Tag Archives: turning a tenon

A Blasticated Capri Bent Billiard that came with a story

Blog by Steve Laug

A few days ago I received a call at work from a fellow who was just leaving the local pipe shop in Vancouver that refers people to me for repairs. I have to tell you this guy had a story that I had not heard before. He was driving and chatting at the same time. He said that he had picked up a pipe that fast becoming a favourite of his. He was driving and smoking it when he accidentally dropped it out of the window. It seems like the car was moving – at least slowly in his story. The bowl went one way and the stem took off. He stopped and picked up the bowl and could not find the stem. What was not clear to me was what happened to the stem. He said that there was no broken tenon in the shank. He only had the bowl. He stopped by my house and left the bowl in his Autoplan Car Insurance plastic bag in my mail box. He had his phone number and name on the bag. This morning I called to see what kind of stem he wanted on the pipe and it turns out he is a tugboat captain. He said the stem was tapered and rubber. He would be back to Vancouver in two weeks and would get a hold of me then. So that is the story of this pipe.

I actually had no idea what to expect when I returned to my house. My wife had brought the bag inside when she came home. I asked about the pipe and she handed me the Autoplan bag. I took the pipe out of the bag and took photos. The pipe appeared to have what I call a blasticated finish. It is typically done when someone rusticates a bowl and then sandblasts it afterwards. It gives it a very interesting look. The finish was almost new other than several rough spots of road rash around the rim top, heel and sides. The beauty of this type of finish is that it is very forgiving when it has this kind of damage. I took some photos of the pipe before I did any work on it. You can see it is a bent billiard, it is made by Capri and it is sans stem. I went through my cans of stem options and found only one thick tapered stem that would actually work on this pipe. The tenon was not turned and it was an unused blank that still had some casting marks on the sides and button. I quickly sanded the tenon to see what I was working with. I could see that with a bit of work it would be a good fit for this pipe.I used a wire brush to knock off the loose bits from the road rash and then used a walnut stain pen to touch up the damaged areas on the finish.Now it was time to work on the stem. I set up my cordless drill and put the PIMO tenon turning tool in the chuck. I set the cutting head for the first pass on the tenon and spun the stem on the drill to remove excess rubber.I measured the diameter of the mortise again and reset the cutting head on the PIMO. I spun the stem once more and took it down to a close fit. I filed and sanded it the rest of the way.The shoulders on the cast stem were slightly rounded and the diameter of the stem was a little bigger than the diameter of the shank. I used a rasp to remove the excess material and reduced the stem to a very close fit on the shank.I sanded the file marks out of the stem sides with 220 grit sandpaper. There still needs to be some fine tuning but the stem is beginning to look like a fit. I took photos of the pipe with the new stem at this point to have a look. I worked on the sides of the stem diameter to fine tune it. It was definitely looking better. It was time to bend the stem to fit the flow of the bowl. I set up my heat gun. I put a pipe cleaner in the airway of the stem to keep the airway from crimping. I moved the stem over the heat until the vulcanite softened. I used round handle of a chisel for the shape of the bend and bent the stem until it looked right on the bowl. I always try to bend the stem to get the same angle on the bend as the flat top of the bowl.I put the stem back on the bowl and took photos of the look of the pipe now. I like the look of the stem and the flow of the pipe. I still want to shape the shank stem fit some more so the flow is uninterrupted. I removed the stem and turned my attention to finishing the restoration of the bowl. I worked some Before & After Restoration Balm into the briar with my fingertips and a horse hair shoe brush to clean, enliven and protect it. I find that the balm really makes the briar come alive again. The contrasts in the layers of stain really made the rustication shimmer and show depth. I let the balm sit for a little while and then buffed with a cotton cloth to raise the shine. The pipe really looks good at this point. I am very happy with the way the pipe is looking at this point in the process. I set the bowl aside and turned my attention to the stem. I sanded it with 220 grit and 400 grit wet dry sandpaper to smooth out the remaining marks on the stem. I had coated the tenon with a light coat of clear fingernail polish to protect the fit during all of the fiddling and sanding I was doing.  I have experienced damaging a tenon because I was careless so I will often do this when restemming a pipe now. I still needed to smooth out the tenon a bit but it was starting to look really good.I polished the stem surface with micromesh sanding pads – wet sanding it with 1500-12000 grit pads. I wiped it down with a damp cloth after each pad to remove the sanding debris. I polished it further with Before & After Pipe Stem Polish – both fine and extra fine. I hand buffed it with a cloth. I gave it a coat of Briarville’s No Oxy Oil even though it does not work as well on acrylic as it does on the vulcanite it was designed for. It works to give a top coat to protect and preserve the newly cleaned and polished stem.  This was a change of pace to the normal day to day restoration I have been doing. Fitting a stem to a bowl is interesting and it is time consuming. Once I was finished I put the new vulcanite stem back on the bowl and polished the bowl and stem with Blue Diamond polish on the buffing wheel. I gave the bowl multiple coats of Conservators Wax 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 Capri Bent Billiard with the new stem polished up really well. The polished stem looked very good after the buffing. Have a look at it with the photos below. The dimensions of this pipe are Length: 5 ½ inches, Height: 2 inches, Outside diameter of the bowl: 1 ¼ inches, Chamber diameter: ¾ of an inch. For a low cost pipe this little billiard is eye catching. I will be calling the fellow who dropped it off and let him know the pipe is finished. Thanks to each of you who are reading this blog. Remember we are not pipe owners; we are pipemen and women who hold our pipes in trust until they pass on into the trust of the next pipeman or woman.

