Monthly Archives: March 2017

A Desirable REJECT London Made

Blog by Dal Stanton

When I came across this classic half bent billiard while I was trolling through 100s of offerings on eBay’s auction block, I paused. The first thing that claimed my attention was its size. If there was ever a ‘meat lovers sized’ pipe, to use the American burger sound bite, this would be it. The UK seller simply described it as a ‘superb large bowl’. When the pipe arrived, I measured it and it is: length 6 5/16 inches, height 2 3/8 inches, chamber diameter 7/8 inches, chamber depth 1 13/16 inches, and the full stummel width is 1 3/4 inches – 68 grams for those who weigh pipes. A fist-full of stummel! Here is the eBay picture of the Billiard.The other interesting thing about the eBay offering was its marking. The left shank side reads “REJECT” over “LONDONMADE”. The only lead I found for this “REJECT” stamping was in ‘Who Made That Pipe?’ by Herb Wilzak and Tom Colwell, which provided only one reference to “Reject” as belonging to the W. H. Carrington Co. started in 1891 by William Henry Carrington in Manchester, England. This came from the brief Pipedia article which also states that after a century of operation it went out of business. I found more information in a Pipes Magazine Forum thread but the source of the information was not cited.

WH Carrington as an entity dates back at least to the late 1880s. It continued to exist for about a century, with liquidation notices appearing in the London Gazette in 1987. Whether or not the business remained in the family that whole time is another matter; I doubt it, but have no evidence one way or the other.

Most threads I read commenting on WHC pipes were about earlier turn of the century pipes with hallmarks – a much earlier vintage. I came up empty finding information that would confirm that the Reject before me is indeed a WHC pipe except for Wilczak and Colwell’s reference. With a very nice looking Reject on my work table now, I take additional pictures to fill in the gaps. The question that begs asking is what is ‘Reject’ about this pipe? Overall, it’s in good shape. The chamber has very mild cake build up, and the stummel surface shows some small fills and usual dents of wear. The stem has been cleaned, it seems, very little chatter or oxidation. I only detect two issues as I look at the Reject London Made. First, the finish on the stummel is shiny and acrylic-like, which, to me, hides the natural briar. It is cloudy and I’ll remove it and work on the broad landscape of this stummel real estate to bring out the briar. I like this challenge! The other issue is the stem – it is under-clocked and a bit catawampus. I will heat the vulcanite and restore a good bend in alignment with the pipe. The reason this pipe was stamped ‘Reject’ coming out of the factory is a mystery to me unless it was destined to be a higher end pipe and the briar had too many imperfections…. Only conjecture and I would appreciate anyone’s input on this.

I begin by plopping the stem in an Oxy-Clean bath even though the oxidation seems very light. While the stem is in the bath, I use the Savinelli pipe knife to clean up the chamber walls which takes little time. I follow by sanding the chamber wall with 240 grit paper wrapped around a Sharpie Pen. To clean the carbon dust residue, I wipe the chamber with a cotton pad wetted with isopropyl 95%. The pictures show the progress. I like working on a clean pipe so I work on the internals using cotton swabs and pipe cleaners dipped in isopropyl 95%. With very little effort the mortise and draft are clean.Moving to the external stummel surface, I use Murphy’s Soap undiluted with cotton pads and a bristled tooth brush to clean the grime off. The Murphy’s Soap does a good job removing the old shiny finish.Looking closely at the surface, the dent I saw earlier I want to remove using the iron approach, that I have yet to try, but this dent looks like a good candidate. I’ve read several other restorations where this method was used. Using a heated clothes iron, I use a wet wash cloth and lay it over the dent area and then I apply the iron to that point. The concept is based upon the water content of wood being heated and absorbing the water and expanding the dented area – wood is a sponge-like material when wet. I apply the iron several times and gradually I see the severity of the dent lessening with each heat application. I can still see the dent but it should be more easily removed using a sanding sponge. Using a medium and light grade sanding sponge I work on the stummel to remove the minor wear nicks and dents on the surface. I like a softer edge on the inner rim lip so I introduce a gentle bevel both to give it a softer look and to remove some scorched areas. I think an inner bevel adds a bit of class as well. I first use a coarser 120 grit paper to cut the bevel then I follow with 240 grit and 600 grit paper to smooth and blend the bevel. The pictures show the progress. I now turn to the micromesh pad cycles. Using pads 1500 to 2400 I wet sand the stummel followed by dry sanding with pads 3200 to 4000 and then 6000 to 12000. Throughout the sanding, I’m careful to avoid the Reject markings. The grain is looking good. The pictures show the progress. I put the stummel aside and fish the stem out of the Oxy-Clean bath. Very little oxidation has surfaced. I use 600 grit paper and wet sand the stem followed by sand buffing the stem with 0000 steel wool. The pictures show the progress.Before I proceed further with the internal cleaning of the stem and the external polishing, I want to correct the bend of the stem. With great difficulty, I am able finally to pass a smooth pipe cleaner through the stem. The pipe cleaner helps to maintain the airway integrity while I heat and re-bend the stem. Using the heat gun to heat the stem, I turn the stem to apply the heat evenly over the stem to soften the vulcanite making it pliable. I then straighten both the stem clock-wise to correct the under-clocking. While still pliable I re-establish the bend over a block of wood and set the new shape under cool tap water. The first time around, the button was still not ‘clocked’ to my satisfaction. I reheated and made the additional adjustment and again, set the shape under cool tap water. I reattach stem and stummel to eyeball things and the newly aligned stem bend and clocked button look good. I take pictures to chronicle the progress with the stem. I now clean the internals of the stem using pipe cleaners dipped in isopropyl 95%. The stem is clean but I find that even though I’ve re-bent the stem the pipe cleaners will not move through the bend of the stem. I decide to open the slot area with a round pointed needle file moving it back and forth in the slot. After this, I take a drill bit, smaller than the slot opening, and insert it into the airway rotating it against the edges of the airway hoping to expand the internal airway area as it enters the slot. This seems to help yet the bend is still tight on the pipe cleaners, but they are passing through. The stem is clean. The pictures show the progress. Time to bring out the micromesh pads to finish the stem. With pads 1500 to 2400 I wet sand the stem. I follow by dry sanding with pads 3200 to 4000 and then 6000 to 12000. With each set of 3 I apply Obsidian Oil to the stem to revitalize the vulcanite, and I love to see the pop of the vulcanite as it moves through the micromesh cycles! I put the stem aside to dry. The pictures show the progress. Turning back to the stummel, I decide to apply Fiebing’s Dark Brown Leather Dye to the Reject London Made to emulate the darker hues of the original finish. Since it is an aniline dye, I can lighten the finish to taste by wiping the stained stummel with cotton pads wetted with isopropyl. The large stummel has a lot of briar real estate to show off with a smattering of different grains – pleasing to the eye and a handful of stummel to boot! I just acquired Fiebing’s Black Leather Dye and I decide to experiment. I will add a touch of it to the dark brown to create the blend. The first snag I run into is that this is the largest stummel I’ve worked on and my usual corks that I use to prop the stummel on the candle stick during the staining process were too small. I rummaged through our cork supply and found only one large enough. I warm the stummel to expand the briar enabling the dye to absorb better into the grain. I apply the dye liberally over the surface with a pipe cleaner folded over. Then I fire the wet dye and the alcohol content burns off setting the stain. I repeat the process again to assure total coverage and set the stummel aside to rest. After several hours, I ‘unwrap’ the fired stummel using the Dremel mounted with a felt buffing wheel. With the Dremel at its slowest speed, I move methodically over the stummel applying Tripoli compound to remove the crusted fired surface. I don’t apply too much downward pressure on the briar but I allow the RPMs and the compound to do the work for me. After completed, I use cotton pads wetted with alcohol to wipe down the stummel to lighten the stained finish and to blend the dye. After this, I mount a cotton cloth wheel on the Dremel and apply Blue Diamond compound and methodically work the wheel over the entire surface. After completed, I again wipe the stummel with cotton pads wetted with isopropyl 95%. I follow this by doing another quick tour over the stummel with the Blue Diamond. The use of black dye with the dark brown has the effect of darkening the grain which I’m liking as I see the grain surfacing through the compound cycles. The pictures show the progress.To remove the compound dust, I hand buff the stummel with a flannel cloth. After mounting the Dremel with a cotton cloth wheel and increasing the speed to 2, one notch over the slowest, I apply several coats of carnauba wax to the stummel and reattached stem. I follow this with a rigorous hand buffing with a micromesh cloth. When I experimented by adding black dye to the dark brown I didn’t anticipate the unique hue that would result. The briar grain veins seem to have latched on to the black and the lighter grains came out with a golden/copper kettle blend that is striking – very interesting and attractive. If this REJECT – LONDON MADE is a product of the W. H. Carrington Co., I cannot say why it received this factory stamp. For those who like huge pipes that fill the hand, this big boy, bent billiard fits the bill and needs a new steward! All the profits of pipes I sell help the Daughters of Bulgaria, an organization we work with that helps women and children who have been trafficked and sexually exploited. If you’re interested in this REJECT, hop over to my blog site, The Pipe Steward. Thanks for joining me!

