Tag Archives: WDC Milano pipes

A Lady’s Choice – WDC Milano Swan Neck Billiard


Blog by Dal Stanton

Is there a psychology in the choosing one makes when befriending a pipe?  A young Bulgarian lady, who also is a budding pipe lady, chose a pipe out of my ‘Help Me!’ baskets and boxes.  After looking at scores of hopeful candidates, there was only one – only one – that she held in her hands, looking at it and smiling. A beautiful, graceful, WDC Milano Swan Neck Billiard caught her attention, and it would seem, her affections.  Is there a psychology unfolding in the process, the evaluation, and the weighing of one pipe against another?  Or, is the process more like the lore of Harry Potter’s choice of one’s wand?  The young wizard does not choose the wand – the wand chooses his wizard.  Does the pipe do the choosing?

And is there any credence to the oft unspoken observation – do pipe stewards resemble their pipes like canine lovers sometimes uncannily resemble their 4-legged friends?  These observations come to my mind because intriguingly, the young lady who was claimed by the WDC Milano Swan Neck, shares, in some very remarkable ways, pleasing characteristics of this graceful pipe.

And then there is the ‘question’ of the ‘Pipe Lady’ more so than the ‘Pipe Man’.  A Pipe Lady lives closer to the social and cultural ‘edge’ when she takes her pipe in hand and enjoys a bowl of her favorite blend.  This picture I found somewhere on the internet (sorry, can’t cite!), I suspect would never be ascribed to Pipe Men.  Yet, a Pipe Lady looks at the three with a smile of agreement and a wink, while she is thinking, ‘You’ve got that one right!’This graceful, Milano Swan Neck stem comes from the William Demuth Company, established in 1862 – one of the oldest pipe manufacturing houses in the United States (Pipedia article).  The WDC Milano patent goes back to the 1920s with an example of the familiar WDC rhombus from the same WDC article in Pipedia (courtesy of Doug Valitchka).The eBay seller from Akron, Ohio, described the long dimensions of the Lady’s Choice WDC Milano:  Very graceful bent billiard! About 6″ long, bowl is 2″ tall, 1 3/8″ wide. ID 3/4″, depth 1 13/16″. From Pipedia’s WDC article, courtesy Doug Valitchka, a very nice example of what appears to be the same Swan Neck Billiard of the Milano line.From my worktable on the 10th floor of our flat here in Sofia, Bulgaria, I take these pictures to fill in the gaps. On the left side of the shank is stamped the traditional WDC rhombus [over] MILANO.  The right side is stamped the single shape number, ‘63’.  The chamber appears to have been cleaned to some degree and the carbon cake is very light.  The rim is sad.  It appears someone took a divot out of the internal lip trying to clean it or something.  The rim’s outer edge is beat up and I can see the vestiges of a bevel.  There is lava crusting as well on the rim surface and some hardened light stuff – the rim needs cleaning.  The stummel has few if any fills that I see – the grain of the tall bowl is impressive.  The stem has the WDC inlaid white triangle on the top.  Oxidation is present and the former steward was a clencher and chewer.  Both top and bottom of the bit shows deep bite dents.  The top button lip is dented.

