Monthly Archives: July 2019

Restoring a Cased Camelia 515 Bent Billiard with Two Stems – Horn and Amber


Blog by Steve Laug

Jeff picked up this clam shell cased pipe from an online auction out of Virginia and I brought it back to Vancouver to work on. It is an interesting pipe that came in a nice case with a pair of stems included. One of the stems is golden amber with some interesting swirls and patterns and the other one is a horn stem. Both stems appear to be in excellent condition with minimal tooth chatter. The bowl itself had a cake and some darkening and lava overflow on the rim top. The finish was in decent condition though there was one medium sized fill on the left side mid bowl. Otherwise it is a nice piece of briar with a mixture of grains around the bowl and shank. The stamping on the pipe reads Camelia on the left side of the shank and 515 on the right side of the shank. The brand is not one that I had heard of before but shape number reminded me of some of the GBD numbers. Regardless who made it, it is hard to pass up older pipes with either horn or amber stems and impossible to pass up one that came with both. Jeff took the following photos of the pipe in its case from closed to opened showing the pipe and stems. Jeff took a photo of the pipe with each of the stems in place in the shank. The top one is a very nice amber stem and the lower one is the pipe with a nice horn stem.He took the pipe and stems out of the case to show the look of the parts of this old timer. The pipe has some good grain on the sides.Jeff took a photo of the rim top to show the condition. The photo shows the tarry buildup on the top and the damage to the inner and outer edge of the rim. You can see the cut like marks on the front of the bowl. The thick cake is also visible on the inside of the bowl. The second and third photo shows the grain around the bowl sides. Even under the grime you can see the interesting grain on the bowl sides. There is also a fill very visible on the left side of the bowl toward the rear top. The next photo is a close up of the fill on the left side. It is a bit shrunken but still and ugly pink putty.Jeff also took photos of the stamping on the pipe. On the left side it was stamped with Camelia in an oval and on the right side it was stamped with the number 515. I assume the number is the shape number for a bent billiard. The third photo shows the stamping on the silver band. It has the letters SLV in a rectangle. Under that are three hallmarks – each one has a letter in in a cartouche. The first letter appears to be a J, the second letter looks like a Y and the third looks like an M. All three letters are in a square shaped cartouche with the corners cut off. Jeff also took photos of the tenon on each of the stems.  Both are bone push tenons rather than the older style threaded bone tenons. The tenon on the amber stem has more of a taper to the end before the nipple. The tenon on the horn stem is more even from the end of the stem to the end of the nipple.Jeff took photos of the two stems together. There seems to be a variation in length between the two stems. The horn stem has more of a bent and makes it appear to be slightly shorter than the amber one. In reality they are the same length. Jeff also took photos of both sides of each stem to show their condition. I searched online using Google. Several of the links I found took me to Smokingpipes.com where they had a Camelia pipe listed in their estate area. They listed the brand in the French Made Pipe section. Here is the link to the billiard that they were selling (it has since sold but the connection is interesting to me here it is https://www.smokingpipes.com/pipes/estate/france/moreinfo.cfm?product_id=307863). I am not sure how they arrived at the brand being French as there are no clues on the pipe itself other than what they identify as a classic French billiard shape.

I also found a link to a blog on rebornpipes that Robert M. Boughton had done on a Camelia pipe that he restored also commenting that it was French made (https://rebornpipes.com/tag/camelia-pipes/). I had forgotten about this blog.  In it Robert pointed the way to the GBD connection for me in this quote: “this lovely example of the elegant Camelia straight smooth bulldog #699, originating in France of excellent lineage, being, according to Pipedia, an obsolete line of pipes once made by GBD.”

I did some digging on the Pipephil website (http://pipephil.eu/logos/en/logo-c1.html) and found a listing there that also associated the brand with a French pipe manufacturer. I have included a screen capture from the site on the brand showing the French connection. However I am not able to link the brand to a larger pipe manufacturer in France. This always makes me want to dig a bit deeper so the search continues.I turned to Pipedia (https://pipedia.org/wiki/French_Pipe_Brands_%26_Makers_A_-_D) under the Pipe Brands and Makers section and clicked on French Made pipemakers in the A-D section and sure enough I found a note there that read as follows – Obsolete brand by GBD in Paris. With that I clicked on the link and was taken to a page where there was a very brief write up on the brand itself (https://pipedia.org/wiki/Camelia). Here is what it said:

Camelia is thought to be a GBD second, and was one of many brands owned by the Oppenheimer Pipe Group, as evidenced in the following catalog page from a Circa 1950s Oppenheimer Pipes Catalog.

The page makes the GBD connection very clear and says the pipe is LONDON Made. It also states that the pipes would not be released for sale until 1952. I am getting closer to what I am looking for – a post 1954 London Made pipe with a GBD connection.Now that the connection to GBD was established I decided to go back and read the connection between GBD and Oppenheimer. The pipe catalogue page for the 1950s Oppenheimer catalogue was good but I am not clear about the age of the pipe that I have in hand. So I went to the Pipedia section on GBD (https://pipedia.org/wiki/GBD). I quote in part the section spelling out the details on Marechal and Ruchon’s sale of GBD to Oppenheimer.

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. Especially Adolphe Oppenheimer had a burning interest in the pipe business, and Louis’ son James Adler shared that. He should play the most important role in the amicable merger of GBD. A. Marechal, Ruchon and Cie. in Paris was now Marechal, Ruchon & Co. Ltd. (see Marechal Ruchon & Cie. page) – a British firm with four directors: Adolphe Oppenheimer and James Adler had their seat in the head office in London while Auguste Marechal and Ferdinand Ruchon went on leading the GBD factory in the Rue des Balkan in Paris, which was considerably extended and modernised. Ruchon acted as CEO.

Simultaneously Oppenheimer started to build a pipe factory in London. It was opened in 1903, but the forecasts had been over-optimistic for it’s capacity could not be utilized to the full until World War I. Things changed as the French pipe factories lacked more and more workers who were called to the front. In 1916 the ledgers registered that 18,000 of 27,000 dozens bowls manufactured in Saint-Claude were determined via GBD Paris for GBD London. Wherewith London had become the more important location.

After the war, GBD continued production both in London and in Paris. London GBDs mainly went into the national trade and as well into the British Empire and the USA. Paris on the other hand served the French and the other European markets. The location of the factories influenced the GBD history furthermore in the future although later on the products of both countries occasionally were marketed side to side to match special market requests.

I decided to follow the trail on the Marechal Ruchon and Cie  name and see if I could read a bit more about the sale to Oppenheimer (https://pipedia.org/wiki/Marechal_Ruchon_%26_Cie). I quote  piece of that article to cross reference the information on GBD.

Marechal Ruchon & Cie. was a company owned by Auguste Marechal and Ferdinand Ruchon (“& Cie” is the French equivalent of “& Co”) which owned the GBD brand from the end of the 19th century until 1902 when they sold Marechal, Ruchon & Cie. to Oppenheimer Pipe, which in turn changed the name of the company to Marechal, Ruchon & Co., Ltd.. Upon the creation of Cadogan, however, the brand was no more, remembered only in the name of the GBD Marcee pipes made until just after the Second World War.

Now I knew the connection to Oppenheimer but I still wanted to understand the birth and life of the Camelia Brand. I went back to the Pipedia article on GBD (https://pipedia.org/wiki/GBD) and read further to see if there was any mention of the Camelia line of pipes. Low and behold there was a reference to the brand just below the 1950s Oppenheimer Catalogue pages and just above the photos of GBD pipes. I quote the pertinent part of the article below and have highlighted the section on the brand.

The claims after the 1st World War demanded further distinctions. First of all was the London Made, which became the Standard London Made, followed by the New Era– in 1931 the top model asking 12½ Shilling. The Pedigree, although sketched around 1926, was not produced until the later 1930s. The New Standard was introduced in order to give the popular Standard of the 20s a higher rank in value. The Prehistoric, a deeply sandblasted black pipe, that still carried the small GBD Xtra stamp, was entirely new and unusual.

The French GBDs more or less followed the same developments, although Xtra and Speciale very longly used there. In the late 1920s a GBD with a metal filter system was introduced under the name Extra Dry. Also from Paris came another important new feature: the introduction of the inserted metal plate with the GBD initials on the stems. That insert added a further “touch of class” to the pipes and in London it was attached immediately.

The solid demand for GBD pipes also encouraged the management to introduce a number of sub brands designed to win new buyers. We can list such sub brands as follows:

  1. The City de Luxe (1921) had an inserted star on the stem as trademark and were marketed in England and in France. These pipes were the bestseller of the 5½ Shilling class in the 1930s in Great Britain.
  2. Reserved for the French market remained the even more favorable GBD brand Marcee, a derivative of Marechal Ruchon & Co. Ltd. that was offered until the 2nd World War and for another one or two years afterwards.
  3. The Camelia – made in London as a 2½ Shilling line – was only around for a few years.
  4. Important to mention is also the Riseagle—completely produced in Paris before the wartime for England’s smokers who wanted “a cheap but dependable British made pipe”… one of the most successful 1 Shilling pipes until 1939! The introduction of the luxury impact on the excise tax for pipes after the war put an end to this cheap brand.

