel pipe that I just finished.The next two photos show the stem surface. They show the light oxidation and the chatter on both sides near the button. The tooth marks are visible next to the button on both sides.Jeff and I have been working through the collection of Bertram pipes. Many of the other pipes in the lot are also from pipe shops in Washington, D.C. There are A. Garfinkel pipes, Ansell Pipes, National Pipes along with the Bertrams. Also included in the lot are pipes that have no other stamping than “ALGERIAN BRIAR”. While there is no way to be sure about the shop that these pipes came from I think it is safe to make a few conjectures. This pipe is stamped in a way very similar to the A.Garfinkel pipes that I am working on. Some of them have the stamp Algerian Briar along with the shop name. The lettering on the stamp is the same on both pipes. They also have the FRANCE stamp on the underside of the stem. I quote some of the information I included in the blog on the A. Garfinkel pipe below (https://rebornpipes.com/2019/05/28/new-life-for-an-a-garfinkel-washington-d-c-large-billiard/). In the fourth paragraph below I have highlighted in Dark Blue the pertinent section that links this Algerian Briar pipe to the A. Garfinkel shop.

Before I started my part of the restoration I did a bit of research to see what I could learn about the brand. I turned first to the Pipephil website and did not find any information on the brand. That surprised me a bit but such is the hunt for information. I turned next to the Pipedia website and was more successful. Here is the link to the article – https://pipedia.org/wiki/Garfinkel. I quote in full below.

Garfinkel Inc. was a celebrated Washington, D.C. importer and retailer of pipes, tobaccos and cigars. The founder was Arnold Garfinkel (1903-1988). Arnold was originally from Germany, and the family had already been in the tobacco trade for two generations before he was born; his father sold tobacco to Kaiser Wilhelm in Berlin. Fleeing Nazi Germany in 1938, Arnold soon settled in the District of Columbia; in 1940 he established his first tobacco shop there, although it closed a few years later during the Second World War.

It wasn’t until July of 1960 that Arnold established A. Garfinkel. Originally located at 720 14th Street, N.W., in April of 1980 the shop advertised its move to 1585 Eye Street, N.W. The new location of was a block from Lafayette Square and not much further from the White House. In 1972, author Hugh Sidey wrote in Newsweek that while interviewing then President Richard M. Nixon he spotted some pipes and a tin of Garfinkel tobacco on Nixon’s desk.

Among aficionados the shop remains well known to this day for the imported tobacco blends sold under its own name; these were manufactured by Robert McConnell and Sobranie. In addition custom blending was done for customers both domestic and foreign, with Arnold sometimes using recipes he had brought with him from Europe. A. Garfinkel carried pipes under its own name as well; these too were apparently manufactured elsewhere. Pipes were stamped A. Garfinkel, Wash D.C.; some are marked Algerian Briar and others simply Imported Briar. Many appear to be Made in France. Finally, A. Garfinkel was renowned for its selection of cigars.

In 1940 Arnold married Esther Kolker. One of their four children, Larry, was managing A. Garfinkel by May of 1980 and eventually took over sole responsibility for running the shop. Notwithstanding Arnold remained active at A. Garfinkel throughout his life, with son Larry noting that “He had a great personality and a great smile…and a very good head for business.”

A victim of declining demand reflecting both increased pressures on smokers and changing tastes, A. Garfinkel shut its doors in the summer of 1992.

Given that information the link is made to the A. Garfinkel pipe shop in DC. I think that there is also a tenuous tie to the Bertram shop in DC as well as all of the pipes in this lot are very similar in terms of finish and style. I suppose we will never really know for sure but I think it a pretty good surmise.

Jeff reamed the bowl with a PipNet pipe reamer and followed up with a Savinelli Fitsall pipe knife to remove the cake. He scrubbed out the mortise and the airway in the shank and the stem with alcohol, cotton swabs and pipe cleaners. He scrubbed the exterior of the bowl, rim, shank and stem with a tooth brush and Murphy’s Oil Soap to remove the oils and tars on the rim and the grime on the finish of the bowl. He rinsed it under running water. He dried it off with a soft cloth. He was able to remove lava build up on the rim top and you could see the great condition of the bowl top and edges of the rim. There was some damage to the inner edge at both the front and the back of the bowl. The rim top was in good condition. He soaked the stem in Before & After Deoxidizer to remove the oxidation. I took photos of the pipe before I started my work. I took a close up photo of the rim top to show the condition of the bowl and rim after Jeff had cleaned up the grime and lava. The burn damage on the front and back inner edge of the bowl is visible in the first photo below. The rim top has some darkening but otherwise looks very good. The stem photos show that the oxidation is gone. The light tooth chatter is hard to see but I should be able to sand it out quite easily.I also took a photo of the stamping on the right side of the shank showing how the stamping was laid out.I worked on the inner edge of the bowl, sanding out the burn damage and rough areas with a folded piece of 220 grit sandpaper to remove the damage and the darkening. I polished the edge with 400 grit wet dry sandpaper to remove the scratches. The photo shows how the rim looked at this point.I polished the bowl and rim top with micromesh sanding pads – wet sanding it with 1500-12000 grit pads. I wiped the bowl down with a damp cloth after each pad to remove the sanding debris. After the final sanding pad I hand buffed it with a cotton cloth to raise a shine. I worked some Before & After Restoration Balm into finish of the briar with my fingertips to clean, enliven and protect it as I usually do at this point in the process. I let the balm sit for a little while and then buffed with a cotton cloth to raise the shine. The Restoration Balm really makes the grain stands out beautifully. I used a folded piece of 240 grit sandpaper to blend the tooth marks and chatter into the surface of the stem. Once the surface was smooth I sanded out the scratch marks and started polishing the stem with a folded piece of 400 grit sandpaper. I wiped the stem down with Obsidian Oil.I polished the stem with micromesh sanding pads – wetsanding it with 1500-12000 grit pads. I wiped the stem down with Obsidian Oil after each pad. I polished it with Before & After Pipe Polish – both Fine and Extra Fine and gave it a final coat and set it aside to dry. I put the stem and bowl back together and buffed the pipe with Blue Diamond on the buffing wheel. I polished the briar and the minute scratches still in the vulcanite of the stem until there was a rich shine. This Algerian Briar Lumberman has a classic shape and a rich oil finish that highlights the amazing grain on a proportionally well carved pipe. Once I buffed the pipe the grain just popped. The black vulcanite stem had a rich glow. The finished pipe is actually quite stunning in my opinion. It is a beautifully grained Lumberman. Like the other pipe in this Bertrams lot that I have worked on this one fits well in the hand and sits right in the mouth. Have a look at it with the photos below. The dimensions are Length: 4 3/4 inches, Height: 2 inches, Outside diameter of the bowl: 1 1/4 inches, Chamber diameter: ¾ of an inch. I will be putting this pipe on the rebornpipes store soon. If you are interested let me know. Thanks for walking through the restoration with me as it was a pleasure to work on.