Tag Archives: shaping a stem

Rebirth: a Liverpool Stummel with Beautiful Grain and Miserable Drilling


Blog by Steve Laug

I found this long shank Liverpool pipe sans stem at an antique mall in Idaho when I was visiting my brother. I did not look at it too closely but noticed it was lightly smoked and had some really nice looking grain. I bought it as I figured it would not be too big a deal to make a stem for it. Besides the price was only $4. Looking at the next four photos you can see why the grain got my attention. It is a mix of birdseye, flame and cross grain. The stain that was used really highlights the grain. In the first photo you can see the chip out of the top of the bowl on the left side as well as the chip out of the shank top between the bowl junction and the stamping on the shank side. When I got back to my brother’s place he looked it over and just shook his head. He pointed out the issues with the bowl. The airway entered the bowl at the far right side. The bowl was hardly smoked and this may well have been a reason. Externally the bowl was not round it was entirely lopsided. It was wrong both inside and out in more ways than I had noticed in my quick decision to purchase it. This one was going to be a challenge in more ways than one to restem and make usable once more. I was looking forward to seeing what I could do. The next two photos show the misdrilling and the misshapen out of round external bowl.There were some deep gouges on the left side of the pipe – one had the top of the bowl and one on the shank just ahead of the stamping. There were also some pits and gouges on the underside of the shank and on the end on both top and bottom. I have circled the large one in the first photo below. It is a bright spot circled in red. Then I looked closer at the overall bowl and shank. What a mess. It had been drilled at quite an angle. It appeared that the drill had gone through the right side of the shank just before the bowl. It had been repaired with a fill that was pitted. It is circled in red in the second photo below. The third photo shows the shank from the mortise end. It is obvious that the shank was not round and the mortise was off to the right. This was going to be an interesting pipe to restem. As I looked at the left side of the shank with a magnifying lens I could see that first line of stamping (faint on the top and better at the bottom side of the words read CONTINENTAL. The second line of stamping was clearer and read REAL BRIAR. In examining the rest of the shank, I could see that it was all that was stamped on the pipe. I did some searching for the brand name and found one on Pipedia. The Continental Briar Pipe Co. Inc. manufactured briar pipes in Brooklyn, New York. The address on York and Adams Streets was taken from a letter sent to a Henry T. Rice dated July 28, 1941.

I went through my stem can and found two prospects for stems. Because the shank was misdrilled and out of round and the mortise was also off to the side I needed to have a stem slightly larger in diameter than the shank.  One of the stems was a saddle stem and the other a taper stem. The saddle stem was not quite large enough so I opted for the taper. I used a pen knife to open the mortise and make it more round. I worked to remove briar from the left side of the mortise and make the shank end round. In the third photo below you can see the finished mortise.When I finished the work on the mortise I sanded it with a rolled piece of sandpaper to smooth things out.I pushed the taper stem into the mortise and the fit against the shank was a good fit. The right side where the shank was out of round needed to have some vulcanite removed to make the flow of the stem and shank correct but it would work. The taper stem makes the pipe a Liverpool. If I had used the saddle stem it would have been a lumberman. I like the promising look of the new pipe. There were many on the top and the bottom of the shank and along the right side of the top of the bowl. There was also a place on the right side of the shank at the bowl shank junction that had been filled to repair a drill through. It had been patched with putty but was pitted and rough. I wiped the shank and bowl edge down with alcohol. I filled all of the pits and the repaired area with briar dust and then put drops of super glue on top of the dust fills. The photos below show the patched and repaired areas.When the repairs dried I sanded the repairs smooth to match the briar around them. The photos below show the freshly sanded areas on the pipe. The repairs are dark spots in the middle of the sanded areas. They will be blended in once I stain the bowl and shank. I used a needle file to reshape the button edges on both sides of the stem. They were worn down and the sharp edge was indistinct. I redefined the edges and smoothed out the surface in front of the button.I wiped the bowl and shank down with alcohol to remove the remaining finish on the bowl and to clean off the dust in preparation for restaining the pipe. I sanded the surface of the stem with 220 grit sandpaper to remove the oxidation and smooth out the file marks and tooth marks that remained. I lightly topped the bowl on the topping board to remove the damaged areas on the rim and created a smooth well defined edge on both the inner and outer parts of the bowl. I used a folded piece of 220 grit sandpaper to clean the inner edge and remove the darkening there.I wiped it down another time to clean off the rim and the edges of dust. I used a dark brown stain touch up pen to stain the sanded areas on the rim, bowl side, shank top and bottom and shank end. I was not too worried about coverage at this point rather providing a base coat before I stained the bowl in its entirety. My thinking was that the base coat would blend in with the existing stain and then the top coat would tie it all together. I stained the pipe with a dark brown aniline stain and flamed it with a lighter. I repeated the process of staining and flaming until the coverage was even around the bowl. I set the pipe aside to dry for a few hours and worked on the stem.I wiped the bowl down with alcohol on cotton pads to remove the dark crusty finish. I wanted the stain to be more transparent to let the grain show through. I sanded it with micromesh sanding pads to polish the bowl and shank. The grain really shown through now and the flame grain, birdseye and cross grain were beautiful. The fills have blended in on most of the bowl while the repair on the right side of the shank at the bowl is dark but smooth. I scraped out the remnants of cake that remained inside of the bowl with the Savinelli Fitsall Pipe Knife and sanded the walls with 180 grit sandpaper to smooth them out.I polished the stem with micromesh sanding pads – wet sanding with 1500-2400 grit pads and dry sanding with 3200-12000 grit pads. I rubbed the stem down with Obsidian Oil between each set of three pads. I took it and buffed it with Tripoli after the 2400 grit pad and followed that with Blue Diamond. Then I went on to continue polishing it with the higher grits of micromesh pads. I buffed the pipe and stem with Blue Diamond on the buffing wheel and carefully buffed around the stamping. I did not want to damage it any further than before. I gave the pipe and stem multiple coats of carnauba wax and buffed the pipe with a clean buffing pad. I hand buffed it with a microfibre cloth to deepen the shine on the briar and the vulcanite. The finished pipe is shown in the photos below. It is a long pipe that is just under 7 inches long and the bowl is 1 ¾ inches tall. The bowl exterior is 1 1/8 inches in diameter and the bowl chamber is ¾ inch in diameter. What started out as a major mess came out looking like a fine pipe. Even though the airway enters the bowl on the far right the draw is still very good. I think it should smoke fairly well and provide a decent looking long pipe for someone who wants to add it to his collection. Thanks for walking through the challenge with me.

Making Work for myself – Restoring a GDB Rainbow 347


Blog by Steve Laug

I have worked on and collected many GBD pipes over the past 20 years. I have some great resources that I use to identify the nomenclature, shape and date of the various lines that GBD issued. However, all of my sources and resources regarding GBD are from the time prior to the merger (Cadogan) or shortly thereafter. The Rainbow Line is not mentioned in any of them. I also looked on the pipephil Logos and Stampings site and Pipedia and again there is no mention of the line. In my online research, I found several people who think that it is probable that the pipe was made during the 70’s through 90’s. Several things point to this – the chunky Lucite stem, the name of the line itself and the brightly coloured stems used. One fellow on Pipes Magazine’s online forum had a great quote that caught my attention. He said, “If you’re old enough you might remember that Rainbow was a popular theme in the late 70’s to early 90’s due to Sesame Street, “The Rainbow Connection,” The Rainbow Reading Room, etc.” http://pipesmagazine.com/forums/topic/help-with-info-on-a-gbd-pipe I think this is as close as I am going to get to a time period when the pipe was made.