Other brands of this time were marketed with even larger independence. The Dr. Plumb’s had been developed by the Parisian sales manager J.B. Rubinovich in 1925 when GBD France needed “a cheap line of pipes” especially for the Canadian market. In fact, the new brand was nicknamed for Mr. Rubinovich’s secretary Leslie W. Plumb, whose most important business was “to doctor figure” the ledgers. Dr. Plumb’s made their way not only in Canada. – The Peter Piper, as well as the Dr. Plumb’s produced in Saint-Claude, is another great example that stampings like “London made” or “London England” are not always totally trustworthy also on older pipes! Not only today numberless brands are made in Saint Claude and stamped with whatever the buyer wants to be stamped.

Here is a link to the full GBD Oppenheimer catalogue from the 1950’s if you would like to check it out further (https://pipedia.org/images/2/2f/1950s%3FGBDcatalog.pdf).

Now I could honestly say that while many thought this was a French brand it is actually only French by association with GBD in its early days. However, the quote above unequivocally asserts that it is a London Made Pipe that was made as a 2 ½ Shilling Line of pipes for a short time. The catalogue from the 1950s Oppenheimer Group pushes the date to post WWII and potentially the early 1950s (there is a note on the catalogue page saying that the pipe was not available for Home Trade until 1952) for a very short time and then it was gone. The only thing that leaves me with a bit of a question is the twin stems – a horn one and an amber one. Were those made for pipes in the 1950s? 

Last night I took the pipe out of the box of pipes for restoration. I took a photo of the case it was in to show the condition it was in. The leather was in very good shape for a pipe of this age. The outside of the case is stamped in gold PWS in an oval followed by Echt Bruyere & Bernstain. That translates as follows. Echt = Genuine, Bruyere = Briar and Bernstain = Amber. The description fits the pipe that is in the case. It states that the pipe in the case is Genuine Briar and Amber. I am not sure of what the PWS means on the case or how it connects to GBD.On opening the case I was once more stunned by the beauty of the pipe. It really was a beautiful billiard. The only visible flaw was the fill on the left side of the bowl. The fill had shrunken and was rough to touch. You can see it in the photo below. Other than the damage to the rim top it is a stunning pipe. Jeff did his usual thorough cleanup of the pipe and stems. He cleaned the exterior of the pipe with Murphy’s Oil Soap and a tooth brush. He scrubbed it and rinsed it off with warm water. He scrubbed out the internals with pipe cleaners, cotton swabs and alcohol.I took photos of the pipe bowl with each of the stems in place. The first set of photos show the bowl with the amber stem. The fill is very visible in the left side of the bowl and the damage to the rim top is also visible in the photos. The second set of photos show the bowl with the horn stem in place. The tenon on the horn stem had some shrinkage, I believe due to age and not being used. It was loose in the shank and would need to be taken care of in the restoration. I took a close up photo of the rim top to show the cuts in the rim top on the front outer edge of the bowl. The scratches and cuts were deep. I also took close up photos of the stem surfaces to show their condition.I set the stems aside and turned my attention to the bowl. I used a dental pick to remove the large fill on the left side of the bowl. I cleaned it up with alcohol on a cotton swab to remove the dust and debris from the crevice. I used clear super glue and briar dust to fill in the cleaned out hole in the bowl side and clear super glue to fill in the cuts and nicks on the rim top. When repairs had cured I sanded them with 220 grit sandpaper and polished it with 400 grit wet dry sandpaper. I sanded and resanded until the surface was smooth. I polished it with 1500-2400 grit micromesh sanding pads. I wiped it down with a damp cloth after each pad.Once the surface was smooth I used a cherry stain pen to touch up the repaired areas on the rim top and the left side of the bowl. The colour of the pen was a good match to the rest of the bowl. The repaired areas on the front of the bowl and the repaired fill look very good with the stain coat. To further blend the stain into the rest of the bowl colour I decided to continue experimenting with a new product from Mark Hoover of Before & After Products. This one is a product he labels briar cleaner and it has the capacity of absorbing grime and dirt from the surface of briar. I rubbed the bowl down with some of his Briar Cleaner to see how it would work in this setting. In speaking to Mark he noted that the product is completely safe to use. The main product is even FDA approved edible. I rubbed it onto the bowl and rim top with my finger tips and worked it into the grime and grit on the bowl. I let it sit on the pipe for about 5 minutes before I rubbed it off with a microfibre cloth. I rinsed it under warm running water to remove the residue. I was pleasantly surprised by how clean the surface on the bowl looked when I was finished. I could see remnants of gold leaf in the Camelia logo as well in the catalogue illustration above. I used some Antique Gold Rub’n Buff to give the stamping a new coat of gold leaf. The finished bowl looked really good at this point in the process.I touched up the repaired fill on the left side of the bowl with a black Sharpie Pen to assure that it blended into the finish. I worked some Before & After Restoration Balm into the surface of the briar with my fingertips to clean, enliven and protect it. I let the balm sit for a little while and then buffed with a cotton cloth to raise the shine. Mark Hoover’s Balm is a product that I have come to appreciate and one I use on every pipe I have been working on. I hand buffed the bowl with a microfiber cloth to raise a shine in the briar and the silver. I took photos to show what the pipe looked like at this point in the restoration process. I really like the look of the bowl and after this I set it aside to work on the pair of stems. The bowl had the lion’s share of the restoration work needed on this pipe. So with that virtually completed other than the final polishing I set it aside and turned my attention to the stems. I painted the bone push tenon with clear fingernail polish to build it up and tighten the fit in the shank.I polished the horn stem with micromesh sanding pads – wet sanding it with 1500-12000 grit pads and wiping it down with some Obsidian Oil after each pad. I repeated that with the amber stem as well. I polished it with 1500-12000 grit pads. I wiped it down with Obsidian Oil after each pad. I finished polishing it with Before & After Pipe Polish – Fine and Extra Fine and rubbing it down with a final coat of Obsidian Oil. I hand buffed it with a microfiber cloth. With the parts finished it was time to polish up this interesting piece of GBD post WWII pipe history. It is a great clam shell cased pipe with both a beautiful striated horn stem and a swirled genuine amber stem. It was time to finish this pipe. I put the horn stem and bowl back together first and buffed the pipe with Blue Diamond on the buffing wheel. I polished the briar and the minute scratches still in the horn stem until there was a rich shine. The horn stem looks really good with the rich red/browns of the bowl. The Gold Leaf in the logo stamp goes well with the older look of the horn stemmed pipe. The finish really highlights some amazing grain and hides the fill on a proportionally well carved pipe. Once I buffed the pipe the briar came alive and the mixture of grain popped with polishing. The horn stem had a rich glow. The finished pipe is a beautiful grained Bent Billiard. It fits well in the hand and sits right in the mouth. Have a look at it with the photos below. The dimensions of the pipe with the horn stem are Length: 5 ½ inches, Height: 1 7/8 inches, Outside diameter of the bowl: 1 1/4 inches, Chamber diameter: ¾ of an inch. The dimensions of the same pipe with the amber stem are Length: 5 ½ inches, Height: 1 7/8 inches, Outside diameter of the bowl: 1 1/4 inches, Chamber diameter: ¾ of an inch. This is an interesting piece of GBD history having been made only for a short time from 1952 onward. It is mentioned in the Oppenheimer 1950 Catalogue and it clearly states that it did not come out for sale until 1952. The horn and amber stems could well be a re-introduction of older stem materials when vulcanite was scarce in post war Europe. The push style bone tenon rather than a threaded older style bone tenon also makes this very feasible. However you view it I have to say that is a beautiful pipe with options for each smoke that will give a very unique experience each in their own right. Thanks for taking time to work through the whole blog. It was a  pleasure to work on. Sorry for the length!

