New Life for a Savinell Punto Oro 8004 Canadian


Blog by Steve Laug

The next pipe in the queue is yet another interesting pipe from the Michigan lot – a really nice sandblasted Canadian with a deep blast and lots of great grain. The entire pipe – bowl, rim and shank sandblasted with a thin, smooth band at the end of the shank. It is another totally unique pipe and different from any of the other pipes in the collection. It is not a large pipe – probably a Group 4 sized bowl. The rim top has a slight inward bevel on the inner edge of the flat rim top. The pipe has a contrasting black, oxblood and brown stain coats that highlights and accentuates the blast. The underside of the shank has a smooth patch from the heel down most of the shank. It is stamped Savinelli over Punto Oro with a Savinelli S shield followed by the shape number 8004 over Italy. The stem is vulcanite and has a small brass dot on the top near the shank. This is another nice looking piece much like the rest of those in this 21 pipe Michigan pipe lot. The Savinelli I am working on now is on the first shelf of the rack. It is the second pipe on the left and I put a red box around it to make it easy to identify. Jeff took some photos of the pipe when he received them to show the general condition of the pipe before he started his cleanup work. Like the rest of the pipes from the Michigan collection this pipe was dirty and well used. There was a thick cake in the bowl and lava overflowing onto the rim top. It was hard to know if the edges of the bowl were damaged or not because of the cake and lava. The deep sandblast on the bowl, shank make the pipe very interesting. The vulcanite stem is lightly oxidized and has some calcification at the button. There are deep tooth marks on both sides of the stem at the button edge and some wear on the button edge itself. There are also scratches in the vulcanite where it looks like someone scraped off some of the calcification. The photos below tell the story and give a glimpse of the beautiful Canadian. Jeff took a close up photo of the bowl and rim to capture the condition of the pipe before he started his cleanup work. The rim top had some thick lava overflow and some darkening. The thick lava on the rim top made it hard to know what the inner and outer edges of the bowl looked like. There is also a general accumulation of dust in the finish on the rest of the bowl and shank.He also took photo of the right and underside of the bowl and shank to show the interesting sandblast finish. The finish is very dirty but this is another beautiful pipe.Jeff took a photo to capture the stamping on the underside of the shank. The photo shows stamping as noted above. The stamping on this pipe is clear and readable.The next two photos show the stem surface. They show the tooth marks and chatter on both sides near the button. There are also some marks on the sharp edge of the button. The stem is dirty, oxidized and has a yellow cast to it. The single brass Punto dot on the top of the stem is almost invisible.Jeff reamed the bowl with a PipNet pipe reamer and followed up with a Savinelli Fitsall pipe knife to remove the cake. He scrubbed out the mortise and the airway in the shank and the stem with alcohol, cotton swabs and pipe cleaners. He scrubbed the exterior of the bowl, rim, shank and stem with a tooth brush and Murphy’s Oil Soap to remove the oils and tars on the rim and the grime on the finish of the bowl. He rinsed it under running water. He dried it off with a soft cloth. He was able to remove the lava build up on the rim top and you could see the great condition of the bowl top and edges of the rim. He soaked the stem in Before & After Deoxidizer to remove the oxidation. I took photos of the pipe to show its condition before I started my work on it. I took a close up photo of the rim top to show the darkening on the surface of the rim toward the back of the bowl that was normal with use. The front part of the rim top looked a little lighter in colour but the sandblast on the entire rim made the rim top repairs minimal. The inner edge and the outer edge of the rim look really good. The stem photos show the tooth marks and the wear on the button surface on both sides. The final close up photos shows the Savinelli stamping on the underside of the shank. Jeff had done such a great job cleaning the surface of the pipe that there was nothing I needed to do move forward. I started by working some Before & After Restoration Balm into the sand blast finish of the briar with my fingertips to clean, enliven and protect it. I let the balm sit for a little while and then buffed with a cotton cloth to raise the shine. The following photos show the bowl at this point in the restoration process. The bowl and the rim top look really good and the darkening and lava are gone. The finish looks very good and I am very happy with the results. With the bowl finished I set it aside and turned my attention to the stem. I cleaned out the tooth marks on both sides of the stem with a cotton swab and alcohol. I filled in the tooth marks with clear super glue. Once the repairs had cured I used a needle file to flatten out the repaired areas. I filed it until the patches were smooth with the surface of the stem. I used a folded piece of 240 grit sandpaper to blend the repairs into the surface of the stem. Once the surface was smooth I sanded out the scratch marks and started the polishing of the stem with a folded piece of 400 grit sandpaper. I wiped the stem down with a damp cloth and took the following photos.I polished the stem with micromesh sanding pads – wetsanding it with 1500-2400 grit pads and dry sanding it with 3200-12000 grit pads. I wiped the stem down with a damp cloth after each pad. I further polished it with Before & After Pipe Polish – both Fine and Extra Fine. I wiped it down with a coat of Obsidian Oil and set it aside to dry. I put the stem back on the bowl so I could polish it without rounding the edges as the shank union. I polished stem with Blue Diamond polish on the buffing wheel. I gave the bowl multiple coats of Conservator’s Wax and the stem multiple coats of carnauba wax. I buffed the pipe with a clean buffing pad to raise the shine. I hand buffed it with a microfiber cloth to deepen the shine. The pipe polished up pretty nicely. The contrasting deep sandblast showed the contrasts between the valleys and the high spots. It truly came alive with the buffing. The rich browns and oxblood stains worked very well with the polished black vulcanite stem. The finished pipe is a beauty and feels great in the hand. Have a look at it with the photos below. The dimensions are Length: 6 inches, Height: 2 inches, Outside diameter of the bowl: 1 1/4 inches, Chamber diameter: 3/4 of an inch. This beauty will be on the rebornpipes store sometime in the days ahead. It may well be the kind of sandblasted Canadian you have been looking for. Let me know if you are interested. Thanks for walking through the restoration of this beautiful Canadian with me it was a pleasure to work on.

 

 

Discovering the History with the Reclamation of this Petite EPC Majestic Bent Horn Stem Billiard


Blog by Dal Stanton

This is an amazing petite now on my worktable.  I think it qualifies as a ‘pocket pipe’ because it has obviously been used and loved.  I acquired it last year from the French eBay auction block in a Lot of 50 that included some prized pipes which have already passed through my work table and are now serving new stewards.  I cannot find the EPC Majestic in this picture of the French Lot of 50, but what has been characteristic of this Lot is that there are several named pipes that I’ve never heard of before.  My assumption has been that many of these are French made since the Lot came from France.  Many of these pipes also sport very nice horn stems.  This is true also of the EPC Majestic.

