Monthly Archives: January 2026

Repairing and Restoring a Charatan’s Make Executive Extra Large Dublin

Leave a reply

by Steve Laug

The next pipe on the table is another one that came to us from the seller in Caldwell, Idaho, USA on 07/12/2025. It is a large Dublin bowl with a lip on the front. There is a large scar on the left side of the bowl. I would need to examine it and see the details of the problem. It is in dirty but in good condition other than that as can be seen in the photos below. The sides of the shank are clearly stamped and readable. The left side is stamped Charatan’s Make [over] London.England [over] Executive. To the left of the stamping it had a cursive L in a circle that tells me that the pipe is a Lane era pipe. On the right side it is stamped Extra Large in script [over] Made by Hand. That helps to date this to the time after the patent was filed in 1970.The stamping is clear and readable. It has rugged rusticated finish that is very tactile on both the shank and the bowl. The shape works very well with the grain. The finish was dusty and dirty with grime deep in the finish but grain really stands out. The bowl had a moderate cake and there was tobacco debris in the bowl. The rim top had a lava coat on the rim top and edges. The Double Comfort vulcanite stem is lightly oxidized and has tooth marks and dents on the top and underside of the stem. There is a faint CP stamping on the left side of the stem and on the right is stamped REG.NO. 203573. I took photos of the pipe to show what it looked like before I started working on it. I took a closer photo of the rim top and bowl to show the condition of the bowl and rim. You can see the light cake in the bowl and the darkening and lava on the top and damage to the inner edge.The stamping on the sides of the shank is clear and readable as noted above. I took a photo of the pipe with the stem removed to give a sense of the proportions of the pipe. Even with the deep gouge in the left side of the bowl it is a real beauty. To try and figure out the era of the Charatan’s pipe I was working on I turned to the pipephil website on Logos and Stampings. There is some really helpful information on each of the lines of Charatan’s Make pipes that entered the market. Here is the link to the section of the site that I turned to, http://www.pipephil.eu/logos/en/logo-charatan.html. There is an alphabetical listing of the lines including the Executive. The site did give a short history of the brand. I quote the portion that is most pertinent.The brand was founded in 1863 by Frederik Charatan. When his father retired in 1910, Reuben Charatan took over the family business. All the pipes were handmade until 1973. The brand name has been overtaken by Dunhill in 1978 and sold in 1988 to James B. Russell Inc. (NJ, USA). During the period 1988-2002 Charatans were crafted by Butz Choquin in St Claude (France). Dunhill re-purchased Charatan brand name in 2002 and Colin Fromm (Invicta Briars, Castleford) followed up on freehand production.

I turned to Pipedia to see if I could find more information on the brand and possibly a link to the Executive line (https://pipedia.org/wiki/Charatan) but once again in the general article it was not listed.  It did give a little more historical information and is worth reading. I am including a few sections from the site.

In 1863 Frederick Charatan, a Russian/Jewish immigrant, opened a shop in Mansell Street, located in the borough of Tower Hamlets, London E1, where he began to carve Meerschaum pipes. These pipes got very popular soon, and thus Charatan moved to a bigger workshop in Prescot Street, just around the corner. Here he began to make briar pipes which should make the name famous the world over. Charatan was the first brand to make entirely hand-made briars from the rough block to the finished pipe including the stems. The nomenclature “Charatan’s Make” refers to this method of production and was meant to differ Charatan from other brands who “assembled” pipes from pre-drilled bowls and delivered mouthpieces.

Being the undisputed No. 1 in English pipemaking, Charatan was approached by Alfred Dunhill who was unsatisfied with the quality of the pipes he imported from France. During 1908 – 1910 Dunhill bought pipes from Charatan paying exorbitant prices to ensure he had some of the very best pipes for sale in England. In 1910 he lured away Joel Sasieni, one of Charatan’s best carvers, and opened his own small pipe workshop on 28 Duke Street. On the retirement of his father in 1910 Reuben Charatan took over the family business…

…The pre-Lane period (prior to 1955) and the Lane era pipes (1955 to until sometime between 1979 – 1984) are of primary interest the collector. The Lane era is often quoted as beginning about 1950… Charatan records are almost non-existent before Lane due to a factory fire, making it difficult to date pre-Lane pipes. Charatan used 4 basic grades prior to 1950: Supreme, Selected, Executive, and Belvedere. After 1950 Herman Lane’s influence began, and the grades started to expand. In 1955 Lane took over sole distributorship of Charatan in the US. In 1957 he introduced the Supreme S. Most of his other introductions were from the 60’s and early 70’s…

The section called Miscellaneous Notes had some interesting information.

Charatan records indicate the DC (Double Comfort) bit was introduced in the 50’s, but some report seeing them in earlier production. Still others indicate they were introduced by Lane in 1960. Regardless, the DC bit is not an accurate way to date a pipe because many Charatan’s were made with regular and saddle type bits throughout the “Lane Era”…

…The Lane Trademark serif and circled L indicates the pipe is from the “Lane Era” (approx. 1955 to 1979 -1984?), however it appears that both the English factory or Lane themselves sometimes, or perhaps even often forget to stamp the L on a pipe. The Charatan factory was known for inconsistencies, especially in stampings. Therefore, although an L on the pipe definitely defines it as a Lane Era pipe, the lack of it could simply mean the pipe missed receiving the stamp from the factory. The lack of the trademark could also mean the pipe was destined for the European market.

…Generally, when the pipe is stamped with the BLOCK letters “MADE BY HAND” it means the pipe was probably made between 1958 and 1965”

…Generally, block letters “MADE BY HAND” and some of the other nomenclature in script (i.e. City of London or Extra Large next to the MADE BY HAND) means the pipe was made sometime between 1965 and the mid 1970’s. The total script nomenclature “Made by Hand in City of London” evolved over this period of time, so many pipes had variants, such as Made By Hand in block letters and City of London in script, or some other variation of the terms or stampings. The Charatan Logo (CP) on the pipe bit was changed over the years.

From all of the historical data I could work through this Charatan’s Make Executive was one of the higher grade pipe from the mid 1970’s Lane era. I continued digging further into the dating of the pipe, but what I had found was a good start for me. If some of you would like to try your hand at dating it more accurately as to the time period it came out you might want to check out the article on Pipedia on Dating Charatans (https://pipedia.org/wiki/Dating_of_Charatans). I had enough for me to start working on the pipe itself and see what lay beneath the heavy tars and oils.

I began working on the pipe by addressing the deep gouge in the left side of the bowl. The first picture shows the gouge in the bowl side. It is quite deep and could easily be hiding a crack in the bowl side. I wiped the damaged area down with alcohol on a cotton pad. I filled in the gouge with clear CA glue. I pressed briar dust into the super glue and let it dry. I used a wooden sphere and 220 grit sandpaper to clean up the inner edge of the bowl and the rim top. I used a folded piece of 220 grit sandpaper to remove the darkening on the inner edge of the bowl. I sanded the repaired side of the bowl with 220 grit sandpaper to smooth out the repair. I used a Cherry Stain Pen to restain the sanded area of the bowl side. I reamed the bowl with a PipNet reamer. I used the third and fourth cutting heads to clean out the cake. I cleaned up what remained in the bowl with a Savinelli Fitsall Pipe Knife and scraped it back to bare briar. I finished by sanding the inside of the bowl with a dowel wrapped in sandpaper. The inside walls are free of burn damage or checking so the gouge does not go all the way through. I cleaned out the inside of the shank and the airway in the stem with alcohol, cotton swabs and both bristle and regular pipe cleaners.I scrubbed the bowl and shank with a tooth brush and some undiluted Murphy’s Oil Soap. I rinsed it off with warm water to remove the dust and soap from the finish. I dried it off with a soft cloth and it looked much better. I sanded the bowl with 320 – 3500 grit 2×2 inch sanding pads and wiped it down after each sanding pad with a damp cloth to remove the sanding debris. I polished the bowl with 1500-12000 grit micromesh sanding pads. I wiped the bowl down with a damp cloth to remove the dust and debris. The pipe began to look very good. The gouge in the bowl was repaired and looked better. I rubbed the briar down with Before & After Restoration Balm. I worked it into the briar with my fingertips to work it into the finish. The product works to clean, enliven and preserve the briar. I let it sit for 10 minutes then I buffed it with a cotton cloth to deepen the shine. The briar really comes alive with the balm. I set the bowl aside and turned my attention to the stem. I ‘painted’ the surface of the stem with the flame of a lighter to lift the tooth marks. I was able to lift almost all of them. I sanded the surface of the stem with a folded piece of 220 grit sandpaper to clean up the oxidation and tooth chatter on both sides. I sanded the stem with 320-3500 grit 2×2 inch pads to further adjust the fit of the stem to the shank. I wiped the stem down with an Obsidian Oil cloth after each sanding pad.I polished the vulcanite with micromesh sanding pads – 1500-12000 grit pads. I wiped it down with Obsidian Oil after each sanding pad. I used Before & After Pipe Polish – both Fine and Extra Fine to further polish the stem. With the stem polished I put it back on the Charatan’s Make Executive Extra Large Made by Hand Lane Era Dublin and lightly buffed the bowl with Blue Diamond. I buffed the stem with a more aggressive buff of Blue Diamond. I gave the bowl several coats of Conservator’s Wax and the stem several coats of carnauba wax and 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 repaired gouge looked better but now looks like a fine line across the bowl side. The pipe polished up pretty nicely. The finished pipe is shown in the photos below. This Charatan’s Make Executive Extra Large Dublin will soon be on the rebornpipes store in the British Pipe Makers Section if you want to add it to your rack. The dimensions are Length: 6 inches, Height: 2 inches, Outside diameter of the bowl: 1 ½ inches, Chamber diameter: 1 inch. Thanks for walking through the restoration with me as I worked over this Charatan’s Make.

