Daily Archives: November 21, 2020

Wow what amazing grain on this tired looking Selected Straight Grain Canadian


Blog by Steve Laug

The next pipe I have chosen is one that neither Jeff nor I remember picking up. It could have come to us through a trade for work on a pipe or it could have come from one of an earlier pipe hunts that either Jeff or I did. Either way, the long and short of it is that this is another pipe that we have no idea how it came into our hands. It is stamped on the left topside of the shank and reads faintly Selected[ arched over] Straight [over] Grain underneath that. The rest of the stamping is lost to overzealous buffing. While I was trying to figure out the stamping on it and finally was able to read the Selected  Straight Grain stamp I remember that I had worked on several with the same stamp in the past and had come understand that they were Comoy’s made pipes. The shape definitely looks like a Comoy’s Canadian shape. It was a nice pipe that showed some extraordinary grain.

Jeff had cleaned up the pipe with his usual penchant for thoroughness. He reamed the pipe with a PipNet pipe reamer and removed the rest of it with a Savinelli Fitsall Pipe Knife.  He scrubbed the bowl with undiluted Murphy’s Oil Soap with a tooth brush. He rinsed it under running warm water to remove the soap and grime. He cleaned out the inside of the shank and the airway in the stem with alcohol, cotton swabs and pipe cleaners. He soaked the stem in Before & After Deoxidizer and rinsed it off with warm water. I took photos of the pipe once I received it.   I took a photo of the rim top to show the interior the bowl and the rim top and inner edge. The rim top and edges were quite damaged with nicks, dents, darkening and burn marks. The vulcanite tape stem is in decent condition with light tooth marks on the top and underside near the button.  I took a photo of the top left side of the shank to try to capture the stamping that was there. It is too faint to pick up with my camera.I found a photo of the same shank stamp when I did a google search for Selected Straight Grain pipes. It perfectly matches the one that is barely visible on the pipe that I am working on now. It is faint but it is identical to that in the photo to the left.

I took the stem off the bowl and took a picture of the parts of the pipe to give a sense of the beauty of the grain on this pipe.Before I started my work on the pipe I wanted to double check the connection that my brain had made when I made out the stamping. I turned to a blog that I had written on the restoration of another Selected Straight Grain pipe (https://rebornpipes.com/tag/selected-straight-grain-pipes/). This is what I found.

…I did a bit of hunting online and read on Pipedia that these pipes were made by Comoy’s and were essentially “Specimen Straight Grain” (exceptional line of Comoy’s pipes). The Selected Straight Grain pipes were seconds to the Specimen line that exhibited some small flaw or sand pit. They were listed in the 1965 catalogue at $15 or $17.50 in Extraordinaire size.

I decided to begin my work on the pipe by addressing the damage to the rim top and edges. I topped the bowl on a piece of 220 grit sandpaper on a topping board. Once I had finished I used a folded piece of 220 grit sandpaper to rework the inner edge of bowl. It took some time but I was able to bring it back to a pretty clean condition.   I polished the briar with micromesh sanding pads – wet sanding with 1500-12000 grit pads and wiped down the bowl after each sanding pad. I carefully avoided damaging the already faint stamping.   I worked some Before & After Restoration Balm into the surface of the briar with my fingertips to clean, enliven and protect the briar. I let the balm sit for 15 minutes and then buffed with a cotton cloth to raise the shine. The photos show the bowl at this point in the restoration process. It looks quite nice at this point.  With that done the bowl was finished other than the final buffing. I set it aside and turned my attention to the stem. I polished it with micromesh sanding pads – wet sanding with 1500-12000 grit sanding pads. I used the pads to remove the tooth marks on the stem on both sides near the button. I wiped it down after each sanding pad with Obsidian Oil. I was just getting ready to post the final photos of the restored pipe when my daughter’s dog, Frankie came and climbed up on the desk top and laid down in front of me with his head on my arm. He has taken it upon himself to be my buddy when I am working on pipes.