Stephen saw the EPC Majestic in the For “Pipe Dreamers” Only! collection on The Pipe Steward website.  I love it when I get return pipe men looking again!  Stephen has already brought home an L. J. Peretti Bent Billiard (LINK) and now he’s commissioned the EPC Majestic as well as a newer acquisition from an antique store in St. Louis, a really nice Aldo Valeni Trio Blasted Billiard – next on my worktable.  I appreciate Stephen, even though he happens to be a cousin on my wife’s side of the family!  He’s a retired Coast Guard man and has grown in his love for and appreciation of pipes.

When he asked about the EPC Majestic, I made sure he understood that he was inquiring about a pipe with diminutive dimensions.  He assured me that this was exactly what he was looking for and I placed him in the queue.

Here are pictures that got Stephen’s attention: The dimensions of the EPC Majestic are: Length: 4 1/8 inches, Height: 1 1/2 inches, Rim width: 1 inch, Chamber width: 5/8 inches, and Chamber depth: 1 3/8 inches.  Sometimes measurements don’t translate as well to people and therefore I questioned Stephen.  For demonstrable purposes to show this very nice looking ‘Pocket Pipe’ in the natural habitat, I take a palm picture – I’m not a big man and this pipe fits fully in my palm!  My wife’s description was, ‘How cute!’The nomenclature is interesting.  On the left shank flank is stamped 3 hearts and in each heart is stamped the letters, E – P – C.  The hearted letters are over ‘MAJESTIC’.  There are no other identifying marks that I can find on the pipe.  My assumption at this point, as I mentioned above, is that this is a French made pipe, but this is only a guess at this point.

As I’ve experienced with other pipes from this Lot, EPC shows up nowhere that I see in my usual first places: Pipedia or Pipephil.eu.  I also look in other groups and threads and I can find nothing.  Expanding the search, I put in ‘EPC Majestic’ in Google and came up with an interesting vein of information – a cigar company.  E.P. Carrillo to be exact based in Miami, Florida.  I read with interest the story of Ernesto Perez-Carrillo who was a well-known cigar manufacturer in Cuba and during the Fidel Castro era was forced to leave Cuba and settle in Miami with his family.  After much struggle, was able to restart a cigar company which is very well-known today among cigar aficionados.  Interestingly, the brand that won the 2018 Cigar of the Year Award rated the #1 cigar of 2018 by Cigar Aficionado was named, ‘Majestic’.  Yet, what does this have to do with a nomenclature on the side of a pipe’s shank?

My mind started coming up with questions – Did this the E.P. Carrillo cigar company put its name on a pipe?  Was the diminutive size of this pipe indicator of a promotional pipe of some sort?  Would a pipe be used to promote cigars?  The questions came even though they made absolutely no sense!  Every pipe man and cigar man would answer, absolutely, not!  My heart agrees 100% but my mind’s questions were not satisfied.  So, as I’ve done many times before with surprising success, I went to the contact tab of the E.P. Carrillo website and sent an email to the info@epcarrillo.com address given.  I have very little expectation that I will receive a response, especially with an email essentially asking if they ever used pipes to promote their cigars….  We’ll see!

Well, during the restoration, I received a very nice note back from Lissette Perez-Carrillo, the daughter of founder, Ernesto (pictured above with father), stating: Hi that’s very nice but we aren’t in the pipe business. Thanks for sharing.   No one is surprised by her response!

I have one more lead that came after I posted pictures in different Pipe smokers Face Book groups and Eduardo responded from Pipe Smokers of America suggesting that the EPC may be related to the Edinburgh Pipe Club.  Feeling like I’m grasping at straws, I find the EPC web site (LINK) and it’s nicely done.  I also find an information email and send off another inquiry.  Does Scotland have a stake in the EPC Majestic?

Then, the breakthrough came.  I had completed the restoration and was doing the final edit of the write-up, when I remembered the link that Eduardo had posted in the FB group, Pipe Smokers of America.  It was a link that I had seen before in my first look in Pipedia, but I missed an important clue.  The link was a simple search result of ‘Majestic’ in Pipedia.   Twenty pictures come up on the page, most of the pictures have pipes with a ‘Majestic’ nomenclature that belonged to other companies that didn’t help me.  But I missed the clue in the very first picture of a very old company symbol.  The 3 hearts with EPC.

The picture gave me the company, but at first glance, the company name given, ‘A. Pandevant & Roy’ offered no correlation to EPC.  Pipedia nor Pipephil.eu had any references for a direct search of Pandevant & Roy.  When I broadened the search on the internet, I hit pay dirt.   The search took me to a Dutch site called, ‘PKN Society for Research of Historical Tobacco Pipes’ (link) which contained many old catalogues dating back to the 1800s when ‘Clay’ was king in the pipe world. Of special interest to me were two catalogues of the ‘A. Pandevant & Roy’ company.  The catalogues were in French, so it took some time to work through the text – Google Translate was employed!

The catalogues were in PDF format and the pages turned easily to scan the product lines of pipes and other paraphernalia for sale.  I first looked through the first catalogue dated 1922 to 1923.  I perused the pages and still was not able to put together the nomenclature – EPC, though I was seeing EPC in several places.  I went back to the front cover of the catalogue and looked again to see if I could piece together EPC.  I think the cover is interesting and has a classic feel, so I included it below.  As I study the cover again, I noticed that there were actually two Pandevants represented – the more prominent was “A.”, but just above “A.”, the less prominent, “E. Pandevant” was present.  I’m theorizing that “A.” is still living and currently (1920s) is running the company with “Roy”.  However, the founder of the company was the father, “E.”, probably now deceased.  The theory sounds good, but not only good, but plausible!