Replacing a broken tenon on a L’Anatra dalle Uova d’Oro Apple

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Blog by Steve Laug

I got a call from a customer of a local pipe shop about a possible pipe repair. He had dropped his L’Anatra dalle Uova d’Oro pipe and the stem had snapped at the tenon. He wanted to know if I could repair it for him. He stopped by yesterday afternoon for me to have a look at it and today I had the time to work on it. This kind of break is actually a nice one if you are going to have them. It snapped off pretty close to the stem end and he was able to pull it out of the shank. This is actually the first L’Anatra pipe that I have worked on and one I could easily have added to my collection. It is my kind of shape. I have looked at them in various pipe shops and always like the look and the feel but this is the first one that has crossed the work table. The pipe is stamped on the left side of the shank with the name of the brand L’Anatra, under that it read dalle Uova d’Oro. Underneath it reads Made in Italy. L’Anatra dalle Uova d’Oro in English means “The Duck that Lays Golden Eggs”. On the underside of the shank it is stamped with three eggs which refers to the grade of the pipe.

When he dropped the pipe off, I took some photos of the broken tenon. The first three photos show the pipe before I started the repair. I used the Dremel and sanding drum to flatten out the end of the stem and finished it on the topping board to make a flat surface for the new tenon to sit against. I started drilling out the airway with a drill bit slightly larger than the airway and worked my way up to the same size as the threaded end on the new tenon. I do not use the power on the drill but rather carefully turn the stem onto the drill bit slowly making sure to hold the stem straight against the bit.Once the airway is opened to the length of the threaded portion of the new tenon I used a tapping tool to thread the sides of the newly drilled airway so that I could screw in the new tenon.Once the airway was tapped I used a knife to cut a small bevel in the end of the stem so that the new tenon would sit tight against the face of the stem. I used the knife to also bevel the end of the tenon to match the original tenon that had broken off. With all the preparations done I screwed the tenon in place to check the fit. Once I knew that the fit was correct I unscrewed it from the stem, brushed the threads with some slow drying epoxy and turned the new tenon into the stem. This was a case of a perfect fit. The photo below shows the newly replaced tenon.I noticed there was some light tooth chatter on the stem so I polished it out with micromesh sanding pads. I wet sanded with 1500-2400 grit pads and dry sanded with 3200-12000 grit pads. I wiped the stem down with a damp cloth to remove the sanding dust. I polished the tenon with micromesh sanding pads to remove the sanding marks and scratches in the Delrin. I put the stem in place in the shank and buffed the bowl and stem with Blue Diamond on the buffing wheel and then gave the stem and bowl several coats of carnauba wax. I buffed it with a clean buffing pad and hand buffed it with a microfiber cloth to give it a deep shine. The finished pipe is shown in the photos below. The owner will soon pick up his pipe and fire it up again with his favourite tobacco. Thanks for looking.

GBD 9242 P – NY Pipe Show Find

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By Al Jones

The iconic GBD 9242 is a highly sought after shape and one that rarely turns up on Ebay. I typically see one 9242 about every two years on Ebay and competition for it is fierce. A friend and I made the trek to the 2017 NY Pipe show, hosted by Rich Esserman. I like to get to pipe shows early, and make a quick sweep of the room. This pipe was on the table of Paige Simms, a collector from Baltimore and a member of the Chesapeake Pipe club. We struck a deal and the prize was mine. Paige wasn’t sure how long he had owned the pipe, but he thought it was fro the 1930’s and that it was a fine smoker. It is always a pleasure to chat with these long time collectors. I spent a long day on the road, getting to and from the show, but this find is a great reason why collectors should attend pipe shows. To say that I was thrilled to find this one is an understatement.

The pipe was in terrific shape, with some oxidation on the stem and one small tooth dent. The blasted finish was worn, and I’m not sure if that was from wear or just the way it was blasted.

The pipe has the “London,England” country of manufacture mark that denotes a GBD made before 1981, but the orific (ovalized) stem and smaller GBD rondell make me think that the pipe is from the 1930’s, as Paige suggested. I have a silver hallmarked GBD that dates to 1937. I have noticed that in the older GBD’s that the rondell is slightly smaller. These measure 6 mm in width, while the rondells on other GBD’s in my collection measure 7.5 mm. This one has a very fat, bullet style tenon. I’ve seen this style tenon but only on stems stamped “Hand Cut”. (this one lacks that stamp)

Another curiousity about this pipe is the “P stamp beside the 9242 shape number. Most sand blasted GBD’s would be stamped in the Prehistoric finish. I cannot find anywhere when as to when GBD started using this finish name.

The pipe had a very slight cake and Paige said he smoked straight Virginias in the pipe. It was clean, but I did the bowl soak with alcohol and sea salt. There was one small tooth indention on the top of the stem. I was able to use heat from a lighter flame to light it out almost completely. While the bowl was soaking, the stem was soaked in a very mild Oxy-Clean solution, with a dab of grease on the rondell.

I removed the outer layer of oxidation with 800 grit wet paper, than 1,000 and 2,000 grades. Next up was 8,000 and 12,000 micromesh sheets. The stem was them buffed lightly with White Diamond and Meguiars Plastic Polish.

Below is the finished pipe and a comparison with my New Standard 9242. As you can see, the Sandblast pipe is a more compact stubbier shape.

Comoy’s Royal Falcon Bent Bulldog

9 Replies

Blog by Dal Stanton

The eBay seller from UK gave a decent, though brief, accounting of the origins of Comoy from Saint-Claude, France, and started in the 1820s by Francois Comoy. His son, Henri, started the London extension of the Comoy name in 1879 with not much more than the tools of his trade – making pipes. He is cited by Pipedia as being the author of the appellation, “London Made”. In 1929 the company merged with the macro-concern, Oppenheimer Pipes. With this, albeit brief history, Pipedia’s describes the present summation:

Comoy’s remained a family owned company until it was finally taken over by Cadogan Investments during the early 1980’s. Cadogan have continued to manufacture Comoy pipes to the present day and, under Michael Adler, the Comoy brand is their flagship and efforts are being made to once more re-instate the well known quality of the brand.

The half-bent Bulldog I rescued from my “Help Me!” basket is marked on the left shank, “Royal” over “Falcon” (curved). The right shank is marked, “Made In London” (circled) over “England”. The eBay seller’s listing indicated there was a shape number “13” which I cannot see. The stem is stamped with the image of a falcon perched on a branch. Here are the pictures of the Royal Falcon on my worktable: A quick trip to the Pipe Phil site confirms that Royal Falcon appears to be a prominent second of Comoy’s showing an example of the interesting stem stamping of a falcon perched on a branch – much busier than most stamps.

