Tag Archives: staining

Breathing Life into a GIGI Collection Italia Studio X 40288


Blog by Steve Laug

It was time to go back to working on the estate pipes from the pipe shop that had closed here in Vancouver. The entire lot came to me from the estate of an older pipeman whose wife dropped them off at a pipe shop to be cleaned and sold. When the shop closed they came to me. The pipe on the table now was an Italian made with a bit of a freehand look to it. It is stamped GIGI over Collection Italia on the left side of the shank. On the right side it is stamped Studio X 4 over 40288. On the underside of the shank it is stamped REGD. NUMBERS over 256267-386165 followed by Made in Italy. The briar has some nice straight and flame grain around the bowl with what looks like faux plateau on the top of the bowl and the shank end. The bowl had a thick cake in it with an over flow of lava on the rim top. The plateau type finish was filled in with lava and was a real mess. It was hard to know what the rim edges looked like with the thick coat covering it all. The briar was dull and dirty looking. The freehand style stem is vulcanite and is oxidized. It had a turned portion near the tenon and the stem itself was oval. There was calcification and tooth chatter and marks damage next to the button on both sides. I took photos of the pipe when I received it. I sent about twenty of the pipes to my brother Jeff in Idaho to work over and clean up. He cleaned up the pipes with his usual thoroughness – reaming the bowl and scrubbing the internals with alcohol, cotton swabs and pipe cleaners. He scrubbed the exterior with Murphy’s Oil Soap to clean off the dust and grime on the finish. When he sent it the pipe was ready to restore. I took photos of the pipe when I unpacked it. The briar was clean and the finish dull. There were some small fills on the left underside of the shank and bowl that needed to be repaired. I took a close up photo of the rim top after Jeff had cleaned it up. The look of the rim top and edges is very good. The carved finish on the plateau top is clean and undamaged. He had been able to remove the cake and the lava very well. The bowl looked very good. The plateau on the shank end is also very clean. The stem is also shown and was very clean. The tooth marks on both sides near the button are visible in the photos.  I was unfamiliar with the brand so I did some searching online and found some basic information on Pipedia. I quote in full:

Luigi “Gigi” Crugnola was born in 1934, the same year Giorgio Rovera founded a company in his own name in Varese, Italy along with partners Angelo and Adele Bianchi, who also happened to be Luigi Crugnola’s Uncle and Mother, respectively. The company produced pipes for 30 years, largely exported to America and elsewhere in the world. Crugnola took over the company in 1964 with the death of Angelo Bianchi, changing the name soon after to his own nickname Gigi, and continues to run the company today. The vast majority of Gigi pipes continue to be made for export (https://pipedia.org/wiki/Gigi).

I turned to my other go to website, Pipephil. The site included a photo of the carver and confirmed the information that I had read on the Pipedia site. It gave the contact information for the pipe company. It is as follows: Gigi Pipe Via Rovera, 40 21026 Gavirate Oltrona al Lago (VA) The link is – http://www.pipephil.eu/logos/en/logo-g3.html.

From that I learned that the pipe was made by Luigi “Gigi” Crugnola and was made after he took over the company in 1964 and changed the name of the brand. I also learned that the majority of the pipes were made for export from Italy so it was not unusual to find one in Canada.

Armed with that information I decided to start on the bowl. I repaired the fills on the underside of the bowl and shank with clear super glue. Once the glue dried I sanded it with 220 grit sandpaper to blend the repairs into the surface of the briar. The fills looked much better with the darkening that occurs with the glue repairs than they did before my work. The photos below show the repaired areas.I polished the briar with micromesh sanding pads to smooth out the surface of the briar and blend the repairs into the rest of the bowl. I wet sanded it with 1500-2400 grit pads and dry sanded it with 3200-12000 grit pads. I wiped it down with a damp cloth after each sanding pad. I worked Before & After Restoration Balm into the briar and the plateau on the rim top and the shank end. I worked it into the surface with my fingertips to clean, enliven and protect the wood. I let the balm sit for about 20 minutes and buffed it off with a soft cotton cloth. I took photos of the pipe at this point in the process to show what the bowl looked like at this point. I used a Medium Walnut Danish Oil Finish to touch up the repaired area and the rest of the bowl. The walnut stain really makes the grain pop on the briar. I hand buffed the bowl with a soft cloth to polish the briar. I buffed it lightly on the buffing wheel using Blue Diamond on the wheel. I took photos of the bowl after buffing. The grain is really standing out on the bowl at this point. It is beautiful. I took photos of the stamping at this point because it really stood out now.I set the bowl aside and turned my attention to the stem. I used a Bic lighter to paint the surface of the vulcanite with the flame. The heat of the flame raised the tooth marks around the button edges. It raised the bite marks significantly but a repair would still need to be done. As I worked on the stem I noticed that it was faintly stamped on the right side of the stem near the turning with the words GIGI.I sanded the tooth marks and the surface of the stem with 220 grit sandpaper to minimize the tooth damage and to remove the oxidation. I was able to remove the majority of the tooth damage other than a few small spots along the button on the top side and the underside.I filled in the tooth marks with superglue spreading it with a toothpick. I set it aside to dry.Once the glue repairs cured I sanded them with 220 grit sandpaper to smooth out the repairs. I sanded them to blend them into the surface of the rubber. I began the polishing of the stem with Denicare Mouthpiece Polish to work on the oxidation. I polished the stem with micromesh sanding pads – wet sanding with 1500-2400 and dry sanding them with 3200-12000 grit pads. I wiped the stem down with Obsidian Oil after each pad. I gave it a further polish with Before & After Pipe Stem Polish – both Fine and Extra Fine. When I finished I gave it a final coat of Obsidian Oil and let it dry. The following photos show the stem at this point. I polished the bowl and stem with Blue Diamond to polish out the scratches in the briar and rubber. I gave the bowl and the stem multiple coats of carnauba wax. I buffed the pipe with a clean buffing pad to raise the shine. I hand buffed it with a microfiber cloth to deepen the shine. The pipe polished up pretty nicely. The original patina on the bowl came alive with the buffing and worked well with the polished vulcanite stem. The pipe has a rich look. The finished pipe is shown in the photos below. The shape, finish and flow of the pipe and stem work give the pipe a very classic look. The dimensions of the pipe are Length: 6 inches, Height: 2 inches, Outside diameter of the bowl: 1 1/2 inches, Chamber diameter: 3/4 of an inch. Thanks for reading this while I worked on it. It was interesting and unusual piece to restore and I really enjoyed the work.

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Farida’s Dad’s Pipes #7 – Restoring a Charatan’s Make Belvedere 48DC Pot


Blog by Steve Laug

I am back working on one of the two pipes that are left in the lot that came from the estate of an elderly gentleman here in Vancouver. I met with his daughter Farida almost a year ago and we looked at his pipes and talked about them then. Over the Christmas 2017 holiday she brought them by for me to work on, restore and then sell for her. There are 10 pipes in all – 7 Dunhills (one of them, a Shell Bulldog, has a burned out bowl), 2 Charatan Makes, and a Savinelli Autograph. I have restored all but three of them – a Dunhill Shell and the two Charatan’s Makes. His pipes are worn and dirty and for some folks they have a lot of damage and wear that reduce their value. To me each one tells a story. I only wish they could speak and talk about the travels they have had with Farida’s Dad.

The pipe I am working on is a Charatan’s Make Belvedere. Whenever I see that stamping I am taken back to a US sitcom that I used to watch in the 80s called Mr. Belvedere. It was about a butler, Lynn Aloysius Belvedere who worked for an American family called Owens. Throughout the series, Mr. Belvedere serves as a mentor of sorts to Wesley as well as to the other children. Being a cultured man with many skills and achievements (having even once worked for Winston Churchill), he also comes to serve as some sort of “counselor” to the Owens clan, helping them solve their dilemmas and stay out of mischief (https://en.wikipedia.org/wiki/Mr._Belvedere).