This gives me a credible EP, but what about ‘C’?  Then I see it – ‘Charenton’ near Paris.  I did a quick search of the French district of Charenton and discovered that there are many places in France bearing this name and the ‘Pres Paris’ – near Paris, would be a marker regarding which Charenton was the former base of operations for the A. Pandevant & Roy Co.  The cover also says that “E.P.C.”, “La Savoyarde”, “MAJESTIC”, “La Parisienne” and “E.P.” were registered trademarks of the company.  At the top of the cover, it states that this ‘House was founded in 1884’ – when clay pipes were the predominant medium of pipe smoking.  Curious to see, I used Google Maps to search the address, 29, Avenue du Marché, Charenton (Seine), Paris, and discover that the street and address have passed into history.  The pages in the catalogue were interesting to peruse.  I discover that horn is a predominant stem material displayed in the catalogue, though there are vulcanite varieties, there are just not as many.  Of course, I look for the petite EPC Majestic and I do find pipes very close to the Petite.  Notice on the page included below – the stems are all depicted as horn.  Depicted also is the brass shank cap receiving each of the horn stems.  It would seem the pipe on my table belongs to this era of production of the A Pandevant & Roy Co. I did find these this example below of a petite – the nomenclature isn’t exactly the same with the three hearts, but I wanted to include this just in case the petite on my table has one of these names, ‘My Little Jeannette’ or ‘My Little Mariette’!   I love it.The later catalogue dated 1937-39, gives some additional information.  The first thing I see is that the address has changed – the same street number, 29, but the street was changed to, 29, Avenue Anatole-France Charenton Seine.  This time Google Maps found the address – it is now an apartment complex on a residential street.  With this later catalogue, pipes took more of a backseat to the other paraphernalia – not starting until page 24!  The assortment was less than the former catalogue and few pipes that could possibly resemble the EPC Majestic in my possession.  1939, the date of this catalogue, is the last entry I could find anywhere for the A. Pandevant & Roy Co.  What was happening in 1939 could be a clue to understanding the fate of the A. Pandevant & Roy Co.   From ‘The People in History’:

1939 Germany and the Soviet Union attacked Poland and Britain, France, India, Australia and new Zealand declared war on Germany on September 3rd , the United States decided to remain neutral but did begin rearming for war , which helped end the great depression. The United States also hosted the Worlds Fair in New York early in the year. Also, after speaking to the physicist Albert Einstein president Roosevelt initiated the Americas A-Bomb programme. 

Perhaps, one of the tolls of World War II was also the French company in Paris that produced the EPC Majestic now on my table.  My research will stop here and with a greater sense of the history and heritage of this EPC Majestic Petite Horn Stem Billiard before me, I look more closely at the pipe itself, I discover something very interesting that I haven’t seen before and is reminiscent of a Gourd Calabash.  I’m looking more closely at the horn stem and that it was fashioned with what appears to be a horn tenon as well. I don’t know if its threaded or glued in place, but it is solid, and I’m not interested in forcing the tenon to discover if it will be moved! I then look at the shank and wonder if the brass band/shank cap will come off.  I give a little twist of pressure and it comes off easily.  What I see next surprises me.  I see the briar shank ringing something else inserted into to the mortise.  A lining of some sort.  I discover then that it appears to be cork.  Cork seats the horn tenon in the mortise much like cork seats the Meerschaum bowl on a Gourd Calabash. I have never seen this before, but it seems to work quite well.  I will condition the cork with a little petroleum jelly later.  The challenge becomes protecting the cork while I’m cleaning the rest of the stummel internals. I’m not sure that I want the cork saturated with alcohol – I’m not sure that will be the best thing.The bit of the horn stem appears to be chewed some.  On both the upper and lower bit there are bite compressions and chatter.The EPC Majestic bowl has seen better days.  There are four large fills on the heel of the stummel that will need addressing.  The finish on the bowl has seen better days.  There is a ‘water mark’ line running perfectly straight, bisecting the stummel.  It appears that the stummel was half submerged in some liquid for a time – enough time to discolor the stummel. The rim is nicked and has some lava flow needing to be cleaned.  The chamber has light cake but needs freshening.  The general condition of the pipe is banged up and dirty.I begin the clean up of the stummel by reaming the chamber using the Pipnet Reaming kit. I use only the smallest blade head and it is too large to reach to the chamber floor.  I switch to using the Savinelli Fitsall tool to continue the job and it does well scraping and cleaning the chamber walls down to the floor.  I then sand the chamber using 240 grade paper wrapped around a Sharpie Pen to give leverage.  This cleans the chamber further of carbon and then I wipe the chamber with a cotton pad wetted with isopropyl 95% to remove the carbon dust.  After looking at the cleaned chamber, I detect no problems with heating – fissures, etc.  Moving on!To clean the external briar surface, I use undiluted Murphy’s Oil soap and a cotton pad. I’m anxious to see how or if the stummel cleans up!  It does clean up, but the finish is very thin.  The rim cleans up nicely with the help of a brass wire brush except for one area on the right-hand side from lighting the tobacco.  After scrubbing the stummel, I rinse it with cool tap water careful to keep water out of the internals.  With the stummel wet, I use a sharp dental probe to test the large fills on the heel of the stummel.  As I suspected, they are soft, and I remove them with the probe and clean the holes to make sure all the old fill was gone.  The pictures show the progress. Next, I work on cleaning the internals of the stummel.  Using cotton buds and pipe cleaners dipped in isopropyl 95% I go to work.  With the cork lining in the mortise, I reach beyond it as much as possible to clean.  The drilling of the small stummel has the primary larger mortise drilling first, then a more angled airway drilling from the mortise to the draft hole.  A trap of sorts is created and the end of the mortise because of the drilling.  It cleans up well.  With the cork lining I will not be utilizing a kosher salt and alcohol soak, so I press through cleaning with buds and pipe cleaners.  I also use a dental spatula to scrape in the mortise, but things are clean.  Well, I finish the cleaning and toss the evidence before taking a picture!  Oh well, moving on!