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Recommissioning a Classic Pocket Pipe:  A Fun Sport Horn Stem Sculpted Stubby Paneled Tomato


Blog by Dal Stanton

I’m calling this Sport Horn Stem “fun” because it’s a whimsical pipe.  As a ‘stubby’ he looks like he wanted to grow larger but didn’t.  He’s diminutive in stature and really qualifies as a ‘Pocket Pipe’ because he will be comfy in a pocket waiting for his steward to pack his bowl and spend some time together.  The dimensions are: Length: 4 1/4 inches, Height: 1 1/8 inches, Rim width: 1 inch, Chamber width: 11/16 inches, Chamber depth: 1 1/8 inches.  His paneled bowl has also been shaped with a sculpting that appears to be leaves, vines and a basket on his heel.  When you put this pipe’s characteristics together, whimsical comes to my mind.  He came to me as a part of the French Lot of 50 that I acquired from France’s eBay auction block.  This French Lot of 50 has been an amazing collection of pipes many of which are now with new stewards after they commissioned them from For “Pipe Dreamers” Only! online collection and many of which bearing names that are unknown to me.  This lot was also characterized by several pipes sporting horn stems – pointing in many cases to earlier French origins.  Here’s a picture of the Lot and the Sport is bowl down on the lower right.Peter was among those who trolled through the virtual ‘Help Me!’ baskets in Pipe Dreamers Only! and reached out to me about commissioning the Sport which benefits the Daughters of Bulgaria – our work here in Bulgaria helping women and girls who have been trafficked and sexually exploited.  Now on my worktable, here are more pictures of the Sport. The left side of the shank holds the slanted, cursive, ’Sport’ framed in a sculpted panel.  On the right side of the shank, is the French rendering of ‘BRUYERE’ [over] ‘DELUXE’.  As I’ve done several times before with this Lot, I’m assuming that the Sport is of French origin – the horn stem helps in this conviction as horn was a common stem material for pipe manufacturing in the earlier part of the 1900s. As I was half expecting, I found very little at my normal first stops at Pipedia and Pipephil.  ‘Sportsman’ is a popular name I saw in Pipephil but nothing with the simple, ‘Sport’.  Pipedia dangled some possibilities.

Pipedia listed in the Savinelli article (LINK) the Savinelli made sub-brands, seconds & order productions and had this listing: “Sport – About 1960’s – Chubby shape with very short stem or mouthpiece”.  Interesting, but the Sport just doesn’t have the Savinelli Italian feel with the horn stem and sculpting.  Pipedia provided two more leads – one of French origin and the other English.  Again, Pipedia only contributes in the English listing section and not with an article: “Sport: Brand of J. Cohen & Son. Also a Salvatella series, and a model by Chacom.”  I looked up the link given for Salvatella because I hadn’t heard of this name.  The short paragraph was interesting:

Salvatella was a pipe company founded in 1883 by Enric Moulines Giralt in Catalonia, Spain, long the center both of briar production and pipemaking in Spain. Giralt started the company after training with French pipemakers, and primarily dedicated himself to the development of briar. It was not until Giralt’s nephew, the third to take over the company, that Salvatella began producing pipes as well as briar. While at their height the company produced as many as 150,000 pipes per year and exported pipes worldwide, the factory closed in 2001.

Interesting, but nothing that helps me move forward.  The listing for ‘Sport’ in the Pipedia French manufacturers list was even less demonstrable: “Bristol Sport” followed by: “???”  Each piece of information is like a thread in the wind.  Nothing to get ahold of or to tie to!

In a last ditch effort to find something, I recalled the restoration of another petite French beauty that came from this French Lot of 50 that I had already researched and restored (See: Discovering the History with the Reclamation of this Petite EPC Majestic Bent Horn Stem Billiard).  The EPC Majestic I discovered dated in the 1920s and was produced by now defunct, A. Pandevant & Roy Co. near Paris.  The research of the EPC Majestic led me to old catalogs that helped me put the pieces of the mystery of its origins together.  The similarities between the Sport and the EPC Majestic gave me the idea that maybe the name ‘Sport’ might show up in the old catalog.  With a certain amount of hope I poured through the Catalogue only to find nothing.  One last thread in the wind of little use: Also, in the same French Lot of 50 was another pipe marked with “Sport” on its shank.  An attractive Bullmoose which is still in the For “Pipe Dreamers” Only! online collection waiting to be adopted!  A quick comparison of the markings leaves little hope that they are related….While I cannot corroborate this, I believe that the Sport before me is of French origin and that the horn stem gives it some vintage – how much, I cannot say.  Even so, it is an attractive and interesting pipe even though his origins will remain shrouded in mystery for now.

Looking at the pipe’s condition, it is in very good shape.  The chamber has a light cake build-up but the lava flow over the rim has some grit to it.  The sculpted surface needs cleaning and polishing.  The horn stem is beautiful and shows almost no bit wear.  It will shine up very nicely.  I start the recommissioning of this Sport Horn Stem Sculpted Paneled Tomato by starting with the stummel.  Using the Pipnet Reaming Kit I use only the first, smallest of the blade heads to ream the 11/16-inch-wide chamber.  I follow this by employing the Savinelli Fitsall Tool to scrape the chamber walls and clean out around the draft hole.  Finally, I sand the chamber using 240 grade paper wrapped around the Sharpie Pen and finish by wiping the chamber with a cotton pad wetted with alcohol to clean away the carbon dust.  With the chamber cleaned, I give it a quick inspection, and all looks good – no problems with overheating, cracks or fissures. Next, using undiluted Murphy’s Oil Soap with a cotton pad, I scrub the external sculpted briar surface.  I also use a bristled toothbrush to get into the crevasses of the sculpting as well as a brass wire brush to work on the rim.  After scrubbing the surface, I take the stummel to the sink and using warm water I clean the internals using shank brushes and anti-oil dish soap.  While I’m at it, I use the brass brush on the nickel shank facing.After rinsing, and inspecting the now clean stummel, I discover 2 things.  First, there is a huge fill on the left shank near the ‘Sport’ nomenclature.  I’m not sure how I missed it before, so I look at a ‘before’ picture and discover that the fill had been part of the sculpting in a very effective way.  The fill was almost fully masked because it was blended with the contours.  Now, I’ll have to work on doing the same!  The second thing I discovered is that the mortise has a cork layer which grips the metal tenon.  Thankfully, I discover this before digging in the mortise to clean it!  As I inspect the mortise, I also see what appears to be a metal tubing beyond the cork down to the draft hole.  I use a sharp dental probe to test it and it does feel like metal or a hard lining of some sort.  The presence of the cork could possibly add more weight to this Sport having some vintage to it.  Cork was often used on older pipes to grip the tenon – the EPC Majestic included. Just to make sure, I remount the horn stem to see if the grip was still good – it was.  I’ll treat the cork later with some petroleum jelly to hydrate it.  Wow – I can’t believe I missed that fill!!I continue cleaning the internals by using isopropyl 95% and cotton buds reaching over the cork as much as possible. I also scrape the sides of the mortise, beyond the cork to help excavate tars and oils.  After a lot of cotton buds and pipe cleaners, the buds begin to emerge lighter and cleaner and I’m able to move on!The huge fill on the left shank side needs to be addressed.  The fill is solid but eroded so that it falls beneath the surface level of the briar.  I first dig out the old fill material using a sharp dental probe. My, the hole is deep!  After removing the fill, I clean the area with a cotton pad and alcohol. I then mix thick CA glue with briar dust to form a putty to refill the hole. Before mixing the CA glue and briar dust, I put scotch tape down on a plastic disk that serves as a mixing pallet.  The tape helps to facilitate cleaning – I simply peel the tape up afterwards.  I place a small pile of briar dust on the disk and put some thick CA glue in a small puddle next to the dust.  Using a toothpick, I gradually pull some briar dust into the edge of the thick CA glue and mix it as I go.  When it gets to a thickness that it doesn’t run too much, I dollop some into the crevasse with the toothpick and knead the putty down into the recesses using the toothpick.  When the hole is filled and a bit higher than the surface, I put the stummel aside to cure.  Since the putty is so thick – the hole so large, I’ll let the curing go through the night.  I put the stummel aside and turn to the horn stem.I start by cleaning the airway with pipe cleaners dipped in isopropyl 95%.  After one attempt with the pipe cleaner I discover that the airway is closed.  Looking at the button, I can see that the slot is totally plugged with gunk.  I use a dental probe with a hook point to excavate the gunk out of the slot.  Eventually, I’m able to work a thin shank brush wetted with isopropyl 95% through the airway.  After several pipe cleaners and assistance from shank brushes, the airway started cleaning up and I move on.To clean the external surface of the horn stem I take it to the sink with a bristled toothbrush and scrub the stem with warm water and dish soap.  First, I take a pair of pictures to mark the start.After the scrubbing, the horn composition starts to show its subtle shadows.  Very nice.After cleaning the nickel tenon with soap and water and clearing the gunk buildup on the stem facing, I use 000 steel wool to clean the tenon further bringing out the shine.With the stem now clean, I study the horn stem.  It’s a beautiful piece of horn and the only thing I can do is simply spruce it up.  In the past, I benefited greatly by Steve’s essay on horn stem repair working on my first horn stem, A First Horn Stem on a Throw Away Pipe.  The key thing in repairing horn is to fill the gaps to keep the horn from drying and splintering as horn is very porous.  This stem needs no repairs, but looking closely, I do see normal minuscule porous texture.  The tighter or smoother the horn surface is, helps to guard against the decay of the horn.  I take a few closeups to show this.I treat the horn stem like a vulcanite stem but with greater gentleness.  I run the stem through the micromesh regimen, and I will apply compounds afterward.  I wet sand with micromesh pads 1500 to 2400 and follow by dry sanding with pads 3200 to 4000 and 6000 to 12000.  After each set of three pads, I apply Obsidian Oil to the horn and the horn drinks it up! I’m pleased with the results – even more gloss!  My day comes to an end. The next day, the briar dust putty fill has fully cured, and I go to work on it using a flat needle file to bring the fill mound down to briar level.I then use a piece of 240 grade sanding paper to smooth it further and to begin giving some shape to the patch to blend it.When the sandpaper did what it could do, I used a pointed needle file to sculpt through the patch to blend the patch with the surrounding area.  The good news is that the area is rough and busy which helps in blending the patch.With a combination of filing and sanding, I like the results.  The briar putty patch is darker than the surrounding area but I’m hopeful that the surrounding briar will also darken through the micromesh sanding/polishing process and with the application afterwards of Before & After Restoration Balm.After the external briar cleaning, the rim is looking good but still has some minor discoloration from charring on the internal rim edge and well as some roughness on the rim.  I gently sand the rim and the internal edge with a piece of 240 grade paper to dispatch the issues.  The rim looks good. Next, I apply the full regimen of nine micromesh pads starting with wet sanding using pads 1500 to 2400.  After this, wet sanding with pads 3200 to 4000 and 6000 to 12000 finishes the process.  Wow, it is amazing how this process brings out the grain! From the picture above, the sculpting lines are lighter, and the hue is uneven with the darkening hue of the surrounding smooth briar.  The micromesh has helped with the blending of the briar dust putty patch, but it’s still noticeable.  Applying Before & After Restoration Balm will address both these issues and I’m looking forward to seeing the results.  I put some Balm on my fingers and work the Balm well into the sculpting and briar.  It starts with a cream-like consistency and then thickens to feel more like wax.  I place the stummel aside for 30 minutes for the Balm to be absorbed (pictured) and then I wipe off the excess Balm with a clean cloth then I buff the stummel to bring out the grain.  The briar looks great!As I noted before, the presence of the cork in the shank to grip the tenon possibly helps place this pipe in an older vintage.  To treat the cork, I use petroleum jelly to condition the cork.  I apply a light coat with a cotton bud and work it in.  This will hydrate the cork and hopefully add much time to the cork’s continued life.With the horn stem and Sport sculpted stummel reunited, I apply Blue Diamond compound.  After mounting a cotton cloth buffing wheel to the Dremel, and setting the speed to 40% full power, the compound does the job of applying the fine abrasive to the briar surface removing fine imperfections and distinguishing further the sculpted crevasses.  After applying Blue Diamond to the stummel and stem, I change to another cotton cloth buffing wheel dedicated to applying Blue Diamond on nickel.  I give the nickel shank cap a quick buffing with the compound to raise the shine.  I use a different buffing wheel for each different kind of application. While polishing the cap, I’m careful not to run the wheel over the briar as the nickel will stain the wood with the black resulting from the polishing the nickel.Following the compound, I change cotton buffing wheels to a wheel dedicated to wax, maintain speed at 40% and apply carnauba wax to both horn stem and stummel.  Afterwards, the restoration is completed with a rigorous hand buffing to remove excess wax as well as to raise the shine.I cannot place with certainty the exact vintage of this Sport Bruyere Deluxe, but it has characteristics of an older pipe.  I believe it to have a French COM and the horn stem seated with cork, is a distinctive part of this ensemble.  The sculpted bowl is attractive, and the stubby, pocket-sized ease translates into a very fun pipe put back into service for a new steward.  Since Peter commissioned the Sport from the For “Pipe Dreamers” Only! online collection, he will have the first opportunity to acquire it from The Pipe Steward Store which benefits the Daughters of Bulgaria – our work here in Bulgaria helping women and girls who have been trafficked and sexually exploited.  Thanks for joining me!