The stocky and solid look of this cultured Charatan’s Make Belvedere is built almost as solidly as Lynn Aloysius Belvedere. When it came to me it was worn and tired looking. I have already caused a lot of discussion on the cleanup of this pipe on the Facebook Tobacco Pipe Restorers Group. The ongoing debate of Restoration vs. Preservation filled a lot of airtime on the group. I do not care to relive or recount that as I am only following the directives of the daughter of the original deceased pipeman. She wanted them restored to usable condition so others can carry on her father’s love of these pipes. She is quite happy with the finished results and others of his pipes are now all over the world being enjoyed by the next generation of pipemen.

When first looked at the pipe here is what I saw. The bowl on the pipe was thickly caked and the cake had flowed over onto the smooth finish on the rim top forming hard lava that made the top uneven. It was hard to know if there was damage to the inner and outer edges of the rim and I would not know until I removed some of the grime. It looked like there was some burn damage on the top toward the front of the bowl but it was hard to know. The outer edge looked far better than any of the other pipes in this collection when I started. The finish was invisible under the thick coat of oils and grime that covered the bowl and shank. In fact at this point I had no idea what the stamping looked like because it was covered. I have wondered as I cleaned the other pipes in this lot if the oily build up was a combo of the life lived in the Antarctic. The stem was oxidized and very dirty but otherwise in good condition. There was a thick sticky, oily substance on the surface of the stem that I could scrape with my fingernail. There were tooth marks and chatter on both sides in front of the button. The stem would not seat properly in the tenon do to the tars in the shank. I took photos of the pipe to show what it looked like before I started the cleanup work. I took close up photos of the bowl and rim top as well as the stem. You can see the condition of the rim top and bowl in the first photo. The outer edge appears to be in decent condition under the grime and lava. The inner edge looks ok but there looks like some damage on the front. I won’t really know the full story until I remove the thick lava overflow on the surface. The stem had tooth chatter and some bite marks on the top and the underside of the stem just ahead of the button.It has been a while since I have worked on the remaining pipes that belonged to Farida’s Dad. I thought it might be helpful to remind us all of the background story of these pipes. Here is the material that I quoted in previous blogs. I have included both the written material and the photo that Farida included of her Dad.

When I wrote the blog on the Classic Series Dunhill and thinking about its travels, Farida sent me an email with a short write up on her Dad. She remembered that I had asked her for it so that I could have a sense of the stories of her Dad’s pipes. Here is what she wrote: My dad, John Barber, loved his pipes. He was a huge fan of Dunhill and his favourite smoke was St. Bruno. No one ever complained of the smell of St. Bruno, we all loved it. I see the bowls and they’re large because he had big hands. When he was finished with his couple of puffs, he would grasp the bowl in the palm of his hand, holding the warmth as the embers faded. The rough bowled pipes were for daytime and especially if he was fixing something. The smooth bowled pipes were for an evening with a glass of brandy and a good movie. In his 20s, he was an adventurer travelling the world on ships as their radio operator. He spent a year in the Antarctic, a year in the Arctic and stopped in most ports in all the other continents. He immigrated to Canada in the mid-fifties, working on the BC Ferries earning money to pay for his education. He graduated from UBC as an engineer and spent the rest of his working life as a consultant, mostly to the mining companies. Whatever he was doing though, his pipe was always close by.

She sent along this photo of him with his sled dogs in the Antarctic sometime in 1953-1954. It is a fascinating photo showing him with a pipe in his mouth. He is happily rough housing with his dogs. As a true pipeman the cold does not seem to bother him. Thank again Farida for sending the photo and the story of your Dad for me to use. I find that it explains a lot about their condition and gives me a sense of who Dad was. If your Dad was rarely without a pipe I can certainly tell which pipes were his favourites.As I looked over the pipes I noted that each of them had rim damage and some had deeply burned gouges in the rim tops. The bowls seemed to have been reamed not too long ago because they did not show the amount of cake I would have expected. The stems were all covered with deep tooth marks and chatter and were oxidized and dirty. The internals of the mortise, the airway in the shank and stem were filled with tars and oils. These were nice looking pipes when her Dad bought them and they would be nice looking one more when I finished.

Here are the links to the previous six blogs that I wrote on the five pipes that I have finished. The first was a Dunhill Shell oval shank pot (https://rebornpipes.com/2018/02/04/restoring-a-1983-dunhill-shell-41009-oval-shank-pot/). The second was a Dunhill Classic Series Shell Billiard (https://rebornpipes.com/2018/02/08/faridas-dads-pipes-2-restoring-a-1990-lbs-classic-series-dunhill-shell-billiard/). The third pipe was a Savinelli Autograph (https://rebornpipes.com/2018/02/15/faridas-dads-pipes-3-restoring-a-savinelli-autograph-4/).The fourth pipe was a Dunhill Red Bark Pot that was in rough shape (https://rebornpipes.com/2018/03/10/faridas-dads-pipes-4-restoring-a-dunhill-red-bark-pot-43061/). The fifth pipe was a Dunhill Root Briar Bent Billiard (https://rebornpipes.com/2018/07/07/faridas-dads-pipes-5-restoring-a-dunhill-root-briar-56-bent-billiard/). The sixth pipe was a Charatan’s Make Distinction https://rebornpipes.com/2018/08/22/faridas-dads-pipes-6-restoring-a-charatan-make-distinction/

Today, I went back to the remaining two pipes in the collection today and chose to work on the Charatan’s Make – a pot shaped pipe. It was dirty so it took a bit of cleaning on the shank to read the stamping. On the left side of the shank it is stamped Charatan’s Make, over London, England over Belvedere. Under that at the bowl shank junction is a cursive L in a circle denoting a Lane era pipe. To the right of the stamping near the shank stem junction it is stamped with the shape number 48DC. The DC refers to the Double Comfort style stem. The smooth finish was sticky with oils and thick grime. The bowl felt oily to touch.

To try to figure out the era of the Charatan’s pipe I was working on I turned to the pipephil website, Logos and Stampings. There is some really helpful information on each of the lines of Charatan’s Make pipes that entered the market. Here is the link to the section of the site that I turned to, http://www.pipephil.eu/logos/en/logo-charatan.html. There is an alphabetical listing of the lines but the Belvedere they showed had a stem made for a 9mm filter while the one I have is a nonfiltered pipe. The site did give a short history of the brand. I quote the portion that is most pertinent.

The brand was founded in 1863 by Frederik Charatan. When his father retired in 1910, Reuben Charatan took over the family business. All the pipes were handmade until 1973. The brand name has been overtaken by Dunhill in 1978 and sold in 1988 to James B. Russell Inc.(NJ, USA). During the period 1988-2002 Charatans were crafted by Butz Choquin in St Claude (France). Dunhill re-purchased Charatan brand name in 2002 and Colin Fromm (Invicta Briars, Castleford) followed up on freehand production.

I turned to Pipedia to see if I could find more information on the brand and possibly a link to the Distinction line (https://pipedia.org/wiki/Charatan) but once again in the general article it was not listed.  It did give a little more historical information. I quote the pertinent parts and have highlighted in bold the sections that give information on this particular pipe.

In 1863 Frederick Charatan, a Russian/Jewish immigrant, opened a shop in Mansell Street, located in the borough of Tower Hamlets, London E1, where he began to carve Meerschaum pipes. These pipes got very popular soon, and thus Charatan moved to a bigger workshop in Prescot Street, just around the corner. Here he began to make briar pipes which should make the name famous the world over. Charatan was the first brand to make entirely hand-made briars from the rough block to the finished pipe including the stems. The nomenclature “Charatan’s Make” refers to this method of production and was meant to differ Charatan from other brands who “assembled” pipes from pre-drilled bowls and delivered mouthpieces.