Next, I look more closely at the stummel.  I refill the holes now using a briar dust and CA glue putty mixture.  I first wipe the stummel with alcohol to clean the area.  I then put a small amount of briar dust on an index card and mix CA glue with it gradually until it thickens to a molasses-like thickness.  Then I use a tooth pick to trowel the putty to the holes and fill them. After tamping the patches, I set the stummel aside for a time to allow the briar dust putty to cure. With the stummel on the sidelines, I start work on the bent horn stem.  I first clean it with Murphy’s Oil soap and a bristled tooth brush to rid the porous horn surface of grime.  After I scrub it well, I rinse it off with water to rinse the soap.  It looks much better. Then I clean the internal airway with a few pipe cleaners wetted with isopropyl 95%.  It didn’t take too much effort.There is tooth chatter on the upper and lower bit.  I also see some bite compressions on the lower.  I sand the area with 240 grit paper.After sanding the upper and lower bit with 240 grit paper, there remains 2 small compressions on the bit and one on the button lip.  The lower has major bites that need filling. I purchased an amber CA glue last time I was in the US and this is the first opportunity to use it.  I apply drops to the upper bit in the 3 places and on the lower.  I’m hopeful that the amber CA glue will result in a blended patch.With the stem patches curing, I turn back to the stummel and the briar putty fills have cured.  I file the patches down with a flat needle file close to the briar surface. I’m careful to stay over the patch as I file to avoid scratching the adjoining briar. Then, switching to 240 grade paper, I sand the patches down to the briar surface.I condition the cork lining in the mortise and to do this, I swab some petroleum jelly over it using a cotton bud.  This will moisten the cork keeping it from drying out.  The Amber CA glue used to patch the horn stem has cured and I use a flat needle file and 240 grit sanding paper to work on the patches.  The smaller patches on the upper bit are dispatched easily with 240 grade paper.  On the lower repair, I first use the flat needle file to shape the button and reduce the patch.  I then finish it with 240 grit paper. Next, I wet sand the horn stem using 600 grade paper.Straight away, I then apply micromesh from 1500 to 12000.  I first wet sand using pads 1500 to 2400 and then dry sand with pads 3200 to 4000 and 6000 to 12000.  I apply a coat of Obsidian Oil after each set of three pads – the horn drinks up the oil and it looks great. I put the stem aside to absorb the oil and dry. Turning again to the stummel, I first use sanding sponges from coarse to light weight to address the scratches and nicks in the stummel surface.  I also sponge sand the rim and it looks good except for a small area of residual scorching on the inner rim lip. To clean the inner rim of the scorching I introduce a light bevel using 240 grit paper rolled tightly.  I pinch the roll between my thumb and the inner lip of the rim and rotate around the rim.  I then do the same with 600 grade paper.  I’m satisfied with the progress.Next, I sand the stummel with the full regimen of micromesh pads, 1500 to 12000.  First, I wet sand with pads 1500 to 2400, then dry sand with pads 3200 to 4000 and 6000 to 12000.  The grain really emerges during this sanding phase.  I believe the original hue on this EPC Majestic stummel was a darker brown.  I say this because the color of the stummel underneath the brass shank plate/band was darker – it was protected.  A darker hue suits better too, to help blend the briar dust patches on the heal of the stummel.  I elect to go with a Fiebing’s Dark Brown Leather Dye to darken the stummel.  I assemble all the desk top components of my staining process.  I first wipe the bowl down with a cotton pad wetted with alcohol to clean it.  I then fit the shank with a cork to serve as a handle.  I warm the stummel with the hot air gun to expand the briar to help it be more receptive to the dye.  Then, I amply apply the Dark Brown aniline dye using a folded over pipe cleaner.  As I paint a portion of the stummel with the dye I ‘fire’ it, by igniting the dye with a lit candle and it combust the alcohol in the dye and sets the dye pigment.  When the surface is covered, I set the stummel aside to rest through the night. The next morning, I mount a felt buffing wheel to the Dremel, lower the speed to the slowest possible, and ‘unwrap’ the ‘fired’ crust with Tripoli compound.  The grain contrast that begins to bleed out is striking.  After applying the Tripoli compound to the stummel, I mount a cotton cloth buffing wheel and go over the stummel again with Tripoli after increasing the speed of the Dremel to about 40% full power.  This helps sharpen the grain, removing blotches of dye and reaching into the crook of the shank bend that was difficult to reach with the felt wheel.  After completing the Tripoli compound application, I wipe the stummel with a cotton pad wetted with alcohol to lighten the finish a bit and to blend the newly dyed surface.  I then mount another cotton cloth buffing wheel to the Dremel, maintain the same speed and apply Blue Diamond compound to the horn stem and stummel.The brass shank cap/band is next on my sites. I wash it with warm tap water and soap and rinse it well and dry it.  Then I apply a little of the TarnX liquid to a cotton pad and wipe it on the brass shank cap to clean it.  Afterwards I rinse the shank cap and what a difference! I replace the cap on the shank with a small drop of thick CA glue to hold it solidly in place.  It looks great.Now the home stretch.  With the shank cap cleaned, polished and replaced, I rejoin the horn stem with the petite Bent Billiard stummel and wipe the pipe with a felt cloth to make sure the compound dust is removed before applying wax. I then mount another cotton cloth wheel and apply some coats of carnauba wax to the entire pipe.  I finish by giving the pipe a rigorous rubbing with a microfiber cloth to raise the shine.

Well, this petite EPC Majestic Bent Horn Stem Billiard had a mysterious origin that is now much clearer.  I have not heard from the Edinburgh Pipe Club regarding my inquiry – I hope they don’t think me a loon!  The Miami-based Cigar company, E.P. Carrillo does not own this pipe.  It was manufactured by the A. Pandevant & Roy Co., at 29, Avenue du Marché, Charenton (Seine), Paris.  My guess is that this pipe is dated in the 1920s because of the preponderance of similarities to the pipes in the 1922-23 catalogue.  I believe the latest dating, if my theory holds, would be with the commencement with World War II and the eventual Nazi occupation of Paris and France.

Yet, all told, this small pocket pipe is a superbly fashioned pipe.  It’s so small one might think it is toy-like.  It IS small, but it’s the real deal – a seriously fashioned pipe.  The grain color with the dark brown dye is beautiful – the heel patches are forgotten in the dark grain swirls.  The blend of the briar, brass band and horn stem are a striking ensemble that I believe my cousin Steve will be pleased to bring home to Alabama.  He commissioned the pipe from the For “Pipe Dreamers” Only! collection and this pipe truly fits into the dreamer category.  Not only is it a beautiful pipe but the research reveals that it is a collectible as well.  Since Stephen commissioned it, he will have the first opportunity to acquire it from The Pipe Steward Store.  This pipe benefits our work here in Bulgaria working with the Daughters of Bulgaria – women and girls who have been trafficked and sexually exploited.  Thanks for joining me!  First, before and after palm shots!

 

Replacing a Broken Tenon in a Dunhill 196F/T Shell Briar


Blog by Steve Laug

This is one of the Dunhill Shell Briar pipes that I sold earlier this year. It is a 196F/T Shell Billiard. Not too long ago I received an email from Bill the buyer of the pipe saying that there had been an accident and that the stem had broken off the pipe leaving the tenon in the shank. He was a bit forlorn in asking if it was repairable or not. I assured him that it could be fixed and told him to send it up to me in Vancouver. I had to laugh in that when it arrived it was in the original box that I had used to ship it to him – all the packing etc. was the same. Great use of the boxes. It will soon make its second trip to Bill. This is a well-traveled box and pipe – twice to the East Coast of the US from Canada and once back to me for repair. I put the pipe in queue as I have a large backlog of pipes to work on from several estates that the families are waiting on. I figured I would be able to slip into the work somewhere along the way.