I Really Love the form and shape of Older C.P.F. Meerschaum Pipes


Blog by Steve Laug

Not too long ago Jeff was contacted by a fellow who we have bought pipes from in the past. He has always been a good source of pipes for us and sold us some great pipes including a few C.P.F. pipes. He wrote to say that he had a few more pipes to sell and wondered if we were interested. He said that one of them was a small cased meerschaum pipe with a Redmanol stem. The pipe had been smoked and was worn but in otherwise good condition. The case had a stamp in the cover that read Warranted Genuine Meerschaum in and oval with a star. The shank had a silver band with the C.P.F. in an oval logo over Sterling. Jeff had him send us some photos of the pipe so we could have a look at it before making an offer. I have included a collage of those photos to give a general idea of what the pipe looked like and what attracted us to it. We made a deal – need you have doubted when you saw the C.P.F. oval logo on the Sterling shank band. We had the pipes shipped to Jeff in Idaho. When it arrived Jeff unpacked the pipe and did a quick examination of the pipe before he cleaned it up. He took photos of the case and the pipe. The logo on the inside of the case shows that it is a Meerschaum and warranted as such. The Star on the case is similar to others we have seen on C.P.F. pipes. The photos of the pipe in the case show the general external condition of the bowl. Jeff took the pipe out of the case and took a photo of the exterior of the pipe from above. It shows the cake in the bowl and the wear on the rim top as well as the slight darkening on the rim.Jeff took a close up photo of the rim top and bowl to show the cake and the darkening in the meerschaum. He also took a photo of the underside of the bowl and though it is a bit out of focus it is nonetheless clear enough to show the general condition of the pipe. He took a photo of the stamping on the band showing the C.P.F. oval logo over the Sterling stamp. You can also see the chipping on the Redmanol stem next to the shank band. The alignment of the stem to the shank is perfect so that we can assume that the tenon is in very good condition.The next photos show the condition of the Redmanol stem. There is tooth chatter on both sides near the button and some chipping in the surface of the button.This afternoon I was going through one of the bags of pipes I brought back from Idaho with me on my last trip. It was the same group of pipes that had contained the unsmoked and smoked C.P.F. pipes. In the bag I found a small brown leather covered case. I had forgotten what was in it so I took it to my desk and opened it up. Inside the case was the small C.P.F. pipe that I had seen when I was visiting with Jeff. It was time for me to work on it.I took the pipe out of the case and examined it. Jeff had done his usual thorough work in cleaning up this pipe. He had reamed the bowl with a Savinelli Fitsall Pipe Knife to scrape out the cake. He scrubbed the exterior and interior with Murphy’s Oil Soap and a tooth brush to remove the grime filth on the meerschaum. He cleaned the internals with alcohol, cotton swabs and pipe cleaners until the inside was clean. The pipe looked very good and other than a little rim colouring was in excellent condition. The stem was in good shape other than the chips along the shank band and the tooth marks on the top and underside of the stem that would need to be dealt with in the restoration. I took photos of the pipe before I started my part of the restoration work. I took a close up photo of the meerschaum rim top and bowl to show the condition of the meer bowl after Jeff had cleaned it. The finish looked really good and there was only a very little colouration on the rim top. The silver band looked really good and the C.P.F. Logo and the Sterling stamp were very readable. The photos of the Redmanol/Bakelite stem show its general condition. It was very clean but had some chipping on stem at the junction of the band and the stem. There were tooth marks on both sides on button edges. The bone tenon was in very good condition and just a little darkening.The next photo shows the stamping on the left side of the band. It is clear and readable. The stamping reads as noted above. The band is stamped with the C.P.F. in an oval logo over STERLING.I have included the following information with each of the blogs on C.P.F. pipes because I always want to keep the historical context in mind as I work on these. The link to the blog follows (https://rebornpipes.com/2013/04/14/some-reflection-on-the-historical-background-on-cpf-pipes/). I quote a pertinent part of the blog below:

From my reading and research it seems to me that C.P.F. brand was discontinued sometime in the 1910-1920 range. Again, turning to Bill Feuerbach I found that he notes the following, which pins down the time frame of the discontinuation of the brand more specifically, “I have a C.P.F. Chesterfield in our office display that has a nametag from way before my time that says 1900 C.P.F. Chesterfield. It looks like most other Chesterfields you’ve seen, including the military type push stem, except this stem is horn and not vulcanite. As far as I have gathered the C.P.F. brand was phased out sometime around 1915.” Interestingly, he noted that the Chesterfield name and style was later introduced in the KB&B, Kaywoodie and Yello-Bole lines. He says that the 1924 KB&B catalog shows KB&B Chesterfields…

… From my research I believe that we can definitively assert that the C.P.F. logo stands for Colossus Pipe Factory. The brand was purchased by KB&B sometime between 1884 and 1898 and that it continued until 1915. That time frame gives help in dating some of the older C.P.F. pipes you or I might find. It can be said that prior to the dual stamping it is fairly certain that the pipe is pre-1884 to 1898. After the dual stamping it can be placed post 1898 until the closure of the brand line in 1915. C.P.F. made beautiful pipes.