The pipe I picked up on a recent trip to Idaho is a nicely shape apple that was in pretty decent shape. I figured it would be an easy clean up. But things happened along the way and I made more work for myself. It is stamped GBD in an oval over Rainbow on the left side of the shank. On the right side stamped London, England in a straight line over 347 (shape number). On the underside of the shank near the stem/shank junction it is stamped D. The faint painted GBD in an Oval on the left side of the stem also suggests a later GBD. The nomenclature is consistent with usual smooth GBD markings (GBD over Grade (left side) and London England over style number on the right side.) The photos below came from the person I purchased the pipe from and show the general condition.He provided some close up photos of the bowl and rim. He said that the pipe had been reamed and clean. However, it was not reamed and clean to my liking. The bowl had a thick cake that I will need to remove, some rim darkening and some dents in the rim. My guess was that like the bowl, the shank and mortise would need some attention. The stamping on the shank was very clear. The first photo below shows that. Next to the shank/stem junction in the first photo, there is also the remnant of the GBD oval logo that had been originally painted on the stem. The stem had a lot of tooth chatter and some shallow tooth marks in the Lucite.While I was staying with my brother, I cleaned and reamed the pipe. I used the PipeNet reamer and took it back to the walls. I would need to clean it up more once I got home but it was better than when I started. Last evening I took the pipe out of the box to finish the clean up and restoration. I took some photos of it before I started to have a benchmark. I took a close up of the bowl and rim. It was better than when I started but still needed to be cleaned up some more. The rim had some darkening that I could reduce some more as well.I used the Savinelli Fitsall Reamer to scrape the remaining thin cake from the walls of the bowl. I personally like to remove all of the cake when cleaning up a bowl. I will sand a bowl interior a bit later to smooth things out. Little did I know at this point that the decision to sand the bowl would send me on a repair detour.I scrubbed out the mortise, airway in the bowl and in the stem with alcohol, cotton swabs and pipe cleaners. I used the dental spatula to scrape the walls of the shank and remove the hard tars that had built up there. The airway in the stem was also dirty and had some darkening at the button and in the first few inches of the stem. I cleaned it with bristle pipe cleaners and picked the debris out of the button and from around the stem down tenon with a dental pick.The stem not only had tooth chatter but also some stickiness from a price tag on the top surface. The edge of the button also had some chatter. I sanded the tooth marks out with 220 grit sandpaper and reshaped the button at the same time. The stem was smooth when I finished. It was dull and needed a good polishing.I polished it with micromesh sanding pads – wet sanding with 1500-2400 grit pads and dry sanded with 3200-12000 grit pads. I wiped the stem down with a damp cotton pad to remove the dust after each pad. I was finished with the stem at this point so I set it aside to work on the bowl. I had decided to use a dark brown aniline stain thinned by 50% with alcohol to darken the grain on the pipe and hide a couple of small fills. I applied the stain, flamed it and repeated the process until the  bowl was covered evenly. I wiped the bowl down with cotton pads and alcohol to make it more transparent. I hand buffed it and took the following photos. It was still too dark to my liking. I sanded the bowl with micromesh sanding pads to make it more transparent and to see if I could make the grain pop. I sanded it with 1500-2400 and took these photos. It was getting there. I continued to sand it with 3200-12000 grit pads to polish it and give it a shine. The next photos tell the story. The bowl was looking better and better. It is at this point that I made a decision that would inevitably cost me. That results of that decision turned out to be a mistake that made a lot more work for me! I put the stem on and decided to work on sanding out the inside of the bowl to remove the polishing compound and remnants of cake. Stupidly, I put the stem on the pipe to enjoy the look of the combination while I worked. Wrong thing to do! Understand, I was sitting at my work table, the top of which is a meter above the floor. I was carefully sanding the bowl interior so as not to damage the nice stain on the rim. Somehow, the pipe wiggled free from my hands and fell to the floor. If you could have watched it and my face at the same time you would have seen the look of horror on my face as it dropped to the floor. That horror changed to a moment of dread as I watched it bounce and heard a snap and watched as the bowl and stem went in opposite directions. I quietly picked up the bowl and stem. The tenon had snapped off in the mortise. It was a clean break. I don’t know about you but I find Lucite is much less forgiving than vulcanite. I have had pipes with vulcanite stem hit the floor with not breakage but not so with Lucite. It seems that the tenon inevitably snaps. Well this one certainly did.I sat and looked at it for a long time just sick at the thought that a pipe I was basically finished with was in pieces on my table. I know how to replace a tenon; that is not a problem. I just did not want to have to do that on this pipe. However, my own stupidity and carelessness had successfully sent me back to work on this pipe. Ahh well… just as well call it a night. Perhaps a good night’s sleep would give me better perspective on this new problem!

I woke up early this morning and dragged my feet about going back to work on the pipe. I think I was hoping at some level that it had not actually happened. I sipped my coffee as long as possible postponing the inevitable. I talked with my eldest daughter who is in Kathmandu for work. I took the dog for a walk around the yard… but finally I made to the basement and the work table. It was not a dream the tenonless stem and the bowl was sitting waiting for me.

I used the Dremel to remove the remnants of the old tenon that were on the face of the stem. I flattened it against the topping board. I went through my assortment of threaded Delrin tenons until I found one that was slightly larger than the broken one. I needed to reduce the diameter slightly to make it work but it would do!I set up my cordless drill and put in a bit slightly larger than the airway and turned the stem onto it by hand. The first photo below shows the bits I used as I repeated the process until the hole was large enough for me to use a tap to thread it to match the tenon. The second photo below shows the last drill bit I used the piece of tape on the bit is to show me how deep I needed to go with the bit to accommodate the new tenon threads.I roughened the tenon surface so I could grip it enough to turn it into the newly drilled stem end. It was a good fit. I painted the end with some epoxy and turned it back in place and set it aside to cure and harden.Once the tenon was set firmly in place I used the Dremel and sanding drum to reduce the diameter to a close fit. I finished the fitting with 180 and 220 grit sandpaper. I polished the new tenon with micromesh sanding pads. Now came the telling moment. Would the stem match up with the shank? Would the fit be tight against the shank end? Even though I have done this many times I always have the same questions. I placed the new tenon in the mortise and carefully pushed the stem against the shank end. It was a very close fit and all I would need to do was sand the left side and top a little bit to make the fit even better. I was relieved and happy. I sanded the stem with 220 grit sandpaper and cleaned up the fit. I was almost back to where I was last night before the pipe dropped and the tenon broke. I have to polish the stem once again but the stem fits well. I took photos of the pipe at this point to check it out. The newly fit stem and the stain on the pipe worked well together. Now to polish it all and get it finished. I polished the bowl and stem with micromesh sanding pads – dry sanding with 1500-12000 grit pads to raise the shine.I buffed the pipe and stem with Blue Diamond on the buffing wheel. I gave it multiple coats of carnauba wax and buffed it with a clean buffing pad to raise the shine. I hand buffed it with a microfibre cloth to deepen that shine. The finished pipe is shown in the photos below. I am pretty happy with the way it turned out – even with the detour. The stain accomplished what I hope it would in making the grain pop. The grain stands out like it never did in the pipe when I received it. Now it is visible. It is a nice looking pipe that feels good in the hand. Thanks for looking.

 

Restemming and Restoring a Brigham Algonquin Dublin 247


Blog by Steve Laug

This pipe is the last of the nine that was dropped by my house for repairs. I was in rough shape for multiple reasons. The finish was dirty and spotty and the rim top was covered with overflow from the bowl. There was a thick cake in the bowl and there were some dark spots on the bowl sides toward the bottom of both sides at the bend. There were also some nicks in the heel of the bowl as well. The stem was missing a large chunk at the button on the right side. The Brigham hard rock maple filters come with an aluminum end and it had broken off deep in the shank near the entrance of the airway to the bowl. The mortise was very tarry and dirty. It would take some work to clean out enough to free the broken aluminum end piece. I took a close up photo of the rim and bowl to show the condition of the pipe when I started the cleanup. Underneath the grime on the bowl there was some nice cross grain and some birdseye on the front and back sides of the bowl.The stem was not salvageable as it stood. The missing chunk was large and the airway into the bowl was collapsed. I would need to fit a new stem on the shank. Fortunately for me the owner did not want a Brigham stem so I could use a regular push stem for the replacement.I went through my stem can, found a stem that was the same diameter, and close to the same length. I filed the diameter of the tenon with a file until it was close to fitting and finished with 220 grit sandpaper. I trimmed the edge of the tenon with my tenon turning tool by hand.When I finished smoothing out the tenon I inserted it in the mortise on the pipe bowl. The fit was snug. It looked good. I would need to do a few adjustments on the shank and stem as the shank was not perfectly round. I sanded the stem and the shank with 220 grit sandpaper to get a smooth transition between the two. I scrubbed the bowl with acetone on a cotton pad to remove the finish and the grime. I took photos of the cleaned exterior. I reamed the bowl with a PipNet reamer and the Savinelli Fitsall Knife. I removed the cake completely. I sanded the interior walls with sandpaper wrapped around my finger to smooth out the walls.I lightly topped the bowl with 220 grit sandpaper on the topping board to remove the rim damage and smooth out the nicks and scratches. I sanded it with 1500-2400 grit micromesh sanding pads to polish the surface.I stained the bowl with a dark brown aniline stain. I had found that once the finish was removed there were quite a few fills in the bowl sides and shank. I wanted to blend them into the surface of the briar and try to make them less visible. I flamed the stain and repeated the process until the coverage was even. I set the bowl aside for the day and went to work.When I returned from work that evening I wiped the bowl down with alcohol on cotton pads to make it more transparent. It was still too dark but I had plans to take care of that in a different way. In the photos below the fills are very visible against the dark brown stain. I cleaned up the face of the stem with the PIMO tenon turning tool at the tenon/stem angle so that the fit against the shank would be smooth. Sadly, my drill died so I had to turn the stem onto the tool by hand. It still worked well, just more slowly, and I was able to smooth out the surface.While the drill was out, I removed the tenon turning tool and put a drill bit in the chuck that was just slightly larger than the airway into the bowl. I wanted to be able to grab a hold of the broken aluminum filter tip with the drill bit and pull it out. Once again, I did it without the benefit of power. I just twisted the bowl onto the bit until the bit locked onto the aluminum end. I careful turned the bowl off the bit and the broken aluminum end came out stuck to the bit. Whew!I cleaned out the mortise and airway with alcohol, cotton swabs and pipe cleaners. I finally was able to get all of the tars and oils out of the extended mortise.I heated the new stem with a heat gun and bent it to match the broken stem. I took a photo of the two of them together. I took photos of the pipe with the new stem in place. Still a lot of work to do to polish both the bowl and stem but it is looking good. I set the stem aside and worked on polishing the bowl. I started by wet sanding it with 1500-2400 grit micromesh pads and dry sanding it with 3200-12000 grit pads. The photos below tell the story. I set the bowl aside and polished the stem. I wet sanded it with 1500-2400 grit sanding pads and rubbed it down with Obsidian Oil. I dry sanded it with 3200-12000 grit pads and rubbed it down after each set of three pads. After the last 12000 grit pad I gave it a final coat of oil and let it dry.I buffed the stem and bowl with Blue Diamond polish on the buffing wheel to polish out the last of the scratches on the stem. I gave the bowl and stem multiple coats of carnauba wax to protect the surface of both. I buffed it with a clean buffing pad to raise the shine and by hand with a microfiber cloth to deepen the shine. The finished pipe is shown in the photos below. I think the owner will be pleased with the finished stem and bowl. It looks like it was made to order. The contrasting stain on the bowl highlights the grain and hides the fills at the same time. Thanks for looking.