Giving New Life and Stem Alignment to a Made in London England Diplomat

Blog by Dal Stanton

When I put this pipe in the For “Pipe Dreamers” Only! online collection, I identified it as a Squat Apple. It came to me from the lot my son helped me to procure from an antique shop in St. Louis.  When Andy chose this as his next pipe after commissioning the probable Preben Holm Danish Freehand which I just finished restoring (See: Recommissioning a Mysterious Freehand, Made in Denmark – Preben Holm?) I fished it out of the ‘Help Me!’ basket and put it on the table and the ‘Squat Apple’ sort of fit, but not quite.  Volcano?  No, too rounded.  Here are the pictures of the ‘Squat Apple’ that got Andy’s attention. The only markings are found on the lower side of the oval shank, MADE IN LONDON [over] ENGLAND.  Below the COM is what I assume is a shape number, ‘140’.   Not a lot to go on to determine origins.The ‘Squat Apple’ wasn’t sitting well with me so I looked at Bill Burney’s great Pipe Shapes Chart on Pipedia and found the shape classification that worked better – Diplomat.  Interestingly, my ‘Squat Apple’ designation was used by Bill Burney to describe the Diplomat.  I clipped the panel to show the description of the Diplomat:The English Diplomat now on my worktable is not a bad looking pipe but has a few issues.  The Diplomat’s chamber has a thick layer of cake and the lava flow on the rim is thick – it needs some cleaning as well as the stummel.The after section of the rim reveals the darkening of the briar that has been scorched through the lighting practices of the former steward.As the following three pictures show, the stummel is darkened from grime and oils on the surface.  You can see some very nice grain lurking beneath.  There are also dings and scratches on the stummel from normal wear. The acrylic stem is attractive, but I’m guessing that it’s a replacement stem.  My first observation looked like the stem simply didn’t fit with a wobble and gaps showing between the shank and stem facings.  When I removed the stem the acrylic tenon was stuck in the mortise and not attached to the tenon.  It didn’t take much to dislodge the rogue tenon but after inserting it into the tenon and trying the fit again, the wobble and looseness is evident and if I’m able to reattach the acrylic tenon and keep the stem facing flush with the shank facing before the CA glue sets, it should do well.I then noticed the darkened airway through the translucent acrylic.  As I suspected, after inserting a pipe cleaner into the airway from the shank side, I discover that there is blockage in the stem. In the picture below, I’ve placed my fingers roughly where the inserted pipe cleaner stops and the blockage begins.  This can be a pain!  The following picture with the slot view shows blockage very near to the opening.I decide to try to ‘bull’ through the blockage with a pipe cleaner and to my surprise, the pipe cleaner was able to break through and not a lot of gunk came out.  Good to go.Before moving toward re-attaching the tenon to the acrylic stem, I’ll first do the cleaning.  I’m trying a ‘Soft-Scrub-like’ product we have here in Bulgaria called Cif brand to try to clean the darkened internal airway.  The label describes micro-crystals and a bleach component as the active agents.  I’m using Jeff Laug’s recommendations from his blog (Got a filthy estate pipe that you need to clean?).Holding the translucent acrylic stem up to the light provides a good Xray of the airway and how it’s darkened.  We’ll see how much the cleaning removes the internal buildup and lightens the airway. I go to work with the Cif product and start by using bristled pipe cleaners dipped in Cif to begin breaking up the tars and oils that have crusted inside the airway. At first there was no noticeable progress except for the darker discoloration of the pipe cleaners which meant something was happening.  I add after the pipe cleaners shank brushes.  I transferred the shank brushes, Cif and stem to the kitchen sink where using hot water, I continued the cleaning with the Cif and brushes.  At this point, progress was evident.  A combination of the brushes and cleaner AND the hot water helps break down the crud.Back to the worktable, the follow-up light Xray shows the results.  Nice!  I move on.I put the stem aside and move to the stummel cleaning before I start on the repairs to the stem and tenon.  Not only do I prefer working on cleaned pipes, but often the cleaning process can change the mortise environment because we are working with wood.  Cleaning often loosens tenon fittings.  So, before moving to more permanent repairs, it’s a good principle to get the cleaning done first.  Looking again at the chamber, the cake is moving from moderate to thick cake.  Using the Pipnet Reaming Kit I start with the smallest blade head and end up using 3 of the 4 blade heads available in the Kit. The Savinelli Fitsall Tool works well to follow by doing fine-tune scraping of the chamber walls.  I complete the cleaning by wrapping 240 grade paper around a Sharpie Pen which provides the leverage as I sand the chamber to remove the final vestiges of carbon cake to expose fresher briar to have a clean start. After wiping the chamber with a cotton pad wetted with alcohol to clean the carbon dust, I take a picture as I examine the chamber walls for heating damage.  All looks great. Moving now to the external cleaning of the stummel, I employ undiluted Murphy’s Oil soap on a cotton pad to scrub the surface and rim covered by lava flow.  In the immediate picture below, the sharp-edged pocketknife is helpful to remove the caked crusting.  You can see the progress being made as the blade is carefully scraping the rim top without cutting into the wood.  After the knife edge, the brass bristled brush cleans the rim further without damaging the wood.After working on the rim and stummel surface, I take the stummel to the kitchen sink using hot water and clean the internals using shank brushes and anti-oil dish soap liquid.  After thoroughly rinsing the stummel with water, back on the worktable a picture records the present cleaning state.Again, focusing on the internals, now using cotton buds and pipe cleaners wetted with isopropyl 95%, cleaning continues.  Also employed is a dental spoon to scrape the mortise walls – which produces very little.  A shank brush wetted with isopropyl 95% is used saving on pipe cleaners.  When the pipe cleaners and buds start emerging lighter and cleaner, I call this phase completed to be continued later using a kosher salt and alcohol soak.Now looking again at the tenon repair of the acrylic stem.  The tenon that was part of the Diplomat was not attached and since it’s not, fitting it to see how it will work is not easy – it shifts and moves.  The first two pictures below show the result when I insert the tenon tightly into the stem cavity to test it out.  The first picture is from the top perspective.  Notice that the stem is offset to the right (top of the picture) so that the stem is overhanging on the top and the shank is overhanging the bottom of the picture.Now looking at the underside of the fit, the offset is augmented by the gapping that is evident.Not only do the pictures reveal the seating difficulties of the tenon, but the drilling through the tenon for the airway is not centered.  This has potential challenges on at least two fronts.  First, it potentially creates a hang-up lip as pipe cleaners are pushed through.  This is not huge as usually simply twisting the pipe cleaner in the airway solves this hindrance.  Secondly, is that if the tenon needs to be expanded, I will not use the heating method to expand it.  The reason for this is that the offset drilling has created a very thin wall of acrylic which will probably split if expansion is attempted.  The alternative will be to simply paint the exterior of the tenon with acrylic clear polish or CA glue.  This builds out the tenon circumference.As I was fiddling with the tenon trying to figure out the best approach, another issue surfaced.  On a hunch, the question came to mind, ‘Is the acrylic stem facing flat?’  I took out the chopping board that serves as a topping board and I placed the stem facing flat against it.  I discover that there is a dance in it – a microscopic rocking.  Just to be on the safe side for comparison, I also place the shank facing down on the board and find that its rock solid. You can see from the second picture the culprit looks to be around the airway – old glue protruding.  I decide to address this straight away by placing 240 grade paper on the board and ‘top’ the stem facing to flatten it – carefully!  Instead of rotating like I would if it were a stummel being topped, I drag laterally along the paper.  After a few ‘drags’ on the topping board, another test on the flat chopping board is much better.  The stem facing is now flush with no rocking.I again do a test fitting with the unglued tenon in place, reengage the stem to bring the facings flush.  To see if a pipe cleaner would snag on the tenon, I insert one through without problem.If I can glue the tenon and achieve this much, I’ll be satisfied.  Sanding can address the overhangs where the shank and stem do not line up.A lot of time has elapsed thinking and testing, now it’s time for action!  I use BSI Extra Thick Maxi-Cure CA glue.  Using a piece of 240 grade sanding paper, I sand the part of the tenon that will be inserted into the mortise.  I want it round and smooth. After cleaning the area with alcohol, I place a small amount of glue around the circumference of the tenon just above where the tenon will be inserted into the mortise.  In this way I hope to avoid glue getting into the airway on the end of the tenon. Yet, I don’t put a lot of glue on it to avoid CA glue being forced out the top onto the stem facing.  After placing the glue, I insert the glued part of the tenon partially into the stem cavity and then insert the mortise side of the tenon into the mortise and engage the parts.  In this way, while the glue is still pliable, the tenon gives way to the flush orientation of the shank and stem facings. After doing this, I leave the pipe for several minutes allowing the CA glue to cure and hopefully hold the tenon in place! I’m hopeful for a solid and snug seating. I decide to move forward with working on the acrylic stems button.  The top button lip has been compressed on the left side and the lower lip has also been chewed.  The tooth compressions on both upper and lower sides need filling. I use regular CA glue combined with an accelerator.  Starting on the topside and apply CA to the problem areas – also on the lip to build it.  I do the same for the lower bit and button lip.  With each application of CA glue, I use the accelerator to hold the patch in place and cure the glue more rapidly. I next use a flat needle file to file the CA glue patches over the tooth compressions down to the stem surface on both the upper and lower bit.  I file and shape the button repair as well.To remove the scratches left by the file, 240 grade paper is used on the bit and button but also on the whole stem.Focusing the sanding on the junction now, I sand out the edges that were hanging over the shank and stem facings.  I first cover the nomenclature with masking tape to protect it. The sanding moves around the circumference of the junction and I like the way the stem and shank now are in alignment and the union is flush.Next, I wet sand the entire stem with 600 grade sanding paper and follow with applying 000 steel wool. I’m on a roll with the stem, which I normally like to get out of the way so I can work on the stummel!  Next, I apply the full battery of 9 micromesh pads to the acrylic stem.  First, I wet sand using pads 1500 to 2400 and follow by dry sanding with pads 3200 to 4000 and 6000 to 12000.  Even though I don’t believe it makes a difference but seems to enrich the acrylic surface.  I love the pop of the stem – almost luminescent. After reuniting stem and Diplomat stummel, I get a sense of where things are.  I’m liking what I see!  While the stem was probably not the original, I like the combination and thinking now about how to finish the bowl to take advantage of the striking hues of the acrylic stem. At this point, if the micromesh process brings out the grain well and there is no nuanced lightening of the wood on the shank where the major sanding was, I’ll leave it in the natural briar state.  If there is indication that the shank sanding stands out, I’ll apply a stain.  The briar patterns are very nice – time to bring it out!Next, to freshen the rim and to remove the darkened old finish, I take the stummel to the topping board.Not much is needed – only a cosmetic topping.  With the stummel inverted on 240 grade paper, I give the stummel a few rotations to clean things up.Then switching to 600 grade paper, the stummel is rotated several more times.With the rim refreshed, sanding sponges will address the tired finish on the bowl and the normal nick and dents.  I see no major issues to address on the stummel surface – no fills.With the ‘Made in London, England’ covered by masking tape to protect it, I make sure that the sanding sponges address the shank area well.  I want to blend the lightened area that was sanded.  Using a coarse sanding sponge to do the initial heavy sanding, it removes the minor nicks and old tired finish.  After using the coarse sponge, I remove the masking tape covering the nomenclature for the application of the medium and light graded sponges.  The sponges are not rough enough to impact the nomenclature which is healthy.To fine tune further, the full set of micromesh pads are applied by first wet sanding with pads 1500 to 2400.  Following this, dry sanding with pads 3200 to 4000 and 6000 to 12000 bring out the grain which is beautiful. On a roll, and very enthused by the richness of the honey brown hue emerging and the detailed grain, I apply Mark Hoover’s product (www.ibepen.com), Before & After Restoration Balm which does a great job teasing out the deeper natural hues of the briar.  With some Balm on my fingers, I work it into the briar well and then set it aside for about 20 minutes for the Balm to be absorbed by the wood.  I then wipe off the excess with a cotton cloth dedicated to this and then buff the stummel with microfiber cloth.The day is coming to its close and I continue the internal cleaning using a kosher salt and alcohol soak.  This further cleans as well as freshens the bowl for the new steward.  I first fashion a ‘wick’ by stretching and twisting a cotton ball which is then inserted into the mortise and airway with the help of a stiff wire.  This wick helps to draw out the tars and oils from the internal chamber walls.I then fill the chamber with kosher salt which does not leave an aftertaste and place the bowl in an egg carton for stability.Using an eyedropper, isopropyl 95% fills the chamber until it surfaces over the salt.  After a few minutes the alcohol is absorbed, and the alcohol is topped off.  I let the soak work on the cleaning through the night.The next morning the salt and wick are soiled revealing the added cleaning of the chamber and mortise.  After dumping the expended salt and wiping the chamber with paper towel, I blow through the mortise to loosen and remove salt crystals remaining.To make sure all is clean, I follow with some pipe cleaners and cotton buds.  This is a good step in the cleaning process because the dirty pipe cleaners revealed that the airway was still in need of more cleaning.  After more pipe cleaners wetted with isopropyl 95%, the pipe cleaners were emerging cleaner and lighter.  I declare after a time, ‘Clean!’ and I move on.After reuniting the stem and stummel and mounting a cotton cloth buffing wheel on the Dremel, setting the speed at about 40%, the fine abrasive Blue Diamond is applied to the entire pipe.  After completing this, I use a felt cloth to buff the pipe to remove compound dust in preparation for applying the wax.Finally, after changing to another cotton cloth buffing wheel, carnauba wax is applied to the pipe and I after this, I give the pipe a hand buffing using a microfiber cloth to raise the shine.The grain on this Made in London England Diplomat is superb.  I’m extremely pleased with the repair to the acrylic stem.  It is now beautifully seated in the mortise, straight balanced and snugly secure.  The waves in the acrylic pop and the Diplomat shape, with the broad heal, makes for a very nice feel in the palm.  Andy from Maryland commissioned this English Diplomat and will have the first opportunity to acquire him in The Pipe Steward Store.  This pipe benefits the Daughters of Bulgaria.  Thanks for joining me!