With Frankie’s help I am posting these last photos of the pipe. This beautifully grained Comoy’s Made Selected Straight Grain Canadian is a great looking pipe now that it has been restored. The briar is clean and really came alive. The rich medium brown coloured stain gave the grain a sense of depth with the polishing and waxing. The grain really popped. I put the vulcanite stem back on the bowl and carefully buffed the pipe with Blue Diamond on the buffing wheel using a light touch on the briar. I gave the bowl and the stem multiple coats of carnauba wax on the buffing wheel. I buffed the pipe with a clean buffing pad to raise the shine. I hand buffed the pipe with a microfiber cloth to deepen the shine. The finished Selected Straight Grain Canadian is a beauty and feels great in the hand and looks very good. Give the finished pipe a look in the photos below. The dimensions of the pipe are Length: 5 ½ inches, Height: 1 ¾ inches, Outside diameter of the bowl: 1 ¼ inches, Chamber diameter: ¾ of an inch. The weight of the pipe is 26grams/.92oz. Thanks for reading this blog and my reflections on the pipe while I worked on it. Remember we are not pipe owners; we are pipemen and women who hold our pipes in trust until they pass on into the trust of the next pipeman or woman.

 

 

Rescuing a Forsaken ‘No Name’ Smooth Meerschaum Billiard


Blog by Dal Stanton

This No Name Smooth Meerschaum Billiard was obviously much loved and used by its former steward, but he is a mess!  I’m glad Daniel chose this needy Meerschaum as one of the 7 pipes he commissioned from the For “Pipe Dreamers” Only! online collection.  The ‘Dreamers’ collection is available for pipe men and women to peruse and choose vintage pipes of varying conditions to be resurrected and adopted.  Some pipes are more needy than others and this No Name Meerschaum qualifies as among the needier!  Yet herein is the challenge for those of us who seek to restore pipes to their former glory and sometimes even better than new: so that they will have another life in service of a new steward.

I acquired this No Name Smooth Meerschaum in 2018 when my son, who was then studying in St. Louis for his master’s degree, came upon a lot of 26 pipes in an antique shop.  Josiah proposed that he contribute to part of the purchase price with the condition that I would choose one pipe among the 26 as a Christmas gift from him – an offer I could not refuse!  I chose the huge French made Champion Churchwarden in the center.  It was a good Christmas for me! The No Name Meer is on the bottom of the picture below – a pipe that pipe man Daniel chose, a Green Bay, Wisconsin, resident, that required a lot of dreaming on his part!Taking a closer look now at the No Name Meer, I take more pictures to show its condition. Now, looking even more closely at the chamber shows a thick cake which Meerschaum pipes do not need!  In fact, no carbon cake buildup is better.  In briar pipes the rule of thumb is a cake the width of a US dime is good to maintain to help protect the briar from premature burn deterioration.  Meerschaum is a mined material that does not deteriorate from the heating of the chamber.  A thick cake could result in cracking the Meerschaum as the carbon expands with its heating.  A quick review of the qualities of Meerschaum come from the Altinok Pipes’ website:

The noble Meerschaum is unique among pipes. Its mysterious properties make it a perfect smoke and, at the same time, a work of art; a pipe highly prized by the Connoisseur and beginning smoker alike. Meerschaum is a German word meaning sea foam. 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. Their men eventually discovered it and created an incomparable pipe from it. The first record of Meerschaum as a pipe dates from around 1723.