What drew me to bid on this Bulldog was the stem. Within the Bulldog classification, is seems that most Bulldogs sport straight saddle stems, where the diamond shaped shank culminates in the saddle and the stem is then flat from the saddle to the button. Rarer still, it seems are the bent Bulldogs which most often are fitted with a saddle stem as above. Most rare, it seems is what I see now with this Comoy’s Royal Falcon – a half-bent stem that carries the characteristic diamond shaped shank into the stem and then gradually tapers out along the stem – giving the impression that the stem is much longer than perhaps it is with the bow of the diamond shaped shank/stem. The tapered diamond stem is very nice and will look nice restored with the Falcon perched on his branch! The chamber as a lite cake residue which I will remove down to the briar for a fresh start. The rim has hardened crusted lava needing attention. The front upper dome of the stummel has a nice dent along with several dents and cuts marking both sides of curved part of the stummel transitioning into the diamond shaped shank – an obvious result of the natural placement of the Bulldog on the table or counter. There are several fills that have lightened and are showing through the old clouded finish. The stem is heavily oxidized with moderate teeth chatter on the upper and lower bit. The first thing I do to restore and recommission the Royal Falcon Bulldog is to place the stem in an Oxi-Clean bath after putting petroleum jelly over the falcon stamp.With the paper towel, down to catch the carbon dust and fragments, I use the Pipnet Reaming Kit to ream the chamber. I use only the smallest blade in the Bulldog chamber and remove the lion-share of carbon. I follow the reaming blade using the Savinelli Pipe Knife to scrape the chamber wall and remove more carbon. Using a piece of 240 grit paper I fold it over a Sharpie Pen and sand the chamber wall and finish by wiping the chamber with a cotton pad wetted with isopropyl 95%. The chamber looks good. The pictures show the progress. Turning directly to the internals of the stummel, using cotton swabs and pipe cleaners wetted with isopropyl 95%, I work on cleaning the stummel. I also utilize a spade dental tool to scrape the mortise walls to stir up the old tars and oils. There was a good bit of gunk, but the swabs and pipe cleaners started coming clean. Later I’ll use a salt and alcohol soak to clean further.Now, I clean the external surface of the stummel using undiluted Murphy’s Oil Soap with a cotton pad and bristled tooth brush I work on the crusted rim as well as the grime on the stummel surface. Using a tooth pick I scape the grooves circling the stummel. The crust on the rim is not moving so I use a brass bristled brush which removes most of the hard lava crust, but not all. Using my pin knife, I carefully scrape the rim removing the last crusted carbon holdouts. After cleaning, I then rinse the stummel in warm tap water to rinse off the grime. The Murphy’s Soap well removed the thin finish and I’m looking a bare briar for the most part. Doing a quick inspection of the surface, there are several cuts and some fills in the briar surface. The pictures show the progress and the inspection. I use a medium grade sanding sponge to sand out the nicks and cuts. I focus especially on the ‘keel’ of the Bulldog where most thumps and bumps occurred. On some deeper cuts, I strategically use a rolled piece of 240 grit paper where more abrasion was needed. I also give the rim a ‘semi-topping’ with the firmer coarser sponge. I follow by sanding with a lite grade sanding sponge to smooth more. The inner ring of the rim has a bevel and it is darkened. Using a piece of 120 grit paper I clear out the damaged briar and reestablish a crisp inner bevel. I follow this with 240 grit paper and finish with sanding sponges. The pictures show the progress.I put the stummel aside and pluck the stem out of the Oxi-Clean bath. I start by wet sanding with 600 grit paper to work on the raised oxidation but soon switch to 240 grit paper. The oxidation is stiff. I’m careful to avoid abrasion on the Falcon stem stamping. I’m hopeful that there is enough definition left in the stamping to restore it later with white acrylic paint. After using 240 grit paper, I then wet sand 600 grit paper then 0000 steel wool. The oxidation is left over the falcon stamping and I hope that Mr. Clean’s Magic Eraser will help remove the oxidation without damage to the stem stamp. I think it helped, but there is still discoloration over the area but the stamping is still intact. The pictures show the progress dealing with the oxidation. Before I forget it, I now turn to the stem internals cleaning it with pipe cleaners dipped in isopropyl 95%. Without too much resistance, the pipe cleaner come through clean without too much effort.Moving ahead straight away with the stem, I use micromesh pads 1500 to 2400 and wet sand the stem. Following this I dry sand using pads 3200 to 4000 then 6000 to 12000. Following each set of 3 I apply Obsidian Oil to the stem to revitalize the vulcanite. With the last cycle, I set the stem aside to dry. The pictures show the progress. With the stem completed except for the final polishing phase and repainting the Falcon stem marking, I turn to the stummel using micromesh pads 1500 to 12000. With the first set of three, 1500 to 2400 I wet sand the stummel, then with the following sets, 3200 to 4000 and 6000 to 12000 I dry sand. Throughout, I avoided the markings on the shank panels. The pictures show the progress. With the original color leaning toward the darker brown side, I will use Fiebing’s Dark Brown Leather Dye and then lighten as I see need using a cotton pad wetted with isopropyl 95%. To prepare the stummel, I use a sharp dental probe to trace the twin grooves to remove any leftover briar dust from the sanding. Then I wipe the stummel with a cotton pad and isopropyl to clean away any dust. Placing my ‘stain board’ down on my work station I put a cork in the shank to act as a handle and then heat up the stummel with a heat gun. This expands the briar and allows for a better absorption of the dye. I use a folded over pipe cleaner to apply the dye liberally over the surface. I fire the aniline dye and the alcohol burns off immediately, setting the hue in the briar. To make sure the coverage is complete, I repeat the process above including the firing of the dye. I then set the stummel aside to rest. The pictures show the fire crusted stummel. With the stummel on the sidelines a while, I look at the falcon stem marking. Pipe Phil’s example shows a lot of lines and contours shaping the bird and his perch. I’m not sure my falcon has that much detail left after wear and sanding over the years. After a closer look, it appears that the imprinted falcons are slightly different – my falcon appears that he’s looking up more than the other. For comparison, I’ve placed the two together below. I’ll see what I can do with white acrylic paint. The first approach was to apply paint and then, before drying, to carefully wipe it away, leaving paint in the grooves. This did not work – seems like there was not enough groove to hold the paint. Next, I applied more paint and let it dry. That did not work either. I’m not sure if this is usually done in pipe restorations, but the problem is that the lines of the falcon stamping are too thin and will not hold the acrylic paint. I decide to take the point of my pocket knife and attempt to sculpt the lines that are there to deepen them. It took several iterations of sculpting, then applying paint, drying and scraping off with a toothpick, before I arrive at the best I can do at this point! The pictures show some of the process. With the falcon stem marking completed, it’s time to ‘unwrap’ the fire crusted stummel. I use Tripoli compound with a felt buffing wheel mounted on the Dremel and use the slowest speed available and rotate the wheel over the surface, without too much down pressure on the briar, but allowing the RPMs of the Dremel and the compound to do the work. I take a picture into this process. When completed with the Tripoli, I use a cotton pad wetted with isopropyl 95% to wipe down the stummel to lighten the dark brown dye as well as to blend the dye. When satisfied (forgot to take a picture!) with the shade, next I mount a cotton cloth wheel and turn the speed up half a notch, to 1.5 and apply Blue Diamond compound in the same manner as with Tripoli. After the Blue Diamond I give the stummel a good buffing with a flannel cloth to remove the compound dust from the stummel before application of the wax. After joining stem and stummel, I then mount a cotton cloth wheel on the Dremel and apply carnauba wax to the stummel. I give the stummel 3 coats of carnauba and then finish by giving the stummel and stem a hand-buff with a micromesh cloth.I’m very pleased with the results. The Comoy’s Royal Falcon is an attractive Bent Bulldog. I like the lines of the diamond shank flowing into the tapered stem. The Royal Falcon looks good re-perched on his branch. The briar grain is rich and deep. I sell my restorations with the profits helping the work we do with the Daughters of Bulgaria – those sexually exploited and trafficked. This Bulldog is ready to serve a new steward. If you’re interested in adopting him and helping the Daughters, check out The Pipe Steward Store. Thanks for joining me!