From that information I can tentatively date the pipe to the period prior to 1884-1898 when KB&B bought the brand because of the single C.P.F. stamp on the band. At any rate it is another old meerschaum pipe that is lightly smoked. The story of its journey to Jeff and me this long after the date it was made is another mystery. This is another of those pipes that makes me wish that it could share its story with us. I can only imagine the journey it has had even minimally from the bits that I do know. It traveled from the Colossal Pipe Factory in New York City to Florida and then on to Idaho Falls in journey that began in the 1880s and ended in 2019. Now it is has further traveled by air to Vancouver, Canada, as far west as it can go and remain on the same continent… what a well-traveled pipe. Armed with that information it was not time to work on the pipe.

I decided to begin with the stem damage at the junction of the band and stem. There was chipping in the Redmanol/Bakelite at that point that needed attention. The first photo below shows the chipping. I built up the edge with clear super glue. At the same time I filled in the tooth marks on the button with super glue. I set the stem aside to let the glue cure. I polished the meerschaum bowl and rim top with micromesh sanding pads – wet sanding with 1500-12000 grit pads and wiping the bowl down after each pad. The bowl began to take on a real shine after each set of pads. I set the bowl aside and went to work on the stem. The repairs had cured so I sanded them with a folded piece of 220 grit sandpaper to smooth out the surface of the repairs and blend them into the stem material – Bakelite or Redmanol. I polished it with 400 grit wet dry sandpaper to smooth out the scratches and begin the polishing process.I polished the stem with micromesh sanding pads – wet sanding it with 1500-2400 grit pads and dry sanding it with 3200-12000 grit pads. I wiped it down with Obsidian Oil after each sanding pad. I gave it a final coat of Obsidian Oil after the final sanding pad and set it aside to dry. By now if you have read rebornpipes for very long you will have figured out that I love these old C.P.F. pipes. There is some serious thought that they were carved by European trained craftsman who were skilled pipemakers. These pipemakers were brought to the US by the Colossal Pipe Factory to make pipes. Many of the shapes, bands and stems have such high quality workmanship involved that I really think there is truth to this story. This is little bent Meerschaum with a Redmanol/Bakelite stem is a real beauty.

I screwed the bowl back on the base and carefully polished stem and the bowl with Blue Diamond polish on the buffing wheel carefully avoiding the stamping on the shank. I gave the stem multiple coats of carnauba wax. I hand rubbed the bowl with some beeswax. I buffed the pipe with a clean buffing pad to raise the shine. I hand buffed it with a microfiber cloth to deepen the shine. The pipe polished up pretty nicely. The pipe really alive with the buffing. The rich contrasting white of the meerschaum on the bowl works well with the polished red of the stem. The finished pipe has a rich look that is quite catching. Have a look at it with the photos below. The shape, finish and flow of the pipe and stem are very well done. The dimensions are Length: 3 3/4 inches, Height: 1 1/2 inches, Outside diameter of the bowl: 1 1/4 inches, Chamber diameter: 5/8 of an inch. This is another one that I will be adding to my collection. It fits in the C.P.F. niche group that I have been building. The shape and feel in the hand is perfect. Since this one is already well smoked it will be an easy pipe to load and fire up. Thanks for walking through the restoration with me as I restored and reworked this old bent meerschaum from 1884-1898. It is always a treat for me to work on a piece of pipe history especially when I have learned a bit of the story behind it.

Restoring another Schoenleber Hand Made – A 5 Pot


Blog by Steve Laug

The next pipe in the queue is another pipe from the batch of pipes I am cleaning up for Alex – this one is another Schoenleber Hand Made – a straight shank Pot shaped pipe with some beautiful grain around the bowl and shank. The pipe does not appear to have been stained but sports the same look as the Malaga pipes that I have been working on. The carver did a great job utilizing the block of briar to maximize the grain. The pipe is stamped on the left side of the shank and reads Schoenleber over Hand Made. On the right side of the shank it is stamped Imported Briar. On the right side next to the bowl/shank junction there is a number 5 which is either a shape number or size designation. The taper stem is vulcanite and has no marking or stamping. This is another nice looking piece much like many of the pipes Alex is picking up. The bowl had a thick cake and lava flow and some darkening on the rim top. The exterior of the briar was dirty with grime and dust. The stem had deep tooth marks and chatter on both sides near the button. The stem was oxidized and there was a thick coat of calcification on the stem for the first inch ahead of the button. The photos below give a glimpse of the pipe before clean up. I took a photo of the bowl and beveled rim top to capture the condition of the pipe before I started my cleanup work. There was significant darkening on the top of the inwardly beveled rim at the back of the bowl. The bowl had a thick cake that flowed over the rim top. The inner edge appeared to have some damage but the outer edge of the bowl appeared to be in excellent condition. The stem was in rough condition with deep tooth chatter and deep tooth marks on both sides of the stem near the button and on the button. I also took a photo of the right side of the shank to show the stamping. The stamping is readable in the photo below and is as noted above – Schoenleber over Hand Made. On the opposite side it reads Imported Briar. There is also a 5 at the shank/bowl junction on the right side. When I was working on the other Schoenleber pipes in Alex’s collection I had looked up information on the brand. I am quoting that information once again on the blog for this pipe. I quote the article in full (https://pipedia.org/wiki/Schoenleber).

Louis Schoenleber lived in North Arlington N.J. and was an Austrian immigrant and skilled artisan in pipe making. His hand carved pipes were available in his shop, ‘Schoenleber’s Newark Pipe Shop’, at 26 Branford Pl., Newark NJ, thought to open in the 1920’s. Schoenleber’s carried a full line of tobaccos as well as related pipe smoking accessories. It’s thought the shop operated until the late 1960’s, and Louis Schoenleber died in 1976. It’s also fairly certain they may have sold to other brands such as Jelling, also in Newark and are very similar in design and finish.

There was also an advertising card on the site that I have included below. It speaks to my assumptions about the curing process and the finishing process on the pipe. It also connects the pipe to Schoenleber’s Newark Pipe Shop in Newark, N.J. It also has a comment on the fact that pipes were made to order.I started the restoration by reaming the bowl with a PipNet pipe reamer and took the cake back to bare briar. I sanded the interior walls with 220 grit sandpaper wrapped around a piece of dowel.I scraped the rim top with the sharp edge of a pen knife to remove the thick lava coat. I sanded the remaining lava and darkening to the rim top rim with 220 and 400 grit sandpaper. I was able to remove the darkening and smooth out the rim top. I cleaned the mortise and the airway in both the shank and the stem with alcohol, cotton swabs and pipe cleaners. I scrubbed the mortise and airway until it was very clean and the pipe cleaners and cotton swabs came out clean.I polished the bowl and rim with micromesh sanding pads – wet sanding with 1500-12000 grit pads. I wiped the bowl down with a damp cloth pad after each pad to remove the sanding debris. I worked some Before & After Restoration Balm into the surface of the briar with my fingertips to clean, enliven and protect it. I let the balm sit for a little while and then buffed with a cotton cloth to raise the shine. With the bowl finished I set it aside and turned my attention to the stem. I painted the tooth marks in the stem with a Bic lighter to try to raise the deep marks. I scraped the surface with a knife and removed the buildup of calcified spittle and oxidation. I sanded it with 220 grit sand paper and wiped down the tooth marks and chatter with a cotton swab and alcohol. I dried it off with a cotton swab. I filled in the remaining tooth marks with black super glue and set it aside to dry.Once the repairs cured, I used a needle file to file the button edge to redefine it and give it a sharp edge. I lightly filed the button top and bottom to give it a smoother definition. The filing made the sanding a bit simpler as it took the excess material down to the surface.I sanded the filed stem surface with 220 grit sandpaper to remove the filing marks on both sides of the stem. I am happy with the stem surface once that was done. I started the polishing of the surface with 400 grit wet dry sandpaper. I polished the stem with micromesh sanding pads – wet sanding it with 1500-12000 grit pads. I wiped the stem down with a damp cloth after each pad. I further polished it with Before & After Pipe Polish – both Fine and Extra Fine. I wiped it down with a coat of Obsidian Oil and set it aside to dry. With both parts of the pipe finished I put the pipe back together and polished the bowl and the stem with Blue Diamond polish on the buffing wheel. I gave the bowl and the stem multiple coats of carnauba wax. I buffed the pipe with a clean buffing pad to raise the shine. I hand buffed it with a microfiber cloth to deepen the shine. The pipe polished up pretty nicely. The rich oil cured finish and the grain came alive with the buffing. The finish on the briar works well with the polished black vulcanite stem. The finished pipe is a well-proportioned, nicely grained ¼ straight Pot shaped pipe. Have a look at it with the photos below. The dimensions are Length: 5 1/2 inches, Height: 1 1/2 inches, Outside diameter of the bowl: 1 1/2 inches, Chamber diameter: 7/8 of an inch. This Schoenleber Hand Made 5 Pot will be going back to Alex soon to join his growing collection of American made pipes. Thanks for walking through the restoration with me on another of Alex’s pipes.