Cracking the Mystery of an Alluring Gourd Calabash

Leave a reply

by Kenneth Lieblich

This is a wonderful gourd calabash with a long history, and I hope that one of you will fall in love with it. There is an elegance to the lines of this pipe, with its swan-like curves. It is a classic, and looks (and feels) satisfying in one’s hand. It had been well-loved by its previous owner, and understandably so. This calabash hid a big secret and it was my job to uncover and repair it. Sometimes I bite off more than I can chew and this might be one of those times. Maybe this should have been called Kenneth’s Krazy Kalabash Kure. No markings at all on this pipe, but no matter. Let’s take a closer look at it. The gourd has a deep, rich colour that I really like. The size is really pleasing too. It is more modestly sized than most calabashes – and that’s a positive. I bought this pipe in an auction and, because the auction was away from my home, I didn’t get to inspect the pipe closely beforehand. Boy, was I in for a surprise! The pipe was in dirty but decent condition. The vulcanite stem had quite a bit of wear: lots of tooth marks, oxidation, calcification, etc. The acrylic shank extension was dirty, but otherwise fine. The gourd, similarly, was dirty, but in good shape. BUT, as soon as I removed the meerschaum bowl from the gourd, I saw the problem. At some point in the past, the bowl had cracked in half: northern and southern hemispheres, if you like. That’s a big deal! This was a tough repair, but I am pleased with the results and the pipe is good to go now.As the photo above shows, the bottom part of the bowl was embedded into the gourd. I gave a preliminary and somewhat half-hearted attempt to pry it out with a dental tool. That didn’t work and it’s probably just as well. In attempting to pry it out, I was quite concerned about either cracking the gourd or cracking the bowl further – or both. I ended up heating the gourd and bowl with my heat gun – hoping that ancient tars were holding it in place. And that did the trick: I was able to extract the bottom bowl chunk (plus a few fragments) safely from the gourd without causing further damage to either. You can see the results below.At this point, I figured that I would restore the stem while I thought about what to do with the bowl. I used a disposable lighter and ‘painted’ the stem with its flame. The gentle heat of the flame can cause the dents in the vulcanite of the stem to expand back into shape. In this case, some improvement occurred – but not a lot. The stem’s calcification was quite substantial. I used an old butter knife and gently scraped some of the thicker accretion off. Doing this now helps later in removing the oxidation. I used isopropyl alcohol on a few cotton rounds and wiped down the stem to provide an initial cleaning of filth before moving on to the next steps. The primary cleaning came next. I disinfected the inside of the stem with both pipe cleaners and cotton swabs dipped in lemon-infused 99% isopropyl alcohol. I scrubbed thoroughly to make sure the interior was very clean. The goal of the next step is the removal (or minimization) of oxidation. Going to my sink, I used cream cleanser, cotton rounds, and a toothbrush, and scoured the stem to remove as much surface oxidation as possible. As the photos show, the result was a hideous, ochre-coloured mess – but better off the stem than on it.Once the stem was reasonably clean, I soaked it overnight in some Briarville Stem Oxidation Remover. This solution works to draw oxidation in the stem to the surface of the vulcanite. This is a major aid and an important step in ensuring a clean stem. The following day, I drew out the stem from its bath and scrubbed the lingering fluid with a toothbrush. Due to the severity of the oxidation, I then repeated the scrubbing with the cream cleanser for maximum effect.While the stem was soaking, I also cleaned the acrylic shank extension. I followed the same cleaning procedure as with the stem. It took a while, but I got it clean.As the stem was now clean and dry, I set about fixing the marks and dents in the vulcanite. This was done by filling those divots with black cyanoacrylate adhesive, impregnated with carbon and rubber. I left this to cure and moved on.The penultimate step for the stem is sanding. First, with my set of needle files, I reduced the bulk of the cyanoacrylate repairs. I removed the excess adhesive as near to the surface as possible, without cutting into the vulcanite. Following that, I used all nine of the micromesh sanding pads (1,500 through 12,000 grit) to sand out flaws, even out the vulcanite, and provide gentle polishing of the finished surface. I also applied pipe-stem oil while using the last five micromesh pads. There was a wonderful, deep black shine to the stem when I was done. I did the same with the shank extension. I moved on to the gourd. I cleaned the exterior of the gourd with some pH-neutral detergent and some distilled water, on a few cotton rounds. I cleaned inside of the gourd gently by scraping with my reaming knife, tube brushes, and some other tools. I was pleased with the results. I gave the gourd a thorough going-over with some beeswax polish and let that sit. I buffed it with a microfibre cloth and then, much later, I rubbed some LBE Before & After Restoration Balm into the gourd and let it sit for 30 minutes or so. I then buffed the gourd again with a microfibre cloth. On to the bowl. Meerschaum is too fragile for a proper reamer, so I used 220-grit sandpaper on the end of a wooden dowel to clean out the bowl and it turned out well. One of the frustrations of cleaning meerschaum is that once smoked, the stains never go away – and this pipe was heavily smoked. However, I did what I could and it definitely improved.Now with the stem, shank extension, gourd, and meerschaum cleaning done, it was time to put Humpty Dumpty back together again. Before repairing the separated chunks of the bowl, I needed to secure the two hemispheres together. This was not intended to be the critical attachment point, but just a solid method of marrying the two pieces. I used an adhesive for ceramics and clay – not because meerschaum is ceramic or clay (it isn’t) – but it does mimic certain characteristics of those insofar as it is very porous. This adhesive worked perfectly – it did exactly what I wanted it to. I was also able to attach the small shards of meerschaum that were left over (as seen in photos above).Now to go ‘all in’ on the repair of those missing chunks. I taped off the areas of the bowl that I didn’t want affected by the repair medium. This was a long and challenging repair and went through several failed attempts (which I won’t bore you with). Some failures included plaster of Paris, amalgams involving primarily calcium carbonate, and other ingredients (like leather dye). In the end, I came up with a good solution that maintains the integrity of the bowl shape, gives an incredibly resilient (and hard) repair, is resistant to high temperatures, and is completely inert when cured. After much trial and error, I settled on a particular type of epoxy mixed with a combination of the aforementioned calcium carbonate and briar dust. You might reasonably ask, ‘Why calcium carbonate?’ Good question. It is a material that best acts as a repair medium for meerschaum and I encourage you to read an important article I wrote about the issue here. You may also ask, ‘Why briar dust?’ Also a good question. This provided a slight brownish tint to the epoxy and CaCO3 mixture. Matching the surrounding colour was always going to be an impossibility, but I wanted to do the best I could.

I mixed my concoction and applied it liberally to the affected areas. During this process, the epoxy mix was much less viscous than I had hoped it to be. This was a big problem as it was oozing in ways that I didn’t want it to! However, like the trooper I am, I fiddled and fixed and floundered until I got it just right. It needed a full 24-hour cure and I was only too happy to leave the frustrating thing alone for a while!In the meantime, I glued the shank extension back into place in the gourd. Looks great.On the morrow – no surprise – the bowl was pretty darn ugly, but I can fix ugly. I donned a tight-fitting dust mask and went to work. My goal, of course, was to sand down excess epoxy and bring it to the level of the surrounding meerschaum, while simultaneously not reducing the bulk of the meerschaum. This took a lot of hard and careful work (plus a few touch ups), but we got there in the end. I am satisfied with the results, since the repair was never going to look invisible. The benefit of this pipe is that the repair is hidden from view, below the rim of the gourd. I then sanded down the entire piece of meerschaum with my Micromesh pads. I also rubbed two different beeswax polishes into the meerschaum. Then I let it sit for 20 minutes, buffed it with a microfiber cloth and then repeated the beeswax process. Worked like a charm! Before I went off to the buffer, I gave the meer and the gourd another going over with Clapham’s beeswax rub. This really worked well. I only took the stem to the buffer, as meerschaum and gourds don’t tolerate those high speeds very well!

This gourd calabash was a delightful can of worms right from the start and its beauty only increased through the restoration process. I am pleased to announce that this pipe is for sale! If you are interested in acquiring it for your collection, please have a look in the ‘Calabash’ pipe section of the store here on Steve’s website. You can also email me directly at kenneth@knightsofthepipe.com. The approximate dimensions of the pipe are as follows: length 6½ in. (165 mm); height 4½ in. (115 mm); bowl diameter 2⅛ in. (54 mm); chamber diameter ⅞ in. (21 mm). The weight of the pipe is 2⅜ oz. (68 g). I hope you enjoyed reading the story of this pipe’s restoration as much as I enjoyed restoring it. If you are interested in more of my work, please follow me here on Steve’s website or send me an email. Thank you very much for reading and, as always, I welcome and encourage your comments.