Since 1936 There’s Been No Match For a Kirsten – 1980s Era Catalog

1975-1976 Kirsten Pipe Company Catalog

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This is the last of the Kirsten Pipe Catalogs that I received. It is from 1975-1976. Once again enjoy this blast from the past. It comes from the year I got married – 40+ years ago now. I remember I picked up my first Kirsten not long after that time. There is something about the design that intrigues me so I really like reading the old pieces of literature from the company.

Challenges of a Bakelite Stem Rebuild – A Meerschaum Carved Vineyard

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Blog by Dal Stanton

When I first saw the Meer before me on the eBay auction block, I was first attracted by the patina showing on the combination smooth and sculpted surfaces. The base of the billiard bowl showcases two opposing sculpted frescoes, one with the vineyard in expectation of fruit, and the other with the fulfillment – a rack of grapes appearing from behind the grapevine leaves. Hope and fulfillment are always pleasing themes for reflection as one smokes a bowl of his (or her!) favorite blend. The patina of the aging meerschaum is concentrated at the base of the stummel, encompassing the frescoes and then gradually thinning and lightening toward the rim and toward the shank. The other characteristic that drew my attention was the color and taper of the Bakelite stem completing the bent billiard flow. It just looked good to me. I have no idea of a carver as there are no markings on the Meer, and the only information from the seller was that its origins were in Europe – it was a gift to the original owner by his sister who lived in Belgium in the 1970s. Taking it from the ‘Help Me!’ basket, I place it on my work table here in Sofia, Bulgaria, and record the Meer’s condition when it came to me. The characteristics and make-up of meerschaum are not widely understood – I know because I was among those who looked at the white coral-like material and wondered what exactly it was! The word ‘meerschaum’ has German origins, literally meaning ‘sea foam’. This brief description from Meerschaum.com is helpful:

Meerschaum is a very rare mineral, a kind of hard white clay. Light and porous structure of the pipe keeps the smoke cool and soft. The pipe itself is a natural filter which absorbs the nicotine. Because of this peculiarity, meerschaum pipes slowly change their colors to different tones of gold and dark brown. This adds an esthetic enjoyment to its great smoking pleasure. The longer a pipe is smoked the more valuable it becomes due to the color change. Today many old and rare meerschaums have found a permanent place in museums and private collections.

Meers are popular because they require no breaking in, no cake, and no resting between smokes. Many consider Meers to be a cooler and dryer smoking experience. The one main issue with Meers is that they don’t like to be dropped on hard floors – that is never a good thing! Most Meerschaum is mined in Turkey and for the curious who want to know what exactly the material is, one last excerpt from Altinok Meerschaum’s facts page:

The geologist knows the light, porous Meerschaum as hydrous magnesium silicate. The pipe smoker knows it as the perfect material for providing a cool, dry, flavorful smoke. The mineral itself is the fossilized shells of tiny sea creatures that fell to the ocean floor over 50 million years ago, there to be covered and compressed over the ages by layer upon layer of silt. Profound movements in the earth’s crust raised the creamy white stone of Meerschaum above sea level. There men eventually discovered it and created an incomparable pipe from it. The first record of Meerschaum as a pipe dates from around 1723.

The stummel on the Meer before me has a lot of grime and dirt with nicks showing his age and that he has been well used. The challenge with Meer is always how to clean and restore but not to remove the patina, which for a Meerschaum, is the honorific equivalent of the respect owed to those blessed with gray hair and long life in the Bible. The rim has thick lava and the bowl has moderate cake which will need to be removed with care – cake is not needed on a Meer! The more daunting questions focus on the stem. The obvious challenge is the large chip on the end of the stem which also has removed almost half of the button. I could prepare for this repair by ordering and having someone bring from the US to Bulgaria Behlen’s Medium Yellow Furniture Powders to form a putty patch. I will attempt to repair the stem with the help of others – we’ll see! The other challenge that I was not able to discern from the eBay pictures, was the push tenon. The mortise was threaded for a screw in tenon but the tenon I see connected to the stem has no threads and only engages the mortise as the mortise narrows after the threads. You can see how much of the tenon is engaged by the coloration (last picture above) – only about half. When I test the engaged tenon, there is a bit of a wiggle to the stem and it isn’t solidly seated as one would expect. While the stem, when connected to the shank is usable, it isn’t ideal. I’ll give some thought to this challenge and perhaps seek counsel.

Leaving the question about the approach for the tenon, I decide to start on the clean-up of the stummel. I first clean the rim by using cotton pads wetted with isopropyl 95% – I just want to see how much of the lava and stain will come off. Not much did. I then decide to use a medium grade sanding sponge and lightly top the rim – not aiming to take off the meerschaum but to break through the crusty stuff and remove the burnt areas. That did the trick. Pictures show the progress. I can now see the inner edge of the chamber wall and using both a pin knife and the Savinelli Pipe Knife carefully I ream the bowl and remove the cake. I follow this by using 240 grit paper and sand the walls to remove more of the carbon. I wasn’t satisfied with the 240 grit so I rolled up some coarser 120 grit wrapped around a Sharpie Pen and that did the trick. Much nicer. I complete the reaming with cleaning the bowl with a cotton wipe wetted with isopropyl 95%. The fire chamber looks good. To remove the blackening on the inner ring of the rim, I give it a very gentle bevel with 240 grit sanding paper rolled. The pictures show the progress. With the bowl reamed I clean the mortise internals. Using pipe cleaners and Q-tips, dipped in isopropyl 95%, I discover quickly that I’m not able to get a pipe cleaner through the mortise through the draught hole. I twist, turn and angle – it feels like there’s an obstruction. I blow through the mortise and find that air is moving through without pressure build up. Finally, the pipe cleaner moved through. Looking more closely in the mortise with a directed light I see in the throat of the mortise just beyond the end of the threading appears to be a plastic tubing. I manage to take a picture of it. I’m not sure if this is part of the internal system or something broken off and lodged. Yet, this plastic tube is what the tenon is engaging. With great difficulty, I can probe the area what appears to be beyond the tubing and find the airway which seems to be a sharp turn up from the angle of the mortise’s drilling as the pipe cleaner emerges from the plastic tubing. This doesn’t seem right. I’ll research more to see what the tubing is. The mortise is clean, so I move to the cleaning the externals of the bowl.To clean the external surface of the stummel, I use undiluted Murphy’s Oil Soap with a cotton pad as well as scrubbing the sculpted lines of the vineyard frescoes. The amount of grime on the surface becomes apparent as from the before and after pictures. The pictures show the progress. I then sanded the bowl with micromesh pads not to remove every scratch, which is a sign of character and age, but to restore the shine of a vital meerschaum surface. I wet sanded the surface using pads 1500 to 2400 then dry sanded using micromesh pads 3200 to 4000. I was not aggressive but careful not to damage the patina. I like the result.Regarding the stem and tenon questions I referenced above, I sent a note off to Steve and about the push-pull tenon system and what to do with this Meer. In the end, I decide to order a new replacement system. I sent a note and measurements off to Tim at http://www.jhlowe.com/ and am waiting for his recommendations. Since I live in Bulgaria, ordering parts from the States is no small thing as I have it sent to someone coming and they carry it for me. Saves a bit on postage. With the tenon situation on hold and on order, I turn to the technical part of this restoration that I’ve been anticipating for some time. Repairing the Bakelite stem or per Steve, possibly a similar material called Amberoid, has been a subject of my research. The stems most often associated with Meerschaums are the attractive, rich honey yellow color. The challenge in a repair is matching the yellow color and glass-like texture of the Bakelite or Amberoid. When I researched this question, I came across Reborn Pipes contributor, Joyal Taylor’s (aka holymolar) 3-part series on patching amber colored stems in 2014. Starting at the first essay, Stem Patch Using Amber Super Glue, Part 1, I benefited from Joyal demonstrating not only what did work well, but what didn’t. Also of benefit were the comments many others contributed at the end of the blogs. So, thanks to Joyal’s trial and error approach, I’m able to jump to a solution in Essay 3 that worked best for him. I hope I can emulate his success! Before beginning on the repair, I want the stem internals to be clean. Taking pipe cleaners dipped in isopropyl, I go to work on the stem. The resistance was a bit more than I expected. The cavity behind the screw-in tenon was gummed up good and I expended several Q-tips and a sharp and spade dental tools helped scrape the cavity walls to break up the gunk. There is some dark staining on the internal airway but the pipe cleaners are now coming out clean.In essay 3, Joyal employed the use of Medium Yellow Behlen Furniture Powder (pictured below) which I found on eBay at this LINK. Previously, he had employed amber colored superglue which came out too clear – lacking the opaque quality needed for a good match. In the second essay, he tried to employ a mixture of Fiebing’s yellow and orange leather dyes and thick superglue. He found that the chemistry of the dyes caused the superglue to setup instantly. Also in essay 2 he mixed StewMac 2-part clear epoxy with Fiebing’s yellow and orange dyes, which mixed well, but the results were less than satisfactory – for both the hue and the texture. The final essay he tried the powder approach using Behlen Medium Yellow with extra thick superglue and the results were the best. Below I picture the match-up between the colors of the powder and the stem. Not bad. Joyal’s final assessment was helpful for the stem I’m looking at now:

This time I tried Behlen’s yellow powder w/ StewMac’s thick clear superglue. This is the best so far. Good color and opaque. Some of the powder didn’t mix in but it all polished smoothly. I had to leave the patch thick at the edge because every time I tried to sand it – smooth it [next] to the acrylic, I would remove more of the original color from the acrylic and have to add more patch material. Oh well, this may be as good as I can do, for now.

The last observation is helpful because it lets me know that the basic solidity of the patch could be ‘softer’ relatively speaking, than the stem material so that he was removing more collateral stem material than he wanted. So, off we go! I begin the patch on the Meer’s Bakelite stem by taking another close-up focusing on the patch areas. The patch has two parts. First, the side of the stem chipped off parallel with the right-side stem edge until it enters the button area. At this point the break encompasses the entire corner – stem and button. It appears to me the break was caused by dropping the Meer on a hard surface and the impact point was the end of the stem. The second part of the patch is to rebuild the button. To do this, I’ll apply a ‘surplus’ amount of the patch putty not only to the damaged, missing part, but over the entire button. This will allow me to shape a new button with adequate edges. To mix with the Behlen powder I have a newly acquired bottle of BSI Extra Thick Maxi-Cure CA glue. I’ll start the mixture aiming at a 50/50 ratio and eyeball things. I want to mix it well so that the powder is fully dissolved. I’m also not sure how much time I have before the new CA glue starts setting. I first take 240 grit sanding paper and rough up the entire patch area to increase the bonding potential between the Bakelite and patch putty. Now, I construct a ‘slot mold’ for the button. The slot area is shaped like a concave canoe that the button edges encompass. I need to keep putty out of this area and form a mold of sorts for the putty. The results of this mold would remind one of the Wolverine in X-Men. As menacing as it appears, the center toothpick anchors the mold in the airhole and the ‘wing-picks’ are wedging the edges. The folded index card forming the mold I cover with smooth tape so it won’t adhere to the putty. Prep done, I pour some Behlen powder in a plastic egg crate to double as a mixing trough. With tools and toothpicks at hand to serve as putty trowels, I add BSI Extra Thick Maxi-Cure CA to the powder and begin mixing. Well, if this were a science experiment it would remind me of my first chemistry set in 5^th grade. Every 10-year-old with a new chemistry set sees the formula included for a ‘skunk bomb’ and tries it as his first experiment. I was no exception. After adding the glue to the powder and mixing, the mixture began to smoke and harden very quickly. After running the smoking egg crate to the bathroom and adding water to the mix, the smoke stopped and I return to the work table and record my science experiment with a picture capturing the toothpick forever encased in the hardened yellow putty. The pictures show the progression. Now fully in step with Jowal’s methodology of ‘Trial and Error’ progress, I ask the question, what happened? I’m not sure, but my guess is that I started with too much powder and adding the glue to it was not sufficient to keep it in liquid form. My guess is that the rapid hardening created the reactions (chemical energy!), which created the smoke, leading to my emergency procedures. This time I will approach the process like I do with a charcoal and super glue mix – put both powder and glue on an index card together and mix more gradually and see what happens. Well, I’ve proven that the methodology is not the culprit. Again, smoke was produced from the mixture on the index card while I started applying the putty to the stem. At this point, I’m thinking that the new glue I’m using might be the problem. I’ll try again with a glue I’ve used in the past. Thankfully, I could remove the hardened putty that did make it to the stem, by carefully scraping with my thumb nail. The bright side of this is that the color match with the stem looks great! Lesson 2 learned – what not to do. Pictures show the progression of lesson 2. While contemplating the next step, an email came in from Tim at J. H. Lowe in Ohio, and as expected, his note is very helpful:

The regular push-pull set is what you need. Are there threads inside the mortise? There are two sizes of these sets but the larger one is only used when the threads are very worn out and the oversize mortise part has to be fitted in the shank to fix this kind of worn out repair sleeve. I sell these by the each for $3 and by the dz. for a discounted price. You’ll need to change out the stem peg and the sleeve in the Meers pipe repair.

I responded by ordering 3 of each size so I’ll have some on hand for future projects. So, in a couple weeks, the new push-pull system order will arrive with a friend coming to visit Bulgaria. By that time, the rest of the Meerschaum Carved Vineyard should be ready and waiting with a quick finish to the restoration.