Today was the day. I finished a lot of pipes lately so I felt ok about working on this one. I figured it would be pretty straight forward to pull the broken tenon and replace it. Boy was I wrong. The broken tenon was stuck in the shank. My usual tricks for pulling a broken tenon – a screw in the airway and wiggling it free – did not work. Even a trip to the freezer did not work. I had to resort to more serious tools.I got out my cordless drill and chucked up a series of drill bits to see if I could pull it that way. I have often found that in the process of drilling out the tenon it will stick to the bit and come out as I back out the drill. That did not happen on this pipe! I ended up working through the bits until I finally was finished and the mortise was smooth and clear of the old tenon.With the airway cleared in the mortise I measured it for a new tenon. Yet again another setback. I did not have any tenons that were the right diameter for the mortise! I chucked the PIMO tenon turning tool in my cordless drill and reduced the diameter of a threaded tenon replacement that I had in stock until it was the right diameter to fit the mortise. I tried to hold the tenon by hand and turn it but soon realized that did not work this time. I used a pair of needle nose pliers to hold it until the tenon was finished.When I finished there was a small hip between the threaded portion and the smooth portion of the new tenon. I worked the tool back and forth to remove that. I also held a needle file against the hip while the tenon was spinning on the drill. It did not take too long to remedy that issue. The new tenon was almost ready to use. I would still need to reduce the diameter of the threaded portion before I could use it but it was good for the moment.I drilled out the airway in the stem to receive the new tenon. This is always a little tricky as you need to keep the stem absolutely straight so that you do not angle the airway. I always start with a bit slightly larger than the airway and work my way up to the size of the tenon insert. In this case I also needed to be careful not to drill the stem too deeply as the tape is quite long and it would be easy to ruin the stem. With the airway opened in the stem to take the threaded tenon end I used a tap to thread the airway inside the bowl. I had to open the airway a little more so I used a penknife to widen the diameter to take the tap. I used a Dremel with a sanding drum to reduce the diameter of the threaded portion of the new tenon until it could be screwed into the stem.I coated the threaded end of the tenon with super glue and turned it into the end of the stem. I pressed it completely in place against the table top so there was not a gap. I filled in the slight gap with some clear super glue and laid the stem aside to let the repair cure.When the glue cured I addressed some oxidation at the shank end of the stem. I sanded it with 400 grit wet dry sandpaper until the oxidation was removed from the stem surface. I wiped the stem down with Obsidian Oil and let it dry.I polished the stem surface with micromesh sanding pads to bring back the shine to the vulcanite. I wet sanded it with 1500-2400 grit pads and dry sanded it with 3200-12000 grit pads. I rubbed it down with Obsidian Oil after each pad and a final coat after the 12000 grit pad. I polished the stem with Blue Diamond on the buffing wheel and gave it several coats of carnauba wax. I gave the bowl several coats of Conservator’s Wax. I buffed the finished pipe with a clean buffing pad to raise the shine. The finished pipe is shown in the photos below and I think it came out looking pretty good. I just got back from the Post Office and sent it back to Bill. I look forward to seeing what he thinks once it is in hand once again. Thanks for reading this.

Reflecting on a Few CPF pipes in my collection – Pipes from the Colossus Pipe Factory


Blog by Steve Laug

I don’t remember much about the first CPF pipe I picked up or even where I found it, but I do remember loving the shape, size and feel of it in my hand. It seems to me that it was a diamond shank straight bulldog pipe and I remember it being very old – over 100 years of age. I remember turning it over and looking at the Old World style craftsmanship, the fine briar and the metal work that was on the shank end and rim top. I remember the gold stamping on the side of the shank – CPF in an oval over Genuine Briar. That first pipe I came across was the beginning of a side collection of CPF, American made pipes coming out of the Colossus Pipe Factory in New York. Over the past 7-8 years I have been picking up CPF pipes on Ebay and in shops around the country to add to my personal collection. My brother Jeff also continues to pick them up for me.

It is a brand that has been shrouded in some mystery through the years even in terms of what the CPF initials mean. Some have interpreted it to me Consolidated Pipe Factory while others have taken it to mean Colossus Pipe Factory. Because of that it has been virtually impossible to trace the brand. I have written about the history of the brand in previous blogs but here is the link should you want to go and check it out. In the link that follows I give the rationale and proof for the brand being Colossus Pipe Factory. Give the blog a read if you are interested in the background (https://rebornpipes.com/2013/04/14/some-reflection-on-the-historical-background-on-cpf-pipes/). I quote the concluding paragraph of that blog in the following as it gives a quick overview of the history of the brand with the mergers and finally the demise of the brand as a whole.

From my research I believe that we can definitively assert that the CPF logo stands for Colossus Pipe Factory. The brand was purchased by KB & B sometime between 1884 and 1898 and that it continued until 1915. That time frame gives help in dating some of the older CPF pipes you or I might find. It can be said that prior to the dual stamping it is fairly certain that the pipe is pre-1884 to 1898. After the dual stamping it can be placed post 1898 until the closure of the brand line in 1915. CPF made beautiful pipes. I believe Sam Goldberger was correct in his assertion of the potential carvers that made the pipes being of European training and the classic shapes and well aged briar. That coincides with all the CPF pipes that I have come across.

I collected the links and various blogs I have done on CPF pipes in my collection and chosen some representative photos of each of the pipes. I think as you flip through the photos you will see the beauty I see in them and hopefully it will kindle a love for the preservation of these old timers for generations ahead of us.

