After pressing through a boat load of flu of some variant, I’m happy to be back at the worktable.  Other than getting well again, I always enjoy this time of the year for football season – both college and NFL.  Since my team has gone on vacation back to Florida (Miami Dolphins) I’ve been pulling for the underdog Detroit Lions.  Why?  Well, they haven’t won in a long time, and I have two daughters-in-laws who come from Michigan – who also had some college games to root for as well this year.

Enough of my daily diary – this next pipe on the worktable was also commissioned by pipe man Josh as a pipe to have on hand to convert his cigar smoking aficionado smoking buddies. This is the second that Josh commissioned for that exclusive purpose.  The first was a the pipe English Blue Bulldog which came out ok, but if I’m honest, the pipe is not my cup of tea for pipes (Exploring the Origins of a 60s/70s ‘Space Age’ Pyrolytic Graphite/Phenolic Resin the pipe English Blue Bulldog – The Pipe Steward).  Yet, I’m happy that Josh commissioned him affording me the opportunity to learn about Pyrolytic Graphite/Phenolic Resin😊.  The second pipe is a good ole Mastercraft Pot that came to me in 2017 in the Lot of 66 as did the pipe.  Here’s the picture of the Lot of 66 and for the life of me I can’t find the MC Pot in the picture!  The the pipe is marked with an arrow.  Maybe the MC was a stowaway.This lot was an estate contribution to a local Thrift Store organization in Texas that helps folks in their community called the ‘Helping Place’.  The byline on the seller’s picture on eBay said: “Huge Lot Of 66 Smoking Pipes Pre-Owned Pre-Smoked and Deeply Loved.” One pipe man’s family passed these pipes on so that others might ‘deeply love’ them as well.  Here are pictures of the lowly Mastercraft Pot when I was unpacking the Lot of 66 in 2017. The nomenclature stamped on the left side of the shank is the olde English script, Mastercraft inside the Mastercraft placard – the effect is that of an old wooden swinging sign over the door of a shop. The right side of the shank is stamped with IMPORTED BRIAR over the COM: ITALY.The stem logo is MC inside a silver oblong oval.The first time I worked on a Mastercraft pipe was for Jim, a Scottish pipe man residing in Texas.  Since it was my first time working on a Mastercraft,  I dove into the research which I found extremely interesting (Reviving a Mastercraft Imported Briar Bulldog).  I encourage you to take a look at this post to learn more about the Mastercraft name.

Interesting take-aways in that research for me were first, that Mastercraft is not a pipe producer.  Any pipe with Mastercraft stamped on it came from other pipe houses in the US or Europe and even from Israel. I found that the Pipedia Mastercraft article comes in large measure from a thread I found by ‘Ted’ (his last name was not listed as far as I could find) who was the former vice president of Grabow/Mastercraft.  This fascinating discussion is at ‘The Dr. Grabow Collector’s Forum’.  I encourage anyone interested in knowing more to look at this interesting relationship between Dr. Grabow and Mastercraft.

Another interesting take-away in that post was the listings of pipe houses in various countries that produce the pipes that are stamped with Mastercraft.  Of interest for the MC Pot on the worktable is that it was produced in Italy.  Here are the potential Italian pipe houses that would have produced the MC Pot:

Italy

• • GIGI pipe
  • Radica
  • Rossi
  • Federico Rovera
  • Emilio Rovera
  • Santambrogio
  • Brebbia