I just had to work on this one next – A Wally Frank Ltd. Liverpool


Blog by Steve Laug

The next pipe in the queue is the second pipe that I found on my recent Bellingham pipe hunt this week. I had a some fun cleaning up the Custombilt Figural carved by Hetzer Hartsock (https://rebornpipes.com/2019/07/25/new-life-for-a-rich-era-custombilt-carved-figural-billiard/) so I figured I might as well clean up the Wally Frank Ltd. Liverpool as well. It is a great looking pipe with some beautiful grain – birdseye, straight and flame grain around the bowl and shank. The pipe was filthy with overflowing lava but the grain peaked out under the grime. The carver did a great job utilizing the block of briar to maximize the grain. The pipe is stamped on the left side of the shank. It reads Wally Frank over Ltd. The tapered stem is vulcanite and has no marking or stamping. Some would probably call it a long shank Billiard but it really suits the Liverpool Designation – longer shank and a short tapered stem. The bowl has a thin cake inside but the tars cover the crowned rim top. There some darkening on the rim top. The exterior of the briar was dirty and dull looking – lifeless after sitting unused for years. The oxidized vulcanite stem was surprisingly clear of chatter or tooth marks. When I removed the stem there was an interesting stinger apparatus pressure fit in the tenon. The photos below tell the story and give a glimpse of the pipe before clean up. I took a photo of the bowl and rim to capture the condition of the pipe before I started my cleanup work. There was significant darkening on the rim top and a cake in the bowl flowing over as lava on the top edge. The inner and outer edges of the bowl appeared to be in good condition, but I would only be sure once I removed the lava. The stem was in decent condition under the thick oxidation on the surface. There was none of the usual tooth chatter and tooth marks on the stem.I took the stem off the shank and took a photo of the stem and stinger apparatus in the tenon. It was pressure fit and firmly stuck in place by the tars and oils.I took a photo of left side of the shank to show the stamping. The stamping is readable in the photo below and is as noted above – Wally Frank over LTD. I remembered a a lot about the brand in that Iknew it was an old US pipe and tobacco store in and around New York City. I also knew that they did not make their own pipes but had others carve them from a variety of well known pipe making companies. I wanted to double check and seek more information on the brand before I went to work on this one. To me it certainly looked very British but other than that I had no idea.

I turned first to the Pipephil website (http://www.pipephil.eu/logos/en/logo-w1.html). There was some information on the various stampings and lines of the brand but not one of them matched this one. I did find out though that the… brand started in 1930. The pipes came from English, French, Danish, Italian and even US companies.

That was a good start but I turned to Pipedia for more information and found some helpful clues regarding the pipe (https://pipedia.org/wiki/Wally_Frank). I quote:

Wally Frank, Ltd. was one of America’s oldest and most respected names in pipes and tobaccos, beginning in the early 1930’s. Wally Frank operated a chain of tobacco stores in New York City (the flagship store was in Lexington Avenue) and had a vast catalog business for pipes and pipe tobaccos. Their numerous private-label pipes were made by many makers, including Charatan, Sasieni, Weber, and many others. Wally Frank, Ltd. also owned the Pioneer brand of meerschaum pipes, made from both Turkish and African meerschaum. In addition to importing pipes, he had many pipes made in his own name and also employed pipemakers like Peter Stokkebye, Svend Bang, and Ed Burak (who later became the owner of Connoisseur). As a result, each Wally Frank pipe must be individually evaluated on its own merit.

In 1952, Wally Frank was on a buying trip in Italy and “discovered” pipe maker Carlo Scotti. Frank liked Scotti’s pipes, but there was the small problem of Scotti’s pipes bearing the same trademark or logo as one of Wally Frank’s pipe lines, the White Bar. The two men decided on creating a new logo for pipes sold in the U.S.: a hole drilled in the stem and with a piece of silver foil inserted in the hole and covered with clear Lucite.

Wally Frank (the person) wrote the forward to Georges Herment’s 1954 book “The Pipe.”

There was also a great pipe shape chart on the site that I thought was helpful (https://pipedia.org/images/d/d2/1943WallyFrankPipes.jpg). They labeled the pipe as a “Round Shank Canadian”. I have drawn a red box around it in the photo below. I reamed the bowl with a PipNet Pipe reamer to take the cake back to bare briar. The cake was thin but the lava over flow on the rim was heavy and dark. The rim top looked pitted and damaged. I sanded the internal walls of the bowl with 220 grit sandpaper wrapped around a piece of dowel. The filthy exterior of this pipe was perfect for me to continue experimenting with a new product from Mark Hoover of Before & After Products. This one is a product he labels briar cleaner and it has the capacity of absorbing grime and dirt from the surface of briar. I rubbed the bowl down with some of his Briar Cleaner to see how it would work in this setting. In speaking to Mark he noted that the product is completely safe to use. The main product is even FDA approved edible. I rubbed it onto the bowl and rim top with my finger tips and worked it into the grime and grit on the bowl. I let it sit on the pipe for about 5 minutes before I rubbed it off with a microfibre cloth. I rinsed it under warm running water to remove the residue. I was pleasantly surprised by how clean the surface on the bowl looked when I was finished. The mortise and the airway in the shank was filthy. There was a thick build up of tar and oils on the inside of the shank. I scraped the shank walls with a thin bladed knife until the briar was bare. I scrubbed the walls of the mortise and the airway in the shank and stem with pipe cleaners, cotton swabs and isopropyl alcohol until they were clean. The inner edge of the rim still had a bit of darkening on the bevel so I carefully sanded it with a worn piece of folded 220 grit sandpaper to remove the darkening. I polished the bowl and rim with micromesh sanding pads – wet sanding with 1500-12000 grit pads. I wiped the bowl down after each pad to remove the sanding debris. My goal was to further remove the darkening on the both the rim top and the first half inch of the bowl. I worked some Before & After Restoration Balm into the surface of the briar with my fingertips to clean, enliven and protect it. I let the balm sit for a little while and then buffed with a cotton cloth to raise the shine. Mark Hoover’s Balm is a product that I have come to appreciate and one I use on every pipe I have been working on. With the bowl finished I set it aside and turned my attention to the stem. Fortunately the stem was quite clean and other than oxidation there were no other issues. I sanded the surface of the stem with 220 grit sandpaper to remove the oxidation. I started the polishing of the surface with 400 grit wet dry sandpaper. I polished the stem with micromesh sanding pads – wet sanding it with 1500-12000 grit pads. I wiped the stem down with a damp cloth after each pad. I further polished it with Before & After Pipe Polish – both Fine and Extra Fine. I wiped it down with a coat of Obsidian Oil and set it aside to dry. I cleaned the stinger with alcohol and a cotton pad and then scrubbed the grooves out with a brass bristle brush to remove the debris. Once I was finished I put it back in the stem. It is easily added and removed so the choice will belong to the next pipeman or woman who takes the pipe in trust.With both parts of the pipe finished I put the pipe back together again and I polished the bowl and the stem with Blue Diamond polish on the buffing wheel. I gave the bowl and the stem multiple coats of carnauba wax. I buffed the pipe with a clean buffing pad to raise the shine. I hand buffed it with a microfiber cloth to deepen the shine. The pipe polished up pretty nicely. The rich finish and the grain came alive with the buffing. The finish on the briar works well with the polished black vulcanite stem. The finished pipe is a well-proportioned, nicely grained Classic Liverpool. Have a look at it with the photos below. The dimensions are Length: 5 ½ inches, Height: 1 7/8 inches, Outside diameter of the bowl: 1 ½ inches, Chamber diameter: 3/4 of an inch. This beautiful Wally Frank Ltd. Liverpool will soon be taking it place on the rebornpipes store. If you are interested in it be sure to let me know. Thanks for walking through the restoration with me.