Restoring a Rugged Jobey Florentine EXTRA E72 Canadian

Leave a reply

by Steve Laug

The next pipe on the table is another one that came to us from the seller in Caldwell, Idaho, USA on 07/12/2025. It is a Canadian pipe with a heavily rusticated bowl and shank. It is in dirty but in good condition as can be seen in the photos below. The underside of the shank is stamped Jobey over Florentine in script [followed by] EXTRA next to that [E72] and finally by PAT.3537462. That helps to date this to the time after the patent was filed in 1970.The stamping is clear and readable. It has rugged rusticated finish that is very tactile on both the shank and the bowl. The shape works very well with the rustication. The finish was dusty and dirty with grime deep in the valleys of the rustication but the black and brown stain really highlighted the highs and lows of the finish. The bowl had a moderate cake and there was tobacco debris in the bowl. The rim top had a lava coat on the rusticated top and edges. The stem is lightly oxidized and has tooth marks and dents on the top and underside of the stem. There is a brass Jobey logo on the topside of the stem. I took photos of the pipe to show what it looked like before I started working on it.  I took a closer photo of the rim top and bowl to show the condition of the bowl and rim. You can see the light cake in the bowl and the darkening and lava on the top and inner edge. It was heavier on the sides and back of the rim and top.I took a photos of the stamping on the underside of the shank. It is clear and readable as noted above. I removed the stem and took a photo to show the proportions of the pipe. Before I started my work on the pipe I turned to Pipephil’s site to see if I could find any info on the brand and on a Florentine (http://www.pipephil.eu/logos/en/logo-j3.html). The information on Jobey was helpful but there was no listing on the Florentine line. I have included a screen capture of the information and also included the sidebar information.These pipes are made in St Claude (France) by Butz-Choquin (Berrod-Regad group) since 1987. Before this date some were manufactured in England and Denmark (Jobey Dansk). Jobey’s seconds: Shellmoor

I turned next to Pipedia (https://pipedia.org/wiki/Jobey). To deepen my understanding of the information of the brand. It was helpful in helping to understand the mess of where Jobey pipes were made and who made them. I have included the amount below.

English – American – Danish – French… Sadly, solid information about Jobey is scant

Probably established in England around 1920(?) the brand hiked into the USA later. In the course of time owner, distributor and manufacturer changed repeatedly. As far as is known the following companies have been involved with the brand:

Throughout decades Jobey pipes were mainly sold in the USA, Canada and England but remained almost unknown in continental Europe. The bulk of Jobeys were predominantly made according to classical patterns and mainly in the lower to middle price range. The predominant judgment of the pipe smokers reads: “A well made pipe for the price.” So, there is hardly anything very special or exciting about Jobey pipes although a flyer from ca. 1970 assures: “The briar root Jobey insists upon for its peer of pipes is left untouched to grow, harden and sweeten for 100 years. […] Jobey uses only the heart of this century old briar and only one out of 500 bowls turned measures up to the rigid Jobey specifications.” 99.80% of cull… that makes the layman marveling!

This particular Jobey includes a US Patent number that is for the Jobey Link System tenon that holds the stem to the shank. It is a great read and also tells me that the pipe was made after the Patent was received in 1970. I have included the link for the US Patent site and the information on the particular patent below (https://ppubs.uspto.gov/basic/). I enjoy working on Jobey pipes and it is fun to be able to trace them back to the company that made the pipe – in this case a bit of a mystery though the US Patent makes me think that this one may be a US Made pipe. Since it was made after the 1970 Patent I believe that the pipe was made by Weber Pipe Co. perhaps for the Patent Holder, Wally Frank, Ltd. I turned to work on the pipe itself.

I reamed the bowl with a PipNet pipe reamer using the cutting heads 2 and 3. I finished the reaming with a Savinelli Fitsall Pipe Knife. I sanded the walls of the bowl with 220 grit sandpaper wrapped around a piece of dowel. I worked on the darkening on the rim top with a brass bristle wire brush. I was able to remove the majority of the darkening with this method.I cleaned out the inside of the shank and the airway in the stem with alcohol, cotton swabs and both bristle and regular pipe cleaners.I scrubbed the bowl and shank with a tooth brush and some undiluted Murphy’s Oil Soap. I rinsed it off with warm water to remove the dust and soap from the finish. I dried it off with a soft cloth and it looked much better. I removed the stem and set it aside. I rubbed the briar down with Before & After Restoration Balm. I worked it into the briar with my fingertips to work it into the finish. The product works to clean, enliven and preserve the briar. I let it sit for 10 minutes then I buffed it with a cotton cloth to deepen the shine. The briar really comes alive with the balm. I set the bowl aside and turned my attention to the stem. I sanded the surface of the stem with a folded piece of 220 grit sandpaper to clean up the oxidation and tooth chatter on both sides. I sanded the stem with 320-3500 grit 2×2 inch pads to further adjust the fit of the stem to the shank. I wiped the stem down with an Obsidian Oil cloth after each sanding pad.I polished the vulcanite with micromesh sanding pads – 1500-12000 grit pads. I wiped it down with Obsidian Oil after each sanding pad. I used Before & After Pipe Polish – both Fine and Extra Fine to further polish the stem. I put the Jobey Florentine Extra E72 Canadian back together then polished the stem with Blue Diamond to polish out the remaining small scratches and gave it several coats of carnauba. I polished the bowl and shank with Conservator’s Wax and buffed it with a shoe brush. 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 finished pipe is shown in the photos below. The dimensions are Length: 6 ¾ 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 38 grams/1.34 ounces. I will be adding it to the rebornpipes store in the American Pipe Makers Section shortly. If you are interested in adding it to your collection email me at slaug@uniserve.com or send me a message on Facebook. Thanks for walking through the restoration with me as I worked over this rusticated Patented Jobey Florentine Extra E72 Canadian.

Restoring and Restemming a Grant’s Tanblast 831 Canadian with a Taper Stem

1 Reply

by Steve Laug

The next pipe on the table is another one that came to us from the seller in Caldwell, Idaho, USA on 07/12/2025. It is a Canadian bowl with a broken tenon in shank and no stem. It is in dirty but in good condition as can be seen in the photos below. It is stamped on the underside of the shank and reads Grant’s [over] Tanblast. That is followed by the shape number 831 and stamped after that Made in London [over] England. The stamping is clear and readable. It has rich natural sandblast Finish on a nicely grained sandblast finish that the shape follows well. The finish was dusty and dirty with grime ground into the finish. The bowl had a moderate cake and there was tobacco debris in the bowl. The rim top had a lava coat on the top and edges. The stem was missing but the broken tenon was stuck in the shank. I would need to pull it and restem it. I took photos of the pipe to show what it looked like before I started working on it. I took a closer photo of the rim top and bowl to show the condition of the bowl and rim. You can see the light cake in the bowl and the darkening and lava on the top and inner edge. It was heavier on the left side but also covered the back and front of the rim and top.I took a photos of the stamping on the underside of the shank. It is clear and readable as noted above.Before starting working on the pipe I did a Google search to see what I could learn about a Grant’s Tanblast 831 Canadian. The first thing that came up is a pretty clear and succinct AI Overview of the stamping. I am including that information below.

Based on the stamping “Made in London England” and “Grant’s,” this pipe is a house brand from Grant’s Pipe Shop in San Francisco, California. These pipes were produced in London for Ed Grant, who purchased the historic Sutliff pipe shop in 1953 and retired in 1988. 

Key Information regarding Grant’s Pipe Shop Pipes:

  • Manufacturer: Many Grant’s Pipe Shop pipes, including the “Corinthian” line, were manufactured in London by Comoy’s.
  • Stamping: The pipes often feature “Grant’s Pipe Shop,” “San Francisco,” and “London Made” or “Made in England”.
  • “Tanblast”: This likely refers to a specific finish or line offered by the shop, featuring a tan/brown sandblasted finish.
  • Number 831: This indicates the specific shape number for the pipe in the Grant’s/Comoy’s catalog.
  • Period: These are typically vintage pipes, largely dating between the mid-1950s and the late 1980s. 

Grant’s Pipe Shop was a renowned Californian tobacconist that sold high-quality English-made estate pipes

This information gave me a clear connection to Grant’s Pipe Shop and the Tanblast stamping on the underside. It also linked the 831 shape number to both the Grant’s Pipe Shop and Comoy’s catalogue. Thus, I know that pipe is linked to Grant’s Pipe Shop and Comoy’s shape 831 Canadian.

Now that I have the link to Grant’s Pipe Shop in San Francisco, California I turned to Pipephil’s site to see if I could learn more (http://www.pipephil.eu/logos/en/logo-g5.html). I did a screen capture of the information on Grant’s and have included it and the side bar information below.Tobacconist’s brand founded 1849 by Henry Sutliff. In 1925, Sutliff opened a shop in the 500 Block of Market St. In 1953, Ed Grant the manager, purchased the store renaming it Grant’s Pipe Shop. He retired in 1988 and passed away in 2003. Ted Ware and Joe Barron took over the oldest Californian tobacconist in 2004.