The first pair of pipes that I have pictured below is stamped CPF Cromwell on the left side of the shank. They both are vertical twin stemmed – twin shank pipes. Both came to me in very rough condition. The stems were damaged and repaired with a white putty material and the bowls were very worn. The first one is in the best condition. The second I worked a bit of Frankensteining on to resurrect it to be smokeable again. https://rebornpipes.com/2017/07/01/out-damn-spots-a-c-p-f-cromwell-double-vertical-stem-bent-billiard/https://rebornpipes.com/2017/08/27/frankensteining-a-badly-damaged-c-p-f-cromwell-double-stem-pipe/The third pipe came to me from the same lot as the two above. Where there both had vertical twin shanks and stems this one has a horizontal twin shank and stem. Like the others above it has the same damage and repair to the stem – white putty to make it smokeable again. https://rebornpipes.com/2017/09/28/bringing-new-life-to-a-c-p-f-siamese-parallel-twin-stem-billiard/. The fourth pipe in my collection is an alternative wood in both the bowl and the base. The bowl is detachable – unscrewing from the base. The polished band and the horn stem are beautiful touches to this unique pipe. If you would like more information be sure to follow the link below and read about the restoration of this beauty. It is one of the more unique pieces from CPF that I have. https://rebornpipes.com/2017/07/03/restoring-a-unique-alternative-wood-c-p-f-tulip/.The next pipe is a small pocket sized horn shape with a horn stem. It is stamped like the others with the CPF oval on the shank and on the band. The horn stem has a captivating pattern of swirls and striations that make it a pleasure to hold and look at while smoking. https://rebornpipes.com/2017/07/22/a-small-c-p-f-french-briar-horn-captured-my-attention/.The next pipe is another detachable bowl pipe. This one is a CPF Pullman. The bowl is separated from the base by a brass ring that adds a touch of class. The briar base has a brass band with CPF logo and stamp on the left side. The bent horn stem gives a touch of colour to the look of the beautiful old pipe. Give the blog a read if you are interested, but clicking on the link that follows: https://rebornpipes.com/2017/08/06/repairing-renewing-and-rejuvenating-a-removable-bowl-c-p-f-pullman-bent-billiard/.The next one is another pocket pipe. It has a Bakelite stem and a rectangular vertical shank that sets of a nicely shaped apple pipe. The yellow of the stem works well with the rich red of the briar. https://rebornpipes.com/2017/10/01/restoring-a-wreck-of-a-c-p-f-rectangular-shank-bent-egg/.The next pipe came to me as a damaged bowl. It is a nicely shaped bent bulldog with a diamond shank. The bowl originally had an ornate metal rim cap that had disappeared long before it came to me. I am keeping an eye open for a replace rim cap to see if I can bring it back to its original shape. https://rebornpipes.com/2013/03/31/cpf-french-briar-bulldog-restemmed-and-refurbished/.The next pipe is also one that came to me without a stem. The shank cap or ferrule was oxidized and green in colour when I started the restoration on it. I also worked an old vulcanite stem to fit the shank that has the same orific button as the original. The fit and size of the stem makes this another pocket pipe. It is distinguished looking and I only wish it could tell its story for us. Here is the link to the restoration: https://rebornpipes.com/2013/04/01/restored-cpf-bent-billiard-a-reclamation-project/.The next straight shank billiard also came to with the two above bowls. This one was by far in the worst condition. It had nail holes around the rim top and the rim cover was oxidized to a dark green and was crumbling. Originally this pipe would have had a built in wind cap with a hinged top but that had long since disappeared by the time I worked on it. I crafted a new stem for it and banded the shank to clean up the disintegrating briar on the shank end. It is an interesting piece https://rebornpipes.com/2013/04/07/reworking-and-reshaping-an-old-french-briar-cpf-billiard/.This next little pocket pipe has a horn stem and a great looking briar bowl. The shape is a small bent billiard. The band is original and bears the CPF logo and stamping. The shank has the CPF logo the look of the bowl and shank is quite stunning. I was able to work on it and bring it back to life. https://rebornpipes.com/2015/06/08/bringing-a-pre-1884-era-cpf-bent-billiard-back-to-life/After I first wrote about CPF pipes I received email from a fellow who had a trio of CPF pipes that he had picked up.   There were two unsmoked bulldogs – a bent and straight with amber stems that he wanted me to clean up. In exchange he would give me the CPF bent meerschaum bulldog in the photo. I took him up on the trade and soon had the threesome in hand to work on. I finished his two pipes and sent them back to him and turned my attention to an almost worn out looking meerschaum bulldog.I cleaned up the bowl inside and out and worked over the brass shank end and bowl cap. I rebuilt the amber stem that had bit throughs on the end at the button and some crystalizing and crumbling on the stem as a whole. I was able to stabilize it and make it useable once again. It is a light weight durable little meerschaum that is a sweet smoke. Read bout the restoration on the blog by clicking on the following link: https://rebornpipes.com/2015/12/25/taking-a-swing-at-reconstructing-and-refurbishing-an-old-cpf-meerschaum-bulldog/.The next pipe is a CPF Best Make Straight Bulldog. This one is a beauty with its silver filigree rim cape and shank end. It is stunning with the brown briar and the orange amber stem. This one just came to life as I cleaned and polished all the parts and did the repairs on the amber stem and silver bowl cap. Give it a read by clicking on the following link: https://rebornpipes.com/2016/12/02/cpf-best-make-bulldog-with-a-silver-rim-cap-and-ferrule/.Over the years of collecting and working on CPF pipes I have seen quite a few classic shaped meerschaums but had not seen very many carved figurals. My brother Jeff came across this interesting figural featuring a horse and knowing my love for CPF pipes picked this one up for me. It is a true beauty. There are some small cracks around the bowl but nothing that is an open fissure. I was glad to add it to the collection. Even so you can feel the energy of the racing horse as it turns around the tree stump on its right side. Give the blog a read if you want to see more photos and read about the restoration. https://rebornpipes.com/2016/12/05/against-a-stump-a-carved-cpf-best-make-horse-meerschaum/.My brother wrote to tell me that this old CPF Giant was found in an antique store in Idaho Falls, Idaho. The owner had told him that the pipe was owned by an artist who strictly used it as an art prop… never smoked it. It is about 130 years old and is a large bent billiard. It is a large pipe – over 11 inches long and similar to the older Wellingtons that I have worked on of similar size. It was a great addition to my collection. If you want to get a feel for the history of the pipe and restoration it went through click on the link that follows: https://rebornpipes.com/2016/12/25/refreshing-an-old-giant-cpf-french-briar-bent-billiard/. The next pipe was a unique one that Jeff picked up. It is a CPF that was different from any others that I had ever seen or worked on before. It was a briar calabash with a black Bakelite screw bowl/cup. The shank was darkened and appeared to have originally had a band that had been lost somewhere along the way. That is pretty common on these old CPF pipes. The stem was amber and needed some work to bring it back to usefulness. The pipe is stamped on the left side of the shank with the words COLON in an arch over the CPF logo in an oval. Underneath that, is stamped French Briar in a reverse arch thus encircling the CPF logo. I replaced the missing band with a polished nickel one to give it a more complete look. I am always on the lookout for old bands and rim caps so I may find one that fits this old pipe. Give the blog a read to see detailed pictures of the pipe. https://rebornpipes.com/2017/06/27/new-life-for-an-unusual-cpf-colon-calabash-pipe/.When I received the next pipe I was excited to look it over and add it to the collection. The beautiful briar with swirls of birdseye and cross grain flowing around the long shank bulldog was stunning. The horn stem fit well in the shank and it would clean up nicely. Have a look at the blog for details but this is one of the better pieces I have added. https://rebornpipes.com/2017/07/19/breathing-life-into-an-1890s-era-cpf-french-briar-horn-stem-bulldog/.The next little bent billiard is another beauty – it is a chubby bent pocket billiard. The grain on the bowl is quite stunning and the restored horn stem and brass band give the pipe a touch of old country charm and class. Give the blog a read to see what the pipe looked like when we found it and the steps in its restoration. https://rebornpipes.com/2017/07/20/another-piece-pipe-history-a-lovely-cpf-french-briar-bent-billiard/.The next beauty is a silver military mount billiard. The ferrule and stem cap are both silver. The pipe is a CPF Remington and the grain and finishing touches on the old pipe give it a sense of timeless class. The pipe is in rough condition when it came to me and with some careful restoration it is back to looking lovely. Give the blog a read to see what it looked like when I receive it. It is a beauty.  https://rebornpipes.com/2017/07/21/restoring-another-cpf-french-briar-this-one-a-remington-silver-mount-billiard-blog-by-steve-laug-the-next-pipe-i-chose-to-work-on-from-the-lot-of-the-lot-of-pipes-my-brother-and-i-picked-up-on-our-vi/.This Rhodesian was in very rough shape when I received it. It took a lot of work to bring it back to this point. The bowl had a lot of damage and the horn stem was very worn and tired. I did a lot of reconstruction on the rim top and edges of the bowl and tried to bring life back to the damaged bowl without loosing the shape. https://rebornpipes.com/2017/07/21/this-old-cpf-french-briar-rhodesian-was-in-rough-shape/.The square shank straight bulldog with the double ring around the bowl cap is a beauty. Instead of the usual diamond shank and stem this one has a square shank and stem. The horn stem is very stunning with the colours of the horn and the briar. Have a look at the blog to read about the restoration process on this one. https://rebornpipes.com/2017/09/29/cleaning-up-another-cpf-this-time-it-is-a-square-shank-bulldog-setter/.The last pipe I am including in this blog is my latest addition. It is an unsmoked CPF Chesterfield that is in excellent condition. It came to me from a good friend in NY who picked it up in a recent purchase. The grain and the shape are quite nice. It is a stubby billiard with a P lip style stem. The stem is hard rubber and it is old. Give the blog a read to get the back story on this pipe. https://rebornpipes.com/2019/01/29/refreshing-an-unsmoked-1910-1915-cpf-chesterfield-billiard/.With the above pipe I will close my reflections on some of the CPF brand pipes in my collection. Hopefully you can understand what I love about them as you scroll through unique pipes in the above collection. I am always on the lookout for more CPF pipes and excited to find and work on them. If you come across one and want to “help” me out let me know. Thanks for reading this blog.