Being the undisputed No. 1 in English pipemaking, Charatan was approached by Alfred Dunhill who was unsatisfied with the quality of the pipes he imported from France. During 1908 – 1910 Dunhill bought pipes from Charatan paying exorbitant prices to ensure he had some of the very best pipes for sale in England. In 1910 he lured away Joel Sasieni, one of Charatan’s best carvers, and opened his own small pipe workshop on 28 Duke Street. On the retirement of his father in 1910 Reuben Charatan took over the family business…

…The pre-Lane period (prior to 1955) and the Lane era pipes (1955 to until sometime between 1979 – 1984) are of primary interest the collector. The Lane era is often quoted as beginning about 1950… Charatan records are almost non-existent before Lane due to a factory fire, making it difficult to date pre-Lane pipes. Charatan used 4 basic grades prior to 1950: Supreme, Selected, Executive, and Belvedere. After 1950 Herman Lane’s influence began, and the grades started to expand. In 1955 Lane took over sole distributorship of Charatan in the US. In 1957 he introduced the Supreme S. Most of his other introductions were from the 60’s and early 70’s…

The section called Miscellaneous Notes had some interesting information.

Charatan records indicate the DC (Double Comfort) bit was introduced in the 50’s, but some report seeing them in earlier production. Still others indicate they were introduced by Lane in 1960. Regardless, the DC bit is not an accurate way to date a pipe because many Charatan’s were made with regular and saddle type bits throughout the “Lane Era”…

…The Lane Trademark serif and circled L indicates the pipe is from the “Lane Era” (approx. 1955 to 1979 -1984?), however it appears that both the English factory or Lane themselves sometimes, or perhaps even often forget to stamp the L on a pipe. The Charatan factory was known for inconsistencies, especially in stampings. Therefore, although an L on the pipe definitely defines it as a Lane Era pipe, the lack of it could simply mean the pipe missed receiving the stamp from the factory. The lack of the trademark could also mean the pipe was destined for the European market.

I continue digging further into the dating of the pipe, but what I had found was a good start for me. If some of you would like to try your hand at dating it more accurately as to the time period it came out you might want to check out the article on Pipedia on Dating Charatans (https://pipedia.org/wiki/Dating_of_Charatans). I had enough for me to start working on the pipe itself and see what lay beneath the heavy tars and oils.

Like most work the refurbisher does this one walks a fine line between restoration and preservation. The deciding feature with this pipe was the wishes of the family. They wanted the pipe to be cleaned and smoked by someone who could carry on the pipe man’s legacy of their Dad. I understand that it meant changing the current state of the pipe to bring it back closer to the way it was when their father bought it. I reamed the bowl with a PipNet reamer. I used two of the four cutting heads to clean out the cake. The bowl was thickly caked I started with the smaller of the two and worked my way up to the second which was about the same size as the bowl. I cleaned the remnants with a Savinelli Fitsall Pipe Knife and scraped it back to bare briar. I finished by sanding the inside of the bowl with a dowel wrapped in sandpaper. I scraped the top of the rim with the edge of the Savinelli Fitsall Pipe Knife to remove the lava. I scrubbed the exterior of the bowl and shank with a tooth brush and Murphy’s Oil Soap to break through all the grime. I rinsed the bowl under running water to remove the grime and grit. I repeated the process until I had the bowl clean. I took photos of the cleaned exterior of the bowl to show where things stood at this point in the process. I topped the bowl on a topping board with 220 grit sandpaper to remove the damage to the top surface of the rim and clean up the damage to the edges. I did not have to remove a lot and repeatedly checked it to make sure that I had removed enough but not too much. I wanted to take the rim top down until the burn damaged area was smooth and minimized. The second photo shows the remaining burn mark at the front of the bowl. I used a folded piece of 180 and 220 grit sandpaper to bevel the inner edge of the rim until I had removed most of the damage on the back inner edge.With the externals clean it was time to clean out the mortise and shank and airway into the bowl and the airway in the stem with alcohol, cotton swabs and pipe cleaners. I scraped the mortise with a dental spatula and a pen knife to loosen the tars before cleaning. I worked on the bowl and stem until the insides were clean. I wiped down the exterior of the bowl with alcohol on a cotton pad to remove any remaining oils and grimes from my cleaning of the bowl and rim. Once the alcohol evaporated the briar was very dry but also very clean. I restained the bowl with a Maple stain pen to match the colour that was original on this pipe. The rim top matched the rest of the bowl. When the stain dried I wiped the bowl down with alcohol to even out the stain on the sides and top of the bowl. I rubbed down the briar with Before & After Restoration Balm. I worked it into the smooth finish to clean, enliven and protect the new finish. It also evened out the stain coat and gave the stain a dimensional feel. I let the balm sit for a little wall and then buffed it with a horsehair shoe brush. I buffed the bowl with a cotton cloth to raise the shine. I buffed the bowl with Blue Diamond on the buffing wheel to raise the shine and smooth out the finish. I took photos of the pipe at this point to show the condition. I was still not happy with the burned edge toward the front of the bowl and figured I would give it a light bevel to smooth it out and make it less noticeable. The next series of photos tells the story on this. Though I know some will find this damaging to the bowl to me it removes the significant char on the front edge of the bowl and gives it a refined look.  I polished the rim top with micromesh sanding pads – wet sanding with 1500-2400 grit pads and dry sanding with 3200-12000 grit pads. I wiped the rim down with a damp cloth after each pad. The rim was really looking better. I gave it a light coat of a walnut stain to blend it in with the rest of the bowl colour. The photos below tell the story. I set the bowl aside and turned my attention to the stem. I sanded out the tooth chatter on both sides with a folded piece of 220 grit sandpaper. I polished the stem with micromesh sanding pads – wet sanding with 1500-2400 grit micromesh sanding pads and dry sanding it with 3200-12000 grit pads. I rubbed the stem down with Obsidian Oil after each pad. When I finished I gave it a final rub down with the oil and set it aside to dry.  With the stem polished I put it back on the pipe and lightly buffed the bowl with Blue Diamond. I buffed the stem with a more aggressive buff of Blue Diamond. I gave the bowl several coats of Conservator’s Wax and the stem several coats of carnauba wax and buffed the pipe with a clean buffing pad to raise the shine. I hand buffed it with a microfiber cloth to deepen the shine. The pipe polished up pretty nicely. The finished pipe is shown in the photos below. This is the seventh of Farida’s Dad’s pipes that I am restoring from his collection. I am looking forward to hearing what Farida thinks once she sees the finished pipe on the blog. This Charatan’s Make Belvedere Pot shaped pipe will soon be on the rebornpipes store if you want to add it to your rack. The dimensions are Length: 5 ¼ inches, Height: 1 3/4 inches, Outside diameter of the bowl: 1 1/2 inches, Chamber diameter: 7/8 inches. Thanks for walking through the restoration with me as I worked over another of her Dad’s pipes. I have one more of his pipes to work on –a Dunhill Shell Billiard with a saddle stem.

Refreshing a Comoy’s Made in London, England Bent Bulldog


Blog by Dal Stanton

I saw this Comoy’s Bent Bulldog as a charity listing on eBay for the Akron Art Museum, in Akron, Ohio.  The seller, like me, was providing pipes for a good cause and I like that.  I also liked the Bulldog I saw in the pictures the seller provided and by the description, it seemed the seller was a pipe person.  The nuts and bolts description:

A classic bulldog! About 5 1/4” long, bowl is 1 1/2” tall, 1 5/8” wide tapering to 1 1/8” at rim. ID 13/16”, depth 1 5/16”. Marked on one side of shank COMOY’S, other side MADE IN LONDON ENGLAND in circular fashion 4097, beneath shank a capital H. A capital C stamped on side of bit. No other marks detected.

Diamond saddle bit is well-seated push fit, cleaned and polished, showing some bite wear but no holes through. Some oxidation as well. Stummel is well hand worn and smoothed, some dings and scratches, scorch on rim, light cake in bowl. Though the pipe is smokable as is, this one has the possibility of being a real beauty with some TLC!