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GBD Trafalgar London Made Calabash – An Unexpected Hole Repair


Blog by Dal Stanton

I’m calling this GBD Trafalgar a Calabash shape, and it’s been in my “Help me!” basket for some time.  I saw it on the US eBay auction block and I liked the shape and the way the grain was positioned in shaping of the flowing Calabash stummel.  From what I could make out from the few pictures the seller provided, the front and back of the bowl revealed horizontal straight grain.  These grain veins terminate on each flank with distinctive bird’s eye.  I liked it – I bid on it – and I was happy to bring it home to Sofia, Bulgaria, where it’s now on my work table.  Here are a few pictures from the seller. The markings on the Calabash on the left side of the shank show, “GBD” in the oval over “LondonMade” curved up.  The right side of the shank shows, “LONDON ENGLAND” over what I’m assuming is the shape number “K1978” only I couldn’t find this shape number listed for GBD pipes.  Under the shank is “TRAFALGAR”.  GBD (Pipedia’s article on GBD), was the handshake enterprise started by three French ‘Master Pipemakers’, Ganneval, Bondier and Donninger in Paris in 1850 to manufacture Meerschaum pipes, which was the primary material used in manufacturing pipes along with clay, until the discovery of briar in Saint Claude, France, a discovery that changed the pipe manufacturing world.  In 1902 Marechal and Ruchon sold GBD to A. Oppenheimer & Co. in London, which began the shift of GBD to being primarily a British enterprise, even though GBD pipes continued to be produced in Paris and Saint Claude, until 1981, with the closing of the French operation when the name, GBD, was merged with the Cadogan Group.  I enjoy rehearsing the historical developments of pipe names and companies because they add to the enjoyment and appreciation of restoring pipes.

The history of the ‘Trafalgar Campaign’ (see LINK) and what it would suggest I believe, is that this GBD pipe was manufactured and distributed across the channel in England, as the stampings indicate.  This is not always the case from my research on GBD.  Often, GBD pipes were manufactured in France, shipped to the UK, where they would be stamped “London Made” – or so my reading has indicated.  Yet, with the stamping of Trafalgar, my guess is that this GBD was manufactured in UK.  In 1805, ‘Trafalgar’ was the final battle engagement between the combined French and Spanish fleets and the Royal Navy to defeat Napoleon’s attempt to gain control of the English Channel, the first phase in his ultimate plan to invade England with his land forces.  To the British, Trafalgar will be commemorated as a victory thwarting the French invasion.  Fortunately, not too many years later, the economics of pipe manufacturing and the common love of pipe smoking, Brits would smoke French made pipes and the French, London made pipes.  Yet, I doubt if one will find this GBD Trafalgar London Made in the rotation of a Frenchman or Frenchwomen today!  I was anxious to integrate the Battle of Trafalgar into this restoration because of my love of tall ships.  Pictured is another of my hobbies in the same room as my pipe restoration work desk, a long-time project building the USS Constitution, now proudly anchored in Boston Harbor!

With a greater appreciation of this GBD’s history and name, I look more closely at the pipe itself and take more pictures on my work desk to look more closely and to fill in the gaps. Looking closer and assessing areas of need, the chamber has a light carbon cake, and the rim is nicked up significantly on the front outer lip and the lava flow of oils and grime need attention.  The finish on the stummel is dark and cloudy.  Oxidation on the stem is minimal but there are tooth dents on the bit, and the upper button lip has a clenching dent that will need attention.  Everything seemed straight-forward until my index finger detected a ridge where there shouldn’t be one.  I hadn’t seen it before (and I checked the eBay pictures and it wasn’t shown by the seller 😦 as sometimes is the case), but my index finger revealed what appears to be an impact fracture on the front heel of the stummel.  My first reaction is to insert my pinky finger into the chamber to see if I could feel any reciprocating activity on the internal side.  I feel nothing.  I take pictures to focus in on the fracture from different angles.  I use the sheen of the overhead lamp to see more clearly the little disaster now before me.  On the last picture below, I circled the only good news I can see at this point.  My forensic hypothesis assessing the scene of the crime: This piece of briar surface is what I assume is the impact point on a hard, unsuspecting surface.  The curvature of the stummel would have been abruptly flattened upon impact, and the expansion of this piece of impacted briar would have pushed out and then up, much like convergent tectonic plates in the earth’s surface.  The good news?  This small piece of briar is still attached to the stummel, though it appears the attachment may be tenuous.  The last two pictures below I placed arrows pointing to the terminus points of the trauma cracks which will most likely grow without intervention – what I thought would be a fairly slam dunk restore!  The pictures show the new challenge and opportunity to expand my skills! To recommission this GBD Trafalgar London Made Calabash, after inserting a pipe cleaner in the stem, I plop the stem in the Oxi-Clean bath to address the minor oxidation mainly in the bit area.  Cleaning the stummel is the next order of business.  Using the Pipnet Reaming Kit, after putting paper down on the work surface, I take out the smallest blade to use, but after eyeballing the angle of the chamber, the Calabash’s conical fire chamber is too tight to allow even the smallest blade to fit down to the lower area. Switching to the Savinelli Pipe Knife, I remove the light carbon build up down to the briar for a fresh start.  As often proves to be the case, as I proceeded with the reaming of the chamber, working the Savinelli Pipe Knife down into the foot of the chamber around the draft hole, the reality of the thinning of the briar was fully revealed.  The small piece of briar that was hanging on, on the external side, was dislodged, resulting in a hole through the stummel.  Technically, I think this is a burn through, as there is a hint of darkening of the briar indicating the heat.   As I’ve seen in other restorations, especially with the narrower drilled fire chambers, the briar at the floor of the chamber wears away with excessive reaming and digging and with time, the briar thins. After I salvage the dislodged piece of briar, not hopeful that it will be part of the solution, I take a couple pictures to record the break-through and continue cleaning the chamber.