For the third go – I repeat roughing the patch area with 240 grit sanding paper to remove putty residue from Lesson 2. Then, after replacing Wolverine, I change glues using Hot Stuff Special ‘T’ CA glue and mix the same way that I did in Lesson 2, placing a puddle of glue alongside the Behlen Medium Yellow powder and gradually mix by drawing the powder into the glue until (hopefully) the mixture reaches a molasses like consistency. If it doesn’t ‘smoke’ this time, we’ll know the problem of Lessons 1 & 2. Unfortunately, the ‘smoking’ is repeated and the putty hardened very quickly. My conclusion to the problem, and the pictures below show the progression of my solution. The problem is that I’m adding too much Behlen powder to the mix or not enough glue. I’m estimating that instead of a 50/50 mixture, I need an 80/20 ratio of glue to powder. I’m not sure of the chemistry involved, but the smoke produced happens when the mixture hardens. I had more time gradually to build up the patch with the greater glue ratio. Of course, the question remains, will the lesser powder content change the color match or texture? We’ll see. The pictures show the several cycles of building the patch around the button area. I had only so much time before the hardening would happen and I would make another small batch. The last picture shows the successfully removed Wolverine mold and the success of guarding the slot area from the putty. The proof of this yellow pudding will be in the filing, sanding and shaping of the Behlen powder and superglue putty patch. I use needle files and 240 sanding paper to do the initial shaping. Starting from the slot side – the end of the stem, I like to create a baseline by re-establishing end by removing the excess. After removing excess putty on the end, I find the original button. Since the left side of the button needs to be totally rebuilt, as it was broken off, I use the remaining right side of the button and slot shape to help me form the left side of the slot so it will match. With the baseline established, using the flat edge needle file, I begin to contour the general proportions of the button – lower then upper. The pictures show the gradual progress. With the general contours of the button established, I then score a line with the flat needle file to mark the upper button lip edge. With this edge established, I then file down the score line to establish the lip. I turn the file vertically and use the short edge as a saw and set the edge deeper. I like to have that edge established so that I can then begin to remove methodically the excess patch putty more accurately to the left of the lip on the second picture below. After removing as much of the excess putty as possible with the flat needle file, to avoid collateral filing into the Bakelite, I then use 240 grit paper to smooth the surface and remove the putty. The upper bit looks good so far! The pictures show the progress. I flip the stem over and repeat same process starting with defining the bit and creating a lip to guide the excess putty removal. While I work, I’m keeping an eye on the right side (lower in the picture below) of the stem where the major stem rebuild was. I recall Joyal’s observations of having to keep the patch high because during the smoothing and blending process sanding on the edge of the patch was taking too much of the stem material in the process. He then described having to refill with more patch the ‘border’ between patch and stem. The pictures show the progress on the lower bit area. The next two pictures show the completion of the filing and use of 240 grit sanding paper. I then use 600 grit paper to smooth and blend more and finish with briskly rubbing with 0000 steel wool. At this stage of the stem repair, I look at the patch areas (3^rd picture) and the use of Behlen Furniture Powder Medium Yellow and Special ‘T’ CA glue is strong. Building up the chip area and missing button portion wasn’t easy but it looks good. The color is good though it has a speckled quality to it created by small air pockets in the patch which were exposed during the sanding. This I have found is normal. To fill the pockets, I apply a dab of Hot Stuff CA glue on the stem patch and then ‘paint’ it over the patch using a toothpick. I do the same with the button lips – upper and lower. I repeat sanding with 600 grit and then steel wool (I forgot to take pictures of filling the air pockets!). The pictures show the progress. With the repairs to the stem completed, using micromesh pads 1500 to 2400 I wet sand the stem. Following this, I dry sand the stem using pads 3200 to 4000 and then, 6000 to 12000. The Bakelite (or Amberoid, I’ll have to figure out how to tell the difference) stem gradually shines up nicely with each successive micromesh cycle. The pictures show the progress.I follow the micromesh cycles with applying Blue Diamond compound to the stem with the cotton cloth Dremel wheel set to the slowest speed. I then mount the carnauba cotton cloth wheel on the Dremel and give the stem 3 coats of carnauba wax. I follow the carnauba with a hand-buff using a microfiber cloth. Wow! I like it. The Bakelite or Amberoid has the appearance of glass – the patch has no textural differences with the original stem. The last two pictures are flipped to show what I’m seeing after the buff. Stem completed for now – the new push-pull tenon system should be in transit. With the stem completed and on hold for the tenon, I look to complete the stummel of this Meer Carved Vineyard. With of the unique characteristics of Meerschaum pipes, they’re like wine – they get better with age! For Meerschaums, their value increases with use as the oils in the tobacco interact with the unique composition of the Meerschaum the bowl will change color gradually, darkening to the golden, honey brown which is its patina. The Carved Vineyard displays this growing patina and to enhance this natural coloring process, treating the stummel with bees’ wax is the long-used practice of choice. This is my first application of bee’s wax to a Meer and Charles Lemon’s, of Dad’s Pipes, descriptive posts have been helpful as I’ve done my research (See: Quick Clean-up of a Tulip Meerschaum Sitter). One thing very much available in Bulgaria is bees’ wax, which I found in a local outdoor market at the honey kiosk. My price was 3BGN for 100gr (Translation: $1.63 for 1/5 pounds). I don’t know if it’s a deal or a steal. After I unwrap the package, I break off some chunks of the bee’s wax and put them in a small mason jar, which I’ll be able to keep unused wax for the next Meer treatment. Using my hot air gun, I melt the wax in the mason jar. After melting the wax, I hold the Meer over the hot gun to warm up to better absorb the wax. Blame it on Bulgarian winters, but when I finish warming the Meer, the wax has already cooled down and congealing! So, a more rapid wax melting follows, and a re-warming of the Meer stummel. I used a Q-tip cotton swab to paint the bowl with the melted bee’s wax. I was careful to paint the sculpted vineyard lines – getting the wax in the nooks and crannies. I put the stummel aside to cool. Since this was my first time to apply the bee’s wax treatment to a Meer, I was a little surprised how thick the congealed wax was on the stummel after it cooled. It could be that the Meer wasn’t hot enough and the wax was cooling too quickly. Either way, the Meer received a treatment! After cooled, I try buffing with a towel to remove the thicker waxy residue, and I discover that it’s not too easy. I’m thinking that the wax is too thick and it congealed to fast (3^rd picture below). I improvise and I think the improvisation benefited this Meer. Using a Q-tip as a brush, I start passing the thick-layered bees’ wax stummel over the air gun – like passing over a lit candle, it liquefies the wax on the portion impacted by the heat. As the wax liquefies, I paint it into the surface – working it in well and removing the excess with the Q-tip. This time applying wax around the Meerschaum seems to absorb the wax instead of being smothered by it. It didn’t take long and the application of bees’ wax is complete (4^th picture below)! Then, before the stummel cooled down, while yet warm, I buff the stummel with a towel and then with a microfiber cloth and WOW. I’m a believer. The shine and deepening of the patina is evident! The pictures tell the story. With the Meerschaum’s stem and stummel complete – almost – I set both aside waiting for the arrival of the push-pull tenon from the US. I’m beginning to wonder whether this Meer Carved Vineyard should go to The Pipe Steward store, or remain in my collection – often I have that problem 🙂 !

A few weeks later the push-pull tenons arrive via a friend who was willing to carry them to Bulgaria. I open the package sent by Tim West at J.H. Lowe in Columbus, Ohio, and have my first look at what a new push-pull system looks like. I unscrew the old tenon and easily screw the new one in place. The mortise sleeve’s threads worked perfectly as well. The problem though, is that it will not screw all the way in. Previously, I identified a tubing of sorts deeper in the mortise which was the only thing the old tenon was locking into – though poorly. My first inclination was to cut the new mortise tenon sleeve so that being shortened it would fit in the limited space. It was then that I started questioning whether what I was looking at was part of the design or that it was in fact, the left-over remains of the bottom end of the old mortise sleeve which had broken off. After looking closely at the inner tubing, I can see fragments of the old break. Ok! Now I understand that I need to exorcise this vagabond mortise sleeve. I first try wedging a small flat head screw driver in the tubing to ‘unscrew’ it by turning it counter-clockwise. I was hoping that it might be loose, but will not budge. So, using appropriately size drill bits and wood screws, gradually I clear out the obstructing portion by shaving off the material of the old sleeve which I think might be acrylic. I am careful to keep the bits and screws straight so they do not nick the Meer threads. This was not an easy or fast process, but eventually I was satisfied to remove most of the old sleeve – leaving only a very thin ‘skin’ over the threaded area deeper in the mortise, which may indeed help in keeping the mortise cleaner. After this, I screw the new insert into the mortise and trim and sand the protruding ‘head’ of the sleeve to improve the fit and alignment of the mortise and stem. I also sand down the tenon diameter to improve its fit into the sleeve. I’m pleased with the results. The pictures show the replacement of the push-pull tenon system. I’m pleased with the stem rebuild that has blended very well with the Bakelite stem and has put this Meerschaum back in service for a new steward. The patina of the Meerschaum Carved Vineyard has a very healthy start and will only season more with good, aromatic tobaccos. I also like the blending of smooth and carved Meerschaum – a very stylish pipe. If you would like to adopt this Meerschaum Carved Vineyard, look at the Pipe Store in my new blog site at ThePipeSteward.com. The profits of my pipe sales go to help women and children who have been sexually exploited and trafficked through the Daughters of Bulgaria, an organization we work with here in Bulgaria. Thanks for joining me!