The rim is also severely caked with lava.  The smooth Billiard stummel surface shows many scratches and cuts amid the dirt also caked over much of the surface.  These closer pictures survey the stummel’s condition. During the stummel survey, I see a small crack in the Meerschaum’s right side of the shank.  Looking at the shank facing, the crack line continues to the acrylic push tenon insert.  It doesn’t appear that this crack is creeping and might pose a problem of integrity to the shank.  This observation is based upon the push tenon insert prohibiting any expansion of the mortise.  The crack most likely happened with a hit on the stem or a drop – only guesses.  One thing is for certain, this crack certainly has not kept the pipe from rugged use!  After cleaning the area, it may be helpful to place a small line of CA glue to seal the hair line crack and to reinforce to be on the safe side of things.The acrylic stem has seen better days too!  It needs a thorough cleaning inside and out.  The acrylic stem is rough and faded.  The bit has been chewed up. To begin the restoration of the No Name Meer Billiard, I begin with clearing the cake in the chamber.  I do not use the Pipnet Reaming Kit blade heads as is the norm with briar pipes.  This could create more surface torque than is good and crack the Meerschaum.  Instead, a slower and less invasive approach is to begin with carefully scraping the chamber with the Savinelli Fitsall Tool and Winchester pocketknife.  With these tools in hand, the caked rim is also carefully scraped.  I repeatedly use ‘carefully’ describing the approach to cleaning the Meerschaum.  As a stone-like substance it can crack and gouge if I’m too aggressive.  Patience is good.  From the scraping, I transition to sanding the chamber using a Sharpie Pen wrapped with 240 grade paper.  I like the progress. Continuing the cleaning process now on the external Meer surface, I use undiluted Murphy’s Oil Soap on a cotton pad and scrub the stummel and rim.  I take a couple ‘starting’ pictures to mark the progress.  I’m looking forward to what the Murphy’s Soap can do for this ‘No Name’! After scrubbing with the cotton pad and Murphy’s, instead of rinsing the soap off in the sink, I use a wet cotton cloth to wipe the stummel and remove the soap.  I don’t want to saturate the Meer with water in the sink.  The pictures may not show it as clearly as I can see it, but the difference after the cleaning is remarkable.  Not only is the dirt and soil removed, but now the residual hue is identifiable as patina.  There is a gentle darkening of the Meerschaum and some identifiable ‘hot spots’ of the coveted patina.  As the Meerschaum pipe is smoked, the Meer absorbs the oils of the tobacco and smoke and this gradually darkens the stummel with a honey-like hue.  The value of Meerschaum pipes increases with this patina.  Before moving to cleaning the internals of the stummel, I address the darkened scorching of the rim.  The scraping improved the rim’s appearance appreciable, yet it still needs to be cleaned up further.  To do this I use medium and light sanding sponges to top the stummel.  Using sanding sponges gently is not as intrusive as sanding paper. A closeup of the rim not only show the staining but also small chipping on the rim’s edge. After inverting the stummel on the sponges, starting with the medium grade sponge, the stummel is rotated over the sponges.  The results are good.  The rim still shows some patina but is cleaned up considerably.     The pictures above and below show two distinctive and distracting (to me!) residual dark spots in the chamber just below the rim.  I use the Sharpie Pen wrapped with 240 grade paper carefully to sand the spots to remove them.  The potential problem with this pinpointed sanding is to create in the rim a wobble in the circle of the inner rim lip.  This I want to avoid as well.The result is good!Next, I use the light grade sanding sponge and lightly sand the stummel to clean and smooth it somewhat.  Again, the sanding sponge is gentle on the surface. To polish and smooth the surface, next I apply to the stummel surface the last 4 micromesh pads, 4000 to 12000.  It is not my purpose to sand out all the nicks and marks that have left imperfections in the Meerschaum.  I want to guard the aged patina that this No Name Meer has earned.  I’ve read on groups and forums that often restoration of Meerschaum pipes is too aggressive, and the goal is somewhat different than briar pipes.  With briars, a restoration seeks to return the pipe to its original pristine unsmoked state.  However, with Meerschaums that have aged, the value is to preserve the current good state of that aging process – preserving the hues and patina.  Aggressive sanding would remove all imperfections but also return the Meerschaum to a pure white state – the color that Meerschaums generally have in the store (there are exceptions to this!).  