When I finished reaming with the Savinelli knife, I use a coarser, 120 grit paper wrapped around a Sharpie Pen to clean further the carbon, especially the floor of the chamber where repairs will be made.  I then follow with 240 grit paper and finally, I wipe the chamber with a cotton pad wetted with alcohol to deal with the residue dust.  The pictures show the progress. Continuing the cleaning process, I take pipe cleaners and cotton swabs and work on the internals of the stummel.  After some effort, the internals are coming clean. With the internal cleaning complete, I look to the external surface.  To address the grime on the rim and stummel I use undiluted Murphy’s Soap with a cotton pad to scrub the surface.  I also use a brass bristled brush to clean the rim and a bristled tooth brush for general stummel cleaning.  On the back side of the rim, I also use my straight knife blade to scrape the carbon off the surface.  After completing the clean-up of the rim, it is apparent that I will still need to top the stummel a small amount to remove the damage to front ‘bumper’ of the rim.  Pictures show the progress. I’m thinking about the stummel hole repair before me while I methodically move through the normal phases of the restoration until I come to the point of focusing on the needed repair.  The plan forming is that I need to build up the floor of the chamber to the entry of the draft hole.  This will reinforce the entire base of the stummel for a long time.  I’ll use JB Weld to do this build-up, a product and method that I learned from Charles Lemon, at Dad’s Pipes.  Yet, before doing the floor buildup, I will do the repairs on the cracks and hole in the stummel.  My thinking is that this order of repair is better so that the hole fill, instead of being built on the chamber floor rebuild, will instead be reinforced by it.  Or, so my thinking goes!  I’ll let the plan cook a little longer and I put the stummel aside and fish the stem out of the Oxi-Clean bath.  Using the plastic disc I fabricated to protect against shoulder rounding, I remount the stem and stummel with the disc in between.  Using 600 grit paper, I wet sand the stem to remove the oxidation – working on the bit – button area also to remove tooth chatter and dents.  Following this, I use 0000 steel wool to buff further the stem and to rid it of oxidation.  I move directly to cleaning the internal airway with pipe cleaners dipped in isopropyl 95%.  I also use a sharp dental probe to scrape the slot area pulling out some gunk.  Without too much resistance, the stem internals are clean.  The pictures show the stem progress. Again I turn my attention to the stummel arriving at the moment of truth.  I need to address the crack repair by drilling small holes at the terminus points of the cracks to keep the cracks from creeping – like a controlled fire set in a forest fire to stop its progress.  I take another closeup of the area and with the help of a magnifying glass, I identify where the ends of the two major cracks are with arrows.  The second picture, shows where I made a mark – where I will place counter-holes.  I add one at the bottom-left because with the laterally grain movement, I can easily imagine a crack spidering out in that direction eventually.  I use a 1mm drill bit and drill each hole.  The pictures show the progress. Now, to patch the hole.  I first clean the surface with a cotton pad and alcohol and I make sure the hole is free of debris and dust.  I then spot drop thin Hot Stuff CA Glue on the cracks themselves to allow the thin glue to seep into the cracks.  Before I mix the briar dust and super glue putty to fill the hole and the control holes I drilled, I need to create a backing on the inside of the chamber so that the putty will not simply push through the hole when applied.  To do this I simply put a piece of masking tape inside over the hole as it comes through.  I then mix briar dust and superglue with a toothpick to form a putty about the consistency of molasses. Using the toothpick as a trowel, I apply the putty liberally knowing that later, after it cures, I’ll be sanding it down to the surface and blending it. I put the stummel aside to cure overnight and I call it a day.  The pictures show the patching process. The next day, I move directly to the chamber floor repair by building it up and reinforcing it with J-B Kwik Weld.  This is my second go with JB Weld.  The first was repairing a burn through with a petite horn shaped, Short Snorter.  As I think about this repair, the challenge in my mind is how to deliver the JB Weld mixture directly to the floor of the chamber without smearing it where it’s not needed.  This is where a couple of disposable popsicle sticks would come in handy, if I hand any.  The idea that begins to shape up in my mind is to mix the JB Weld on an index card, when I’m ready to ‘pour’, I’ll create a cone with the index card, insert it into the chamber to the floor, and press out the JB Weld with my finger – I’ll put on a latex surgical glove that a medical team visiting us here in Bulgaria left behind.  I’ll then shape the mixture evenly around the floor of the chamber.  That’s the plan.  I insert a pipe cleaner into the mortise and through the draft hole so that the JB Weld does not weld the airway shut.  JB Kwik Weld comes in two parts – the ‘Steel’ and the ‘Hardener’ mixtures.  The directions say to mix them equally and that one has about 4 minutes before the mixture sets.  I take a picture of the setup and of the chamber with patched hole and pipe cleaner visible.  I mix JB Weld at 50/50 (as close as I can tell) on an index card, roll it, insert it, and press it out – it was a bit messy, but mission accomplished.  I set the stummel in an egg crate with it tilted forward, and let it cure.  Pictures show the progress. Home from work, I’m ready to return to the stummel and continue working on the repairs.  The internal chamber floor build up using JB Weld looks good and feels good as I put the pinky in and feel the contours.  I look now to the external briar dust – superglue patch and I begin the process of removing the excess putty using a flat needle file.  When I near being flush with the briar surface, I switch to using 240 grit paper to bring it down to the surface.  At this point I gently bring the patch down to briar surface.  I allow the paper to do the job without applying much pressure – I want as much briar to remain as possible.  After I remove the excess putty, the patch is looking good and will not be difficult to blend with the native briar with a dark stain.   I take pictures to show the progress. I turn back to the internal chamber.  I use a coarse 120 grit sanding paper wrapped around a Sharpie Pen to sand the chamber wall cleaning it up from JB Weld that adhered to the upper area of the chamber.  Following the 120, I use 240 grit paper wrapped around a Sharpie Pen as well.  With my finger, I feel the chamber and ridges are gone and it has smoothed nicely.  The pictures show the progress. Looking more closely at the draft hole (above) I see a pointed hanger left over from JB Weld at the 2 o’clock position.  To smooth this future pipe cleaner obstacle, I reach in with a rounded needle file and file off the pointed area and round off the entire draft hole area.  The pictures show the before and after.

Before moving to the topping board, I remove all the old finish.  I use a cotton cloth pad wetted with acetone and wipe down the stummel.  It removes the old finish quickly.  Pulling out the chopping board, my topping board, I place a sheet of 240 grit paper on it.  I need only to remove enough briar to remove the damage/dents at the nose of the rim.  I take a picture to mark the progress.  I rotate the stummel evenly in a circle over the board checking the progress often.  I take just enough briar off so that I can finish removing the damaged rim lip by introducing a gentle bevel.  I do this with a rolled piece of 240 grit paper.  This removes the damage and gives the rim a classier, softer look which I like.  I do the same with the internal rim edge – I use 240 grit paper and create a gentle bevel.  This, again, removes damaged rim and creates the contoured soft look.  I follow by doing a very light, brief topping of the stummel on 600 grit paper, then follow with a rolled piece of 600 grit going over the external and internal bevel.  It looks good – this briar Calabash is picking up momentum!  The pictures show the progress from acetone to bevel. I put the stummel aside and turn my attention to the stem to do repairs.  The button area has tooth dents that I will attempt to raise using a lit candle to heat the vulcanite allowing it to regain its original contour as the heat expands it.  The upper button lip has a compression dent needing attention.  I take pictures to mark the progress.  Using the lit candle, I pass the stem end over the candle back and forth heating the vulcanite.  I repeat this on upper and lower areas and the vulcanite expands as hoped.  The dents are still visible, but now, will be more easily dispatched using sand paper.  I sand the bit area with 240 grit paper and freshen the button lip with the flat edged needle file.  On the upper button lip, I apply Starbond Black Medium KE-150 CA glue at the dent point as well as on the bit on a remaining tooth impression.  I spray the glue with an accelerator that shortens the curing time.  I use a flat needle file to remove the excess glue on the button lip and then sand it as well as the small fill with 240 grit paper.   I follow with sanding with 600 grit paper then with 0000 steel wool.  Button and bit repairs are completed.  The pictures show the progress. Turning back to the stummel, I sand with a medium grade sanding sponge followed by a light grade sanding sponge.  From here I go directly into the micromesh cycles by first wet sanding with pads 1500 to 2400.  I follow by dry sanding with pads 3200 to 4000 and then 6000 to 12000.  The grain is looking great! The horizontal straight grain on the front and back of the bowl terminates on each side with bird’s eye perspective.  The pictures show the progress. This GBD Trafalgar Calabash’s stummel is looking good and I apply Fiebing’s Dark Brown Leather Dye to the stummel to blend the crack and hole repair patch I did earlier.  After the sanding/micromesh pad cycles, the briar is its natural light color. I take a picture of the patch before the stain is applied to do a before and after – to see how well the patch blends.  I wipe the stummel with a cotton cloth wetted with isopropyl 95% to clean it.  Using a heat gun, I warm the stummel to expand the grain of the briar to more efficiently absorb the dye.  After the stummel is warmed, using a doubled over pipe cleaner, I apply the dye liberally to the stummel seeking full coverage.  When covered, I flame the aniline dye using a lit candle and the alcohol immediate combusts setting the hue of the dark brown leather dye in the briar.  In a few minutes, I repeat the process complete with flaming.  I set the stummel aside to rest. The pictures show the staining progress. With the staining process completed and the stummel resting I start the final phase of the stem polish.  Using micromesh pads 1500 to 2400 I wet sand the stem. Following this, with pads 3200 to 4000 and then 6000 go 12000 I dry sand the stem.  After each cycle of three I apply Obsidian Oil to the stem to revitalize the vulcanite. The stem looks great – the button repairs are fully blended.  The pictures show the progress. The next morning, with a cup of coffee in hand, I’m anxious to ‘unwrap’ the stummel from its fire crusting.  I mount the Dremel with a felt wheel set at the slowest RPMs, and apply Tripoli compound to remove the crust revealing the surface below.  This is one of my favorite parts of restoring pipes.  One never knows quite how the briar receives and displays the new dyes.  I first purge the felt wheel of old compound by engaging it and applying the sharp edge of the Dremel’s small metal adjustment wrench to the wheel.  I then apply Tripoli to the stummel surface in circular motions, not applying too much downward pressure but allowing the RPMs and the compound to do the work for me.  After completing the Tripoli cycle, I take a cotton pad wetted with isopropyl 95% and wipe down the stummel.  With the dye being aniline, alcohol based, I use the alcohol to lighten the dye and to blend it more fully. I record the alcohol wipe with a picture.  After the wipe, the finish clouds up reacting to the alcohol.  I then mount a cotton cloth buffing wheel to the Dremel, set at the same slowest speed, and apply Blue Diamond compound to the finish surface.  I take a set-up picture to show the Blue Diamond application. Boy, do I like what I’m seeing!!  I love briar grain – one of God’s gifts to broken people.  After completing the mild abrasion of the Blue Diamond compound, I hand buff the stummel with a flannel cloth not so much to shine it, but to remove compound dust residue from the surface before applying carnauba wax.  The pictures show the progress. There was one small light spot on the briar surface that I darkened using a fine-point black Sharpie Pen.  Before applying carnauba wax to the stem and stummel, I decide to apply a mixture of sour cream and activated charcoal dust to coat the chamber walls.  I do this for two reasons.  First, cosmetically, it will cover the lighter J B Weld patching in the chamber by giving the chamber a uniform dark color.  Secondly, this layer will aid the creation of a new cake for this GBD Trafalgar Calabash’s new pipe steward.  After it sets up and cures, the coating is very hard and sturdy, yet for the initial times of use, no scraping the chamber is allowed!  A folded over pipe cleaner is sufficient to clean the chamber, which is in fact, my practice with all my pipes.  I empty two capsules of activated charcoal into a dish and add some sour cream (you can use yogurt as well), and mix it with the stick.  I insert a pipe cleaner to keep the draft hole free, and apply the mixture throughout the fire chamber.  After letting the stummel sit for several hours to cure the final picture in the set below shows the results.  After reuniting stummel and stem, I mount the cotton cloth buffing wheel on the Dremel, up the speed by one notch and apply carnauba wax in the same manner as with the compounds – not apply much downward pressure, rotating methodically over the surface, allowing the RPMs and wax to do the work.  After applying about 3 cycles of carnauba wax to the stem and stummel, I give the pipe a rigorous hand buff with a micromesh cloth.