Transforming a Hornless Sculpted Bull’s Head into a Churchwarden with Horns

Blog by Dal Stanton

I would have never come up with this on my own.  Seth already commissioned the restoration of a French GEFAPIP 500 Bent Bulldog which he found calling his name in the online collection of pipes I call, For “Pipe Dreamers” Only!.  The Bulldog needed a lot of stem work which included deep oxidation, a button rebuild and re-seating the stem/shank fit.  I was pleased with the results of that transformation pictured below.While I was working on the GEFAPIP Bulldog, Seth emailed me with a question – could he commission a Churchwarden project by repurposing another pipe’s bowl listed in For “Pipe Dreamers” Only!.  A Sculpted Bull’s Head with a bent stem had gotten his attention and with a little ‘dreaming’ applied, Seth could envision the Bull’s Head mounted on a Warden stem.  I found the Bull’s Head in the inventory and pulled it out to look at through Seth’s eyes… Yep!  I could see it, too.  What was missing in the mix were the Bull’s horns.  I responded that we could do this and after working out the details, I added the Bull’s Head CW project to follow the Bulldog project! Here are pictures of the Sculpted Bull’s Head which got Seth’s attention: The Bull’s profile is detailed and a bit on the whimsical side, especially with his missing horns.  He seems to be smiling in the picture above.  There are no identifying marks on the pipe.  When the Bull made it to the worktable, the question that came to my mind was how would I fashion the missing horns?  I took this question to ‘Google search’ to find other sculpted bull heads to get some ideas.  I clipped a screen shot of the search results and you can see that the horns are not uniform which is true of real bulls.  I looked through the pictures to see if I could find a bull that resembled Seth’s Bull, but I could not.  The interesting thing was that I found that many bull heads were from Italy.  What I noticed as well, was the similarities and differences between the pipes.  The eyes were made of differing materials and also the shaping of the ears situated behind the horns were distinctive and showed bulls sculpted by the same ‘school’ or carver.  After concluding the online search, I decided that I would send a note to Seth asking him to do the same search and to let me know what horns looked best – with the understanding this Bull’s Head will be mounted at the front end of a Churchwarden stem.  I’m thinking about the balancing and general look.  After sending the email, I place the Bull’s Head stummel with a Warden stem to get an overall sense of proportion.  I like it!I begin the Sculpted Bull’s Head Churchwarden project with the general cleaning of the stummel before fashioning the stem.  I take a picture of the chamber showing very little cake buildup, but I do see vestiges of the former steward’s tobacco.  I use the Savinelli Fitsall Tool to scrape the walls of the narrower than usual chamber.  After wrapping 240 grade paper around a Sharpie Pen, sanding the chamber removes more carbon.  I finish this phase by wiping the chamber with a cotton pad wetted with isopropyl 95%.  After inspecting the chamber, I determine that all looks good. Moving to the cleaning of the external surface, using undiluted Murphy’s Oil Soap and a bristled tooth brush I go to work scrubbing all the crevasses of the sculpting.From the worktable, I transfer the Bull’s Head to the kitchen sink where I rinse the surface with warm water as well as clean the internals.  Using anti-oil dish soap, long shank brushes scrub the internals.  Afterwards, the stummel is rinsed thoroughly – inside and out.The appearance of the Sculpting is realistic, especially the carving around the eyes. I continue cleaning the internals using cotton buds and a pipe cleaner – all dipped in isopropyl 95%.  The internals are good, and I move on.With the stummel clean, it’s time to begin fashioning the Warden stem.  The first step is to take some measurements using my German made electronic caliper – one of the best additions to the toolbox I’ve made.  I measure the internal diameter of the mortise to establish the target size of the tenon.  The measurement is 6.80mm.  Next, after mounting the drill bit provided by the PIMO Tenon Turning Tool set, the airway is drilled out to receive the Guide Pin of the TTT. After drilling the airway, the TTT is mounted.  The first cut of the tenon is intentionally larger to act as a starting point for the measurement.  In the picture below the guide pen is in the now enlarged airway.  In the past, I’ve learned the hard way that it’s critically to cut the tenon of the precast Churchwarden stem all the way to and through the raw stem facing.  I’ve put an arrow at the facing that is shouldered coming from the casting.  If this shoulder is not removed, it simply migrates to the pipe which is not good.I do the initial cut of the tenon through the ‘shoulder’ so that a sharp 45-degree angle is left which will be able to seat more exactly with the shank facing.Again, I measure and the tenon after the initial cut and it is 8.92mm.  The difference between the starting cut and the target size of the tenon (6.80mm) is 2.12mm. In order to approach the target size conservatively through sanding, 40mm is added to the target size of the tenon to create a ‘fat’ target – to leave a bit of sanding to be able to customize the fit.  Adding .40mm to 6.80mm gives a fat target of about 7.20mm.  This is what I aim for with the PIMO Tenon Turning Tool before transitioning to sanding the raw tenon.After a few cuts closing in on the ‘fat’ target, I settle for 7.31mm.  I now transition to sanding. Using a coarse 120 grade, I pinch the paper around the tenon as evenly as possible and rotate the stem while holding the paper stationary.  My goal is to size down the tenon evenly so that the whole tenon is maintaining contact snuggly on the mortise walls once seated.  Progress is patient as I sand and test the fit. As the progression moves closer to completion, I transition to 240 grade paper to do the final sanding.The tenon is fitting well – snug but not too tight.  The pictures below show the seated stem.  The stem is almost perfectly flush with the upper shank, but the stem is fat on the lower quadrant.After taping the shank with a layer of masking tape to buffer the briar from the heavy sanding, I attack the fat lip of the lower stem using coarse 120 grade sanding paper.  The goal is to sand the excess vulcanite to form a uniform shank/stem union.After achieving a good union at the shank, I continue the sanding with the 120 paper over the entire precast Warden stem.  The stem, even though it is new, has the casting seam down both sides that needs sanding and uneven rippling that needs smoothing. After the 120 grade paper, I follow by sanding the entire stem with 240.After the stem proper has been sanded, I switch the focus to the rough precast button.  Pictures of the upper and lower raw button show the imperfections that are first filed using a flat needle file.After doing the major shaping with the file, I follow with 120 and 240 sanding papers to fine tune the button shaping.Without a doubt, the least pleasing aspect of fashioning Churchwardens is sanding the stems and dealing with all the rubber dust!  I’m thankful to move to the fine sanding stage by wet sanding with 600 grade paper followed by applying 000 grade steel wool to the entire stem.Next, with the stummel and stem united, I remove the masking tape to begin sanding with micromesh pads.  At this point, I focus the sanding on the stem/shank junction and the stummel.  Sanding the shank with the stem engaged keeps the junction edges from shouldering.  I also sand the stummel to clean it up.  There’s no doubt that this Bull’s Head sculpting will remain ‘rough’ and rustic, but I want to sand the smooth briar points of the Bull’s head: shank, underside, muzzle and the high points of the sculpting ridges.  Pictures of the landscape show the smooth briar patches that will be the focus of the micromesh pads. I begin by first wet sanding with pads 1500 to 2400, followed by 3200 to 4000 and 6000 to 12000. Next, I address the stummel’s hue.  The original pictures of the Sculpted Bull’s Head indicate an original darker stummel.  What I believe will look good is to darken the stummel again and then lightly sand the peaks of the sculpting to bring out highlights giving the overall appearance more depth and contrast. The crevasses of the sculpting will hold on to the darkened hue while the peaks will lighten.  I’ll use Fiebing’s Dark Brown Leather Dye to do the job.  After removing the stem, I clean the stummel using a cotton pad and isopropyl 95%. It takes a bit of time as I get into each crevasse of the sculpting.I assemble the staining station and use the hot air gun to warm the stummel before applying the stain. This opens the briar to help its receptivity to the dye. Unlike my normal approach of flaming the aniline dye after painting it on the briar surface, with the rough texture I apply a simple dye wash and allow it to dry and set. I use the bent over pipe cleaner to apply dye in all the crevasses of the sculpted surface.  After applying the leather dye, I let the stummel rest for several hours.With the stummel resting now, I turn back to the stem.  Before, with the stummel attached, I have already applied micromesh to the junction area.  Now I continue with the rest of the stem starting with wet sanding with micromesh pads 1500 to 2400 then dry sanding with pads 3200 to 4000 and 6000 to 12000.  Between each set of 3 pads, Obsidian Oil is applied to the stem.  Steve did an informative blog on comparing Obsidian Oil with Briarville’s, No Oxy Pipe Stem Oil (See LINK).  His conclusion was that both seemed to be equally good products.  What I didn’t know before reading Steve’s blog was about the anti-oxidation properties of Obsidian Oil.  It doesn’t remove oxidation if already present, but it hinders the growth of oxidation.  As a result, I’ve started using Obsidian Oil for the maintenance of my own pipes in rotation. Putting the stem aside for the time, I take up the stummel which has been resting for several hours after applying the dye.  I use a cotton pad wetted with alcohol to give the stummel a wipe to remove excess dye. Next, I mount a cotton cloth buffing wheel to the Dremel with the speed set at about 40% full power.  I apply a light application of Blue Diamond compound and I intentionally keep the compound light because I want to avoid caking in the crevasses.  My focus is primarily buffing on the smooth briar and the peaks of the sculpting.After application of the compound, I use a felt cloth to give the stummel a rigorous buffing to remove the compound dust from the surface.  I very much like the results.  The effect I was shooting for with the contrast between the smooth briar peaks and the darker crevasses is evident. The rough, rustic texture is preserved but the smooth briar pops in comparison.  I’m surprised also by the mahogany leaning hue resulting from the dark brown dye that I applied.  The following pictures show what I see. I decide to condition the dried Sculpted Bull’s Head stummel using Before & After Restoration Balm. I place some Balm on my fingers and work it well into the crevasses of the sculpting and over the smooth briar surfaces.  During this process, I note that the dye applied to the stummel earlier is coloring the Balm somewhat as it’s worked into the briar.  