I took the gambit dangled in the last sentence regarding this Bulldog’s possible condition with some TLC.  My bid on the auction block was sufficient, I supported the Akron Art Museum, and now this Comoy’s Bent Bulldog is on the worktable here in Sofia, Bulgaria, on track to benefit the Daughters of Bulgaria, my favorite cause.  This was the second pipe that Stephen commissioned along with a Custom-Bilt Rusticated Panel.  Here’s the picture I saw on eBay which got Stephen’s attention in the For ‘Pipe Dreamers’ Only! collection:Now on my worktable, I take more pictures to get a closer look at the condition of this Comoy’s Bent Bulldog. The nomenclature on the Bulldog’s diamond shank is clear.  On the upper left shank is stamped ‘Comoy’s’.  The right upper shank has encircled, ‘MADE’ with ‘IN’ in the center and ‘LONDON’ on the bottom.  Underneath the circle is ‘ENGLAND’ in straight script.  To the right is shape number ‘409 7’.  Underneath this on the lower right shank panel is stamped ‘H’.  All indicators of the nomenclature point to a Cadogan era pipe which began in 1979 with the merger absorbing Comoy’s.  The simple ‘C’ stem stamp confirms this without the classic 3 piece inlaid ‘C’.  The shape number of 409 has historically indicated a Bulldog on earlier shape charts with a slight quarter bend.  The addition of the ‘7’ on this Bulldog I’m not clear on this, except that during the Cadogan era they added a 4th number to the shapes according to the Pipepedia article on shapes. I would say that this Comoy’s Bent Bulldog has been lovingly enjoyed over the years.  He’s got quite a few scrapes and bruises for the wear, mainly on his dome and circling the double grooves.  I took quite a few pictures of these above.  I’ll need to do some repairs especially on the back side of the dome where there are several small concentrated dents.  The front of the rim has been scorched from lighting practices it appears.  The dome grooves need to be cleaned and I detect a few chips of briar on the back-right side along the grooves.  Also, of interest are two huge fills on the right side of the bowl as it tapers down.  I’ll need to take a good long look at these.  The stem has oxidation and typical tooth chatter and compression dents on the button lip and just before the button.  The former steward was a clencher.