I turned to Pipedia and found an interesting article on the shop and its closure in 2012. There was also an advert card on the shop showing what the shop looked like inside and out from 1849-2012 (https://pipedia.org/wiki/Grants_Pipe_Shop). I have done a screen capture of the card and added it below.I enjoy working on Pipe Shop pipes and it is fun to be able to trace them back to the company that made the pipe – in this case Comoy’s of London. I turned to work on the pipe itself. Before addressing the bowl, I decided to pull the broken tenon from the shank. I used a drywall screw and turned it into the airway. I wiggled the tenon free from the shank. With it removed it was ready to be fit with a new stem once it was clean.I turned to clean up the bowl in preparation for the restemming. I reamed the bowl with a PipNet pipe reamer using the cutting heads 2 and 3. I finished the reaming with a Savinelli Fitsall Pipe Knife. I sanded the walls of the bowl with 220 grit sandpaper wrapped around a piece of dowel. I worked on the darkening on the rim top with a brass bristle wire brush. I was able to remove the majority of the darkening with this method.I cleaned out the inside of the shank and the airway in the stem with alcohol, cotton swabs and both bristle and regular pipe cleaners.I scrubbed the bowl and shank with a tooth brush and some undiluted Murphy’s Oil Soap. I rinsed it off with warm water to remove the dust and soap from the finish. I dried it off with a soft cloth and it looked much better. I had a stem in my can of stems that would work on this pipe. I fitted the stem to the shank. It would take a bit of adjusting to get the fit in the shank correct. I used a folded piece of 220 grit sandpaper and some small flat files. I removed the stem and set it aside. I rubbed the briar down with Before & After Restoration Balm. I worked it into the briar with my fingertips to work it into the finish. The product works to clean, enliven and preserve the briar. I let it sit for 10 minutes then I buffed it with a cotton cloth to deepen the shine. The briar really comes alive with the balm. I set the bowl aside to let the Before & After Restoration Balm do its magic and turned to work on the thickness of the stem at the side, top and underside. It was quite close but some fine tuning would clean it up and make the fit seamless. I sanded the surface of the stem with a folded piece of 220 grit sandpaper to shape the fit to the shank. I sanded the stem with 320-3500 grit 2×2 inch pads to further adjust the fit of the stem to the shank. I wiped the stem down with an Obsidian Oil cloth after each sanding pad.I polished the vulcanite with micromesh sanding pads – 1500-12000 grit pads. I wiped it down with Obsidian Oil after each sanding pad. I used Before & After Pipe Polish – both Fine and Extra Fine to further polish the stem. I the polished newly fit vulcanite taper stem and the Grant’s Tanblast 831 Canadian bowl with Blue Diamond to polish out the remaining small scratches and raise the shine. I gave the bowl and the stem several coats of carnauba wax then 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. This turned out to be a beautiful Grant’s Tanblast 831 Canadian with a Taper Stem. The finished pipe is shown in the photos below. The dimensions 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 1.23 ounces/35 grams. Thanks for walking through the restoration and restemming with me as I worked this beautiful little Comoy’s Made Grant’s House Pipe. I will be adding it to the rebornpipes store in the British Pipe Makers Section if you would like to add it to your collection. Thanks for looking.

New Life for a Dunhill Shell Briar 83 F/T Yachtsman with a Taper Stem

Leave a reply

by Steve Laug

The next pipe on the table is another one that came to us from the seller in Caldwell, Idaho, USA on 07/12/2025. It is a Dunhill Shell Briar Zulu or Yachtsman with a vulcanite taper stem. It is in dirty but in good condition as can be seen in the photos below. It is stamped on the underside of the shank and reads 83 F/T [followed by] Dunhill [over] Shell Briar. That is followed by Made in [over] England6 and a 9 slightly below the first number. It is followed by a stamping Circle 3S. The stamping is faint in spots but is still readable. It has rich Shell Briar Sandblast Finish with a blend of black, brown and oxblood stains on a richly grained sandblast finish that the shape follows well. The finish was dusty and dirty with grime ground into the finish. It was also spotty and possibly faded. The bowl had a moderate cake and there was tobacco debris in the bowl. The rim top had a thick lava coat on the top and edges. The stem was quite dirty and there was a dark dot on the top that appears to be a brass circle like Orlik has on their stem or a darkened white spot. I will know when I clean it up. It is oxidized and has light tooth marks and chatter on both sides. I took photos of the pipe to show what it looked like before I started working on it. I took photos of the bowl and rim top to show the thickness of the cake and the lava coat on the rim top. There was some tobacco debris in the bottom of the bowl. The stem photos show the condition of the taper stem ahead of the button.The stamping on the underside of the shank is faint in spots but readable as noted above. I took a photo of the pipe with the stem removed to give a sense of the proportions of the pipe. It is a real beauty.One of the first things I like to do is to unpack the stamping and understand each element in it. I turned to Pipephil’s helpful site (http://pipephil.eu/logos/en/dunhill/shell-briar1.html). The stamping is interpreted as follows: The 83 is the shape number for a Zulu or Yachtsman shape. The F/T gives the shape of the stem as a Fishtail on this taper stem. The Dunhill Shell Briar is the finish. Following the Made In England6 gives the year that the pipe was made the superscript 9 that follows that is the year it was sold to a retailer. The Circle 3S is the Group 3 size pipe and the S is the stamp for a Shell Briar.

From there I wanted to pin down the date stamp 6 and 9. I have included Page 2 of the Dunhill Dating Key (http://www.pipephil.eu/logos/en/dunhill/cledat-en1a.html). Following that it takes me to the box with 1950+suffix. That tells me that the pipe is a 1956 made pipe sent to a retailer in 1959.    I wanted to know more about the Shell finish and when it was introduced by Dunhill and how that fit the Patent stamp on the bowl. I turned to a listing on Pipedia that gave me the information I was looking for (https://pipedia.org/wiki/Dunhill).

Shell

The Shell is a deep, craggy sandblast finish with a black stain, traditionally applied to soft, beautifully grained Algerian briar. While perhaps not the first-ever use of sandblasting on pipes, the technique perfected by Dunhill is considered one of the brand’s most significant contributions to the art of pipe making. The development is documented in English patent No. 119708/17; preliminary work began on October 13, 1917, and the patent was granted a year later, just weeks before the end of the First World War.

The origin of the finish is famously recounted as an “Accidental Discovery” in early Dunhill catalogues. The story tells of Algerian briar blocks being inadvertently left near a furnace, causing the softer wood to shrink and the harder grain to stand out in a textured relief. The reality, as detailed in the patent application, was a deliberate process of steeping the briar in oil for weeks, followed by a heat treatment. Only then was the sandblast applied to cut away the softer wood, resulting in a durable, lightweight, and cool-smoking pipe.

In 1986, Dunhill introduced a premium version of the Shell finish called the ‘Ring Grain’. These pipes feature a particularly deep blast reminiscent of the classic style of the 1930s to mid-1960s, applied to briar with a superior grain pattern. The ‘Ring Grain’ name was later changed to ‘Shilling’ in 1995. Regarded by many enthusiasts as among the finest modern Dunhills, these pipes are produced in limited quantities and are exceptionally rare.[122][123]

Now I knew that I was working on a Dunhill Shell Briar 83F/T Yachtsman with a replacement Taper Stem that was made in 1956 and sent to a retailer in 1959.

I turned to work on the pipe itself. I reamed the bowl with a PipNet pipe reamer using the cutting heads 2 and 3. I finished the reaming with a Savinelli Fitsall Pipe Knife. I sanded the walls of the bowl with 220 grit sandpaper wrapped around a piece of dowel. I turned to work on the pipe itself. I reamed the bowl with a PipNet pipe reamer using the cutting heads 2 and 3. I finished the reaming with a Savinelli Fitsall Pipe Knife. I sanded the walls of the bowl with 220 grit sandpaper wrapped around a piece of dowel. I worked over the sandblast rim top with a brass bristle wire brush to clean up the debris in the valleys of the blast. It looked better.I cleaned out the inside of the shank and the airway in the stem with alcohol, cotton swabs and both bristle and regular pipe cleaners. I scrubbed the bowl and shank with a tooth brush and some undiluted Murphy’s Oil Soap. I rinsed it off with warm water to remove the dust and soap from the finish. I dried it off with a soft cloth and it looked much better. I rubbed the briar down with Before & After Restoration Balm. I worked it into the briar with my fingertips to work it into the finish. The product works to clean, enliven and preserve the briar. I let it sit for 10 minutes then I buffed it with a cotton cloth to deepen the shine. The briar really comes alive with the balm.  I set the bowl aside and worked on the stem. I sanded the surface of the stem with a folded piece of 220 grit sandpaper to remove the oxidation and clean up the tooth marks and chatter on both sides of the stem ahead of the button. I worked on the area around the spot on the top of the stem. What first appeared to be a brass circle became obviously a Dunhill spot-like insert. I believe that it is a darkened white spot that is shrunken slightly and has some grime around the edge. I examined it carefully with a lens and bright light and it is definitely not a ring but a spot. It looks like I have an original stem on the pipe.I sanded the stem with 320-3500 grit 2×2 inch pads. I wiped the stem down with an Obsidian Oil cloth after each sanding pad.I polished the vulcanite with micromesh sanding pads – 1500-12000 grit pads. I wiped it down with Obsidian Oil after each sanding pad. I used Before & After Pipe Polish – both Fine and Extra Fine to further polish the stem. I the polished vulcanite taper stem and the 1956 Dunhill Shell Briar 83 F/T Yachtsman bowl with Blue Diamond to polish out the remaining small scratches and raise the shine. I gave the bowl and the stem several coats of carnauba wax then 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 dark spot/darkened white spot on the stem is very visible. This turned out to be a beautiful Dunhill Shell Briar 83 F/T Yachtsman with a Taper Stem. The finished pipe is shown in the photos below. The dimensions 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 .95 ounces/27 grams. Thanks for walking through the restoration with me as I worked this beautiful little Dunhill Shell Briar. I will be adding it to the rebornpipes store in the British Pipe Makers Section if you would like to add it to your collection. Thanks for looking.