I also see some coloring on my fingers.  After working the Balm in well, I place it aside to allow the Balm to do its thing and then I use a cotton cloth that I will discard to wipe the excess Balm which is also colored somewhat with the fresh brown dye that is lifting off the stummel. To address the leaching dye issue, which is normal for newly dyed woods – briar is no exception, is to heat the stummel with the hot air gun which helps the dye to fully leach.  When the stummel is heated, I wipe it first with a cotton cloth and then with a paper towel.  The hopeful result of this is after the pipe reaches his new steward, when the steward fires it up for the first few uses, dye will not leach on his hands from the heated stummel – or be minimized greatly!Next: bending the Warden stem.  After reuniting the stem and stummel I place the pipe on a piece of paper to sketch the angle of curve needed to help as a template.  I first draw a horizontal line to serve as the plane of the plateau.  I use the horizontal shelf behind the angled chamber stack to line up with the horizontal plane.  After outlining the unbent angle, I sketch the bend to bring it into alignment with the horizontal to serve as my template.Even though the bend needed is not great, a pipe cleaner is inserted into the end of the stem to guard the airway integrity during the bend.  Using the hot air gun, the middle of the stem is heated because this is where I want the bend to be so that the end of the stem resolves nicely along the horizontal plane.  I remove the stummel so that I can place the stem flat on the template after it is heated so that the stem is not angled or twisted to the left or right during the vulcanite’s supple stage.As the stem heats, I’m careful to keep ‘up’ up, so that the fit of the stem in the mortise isn’t accidentally flipped!  As the rubber heats, I gently apply pressure to the bend area.  When the heating has sufficiently warmed the vulcanite, I bring the stem to the template and create the bend according to the template and hold it in place for a few minutes as the rubber cools and the bend is held in place.  The first attempt renders perfect results!  I move on.With the stem now bent, I catch it up with the stummel by applying Blue Diamond compound to the entire stem.  After mounting a cotton cloth buffing wheel onto the Dremel and with the speed set at about 40% full power, I apply compound to the stem.  After finishing the application, I wipe/buff the stem with a felt cloth to remove the leftover carbon dust.I’m very pleased how things are shaping up.  Before the final polishing, I have one project left which is a little daunting: the horns.  I’ve been thinking throughout (and even before starting!) the restoration how I was going to address the fashioning of the horns.  The sides of the Bull’s head have holes which provide the diameter of the horn mass.  As I looked at many examples on the internet of sculpted Bull’s heads, I found that there are a several varieties of horn style which is true with real life bulls!  To narrow in on a style, I described sending Seth an email asking him to do some online research.I received his reply stating that he liked the shorter, stockier horns that turn up slightly on the ends.  He also sent a couple pictures to illustrate his desires which were very helpful.  As I’ve thought about this part of the project, fashioning one horn is not the greatest challenge, but fashioning two is!  The challenge is to match the two but in reverse orientation – left and right horns!  The pictures Seth provided are helpful, but there is a contrasting complexity even between the two examples he sent.  The picture on the left shows the horns set on a vertical platform shaped on the side of the bull’s head to allow the visible horn to have more mass with (I’m assuming) a smaller peg inserted into the holes.  Whereas, the example on the right, more like what I have on my worktable, the horn diameter and mass are confined to the diameter of the hole.  It seems to be that the general proportion of the examples Seth sent below and many of the online examples I’ve seen is that the visible horn is about half the width of the bull’s head. Unfortunately, in my 10th floor flat in the formerly Communist period apartment block, I do not possess much in the way of precision wood working equipment, like a lathe!  Shaping the horns will be by hand using a Dremel, files and sanding paper.  I plan to use cherrywood as the material for the horns.  Cherry trees grow almost everywhere in Bulgaria and there are several in the green area in front of our block.  A couple years ago I harvested a couple very straight branches from a cherrywood tree in the front green area to dry out and to use with a project of restoring a French made cherrywood Ropp stummel and stem.  I trimmed them down and they’ve been in my bucket waiting for some time – now, very much dried and ready.  The Ropp project will continue to wait! I begin with horn number one.  First, I cut a length of the cherrywood stem the width of the bull’s head.  I know that roughly half of this will be the horn.  The other half will be what is eventually inserted in the hole which is the ‘peg’ side.In order to give a center orientation for the peg, I use a small sanding drum to trace a guide circle.After drawing a line around the piece of wood to mark the extent of peg shaping, I use a sanding drum in a circular motion around the end  and gradually shape out the peg. As I was progressing on shaping the horn peg, I notice the line of a grain crack – ugh.  I decide to see if it might work after some sanding and filing, but the crack will be a problem.  I’m hoping that this is not characteristic of this wood! I move on and start over.With the second start, I decide not to cut the short piece of cherrywood but to shape the horn peg first.  I do this so that I can save wood if I must cut it off again and restart.  Again, I mark the center horn peg template and use the sanding drum mounted on the Dremel to shape the peg.I sanded and tested the fit a few times until the horn peg finally found home in the side of the bull’s head! Next, I cut off the smaller piece measuring to leave a little more than half the width of the Bull’s head.  I leave extra length to enable me to sand down to a good fit.Next, with the picture that Seth sent to me showing the horn style he likes, I draw a horn template on the cherrywood inserted into the hole.  The most critical thing at this point is to have a guide to help me stay within close parameters of proportion as I shape the horn step by step.Remembering that the first horn is easier than the second, I use the rounded angle of the sanding drum to create a consistent angle for the upswing of the horn tip.  I’ll do the same for the second horn to minimize differences.  With the Dremel set to slow, I press the drum into the wood to create the horn tip upswing angle. I then remove the remaining excess wood on the upper side of the horn bringing the top parallel with the upper side of the peg. Next, I turn the horn shaping over, with the horn tip facing down, to now work on the bottom of the horn. The hand saw cuts the excess off the cherrywood piece so that the cut is very close to the end of the horn.  This saves on sanding.Again, using the sanding drum mounted on the Dremel, I begin to take wood off the lower side of the horn piece.  I start by sanding a horizontal base-line which identifies the horn’s lower side.As the sanding moves toward the end of the cherrywood – toward the horn tip that is facing downwardly, I curve the sanding so that the angled underside of the horn is shaped toward the inverted horn tip.The roughing out of the upper and lower horn is looking good and it resembles a paddle at this stage.  The next 3 pictures show the horn from the different angles and the excess wood on the end identified by the template is still needing to be sanded to better define the horn tip. I insert the rough horn into the bull head to make sure I’m tracking in a good direction.  I’m looking for good proportions. So far, very nice – but again, the first horn is easier!I transition to a smaller sanding drum to begin the removal of the excess wood on the front and back portions of the rough horn.  The horn starts to emerge very nicely during this part of the sanding which is patient – I am very careful sculpting with the sanding drum.  I can’t replace wood!After patient shaping, I test the emerging horn and it looks great!  The proportions are good on both the horizontal and vertical axis.With the challenge of now replicating the roughed-out horn, but in reverse, I try to emulate the same process and patiently move step by step.  I draw the peg template and again use the drum to shape out the peg.When the peg arrives in time with a good fit, I use the finished horn to draw a template on the second horn piece.Again, using the sanding drum, the angle is notched out creating the pitch toward the horn tip.As before, I then remove the excess on the top bringing it roughly parallel to the upper side of the peg.  With this done, I cut the cherrywood for a more manageable piece.To shorten this part of the write-up, after much careful sanding, shaping and test fittings, I arrive at two roughed-out horns.They aren’t identical but close enough to pass for the real deal!To leave the horns in semi-rough condition with some texture, I sand both with 240 and 600 grade papers.  This smooths the cherrywood but keeps the horns more rustic.I’m not sure what it will do with the raw cherrywood, but I apply Before & After Restoration Balm to see what happens.  After applying the Balm with my fingers, I let the Balm do its thing for about 20 minutes.  The light cherrywood didn’t change much, but there is a more of a ivory-like hue to it now. Not bad.Almost in the home stretch.  Using BSI Maxi-Cure Extra Thick CA glue, I glue the horns in place.  After placing a drop in each hole, with a toothpick, I spread the glue around the circumference of the hole.  I then insert each horn and pitch it up as Seth requested.Now the home stretch.  All that is lacking is applying carnauba wax to the pipe.  After reuniting stem and stummel, I mount a cotton cloth buffing wheel to the Dremel and set the speed to about 40% full power.  I apply carnauba wax to the stem and Sculpted Bull’s Head stummel and horns.  I’m careful to go light on the wax in the sculpting staying primarily on the smooth briar and peaks. After application of the wax, I give the Churchwarden a rigorous hand buffing with a microfiber cloth to raise the shine.Oh my!  I love it, and I trust that Seth will as well.  His idea of turning this Sculpted Bull’s Head into a Churchwarden is a winner hands down.  The sculpting cleaned up nicely and the dark brown dye with the contrast highlighting with smooth briar is attractive, but the rustic air of the pipe is preserved.  I’ve never fashioned horns in a restoration before this project, but I believe the Bulgarian cherrywood looks good and does a good job emulating the horns.  Fashioning the horns wasn’t easy, but I’m pleased with the outcome. As the commissioner of this project, Seth will have the first opportunity to acquire this Sculpted Bull’s Head Churchwarden from The Pipe Steward Store.  This pipe benefits the Daughters of Bulgaria, women and girls who have been trafficked and sexually exploited.  Thanks for joining me!