I begin the restoration of this Comoy’s Bulldog by placing the stem in a soak of Before & After Deoxidizer along with other pipes and stems in the queue.  Whoops, I include the original seller’s pictures – I forgot to take pictures of the original stem’s condition before putting the stem into the soak. After some hours of soaking, I remove the Bulldog stem and using a cotton cloth wetted with alcohol, I wipe down the stem removing the raised oxidation.  I follow this by wetting a cotton pad with light paraffin oil (mineral oil) and continue to wipe off the oxidation and the oil helps rejuvenate the vulcanite.After the soak wiping and the stem dries, I can still detect oxidation on the stem which requires more attention.  Before I start sanding the stem, I use Before & After Fine and Extra Fine Polishes to work on the oxidation.  It is advertised to continue the raising process of oxidation.  I start first with the Fine Polish by putting some on my finger and rubbing it in the vulcanite.  I also work it in well around the ‘C’ stamping to clean it more.  After applying, I allow it to stand for some time and then wipe off.  I do the same with the Extra Fine Polish.  After I’ve finished, I still see a deep greenish hue indicating the oxidation is still holding on.  The last picture below tries to capture what I see with the naked eye – it doesn’t do a very good job! One more noninvasive approach to the oxidation I’ll try.  I scrub the stem surface using Magic Eraser.  After working the white sponge over the entire surface, it did do a good job.  More oxidation was removed, but not enough to make me happy!  I still see oxidation especially on the ‘saddle’ of the saddle stem.  The pictures show the progression.Next, I sand the stem starting first with 240 grit paper.  I do not like going through the fine tune buffing with micromesh pads and start seeing oxidation!  So, I sand the entire stem, avoiding the Comoy’s ‘C’ stamping.  I also use at disc to sand against at the stank side of the stem.  The disc helps to guard against shouldering the stem so that the edges are not sharp as the stem joins the shank.  This sanding is primarily for dealing with the oxidation.  In the pictures below, you can see the bit area compressions that are left untouched by the sanding.Before proceeding further with the sanding of the stem, I use the heating method to raise the compressions in the vulcanite in the bit area.  Using a Bic lighter, I paint the bit and button to heat the vulcanite which causes it to expand.  The hope is that this will cause the indentations perhaps to go away or lessen in their impact so that they will then sand out more easily. After painting the bit with the open flame, it helped to minimize some, but it did not erase the dents and compressions on the bit and on the button lips.  I follow with a flat needle file to file the button to refresh and shape the edges.  I follow again with 240 grit paper continuing to sand the dents on the bit.  Using the Bic lighter to raise the dents helps and I’m able to sand out all the dents and compressions from biting. Before proceeding further with the sanding of the stem, I use the heating method to raise the compressions in the vulcanite in the bit area.  Using a Bic lighter, I paint the bit and button to heat the vulcanite which causes it to expand.  The hope is that this will cause the indentations perhaps to go away or lessen in their impact so that they will then sand out more easily. After painting the bit with the open flame, it helped to minimize some, but it did not erase the dents and compressions on the bit and on the button lips.  I follow with a flat needle file to file the button to refresh and shape the edges.  I follow again with 240 grit paper continuing to sand the dents on the bit.  Using the Bic lighter to raise the dents helps and I’m able to sand out all the dents and compressions from biting.  Next, I wet sand the entire stem using 600 grade paper and follow this by buffing with 0000 steel wool. One last thing at this point before turning to the stummel, I give the stem a coat of light paraffin oil to help revitalize it.  I put the stem aside to absorb the oil and dry. With the stummel in hand, I begin the internal cleaning by reaming the light cake build up in the chamber.  I use 3 of the 4 blade heads available from the Pipnet Reaming Kit.  I then use the Savinelli Fitsall Pipe Tool to reach the hard to reach places in the chamber.  I then sand the chamber with 240 grade paper wrapped around a Sharpie Pen followed by wiping the bowl with a cotton pad wetted with alcohol to clean the carbon dust left behind.  Inspection of the chamber reveals some heat fissures on the floor of the chamber.  There also appears to be a small fissure creeping up just above the draft hole.  I take a few pictures that show what I’m seeing.  Are these fissures severe enough to warrant a durable patch or perhaps apply a pipe mud to enhance the growth of a protective cake?  That’s what I’ll be considering.  Continuing the cleaning, I use undiluted Murphy’s Soap on the external briar surface.  To work on the grit lodged in the grooves I use a bristled tooth brush.  I also use a brass wire brush to work around the dome and rim to clear away the old oils. Using a sharp dental probe, I painstakingly clean both dome groves, scraping packed dirt out.  I’m careful not to jump ‘track’ out of the grooves and scratching the briar surface.  The picture shows the cleaning progress. With the externals cleaned up, I turn now to the internal mortise and airway.  Using pipe cleaners and cotton buds dipped in isopropyl 95% I go to work. I quicken the work by scraping the mortise with a dental spatula.  In time, the cotton buds and pipe cleaners were coming out clean.  I’ll continue cleaning later using a kosher salt and alcohol soak.Turning again to the stummel surface, the rim and dome cleaned up well but show the dents and pockets from knocks and drops.  There remains a scorched area at the front of the rim/dome area.  There are small chips in several places around the circumference of the dome grooves.  I believe they’re all too small to patch, but with sanding I’m hoping that most should disappear or be minimized.  The most daunting aspect of the briar landscape is a huge, double fill patch on the right lower side of the stummel.  I take two pictures of the fills to show the position and a super close-up to show the appearance of the fills.  I poked the fills with a dental probe and both fills are rock solid.  Yet, as the close-up picture reveals, there are small air pocket holes in the fills and gaping around the fills.  I’ll leave the fills in place but touch them up with thin, clear CA glue and then sand to blend.  These fills will pretty well drive the boat regarding the finished look of the Comoy’s Bulldog.  The finish needs to be darker in order to mask the fills as much as possible, though even a dark stain will not hide these giants.   Looking again around the dome grooves, on the back-right quadrant there may be at least 2 candidates for a patch before sanding.  I take a picture of this area.  To the top left of the groove chips, there are also a few small holes that I’ll fill with a spot-drop of CA glue.  In this picture there are also two other small fills that seem to be in good shape.Before I begin sanding and patching, I start from the top and work my way down!  Topping the stummel will re-define the rim and address the front quadrant of the rim/dome where the former burn damage has thinned the rim.  I take some pictures to show these issues and mark the start. I put 240 grade paper on the chopping board and rotate the inverted stummel several times, checking as I go to make sure I’m staying level and not leaning into soft spots in the briar. When enough of the top is removed, I then switch the paper to 600 grade paper and turn the stummel a few more rotations. I take pictures to show the progress.  Now to the patching party!  I first wipe the stummel with a cotton pad wetted with alcohol to clean the area. I start with the two large fills by spot dropping a small amount of thin CA glue over the fills and spreading the glue over the entire fill – filling the pockets and gaps.  To move the work along faster, since these are not ‘weight bearing’ patches, I use an accelerator to quicken the curing process.   For the groove patch, I insert a piece of an index card into the groove to create a flow barrier for the CA glue.  I then spot-drop a small amount of CA glue slightly above the chip and draw the glue over the chipped area with a toothpick.  Again, I use an accelerator to solidify the glue.  After a few minutes, I pull the index card away and use a sharp dental probe to make sure the groove is clear of CA glue seepage.  Next, I apply small drops to four other small pits near the grooves and above them – again, I use an accelerator.  I decide also to apply a small drop to the right of the primary groove repair.   The repairs look a mess now, but I’m hopeful that the sanding will prove to reveal a more pleasing surface!Next, I begin the filing and sanding of the two large fill patches down to the surface level.  I use a flat needle file to do this initially when the patch mound is more distinct, then follow with 240 grade paper as the sanding nears the briar surface.  The gaps and pits in the original patch filled nicely, blending better with the surrounding briar.To both clean and sharpen the grooves at the groove patch repair, I insert 240 grade paper into the groove itself.  The groove is only large enough to accommodate a single sheet, so I must flip the paper to sand both the upper and lower edges of the groove.  I use a sawing motion with the paper while in the groove and I flex the paper up to apply a little more sanding action to the groove edge.  This technique does a good job redefining and cleaning up groove edges, especially at the point of the CA glue repair.After filing, sanding the groove patch repairs, and ‘groove sanding’ the groove repair looks great!  The patch has blended, and the groove is cleaner and smarter.Next, I move on to filing and sanding the 4 patches to the left of the groove repair on the dome.  I file the patch mounds down until near the briar surface and then take over with 240 grit paper.  I sand the area of the patches to blend.  It looks good – not pristine, but much less ragged!  The battered stummel is showing some signs of life!I follow by ‘groove sanding’ this area.  I like the results of this technique, so I decide to continue the groove sanding around the entire circumference of the dome for both the upper and lower grooves.  Since I’m able only to do one directional sanding on the grooves, it requires four circuits around the dome to do the job!  I refined the technique as I work – by flexing the paper somewhat I can sand more directly chips encountered on the groove edge as I slowly work around the dome.  The pictures show the groove sanding progress and results – much cleaner and crisper for this Comoy’s Bulldog! I continue preparing the external briar surface by sponge sanding starting first with the coarse sanding sponge.  I then use a medium grade sponge then finish with a light grade sanding sponge.  I avoid totally the upper shank panels with the nomenclature.  Sanding sponges help to clean the surface of the minor nicks and cuts and soften the look without an overly intrusive sanding effect.  The pictures show the results of the 3 sponges. As I sponge sand the dome of the Bulldog, I notice a chip in the inner lip of the rim that became more distinct during the sanding process.  To erase this small divot, I introduce a very gentle inner bevel to the rim using 240 grade paper rolled.  This dispatched the divot quickly. Earlier, I avoided using the sanding sponges on the nomenclature panels in order not to diminish the Comoy’s stampings.   I do want to clean the panels more to rid the old residue finish before applying a fresh stained finish.  To remove the old finish and to clean the panel I apply acetone to a cotton pad and wipe the panels.  This does the job. With the time of my departure for the work day rapidly approaching, I continue the internal cleaning of the mortise and airway using a kosher salt and alcohol soak.  After forming a wick by stretching and twisting a cotton ball, I insert it down the mortise and airway using a stiff wire.  The wick acts to draw out the tars and oils.  I then add kosher salt (no aftertaste) to the chamber and place the stummel in an egg crate for stability.  With a large eyedropper, I add isopropyl 95% to the chamber until is surfaces over the salt.  After a few minutes, after the alcohol has absorbed into the chamber, I top off the alcohol and set the stummel aside to soak for the day.Arriving home several hours later, the soak did the job of finishing the internal cleaning.  I clean the expended salt from the chamber with paper towel and shank brushes as well as blowing through the mortise.  I run an additional pipe cleaner and cotton bud wetted with alcohol to assure the internals were clean.  They are, now moving on!Before proceeding further with the external stummel preparation, I’ve come to a decision point regarding the chamber issues that I saw earlier.  The floor of the chamber has heat fissures which the first picture shows.  The second picture shows the fissure immediately above the draft hole.  The upper chamber shows some heating issues with small, more normal chamber wear.  Earlier, my question had been, do the fissures on the floor of the chamber need a more durable response than simply applying a pipe mud mixture to enhance the growth of a protective cake?  The floor of the chamber has experience overheating issues and I believe at this point would benefit from applying J-B Weld to prevent further damage and to reinforce the resistance of the chamber floor.J-B Weld comes with two components that are mixed together and once mixed harden to form a heat resistant bond.  I’ll mix a small amount and apply it to the floor of the chamber then spread it over the area, including above the draft hole, filling the fissures with the Weld.  After it hardens and cures, I’ll sand the excess. I first wipe the chamber with alcohol and put a pipe cleaner through the airway to block seepage into the draft hole.  After I mix J-B Weld components in equal parts, I apply a small amount on the floor of the chamber and spread it with a dental spatula and my finger. I rotate the pipe cleaner so that it is not stuck but I leave it in place – I don’t want to pull it out while the J-B Weld is wet leaving the mixture in the mortise.  I put the stummel aside for the J-B Weld to cure.  After the repair cured overnight, I take a picture of the sanding process using 240 grade paper wrapped around a Sharpie Pen.  I concentrate on removing the excess J-B Weld so that all that is left of the weld is what has filled the fissures and cracks. The next pictures show a much healthier chamber.  At the floor of the chamber in the first pictures and concentrating on the area immediately above the draft hole in the second picture, you still see what appears to be rough spots, but it is now smooth to the touch in large measure.  The Weld filled the cracks and reinforced the area.  The application of J-B Weld and the additional sanding on the floor and the walls of the chamber cleaned it up nicely.  Putting the stummel aside, I take the stem and wet sand using micromesh pads 1500 to 2400.  I follow by dry sanding with pads 3200 to 4000 and 6000 to 12000.  Between each set of 3 pads I apply Obsidian Oil to revitalize the vulcanite. With the stem waiting in the wings, I continue with the stummel by wet sanding with micromesh pads 1500 to 2400.  I follow this by dry sanding with pads 3200 to 4000 and 6000 to 12000.  I take pictures of both sides of the stummel to show the huge fills on the right side.  If it weren’t for these unavoidable fills, the fantastic recovery the stummel has made would encourage me to leave the original, natural grain finish in place.  The briar surface had many issues, but the results of the micromesh sanding reveal a very attractive grain presentation.  The next step is to apply a dark stain to the Comoy’s Bulldog that will serve to help mask the issues prevalent on the surface.  Without question, my plan is to apply Fiebing’s Dark Brown Leather Dye to the stummel surface.  I assemble all the needed components on the table to apply the stain.  First, using a sharp dental probe I carefully dig out and scrape the dome grooves to make sure the debris is gone.  After wiping the stummel with alcohol to clean and prepare the surface, I fit the stummel with a cork I’ve fashioned as a handle inserted into the mortise.  Next, I heat the stummel with a hot air gun to expand the briar grain.  This aids the briar in absorbing the dye pigment.  Using a folded over pipe cleaner, I apply the dye to the stummel.  After a thorough application, I flame the stummel with a lit candle and the alcohol-based aniline dye combusts and sets the dye in the grain.  After a few minutes, I apply the dye again and flame again to make sure there is an even coverage.  I then set the stummel aside for the dyed stummel to rest. After resting for several hours through the night, it’s time to unwrap the fire-crusted Comoy’s stummel.  Over time, I have developed my own techniques for use with the Dremel since this is my main and only work horse tool on the 10th floor flat of a formerly Communist block apartment building!  My usual method for ‘unwrapping’ has been with the use of a felt buffing wheel, which is more abrasive than cotton, applying Tripoli compound.  I love this technique because the result reveals a more brilliant grain pattern as it lightens the grain veins leaving them in contrast to the softer briar wood which absorbs more of the dye.  However, I have found that using the felt buffing wheel lightens the entire stummel.  With the large dark fills on this stummel in need of remaining masked for better blending, I use a cotton cloth buffing wheel with Tripoli compound to unwrap the flamed crust.  The softer cotton wheel isn’t as abrasive and leaves a darker dyed hue on the briar surface.  After mounting a cotton cloth wheel on the Dremel, I set the speed at the lowest RPM and I apply Tripoli to the stummel. I take a couple staged pictures to show the contrast between the flamed crust and the surface that has been ‘unwrapped’ and buffed with compound.  After completing with the Tripoli, I wet a cotton pad with alcohol to wipe the stummel not so much to lighten but to blend the new stained finish. Next, I rejoin the stem and stummel to apply Blue Diamond compound.  I discover that the junction between the tenon and mortise has loosened through the cleaning process – a common thing in my experience.  To remedy this, I take a drill bit the next size larger than will fit through the tenon airway.  I use a Bic lighter and heat the tenon and after a bit, the vulcanite tenon becomes supple and allows me gradually to insert the drill bit end into the airway.  This expands the tenon and tightens the connection.  This works like a charm!  With the stem now fitting snuggly, I continue to apply Blue Diamond to the stummel and stem.  I mount a cotton cloth buffing wheel to the Dremel and increase the speed to about 40% full power.  I apply Blue Diamond compound to both stem and stummel.Before moving on to applying carnauba wax to the pipe, I have two more projects to do.  The first is to apply white acrylic paint to refresh the Comoy’s ‘C’ stamping on the stem.  The second is to apply pipe mud to the chamber.  I decide to do the latter first.  After the repair done to the chamber, to enhance the healthy development of a protective cake (which should be maintained at about the width of a US dime coin) I use a mixture called pipe mud – a combination of cigar ash and water.  This mixture, once applied to the chamber and dries, hardens to create a starter surface for the cake to develop.  My colleague, Gary, who lives in Plovdiv, Bulgaria, is the cigar man who saves his ash for my use. Thanks, Gary!  I mix some water with ash in a plastic dish and mix it with my pipe nail until it starts to thicken. At this point, I apply it in the chamber with the nail and my finger.  It doesn’t dry quickly so there’s time to spread it evenly over the chamber.  After spread, I insert a pipe cleaner through the draft hole to keep it clear of the mud.  I then put the stummel aside in the egg cart for the mud to cure. Turning now to the Comoy’s ‘C’ stem stamp, I put a drop of white acrylic paint over the ‘C’ and absorb the excess with a cotton pad and ‘dob’ it out so that the paint thins and dries.  I then use a toothpick’s flat edge to gently scrape the excess paint off after it dries.  I have to reapply paint a few times to get it right.  The pictures show the process. After allowing the pipe mud to cure, I rejoin stem and stummel and once more, run the sharp dental probe in the grooves around the circumference of the dome then buff the pipe with a felt cloth clearing away the compound dust before applying wax.  I then mount a cotton cloth buffing wheel to the Dremel, keep the speed at about 40% full power and apply a few coats of carnauba wax to the pipe.  I finish the restoration by using a microfiber cloth to give the pipe a rigorous hand buffing to raise the shine.