Restoring an Old and Rare C.P.F. Egg and Claw Beauty

Leave a reply

by Kenneth Lieblich

It isn’t often that I get to work on pipes that are more than a century old. It does happen from time-to-time, but – regardless – it is a delight when it does happen. This pipe came to me from an auction and it immediately caught my eye. First, I saw the initials, C.P.F., and I knew that meant the pipe was very old. Second, the shape of the pipe was unusual: an egg and claw. This is something that one sees in meerschaum pipes occasionally, but less so in briar pipes. Third, I could tell that the rim cap was lost to time and that the stem seemed … odd – but I couldn’t (yet) put my finger on why. A special thanks is due to Steve for his help on this restoration. The pipe is absolutely charming and a wonderful example of the pipe-making of a different era. As mentioned, the markings of the pipe included the initials C.P.F. on the left side of the shank. No other markings were in the briar. However, the brass (or nickel) band also had some markings. First, there were a set of faux hallmarks (anchor, star, bird?) above another engraving of C.P.F.C.P.F. stands for Colossus Pipe Factory and is one of those 19th century pipe firms that is shrouded in mystery. Perhaps the mystery is simply a paucity of documentary records. There are entries for Colossus at both Pipedia and Pipephil, but the information is scant. Here’s a quotation from the Pipedia article:

There is not much known about the Colossus Pipe Factory. By the mid 1890’s it was owned by Kaufmann Bros. & Bondy. Bill Feuerbach has an old invoice from KB&B dated 1898 that has “C.P.F.” in the upper corner, with Trademark underneath. So they owned the brand by then. It could have been a company that was acquired by KB&B or possibly even founded by them. Bill Feuerbach is a VP at S. M. Frank & Co. (Kaywoodie) and has also provided the evidence to the name Colossus below. I have always been under the impression that the initials C.P.F. stood for Consolidated Pipe Factory. Many pipe collectors that I know believe the same thing. However only this week I had that cleared up. A pipe collector friend in Seattle emailed a scan of a page from a trade magazine called “The Jeweler’s Circular”, dated August 23, 1899. A reader wrote in the following question, “Please inform us who manufactures briar pipes with trademark, C.P.F.?” The answer was, “These letters stand for Colossus Pipe Factory, the business being conducted by Kaufmann Bros. & Bondy, 129 Grand Street, New York.” I have seen pipes with both the C.P.F. logo and KB&B logo on them that date to pre-1900. This may have been a way to let the public now that the companies were affiliated. As far as I can tell, the C.P.F. brand was discontinued sometime in the 1910-1920 range.

Steve has restored a few C.P.F. pipes and, quite frankly, this article he wrote about their history is probably the best place to look. You can also see some of his restorations of C.P.F. pipes here and here and here. From everything I can gather, this pipe is well in excess of 100 years old and might be much older than that. How about the condition of this pipe? Let’s talk about the stummel first. It was dirty – very dirty. The briar was in good shape, but more than a century’s worth of dust and debris have been ground into the pipe’s crevasses. I was pleased to see how few scratches were in the wood and that made me hopeful. The inside of the bowl, however, was full of cake and seemed heavily smoked. As I mentioned earlier, the rim cap was missing. Meanwhile, the stem was the thing that made me pause. I asked Steve about it and, after a thorough chat with him about this pipe, he was of the view that this stem was not the original. It didn’t fit quite right and looked a bit too long. That made a lot of sense because this stem seemed cheap and unusually brittle. There was a bone tenon connecting stem and stummel and, although it seemed sound, I wasn’t sure it was original either. The first item on my agenda was to extricate the tenon from the stummel – it was stuck. I opted to warm the area with my heat gun and this provided just enough softening of the internal goo to allow me to extract it.Since the stem was both not-the-original and badly damaged, I elected to set it aside for now and figure out what to do with it later. For now, I decided to remove all the cake inside the bowl. This accomplished a couple of things. First (and most obviously), it cleaned the bowl and provided a refurbished chamber for future smoking. Second, when the old cake was removed, I could inspect the interior walls of the bowl and determine if there was damage or not. I used a reamer, a pipe knife, and a piece of sandpaper taped to a wooden dowel. Collectively, these ensured that all the debris was removed. However, it was clear that the walls of the bowl had been heavily smoked, excessively reamed, and showed signs of char and craze lines. I would have to address that later.My next step was to remove the lava on the rim. For this, I took a piece of machine steel and gently scraped the lava away. The metal’s edge is sharp enough to remove what I need, but not so sharp that it damages the rim.I then cleaned the stummel with both pipe cleaners and cotton swabs dipped in lemon-infused 99% isopropyl alcohol. With a pipe this dirty, it took quite a while and much cotton to clean.I then decided to ‘de-ghost’ the pipe – that is to say, exorcize the remaining filth from the briar. I filled the bowl and the shank with cotton balls, then saturated them with 99% isopropyl alcohol. I let the stummel sit overnight. This caused the remaining oils, tars and smells to leach out into the cotton.To tidy up the briar, I wiped down the outside, using a solution of a pH-neutral detergent and some distilled water, with cotton rounds. I also used a toothbrush in the crevices. This did a good job of cleaning any latent dirt on the surface of the briar. The last step of the cleaning process was to scour the inside of the stummel with the same mild detergent and tube brushes. This was the culmination of a lot of hard work in getting the pipe clean.Back to the damaged interior of the bowl. To repair the craze lines, etc., I used an epoxy adhesive that is extremely hard, resistant to high temperatures, and completely inert when cured. It worked superbly. I lined the affected area with the epoxy and let it cure for a full 24 hours. I forgot to take photos of this step, so you’ll just have to take my word for it. The next day, I roughened up the epoxy’s surface with 220-grit sandpaper for the next step. I thinly coated the inside of the bowl with a mixture of my wife’s homemade yogurt and activated charcoal. Once hardened, this provided a good, faintly rough surface for a new cake to build. I used all nine micromesh pads (1,500 through 12,000 grit) to sand the outside of the stummel and finish it off. This sanding minimizes flaws in the briar and provides a beautiful smoothness to the wood.Steve and I both have a few very old rim caps, specifically for C.P.F. pipes. We scoured both of our piles and found a perfect one in his collection. It fits correctly and is just the sort of piece that a C.P.F. pipe of that era would have had. I gave it a quick buffing with some old MicroMesh pads.Now to address the stem issue. Similar to the rim cap, I went to my collection of stems and found an ideal replacement, based on Steve’s recommendation. I have several, very old, Bakelite stems that would be just right. The one I selected dates from the same time period as the pipe and, best of all, was unused – never smoked. The stem was marked Germany, the place of manufacture. I married the stem and stummel, and both Steve and I agreed that it looked perfect. I also had to hunt in my stores for an old bone tenon. This took a long time, but I finally found one that fit both the new stem’s mortise and the existing shank’s mortise. I quickly cleaned and polished up the stem (didn’t take long, as it was new) and put it aside.Next, I polished the brass (or nickel) band with a few grey sanding pads. This made it shine beautifully. I took the band and the rim top and glued them in place with pH-neutral adhesive. I was very pleased with the results.I rubbed some LBE Before & After Restoration Balm into the briar and let it sit for 30 minutes or so. The balm moisturizes the wood and gives a beautiful depth to the briar. I then buffed the stummel with a microfibre cloth. For the final step, I took the stem (only) to my bench polisher and carefully buffed it – first with a blue diamond compound, then with carnauba wax. I chose not to buff the stummel on the bench polisher, as there were too many points for the wheel to catch on the stummel. Instead, I polished it by hand with conservator’s wax.All done! This C.P.F. Egg and Claw looks fantastic again and is ready to be enjoyed by its next owner. It was a tough restoration, but this pipe is a trophy and worth having in your collection. I am pleased to announce that this pipe is for sale! If you are interested in acquiring it for your collection, please have a look in the ‘American’ section of the store here on Steve’s website. You can also email me directly at kenneth@knightsofthepipe.com. The approximate dimensions of the pipe are as follows: length 5⅓ in. (135 mm); height 2 in. (52 mm); bowl diameter 1⅝ in. (41 mm); chamber diameter ¾ in. (18 mm). The weight of the pipe is 1⅜ oz. (42 g). I hope you enjoyed reading the story of this pipe’s restoration as much as I enjoyed restoring it. If you are interested in more of my work, please follow me here on Steve’s website or send me an email. Thank you very much for reading and, as always, I welcome and encourage your comments.