Finally Getting to Finish a Churchwarden Stem for a Chimera Bowl that Alex gave me.

Blog by Steve Laug

Over a year ago Alex gave me a second bowl by Tedd Weitzman that needed a stem. I recall that when he passed it to me that he said that Tedd had given the bowl to him to finish some time. It was one of Tedd’s early pipes and one that he had never finished. Now the bowl had made its way with Alex from Atlanta, Georgia to Vancouver, BC he moved here. As we spoke about it over the past months Alex thought that maybe it would make a good churchwarden. I figured that it would but I did not have a stem that would work for that at the moment so it went in the box of pipes that I have to work on for Alex.

Sunday evening I took the bowl out of the bowl and had a look at it. I turned it over in my hands several times and studied it. It is an interesting bowl and not a shape that I have a ready name for. Alex has said that it was made around the same time as the Chimera pipe that I had worked on for him previously (https://rebornpipes.com/2018/07/06/adding-some-length-to-a-chimara-blowfish/). Tedd Weitzman commented on the previous pipe and remembered it well. The Blowfish pipe that I wrote about in the above blog was stamped Chimera while this one bore no stamping. It was an unmarked bowl so I was going with Alex’s memory about it. The way that the pipe was designed it worked as a sitter without a stem. Hopefully it would do the same with the new stem I was going to fashion for it. There was some rim darkening on the back side of the rim top and a small nick on the front edge. The mortise was drilled in the peak of the shank end that was almost a tortoise shell shape. Describing it is a bit of a challenge but this might work. If you can imagine a tortoise of turtle shell – the mortise came out where the head and neck would have extended. There was some damage around the thin edges of the shank end and some wear there as well. Here are some photos of the bowl. Tedd and I had another common friend besides Alex – John Offerdahl. I could not immediately get a hold of Alex this morning so I sent a quick message to John. For the life of me I could not remember Tedd’s name or the brand of the pipe that I had done previously. When it was finished Alex had me send it to John who passed it back to Tedd… the circle closes. John responded promptly this morning that the pipe was definitely on that was made by Tedd. It was made during the time that he and Tedd had made pipes under the Chimera name around 2010.

I remembered that the Chimera was a creature from Greek mythology that was often depicted as a creature that was a hybrid. It often was shown as having the head of a lion and a got and a snake’s head at the end of the tail. Throughout time it has been used to mean any fictional creature composed of multiple different animals. Knowing John’s love of literature I was pretty sure that this is what was in his mind when he came up with the brand name for the pipes.

One of the reasons for me taking the pipe out of the box on Sunday evening was that I had received a stem that my brother Jeff had picked up at an auction on Friday. It was an older KBB stem probably from a Yello-Bole. The threads on the screw in tenon were worn and thus the tenon was really not usable. There was a worn and damaged propeller logo on the stem top that was off centre. I think that the stem was a replacement and that the logo was an afterthought. Here is what the stem looked like after I had wiped off the sticky spots and spilled glue that was on the surface. There were some tooth marks and chatter on the button end and the airway and slot were filled with debris and tars. The curve of the stem was perfect and the straight button end worked far better for me than a flared or fishtail end.I heated the metal tenon with the flame of a lighter and softened the glue holding it in the stem. I unscrewed it from the stem with a pair of pliers and wiped down the end of the stem. I faced the stem end on a topping board to make it smooth and square and used my Dremel and sanding drum to give the end a slight taper so that it would fit in the mortise of the bowl. I took a few photos of the stem in place – very roughly with more work to do but you can see the direction I was heading with this one. Yesterday I took my wife and two of my daughters down to Bellingham, Washington to do a bit of shopping with their Christmas money. The mall is great because it has a large circular waiting area that is comfortable and well lit so I planned ahead for my wait. I took the stem and bowl with me along with several folded pieces of 220 grit sandpaper. The girls had a great time shopping and I had a nice coffee and worked on the fit of the stem to the shank. We both had a great day. In the photos that follow you can see the conical shape of the tenon end of the shank. It fits snugly in the shank. This morning I worked on polishing out the remaining oxidation with 220 grit and 400 grit wet dry sandpaper. I like the overall look of the stem. I took photos of the stem after sanding it.I rubbed the stem down with Denicare Mouthpiece Polish. I have a few tins of this laying around so I am trying to use them up. I have found it is a great pre-polish for my use as it shows me areas that I need to work on with the micromesh sanding pads.  I polished the stem with micromesh sanding pads – wet sanding with 1500-12000 grit sanding pads. I wiped it down after each pad with a damp cloth to remove the sanding dust. I polished it further with Before & After Pipe Polish – both Fine and Extra Fine. I finished by rubbing the stem down with some “No Oxy Oil” to protect the vulcanite. I am experimenting with the product from Briarville and tracking how it works so I can write a review of it. I cleaned up the darkening on the back side of the rim top and the nick on the front edge with 220 grit and 400 grit wet dry sandpaper. I also worked over the areas around the mortise that had nicks and damaged spots with the sandpaper. I was able to smooth them out using the same papers. I polished the rim top and shank end with micromesh sanding pads – wet sanding with 1500-12000 grit pads and wiping it down with a damp cloth after each pad. I restained the sanded areas with an Oak stain pen to blend it into the rest of the finish.I rubbed the bowl and rim down with Before & After Restoration Balm. I worked it into the surface of the briar with my fingertips to clean, enliven and protect it. I let the balm sit for a little while and then buffed the pipe with a cotton cloth to raise the shine. I really like watching the Balm do its magic and bring the briar alive. This interestingly shaped Chimera Bowl has some really beautiful grain all around the bowl and shank. The grain really is quite stunning. The bowl while uniquely shaped is very symmetrical. The placement of the mortise at the peak of the shank would have made fitting a stem difficult. I can see why it was left stemless and unmarked. I decided to go with a military style mount that would fit well without changing the shape of the shank end. The long, bent Churchwarden 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 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 dimensions of the pipe are: Length: 11 inches, Height: 2 ¾ inches, Outside Diameter: 1 ½ inches, Diameter of the chamber: ¾ inch. This uniquely shaped briar bowl and long stem work together to make a Churchwarden that feels great in the hand. Its length makes it a perfect pipe for sitting and reading a good book or watching a movie. It is light in weight which also adds to the charm. It was a pleasant one to work on and a definite change of pace from Bob Kerr’s estate. Thanks for walking through the restoration and restemming of this pipe with me.

Fashioning a Churchwarden as a Christmas Gift for my Son

Blog by Dal Stanton

One of the advantages of having ‘The Pipe Steward’ in the immediate family is that there’s a very good probability that his gifting patterns might reflect one of his favorite pastimes – restoring pipes!  Over the years, it has given me great joy to gift my loved ones – sons and daughters(!), with pipes that I’ve restored.  There are at least two reasons for this.  First, they receive a beautiful pipe which has been given the TLC that brings it again to a pristine condition – often better than new!  They can enjoy the composite beauty of its shape, grain formations and hues.  Additionally, understanding a pipe’s story through the research and write-up that accompanies each recommissioned pipe adds to the overall appreciation for the pipe.  The pipe itself is the first part of a growing legacy.  Secondly, the fact that the gift has passed through the care and attention of my hands, restoring the pipe’s condition, adds my personal part to the pipe’s legacy.  The ‘Giver’s’ story is added to the pipe and is then associated with the pipe by the loved one that that receives the pipe, becoming its new steward.

My son, Josiah, is coming from St. Louis to join his mother and I for Christmas here in Bulgaria.  He joins his sister, Johanna and her husband, Niko, who have come to Sofia from Nashville.  Both Josiah and Johanna, our two youngest, lived here with us when they were teens.  So, they are coming ‘home’ for Christmas and this is special for them and for us.  Two additional things add to the specialness of this Christmas reunion.  First, Josiah is bringing with him a young lady for mom and dad to meet!  They met in college and have cultivated a relationship.  She’ll be coming to meet his parents….no pressure!  Secondly, Johanna and Niko are also bringing a special gift – we just found out that they are expecting their first little one to add to our growing number of grandchildren!  Gifts are special during Christmas and they come in different ways.  The greatest gift is the reason we celebrate Christmas – God’s gift of his Son, Christ, given to a dying and broken world to bring the gift of life.