 

Freshening a Wally Frank Ltd Bruyere Extra French Longpipe


Nicely done Charles. It is a lot like the BC pipes of that line that I have worked on.

Charles Lemon's avatar

I’ve got an interesting piece of pipe history to share this week. I acquired this Wally Frank longpipe in trade for some restoration work almost a year ago but it got sidelined and was forgotten in my refurb box until now.

Wally Frank Ltd was established in 1931 as a chain of tobacconists and pipe sellers. The stores and mail-order catalog business were well received, in part due to the depth of their product lines encompassing a number of well-known pipe brands as well as their own house series, the production of which was contracted out to established pipemakers in North America and across Europe.

A browse through old Wally Frank catalogs online (the 1937 edition is available on RebornPipes.com here) show that the company carried a little bit of everything, and usually at a discount – briars, meerschaum, figurals, clays, and even hookahs in addition to pipe cleaners…

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Restoring a Malaga Canted Dublin with a Square Shank


Blog by Steve Laug

The next pipe in the queue is yet another interesting pipe from the Michigan lot – a canted, square shanked Dublin with a smooth and rusticated finish. The bowl and rim are smooth and the shank is rusticated with a smooth band at the end of the shank. It is another totally unique pipe and different from any of the other Malaga pipes that I have worked on. It is not a large pipe – probably a Group 4 sized bowl. The grain on the bowl is a combination of swirls, flame and birdseye. The rim top has a bevel on the outer edge culminating in a flat rim top. The pipe appears to be oil cured like the other pipes from the brand. The shank is square and is rusticated in a very tight pattern. The right side of the shank has a smooth patch that is stamped MALAGA. The stem is Lucite and has a square saddle followed by twin rings and a tapered blade. This is another nice looking piece much like the rest of those in this 21 pipe Michigan pipe lot. This Malaga joins the other two Malaga pipes I have worked on – the rusticated billiard and the twisted billiard that I worked on earlier. The Malaga I am working on now is on the first shelf of the rack. It is the fourth pipe on the left and I put a red box around it to make it easy to identify. Jeff took some photos of the pipe when he received them to show the general condition of the pipe before he started his cleanup work. Like the rest of the pipes from the Michigan collection this pipe was dirty and well used. There was a thick cake in the bowl and lava overflowing onto the rim top. The inner edge of the bowl in pretty good condition. The combination of rusticated shank and smooth bowl made an interesting tactile pip. It is another pipe that is unlike any of the Malaga pipes that I have worked on. The vulcanite stem is carved in the same manner as the bowl and carries on the twist. There are deep tooth marks on both sides of the stem at the button edge and some wear on the button edge itself. The photos below tell the story and give a glimpse of the carved canted Dublin. Jeff took a close up photo of the bowl and rim to capture the condition of the pipe before he started his cleanup work. The rim top had some thick lava overflow and some darkening. There was a thick cake in the bowl but the inner and outer edges of the bowl were in great condition. There is also a general accumulation of dust in the finish on the rest of the bowl and shank.He also took photo of the right, left and underside of the bowl and shank to show the interesting grain on the smooth part of the bowl and the carving in the rustication on the shank. The shape is unique and the pipe fits well in either left or right hand. The finish is very dirty but this is another beautiful pipe. Jeff took a photo to capture the stamping on the underside of the shank. The photo shows stamping MALAGA. The stamping on this pipe does not have quotation marks that I have seen on some of the pipes. I have yet to figure out what the quotation marks mean as they are not on all of the pipes. Perhaps some of you might know. Once again how about posting a comment about this? The next two photos show the stem surface. They show the tooth marks and chatter on both sides near the button. There are also some marks on the sharp edge of the button. On the underside there is a deep tooth mark that appears to be a bite through but I won’t be certain until I have the pipe in hand.Once again I am including the link to a blog that I wrote that gives some of the history of the Malaga brand and the Malaga Pipe Shop in Royal Oak, Michigan in the USA. Here is the link – https://rebornpipes.com/tag/malaga-pipes/. That blog also includes links to a catalogue and the history of the pipemaker George Khoubesser. Follow the link to get a feel for the brand and the pipemaker.