The recommissioning of this Lady’s Choice WDC Milano Swan Neck Billiard, begins by putting the stem into the OxiClean bath to work on the oxidation.  The second thing I do is toss the tubing that was hanging in the tenon.  If it belonged to this pipe originally, something is missing as the airway diameter of the tenon is much larger than the tubing.  On an interesting note, there is a patent number stamped on the tubular stinger.  I looked it up in Google patent search but found nothing that had bearing on pipes (PAT. NO. 5861 / IX – I think).Next, after spreading paper towel to catch the carbon dust, I use the Savinelli Pipe Knife to remove the little carbon left.  I follow with sanding the chamber walls with a 240 piece of sanding paper wrapped around a Sharpie Pen. I then turn to cleaning the internals of the stummel using cotton swabs and pipe cleaners wetted with isopropyl 95%.  There’s a good bit of tar and oils in the mortise.  After some time, I decide to switch to a Kosher Salt and alcohol soak to finish off the internal cleaning and to freshen the stummel.Next, using undiluted Murphy’s Oil Soap I work on the external surface of the stummel and the rim with cotton pads.  I also use a brass bristled brush on the rim.  After the scrub, I rinse the stummel in cool tap water.  The condition of the rim becomes more evident.  I think I will be able to remove the large divot at 4 o’clock in the second picture below by creating an internal bevel on the rim after I lightly top it. I start with by topping the stummel using 240 grit paper.  I follow by creating an internal and external bevel around the rim.  After a few rounds of working on the bevels, I realize that the internal rim divot is too much for the bevel to erase.  I switch gears and mix some briar dust with thick CA glue and create a putty and fill the divot on the rim.  I spray it with an accelerator to shorten the curing time.  With a needle file, I file down the briar dust patch material until it’s almost flush with the briar.  I then use 240 and 600 grit sanding paper to blend the patch and finish the bevel on the internal and external edges of the rim.I then sand the stummel using a medium grade sanding sponge followed by a light grade sanding sponge.  I remove the minor nicks and scratches on the bowl surface.I then proceed to sand the bowl using micromesh pads 1500 to 2400, then 3200 to 4000, then finally, 6000 to 12000.  The process brings out the beautiful horizontal grain flows from the front of the bowl downward to encompass the heel.  Bird’s eye grain is sprinkled nicely on the stummel sides. With the day ending, I continue the cleaning and refreshing of the stummel internals using a Kosher Salt and alcohol soak.  I create a wick to insert into the shank/mortise by twisting and stretching a cotton ball.  I take a straight stiff wire to help stuff it deeply into the mortise.  With the stummel secured in the egg carton I fill the bowl with Kosher Salt (which leaves no iodine after taste) and give it a shank to displace the salt.  I then, using a large eye-dropper, put isopropyl 95% into the bowl until it surfaces over the salt.  I put it aside for the night.  The next morning, the salt and alcohol soak did the job well.  The salt had turned dark and pulling the wick out – the same was true of it.  I toss the expended salt and wick in the waste and wipe the bowl out removing leftover salt.  Then returning to the use of cotton swabs and alcohol, in only a few plunges down the mortise, the internals are clean.  Pictures show the cleaning process. The stem was soaking in an OxiClean bath to raise the oxidation from the vulcanite.  I take stem out of the bath and the oxidation was raised showing the normal olive-green color.  I then take 600 grit sanding paper and wet sand the stem to remove the oxidation and to work on the serious teeth clenching damage. After the 600 grit sanding, I give the stem a stiff buffing from 0000 grade steel wool.  Interestingly, I noticed it earlier but thought that it would go away with the OxiClean and sanding.  I see a small lighter (reddish?) dot on the underside of the stem (second picture below), almost below the WDC triangle mark but just off center.  I’m not expecting a ‘manmade’ mark there so I assume it’s a discoloration in the vulcanite.  I take a little 240 grit paper and go after it, but it remains for now.  Pictures show oxidation and post-oxidation sanding. The button area is in bad shape.  The former steward was a clencher par excellence.  Neither upper nor lower bit areas were spared.  The upper has deep bites and a ‘wedgy’ dent on the button lip.  The lower button lip is spared, but there is a ‘go to’ clench handle which is distinct.  I take pictures to mark the start. Focusing first on the topside, I use the heating method to see if I might hopefully tease out the concave dents.  Then the bottom-side.  Vulcanite, a form of rubber, amazingly will seek out its original disposition when heated as the rubber expands with the heat.  I light a candle and pass the bit-end of the stem over the flame in back and forth style.  I try not to cook the vulcanite, but simply heat it strategically.  After some time, using heat on upper and then lower, I take pictures to compare.  You can see the closing of the dents in the picture comparisons below.  I think there is a beneficial change, but there are still dents to repair.  Pictures 1 and 2 are before heating and after for the upper side.  Pictures 3 and 4 of the lower side – before heating and after.  I first use 240 grit paper on the upper bit.  I sand out as much as possible all the smaller dents. Through the years of clenching, the button lip has lost its distinction so using a flat needle file, I reintroduce the lip edge and then follow by sanding with 240 to erase file tracks and shape more.  I’m wondering if I can avoid having to rebuild the button lip.  I gently sand the upper button lip as well.  The tooth grip has turned into only a small dimple – good movement.  I sand gently to remove the dimple because I don’t want to lose too much button real estate.  The top looks great.  The only patch needed is the remaining large dent.  