For this Christmas, a Churchwarden will be fashioned for Josiah.  I enjoy repurposing forgotten bowls to give them new life by simply mounting them to a long, flowing Warden stem.  The uniqueness of the Churchwarden is that it is not primarily the style of bowl that makes it a Churchwarden, but the length and style of the stem.  From Bill Burney’s description in Pipedia we discover this information.I found two bowls in my box that held CW potential.  A petite ‘Made in England’ Bent Billiard with the shape number 950 on the shank.  No other markings.  It’s a classic petite English pipe which is attractive by itself, but so far, no one has shown interest in adopting him from the ‘For “Pipe Dreamers” Only!’ online collection where pipe men and women commission pipes for restoration benefitting our work here in Bulgaria with women and girls who have been trafficked and sexually exploited – the Daughters of Bulgaria (Incidentally, if you go to this link you will see our daughter, Johanna, a few years ago painting a picture depicting our work with the Daughters).  I believe this bowl will serve as a gift for my son-in-law, Niko – next in queue.  The other bowl is a rusticated bowl with the sloppy stamping not fitting the smooth panel on the shank’s left flank.  Here are the candidates.As I evaluated the two, I decided on the rusticated bowl for my son, that is rustic and will give the newly fashioned CW an ‘Ole World’ feel.  I take a closer look at the ‘Rustic’s’ nomenclature.  The sloppy stamping shows ‘ERMOFILTER’ – with ‘’ER” running over onto the metal stem facing and stem, [over] ‘ORTED BRIAR’ (with the ‘IAR’ running over!) [over] ‘ITALY’, the COM.  Undoubtedly, the stamping’s aim was to reveal the name, ‘Thermofilter’ which is not found in Pipedia but Pipephil.eu has this panel of information with a ‘?’ indicating the COM.  The Thermofilter on my work desk adds Italy as the country of origin.I acquired this pipe while in the US a few years back at Madeline’s Antique Store in Manchester, Tennessee, just off Interstate 24.  It was a quick stop as we were traveling through and saw the billboard and decided to stop.  It was a very fruitful detour as I found a Dunhill in the wild and purchased it for a pittance.  In the picture below, the Dunhill (see link for this restoration: Another Wedding Trip Pick: A 1961 DUNHILL EK Shell Briar Made in England 1 4S) is visible (3rd from the bottom) and reminded me that this was on the trip when Johanna and Niko were married!  The Thermofilter is barely visible on the right edge in the pipe stand.I take some pictures of the rusticated bowl to get a closer look and to mark the start. The bowl is a perfect size for a Churchwarden, which tend to be on the diminutive side.  The half bend will provide a great sweeping trajectory for the Warden stem.  The rusticated surface is dirty and needs a thorough cleaning of the crevasses. I’m attracted to the deep burgundy red finish of the briar.  It should clean up very nicely.  To begin the project, an inspection of the chamber reveals almost no cake at all, if any.  I go directly to the Savinelli Fitsall Tool to scrape the sides and then sand the chamber using 240 grade paper wrapped around a Sharpie Pen.  To clean the chamber of debris, I wipe it with a cotton pad wetted with isopropyl 95%.After cleaning the chamber, an inspection reveals no problems with heating cracks or fissures.  Yet, I discover something strange.  On opposite sides of the chamber wall I discover stampings of numbers and perhaps some letters.  I’ve never seen this before and I decide to send a note to Steve to find out if his rebornpipes experience would lend any help. Steve’s response to my inquiry was brief:

Nope never seen that. I have seen small numbers in the bottom of the bowl. Maybe heated like a branding iron. What is the nomenclature?

With no resolution to this mystery, I move on to cleaning the external surface. I clean the rusticated surface with undiluted Murphy’s Oil Soap.  A cotton pad starts the process, but I transition to a bristled toothbrush quickly to clean in the craggy cuts of the rusticated surface.   From the worktable scrubbing, I transfer the stummel to the kitchen sink where I continue to rinse the stummel with warm water and clean the internals using long shank brushes.  With warm water, I add anti-oil dish liquid soap and scrub using the shank brushes.  After rinsing again, returning to the worktable I take the following picture of the cleaned stummel.  I notice that the finish is partially removed from the smooth briar panel holding the nomenclature.To complete the removal of the finish on the panel, I wet a cotton pad with isopropyl 95% and rub the smooth briar panel as well as the smooth briar ring circling the shank end.  This will provide a distinct contrast later during the finishing stage. What I also notice from the soiled cotton pad is that the finish color appears to be an Oxblood hue.     Moving now to cleaning the internals in earnest with cotton buds and pipe cleaners wetted with isopropyl 95%, I find that the mortise is clean!  This doesn’t happen often and I’m thankful for the shortened work!I now transition to fashioning the Churchwarden stem.  The first step is to fashion the oversized tenon of the precast Warden stem.  Using the electronic caliper – which was one of the best additions to my tool chest! – I take a measurement of the mortise diameter which is 7.86mm.  This represents the eventual sizing diameter of the tenon after sanding it down to size.The next step is to cut a starting test cut on the tenon using another great addition to my tool chest – the PIMO Tenon Turning Tool that I acquired from Vermont Freehand (https://vermontfreehand.com/).  I keep the directions on the wall in front of me for easy reference!  Before using the tool, the PIMO kit provides a drill bit to pre-drill the airway of the precast stem to fit the Tool’s guide pin.  After mounting the bit on the hand drill, I drill the airway.  Next, I mount the stem onto the PIMO tool which has replaced the drill bit on the hand drill.  Opening the carbon cutting arm to just a bit smaller than the diameter of the raw tenon, I make an initial cut of the tenon for measurement purposes.  The sizing is 9.79mm.  This is the starting point for sizing down the tenon.  Generally, it’s not a good idea to cut the tenon with the PIMO tool aiming for an exact finished target size (7.86) because of the danger of taking off too much.  It is also true that each fitting tends to be different.  So, the approach is to come to the target sizing in a more patient, conservative pace.  I add about .40 mm to the target size of 7.86 which identifies what I call the ‘fat’ target to aim for with the PIMO tool then transitioning to sanding by hand.  Adding .40mm to 7.86 results in a fat target of about 8.26mm.  This means I need to remove additionally about 1.50mm (9.79 minus 8.26) with the PIMO tool.Using the Allen wrenches to adjust the carbide cutting arm to a tighter cut, I first cut a test and measure.  I want to make sure I’m not over cutting before traversing the entire length of the tenon. And I’m glad that I did the test cut!  The test cut measured 6.72 – smaller than the target size!  The second test cut measures at 8.10mm – falling between the fat target and the target size – I go with it.  I cut the entire tenon as well as cutting into the stem facing just a bit to make sure that the edge is squared and not shouldered from the original precast stem.The cut is ideal.  The tenon is still larger than the mortise so that sanding now will ease into the fit and make it more customized.It doesn’t take too long with sanding for the mortise fully to receive the newly shaped tenon.  A coarse, 120 grade paper is used initially to do the heavy lifting then 240 follows to fine tune.  The fit is good.There is no perfect union and this picture shows the shank facing extending a bit beyond the stem facing.I wrap the shank with masking tape to provide some protection to the rusticated finish as I sand to bring the shank facing and stem into alignment.  As before, focusing on the fitting first, I start with coarse 120 and follow with 240 to sand the junction.    When the junction transitions smoothly from the shank to the stem, I transition to the stem proper.  The picture below shows the casting seam down the side of the stem.  This seam as well as the ripples that are always present in a precast stem are sanded out.After some effort, and a lot of rubber dust(!), the ripples and seams are sanded with coarse 120 grade paper.  These pictures are not easy to see detail, but if ripples remained, they would be evident with the different hues on the stem.Next, I work on the bit and button shaping.  You can see the rough condition of the button and the vulcanite excess on the slot.  The darkening of the vulcanite forming a ‘V’ in the middle of the bit shows how the surface of the precast stem dips as it flares out to the stem edge. This will be filed out and the button shaped using a flat needle file.   The following two pictures show the progress of filing.  To remove the valley dip of the surface, I file down the outside valley ridges that are higher.  At the same time, the filing sharpens the button lip.  The first picture shows the initial lateral filing to bring the bit surface into a more level state.The next picture shows the leveled bit surface after the outer quadrants have been rounded and shaped toward the stem edges.The final filing for the lower bit completed.The slot is rough.  After filing the excess vulcanite to level the slot facing, I see a small divot in the inner edge of the slot which I didn’t picture!  A round pointed needle file fits nicely into the slot allowing uniform filing of the inner slot edges – upper and lower.  With the heavy-duty sanding and filing completed. I use 240 paper to fine tune the bit and button shaping.  At this point, the button perimeter is sanded.I follow the fine tune sanding of the button by sanding the entire stem with 240 grade paper.The next picture was to remind me to remark about how nasty working in rubber dust is!  It, without question, is the least desirable part of fashioning new Churchwardens!  This Bulgarian designed work cloth will be going into the soak tonight!The Warden stem is transitioned to the kitchen sink where 600 grade paper is employed to wet sand the entire stem. During the entire sanding process, the stem and stummel remain joined so that the sanding creates a perfectly uniform union with stem and shank. Before transitioning to the micromesh phase, I file the end of the tenon where excess and rough vulcanite persists.  Using the flat needle file, it is dispatched quickly.The question in my mind is whether to bend the stem now or go directly into the micromesh phase.  By leaving it unbent at this point makes continued sanding easier, and this is what I do. Using 1500 to 2400 grade micromesh pads I wet sand the stem followed by dry sanding with pads 3200 to 4000 and 6000 to 12000.  Between each set of 3 pads I apply Obsidian Oil to condition the vulcanite.  I only show one picture of this process instead of the usual 3 because capturing the detail with the long stem is not possible. I do, however, take close-ups of the upper and lower bit. The next step is to bend the Churchwarden stem.  The goal is to bend the stem so that the end of the stem, the bit, is on a parallel trajectory with the plane of the rim of the stummel.  I sketch a template to help visualize and compare.I use a hot air gun to heat the vulcanite.  I continually rotate and move the stem over the hot air to avoid scorching the stem and to heat more evenly a section of the stem.  To begin, I focus the bend more toward the middle of the stem, where the stem is thicker.  If I heat the entire stem at once the thinner portion at the end of the stem will heat and bend first creating a sharper angle – which I am trying to avoid.  A sweeping bend is what I like best.As the stem is heated, gentle pressure is applied so I know when it becomes supple enough to start bending.  The first step focusing on the middle bend is below.  After I bend it, I hold it in place until I run it under cold water in the kitchen sink to hold the bend.  As expected, the trajectory of the end of the stem is still a little high.  The next step of heating I avoid the middle of the stem and heat the section about 3/4 up the stem – the thinner section.  After heating and bending more, again I take the stem to the sink to cool the stem with water to hold the angle.  The template shows that I’m in the sweet spot.  Notice I inserted a pipe cleaner in the end of the stem to be on the safe side – guarding the integrity of the airway as it bends.  It looks good and I move on. Next, the stummel awaits attention.  After removing the freshly bent CW stem and putting it to the side, I take a fresh look at the rusticated stummel that, to me, resembles craggy tree bark.  I like it! Before addressing the stummel, I first run the smooth briar nomenclature panel and ring around the end of the shank though the full battery of micromesh pads, 1500 to 12000. I like the craggy/smooth contrast.My aim with the stummel is to refresh the hue, which appears to be a subtle Oxblood.  Using Fiebing’s Oxblood aniline dye, I will apply it like I usually do – painting and flaming with a lit candle.  Then, during the following ‘unwrapping’ stage, I will not use Tripoli compound as I usually do.  The reason for this is that the compound will get caught in the crags and that would not be fun to remove.  I think the felt buffing wheel on the Dremel will be enough by itself to effectively unwrap and abrasively buff to remove excess crusty flamed dye.  Creating more contrast in the craggy landscape of the rusticated surface and the smooth peaks of the rustication is the aim.  At least this is my hope!  I assemble my desktop staining kit.  After wiping the stummel with a cotton pad wetted with alcohol to clean it, I warm the stummel over the hot air gun to expand the pores in the briar to help it be more receptive to the dye.  Then, using a bent over pipe cleaner, I apply the Oxblood dye in sections and flame the wet dye with a lit candle.  The alcohol in the dye combusts with the flame and sets the dye in the briar surface. After working through the entire stummel painting and flaming, I set the stummel aside to rest for several hours allowing the dye to set.Later, with a cotton cloth wheel mounted onto the Dremel and the speed set to 40% full power, I apply Tripoli compound only to the smooth briar nomenclature panel and ring around the shank end.Next, I mount a felt cloth buffing wheel onto the Dremel, setting the speed to the slowest possible, and go over the entire surface working the edges of the buffing wheel in the valleys and ridges of the rusticated surface.  The slower speed is to avoid over heating – I don’t want to start a fire with the coarser buffing wheel!I also concentrate on the upper peaks of the ridges that present very small smooth briar surfaces that are buffed.I like the contrasting effect of this process – the changing hues of the Oxblood from valleys to peaks with the smooth briar and rough briar – nice.Not pictured is mounting another cotton cloth buffing wheel onto the Dremel, setting the speed at 40%, and applying Blue Diamond compound only to the smooth briar nomenclature panel and ring around the end of the shank and to the Warden stem remounted to the stummel.  Finally, with another cotton cloth buffing wheel mounted onto the Dremel, set at the same speed, I apply carnauba wax to the entire pipe – stem and stummel. Over the rusticated surface, I increase the speed of the Dremel to about 60% full power to create more heat to dissolve the wax in the rusticated landscape.  This helps in keeping the wax from caking in the rough surface. I finish the newly formed Churchwarden by hand buffing with a micromesh cloth and brushing the stummel with a horsehair brush to raise the shine.