Before moving on to the stem, I clean the internals of the stummel using cotton buds and pipe cleaners dipped in isopropyl 99%.  A small dental spoon is used to reach into the mortise, beyond the push tenon insert, to scrape the walls.  Shank brushes also were used to complete the task.Now to the stem.  Using pipe cleaners dipped in isopropyl 99% I go do work on the internals of the stem.  The tenon is also cleaned up using cotton pads and alcohol.  I use a long dental probe to scrape and clean around the internals of the tenon as well.  My assumption is that the stem is acrylic, but it feels almost like plastic in some ways.  It doesn’t appear to be a high-grade acrylic, but it does clean up in time and I move on!   I mentioned earlier that this pipe was well loved by his former steward.  Well loved. but poorly maintained!  With the stem clean, I take another look at the condition of the bit. The bit has been chewed excessively with tooth compressions littering the landscape on the upper and lower bit.  The former steward obviously used this pipe to contemplate much or comfortably clinching while his hands were free actively engaged in other activities on the workbench or table.     An attempt to only sand out this damage would leave the acrylic dangerously thin so I decide to build up the bit area using clear CA glue which will be transparent and able to allow the stem color to come through.  The bit is thoroughly cleaned using a cotton pad wetted with isopropyl 99%.  I want the bit as clean as possible because I don’t want to encase a dirty stem!  Discoloration will show through the patch.  To build up the compressed and chewed bit I apply a few layers of CA glue.  I use an accelerator after the application of each layer to build up the patch material.  The accelerator causes the glue to cure very quickly keeping it in place.  I also apply a few layers of CA to the button lip – upper and lower, which have also sustained some chewing damage.  After applying the CA glue, with the hour late, the lights are switched off and the stem will await tomorrow’s efforts!   The next morning, I have a few hours in the earlier morning to work on the No Name Meerschaum and to do some activities on the ‘to do’ list with my wife!  Still getting settled here in Golden, Colorado, had me hanging pictures in the foyer as one of the items on the list!  Also, grandchildren will be coming over this morning while their super mom goes to the local Costco to stock up on the necessities.  The CA patch has cured through the night.  With the bit CA patch ready for filing, I begin the shaping using a flat needle file. I initially file along the button to reestablish and refresh the lip.  I’ll leave the button lips for sanding later.  After the lip has been scored and defined, filing continues to bring the patch down to the acrylic stem’s surface.  The process is the same for the upper and lower bit.And lower:Next, I use the flat needle file to flatten and define the slot facing.  Then, using a sharp, rounded needle file, the slot itself is cleaned up and sharpened.  I like how it’s looking!With the main filing completed, the process transitions to 240 sanding paper.  The focus is on continuing to smooth and shape the bit and button patch area, but the sanding is expanded to the entire stem to clean the roughness and cuts.  I utilize a plastic disc on the tenon side to guard the crisp edge from shouldering.   Transitioning next to 600 grade sanding paper, the entire stem is again sanded followed by applying 0000 grade steel wool. The transformation of the stem has been remarkable.     On a roll, the stem is next the recipient of the full regimen of micromesh pads.  Starting with pads 1500 to 2400, the stem is wet sanded.  Then, with pads 3200 to 4000 and 6000 to 12000, the stem is dry sanded.  Between each set of 3 pads, Obsidian Oil is applied to help rejuvenate the acrylic stem. As I was sanding, I asked my wife what kind of material she thought this stem was?  Her response was that it was acrylic, but that it had a different feel to it than other acrylic materials.  I had asked her because I noticed as I was moving through the micromesh pads, normally I would expect the acrylic to shine more during the micromesh progression.  This stem did, but only little. Instead of glossing up, it deepened it color and remains a more of a matte finish. I asked her next what color she would say it was?  Her response after rattling off a few colors and then shaking them off – ‘no’, she settled on a dark mottled ivory.  That sounds good to me!    After completing the micromesh cycles, the stem and stummel were reunited to get a look at the progress to this point.  I’m liking very much what I’m seeing.     Before moving forward, the question of the small crack on the right side of the shank is in view.  Because the crack is not a new one and it doesn’t appear to have any pressure on it so that it would progress, it wouldn’t appear to be an impediment to the integrity of the shank. Yet, I decide to be on the safe side to apply a small amount of clear, thin, CA glue to the crack line.  