New Life for a Dunhill Bruyere P 1/2 Bent Bulldog

Leave a reply

by Steve Laug

The next pipe on the table is another one that came to us from the seller in Caldwell, Idaho, USA on 07/12/2025. The Bruyere finish, the shape and the Dunhill stamping caught our eye. It is stamped on the left side of the shank and reads P next to the bowl/shank union followed by Dunhill [over] Bruyere. On the right side it is stamped Made in [over] England15. That is followed by a circle 4A. It has a classic Bruyere smooth finish that is a stark contrast to vulcanite taper stem. The bowl appears to be moderately caked at first glance but could be thicker deeper in the bowl. The inner edge and the top show some lava overflow. The stem is oxidized and calcified which is quite normal for what I see. It also has some light tooth marks and chatter on the top and underside ahead of the button. The classic white spot is on the top of the stem and looks to be in good condition. I took some photos of the pipe to show the general condition of the pipe before I started his clean up.   I took photos of the bowl and rim top to show the thickness of the cake and the lava coat on the rim top. There was some tobacco debris in the bottom of the bowl. The stem photos show the condition of the stem ahead of the button.The stamping on the sides of the shank are clear and readable as noted above. I took a photo of the pipe with the stem removed to give a sense of the proportions of the pipe. It is a real beauty. One of the first things I like to do is to unpack the stamping and understand each element in it. I turned to Pipephil’s helpful site (http://pipephil.eu/logos/en/dunhill/shell-briar1.html). The stamping is interpreted as follows: The P is the shape of the pipe which I assume is a Bulldog. The Dunhill Bruyere is the finish. Following the Made In England15 gives the year that the pipe was made.  The circle 4A is the stamp for a Group 4 in a Bruyere finish.

I turned to Pipedia’s shape charts on Dunhills (https://pipedia.org/wiki/Dunhill_Shape_Chart). I have included the shape charts from the site. The first is the chart as a whole and the second is a larger version of the right column. From the above information I could see that I was working on a ½ Bent Bulldog shaped pipe. The chart shows that the P is the stamping for ½ Bent Bulldog. The pipe I have has a taper stem.

From there I turned to Pipedia’s section on Dunhill Bruyere Pipes to get a bit of background on the Dunhill finishes (https://pipedia.org/wiki/Dunhill#Root_Briar). I quote:

Bruyere

The original finish produced (usually made using Calabrian briar), and a big part of developing and marketing the brand. It was the only finish from 1910 until 1917. A dark reddish-brown stain. Before the 1950s, there were three possible finishes for Dunhill pipes. The Bruyere was a smooth finish with a deep red stain, obtained through two coats, a brown understain followed by a deep red.

There was a link on the above site to a section specifically written regarding the Bruyere finish (https://pipedia.org/wiki/Dunhill_Bruyere). I turned there and have included the information from that short article below.

Initially, made from over century-old briar burls, classified by a “B” (denoted highest quality pipe); “DR” (denoted straight-grained) and an “A” (denoted first quality), until early 1915. After that, they became a high-end subset to the Dunhill ‘Bruyere’. The DR and B pipes, a limited production, they should be distinguished as hand-cut in London from burls as opposed to the Bruyere line which was generally finished from French turned bowls until 1917, when the Calabrian briar started to be used, but not completely. Only in 1920 Dunhill took the final step in its pipe making operation and began sourcing and cutting all of its own bowls, proudly announcing thereafter that “no French briar was employed”.

Bruyere pipes were usually made using Calabrian briar, a very dense and hardy briar that has a modest grain but does very well with the deep red stain.

“Before the 1950s, there were three possible finishes for Dunhill pipes. The Bruyere was a smooth finish with a deep red stain, obtained through two coats, a brown understain followed by a deep red. The Shell finish was the original sandblast with a near-black stain (though the degree to which it is truly black has varied over the years). Lastly, the Root finish was smooth also but with a light brown finish. Early Dunhill used different briars with different stains, resulting in more distinct and identifiable creations… Over the years, to these traditional styles were added four new finishes: Cumberland, Dress, Chestnut and Amber Root, plus some now-defunct finishes, such as County, Russet and Red Bark.”

There was also a link to a catalogue page that gave examples and dates that the various finishes were introduced (https://pipedia.org/wiki/File:Dunnypipescatalog-1.png). I turned to Pipephil’s dating guide to show how I arrived at the date of manufacture for this pipe (http://www.pipephil.eu/logos/en/dunhill/cledat-en1a.html). I am including the chart that is provided there for the dating a pipe. I have drawn a red box around the section. Since the pipe I am working on has a suffix15 that is raised. It to the 1960 line on the chart below. It also gave me the formula for dating the pipe – 1960 + suffix 15 = 1975.I now knew that I was working on a Bruyere that came out in 1975. The shape of the pipe was ½ Bent Bulldog that Dunhill put out and that the P was a normal shape designation.

Armed with that information I turned to work on the pipe itself. I reamed the bowl with a PipNet pipe reamer using the cutting heads 2 and 3. I finished the reaming with a Savinelli Fitsall Pipe Knife. I sanded the walls of the bowl with 220 grit sandpaper wrapped around a piece of dowel. I scraped the rim top with the Fitsall Pipe Knife to remove as much of the lava coat as I could. I followed that up with a 320 and 400 grit sanding pad. It was beginning to look much better.I cleaned out the inside of the shank and the airway in the stem with alcohol, cotton swabs and both bristle and regular pipe cleaners. I scrubbed the bowl and shank with a tooth brush and some undiluted Murphy’s Oil Soap. I rinsed it off with warm water to remove the dust and soap from the finish. I dried it off with a soft cloth and it looked much better. I sanded the bowl with 320-3500 grit 2×2 inch pads. I wiped the bowl down with a damp cloth after each sanding pad. I polished the briar with 1500-12000 grit micromesh sanding pads to develop the shine. It began to look very good. It had a rich shine in the finish. The exterior of the bowl look better after sanding. I worked some Before & After Restoration Balm into the briar with my finger tips. I let it sit for 10 minutes and then buffed it off with a soft cloth. The product is a great addition to the restoration work. It enlivens, enriches and protects the briar while giving it a deep glow. It is a product I use on every pipe I restore. I set the bowl aside and worked on the stem. I sanded the surface of the stem with a folded piece of 220 grit sandpaper to remove the oxidation and clean up the tooth marks and chatter on both sides of the stem ahead of the button. I sanded the stem with 320-3500 grit 2×2 inch pads. I wiped the stem down with an Obsidian Oil cloth after each sanding pad.It was ready for the next step. I polished it with micromesh sanding pads – dry sanding with 1500-12000 grit pads and wiping the surface down with Obsidian Oil after each sanding pad. It is really shining. I polished it further with Before & After Stem Polish – both Fine and Extra Fine. I gave it another coat of Obsidian Oil to finish this step. This 1975 Dunhill Bruyere P ½ Bent Bulldog  Group 4A is a beautiful looking piece of briar that has a shape that follows grain. It is a great looking pipe that came out looking even better after the cleanup. The Bruyere is an early finish that Dunhill specialized in making. The finish on the pipe is in excellent condition. The red and brown stain on the bowl works well to highlight the grain. The polished black vulcanite taper stem adds to the mix. With the grime gone from the finish and the bowl it was a beauty and is eye-catching. I put the stem back on the bowl and buffed the pipe with Blue Diamond on the buffing wheel being careful to not buff the stamping. I gave the bowl and the stem multiple coats of carnauba wax on the buffing wheel and followed that by buffing it with a clean buffing pad. I hand buffed the pipe with a microfiber cloth to deepen the shine. The finished 1975 Dunhill Bruyere P ½ Bent Bulldog is quite nice and feels great in the hand. Give the finished pipe a look in the photos below. I can only tell you that like the other pipes I am working that it is much prettier in person than the photos capture. The dimensions of the pipe are Length: 5 inches, Height: 1 ½ inches, Outside diameter of the bowl: 1 ½ inches, Chamber diameter: ¾ of an inch. The weight of the pipe is 37 grams/1.34 ounces. It will soon be added to the British Pipe Makers Section on the rebornpipes store.

As always, I encourage your questions and comments as you read the blog. Thanks to each of you who are reading this blog. Remember we are not pipe owners; we are pipe men and women who hold our pipes in trust until they pass on into the trust of those who follow us.

New Life for a 1975 Dunhill Root Briar147 Diamond Shank Bulldog with a Taper Stem

Leave a reply

by Steve Laug

The next pipe on the table is another one that came to us from the seller in Caldwell, Idaho, USA on 07/12/2025. It is a Dunhill Root Briar Small Straight Bulldog with a vulcanite taper stem. It is in dirty but in good condition as can be seen in the photos below. It is stamped on the left side of the shank and reads 147 [followed by] Dunhill [over] Root Briar. On the right side it is stamped Made in [over] England15. That is followed by a stamping Circle 4R. The stamping is clear and readable. The pipe has rich Root Briar Finish with a blend of brown stains on a richly grained smooth finish that the shape follows well. The finish was dusty and lightly dirty with grime ground into the finish. The bowl had a moderate cake and there was tobacco debris in the bowl. The rim top had a thick lava coat on the rim top and edges. The original white spot taper stem is dirty and oxidized with light tooth marks and chatter on both sides. I took photos of the pipe to show what it looked like before I started working on it. I took photos of the bowl and rim top to show the thickness of the cake and the lava coat on the rim top. There was some tobacco debris in the bottom of the bowl. The stem photos show the condition of the saddle stem ahead of the button.The stamping on the sides of the shank are clear and readable as noted above. I took a photo of the pipe with the stem removed to give a sense of the proportions of the pipe. It is a real beauty. One of the first things I like to do is to unpack the stamping and understand each element in it. I turned to Pipephil’s helpful site (http://pipephil.eu/logos/en/dunhill/shell-briar1.html). The stamping is interpreted as follows: The 147 is the shape of the pipe which I assume is a Bulldog. The Dunhill Root Briar is the finish. Following the Made In England15 gives the year that the pipe was made.  The circle 4R is the stamp for a Group 4 in a Root Briar finish.