This GBD Trafalgar London Made Calabash was a bit of a challenge, but I’m very pleased with the results.  The hole patch and crack repairs on the stummel are virtually invisible.  The floor of the fire chamber is repaired and the pipe is ready for recommissioning.  The grain is striking and the Calabash shape is just classy.  If you would like to bring this GBD Trafalgar London Made home to add to your collection, he is ready for adoption!  Go to my blog site, The Pipe Steward, and leave me a note.  As always, profits for the sale of The Pipe Steward restorations benefit the Daughters of Bulgaria – women and their children who have been sexually exploited and trafficked here in Bulgaria and Europe.  Thanks for joining me!

 

One more hard to clean up – a no name Meerlined Bulldog


Blog by Steve Laug

The fifth pipe from the lot left to me for cleanup by the fellow on holiday was this little no name Bulldog. When he showed it to me, it was later in the evening and in the twilight of my dim living room, I did not notice that it was a meerlined pipe and he neglected to tell me. Once I had the pipe on my worktable and examined it under the light I could see that it was meerlined and that the meerschaum lining extended all the way to the bottom and was thus a cup insert into the briar and not a lining that ended above the airway. Knowing that changed my cleanup routine in that I do not like reaming meerschaum lined bowls because it is too easy to damage the walls and the bottom of the bowl if they are soft or cracked. I use a Savinelli Pipe Knife to carefully scrape the walls clean and wipe it down with a wet paper towel.

The pipe really was a mess in more ways than even the photos show. The finish was a thick varnish/urethane coat that had bubble and cracked on the heel of the bowl. The rim had a thick dark cake of tar that almost hid the proverbial line that separates the meerlining from the briar that holds it. The rings around the bowl were almost filled in with grime and grit. Looking at the bowl in the light I saw more pink/red fills than I have ever seen on a pipe. It seemed like there were fills between every darkened line of grain on the front and left side of the bowl and there were spot fills on the right and backside of the bowl. The inside of the bowl was caked with a thick, sticky tar that made me think that it had never been cleaned. The stem was hard to remove from the shank the goop (technical term here) was so thick and sticky. The metal spacer was attached to the stem not to the shank and it was oxidized and dirty. The surface of the stem was as sticky as the bowl surface and the button end had been chewed to the point that button was almost non-existent and the slot was virtually pinched closed. I have no idea how the owner was able draw smoke from the bowl to his mouth with this pinched and clogged mouthpiece. The pipe was truly a mess and one that would take some time to clean up and restore. Sometimes when I work on a pipe like this one I seriously question whether it is worth restoring. The only thing that keeps me at it is not the worth or condition the pipe is in when I get it, but obviously, it was a favoured pipe and quite possibly a great smoker to the one who wanted it restored. That is what makes it worth it to me – perhaps I can bring it back to some of its former glory and make it smokeable once more.

I took some close up photos of the state of the pipe before I started the restoration process. The first one shows the telltale inner ring on the bowl that signaled a meerlined bowl to me. The build up cake that flowed out of the bowl and over the rim is visible. The only thing you cannot experience is touching the stickiness and smelling the stink of a very dirty pipe. The second photo shows the heel of the pipe with the bubbled finish, missing fills and partial fills that will need attention. The last two photos show the condition of the stem – note the tooth marks and collapsed button visible in both photos. What is amazing is that the stem did not have any bite marks going through into the airway. On the one hand this pipe is a mess, but on the other it provides me with a challenge.The urethane/plastic coat on the bowl was impervious to acetone and alcohol. All it did was remove the dirt and grime but it did not faze the finish – even in the bubbled area on the heel. So much for the easy route of stripping the finish. I would have to resort to a more intrusive approach and sand the bowl. Fortunately, there were no stampings on the shank so I could sand the entire pipe. I sanded the urethane finish off the pipe and used a dental pick and sharp penknife to scrape out the grime in the twin rings around the bowl cap (fortunately the plastic coat did not go into the rings). Once I had broken through the finish I scrubbed the surface of the briar with acetone on cotton pads to remove the stain that was underneath the plastic coat. The red/pink putty fills are evident now that the finish is removed. I scraped the cake out of the bowl with the Savinelli Fitsall Pipe Knife. I took the cake back to the meerschaum lining. The meerschaum was darkened from the tobacco stains and fire but it was solid and undamaged! I am thankful for that little bit of reprieve. I scraped some of the build up from the rim at the same time to see if there was damage underneath.I decided to lightly top the bowl to remove the damage to the briar on the front outer edge of the rim cap and some of the deeper gouges in the rim top. I topped it on the topping board using 220 grit sandpaper. I wanted to have a smooth transition between the briar and the meerschaum insert. The topping achieved that goal.I sanded the exterior of the bowl with 220 grit sandpaper to smooth out the rest of the finish in preparation for repairing the damaged fills on the bottom of the bowl and to assess the other fills to see what needed to be done with them. I wiped the bowl down with alcohol on a cotton pad before I took the following photos. With the externals cleaned up it was time to turn my attention to the internals. I blew air through the end of the shank and found that pipe was clogged with just a trickle of air slipping through the shank. I pushed a metal rod through the airway to the bowl and worked it around to remove the build up that constricted the airway. I used a dental spatula to scrape out the walls of the mortise and the end of the mortise and remove the hardened, sticky mess that had formed along the walls making the stem fit very tight. I scoured out the airway in the shank and the mortise with pipe cleaners, cotton swabs and alcohol until the shank and mortise were clean. At this point the pipe was smelling far better.The stem needed the same treatment. I could not push a pipe cleaner through because of the build up of debris and the pinched button and slot. I used a dental pick to scrape out the metal tenon that had been made for a paper filter. It was so full of thick black tars and oils that it took a while to get that part clean. I worked the pick around in the slot until I was able to open the slot and airway enough to be able to push a pipe cleaner through it. I scrubbed out the tenon and the airway with alcohol, cotton swabs and pipe cleaners until it was clean.I used a file to smooth out the top of the existing button and the area one inch in front of the button on both sides of the stem. Once I had cleaned up with the file I sanded it with 180 grit sandpaper to smooth it further. I wiped it down with an alcohol dampened pad to remove the dust. I filled in the tooth marks in the stem and button with black super glue and set the stem aside to cure.I filled in the damaged fills in the heel of the bowl with clear super glue and set it aside to dry. Once glue had dried on the fills on the heel and cap I sanded the repairs with 220 grit sandpaper and blended them into the surrounding briar surface. I wrapped a piece of 220 grit sandpaper around a dowel and then my finger and sanded out the rough spots on the interior walls of the bowl. I wanted the surface of the bowl to be smooth meerschaum so that I could encourage the owner to not allow the cake to build up in this one but to wipe it down with a paper towel after each smoke.I sanded the bowl with a medium and a fine grit sanding sponge and with 1500-4000 grit micromesh sanding pads. Once it had a shine I stained it with a new bottle of dark brown aniline stain undiluted. I was hoping to get some coverage or blend in on the dark red fills on the bowl. I flamed the stain to set it and repeated the process until the coverage was even.I let the stain dry overnight and once it was dry I took some photos of what Dal calls the crust of the fired stain covering the bowl. You can really see the fills stand out through the stain in these photos. I wiped off the crust coat with alcohol on a cotton pad to get it back to the stain coat so I could examine what I was going to work on. I sanded the bowl with 220 grit sandpaper and remove the dark coat. To me the dark really made the red fill material stand out on the bowl and the fact that there were so many of them it looked like freckles. I sanded it back with the sandpaper which left behind some sanding marks and scratches that would need to be worked on. I polished the sanding marks out by buffing it with red Tripoli and then sanding it with micromesh pads. I wet sanded the bowl with 1500-2400 grit pads (I opened a package of new pads to sand with). I dry sanded with 3200-12000 grit pads. The photos below show the progress. While the fills stand out to me the polishing tends to hide them a bit. The pictures below tell the story. The stem repairs had cured so I sanded the repaired areas with 220 grit sandpaper to smooth them out and blend them with the surface of the stem. I shaped the button with a needle file to make the edges cleaner and sharper. I touched up the repaired areas with a clear super glue and filled in the airholes in the cured super glue. I polished the stem with micromesh sanding pads – wet sanding it with 1500-2400 grit pads and dry sanding it with 3200-12000 grit pads. I rubbed the stem down with Obsidian Oil to enliven the stem surface. I hand buffed it with  a microfibre cloth to raise the shine. I filled in the stamping on the stem with White Acrylic Paint and when it had dried I sanded it off. I buffed the bowl with Blue Diamond polish to raise a shine. I buffed until the scratches were blended in to the surface. I gave the bowl and stem multiple coats of carnauba wax to protect the surface of the briar and stem. I buffed it with a clean buffing pad to raise the shine. I hand buffed it with a microfibre cloth to deepen the shine. I polished the metal decorative band on the stem with a silver polishing cloth.The photos below show the finished pipe. It looks far different from the pipe that I started with. The stain and wax blend the fills into the briar, and though still visible, they look far better than they did before. This is the seventh pipe I have restored and repaired for the gentleman who asked me to refurbish them for him. I look forward to seeing what he thinks when he sees this one.