In the picture below, the scratch to the left of the crack is not a crack, but a deeper scratch.  At first glance one is left with the impression that it is a triangular fissure that would inevitably break.  I’ve inserted arrows to identify the crack. To shore up the crack, the thin CA glue applied fills the fissure and when cured, should provide additional reinforcement.  I put the stummel aside to allow the CA glue to cure.After the CA glue cures, using a 240 grade piece of sanding paper tightly rolled, I surgically sanded the thin mound of patch material running down the crack line.  I want to keep the abrasion of sanding off the Meerschaum surface surrounding the patch.  When the mound is removed, I follow by wet sanding with grade 600 paper to further smooth and blend.Call me a perfectionist and it would not be false.  After finishing sanding the shank crack patch, I did a quick survey of the surface of the Meerschaum Billiard stummel and I wasn’t satisfied that the surface was as clean as it should be.  I decide to run the stummel through the full micromesh regimen by dry sanding with pads 1500 to 12000.  I’m satisfied now. Next, I apply beeswax to the Meerschaum stummel.  Beeswax has been used to polish and protect Meerschaum for a millennium.  The beeswax on my table came with me from Bulgaria and it is a darker hue.  The Meer seems to respond well to it.  I keep the wax in a mason jar that is impervious to heat.  I use a hot air gun to heat and melt the beeswax in the jar.  I then use a real, horsehair paint brush to apply the melted wax to the stummel surface after the stummel is also warmed with the hot air gun.  I’ve learned the hard way not to use a synthetic brush because it will melt.  When the wax has melted, I paint the stummel.  I direct the hot air gun on the stummel while I’m doing this to help keep the wax thin during application.The beeswax congeals quickly and I allow it to cool.After cooled, the edge of a former clothespin is used to scrape the excess wax off the stummel surface.  This helps to remove the hardened wax before using a cloth rag.Next, using a microfiber cloth I continue to wipe and rub the stummel to remove the excess congealed wax.  This takes some time because the beeswax is firm and isn’t easily wiped off.  When the excess is finally removed gradually in the progression, it’s nice to see the beeswax shine on the clean Meerschaum emerge!   The beeswax is absorbed into the microscopic, porous surface of the Meerschaum.Next, with the stummel now waiting for the stem, I mount a cotton cloth buffing wheel to the rotary tool and set it at about 40% full power and I begin to apply Blue Diamond to the stem alone.  The effort did not last long. As I started applying the Blue Diamond compound with the rotary tool, I notice almost immediately that the surface of the stem rippled from the heat generated by both the high spin of the buffing wheel and the compound.  I stop immediately.  I discovered that the material composition of the stem does not tolerate the speed and the friction. I decide to forgo application of Blue Diamond and try my hand at applying carnauba wax to the stem.  I set the speed slightly slower and move the wheel more rapidly over the surface of the stem as I apply the carnauba wax.  It works well and I had no further difficulties.After some thought, I decide on one additional project for the No Name Meerschaum Billiard.  Earlier I started thinking about adding a band to the pipe to not only give added support for the shank crack repair, but in addition, give this No Name a bit of classy bling.  I went through my assortment of brass bands and ferrules and found a perfect candidate.  I found a perfect brass ring that wraps the facing edge and fit just over the end of the shank.  To complete the mounting of the ring fully over the shank facing, I heat it with a hair dryer which softens the metal allowing it to expand.    After the ring is heated enough, I firmly direct the shank downward pressing the ring more firmly in place over the end of the shank facing.  It works perfectly.I like the look of the brass ring – it adds a bit of class to a very deserving No Name that has come a long way, endured a lot and ready to serve again! The stem and stummel are reunited and the restoration is finished with a rigorous hand buffing with a microfiber cloth.  I’ve enjoyed seeing this battered pipe come back to life.  As I said at the beginning – the fact that it had been used into almost oblivion proves that he’s a good smoker as a classic Meerschaum.  Now he’s ready for a second life.  This No Name Meerschaum Billiard is Daniel’s third pipe of seven that he has commissioned and he will have the first opportunity to claim the Meerschaum in The Pipe Store benefiting the Daughters of Bulgaria – women who have been trafficked and sexually exploited.  Thanks for joining me!