 

Recommissioning a Sharp BBB Classic London England 106S Chimney


Blog by Dal Stanton

This very classy looking BBB I acquired with the French Lot of 50 that I won on the French eBay auction block along with several other treasures that I’ve enjoyed restoring for new stewards benefiting our work here in Bulgaria with the Daughters of Bulgaria.  Along with a few other pipes commissioned by my friend in India, Paresh saw this BBB in the For “Pipe Dreamers” Only! collection and was interested in adding it to his BBB collection.  I’ve marked the BBB in the pile of pipes that I acquired.  I love looking at ‘pipe piles’ 😊.With the pipe now on my worktable here in Sofia, Bulgaria, I take more pictures to show what got Paresh’s attention.  In prototypical English style, the pipe is on diminutive side measuring, Length: 5 3/8 inches, Height: 1 7/8 inches, Rim width: 1 1/8 inches, Chamber width: 3/4 inches, and Chamber depth: 1 3/4 inches. The left side of the shank is stamped with the classic ‘BBB’ ensconced in the rhombus [over] ‘CLASSIC’.  The right side of the shank is stamped, ‘LONDON, ENGLAND’ [over] 106S – what I’m assuming is the BBB shape number designation.  The shape of the stummel I would label as a Chimney sporting a saddle stem.  In my research I could unearth no BBB Shapes Chart that corroborates my designation matching the 106S.I love the look and feel of this pipe and its distinctive brass rondel embedded on the topside of the stem placing this ‘Best British Briar’ Classic in the 1950s and 1960s.  Below is pictured the evolution of the BBB stem markings which is included in an extensive article on the History of BBB Pipes by Fiona Adler that Steve reposted in rebornpipes after translating from the original French.Pipephil provides a very brief description of ‘BBB’:

BBB: ” Best British Briar” is now a brand of the Cadogan Company (Oppenheimer group). American rights to use the brand name were sold to Wally Frank in 1980.
Founder of the brand in 1847: Louis Blumfeld. The oldest pipe brand name in the UK has been registered in 1876 (Blumfeld Best Briar)
Grading (ascendant): Own Make, Bold Grain, Best Make, Rare Grain

With the dating of this pipe giving it a 50s/60s vintage, I was hopeful to find the ‘Classic’ line in some of the catalogs that Steve acquired from Victor C. Naddeo who is the administrator of the FB Group, Pipe Club of Brasil. I enjoy it when catalogs are posted but unfortunately, I found neither the ‘Classic’ line mentioned or the shape number 106S in the 60s catalog (See: Best British Briar Catalog to see the whole posting).The Chimney stummel is in very good condition – the grain pattern shows great promise after the stummel is cleaned of normal dirt and grime buildup.  The chamber has a thick cake and the lava overflow matches the fact that this pipe was well smoked and served his steward well.  I will remove the cake to give the briar a fresh start and to inspect the chamber walls for heating problems.  The saddle stem has heavy oxidation but very little tooth chatter on the bit.  I’m looking forward to seeing how the very nice-looking BBB Classic Chimney cleans up.

I start by trying something that I haven’t tried before.  The oxidation in the stem is a lot and very deep.  My experience with Before & After Deoxidizer is that it is not able to remove very strong oxidation fully.  It can address some of the issue, but not thoroughly – in my experience.  I try to break up the oxidation by using a small felt buffing wheel mounted on the Dremel set to the lowest speed.  I start first with simply the felt wheel, but I’m concerned that it is too hot on the vulcanite.  I add paraffin oil to the mix.  I wet the felt wheel with the mineral oil and buff the stem trying to break up the oxidation in anticipation of putting the stem in the B&A Deoxidizer soak.After buffing, I wipe the stem down with a cloth and put it aside and allow it to dry.  After drying, the next two pictures show that the buffing did help, but there is still oxidation.I continue by cleaning the airway of the stem with a pipe cleaner wetted with isopropyl 95%.  Once clean, I add it to a bath of Before & After Deoxidizer with other pipes in the queue.  I’m hopeful that the Deoxidizer will now be more efficient after the aggressive buffing I did. After some hours in the Deoxidizer soak, I fish out the BBB saddle stem and after draining off the excess Deoxidizer, I use cotton pads wetted with isopropyl to wipe off the raised oxidation.  I also run a pipe cleaner wetted with alcohol to clean the airway of the fluid.  The pictures show improvement, but I’m not satisfied.Next, I employ Mr. Clean Magic Eraser to address the oxidation further.  I’m satisfied with the results – the vulcanite appears to be free of the oxidation.To rejuvenate the stem, I apply paraffin oil to the vulcanite with a cotton pad and put the stem aside to absorb and dry.  I’m pleased with the results.Turning now to the BBB stummel, I take a few pictures to show the heavy build up both in the chamber and the rim.  I use only the smallest of the Pipnet Reaming Kit’s blade heads to ream the carbon cake out of the chamber. This will give the briar a fresh start.  I transition to the Savinelli Fitsall Tool to do the fine tuning by scraping the chamber walls more, and then wrap 240 grade paper around a Sharpie Pen and sand the chamber to clean it further of carbon cake residue.  Finally, I wipe the chamber with a cotton pad wetted with alcohol to rid the chamber of carbon dust.  I take a final picture of the cleaned chamber and after inspection, I see know problems in the chamber with heating cracks or fissures. Turning now to the external briar cleaning, I use undiluted Murphy’s Oil Soap with a cotton pad to scrub the surface.  I also work on the rim using my thumbnail to scrape the rim to remove the buildup and then with a brass wire brush.  I then take the stummel to the sink and using a bristled toothbrush I brush and further clean the surface under the warm water.  Using shank brushes and anti-oil dish liquid soap as well I clean the internals of the stummel rinsing with warm water.Next, using pipe cleaners and cotton buds wetted with isopropyl 95%, I continue the internal cleaning.  I also scrape the mortise walls with a small dental spoon.  This does a great job removing the thicker tars and oils that are hanging on.  After a time, the cotton buds begin to emerge cleaner.To continue the internal cleaning process, I use the kosher salt and alcohol soak.  To form a ‘wick’ to draw out the tars and oils, I twist and pull a cotton ball to form the wick.  A stiff wire helps to insert and push the wick into the mortise.  Then the bowl is filled with kosher salt, which leaves no aftertaste and freshens the bowl, and I set the stummel in an egg crate to keep it steady.  A large eyedropper is used to fill the chamber with isopropyl 95% until it surfaces over the salt.  After a few minutes, I top the alcohol off after it has absorbed into the internals. I set the stummel aside for it to soak through the night.  It’s late, I also turn out the lights! The next morning, the kosher salt and isopropyl 95% soak has done the job.  The wick and salt are soiled having drawn more tar and oils from the internal cavity.  I thump the expended salt into the waste and wipe the chamber with a paper towel as well as blow through the shank to remove expended salt crystals.  To make sure the internals are clean, I use a few more cotton buds dipped in isopropyl 95%.  As hoped and expected, they come out clean and I move on.With the cleaning complete, I turn my attention to the rim’s condition.  The cleaning did a great job removing the grime and lava over the rim, but the discoloration and skins and nicks on the edge of the rim remain.  I take a couple close-ups picturing both sides of the rim and nicking is evident.To address the rim condition, I bring out the chopping board and put 240 grade paper on it to serve as a topping board.  I top the stummel very lightly – just enough to clean the rim and allow me to erase the rim edge nicks with a simple, inconsequential beveling.After a few rotations on the board I take a picture.After a few more rotations, I’m satisfied with the 240 topping.  On the lower right of the rim you can see the remaining rim edge issues that I’ll rectify with a gentle beveling or sanding.To smooth the rim further, I exchange the 240 paper for 600 grade paper and go a few more rotations.Next, I introduce outer and inner edge bevels to erase the remaining damage and to give the Chimney’s top a smoother softer appearance.  I use 240 grade then 600 grade papers rolled to do the beveling.  I think it looks great.With the rim repair completed, I take the stummel through the full regimen of 9 micromesh pads.  First, I wet sand using pads 1500 to 2400 then dry sand using pads 3200 to 4000 and 6000 to 12000.  I take a picture between each set of 3 pads to mark the change in the briar.  It amazes me how the grain emerges.  This BBB Classic’s grain is striking.  As I track the grain around the bowls, the horizontal grain gradually transitions to bird’s eye grain as the stummel position pivots.  There are no fills in the stummel that I can see – a beautifully crafted block of briar! Before returning to the stem to catch it up with the stummel, I’m anxious to apply Before & After Restoration Balm to this BBB Classic Chimney stummel.  I place some Balm on my fingers, and I work it into the briar thoroughly.  The Balm starts with a cream-like consistency but then thickens into more of a wax-like consistency.  I like the Balm because it seems to draw out the deeper tones of the briar – nothing earth shattering, but the subtle enhancement of the natural briar grain is what I like most.  After applying the Balm, I put the stummel aside for about 20 minutes before wiping off the excess and then buffing it up with a micromesh cloth.  The picture shows the Balm at work.Next, I turn back to the BBB saddle stem.  The tooth chatter is minimal, but the button has some compressions.  The skin of the stem is rough as well.I begin by refreshing the button lips using a flat needle file.  I also work on the bit with 240 grade paper sanding out the imperfections. The slot is also a bit out of shape.  I use a sharp needle file to file the edges to balance the slot.While sanding, I see a pit on the edge of the stem that I didn’t see before.  I try sanding it out, but soon realize is too deep.  I remedy the situation quickly using a spot-drop of regular CA glue on the pit after cleaning it with a cotton pad and alcohol.  I use an accelerator to quicken the curing process and then sand it with 240 grade paper. I then wet sand the entire stem with 600 grade paper and follow by applying 000 steel wool to the whole stem.  The next step is applying the regimen of micromesh pads to the stem starting by wet sanding using pads 1500 to 2400.  This is followed by dry sanding with pads 3200 to 4000 and 6000 to 12000.  Between each set of 3 pads a coat of Obsidian Oil is applied to further enrich and condition the vulcanite.  The freshly sanded pop of the vulcanite contrasted with the embedded BBB Rondel is great!  While trying to reunite the stem and the stummel before applying Blue Diamond compound, it becomes evident that the cleaning of the stummel has expanded the briar making the fit of the tenon in the mortise a bit too tight and forcing the issue could easily result in a cracked shank!  Nothing desired at this point.  To remedy this, utilizing a combination of filing the mortise with a half-circle needle file and sanding the tenon down by wrapping a piece of 240 grade paper around the tenon and rotating the paper does the trick.  The combination approach now allows the tenon fit to be snug but not too tight.With the BBB Classic stem and stummel reunited, after mounting a cotton cloth buffing wheel onto the Dremel, and setting the speed at about 40% full power, Blue Diamond compound is applied to the stem and stummel.After the application of Blue Diamond compound, I wipe the pipe with a felt cloth to remove the compound dust in preparation of applying the wax.  Then, after mounting another cotton cloth buffing wheel on the Dremel, and maintaining the speed at 40%, carnauba wax is applied to the stem and stummel.  The restoration is finished with a hand buffing using a microfiber cloth to raise the shine.