1976-1977 Kirsten Pipe Company Catalog

The Striking Grain of a GBD Americana – Made in London England Bent Billiard

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Blog by Dal Stanton

When I saw this pipe on the eBay auction block, I was drawn to it first by the grain. The dark veins of grain were an anomaly and immediately the questions that came to my mind were, “Is that natural or were the darker veins introduced through the manufacturing processes of GBD? Or, are they discolorations that came afterwards through aging? The questions raised my curiosity enough to stand back and look at the pipe itself – a GBD Americana half Bent Billiard. The grain beyond the dark veins were interesting – one side of the stummel was almost exclusively a pattern of peacock feather eyes – bird’s eye grain, but larger and flowing. The other side appeared as a tree flowing up from the heal of the stummel and fanning out midway to the rim, with more bird’s eye grain taking the form of the foliage of the tree. Unapologetically, I’m a briar grain addict! Well, with the winning bid cast, the GBD made its way from the United States to my “Help Me!” basket here in Sofia, Bulgaria. Here are the pictures that first got my attention on eBay – the black vein grain and the flowering tree: This attractive Bent Billiard has markings on the left side of the shank of, “GBD” (oval encircled) over “Americana”. The right side of the shank bears, “Made in London” (circular lettering) over “England” with the shape number “508” immediately to the right. The bottom of the shank has “M” imprinted standing alone. The traditional brass GBD rondel garnishes the stem. The story of GBD pipes is an interesting one starting in France in 1850 with an unexpected partnership, not coming from businessmen, but fellow pipe makers who felt they could make a go of it. This excellent article, Finding Out Who Created GBD – Story of a Pipe Brand – Jacques Cole was reposted on Reborn Pipes and is an excellent read for framing a historical appreciation for a pipe name and its development – GBD.

Who were these creators? Ganneval, Bondier and Donninger were three ‘Master Pipemakers’ who got together in Paris in 1850 to manufacture meerschaum pipes. It was a bold decision as these were troubled times in France. Charles Louis-Napoleon Bonaparte has returned after the 1848 revolution and become President of the Republic. Following a coup d’etat in 1851, he made himself Emperor Napoleon III in 1852. He was incidentally a keen pipesmoker and may well have owned one or more early GBDs.

The pipe of Emperor Napoléon! Does it get much better than this? The picture to the left bottom is not Napoleon depicted, but with pipe in hand, the ‘charge’ gives one an image to imagine! The focus of the ‘GBD’ enterprise in the late 1800s was primarily the production of meerschaum pipes but in the 1850s, with Saint-Claude’s discovery of briar and its special qualities for making lasting, heat-resistant pipes, GBD adapted and added briar to its list of materials. GBD boasted in the end of the 19^th Century as having 1500 models that customers could choose from – though Pipedia’s article on GBD clarifies this unbelievable number as counting each shape three times due to three different stem materials used. GBD straddled its French identity and its adopted English identity through various acquisitions and changes in ownership, yet, keeping the initials of the founders firmly in place. Pipedia’s history is helpful to understand these historical iterations:

There is a very simple explanation for GBD’s program to turn more “British”: GBD became a British company soon after the turn of the century! In 1902 Marechal and Ruchon sold GBD to A. Oppenheimer & Co. in London. Charles Oppenheimer had founded this successful trade business in 1860 as an import-/export house. His brothers David and Adolphe and brother-in-law Louis Adler soon joined him. Adolphe took over when Charles went to Germany as British ambassador. Briar pipes were among the first products traded. The business relation to GBD in Paris began as early as 1870. Being the most important customer in the English-speaking world, Oppenheimer & Co. were designated as sole distributor for Great Britain, the USA and Canada in 1897.

Though English owned, pipe production continued in Paris and soon Oppenheimer acquired two factories in Saint-Claude in 1906, increasing its production. Also during this period, Oppenheimer continuing to expand, built a pipe factory in London, but this operation failed to live up to expectations until the genesis of WW I when demand for pipes increased for the front line and production fell in the French factories as men were called to the front lines. The shift of GBD being identified more distinctly as a British pipe emerged after the close of the war even though production continued in London and France through the 1920s. I find the next Pipedia excerpt interesting because it marks well how GBD had fully transitioned from its origins, the handshake of 3 French pipe makers, to a macro-business continuing through the 1900s.

In 1920 Oppenheimer had purchased BBB (Blumfeld’s Best Briar, formerly A. Frankau) and little later Loewe & Co. and large shares of Comoy’s of London. The economic crisis in the early 1920s induced the foundation of Cadogan Investments Ltd., named for its seat at Cadogan Square in London. The Cadogan group was a superordinated holding company, in order to tune all activities of Oppenheimer’s brands in the pipe industry. Whereby an extensive independence of the single brands was preserved. Remember, the Oppenheimers and Adlers weren’t pipe specialists, but rather sales people who depended on their experts in the British and French plants.

This link is to a 50 page catalog featuring Oppenheimer’s product line – it is fascinating. The index page is pictured below. In 1952 the Paris factory moved to Saint-Claude and since the 1980s most GBD pipes come from London. The higher-end GBD pipe lines are of good quality and many feel they stack up well against the array of Dunhill offerings yet more affordable. The Pipe Phil history of GBD says that the Saint-Claude pipe factory closed in 1981 leaving only London as the producer of GBD pipes.This list comprises the better grades of GBD pipes in descending order: Pedigree, Pedigree I, Pedigree II, Straight Grain, Prodigy, Bronze Velvet, Virgin, Varichrome, Prestige, Jubilee, New Era, Prehistoric, International, Universe, Speciale Standard, Ebony, Tapestry, New Standard, Granitan, Sauvage, Sierra, Penthouse, Legacy, Concorde.

According to the José Manuel Lopes, the Americana before me now is a GBD second associated with L&H Stern, Pioneer, and Appleby. The closest indicator of dating of this GBD Americana comes from Pipe Phil that GBD’s metal stem rondels were discontinued after 1981 when GBD merged with Comoy. After seeing Reborn Pipes’ contributor, Al Jones’ comments in several GBD discussion threads, I sent him a note with some questions and pictures about this Americana. His response was helpful and his description of ‘Odd Duck’ helps me place this pipe in context:

Dal:

You’ve got an odd duck!

Typically, the stamping used on pre-Cadogan pipes is the straight line COM, “London, England” stamp (see attached) combine with the brass rondell stem logo. Cadogan era pipes (made after 1981) have the round “Made in London” (with England under) COM, as shown on your pipe. But, they typically have stamped stem logos. I see these pipes occasionally, and my assumption is they were made after the merger, until the brass rondell inventory was exhausted. One common denominator on these pipes is a single letter. I have no idea as to what it may mean, but M is frequently used. These pipes also had many more finish names, like your Americana, that were not seen before. Comoy’s started doing the same thing, adding lines and letters just after the merger. I’ll look forward to seeing the restored pipe, it looks like a good candidate.

Thanks,

Al With Al’s ‘Odd Duck’ description in place, my best summation of this GBD Americana, is that it is placed after 1981, but in the early 80s, after the Cadogan merger, but before the brass rondel bucket emptied which more than likely indicates a cost-saving measure that may indicate a lowering of GBD quality – perhaps, only my guess. I took a quick look in the early 80’s GBD catalog listings on Chris’s Pipe Pages, perchance to find a listing for an Americana, but came up empty.