The Oxblood coloring of this rusticated bowl came out exceptionally well. My eyes are drawn to the contrasting of the flecks of smooth reddish briar populating the rusticated landscape.  The rustic feel of the bowl is enhanced by the ring of Oxblood smooth briar transitioning from the rough bowl to the long, black Warden stem.  The Oxblood shank ring contrasting with the stem simply pops.  Of course, the long, sweeping bend of the stem is why every pipe man or woman wants at least one Churchwarden in their collection.  This Churchwarden is heading under the Christmas tree here in Bulgaria as a gift for my son. My joy is completed knowing that in the future, when he pulls it out and fills it with his favorite blend and settles in to have some moments of reflection that he will reflect on this special Christmas in Bulgaria!  Thanks for joining me!  Merry Christmas!

Restoring and Restemming an LHS Rusticated Sterncrest Billiard

Blog by Steve Laug

I am doing periodic repairs for a local pipe/cigar shop. They give my card to people who come in needing pipe repair. On Monday I received a call from a fellow who had an older LHS pipe that he had picked up in Europe on a trip. It turned out he lived around the corner from my house and he and his wife walked over with the pipe. It had an interesting rustication pattern around the bowl and shank that was unique. It sported a gold band on the shank that was original. The bowl exterior was very dirty. The rim top had lava overflow in the grooves and the bowl had a very thick cake inside it. The inner and outer edges of the rim looked very good. The stem had been jerry-rigged to function on the pipe before half of the button and back end of the stem had broken off. It looked like someone had used a knife and cut down the stem to make it a saddle stem. They had also carved a button on the stem. The saddle on the stem was in very rough condition and the carving marks in the stem surface were very rough. The young guy and his wife who dropped it off were hoping to get a new stem made and I was hooked and want to do that for them. I took photos of the pipe when it arrived so I had a benchmark to work with. I took a photo of the stamping on the underside of the shank. It was very readable and was stamped Sterncrest of LHS in a diamond and underneath Imported Briar. Next to it was stamped 14K. The gold band was also in good condition but scratched. I also include a photo of an LH Stern sign that was included on Pipedia (https://pipedia.org/wiki/LHS). I have included the information below from the article on Pipedia (https://pipedia.org/wiki/LHS). It gives a great brief history of the brand that is a quick overview of the Company.

Ludwig Stern, a successful pipe manufacturer since 1893 and closing around 1960, reorganized his company along with his brother Hugo Stern, opening a factory in 1911. They named the company L&H Stern Smoking Pipes & Holders. The newly formed company was moved into a six story building on the corner of Pearl and Waters street Brooklyn, NY.

Thoroughly organized in all departments, and housed in a well-lighted and ventilated modern office and manufacturing building, the firm of L&H Stern Inc. is located near the first arch of the Manhattan bridge, near the river and convenient to the Brooklyn bridge, which makes it accessible from all the hotels in the metropolis for visiting buyers. The structure is six stories with a seventeen-foot basement, with light on three sides through prismatic glass windows, the first floor being seven feet above the sidewalk. Light enters the upper floors from all four sides.

L&H Stern is known to every important wholesaler and jobber in the country. LHS manufactures a complete line of briar pipes. Ginmetto wood pipes are also made, as well as Redmanol goods, the man-made amber. The first substitute for amber. Everything, even down to the sterling silver and other metal trimmings are made under one roof.

To begin the process of the restoration on this pipe I decided to see what kind of stem I had to replace the one that came with the pipe that was dropped off for me. I went through my can of stems and found a thin tapered saddle stem. It was more delicate looking than the broken one and I felt like it would look very good with the lines of the rustication on the bowl and shank. It was in good condition other than some light oxidation. I set the new stem aside and turned my attention to the bowl. I needed to clean out the bowl and shank before I fit the new stem on it. I reamed it with the third cutting head on the PipNet pipe reamer. I took the cake back to bare briar. I cleaned up what was left with a Savinelli Fitsall Pipe Knife and finished with sanding the bowl with a piece of dowel wrapped with 220 grit sandpaper to smooth out the walls on the bowl.   With the cake cleaned out of the bowl, it was time to clean the shank and airways. I used alcohol, cotton swabs and pipe cleaners to scrub out the shank. I scraped the walls of the shank and mortise clean with a dental spatula to clean up the built tobacco lacquer on the walls. Once it was scrubbed clean the pipe smell much better.I scrubbed the exterior of the bowl with Murphy’s Oil Soap and a tooth brush to remove the grime. I used a brass bristle brush to scrub the rim top with the soap. I rinsed the grime off the bowl with warm water and dried it off with a soft cotton cloth. Once the grime was gone I found flecks of white paint in the grooves of the rustication. I picked them out with a dental pick and used the wire brush to clean up the debris of the paint flecks. I rubbed the bowl and rim down with Before & After Restoration Balm. I worked it into the surface of the briar with my fingertips to clean and worked it into the rustication with a horsehair shoe brush. The balm work to enliven and protect the briar. I let the balm sit for a little while and then buffed with a cotton cloth to raise the shine. I really like watching the Balm do its magic and bring the briar alive.  I sanded the scratches and tooth chatter out of the stem surface and the saddle with 220 and 400 grit sandpaper. I worked it over to remove the oxidation that remained in the stem surface.I rubbed the stem down with Denicare Mouthpiece Polish. I have a few tins of this laying around so I am trying to use them up. It does a pretty good job polishing the stem.The stem was looking much better. I polished it with micromesh sanding pads – wet sanding with 1500-12000 grit pads. I wiped the stem down after each sanding pad with Obsidian Oil. I polished it with Before & After Pipe Stem Polish – both Fine and Extra Fine. Once I had finished the polishing I gave it a coat of a new product I am experimenting with from Briarville Pipe Repair. It is called “No Oxy Oil” and it is made to protect the stem from oxidizing. I set it aside to dry.   As usual at this point in the restoration process I am excited to be on the homestretch. I look forward to the final look when it is put back together, polished and waxed. I put the bowl and stem back together. I polished the bowl and stem with Blue Diamond to polish out the scratches in the briar and the vulcanite. 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 grain really pops with the wax and polish. The shiny black vulcanite stem is a beautiful contrast to the textures and the various browns of the bowl and shank. This LH Stern (LHS) Sterncrest Billiard was another fun pipe to work on thanks the fact that I could in essence start over with it. The thin saddle stem looks really good with the rustication on the bowl and shank. The original 14K Gold band on the shank looks very good breaking up the shank and the stem. It is a real contrast and binds it all together. It really is a quite stunning piece of briar with an unusual rustication on the bowl. The pipe is comfortable pipe to hold in the hand. The finished pipe is shown in the photos below. The dimensions of the pipe are Length: 5 ½ inches, Height: 2 inches, Outside diameter of the bowl: 1 ¼ inches, Chamber diameter: ¾ of an inch. This newly stemmed piece of  pipe history will soon be going back to my neighbour who I think is really going to enjoy it. It is a piece of he and his wife’s travels so now he can enjoy it with the memories of the find. Thanks for reading this blog and my reflections on the pipe while I worked on it. This is an interesting estate to bring back to life.