I’m very pleased with results.  This BBB Classic London, England Chimney is a beautiful pipe.  The block of briar is exquisite, with no fills and a landscape of grain transformation as you track it around the bowl.  There is a striking tight patch of bird’s eye grain on the right flank of the bowl that holds the eyes.  As a 1950s/60s vintage BBB, even though the ‘Classic’ line could not be fully identified, there is little doubt as to the quality of this BBB Classic Chimney.  Paresh commissioned this pipe which benefits the Daughters of Bulgaria – women and girls who have been trafficked and sexually exploited and he will have the first opportunity to adopt this BBB from ThePipeSteward Store and bring it home.  Thanks for joining me!

Peterson Shape 56 Mystery – Solved!


By Al Jones

July 31,2019 UPDATE:
Well, the Shape 56 mystery is now resolved. Despite all my google efforts, I yielded only two other hits on the Shape 56, as detailed below. Mark Irwin was also stumped but came up with the theory below, that the Shape 56 was for the British market only. Well, further sleuthing from the worlds foremost Peterson authority yielded an answer – which came directly from a blog entry here on Reborn Pipes, by our very own Steven Laug. In 2015, Steve posted a catalog from Canadian importer, Genin, Trudeau & Co. which shows their unique numbering system. I even comment that the Shape 56 looks like a 9BC! So, all the while, the answer was hiding on this blog! Below is that brochure page showing the Shape 56. Steven comments that the postal code used in the address dates the brochure to between 1962 and 1969. I guess not many Canadians appreciated the shape, so they are pretty uncommon. Thanks to Mark Irwin for his superior memory and to Steve for making this type of ephemera available, you never know when it will come in handy.

Genin, Trudeau & Co. Brochure

Original Entry:

If you read any of my posts here or on the PipesMagazine forum, you’ll quickly learn that I am partial to a few select pipe shapes, primarily the Rhodesian. But my all-time favorite shape is the Peterson 9BC, chubby bent billiard. I learned about this shape several years ago on Mark Irwins blog, “Peterson Pipe Notes”.

Peterson Pipe Notes

Mark is a great friend and incredible resource for all things Peterson. He is also the co-author of The Peterson Pipe, a must have for anyone who enjoys and collects Peterson pipes.

Over the past few years, I’ve acquired several 9BC’s in various finishes, including a Shamrock that I featured in this blog a few months ago. I can usually spy a 9BC, despite the way it may be listed. I found this pipe advertised as a Shape 56 Kapruf, which puzzled me, as I never encountered this shape number. It definitely looked like a 9BC or the modern version, the XL90. However the nomenclature did indeed look like it was a “56”. The 9BC is a pre-Republic shape and this pipe was stamped “Made in the Republic of Ireland”, so I assume it was made after 1949. It’s not too often that I get a thrill from an estate pipe. However working on a shape I’ve never encountered definitely gets me excited.

When the pipe arrived, sure enough, it was identical to my 9BC’s in all aspects, save one. The button was significantly slimmer than those on either my 9BC’s or XL90. The stem had what looked like a factory P stamp. I searched thru my old catalog scans and pored over Mark’s new book, looking for this shape number, but to no avail. I then spent a good bit of time Googling the Peterson Shape 56 and I found only two other examples. One theory I had about the shape was that it was a transition piece, between the 9BC and XL90. However, that theory didn’t hold as one of those two found also had pre-Republic stamping.

One Republic era Shape 56 Kapruf was sold by Smokers Haven. It had an incredible blast, pictured below.

The other was from an undated Ebay ad, and it was advertised as belonging to noted collector, Barry Levin. This one had pre-Republic stamping.

These pictures show the slim button of the 56 versus the 9BC, which flares out at the P-lip. It is also shown with my 9BC Shamrock, and as you can see, they are nearly identical. This includes a flat nomenclature panel. I suppose the original owner could have sent the pipe back to Peterson for a replacement stem, which might explain the slimmer button profile. The other two shapes above, don’t show this detail, so I have no comparison.

The pipe was in very good condition, but had some curious damage marks on the stem. It appeared as though someone had pierced the stem in two places with a hot nail, creating gouge-like marks. The bowl interior looked terrific, with very little cake. There were a few shallow dents on the underside of the button and just a small amount of oxidation. Below is the pipe as it was received. The sandblast was terrific, particularly on the cross-grain section, which had a lunar landscape like appearance.

This picture shows the most severe of the two gouge marks.

I used some 320 sandpaper to remove the very slight cake reside from the bowl and filled it with sea salt and isopropyl alchohol and let it soak for several hours. While the bowl was soaking, I used a heat gun to warm the two gouge marks and I was able to work some of the rubber back into the mark. After the soak, I removed the salt/alcohol and cleaned the shank. The stem was mounted and the gouge marks smooth with 400 grit wet paper, then 1500, and 2000 grades. One mark all but disappeared and the other had only a slight mark remaining. It was underneath, so I left well enough alone. I worked around the P stamp. The stem was then buffed with White Diamond and Meguiars Plastic Polish. I used some Halycon wax on the briar to bring up the luster.

After the repair and buff, the gouge mark was barely visible.

I’m hopeful that Mark might be able to dig out some additional information about this mystery shape, and I’m quite pleased to add it to my collection. I’m particularly interested in how the slim button smokes, as a smaller profile button is typically my preference. Below is the finished pipe.

UPDATE – July 28, 2019:
Mark Irwin did get back to me with a theory about this shape. He noticed that the 9BC shape is only listed in US or Rogers catalogs. I noticed in the recent 1939 Peterson/Rogers catalog recently shared thru his blog that that the Kapruf finish is described “the earthy finish of Kapruf is achieved by a special carving proceess”. In the 1940 Peterson catalog scan he shared several years ago, the Kapruf finish is described as sandblasted. He further comments below.

I thought I’d figured it out, but my best guess at this point has to do with the two-digit shape numbers assigned to Classic Range pipes through the 1950s. None of the catalogs I have shows a 56, of course, but there the 1955 London & Dublin catalogs shows a 65, 69 and 70 bent billiard. I’m speculating that the 56 was part of that numbering system, which may explain why you found the button slightly different than the 9BC. I also believe the 9BC to be a US-market Rogers Imports number, as I don’t see it in any of the European or non-Rogers catalogs.
Oh well, a brilliant pipe and a wonderful problem to have. Whatever they used to do the blast is also quite singular. I have an 02 Shamrock that’s close, with those circular, almost lunar patterns, but how they achieve that is shrouded, as is so much in our hobby, in pipe smoke and mystery.

?

Pictured below is a group comparison shot, from top to bottom:
XL90 Supreme
9BC Shamrock
9BC Kapruff
56 Kapruff