The topside filing, sanding and shaping progression is pictured below. Turning to the lower bit, again I use 240 grit sanding paper to sand out what can be removed and blended by sanding. The dent/clench configuration was minimized by sanding but I need to patch what remains of the surface damage.To prep the vulcanite for the patch work, I wipe down the upper and lower bit with a cotton pad wetted with alcohol.  I mix activated charcoal powder with Hot Stuff Special ‘T’ CA Instant Glue (extra thick) to form a putty which is like molasses in viscosity to apply to the damaged areas.  I use a tooth pick as my trowel and tamper and I apply more putty than needed – the patch mound allows me to file down gently to the surface of the stem to achieve a better blended patch.  I apply putty to the upper bit, and a dab on the small, remaining dimple on the button lip.  I spray it with accelerator to cure the putty.  I then do the same for the needed area on the lower bit.  The pictures show the patch progress. Using a flat needle file, I begin filing the patch mound on the upper bit until I’m very close to the vulcanite surface.  With the patch expanding closely to the button lip, I also utilize the flat needle file to separate and define the button lip.  When close to the surface, I switch to 240 grit paper to bring the patch flush with the vulcanite surface.  After I’ve blended as far as 240 paper will take me, I switch to 600 grit paper and then finally, 0000 steel wool which fine tunes the blending and each in turn erases the former’s scratch marks.  I take pictures along the way to document progress. At this point, not surprised, I see very small air pockets exposed on the patch area (see picture above).  Taking Hot Stuff CA Glue, thinner than the ‘T’ I used for the patch, I dip a toothpick into the glue opening to give a coat of CA glue on the toothpick.  With this wet glue, I paint the patch with a thin glaze of glue which fills the air pockets.  I give the glaze of glue a quick spray of accelerator to cure it.  I then take 600 grit paper followed by 0000 steel wool to blend and complete the upper bit patch work.  The micromesh sanding later will further blend the patches.Now, to the lower bit patch.  As before, I use the flat needle file initially, then 240, 600 and then 0000 grade steel wool working toward the vulcanite surface then blending.  Again, a few miniscule air pockets are revealed in the patch, and I repeat the same procedure as on the upper patch. Having been so focused on the button repairs, I almost forget (again) to clean the stem internal airway.  With pipe cleaners dipped in alcohol, I do that and it does not take long to clean.Putting the stem aside, I pick up the stummel.  I will use Fiebing’s Light Brown Leather Dye to add some unifying hues on this very attractive WDC Milano’s grain.  I like the lighter motif which is what the Milano’s picture included above courtesy of Doug Valitchka.  I wipe the stummel with a cotton pad wetted with isopropyl 95% to make sure it’s clean.  I then warm the stummel with the heat gun after inserting a whittled cork into the shank to serve as a handle.  After the bowl is warmed, helping the briar more effectively to absorb the dye, I apply the dye liberally using a folded over pipe cleaner.  After the stummel is covered, I fire the dye with a lit candle which ignites the alcohol in the dye and sets the pigment in the grain.  After a few minutes, I repeat the procedure concluding with firing.  I then put the stummel aside to rest. While the stummel rests, the stem is ready for the micromesh pad cycle.  I wet sand with pads 1500 to 2400, then dry sand with pads 3200 to 4000 then 6000 to 12000.  After each cycle, I apply Obsidian Oil to rejuvenate the vulcanite, and my how it likes it!  The pop of a newly restored stem is wonderful to behold! The next day, I’m home from work, and it’s time to ‘unwrap’ the stained and fired bowl.  I mount the felt buffing wheel on the Dremel, which provides more abrasion to the surface, helping to remove the crust.  I used Tripoli compound with the Dremel set at 20% speed – slow because I don’t want to generate too much friction. Using the Dremel’s adjustment wrench, I purge the old compound off the felt wheel to clean and soften it.  I work the felt buffing wheel applying the abrasive Tripoli compound over the stummel.  I am not able to reach the bend curve between the shank and the bowl with the felt wheel.  I change to a cotton cloth buffing wheel again, only dedicated to Tripoli compound.  Each compound has its own dedicated Dremel buffing wheels.  With the cotton cloth wheel, I’m able to reach into the harder to get places.  I run the wheel over the entire surface.  I take a picture showing the completion of the ‘unwrapping’.  One of the helpful aspects of aniline, or alcohol-based dyes, is the ability to wipe it with alcohol to lighten the application as well as blend the dye.  I want to lighten this WDC Milano so I wipe it down with cotton pad wetted with alcohol.  I take a picture before and after.  Immediately after wiping down the surface, the surface clouds with the alcohol.  Then I remove the alcohol wipe clouding effect with Blue Diamond compound, with a cotton cloth wheel mounted on the Dremel at 40% speed.  Following the Blue Diamond application, the true ‘after’ picture is taken.  I also reunite the stem with the stummel for the Blue Diamond buffing.  Well, the third picture below represents the lighter ‘after’ picture, but I don’t believe the picture does justice to what my eyes are seeing.  The lightening and blending of the surface hue is showing off the grains quite nicely.  I’m liking it!  I think this, “Lady’s Choice” is going to like her choice too! I give the pipe a hand buffing with a felt cloth, not so much to buff up the shine at this point but to remove the compound dust from the surface.  The compounds are abrasives and the dust is the residue left over.  After this, I mount the Dremel with a dedicated cotton cloth buffing wheel, leaving the speed at 40%, I apply the carnauba wax evenly over the stummel and stem.  I finish with a hefty hand buffing of the pipe with a microfiber cloth to raise the shine more.