It’s not possible to get too specific with the specifics of the Mastercraft on the table, but I’m sure it was a very inexpensive, drug store type of pipe. It most probably was produced post WW2 as it was stamped with IMPORTED BRIAR, which became widely used to verify that the wood was indeed briar after shortages resulting from the war. I’ve always enjoyed Pot shapes which are Billiards with their bowl shortened.  I also enjoy the challenge of bringing unexpected beauty and appreciation out of what most would consider ‘basket pipes.’  Let’s see what we can do to rescue this one from ‘basket pipe’ oblivion.  Starting with the cleaning, the stem shows no oxidation.  It must have been kept in the basement or out of the sunshine.  The airway is cleaned with pipe cleaners and isopropyl 99% alcohol, and the stem is put aside to deal with issues on its surface later.Turning next to the cleaning of the stummel, a starting picture shows the moderate cake in the chamber as well as the lava flow over the Pot rim.The chamber is reamed with the Pipnet Reaming Kit using two blades.  The Savinelli Fitsall Tool is used next to scrape the harder to get places at the floor of the chamber and then the chamber is sanded using 220 grit paper wrapped around a Sharpie Pen.  The chamber is then sanded using 220 grit paper wrapped around a Sharpie Pen.The chamber looks good with no heating issues.Next, to address the lava on the rim and the surface of the stummel, undiluted Murphy’s Oil soap goes to work with cotton pads and a brass brush on the rim.After a good bit of scrubbing on the stummel, it is taken to the sink where the cleaning continues with shank brushes working on the internals with warm water and anti-oil, liquid dishwashing soap.  After a good amount of scrubbing, the stummel is rinsed thoroughly and brought back to the worktable.Cleaning continues focusing on the internals using cotton buds and pipe cleaners moistened with isopropyl 99% alcohol.  The next picture shows the crud being excavated with a small dental spoon.  This is the stuff that the next steward does not want passed on.  For every shovel of crud scraped off the mortise walls, I save a few cotton buds and some time as well.Let’s say, this Mastercraft did not want to give up its crud easily, but it’s evidence that the former steward often pulled him from the can and put him to work.  After many buds and cleaners, with excavation, the buds start finally to come out lighter.With the basic cleaning completed, I take a closer look at the stummel to see what the issues are.  The rim has a multitude of scratches and nicks over and on the edge of the rim.  There also is a residual black ring around the chamber edge from the lighting.The following pictures show both the nasty patch of old fills on the right front side of the stummel, and the sheen of the old finish which needs to be removed.  The fills will be addressed later.To soften up the old shellac finish, the stummel is placed in a slew of acetone.  It will soak for several hours.The acetone usually does not remove the old finish but softens it so it can be removed with less effort.  To fully remove the old finish, 0000 grade steel wool is used.  A bit of the wool is dipped in the acetone and then it scrubs the surface. Using acetone with the steel wool seems to help the process.You can see the progress in the next picture.  The bowl proper is lighter because the old finish is gone.  Moving toward the lower part of the bowl there is a line where it darkens.  Old finish continues to hang on there.The old finish is removed, and pictures show the clean stummel.Before addressing the stummel fill issues, I decided first to work on two coffee can divots on the saddle of the stem.  They are opposite of each other on the upper and lower saddle.A couple pictures show the damage to the upper and lower bit.  The upper looks pretty chewed up, but sanding should address the issues.First, to address the saddle divots, Black Medium-Thick CA glue is applied to each divot.  I spray each patch with accelerator to hold the patches in place and to quicken the curing process.  I only use an accelerator when strength of a bond is not an issue.  With patches like this, the issue is cosmetics.220 grit sanding paper is used to remove the excess patch mound – upper and lower.  I’m careful to stay away from the edge to avoid shouldering the stem facing.Next, the sanding is expanded with 220 grit paper to the rest of the stem – upper and lower.To sand evenly over the saddle, the stem and stummel are reunited.  A layer of protective painters’ tape is wrapped around the shank.  Sanding continues over the entire stem with 320 grit paper – upper and lower.Next, the stem is wet sanded with 600 grit paper and then 0000 grade steel wool is applied.Finishing the primary sanding and transitioning into polishing, micromesh pads are used.  Starting first by wet sanding with pads 1500 to 2400.  This is followed with dry sanding with pads 3200 to 4000 and 6000 to 12000.  To condition the stem and to guard against oxidation, Obsidian Oil is wiped on the vulcanite stem after each set of 3 pads.  The stem looks good. Next, the stummel needs attention.  The first step is to dig out the old fill material from the pitting.  A sharp dental probe is used to do this.It ain’t pretty. This is why this block of briar went into some Italian patch and varnish line for export.To patch the pits, after cleaning the area with alcohol, regular clear CA glue fills each pit and then briar dust is sprinkled on the patches to help blending.After the patches have cured, a flat needle file goes to work to remove the excess patch mounds.All the patches have been filed down flush with the briar surface.The rim is in a sad shape.  