From there I wanted to pin down the date stamp 15. I have included Page 2 of the Dunhill Dating Key (http://www.pipephil.eu/logos/en/dunhill/cledat-en1a.html). Following that it takes me to the box with 1960+suffix. That tells me that the pipe is a 1975 pipe.    I wanted to know more about the Root Briar finish and when it was introduced by Dunhill. I turned to a listing on Pipedia that gave me the information I was looking for (https://pipedia.org/wiki/Dunhill).

Root Briar

Dunhill introduced its third major pipe finish, the Root Briar, in 1931. The new line was developed specifically to showcase briar with a particularly beautiful and pronounced grain. To this end, it was made exclusively from Corsican mountain briar, a wood characteristically prized for its fine grain, a practice that continued into the 1960s.

The pipe was finished with a light, natural stain to allow the beauty of the wood to show through. A particularly distinctive feature of the early Root Briar was its unique mouthpiece — a marble-grained, brown vulcanite bit — that became known to collectors as the ‘bowling ball’ bit. This style, however, was discontinued with the onset of the Second World War.

Because the Root Briar finish requires a perfectly clean bowl with exceptional graining, it has always been one of Dunhill’s rarer and more expensive lines, typically available only at the company’s own stores or through its principal dealers. Its nomenclature was identical to that of the Bruyère, except for the use of an ‘R’ stamp instead of an ‘A’. Straight-grained versions were graded on various scales over the years, evolving into the modern ‘DR’ one-to-six-star system.[122][123]

Now I knew that I was working on a Dunhill Root Briar 147 Bulldog with a Taper Stem that was made in 1975.

I turned to work on the pipe itself. I reamed the bowl with a PipNet pipe reamer using the cutting heads 2 and 3. I finished the reaming with a Savinelli Fitsall Pipe Knife. I sanded the walls of the bowl with 220 grit sandpaper wrapped around a piece of dowel. I scraped the rim top with the Fitsall Pipe Knife to remove as much of the lava coat as I could. I followed that up with a 320 grit sanding pad. It was beginning to look much better.I cleaned out the inside of the shank and the airway in the stem with alcohol, cotton swabs and both bristle and regular pipe cleaners. I scrubbed the bowl and shank with a tooth brush and some undiluted Murphy’s Oil Soap. I rinsed it off with warm water to remove the dust and soap from the finish. I dried it off with a soft cloth and it looked much better. I sanded the exterior of the bowl with 320-3500 grit 2×2 inch sanding pads to remove the scratching in the finish. I wiped the bowl down with a damp cloth after each sanding pad. It really began to look much better. I polished the briar with 1500-12000 grit micromesh sanding pads to develop the shine. It began to look very good. It had a rich shine in the finish. I rubbed the briar down with Before & After Restoration Balm. I worked it into the briar with my fingertips to work it into the finish. The product works to clean, enliven and preserve the briar. I let it sit for 10 minutes then I buffed it with a cotton cloth to deepen the shine. The briar really comes alive with the balm. I set the bowl aside and worked on the stem. I sanded the surface of the stem with a folded piece of 220 grit sandpaper to remove the oxidation and clean up the tooth marks and chatter on both sides of the stem ahead of the button. I sanded the stem with 320-3500 grit 2×2 inch pads. I wiped the stem down with an Obsidian Oil cloth after each sanding pad.I polished the vulcanite with micromesh sanding pads – 1500-12000 grit pads. I wiped it down with Obsidian Oil after each sanding pad. I used Before & After Pipe Polish – both Fine and Extra Fine to further polish the stem. I the polished vulcanite saddle stem and the 1975 Dunhill Root Briar 147 Taper Stem Bulldog bowl with Blue Diamond to polish out the remaining small scratches and raise the shine. I gave the bowl and the stem several coats of carnauba wax then 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. This turned out to be a beautiful Dunhill Root Briar147 Bulldog with a Taper Stem. The finished pipe is shown in the photos below. The dimensions 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 1.16 ounces/33 grams. Thanks for walking through the restoration with me as I worked this beautiful little Dunhill Root Briar. I will be adding it to the rebornpipes store in the British Pipe Makers Section if you would like to add it to your collection. Thanks for looking.

New Life and a New Stem for a 1973 Dunhill Red Bark N792 F/T Canadian

Leave a reply

by Steve Laug

The next pipe on the table is another one that came to us from the seller in Caldwell, Idaho, USA on 07/12/2025. It is a Dunhill Red Bark Canadian missing the original stem. It is in dirty but in good condition as can be seen in the photos below. It is stamped on the underside of the shank and reads N792 F/T [followed by] Dunhill [over] Red Bark. That is followed by Made in [over] England13. That is followed by a stamping Circle 4R/B. The stamping is clear and readable. The pipe has rich Red Bark Sandblast Finish with a blend of red/oxblood stains on a richly grained sandblast finish that the shape follows well. The finish was dusty and dirty with grime ground into the finish. It appeared to have a crack in the shank on the topside that extended into the shank about ½ inch. The bowl had a moderate cake and there was tobacco debris in the bowl. The rim top had a thick lava coat on the top and edges. I was excited to work on the pipe and forgot to take photos before I started working on it. I had a tarnished Sterling Silver Band that would fit the shank well so I heated it and pressed it in place. Then I remembered that I had not taken photos before the band. I took photos of the pipe with the banded shank to show what it looked like before I started working on it. The stamping on the underside of the shank is readable as noted above. I took a photo of the stamping.One of the first things I like to do is to unpack the stamping and understand each element in it. I turned to Pipephil’s helpful site (http://pipephil.eu/logos/en/dunhill/shell-briar1.html). The stamping is interpreted as follows: The N792 is the shape of the pipe which is a Canadian. The F/T designates a Fishtail stem. The Dunhill Red Bark is a red stained sandblast finish. Following the Made In England13 gives the year that the pipe was made.  The circle 4R/B is the stamp for a Group 4 in a Red Bark finish.

From the above information I could see that I was working on a Red Bark Canadian shaped pipe.

From there I wanted to pin down the date stamp 1. I have included Page 2 of the Dunhill Dating Key (http://www.pipephil.eu/logos/en/dunhill/cledat-en1a.html). Following that it takes me to the box with 1960+suffix. That tells me that the pipe is a 1973 pipe.I wanted to know more about the Red Bark finish and when it was introduced by Dunhill. I turned to a listing on Pipedia that gave me the information I was looking for (https://pipedia.org/wiki/Dunhill).

Red Bark:

Red Bark: Introduced in 1972, the Redbark was a sandblasted finish characterized by a reddish stain and is arguably the most famous of Dunhill’s discontinued lines. Initially, the stain was a medium red, but a few years after its introduction, it was changed to a significantly brighter, almost pinkish hue. This new colour proved unpopular, causing sales to plummet. In response, the company reverted to the original, darker red stain in 1976. The Redbark finish was officially discontinued in 1987.[122][123]

Now I knew that I was working on a Dunhill Red Bark N792 which original would have had a Taper Stem that was made in 1973 and was only made until 1987 before it was discontinued.

I turned to work on the pipe itself. I reamed the bowl with a PipNet pipe reamer using the cutting heads 2 and 3. I finished the reaming with a Savinelli Fitsall Pipe Knife. I sanded the walls of the bowl with 220 grit sandpaper wrapped around a piece of dowel. I cleaned out the inside of the shank and the airway in the stem with alcohol, cotton swabs and both bristle and regular pipe cleaners. I scrubbed the bowl and shank with a tooth brush and some undiluted Murphy’s Oil Soap. I rinsed it off with warm water to remove the dust and soap from the finish. I dried it off with a soft cloth and it looked much better. I worked on the darkening on the rim top with a brass bristle wire brush and some Before & After Briar Cleaner. I worked it into the grooves on rim top sandblast and let it sit for 5 minutes. I repeated the process four times and when finished I wiped it off. I was able to remove the majority of the darkening with this method. I polished the band with micromesh sanding pads. I wiped it down after each sanding pad with an Obsidian Oil Cloth to clean it up and add to the shine. I cleaned the Sterling Band with a jeweller’s cloth to remove the tarnish and protect the silver from further tarnishing. I rubbed the briar down with Before & After Restoration Balm. I worked it into the briar with my fingertips to work it into the finish. The product works to clean, enliven and preserve the briar. I let it sit for 10 minutes then I buffed it with a cotton cloth to deepen the shine. The briar really comes alive with the balm. I set the bowl aside and turned to deal with the stem. I had a stem in my can of stems that would work on this pipe. I fitted the stem to the shank. It did not take any adjustments to the tenon or the stem. It is a perfect fit to the shank.I sanded the surface of the stem with a folded piece of 220 grit sandpaper to remove the oxidation and clean up the tooth marks and chatter on both sides of the stem ahead of the button. I sanded the stem with 320-3500 grit 2×2 inch pads. I wiped the stem down with an Obsidian Oil cloth after each sanding pad.I polished the vulcanite with micromesh sanding pads – 1500-12000 grit pads. I wiped it down with Obsidian Oil after each sanding pad. I used Before & After Pipe Polish – both Fine and Extra Fine to further polish the stem. I the polished newly fit Sterling Silver Band and the new vulcanite taper stem and the 1973 Dunhill Red Bark N792 F/T Canadian bowl with Blue Diamond to polish out the remaining small scratches and raise the shine. I gave the bowl and the stem several coats of carnauba wax then 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. This turned out to be a beautiful Dunhill Red Bark N792 F/T Canadian with a Taper Stem. The finished pipe is shown in the photos below. The dimensions 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 1.38 ounces/38 grams. Thanks for walking through the restoration and restemming with me as I worked this beautiful little Dunhill Red Bark. I will be adding it to the rebornpipes store in the British Pipe Makers Section if you would like to add it to your collection. Thanks for looking.