New Life for a Barling’s Make Ye Olde Wood 1488 T.V.F. Canadian


Blog by Steve Laug

The next pipe on the work table came to us in a group of pipe that we purchased from a fellow in Los Angeles, Californa, USA.  The pipe is smooth, nicely grained Canadian shaped pipe with an oval shank and taper stem. The pipe is stamped on top left side of the shank and reads Barling’s [arched over] Make [over] Ye Olde Wood [over] the shape number 1488. That is followed by T.V.F. near the shank. On the right topside of the shank it is stamped Made In [over] England. In the center of the top of the shank is a large upper case R. There was a lot of grime and dust ground into the smooth finish. The bowl was thickly caked with a thick lava coat flowing onto the rim top and the inner edge of the rim. The inside and outside edges looked to be in good condition but we would know more once Jeff had cleaned it. The stem was oxidized, calcified and had tooth chatter and marks on the top and underside near the button. The stem was stamped on the topside with the Barling Cross. The stamping was readable but damaged. It had promise but it was very dirty. Jeff took some photos of the pipe before he started his cleanup work.   He took photos of the rim top, bowl and stem to give a clear picture of the condition of the pipe. The thickness of the cake and tobacco debris as well as the lava on the rim top and inner edge is visible. The photos of the stem show the oxidation, calcification and the chatter and tooth marks on the top and underside.  He took some photos of the sides and heel of the bowl to give a clear picture of the condition of the pipe and the grain that was shining through the grime. He took photos of the stamping on the underside of the shank. It is clear and readable as noted above.  I turned to Pipephil’s site (http://www.pipephil.eu/logos/en/logo-barling.html) to see if I could find a listing that had the same or similar stamping on the pipe. The stamping is similar to the one I am working on other than the shape number. The pipe that I am working on has the shape number 1488 on the shank. Barling’s [Arched], Make, Ye Olde Wood, T.V.F. and on the right side Made in England. Pipedia gives a great history of the brand (https://pipedia.org/wiki/Barling) that is well worth reading.

I worked through the different eras of the Barling pipes. I found a section on redefining the eras and quote from that section as followed:

Family Era 1912 – 1962: Pipes made by the Barling family while it either owned or managed B. Barling & Sons.

Corporate Era 1962 – the Present: Pipes made after the family left off managing the company, beginning with the revised product grades and revised nomenclature that were introduced in the 1962 Dealers’ Catalog.

The Family Era pipes are highly sought after by collectors and have excellent smoking and aesthetic qualities. These pipes are famous for the “old wood” from which they were made. I’m including the 1962 “Barling’s Make” pipes in this category because, initially, they were made while the Family still ran the business. Montague Barling was still President, and Williamson-Barling was still General Manager.

These 1962 pipes were made by the same craftsman from the same materials, as the earlier product. Some of them are stamped with both the old and new model numbers.

…The “BARLING’S MAKE” has the word “BARLING’S” arched over the word “MAKE” in capital block letters. Barling used this block letter logo until late 1962.

… Ye Olde Wood Stamp: Sometime around 1913, the “Ye Olde Wood” stamp made its appearance on selected pipes. An example exists stamped on a 1913 date hallmarked pipe.

This logo will continue to be used in the decades to come. Initially it was used to designate a higher grade than the average, much as the “Special” grade would after the Second World War. Price lists show the “Ye Olde Wood” pipes as a separate grade from the basic BARLING’S MAKE pipe. Eventually, “Ye Olde Wood” came to represent the company to the world. The use of “YE OLD WOOD” as a stamp prior to 1940 was haphazard, at best, although the company used the slogan in advertising materials from the early teens onward. (Gage)

Crossed Barling Stem Logo: It is not known when the crossed Barling stem logo first appeared, but an example exists on a pipe with a 1923 date hallmark. And several of the mid 1920’s pipes added in this update also feature the crossed Barling stem logo.

Size Stampings:  Up to 1926 and possibly beyond, Barling used specific, completely unrelated, model numbers to designate the various sizes of a specific shape. They produced pipes in three sizes, small, medium, and large.

Barling’s published price lists show that they continued to offer pipes in only three sizes, small, medium, and large until 1941. That’s it, small, medium, and large. So when someone claims that they have a 1930’s EL, EXEL, or other size, they are mistaken.

In 1941 the published range of sizes expanded. Going from the smallest to the largest, they are SS, S, S-M, L, EL, EXEL, and EXEXEL. There is no “G” for giant. Giant pipes, or magnums, which are oversized standard billiards, were not stamped “G” but are commonly identified by collectors as such because they are obviously large relative to even EXEXEL pipes, and carried no size stampings (Gage).