Another L. J. Peretti of Boston – Square Shanked Rhodesian


Blog by Dal Stanton

When Jon put the L. J. Peretti out on the table I was excited.  I was in Oslo, Norway, where I met up with two colleagues who work in Ukraine – we were there watching a world class biathlon event and we had a great time.  Jon knew that I was restoring pipes for the Daughters of Bulgaria and had a couple pipes that he was no longer smoking.  He picked the Peretti up off eBay some time ago and he passed it on to me to restore for a new steward – a task I was more than willing to take on!  I grew a bit attached to the Boston-based Tobacconist L. J. Peretti Co., when I restored my first Peretti which my son had gifted me for Christmas.  It was a challenge as I salvaged the original Peretti stamp on the surviving squared saddle stem half and added the other half by cannibalizing another stem and accomplishing a stem splice.  For a look at this project look here:  Peretti Square Shanked Billiard.  I brought the ‘new’ L. J. Peretti home to Bulgaria and the first picture below shows the two Perettis – a remarkable resemblance in the sharp squared shanked style.In the interest of full disclosure, when I first saw the ‘new’ Peretti in Oslo, I really wasn’t sure what the shape classification would be.  The first indicator I cued on was the double groove – Bulldog?  Then, the classic Bulldog usually has a diamond shank/stem.  Rhodesian?  The squared shank didn’t fit.  Ok, a Billiard or Apple with a cool grooved ring going with the squared shank, which I think is very attractive.  My questions gave way to an email to Steve for his input and his response came very quickly.  His call is a squared shank Rhodesian.  My response, “Sweet!”  That works for me.  When I did my original research on the Peretti name I discovered the genesis of a significant story of Americana pipe history with the establishment of the L. J. Peretti Company of Boston in 1870, the second oldest tobacco shop in the US, second only to Iwan Ries & Co. of Chicago established in 1857 (See: Link).  It started in 1870, Libero Joseph Peretti arrived in Boston from Lugano, Switzerland, putting in motion the historical axis that exists today in an iconic tobacconist shop that continues to serve patrons by hand-blending tobaccos from around the world to taste.  One can take his empty bowl to the shop in Boston at 2 1/2 Park Square and test different blends under the watchful assistance of L. J. Peretti staff – total ‘old school’ and I like it! With an appreciation for the L. J. Perretti Squared Shank Rhodesian on my work table, I take more pictures to fill in the gaps. The left side of the shank is stamped “STRAIGHT GRAIN” and, interestingly, the right side is “L.J. Peretti”.  As is true of my other Peretti, usually the name is stamped on the left side.  This Peretti’s pedigree is on the right side of the shank.  The squared, tapered stem has the classic “P” stamped and in good shape. The chamber shows significant cake and will need to be cleaned down to the briar.  The rim has some significant damage on the right side and significant lava flow.  I will need to clean bowl and rim to see what might be lurking beneath.  The Rhodesian upper dome has cuts – one noticeably dissects the twin grooves.  There’s a good bit of grime in the grooves and at least one lightened fill on the heel – with the flat heel this Rhodesian is also a sitter – a nice feature for the table!  I also detect some dents on the squared shank corners – this old boy has taken a bit of bruising along the way.  The stem shows no oxidation but the button shows some biting and tooth dents – both upper and lower button lips have clench marks.  ‘Straight Grain’ is stamped on the shank and the grain has some striking features that will be visible once the grime is cleaned and things shined up a bit.