This WDC Milano Swan Neck Billiard is a lady’s choice.  I hope she likes it.  It is an elegant pipe and showcases beautiful flowing grain.  I’m pleased with the button repair that blended very well – without knowing it’s there, most people would not see it.  The repaired rim also looks good – forming the beginning of the long elegant lines carried through to the swan neck stem.  Nice.  Each pipe I restore benefits the work we do with the Daughters of Bulgaria – helping women and girls who have been sexually exploited and trafficked.  For more information about this and pipes I have available, check out the store at The Pipe Steward.  Thanks for joining me! 

Cleaning up a WDC Milano Hesson 1925 Long stem Billiard


Blog by Steve Laug

One of the pipes my brother sent me this past week was this long stemmed little billiard. The stem was over clocked almost ½ a turn in the shank and the stem was frozen in the shank. It was dark coloured and the finish was dingy. The rim was covered with an overflow of cake from the bowl but it did not look to be damaged either on the inside or outside edge. The bowl itself had a broken cake lining it – thicker in the middle and the back edge than at the top or the bottom fo the bowl. There was some small pin prick sized marks around the back side of the bowl near the top edge but they were not rough. The stem itself was quite clean – good rubber so it had hardly oxidized. There were two small tooth marks – one on each side of the stem. The WDC white triangle in the stem had lifted and would need to be repaired. The stamping on the shank of the pipe is what got my attention. On the left side it had the WDC in a triangle logo over MILANO. I have seen quite a few WDC Milano pipes over the years. On the other side it is stamped Hesson over Pat’d Dec 22, 1925 and the shape number 1527.Hesson1

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Hesson4 I was not sure what kind of connection I was dealing with on the tenon on this old Milano. Other ones I had worked on were push aluminum tenons and sat in the shank. The aluminum oxidized and the tenons often were bound to the shank when I got them. But there was something about this one that was different. I could not turn it either direction so I put it in the freezer overnight and let the different expansion/contraction rates of briar and metal do their work. In the morning I carefully worked it back and forth and it seemed to give a little. I decided to see if it was a threaded tenon so I held the shank tightly next to the stem and the turned the stem counter clockwise and it came free. Once it was out I could see that I was dealing with a slightly older Milano Hesson system than any of the previous ones I had worked on. This one had a threaded tenon with a long tube attached to the end. The tube extended right up to the entry of the airway in the bottom of the bowl. The shank was also was threaded but the threads had been cut into the briar. There was no mortise insert in the shank.Hesson5 I looked at the documents I had from the other WDC Milano Hesson pipes that I had restored. This one was slightly different. I have included the Patent drawing for your comparison. The differences are readily notable. The patent is from 1932 and the pipe is stamped 1925. The major difference that I see is the internal of the shank and the tube on the tenon in the 1925 edition.Hessiona I decided to use my tried and true method for correcting over clocked stems. I heated the tenon with the flame of the lighter and tried to turn it. It did not work. No matter how long I held the lighter in place it did not heat the glue in the stem enough to allow me to align the stem with the shank. I set up a heat gun and heated the tenon on low heat. It did not take long and I was able to screw it into the shank and align the stem properly. I set it aside and let it cool with the stem in place while the glue hardened again. I took the following three photos to show the properly aligned stem.Hesson6

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Hesson8 I cleaned out the shank with cotton swabs and alcohol until it was clean. I ran a pipe cleaner through at the entry of the airway into the bowl. The end of the metal tube sat against the entry so it was pretty clean. Most of the grit and grime were in the threads on the walls of the mortise.Hesson9 I reamed the bowl with a PipNet reamer and the smallest cutting head to take the cake back to the briar.Hesson10