The fourth of a foursome of Beautiful pipes sent to me with Potential Burn Out Issues

Leave a reply

by Steve Laug

On November 29 I received an email from a fellow regarding a Moretti that came to him from a dear friend. He stated that it had a burnout and that he had someone ream it for him. I have included his first email below.

Steve, I have a Moretti pipe that belonged to a dear friend. It had a burnout and I had the bowl reamed, but I’m afraid to smoke it. Can you offer a suggestion of how the inside of the bowl can be treated against possible future burnout, or can you fit the bowl with either a meerschaum or graphite liner? – Michael

We talked back and forth regarding the pipe and various options for repair. I agreed to work on them and told him to mail it to me. Once he packed it he added another three pipes to the box that he was sure had the same issues. He mailed them to me on December 8 and sent me another email.

You have convinced me that you’re the person who can help restore my pipes! I shipped 4 pipes to you today by USPS, and declared their value at $5 each for a total of $20 as you requested. I’m embarrassed to admit it, but all four have had burnout issues and I’m hoping that you can clean them out and coat the inside of the bowls as you described. If you feel that more effort is needed, please let me know.

On December 28th I received the package from Michael. I opened the box and inside there were four beautiful Italian Made pipes. I have listed them below and included photos of the pipes.

Savinelli Autograph Sandblast Bent Cherrywood
2008 Ardor DR bent Dublin
Mastro Beraldi 2 Bent Dublin
2005 Moretti 1 Bent Rhodesian

The fourth and final pipe I brought to the table is an Ardor Scoop. Overall it looks very good. It is stamped on underside of the shank and reads DR [over] Ardor [over] Marte [over] Italy [over] Fatta a Mano [over] 2008. The stamping is clear and very readable. The pipe has a mix of black and brown stains on a smooth finish and amazing grain that the shape follows well. The oval rim cap is smooth and there is some darkening around the inner edge of the bowl. The rest of the finish was very clean and the bowl had a light cake on the walls but the rim top was clean other than the edge darkening. I inspected the walls of the bowl and could not find any issues or divots in the walls. I spoke with Michael and he mentioned that it looked like it had some small checking/cracking on the walls of the bowl. Initial inspection reveals that the light cracking in the cake on the bowl walls. The other issue Michael spoke of is that the front wall of the bowl was particularly thin and when smoked was very hot. I would need to examine it further once it had been reamed and cleaned. The acrylic black original taper stem had a white saddle portion on the end of the stem ahead of the tenon. There was a blue dot encircled in a silver circle on the top of the white saddle portion. The stem showed light tooth marks or chatter on both sides. I took photos of the pipe to show what it looked like before I started working on it. I took photos of the bowl and rim top to show the clean finish on the bowl. The photos show a moderate cake in the bowl and a very clean rim top. The stem photos show the condition of the taper stem ahead of the button. I took photos of the stamping on the left and underside of the shank. It is clear and readable as noted above. I removed the stem and took a photo of the pipe to give a sense of the proportions of the pipe.I did a quick review of the history of the brand by turning to Pipedia. The link there led to an article that came from Italian Pipemakers.com. Here is the link – https://pipedia.org/wiki/Ardor. I quote part of the article that gives a quick view of the brands

Ardor Courtesy of italianpipemakers.com

In 1974 Dorelio Rovera, with his father Angelo, established the Ardor Pipe, name which comes from the “AR” (Angelo Rovera) and “DOR” (Dorelio Rovera), changing a medium quality level production into a completely handcrafted product, with a very high level of design and finishing.

[Editor’s Note: Angelo Rovera is the son of Francesco Rovera, who along with his brothers comprised Sociedade Rovera, a pipe company they founded in 1911.]

Dorelio personally chooses the briar which is left seasoning for at least 4 to 5 years before it is worked. It is stocked in particular baskets which leave the wood always visible and airy. The pieces chosen to become a pipe are cut with a circular saw to identify the model. Then each piece is rough hewn by hand with special files, definitely “dangerous” but very efficacious to give the shape to the wood.

Like most artisans, Ardor couples a classical style and a very original style with definite but free and fanciful lines, to offer and meet the largest number of requests, from the simple to the most complex. Ardor is a pipe company which is always looking for innovations, indispensable to collectors, but trying to offer a very high level product in the smoking aspect and performance of the briar, always dried and light for a higher comfort of the smoker.

With Damiano, Dorelio’s son, Ardor introduced the coloured methacrylate (acrylic) stems, really appreciated in the international markets. Damiano has been able to condition the Ardor style with new shapes and with a new mouthpieces style, having a modern point of view. His target is to keep up the interest of new generations, surely more variable in a shorter period.

The Ardor Marte that I have was marked DR which told me it was made by Dorelio Rovera. The stem on this Scoop adds a definite flair to the pipe that is unique.

I turned to work on the pipe itself. I reamed the bowl with a PipNet pipe reamer using the cutting heads 2 and 3. I finished the reaming with a Savinelli Fitsall Pipe Knife. I sanded the walls of the bowl with 220 grit sandpaper wrapped around a piece of dowel. I turned to work on the pipe itself. I reamed the bowl with a PipNet pipe reamer using the cutting heads 2 and 3. I finished the reaming with a Savinelli Fitsall Pipe Knife. I sanded the walls of the bowl with 220 grit sandpaper wrapped around a piece of dowel. I thoroughly cleaned the bowl walls, shank and the airway in the stem. I used cotton swabs, pipe cleaners (both bristle and regular) and Isopropyl alcohol.I used a worn 320-400 grit sanding pad to work on the rim top and inner edge and remove the darkening in those areas before I scrubbed the briar.I scrubbed the bowl and shank with a tooth brush and some undiluted Murphy’s Oil Soap. I rinsed it off with warm water to remove the dust and soap from the finish. I dried it off with a soft cloth and it looked much better. I examined the cleaned walls of the bowl and found some small divots around the sides of the bowl half way down across the sides. I could feel it with my fingers. I wiped the bowl clean with a cotton pad and alcohol to remove any debris on the surface. I mixed a batch of JB Weld to repair the divots around the bowl wall. I pressed it into the damaged areas with a dental spatula. I set the bowl aside for the repair to cure. Once it cured I sanded it smooth with a piece of 220 grit sandpaper wrapped around a piece of dowel to smooth out the repair. I wiped it down with a damp pad to remove the sanding debris. I mixed a bowl coating of sour cream and activated charcoal powder. I inserted a pipe cleaner in the airway entrance to the bowl to keep it open. I applied it to the walls of the pipe with a folded pipe cleaner and repeated it until I had the walls thoroughly covered. I rubbed the briar down with Before & After Restoration Balm. I worked it into the briar with my fingertips to work it into the finish. The product works to clean, enliven and preserve the briar. I let it sit for 10 minutes then I buffed it with a cotton cloth to deepen the shine. The briar really comes alive with the balm. I set the bowl aside and worked on the stem. I sanded the stem with 320-3500 grit 2×2 inch pads. I wiped the stem down with an Obsidian Oil cloth after each sanding pad. I polished the acrylic with micromesh sanding pads – 1500-12000 grit pads. I wiped it down with Obsidian Oil after each sanding pad. I used Before & After Pipe Polish – both Fine and Extra Fine to further polish the stem. I the polished black acrylic taper stem with a white ring and the DR Ardor Marte 2008 Scoop bowl with Blue Diamond to polish out the remaining small scratches and raise the shine. I gave the stem and the bowl several coats of Carnauba Wax then 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. This turned out to be a beautiful DR Ardor Marte 2008 Scoop and black acrylic stem with white ring. The finished pipe is shown in the photos below. The dimensions are Length: ?? inches, Height: 1 ¾ inches, Outside diameter of the bowl: 1 ½ inches wide x 1 ¾ inches long, Chamber diameter: ¾ of an inch. The weight of the pipe is 2.08 ounces/58 grams. Thanks for walking through the restoration with me as I worked this beautiful Bent Dublin. This one will join the first one I restored both will await my completion of the work on the other two pipes Michael sent me. Thanks for looking.