I’m pleased with the results of this Comoy’s Made in London, England, Bent Bulldog.  The restoration was fought in the trenches!  The many repairs done to the stummel surface came out well, though the two large fills are still evident, but not as overt. The dark brown dye came out beautifully and the groove patches and repairs have all but disappeared.  I’m glad I also addressed the heat fissure issues in the chamber.  This Comoy’s Bent Bulldog will provide many more years of service to a new steward.  Stephen commissioned this Comoy’s and will have first opportunity to acquire it in the Pipe Steward Store and this pipe benefits the Daughters of Bulgaria – women and girls who have been trafficked and sexually abused.  Thanks for joining me!

 

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


Blog by Steve Laug

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

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

Resurrecting a Tired and Worn 1937 Dr. Grabow Special 4914 Apple


Blog by Steve Laug

The next pipe on my restoration table is an interesting older pipe that appears to be made out of walnut or some other hard wood. It was tired and worn looking with the remnants of what appeared to be an oxblood stain in the wood. The stamping was dirty and worn but readable nonetheless. On the left side the pipe is stamped Dr. Grabow over Special and on the right side it is stamped with the shape number 4914 near the shank stem junction. That is followed by Pre-Smoked over Reg. US Pat. Off. The rim top was dirty and had some tar ground into it. The bowl had a light cake in it and there was a small nick on the inner right edge of the bowl. It had a hard rubber vulcanite stem with the white Linkman style propeller inset on the top of the stem. The rubber was quite hard and did not show signs of oxidation. There were tooth marks on the top and underside of the stem at the button. I took some photos of the pipe before I started my cleanup. I took some close up photos of the rim top and bowl to show its condition. The tar spots are on the surface. The nick is visible on the right side of the bowl. I also took photos of the stem to show the bite marks and wear on the stem.I took a photo of the stamping on both sides of the shank to show the condition. Interestingly once I cleaned the shank up and removed the stain the stamping was very readable.I looked up information on the Dr. Grabow Special 4914 pipe on Pipedia to see if I could identify the time period that the pipe came from. I had a hunch that it came out during the war years due to the alternative wood that had been used in its manufacture in place of the normal briar (https://pipedia.org/wiki/Dr._Grabow_Models_(Series,Line)_Names_Through_the_Years). Here is what I found out:

SPECIAL (or Special Italian Briar) post-1937, begins with 43, 49, maybe no number at all; DOLLAR DR. GRABOW 1937 or previous, may not be marked as such, begins with 43, 44, 49 Series 43 = Natural Finish (DG), c1937. Series 44 = Dark Finish (DG), c1937. Series 49 = Walnut Finish (DG), c1937.

Thus I knew that the pipe came out post 1937. I still had not confirmed the date of the pipe other than knowing that it was made after 1937. I did some more digging on Pipedia and found the following information that also helped pin down the date (https://pipedia.org/wiki/Dr._Grabow).

The production of the pipes started in 1930/31. In 1937 Linkman began calling his pipes “Pre-Smoked”. An ad dating from 1946 celebrates it as “America’s Most Wanted Pipes” and the text announced that each Dr. Grabow was broken in on the Linkman’s Automatic Smoking Machine with fine Edgeworth tobacco, reducing the need for the new owner to spend time breaking in his pipe. In 1949 the official name read Dr. Grabow Pipe Company Inc. with seat at W. Fullerton Avenue 1150, Chicago 14, Illinois. (Thus the Linkman factory.) Series: Special, De Luxe, Supreme, Tru’ Grain, Select Grain.

That helped to pin down when the first Pre-Smoked Pipes came out on the market. I have included a couple of advertisements from the 1940s on the Pre-Smoked pipes. The advertisements were on Pipedia courtesy of Doug Valitchka. I found a similar pipe for sale on eBay (https://picclick.co.uk/Lovely-Vintage-Dr-Grabow-Special-4914-Smokers-Pipe-372388011756.html). It could very well be a twin of the pipe that I am working on. It is also made from an alternative wood, rather than briar.