Hesson11 With the inside clean I worked on the bowl finish. It was dirty but it also had a coat of varnish on the surface that had gone opaque. The grain was invisible underneath it. I lightly sanded the bowl and rim with 1500 grit micromesh to break up the surface of the varnish and then wiped the bowl down with acetone on cotton pads until I had removed the grime and varnish coat and the grain was visible. The stain on the pipe was oxblood so it had a rich, deep red hue to it.Hesson12

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Hesson15 I scrubbed the metal tube with 1500 grit micromesh and used a brass tire brush on the threads to clean up the grime and oxidation that was present on it. I cleaned out the inside with pipe cleaners, cotton swabs and alcohol.Hesson16 I buffed the bowl with White Diamond (very lightly around the stamping on the shank) and gave it a coat of carnauba wax.Hesson17

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Hesson20 I took close up photos of the stamping on the shank. The left side shows in the first photo. The right side of the shank is shown in the second. It is sharp and very legible.Hesson21

Hesson22 I worked on the stem with 220 grit sandpaper to remove the small tooth marks on the top and the bottom sides. I then sanded it with a medium and fine grit sanding sponge to minimize the scratching.Hesson23

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Hesson25 I started to polish the stem with micromesh sanding pads. I wet sanded with 1500-2400 grit pads and then rubbed the stem down with Obsidian Oil. I was just starting to sand with a 3200 grit pad when the edge of the pad hit the edge of the triangle (it sat high on the stem as it appeared to have lifted) and sent it flying. The white triangle was nowhere to be found so now I faced a new dilemma.Hesson26 I filled in the empty triangle in the stem with liquid paper. It is the same white as the previous triangle. It shrinks as it dries so once it was dry I put a drop of clear super glue on top of it to form a bubble. Once it dried I could sand it down to the surface of the stem and I would be good to go with the replacement triangle.Hesson27 Once the glue dried I sanded the fill down to match the surface of the stem and the new triangle looked pretty good. I cleaned out the threads on the tenon with alcohol and a cotton pad and then screwed it back into the mortise. I sanded the newly filled and area with 1500-2400 grit pads and then continued with 3200-4000 grit pads. I rubbed the stem down with Obsidian Oil and then dry sanded with 6000-12000 grit pads. I gave it a final coat of Obsidian Oil and let it dry.Hesson28

Hesson29 I buffed the stem and bowl with Blue Diamond on the wheel and then gave it multiple coats of carnauba wax. I buffed it with a clean flannel buff to raise the shine and then hand buffed it with a microfibre cloth. The finished pipe is shown in the photos below. It does not look too bad for a pipe from Dec. 22, 1925. Thanks for looking.Hesson30

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A WDC Milano Hesson Guard Reworked


I just worked over this old timer – A WDC Milano Hesson Guard. In order to know more about the pipe I was working on I searched for information regarding the patent number stamped on the pipe and went to the US Patent site where I found documentation. The patent was filed for it in 1932. It is an early example of the pipe. It is in the acorn shape. It has the patent number stamped on it as well as the other WDC labels. The triangle on the stem is silver or steel inlay. For me this is a part of the mystery of unpacking the history and life of the brand and mark. I always like to know as much of the back story as I can find on any of the pipes I refurbish. Patent numbers stamped on the pipe provide a means of ferretting out information on the design and the particular part of the pipe that is patented. I have included the patent site information on the pipe for your reading pleasure. At least to me this part is fascinating information.

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The pipe was caked with a crumbly thick cake that pretty much filled the bowl when I picked it up. I reamed it out to field dress the pipe. I generally do this with most of the pipes I bring home for renewal. It keeps the mess of the carbon from the cake outside and away from my work desk. In the photos below you can see that the finish was pretty dirty with a lot of hand oils and grease ground into the bowl surface. The rim was caked and tarred and it looked like it was damaged. The finish was worn and the stain faded in many places on the bowl sides. The stem was oxidized and had some bubbles in the surface along the button – the bubbles are visible near the button in the second photo below.