Now I knew a bit about the pipe I was working on. The Barling’s Make stamp gave me an end date of 1962. The fact that there is no size stamp on the pipe puts the end date for it at 1941 when the sizes expanded and the pipes were stamped with the size as noted above. So the odds were very good that the pipe I was working on was pre-1941.

Jeff had cleaned up the pipe with his usual penchant for thoroughness. He reamed the pipe with a PipNet pipe reamer and removed the rest of it with a Savinelli Fitsall Pipe Knife.  He scrubbed the bowl with undiluted Murphy’s Oil Soap with a tooth brush. He rinsed it under running warm water to remove the soap and grime. He cleaned out the inside of the shank and the airway in the stem with alcohol, cotton swabs and pipe cleaners. He soaked the stem in Before & After Deoxidizer and rinsed it off with warm water. I took photos of the pipe once I received it. The rim top cleaned up really well. The rim top has some darkening and inner edge shows some damage and is slightly out of round with rough nicks. The stem surface looked good with tooth marks and chatter on both sides near the button.   The stamping on the right and left topside of the shank is clear and readable and reads as noted above.  (Note the upper case R stamped on the top of the shank on the second photo above.)  I removed the stem and took a photo of the pipe to give a sense of the whole. It would clean up and be a gorgeous pipe.I started working on the pipe by cleaning up the damaged inner edge of the rim with a folded piece of 220 grit sandpaper.  I polished the briar with micromesh sanding pads – wet sanding with 1500-12000 grit pads and wiped down the bowl after each sanding pad.  I rubbed the bowl and shank down with Before & After Restoration Balm. I worked it into the surface of the bowl sides and shank with my fingertips to clean, enliven and protect the briar. I let the balm sit for 15 minutes and then buffed with a cotton cloth to raise the shine. The Balm did its magic and the grain stood out.   I set the bowl aside and turned my attention to the stem. I “painted” the tooth marks in the vulcanite with the flame of a Bic lighter. I was able to lift almost all of them. The ones on the underside disappeared except for one next to the button edge. The ones on the top side lifted considerably. I filled in the remaining marks with clear super glue and set the stem aside to let the repairs cure. Once the repairs cured I sanded them out with 220 grit sandpaper to blend them into the surrounding vulcanite. I started polishing the stem with 400 grit wet dry sandpaper. I polished the vulcanite stem with micromesh sanding pads – 1500-12000 grit pads. I wiped it down with a damp cloth after each sanding pad. I used Before & After Pipe Polish – both Fine and Extra Fine to further polish the stem. The photo below shows the polished stem. I touched up the Barling Cross logo on the stem with white paint and Liquid Paper and neither worked. I cleaned the stem off and used some Antique Gold Rub’n Buff. I rubbed it onto the stem top and worked it into the stamping. I buffed it off with a cotton pad. The product brought the stamping that remained to clear readability. I keep trying to find Rub’n Buff White but it seems to be out of stock everywhere.  This beautifully grained Barling’s Make Ye Olde Wood 1488 T.V.F. Canadian is a great looking pipe now that it has been restored. The briar is clean and really came alive. The rich brown coloured stain gave the grain a sense of depth with the polishing and waxing. The grain really popped. I put the vulcanite stem back on the bowl and carefully buffed the pipe with Blue Diamond on the buffing wheel using a light touch on the briar. I gave the bowl and the stem multiple coats of carnauba wax on the buffing wheel. I buffed the pipe with a clean buffing pad to raise the shine. I hand buffed the pipe with a microfiber cloth to deepen the shine. The finished Barling’s Make Ye Olde Wood Canadian is a beauty and feels great in the hand and looks very good. Give the finished pipe a look in the photos below. The dimensions of the pipe are Length: 5 ½ inches, Height: 2 inches, Outside diameter of the bowl: 1 ¼ inches, Chamber diameter: 5/8 of an inch. The weight of the pipe is 35grams/1.12oz.Thanks for reading this blog and my reflections on the pipe while I worked on it. There are many more to come!