It has scratches, dents, pits, and char staining.To address this, the stummel is topped starting with 220 grit paper set on a chopping board.  With the stummel inverted, the stummel is rotated over the paper several times.This is the first stop and look check.  The rim is cleaning up, but you can seek the dents and cuts on the rim’s edge.  More rotations.After several rotations on 220 grit paper, the rim arrives at a good place.  I don’t want to remove any more briar from the Pot bowl.The paper is exchanged for 600 grit paper and many more rotations result in the grain emerging nicely – and it’s not bad looking.  There remain some nicks and cuts on the edge, but these will be erased with sanding.Sanding sponges are used next to clean the bowl surface of scratching and blemishes.  Starting with a coarse grit, the sponges are applied with coarse, to medium, to light and then fine grades.Next, all 9 micromesh pads are used to sand/polish the stummel: 1500 to 2400, 3200 to 4000, and 6000 to 12000.  Between each pad, the stummel is wiped with a moist cloth to remove the dust giving the next pad more traction.From the pictures above, the grain has come out nicely and as the grain has come out, the lighter briar wood now contrasts with the fill patches in a big way.  The patches jump out.  In both the Pipedia and Pipephil websites there aren’t too many examples of Mastercraft pipes in any other finish than the light (probably mostly shellac as well) finish that we have.  It probably goes against ‘vintage’ etiquette, but this guy was one step from oblivion and vintage and collectability is not too much of an issue for this Mastercraft Pot.  Therefore, he’s getting more of a makeover.  To help to blend the patches, I will apply Fiebing’s Light Brown Leather Dye to the stummel.  To start, the stummel is warmed with the hot air gun.  This helps to open the briar enabling the grain to be more receptive to the dye pigment.After the stummel is warmed, the dye is applied section by section with a folded pipe cleaner.  After each application the wet aniline dye is flamed.  The alcohol in the dye is ignited with a lit candle and it immediately burns off leaving behind the dye pigment.  After the dye has been applied over the stummel thoroughly, the stummel is set aside.The newly dyed stummel will ‘rest’ through the night allowing the new dye to settle in.The next morning, the dye has settled in and its time to ‘unwrap’ the crusted flamed dye.  A more abrasive felt buffing wheel is mounted on the rotary tool with the speed set a bit slower than normal to avoid overheating.  Coarser Brown Tripoli compound is used to help remove the outer crusted dye.This picture shows the ‘unwrapping’ in process.  This is one of the more enjoyable parts of restoration seeing the grain emerge with greater definition and contrast.To fine tune the unwrapping, a cotton cloth buffing wheel is mounted, and the rotary tool set faster to the normal speed of about 40% full power.  Brown Tripoli is again applied with the softer cloth wheel.  I do this additional cycle of Tripoli for 2 reasons.  First, to remove residual dark clouds of thick dye to sharpen the grain definition.  The second reason is generally to remove excess dye so that it doesn’t leech out on a new steward’s hand when the bowl is heated when the pipe is first put into service.Next, the stummel is wiped down with a cotton pad moistened with alcohol.  This is done to help blend the new dye, and to lighten the hue a bit.  This is also done to continue removing excess dye.After the stem and stummel are reunited, another dedicated cotton cloth wheel is mounted at the same speed and the finer Blue Diamond compound is applied to raise the shine and to remove excess dye.In preparation for application of the wax, the pipe is wiped down with a felt cloth to remove the compound dust accumulated on the surface.There are a few more mini projects that need to be done.  Another metal specific cotton buffing wheel is mounted on the rotary tool at 40% full power, and green compound is applied only to the aluminum band to raise the shine. I’m careful not to overrun the buffing on the briar to avoid discoloring the briar.  A black residue is produced when applying a compound to metal.The final mini project is to warm the stummel with the hot air gun to emulate the first time the pipe is put into service.  This heating causes excess, green dye to be raised.  When the stummel is hot, it is buffed with a cotton cloth to remove excess dye.Finally, with another cotton cloth wheel mounted at the same speed, Carnauba wax is applied to the stem and stummel.  After applying the wax, the pipe is given a rigorous hand buffing to remove the excess wax and to raise the shine.I’m pleased with the results of bringing this ‘lowly’ Mastercraft Made in Italy Pot back to life. He’s a little darker than when he came off the production line, but the hue is close enough and the grain looks great.  The grain is expressive, and the fill patches have been masked nicely.  The dimensions of the Mastercraft Pot are Length: 5 15/16 inches, Height: 1 1/4 inches, Rim width: 1 3/8 inches, Chamber width: ¾ inches, Chamber depth: 1 1/4 inches.  Josh commissioned this Mastercraft Pot and will have the first opportunity to claim him from the Pipe Steward Store benefiting the Daughters of Bulgaria – a work helping women and girls who have been trafficked and sexually exploited.

Thanks for reading the blog and if you have any questions, please send them on!  Thanks for joining me!

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