I started my restoration on the pipe by wiping down the bowl with acetone on a cotton pad to remove the remnants of the oxblood finish. I took photos of the bowl after the cleanup. I sanded the bowl with 220 grit sandpaper to remove the remaining stain. I sanded the rim top to remove the stain and tars there. I worked over the inner edge of the rim with 220 grit sandpaper to remove the damaged area on the right side. It did not take too much work to remove it. I polished the rim and bowl with micromesh sanding pads – wet sanding with 1200-2400 grit pads. The bowl began to have a rich shine.When I sanded the bowl a small red putty fill showed up on the back right side of the bowl. It was slightly pitted. I filled in the pits with clear super glue to remove the damage. I sanded it with 220 grit sandpaper and then with a 1200 grit micromesh pad.I polished the bowl with red Tripoli on the buffing wheel to smooth out the wood. I heated it and stained it with the “red” tan aniline stain. I flamed it with a lighter and repeated the process until the finish had good coverage. I also gave the bowl a coat of Danish Oil with Cherry stain to highlight the grain. I cleaned out the internals in the stem and the bowl with pipe cleaners, cotton swabs and alcohol. The shank was dirty and the debris and grime that came out made fit of the stem in the shank much tighter.I set the bowl aside and worked on the stem. I sanded the surface of the stem with 220 grit sandpaper to remove the tooth chatter and the lighter tooth marks. I cleaned it up a soft cotton pad to remove the debris. I filled in the deeper tooth marks with clear super glue to repair them. I set the stem aside to let the repairs cure. I sanded the hardened repairs with 220 grit sandpaper to blend them into the surface of the vulcanite.I polished 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 with Obsidian Oil after each pad. When I had finished polishing with the last pad, I gave it a final coat of Obsidian Oil and set it aside to dry. This small war era Dr. Grabow Pre-smoked apple is a unique alternative wood pipe. It has interesting swirled grain around the bowl and cross grain across the shank. The grain really is interesting. The rim top looks much better. The vulcanite stem is high quality and shined up well. I buffed the bowl and the stem with Blue Diamond polish to raise the shine on the briar and the vulcanite. I was careful to not buff the stamping and damage it. I gave the bowl and stem multiple coats of carnauba wax. I buffed the entire pipe with a clean buffing pad to raise the shine. I hand buffed it with a microfiber cloth to deepen the shine. The finished pipe is shown in the photos below. The rich oxblood stain allows the grain to really stand out while hiding the fill in the bowl side of this little pipe and it works well with the rich black of the vulcanite stem. The dimensions of the pipe are: Length: 5 1/4 inches, Height: 1 1/2 inches, Outside Diameter: 1 inch, Diameter of the chamber: ¾ of an inch. This little Linkman’s Grabow apple fits nicely in the hand and makes a great pocket pipe. Thanks for walking through the restoration with me.

A Hardcastle Bulldog Run Roughshod over: The Original Restoration


Blog by Robert M. Boughton

Copyright © Reborn Pipes and the Author except as cited
https://www.roadrunnerpipes2k.com/
https://www.facebook.com/roadrunnerpipes/

Grace is neither gentleness nor fragility.  Grace is treating yourself, others and even inanimate objects with respect.
— Kamand Kojouri, Iranian-born novelist and poet

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Restoring my Grandfather’s…what the…A Kaywoodie?????


Blog by Paresh Deshpande

Yes!! That is what exactly my thought was, when I looked closely at the small pipe in my hand that I had selected as my next project for restoration. Those who have read my previous write ups on pipe restoration would know that I have inherited a large number of pipes from my grandfather dating between the periods from 1940s to 1970s. I had not come across a single Kaywoodie pipe in the two boxes I had opened, one box still remaining unopened!!!

I have restored two Custom-Bilt pipes from this collection to date, one from 1938-41 era (https://rebornpipes.com/2018/06/02/restoring-my-grandfathers-custom-bilt-pipe/) and second from the Wally Frank era(https://rebornpipes.com/2018/07/20/restoring-a-wally-frank-era-custombilt-sitter-633/), the third Custom-Bilt billiard from 1938-41 era was sent to Mr. Steve of rebornpipes fame to sort out tenon issues and have fallen in love with Custom-Bilt pipes since thereafter!!!! I had picked this pipe assuming it to be a Custom-Bilt and it was only on close scrutiny was it reveled that this was a Kaywoodie!!!!! I deliberately rummaged through the pile again and sure enough, there was another Kaywoodie Bent Billiard with 4 holed stinger in relatively unsmoked condition. It seems my grandfather never took a liking for these Kaywoodie pipes!!!!!

This Kaywoodie Pocket Pipe, now on my work table, has similar large finger like vertical rustications with very thin horizontal lines ensconced within these large vertical rustications. These thick vertical rustications extend upwards and end short of the rim top, giving the rim top a flat smooth surface. These rustications can be seen extending all around the shank on top and bottom, save for smooth surfaces on either sides of the shank. The smooth surface on the left side of the shank bears the stamping “Handmade” over “Super Grain” in cursive hand, over “KAYWOODIE” in block capital letters. The right side of the shank bears the stamp “IMPORTED BRIAR”. All these stampings are thin, worn out but readable under bright light with a magnifying glass. The ¾ bent saddle stem bears the trade mark “Clover leaf” symbol.This pipe comes with a four-holed threaded stinger which screws into the shank. This stinger is stamped with “DRINKLESS”. There is an aluminum spacer ring separating the shank end from the stem end when threaded in. On closer observation, it can be seen that a portion of this spacer, closer to the mortise opening, extends into the mortise and is threaded which matches with the stinger threads.I took all these observation and searched pipedia.com for history of this brand, models and attempt at dating this pipe. This site has detailed information on Kaywoodie pipes, including the history of origin, about the owners of the brand and also various important links to “Collector’s Guide to Kaywoodie Pipes” and “Kaywoodie’s Logos and Markings: Clover variations since 1919”. Here is what was revealed as extracted from pipedia.com:-

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

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

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

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

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

INITIAL VISUAL INSPECTION
The finish looked a lot like the classic Kaywoodie take on Tracy Mincer’s Custom-Bilt pipes. The carved worm trails seen on the stummel and shank is filled with dust, dirt and grime of years of smoking and thereafter years of uncared for storage. The grime and dirt is so strongly entrenched in to these carved worm trails that it appears black and solidly smooth to the touch. I could see 3-4 small dings and dents on one of the fingers of the raised portion of the stummel. This will need to be addressed. There is a decent layer of cake inside the bowl which is dry and hard to the touch. The smooth rim top is clean and devoid of any apparent damage. The condition of the inner walls of the chamber can be ascertained after the cake has been reamed out. The inner edge of the rim shows minor uneven surface, however, the outer edge of the rim is clean and without dents or dings. The short ¾ bent saddle stem has smooth upper and lower surfaces without any tooth chatter or bite marks. This is unlike any other pipe stem I have seen that had belonged to my grand old man. The four holed stinger is clean, however, the holes appear to be clogged. This was confirmed as air did not flow when I tried to blow through the stem. May be that has been the reason that this pipe was not as extensively used by him. The inlaid white clover leaf is clean and prominent with a tiny portion of the top of the leaf missing!! But it is so tiny chip that it is not immediately visible. The lips are worn out and may need to be reconstructed; again I am not sure about this as there is no damage as such. There is an aluminum spacer between the stem and the shank which breaks the monotony of the pipe. However, it is broken on the right side leaving an ugly gap between the shank and stem. The remaining portion of the aluminum spacer was crumbling and breaks merely to the touch. This needs to be addressed. There is a circular band of white tape or some such material at the end of the stinger where it meets the stem. This is something which is not correct and the reason for it having been placed needs to be checked. THE PROCESS
First and foremost in any restoration of pipe, I start with reaming the chamber with a Kleen Reem pipe reamer. However, in this instance, the cake was dry, tightly packed and very hard. I feared breaking the reamer and resorted to the use of my fabricated knife. After a struggle, I was able to take the cake down to the bare briar. I sanded the inner walls of the chamber with 150, 220 and 600 grit sand paper to completely remove the remaining cake and smooth out the walls. Alas, I observed some superficial gouges on the wall surface due to the use of knife. I would need to address this by coating the chamber walls with pipe mud at a later stage. I cleaned the mortise and internals of the shank with cue tips, pipe cleaners and alcohol. Since the major challenge appreciated in this restoration project was the construction of a new aluminum spacer, I decided that is where I would start!!!! To address this issue, I identified three options, as under, which were available to me:

(a) Coat the entire spacer, including the broken portion, with superglue, building it up in layers and then sanding it to flatten it on a topping board. This coat of superglue will also stabilize the remaining original spacer.