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I scrubbed the exterior of the pipe with Murphy’s Oil soap, undiluted. I wipe it on with a cotton cloth and immediately wipe it off. Others have said that it removes the stain if left to long and it does indeed do that. But I have found it unsurpassed in quickly removing grime and grease if rubbed on and rubbed off quickly. I worked on the rim as well with a soft bristle tooth brush and the oil soap to remove the buildup. Once that was done I put it in the alcohol bath and removed the finish that was on it. It seemed to have had some built up waxes and also some kind of varnish coat over the stain. It came off with a bit of elbow grease after soaking. I decided to not stain this pipe as the briar looked great as it was. I just sanded it with the micromesh pads to polish it and remove the surface scratches. Then I took it to the buffer to give it a buff with White Diamond.

I worked on the stem while the bowl soaked in the bath. I soaked it in the Oxyclean mixture for a while to soften the oxidation. I dried it and buffed it with Tripoli to remove the surface oxidation. I sanded it with 240 grit sandpaper to get the deeper oxidation. I also had to lift a few tooth marks from the underside of the stem near the button. I used the heat gun to do that. The bubble on the top of the stem also was heated to try to smooth it out. It was evidently not a blister but a bump from teeth. It went back in place with the heat. I sanded the remaining signs of bite with 240 grit sandpaper and then 400 and 600 grit wet dry and water. I finished it with the normal regimen of 1500-6000 grit micromesh pads to polish. I put it back on the bowl and then gave the entirety a buff with White Diamond to polish it and finished the restoration with several coats of carnauba wax.

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Rebirth of a WDC Milano Dublin


This old WDC Milano was a challenge that I wanted to take on and see how it would turn out. In the pictures below you can see the state of the pipe when I received it. The stem was deeply darkened in the button area as well as scratched and marked with tooth chatter on the first inch of the stem. The bowl was badly caked – much of the cake had broken away in chunks and what remained was soft and crumbling. It also appeared to have been reamed with a pocket knife and had nicks and cuts around the inner edge of the rim and the resulting effect left the bowl way out of round. The finish was damaged and parts of the stain had rubbed away and what was left was underneath layers of black grime. The sides of the bowl and the bottom side of the shank both showed signs of having been laid in an ashtray and burned with a cigarette. The burn on the bowl side was not deep and would be easily addressed but the one on the shank was pretty deep. I would have to take out as much as possible without changing the integrity of the shape. That gives you a pretty clear assessment of the damages facing me as I decided to work on this old pipe.

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I reamed and cleaned the bowl back to the bare wood in order to remove the crumbling and cracked soft cake in the bowl. My thinking was that a good clean surface would encourage the build-up of a proper cake. With a sharp knife I worked on the inner rim. I worked to get it evened out with the knife and then turned to a folded 1 inch piece of 240 grit sandpaper to smooth out the roughness of the inner rim and to bring it back as close as possible to being round. The roughness of the rim required topping to even it out as well. I used my normal procedure of sandpaper anchored on a solid flat hard surface and turning the bowl clockwise or counter clockwise into the sandpaper – exercising caution to keep the bowl flat on the surface and vertical in order to keep the rim flat and not slanted. To remove the burn mark on the bowl and on the shank took a little time. On the bowl side it was not deep so it only needed to be sanded to remove the damage. But on the shank I scraped until I got to hard wood and then sanded. Once I had solid briar under the burn I put the bowl in an alcohol bath to remove the grime and the remaining finish. I left it overnight to soak and turned my attention to the stem.

The stem has a steel tenon and insert that is the system in these old Milano pipes. It seems to be some sort of condensing chamber to collect the moisture generated in a smoke. In any case this one was filled with tars inside and coated with them on the outside. I cleaned it out with a shank brush, bristle pipe cleaners and then fluffy ones until they came out clean. The outside of the condenser I scrubbed with 0000 steel wool to polish and remove the grime and tars. The aluminum polished up nicely and the tenon looks like new. The Bakelite stem took a bit more work and creativity. I cleaned the inside of the stem scrubbing it with soft scrub and bristle cleaners. I was able to remove much of the interior stains. I sanded the exterior of the stem to remove the tooth chatter and external discolouration. I sanded it with 400 and 600 grit wet dry sandpaper and then the usual course of micromesh pads from 1500-6000 grit. I finished by buffing the stem with Tripoli, White Diamond and carnauba wax.

I put the stem aside and removed the bowl from the alcohol bath and dried it off. I sanded the bowl with 1500 and 1800 grit micromesh to remove any remaining finish. I also sanded it with 3200 and 4000 grit micromesh to polish the bowl. I restained it with an oxblood stain. I flamed the stain and then took the pipe to the buffer and buffed the pipe and stem with White Diamond and carnauba wax. Below are the pictures of the finished pipe.

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