I work on the stummel first.  Taking the Pipnet Reaming Kit I use the two smallest of the four blades available to me and ream the chamber, removing the carbon cake build up to the briar. I then fine tune the ream by using the Savinelli pipe knife which enables me to remove residual cake in more difficult angles.  To clean the chamber further, I take a piece of 240 grit sanding paper and wrap it around a Sharpie Pen and sand the surface of the chamber then clean the left-over carbon dust with cotton pads wetted with isopropyl 95%.  The chamber walls appear to be in good condition.  The pictures show the progress. I now use undiluted Murphy’s Soap with cotton pads, a bristled tooth brush and a brass wired brush to clean the stummel surface, scrub the rim and clean the grime out of the twin grooves.  As I’m cleaning, it becomes evident that the left front of the upper dome is scorched from what appears to be the aftermath of using a lighter flame over the side of the rim to light the tobacco.  I do not use a lighter for this reason – it is difficult to angle the flame without bringing damage to the surface briar.  I use matches and bring the flame directly over the chamber and draw the flame directly to the tobacco.  I’ll need to send Jon a note about this!!!  After scrubbing with all available tools, I rinse the stummel with tap water without introducing water into the internals.  With the rim now clean, the extent of the damage is revealed.  The final picture in the set below, on the lower part of the picture shows this damage. Since my day is ending, I decide to hydrate the stummel surface with a light application of olive oil.  I also decide to use a kosher salt and alcohol soak to work on the internals overnight.  I twist a cotton ball and stuff it down the mortise to act as a wick to draw the oils and tars out.  I then fill the chamber with kosher salt and hold my palm over the top and give it a shake to displace the salt.  Using an eyedropper, I then fill the bowl with isopropyl 95% and leave the stummel in an egg crate for stability and turn off the lights.  The pictures show the progress.The next morning the salt, as expected had discolored somewhat and the cotton served as a wick drawing oils and gunk out of the stummel internals.  I follow with a barrage of pipe cleaners and cotton swabs to finish the cleaning job.  The pictures show the progress.I now face the most daunting part of the restoration of this L. J. Peretti Squared Shank Rhodesian.  I take more pictures for a closer look at the problems.  The burn and scorching damage on the rim and upper dome of the stummel are significant.  The rim at the 11:30 position is cratered severely and it appears that the rim burned and the charred part chipped off after becoming brittle.  From this area, down on the left side to the 7:00 position there is damage but not as severe.  My concern is whether there is healthy briar beneath what I’m seeing or has the wood charred more deeply?  If so, a lot of briar will need to be removed to repair the rim via topping, but this could impact the Rhodesian proportional balance between the upper and lower parts of the bowl – divided by the twin grooves.  This repair reminds me of a rim rebuild I did with a ‘Throw-Away Pipe’ that had little rim left.  With a desire to salvage as much of the rim as possible, I will very lightly top the pipe but only to gain the ‘high ground’ of the rim and then fill the craters and divots in the rim with a briar dust and superglue putty.  I want to ‘build-up’ the rim instead of losing it on the topping board and creating a squat-top, disproportionate Rhodesian.  The pictures show the damage and the challenges. It will be difficult to top the rim evenly with the soft spots created by the charred briar.  With the chopping block covered with 240 grit sanding paper, I very lightly begin to rotate the inverted stummel.  I take pictures to mark the gradual process.  When I arrive at the maximum topping progress, most of the rim has found it’s ‘high ground’ leaving the remainder of the damaged areas more visible.  This allows me to strategically apply patches on the rim.  I notice that there is additional carbon on the inside lip of the chamber so I take out the Peretti Pipe Knife once more and scrape the additional carbon exposed by the topping.  The pictures show the progress of the rim repair. The focus for the briar dust – superglue patch will be the 11:00 area (see above).  The remainder of the damage on the inner rim will be addressed by creating an inner rim bevel.  To prepare the area for the patch I clean it with a cotton swab dipped in isopropyl 95%.  Using Hot Stuff Special ‘T’ CA Instant Glue, I mix it with the briar dust until it reaches a viscosity like molasses.  Using a toothpick as a trowel, I apply the putty excessively over the area with the plan of sanding it down.  I put the stummel aside to allow the patch to cure.  I’ll give it a full 12 hours. The next day, the patch has cured well.  I begin sanding down the excess briar dust patch by using a half-rounded needle file to contour the inner chamber part of the patch.  My goal is to reestablish a round rim by blending the patch with the curvature of the inner rim.  After this I smooth and blend the area further with 240 grit paper.  When satisfied, I turn to the top of the rim using a flat needle file to bring the bump of the patch gently down to the briar rim surface.  The surrounding wood is softer and I avoid collateral filing as much as possible.  I follow to further smooth and blend the whole patch with 240 grit paper.  The pictures show the shaping progress. With the primary patch shaping complete, I want to introduce a bevel to the inner rim lip to remove damage as well as blend the entire rim contour – seeking a round rim.  I believe a bevel always ‘up-classes’ a pipe, too!  I use a coarser 120 grit paper to cut the bevel –  careful to remember the patch area is harder and it is easy to dig in to the surrounding softer briar.  After the 120 grit paper, I smooth and blend further with 240 paper. I complete the rim repair by returning to the topping board with a light topping first with 240 paper followed by 600 grit paper.  This ties things together.  The first picture shows the completed patch shaping to mark the progress of the bevel.  I think things are looking good at this point with the rim repair. Unfortunately, upon closer scrutiny, I discover that my topping inadvertently leaned toward the front of the stummel. This is very evident when comparing the twin grooves to the rim pitch (first picture below).  We do not have a parallel alignment which should be the case.  When I looked back at the pictures above showing the incremental topping process, this is confirmed when the front stummel part of the rim was sanding and the shank side less so.  The result I see is the Rhodesian’s dome lop-sided and that just won’t do.  Even though I’ll give up briar real estate, I take the topping board and hang the stummel over the edge of the 240 paper.  I work only the shank-side of the rim which needs to be lowered and leveled with the front side.  Gradually, I find greater alignment with rim and grooves, though there is still a bit of pitch but not as pronounced. It will work.  I reinstate the bevel and I’m satisfied with the progress.  The pictures show the progress. I put the stummel aside and turn to the stem.  I use 240 grit paper to smooth out the tooth chatter on the upper and lower bit and sand the upper and lower button lips.  By removing the superficial indentations in the vulcanite, I am then able to identify what needs to be filled.  After wiping clean the area, I use Starbond Black Medium KE-150 CA glue to drop fill tooth dents in both the upper and lower button lip as well as the upper bit area.  After application of glue, I spray an accelerator on the cosmetic fills.  I do not use accelerator when the strength of the glue is the issue as the use of an accelerator tends to weaken bonds – from my reading.  I follow with a flat needle file to freshen the button lines and then sanding with 240 grit paper to smooth out the file marks and fills and to blend. I then move to sanding the whole stem.  With some great input from Al Jones in a recent restoration regarding safe-guarding the crisp lines and edges of stems, I mount the stem to the stummel with a plastic disk I fabricated between the two.  This keeps the sanding from creating shoulders over the edge of the vulcanite.  I also wrap the 240, then 600 grit paper around a clothespin half to create a flat sanding surface to guard the sharp edges of the squared shank square and not rounding them.  After completing the sanding, careful to guard the Peretti ‘P’ stem stamp, I buff the stem with 0000 steel wool.  The pictures show the progress.Turning to the internals of the stem, I use pipe cleaners dipped in isopropyl 95% to clean the airway.  I notice that the pipe cleaners have difficulty passing through the slot so I widen it a bit using a rounded needle file against the upper and lower slot opening.  That did the trick.  Pipe cleaners move freely and now, cleanly.  Pictures show the progress.With the stem repairs completed and the internals cleaned, I’m ready to commence the micromesh pad cycle on the LJ Peretti’s squared shank.  Using pads 1500 to 2400 I wet sand the stem.  I follow by dry sanding with pads 3200 to 4000 and then 6000 to 12000.  With each set of 3 pads I apply Obsidian Oil to the stem which revitalizes the vulcanite.  The pictures show the amazing vulcanite ‘pop’ emerging. I put the stem aside to dry.With the stummel showing scorching damage on the upper dome extending downwardly over the grooves, I take another picture for a closer look.  I use a medium grade sanding sponge to address the damaged area.  I need to remove the charcoaled wood and get down to healthy briar beneath the surface.  To aim for uniformity throughout the stummel, I use the sanding sponge on the entire surface, careful to guard the nomenclature on both sides of the shank.  I follow the medium grade sponge with the light grade sanding sponge to finish addressing the charred wood and minor cuts and pits on the stummel surface.  It looks good.  The shank stamping, STRAIGHTGRAIN, is starting to show itself as the grain shows through the once scorched dome area.Taking micromesh pads, I now wet sand the stummel using pads 1500 to 2400.  Following this, I dry sand using pads 3200 to 4000 then 6000 to 12000.  Wow.  I cannot believe the grain making an appearance on this L. J. Peretti Rhodesian.  The pictures show what I watch emerge through each micromesh pad cycle. To get a big picture look at the Peretti, I reunite the stummel and stem.  As with my last Peretti restored, I like the squared shank’s flow from stummel as it tapers out through the stem.  This Rhodesian’s stem tapers whereas my other Peretti Billiard has a squared saddle stem.  Both, very nice variations of the same concept – a classy shank style. Because of the beauty of the grain I’m seeing, I’m tempted to stop at this point, and finish up with carnauba – I like the natural briar that much.  The only issue is that I would like to apply a darker brown shade of dye to better blend the patch and repair of the rim which stands out as is.  The pictures show the story.In preparation for the staining phase, I use a sharp dental probe and run it through the grooves to dislodge any briar dust from the sanding process.  There is a good bit of compressed residue coming loose.  I follow by wiping down the stummel with a cotton pad wetted with isopropyl 95% to clean the surface.  On the stummel heel, I detect one lightened fill.  I darken it with a stain stick to encourage blending.  I also touch up the patch fill on the rim to help blending and masking the patch after dye is applied.  Pictures show the preparation steps. To stain, I use Fiebing’s Dark Brown Leather Dye mixed with isopropyl 95% at 50/50.  I use a large dropper to do the mixing in a shot glass.  With the mixture ready, I heat the stummel using the air gun expanding the briar making a better receptor for the dye.  When heated, I use a doubled-over pipe cleaner to apply the dye to the stummel surface.  I apply the dye liberally seeking to achieve 100% coverage.  When completed, I fire the wet dye which immediately ignites the alcohol in the dye, setting the hue in the grain.  I repeat the above application of dye and flaming after a few minutes.  I put the stummel aside to rest for several hours before removing the fired dye crust.  The pictures show the set-up and the progress.  With the stummel resting, I restore the Peretti’s classic stem ‘P’ with white acrylic paint.  Restoring the stem stamping for me is special, along with guarding the nomenclature – and is why I went through a stem-splice with my first Peretti restore – to save the surviving saddle stem piece with the old, warn ‘P’ stamp.   I apply white acrylic paint to the ‘P’ in a large gob over the area to allow the paint to fully saturate the ‘P’ imprint.  I allow it to dry fully.  Later, when dried (it doesn’t take long), I use the edge of a toothpick and gently scrape the area removing the excess but leaving the paint in the stamp imprint.  Using the side of the toothpick has worked for me as it is a harder surface, yet soft as it’s wood.  The flat area of the toothpick passes over the stamp and does not disturb the paint.  I’m pleased with the results.The next morning, the stummel is waiting to be unwrapped of the flamed crust.  Using the Dremel high speed rotary tool, my tool of choice given the tight quarters of my work table on the 10th floor of a former Communist block apartment building, I mount a felt buffing wheel set at the slowest speed, and use Tripoli compound to apply the gentle abrasion to begin the final buffing stages.  I first purge the wheel of old compound running it against the metal adjustment wrench, then with new compound on the wheel, I apply it to the surface.  I do not use much downward pressure but allow the speed of the wheel’s RPMs and the compound to do the work.  I methodically move over the stummel surface in areas with the sheen of the overhead lamp providing the ‘headlights’ letting me know to spread the compound or apply more to the wheel.  I take a picture to show the felt wheel application of Tripoli compound – I had to stage it because I don’t have enough hands to take a picture and hold stummel and Dremel!  After completing the Tripoli cycle, I lightly wiped the stummel with a cotton pad wetted with isopropyl 95%, not wanting to lighten the hue but to blend certain areas on the heel and shank.  I avoid wiping down the bowl area – it looks good.  Dark enough to mask repairs but on the lighter side to show the striking straight grain definitions.Following the Tripoli compound, I mount a cotton cloth buffing wheel dedicated to Blue Diamond compound.  With the Dremel remaining at its slowest speed I apply the lesser abrasion of Blue Diamond compound to buff the surface preparing it for the carnauba wax application.  I reunite the squared tapered stem to the stummel and apply Blue Diamond compound to both.  I know this borders on eccentricity, but as I was finishing the Blue Diamond cycle, I notice that the rim patch done earlier was showing a ridge around the patch, and not flush with the rim.  A bit late in the game to notice this, but it won’t do.  Very strategically, I roll a piece of 600 sanding paper and address the ridging.  I follow with the full set of 12 micromesh pads folded and strategically addressing the area.  Finally, I apply a dark brown stain stick and lightly wipe a cotton pad wetted with isopropyl 95% to blend the area.  Finally, I run the Blue Diamond wheel over the rim and I’m back to where I started.  The patch is visible, but now without the ridges that draw attention to the repair.  Now, the rim is smooth to the touch.  Much better.  Before and after pictures follow this small detour! With detours behind, I hand buff the stem and stummel with a flannel cloth to remove compound dust from the surface before applying carnauba wax.  I then mount a cotton cloth buffing wheel on the Dremel and increase the speed of the RPMs to 2, a bit faster than the slowest speed, and I apply carnauba wax to both the stummel surface as well as to the mounted stem.  After 3 cycles of applying carnauba wax, I hand buff the pipe with a micromesh cloth to bring out the depth of the grain further.