(b) Fabricate an aluminum spacer out of a regular aluminum washer and replace only the broken portion of the spacer.

(c) Replace the entire spacer with the new fabricated aluminum spacer.

I discussed these options with my mentor, Mr. Steve Laug. As is his trademark style of tutoring, his suggestion was, “I would go with the first option”!!!!! He further clarified that the spacer also enters the mortise and has threads for the “synchro-stem” (threaded drinkless screw-in mouthpiece). Thus, I concluded that exercising the third option was best avoided if I wished to avoid ruining the pipe!!! That left me with following either first option or the second option. Any other sane student would have followed the advice of his mentor (which I had been doing up to this point!!!). However, I, for some reason, was convinced that the end result of exercising the second option would result in a better finish and thus embarked on the arduous journey of replacing only the broken portion of the original spacer with the fabricated aluminum washer.

I began the process by shaping the new aluminum washer to match the size, shape and thickness of the original spacer. I was not very meticulous about the size and thickness as the same would, in any case, have to be perfectly matched by sanding it down with needle files. The following pictures will tell the story of the entire process of constructing this spacer. However, what these pictures do not tell you is the long back breaking hours involved, the strain to which eyes were subjected, precise and controlled movements of the needle files and agony experienced whenever the needle file inadvertently scraped the crumbling original spacer, causing it to chip. When I was satisfied with the fit and finish of the new spacer, I applied an even coat of superglue over the entire surface and very painstakingly re-aligned all the broken pieces of the original spacer and also the new fabricated spacer over the coat of the superglue and set it aside to cure overnight. Next day I evenly applied another coat of superglue over the entire spacer and again set it aside to cure so as to stabilize the spacer repairs and even out the surface. Once the glue had sufficiently cured, I topped the surface on a topping board to even out the glue. To further smooth out the surface and ensure a transparent, even and smooth surface, I polished the surface with micromesh pads, wet sanding with 1500 to 2400 grit pads and dry sanding with 3200 to 12000 grit pads. I frequently wiped the surface with a moist cloth to remove the glue dust. I was able to maintain just sufficient thickness of the coat so as not to disturb the alignment of the stem with the shank while stabilizing and protecting the spacer. I was very satisfied with the results. Now with the spacer taken care of, I start working on the stummel. I thoroughly clean the stummel with undiluted Murphy’s oil soap and a hard bristled tooth brush scrubbing the rustications clean of all the lodged dirt, dust and grime. I had seen a few dents and dings on one of the fingers of the stummel rustication and wanted to address it. I began by sanding the stummel and raised portion of the rustications with a 600 grit sand paper followed by 800 grit sand paper. I had used very light hand so as not to lose too much briar (though at the end I realized that I should have used a bit more force since at the end of the process, these dents and dings were still very much visible!!!!!!). This sanding was followed by polishing with micromesh pads, wet sanding with 1500 to 2400 grit pads and dry sanding with 3200 to 12000 grit pads. I wiped the bowl down with a moist cloth after each pad to remove all the sanding dust. As I was going through the micromesh pads, I was thinking of adding some twist to the finish and remembered that Mr. Dal Stanton, a gentleman I often turn to for some interesting pipe related conversations and advice, had refurbished a Tom Howard rusticated tomato pipe for me. He had darkened the crevices of the rustications with a dark stain pen and the contrast was eye catching, to say the least. I wanted to have a pair of pipes with this finish and decided to give this Kaywoodie the same treatment. I discussed with Mr. Dal Stanton who wholeheartedly explained the technique of achieving this finish and also gave me some very fine and pragmatic advice which I shall cherish on this journey. I stained the crevices in the rustications with a dark brown stain pen and set it aside for the stain to set in to the crevices. After the stain had set, I rubbed a small quantity of “Before and After” restoration balm in to stummel and set it aside for a few minutes to let the balm work its magic on the briar wood. The balm works to bring back the shine and pours life in to the briar. I buff the stummel with a horse hair shoe brush followed by a nice hand polish with a soft cotton cloth. I liked the way the stummel has finished. To address the superficial gouges in the chamber created by use of knife during reaming, I prepared a mixture of pipe ash and yogurt of putty consistency and applied a coat to the inner walls of the chamber. Once the coating had cured, I gently sand the walls with a 220 grit sand paper to a smooth and even surface. With this, the stummel is all completed. Once the stummel had been finished and set aside, I turned my attention to the stem. There was not much work on this stem since it was sparingly used with only light signs of oxidation and no bite marks or tooth chatter. I start by sanding with micromesh pads, wet sanding with 1500 to 2400 grit pads and dry sanding with 3200 to 12000 grit pads. I wiped the stem with a cotton swab dipped in alcohol to remove the sand dust and rub a small quantity of Extra Virgin olive oil and allow it to be absorbed in to the stem. The stem is now nice and shiny. The next thing to address was the blocked stem. I tried cleaning the airway in the stem with pipe cleaners dipped in alcohol, but the pipe cleaner would not go in the complete distance. There was gunk and tars which had accumulated inside the airway and in the holes too!!!! Using a straightened paper clip, I probed and cleaned all the holes on the stinger. I tried to blow through the stem, but I realized that it was still blocked. I tried pushing the paper clip through the airway and then there was this small sound of a crack!!!!!! Aargh……..the upper lip now has a chip!!!!! Undaunted by this temporary setback, I continue with the clearing of the blocked stem. Finally, I am able to dislodge the block and now the air flows freely through the stem.To address this chip, I firstly insert a regular pipe cleaner coated with Vaseline in to the air way. This prevents the charcoal and glue mix from dribbling in to the air way blocking it. I mix a small quantity of activated charcoal and CA superglue and spot apply it over the chipped surface. Once I have ensured that the complete surface is coated with the mix, I set it aside to cure overnight. The next evening, I file the filling with a needle file and match it to the surface of the stem. To further match the filling with the rest of the stem surface, I sand the fill with a 220 grit sand paper followed by micromesh polish pads. The stem is now nice and shiny again with a free flow of air through the airway. I finished this restoration by applying a small quantity of Halcyon II wax and rubbed it deeply in to the stummel with my fingers. A few minutes later, I polished it with a soft cotton cloth using muscle power. The stummel now has a nice deep shine to it and the grains on the rim top and raise portion of the rustication can be seen in its full glory. I re-attach the stem and then relies that the stem is off center to the shank!!!! My God, this one was giving me a hard time. I removed the white sticky tape that was stuck around the stinger at the stem end and tried the fit. The fit had improved but it was still off centre. Again, to address this issue, I was presented with two options of either sanding the coating of superglue over the spacer till the off center was corrected or heat the stinger till the glue fixing the stinger in the stem was loosened and turn the stinger in to the mortise till the issue was addressed. I decided to go with the second option as I feared losing the coating of superglue over the spacer and thus exposing the brittle original to further chipping. I heated the stinger with the flame of a Bic lighter so that the glue holding the stinger would loosen a bit and fitted the stem in to the mortise, tightening it till the stem and shank were perfectly aligned. I let the stinger sit in this position till it had cooled down and the glue had hardened again. Now the fit of the stem and the shank is perfectly aligned. Here are the pictures of the finished pipe and hope that this long write up has been an enjoyable read. Thank you for walking with me through this restoration as I attempt to preserve the legacy of my beloved grand old man!!!!!