Restemming & Restoring a “Malaga” Canadian from Kathy’s Dad’s Pipes

Blog by Steve Laug

I have been working on a lot of different estate pipes and selling them for different families. This morning I was looking through the bag of pipes that I have left from George Koch’s estate. There are only three of them and all were in pretty rough shape. The rims were well knocked about and the stems were either chewed off or through and really would need to be carefully worked over and have new stems fit to them. The first of these three Malaga pipes that need a lot of attention was the one I picked up this morning. It is a Canadian with a broken or chewed off stem. The rim top was used as a hammer or at least spent a lot of time being knocked against hard surface. But sides of the bowl had a mix of grain styles that was fascinating. It is one of the last three Malaga pipes that came to my brother and me in several shipments of pipes from George’s daughter Kathy. Alex had gone through the bag in essence had passed on these three. Jeff unwrapped the pipes when they came to him and took the following photo to give an idea of the volume of the pipes that we purchased. This Malaga is actually shown in the photo of the box of pipes below. I have drawn a red box around it so you can see it clearly.In each of the previous blogs that I have written on the restoration of George’s pipes I have told his story. If you have followed the restorations you will have read the information and the background piece that Kathy did on her father. Here is a link to one of the previous blogs on his Malaga pipes where I included her tribute in full (https://rebornpipes.com/2019/01/26/back-to-kathys-dads-pipes-restoring-a-%c2%bc-bent-malaga-author/). You can also read the bio on her Dad, George Koch. It is an interesting read and one that shows just how far our pipe collecting passion can go when we find a brand of pipes that we enjoy. I am going to only include the portion on the Malagas at this point. If you wish to read the rest follow the link above.

Kathy writes…We lived in Livonia, and that’s where his love for Malaga pipes began. After a few years he returned to Allis Chalmers and we moved back to Springfield. I remember that when we went back to Michigan to visit friends, Dad had to go to the Malaga store and acquire a few new pipes. Many a year I wrote to Malaga and they picked out a pipe for me to purchase that I could give Dad for a Christmas or birthday present. He was always pleased. His favorites were the straight stemmed medium sized bowl pipes, but he liked them all. 

He had some other pipes, but the Malagas were his favorites. I remember him smoking them sitting in his easy chair after work, with feet up on the ledge by the fire burning in the fireplace.  Growing up it was my job to clean them and he liked the inner bowl and stem coated with Watkins vanilla, leaving a little of that liquid in the bowl to soak in when I put them back on the rack…I’m very happy they are being restored by you and your brother and hope they find homes who enjoy them as much as Dad did. Thank-you for your care and interest. — Kathy, the oldest daughter

The “Malaga” Canadian on the table is in rough condition. But even under the damage and dirt I can see that the carver did a great job of shaping the pipe to follow the grain on the briar. The large bowl, oval shank and short broken stem give a clear picture of what the pipe must have looked like when George bought it at the shop. I did not bother Jeff for the pre-cleanup photos because really it was obvious what the pipe must have looked like. From the condition of the bowl and rim post cleanup I could see that it originally had a thick cake that overflowed with lava onto the rim so that there was damage on the inner edges. The rim top had been knocked hard against rough surfaces to knock out the dottle and left damage. The sides of the bowl and shank are very dirty with grime and oils from prolonged use. The stamping on the left side of the shank read “MALAGA”. On the right side it read Imported Briar. There was a burn mark on the underside of the shank near the stem/shank junction that looked like the pipe had been set down in an ashtray. The acrylic stem had been broken or gnawed off leaving a useless stem that would need to be replaced. Since Paresh is not here in Canada it will be replaced rather than rebuilt! 😉 I took photos of the pipe before I started my work. Somehow the rest of the before photos of the pipe as a whole were out of focus. The condition of the pipe will be shown in the remaining photos however.I took a photo of the  rim top and bowl to show the condition of the pipe. You can see why I said it was used as a hammer. The surface of the rim is very rough. The outer and inner edges fo the rim are  also in very bad condition. There is some darkening on the back edge and surface of the rim top. I think that this pipe must have been kind of shop pipe or knock about pipe for George as it was very well smoked! I took photos of the stem to show the broken and chewed condition it was in. Remember this is hard acrylic so it took some real gnawing to do this to it!I took a photo of the burn mark on the underside of the shank. It was not a deep mark and the wood was still solid so it was not badly damaged.I took a photo to capture the stamping on each side of the shank. The photos show the stamping “MALAGA” on the left side of the shank and Imported Briar on the right side. The stamping is faint but still readable. I am also including the link to a blog that I wrote that gives some of the history of the Malaga brand and the Malaga Pipe Shop in Royal Oak, Michigan in the USA. I have written an earlier blog to give a little history of the Malaga Brand and the pipemaker, George Khoubesser. Here is the link – https://rebornpipes.com/tag/malaga-pipes/.That blog also includes links to a catalogue and the history of the pipemaker George Khoubesser. Follow the link to get a feel for the brand and the pipemaker.

Jeff had gone to the trouble to ream the bowl with a PipNet pipe reamer and followed up with a Savinelli Fitsall pipe knife to remove the cake. He scrubbed out the mortise and the airway in the shank and the stem with alcohol, cotton swabs and pipe cleaners. He scrubbed the exterior of the bowl, rim, shank and stem with a tooth brush and Murphy’s Oil Soap to remove the oils and tars on the rim and the grime on the finish of the bowl. He rinsed it under running water. He dried it off with a soft cloth. All of his work gave me a clean pipe to work on to say the least. I decided to start with the new stem. I went through my collection of stems to find one that was the same dimensions as the broken stem. I found one in my can that would fit the bill. I set up my cordless drill with the PIMO Tenon Turning Tool in the chuck and started turning the tenon on the new stem back to match the broken one. I usually do the turning in several passes, adjusting the depth of the blade between each cut. In this case I did it in three passes. I got it close and finished the fit with my Dremel and sanding drum.I sanded off the castings on the sides and slot end of the stem with the Dremel and sanding drum and did a few turns on the tenon with the sanding drum. You can see from the first photo below that it was very close. I took it back to the Dremel and did a few more passes on the tenon and cleaned it up with a folded piece of 220 grit sandpaper. You can see the fit in the second photo. There was some gap where it did not sit flush against the shank. The issue was not the fit of the tenon but rather the shank end. I could see that it was uneven and rough so I would need to make a few decisions on how to address that issue.I decided that the best way to address the fit and give the pipe a little pizzazz would be to use a nickel band. They come from the maker quite thick – ½ of an inch and I wanted something about ¼ of an inch thick. I used the topping board and the Dremel to thin down the height of the band. It took a bit of time but I like the way it looks once it is finished. Once I had the band done I set it aside and cleaned the briar. The third photo shows the finished band glued in place on the shank using Weldbond all-purpose glue. The ¼ of an inch thick band works for me!I topped the bowl on a new piece of 220 grit sandpaper on the topping board. Once I had the top smooth I filled in the deeper nicks and chips in the outer edge of the rim with clear Krazy Glue. Once the repairs cured I sanded them smooth with 220 grit sandpaper and retopped the bowl to remove the excess glue. I used a folded piece of sandpaper to sand out some of the burn damage on the underside of the shank. I scrubbed the briar with Before & After Briar Cleaner and a tooth brush. I rubbed it into the surface of the briar with my finger tips and let it sit for about 10 minutes then rinsed it off with running water. I dried it off with a soft cloth. I polished the bowl with micromesh sanding pads to smooth out the rim top repairs and the nicks in the bowl sides. I wet sanded with 1500-12000 grit pads and wiped the bowl down with a damp cloth after each pad. The photos show the progress. I used an Oak Stain Pen to blend in a few of the spots on the rim top and edges that were lighter than the bowl. I buffed it with a clean buffing pad. You can see from the photo below that I was able to blend it into the rest of the bowl.I worked some Before & After Restoration Balm into the surface of the briar with my fingertips to clean, enliven and protect it. I let the balm sit for a little while and then buffed with a cotton cloth to raise the shine. The following photos show the bowl at this point in the restoration process. I am very happy with the results. I turned to the stem and started by sanding the surface. I wanted to smooth out the surface of the vulcanite to remove the castings and the sanding marks. I sanded it with 220 grit sandpaper and 400 grit sandpaper to clean up the stem.I polished the stem with micromesh sanding pads – wet sanding with 1500-12000 grit sanding pads. I wiped it down after each sanding pad Obsidian Oil. I finished by polishing it with Before & After Pipe Stem Polish both Fine and Extra Fine and then wiped it down with a final coat of Obsidian Oil. This is a restemmed and restored “Malaga” Canadian with a vulcanite tapered stem. The nickel band adds a touch of class that truly makes the pipe stand out from the other Malaga pipes that I have worked on. It has a great look and feel. The shape of the bowl, the reshaped and repaired rim top and the cut of the briar work well to highlight the grain around the bowl sides. I polished stem and the bowl with Blue Diamond polish on the buffing wheel. I gave the bowl and the stem multiple coats of carnauba wax. I buffed the pipe with a clean buffing pad to raise the shine. I hand buffed it with a microfiber cloth to deepen the shine. The pipe polished up pretty nicely. The grain took on life with the buffing. The rich oil cured colour works well with the polished vulcanite stem. The finished pipe has a rich look that is quite catching. Have a look at it with the photos below. The shape, finish and flow of the pipe and stem are very well done. The dimensions are Length: 5 ½ inches, Height: 1 7/8 inches, Outside diameter of the bowl: 1 ¼ inches, Chamber diameter: ¾ of an inch. I will be adding the pipe to the finished Malaga pipes that I have completed. I am looking forward to a new pipeman picking up this pipe and will carry on the trust for George Koch. Thanks for walking through the restoration with me as I worked over another one of Kathy’s Dad’s Pipes.