I appreciate Jon giving me this L. J. Perretti while we were in Oslo.  I’m happy to recommission this very attractive Square Shanked Rhodesian – the grain is exceptional and I like the square shank style of both Peretti’s I’ve restored.  The squared shank, not a common Rhodesian configuration, allows this Rhodesian to function like a ‘table sitter’ as well while one plays their card or board games.  If you are interested in adopting the L. J. Peretti Square Shanked Rhodesian, take a look at my blogsite, The Pipe Steward.  As always, all the profits of the sales from my restorations go to help the Daughters of Bulgaria.  Thanks for joining me!

 

Resurrection for a Hand Made Pipa Croci Bent that was dropped


Blog by Steve Laug

The next pipe up for repairs and restoration (from nine from the fellow who brought them for repair) is a Hand Made Pipa Croci. It is stamped on the left side and continuing to the underside of the shank with the words Pipa Croci (long-tailed P) over fatta a mano over Mantova, Italia and dal 1983. On the right side is stamped PC in a circle with a tail over A3 (shape number for a bent billiard). Next to that is stamped *True*. Fatta a mano means Hand Made. It would have been a great looking pipe when purchased. I am pretty sure that it is the nicest one that he left for me to work on and the one with the most issues. Somewhere along the way he dropped the pipe on concrete and the tenon snapped. If that had been all then that was a simple fix. It was not all! The bowl cracked two places on the bottom, not deep cracks but cracks nonetheless. There was a crack on the left side mid bowl that ran from close to the bottom up to a ½ inch below the rim and a small one on the top of the rim on the left toward the front of the bowl. I took a close up photo of the rim and bowl to show the condition. The cake is thick and the rim has a lava overflow from the bowl and some damage on the outer edge near the front.The next two photos, though a little out of focus show the crack in the bowl bottom circled in red. I will continue to show them in the photos as I clean up the bowl.The Lucite/acrylic stem was rough. There were tooth marks on both the top and underside of the stem in front of the button and a deep bit mark on the top of the button. The broken tenon would need to be replaced and there were some nicks in the sides of the stem close to the button end.I reamed the bowl with a PipNet pipe reamer and took the cake back to bare briar. I cleaned up the reaming with a Savinelli Fitsall Pipe Knife. There would still need to be more work done to smooth things out but the bowl was clean and I could see that the cracks did not go all the way through to the inside walls.I topped the bowl to remove the rim damage, particularly that on the outer edge. I also wanted to expose the crack on the rim top and see how bad it was. This pipe really took a beating when it was dropped – fissures all over the place in the briar. I have circled the crack on the bottom to show the largest one. There is a small one next to it that is hard to see in this picture though it will show in later pictures.I scrubbed the bowl down with acetone to remove the finish and reveal more clearly the cracks on the bowl. I have circled them in the next set of photos and drawn arrows to the points of origin that will need to be drilled. The number of cracks is amazing to me – all from a drop on concrete. This briar is quite stunning with some birdseye and cross grain. I drilled with a microdrill bit in the Dremel at each terminus of the cracks. Some of them had spidered a bit so they took multiple holes. I clean out the cracks with a dental pick and wiped the bowl down with alcohol on a cotton pad. I filled in the holes with briar dust and clear super glue. I sanded the repairs with 220 grit sandpaper to blend the repairs into the rest of the bowl. I sanded them with a medium and fine grit sanding sponge to polish the scratches away. I set the bowl aside for a while and worked on the stem. I flattened out the broken tenon on the face of the stem with a Dremel and sanding drum. Once it was smooth I used a drill bit about the same size as the airway in the stem to start the process of opening the airway to take the new tenon. I put the drill bit in a stationary drill and turned the stem on to the bit by hand. I increased the size of the bit incrementally so as not to split the stem and to keep things aligned. I put a tape on the bit that marked the depth of the threaded tenon. Once the airway was opened to the diameter of the tenon I used a tap to thread the inside walls of the newly drilled opening. I turned the stem onto the tap carefully to keep it straight and aligned.The next two photos show the newly tapped stem and the new tenon that was going to be turned into the stem. The tenon was slightly larger than the mortise so I used the Dremel and sanding drum to take it down to the right size. I dabbed some slow drying glue on the threads of the new tenon and turned it into the stem until it sat tight against the face of the stem. With that done the stem repair was complete. There were some nicks and scratches in the stem around the junction area with the shank that needed to be sanded and cleaned up. I used some 220 grit sandpaper to do that. The stem was ready for the fit and all that remained was to push it into the mortise and check it out once the glue set.I put the stem in place in the mortise to check the alignment and was happy with the overall results. As normal there were some slight adjustments that needed to make to the stem and shank but nothing radical so I was happy with the fit. Now all I had to do was finish the fit and repair the stem. I noticed in the photos below that there was some roughness to the inside of the bowl so I would also need to sand that smooth. I wrapped a piece of 220 sandpaper around my finger and sanded the inside walls of the bowl until I had smoothed them out.I cleaned out the airway in the stem and the bowl as well as the mortise with pipe cleaners, cotton swabs and alcohol until they were all clean. I also scrubbed the darkened end of the shank to remove the stain that was there.I stained the bowl with a dark brown aniline stain thinned 50/50 with alcohol and flamed it to set it in the grain. I repeated the process until the coverage was even around the bowl.  I wanted it to be dark enough to blend the repairs into the sides and bottom of the bowl and hide the drill holes and cracks. I set the bowl aside to let the stain dry overnight and called it a day.In the morning I started the polishing process on the bowl. I sanded it with 1500-2400 grit micromesh and a small amount of olive oil to help the grit cut into the briar. I wiped it down afterwards and inserted the stem to see what was happening. The alignment of the stem was slightly off to the left in the photos so it appears not to fit. However, the fit is actually quite good. I still need to polish and clean up the stem. I continued polishing the bowl with the micromesh pads using 3200-12000 grit pads to really add to the shine of the briar. Each successive grit of micromesh raised the shine more on the briar. The grain really pops on this one… I turned back to the stem. I adjusted the fit with 220 grit sandpaper until the transition was smooth. When the fit was correct I polished the stem with micromesh sanding pads – wet sanding with 1500-2400 grit pads and dry sanding with 3200-12000 grit pads. I wiped the stem down after each grit of pad to clean off the sanding debris and gave it a final wiped down after the 12000 grit pad. I buffed the pipe and stem with Blue Diamond on the buffing wheel to remove any remaining scratches or marks and raise a shine. I gave the bowl and stem multiple coats of carnauba wax and buffed the pipe with a clean buffing pad. I hand buffed it with a microfibre cloth to deepen the shine. The finished pipe is shown in the photos below. The cracks are all sealed and since they do not go all the way through into the interior of the bowl I think that they will hold up well. The pipe has a lot of life in it still and I know that the owner will be glad to get it back in far better nick than it was when he left it here. Thanks for journeying with me on this resurrection.