With a greater appreciation for the name and history of the GBD Americana pipe before me, and the other GBDs waiting in my “Help Me!” basket, I take additional pictures on my work table to fill in the story and take a closer look. I like the appearance of this GBD Americana bent Billiard. The cake build up in the chamber is thick and will need to be removed to the briar for a fresh start. The rim is covered with lava flow and will need cleaning before I can see what lies beneath. I’m interested to see what happens with the dark briar veins on the stummel surface when I clean it up with Murphy’s Soap. I detect some pits and dents on the stummel surface – normal wear and tear. The stem shows significant oxidation coupled with moderate teeth chatter and some dents on the bits. The first thing I do to begin the restoration and recommissioning of this GBD Americana is to plop the stem into an Oxi-Clean solution for a good soak to raise the oxidation. After soaking several hours, I pluck the stem out of the Oxi-Clean bath and the solution did the job of raising the oxidation. After I take a picture, I wet sand the stem using 600 grit sandpaper that takes the mother-load of oxidation off. I continue using 0000 steel wool to remove more oxidation and work the grooves around the button. I also work around the GBD rondel with the steel wool, working on the oxidation and shining the brass as well. The pictures show the progress.I then take pipe cleaners dipped in isopropyl and clean the internals of the stem. There was not too much resistance and the pipe cleaners returned clean very quickly.

Time to work on the stummel. I begin by removing the moderate cake build up in the chamber. I first put a paper towel down on the work space to collect the carbon dust and then take the Pipnet Reaming Kit and I use two smaller of the 4 blades available. Starting with the smaller blade, I turn it until the crunchy resistance of the carbon cake is absent, then I move up to the next larger blade removing the cake. Following the reaming blades, I use the Savinelli Pipe Knife and fine tune the reaming by scraping the chamber walls removing even more carbon. Then, I roll 240 grit sanding paper around a Sharpie Pen and sand the chamber walls. Finally, I use a cotton pad wetted with isopropyl 95% to remove the residue carbon dust and clean the chamber. Inspecting the wall of the chamber, all looks good – no problems detected. The pictures show the progress. I like working on a clean pipe so I turn now to the internals of the stummel. Using pipe cleaners and cotton swabs dipped in isopropyl 95% I attack the mortise and the airway. The tar and oils are not putting up too much resistance and the pipe cleaners and swabs start coming through clean. Later, I will give the internals a salt/alcohol soak to clean the stummel further and freshen the pipe. With the internals clean, I now turn to the external surface. I’m anxious to see what the Murphy’s Soap does regarding the dark veins on the surface – I’m not sure if it’s actual dark grain color or something else. I use undiluted Murphy’s Soap with cotton pads and bristled tooth brush to scrub the surface and remove the grime. To clean the rim, I also employ use of a brass bristle brush which will clean but not damage the wood. Without a doubt, I am looking at an amazing piece of briar with dark, blackish veins in the grain – unique and striking. The surface itself is in good shape. I detect very small fills but they are solid and will easily blend. The rim shows damage on the front-left edge – possibly scorching from lighting the pipe over the rim. There is also a bevel on the inner rim. To remove the damage to the rim and to reestablish crisp lines, I will lightly top the GBD – only taking off as much as needed. I use a chopping board on my work table with a sheet of 240 grit paper over it. I invert the stummel and rotate the stummel in a circular motion – careful not to lean to the softer damaged area of the rim. I take a picture mid-way to show progress. After removing enough of the top, I then switch to a 600 grit paper and give the rim a few more rotations on the topping board, primarily to smooth the rim. Burning and discoloration remain on the inner rim after the topping. I take 120 grit paper, tightly rolled, and cut a new inner rim bevel. I follow with 240 grit paper rolled, then a 600 grit rolled paper to complete the bevel. The pictures show the rim’s progress. With the stummel before me, I decide to proceed with sanding the externals. I first use a light grade sanding sponge, followed by the micromesh pads from 1500 to 12000. In sets of three, I wet sand using micromesh pads 1500 to 2400, followed by dry sanding with pads 3200 to 4000, and then concluding also dry sanding with pads 6000 to 12000. The grain in this GBD Americana is unique and the way the grain emerged through the micromesh cycles was striking. The pictures show the sanding process. I now clean and freshen the internals of the stummel more and I use kosher salt and alcohol to soak the stummel. The kosher salt will leave no residual taste as will regular iodized salt. I first stretch and twist a cotton ball to stuff down the mortise acting as a wick to draw out the tars and oils. I then fill the chamber with kosher salt and set it in an egg carton where it will have the right angle and be stable. Then using a dropper, I fill the chamber with isopropyl 95% until it rises above the level of the salt. I top it off after a few minutes because the alcohol is drawn down initially into the mortise and the cotton wick. I then set the stummel aside for several hours to soak. The pictures show the progress.With the stummel soaking, I start the stem polishing process. I first work around the GBD rondel using a small piece of Mr. Clean Miracle Eraser. I detect left over oxidation ringing the rondel in the vulcanite. I do not want to bear down on the rondel with an abrasive so I’m hoping that Mr. Clean will do the job and the result confirms this. Previously, when I removed the oxidation with 600 grit paper, it cleaned the button area of teeth chatter very well. I detect on both the upper and lower lip edges residue oxidation that was shielded by the lip overhang. I fold a piece of 240 grit paper to create a sharp blade/edge and sand the lip edge. This removes the oxidation as well as sharpening the button definition. I follow doing the same with 600 grit paper and then buff the bit, upper and lower with 0000 steel wool. The pictures show the fine-tuning stem work. I’m ready to begin the micromesh pads polishing process. First, using pads 1500 to 2400, I wet sand the stem, followed by pads 3200 to 4000 then 6000 to 12000, I dry sand the stem. After each cycle of 3, I apply Obsidian Oil to revitalize the vulcanite and take a picture to mark the progress. The GBD stem rondel has a pop with the black backdrop of the newly revitalized vulcanite stem. The pictures show the progress. Back home after a day at work, I’m looking forward to finishing and recommissioning this GBD Americana for service to a new steward. The salt and alcohol soak has had all day and there isn’t that much discoloration of the salt – hopefully this means there wasn’t that much left to clean! I thump the bowl on my palm to dislodge the used salt and dump it. I then take a dry paper towel and wipe out the excess salt from the chamber and after removing the cotton wick, I use multi-sized round bristle brushes to remove excess salt from the airway and mortise. Then I complete the job by wetting a cotton swab and a pipe cleaner with isopropyl 95% and plunge them, only to discover that the internals were indeed cleaned and ready to go. With the stummel cleaned and stem waiting in the wings, I reassemble the pipe to get a bird’s eye view of things. It does not take long to decide not to apply a stain, but to leave the natural finish on this striking and graceful Bent Billiard. The color combinations of the black veins and black stem, the golden briar and the brass stem rondel are eye-catching. This is one nice looking pipe! I use white diamond compound with a felt wheel mounted on the Dremel at the lowest speed. Before I apply the compound, I purge the wheel of old compound using the edge of the Dremel’s adjustment wrench. I apply the compound to both stem and stummel. I rotate the wheel over the surface, not applying much downward pressure on the surface but allowing the RPMs of the Dremel and the compound to do the work. After the White Diamond, I mount a cotton cloth wheel at the same lowest speed, and apply Blue Diamond compound to both stummel and stem. With the compounds completed, I buff the pipe with a flannel cloth not so much to shine it but to remove the excess compound dust before I apply wax. With the carnauba wax I mount the cotton cloth wheel, increase the speed one notch faster, 2 with the fastest being 5. I apply several coats of wax to stem and stummel. I finish the polishing process with a hand buff using a micromesh cloth to deepen and bring out the shine.

This GBD Americana Bent Billiard has perhaps the most striking briar grain I have yet to see. The black veined grain gives a marbling effect that draws the eyes to look closer. When one looks closer the grain is a myriad of shapes and bird’s eye swirls that make me ponder again one of God’s little creations. Then, the black grain on the left side of the stummel, dips underneath the heel, and emerges on the right side as straight vertical grain resembling a mature tree, beginning with the roots, then trunk, replete with foliage fanning out above as it reaches toward the rim – a virtual canvas. If I decide to sell this pipe (I’m conflicted, this one may indeed be a keeper!), you will see it in the store at my blog site, The Pipe Steward. All the profits of pipes that I sell go to help the Daughters of Bulgaria – the organization we work with here in Bulgaria helping women and children who have been sexually exploited and trafficked. Thanks for joining me!