Jeff reamed the bowl with a PipNet pipe reamer and followed up with a Savinelli Fitsall pipe knife to remove the cake. He scrubbed out the mortise and the airway in the shank and the stem with alcohol, cotton swabs and pipe cleaners. He scrubbed the exterior of the bowl, rim, shank and stem with a tooth brush and Murphy’s Oil Soap to remove the oils and tars on the rim and the grime on the finish of the bowl. He rinsed it under running water. He dried it off with a soft cloth. He was able to remove the lava build up on the rim top and you could see the great condition of the bowl top and edges of the rim. I took photos of the pipe to show its condition before I started my work on it. I took a close up photo of the rim top to show the darkening on the surface of the rim toward the back of the bowl. The inner edge and the outer edge of the rim look really good. The stem photos show the tooth marks and the wear on the button surface on both sides. The final close up photos shows the MALAGA stamping on the right side of the shank.The bowl and shank of this particular Malaga pipe was in very good condition. I did not need to sand it with sandpapers or do any repairs to the briar. I could move right into the polishing process. I started by polishing the bowl and the rim top with micromesh sanding pads – wet sanding with 1500-2400 grit pads and dry sanding with 3200-12000 grit pads. I wiped the rim down after each pad with a damp cloth. With the rim top and bowl polished, I worked some Before & After Restoration Balm into the surface of the briar with my fingertips to clean, enliven and protect it. I let the balm sit for a little while and then buffed with a cotton cloth to raise the shine. The following photos show the bowl at this point in the restoration process. The bowl and the rim top look really good and the darkening and lava are gone. The finish looks very good with the swirling grain on the bowl and the rustication the shank. I am very happy with the results. With the bowl finished I set it aside and turned my attention to the stem. I cleaned out the tooth marks on both sides of the stem with a cotton swab and alcohol. Once the repairs had cured I used a needle file to flatten out the repaired areas. I filed it until the patches were smooth with the surface of the stem. I used a folded piece of 240 grit sandpaper to blend the repairs into the surface of the stem. Once the surface was smooth I sanded out the scratch marks and started the polishing of the stem with a folded piece of 400 grit sandpaper. I wiped the stem down with a damp cloth and took the following photos.I polished the stem with micromesh sanding pads – wetsanding it with 1500-2400 grit pads and dry sanding it with 3200-12000 grit pads. I wiped the stem down with a damp cloth after each pad. I further polished it with Before & After Pipe Polish – both Fine and Extra Fine. I wiped it down with a coat of Obsidian Oil and set it aside to dry. I polished stem with Blue Diamond polish on the buffing wheel. I gave the bowl and the stem multiple coats of carnauba wax. I buffed the pipe with a clean buffing pad to raise the shine. I hand buffed it with a microfiber cloth to deepen the shine. The pipe polished up pretty nicely. The contrasting smooth grain and rusticated shank came alive with the buffing. The rich browns work well with the polished variegated/swirled Lucite stem. The finished pipe is a beauty and feels great in the hand. Have a look at it with the photos below. The dimensions are Length: 6 ½ inches, Height: 1 3/4 inches, Outside diameter of the bowl: 2 inches, Chamber diameter: 15/16 of an inch. I am going to hang on to this pipe for a bit while I decide what to do with it. It is just too stunning a pipe for me to let go of right away. Thanks for walking through the restoration of this beautiful Canted Dublin with me it was a pleasure to work on.

The Decline of Restoring Old Pipes, Part 3/4: Sir Daryl and the Golden Blueline Bakelite



Blog by Robert M. Boughton
https://www.roadrunnerpipes2k.com/
https://www.facebook.com/roadrunnerpipes/
Copyright © Reborn Pipes and the author except as noted

Once upon a time there was a man who was about to go on a long journey, and right before his departure he asked his three daughters what he should bring back to them. The oldest wanted pearls, the second, diamonds, but the third said, ‛Dear Father, I’d like to have a singing, springing lark.’ — The Brothers Grimm, Jacob and Wilhelm, from “The Singing, Springing Lark,” in Children’s and Household Tales (1815)

RECAP
Part 1 hypothesized that the discontinuation, illegality and dwindling or total unavailability of vital materials, used in antique and other very old pipes, will lead to a serious crisis in restoring these heirlooms and otherwise prized implements of contemplation to their original conditions.  My main theme was the need for those of us in the business – having considerable, moderate or little experience under our belts – to learn how to overcome these difficulties that will become more acute all too soon.  In hindsight, I should have emphasized better the need for those who now have the know-how to use their own perhaps self-discovered and unique (read proprietary) heroic measures  to cooperate in sharing them with the rest of us, as Part 4 will demonstrate without the help I would have preferred but with other expert assistance that is very much appreciated.

Part 2 described the first of three such repairs I have completed, its example being a Colossus Pipe Factory (CPF) Best Make turned lion’s head meerschaum with a gold band and genuine cherry red amber stem that needed reconnecting with a new bone screw tenon.  Five years after I began searching for the one part, I was compelled to send the otherwise restored CPF to a specialized repair service that may have been the only place capable at the time to affect the rehabilitation, for lack of a proper bone screw tenon or anyone to whom I could turn for instruction on how to repair the damage to the inner shank.  Now I know the necessary work was relatively minor.  Having determined the approximate technique used to repair my CPF, I will share the knowledge with anyone who cares to read the next and final installment, in which I mend a more damaged meerschaum shank and re-stem the pipe.

SIR DARYL AND THE GOLDEN BLUELINE BAKELITE
Once upon a time, in the sixteenth year of the third millennium, there lived a young man who dwelt in the center of a place of medium size.  When it was founded by Spaniards three centuries earlier the sage brush- and tumbleweed-blown burg was a dukedom known as Alburquerque, with two r’s, named in honor of a now long-forgotten duke of the proud nation that settled it.  But long before our tale began, the name was shortened, probably because of common misspelling, to Albuquerque, with only one r.

At the time the events of this account began to unfold, more than half of the almost one million souls who called the Land of Enchantment home tried to get along in its fast-growing and biggest metropolis, but perhaps lacked faith in the higher powers.  Gun-related deaths and evils in general were far above average compared to the other 49 quasi-independent lands of the constitutional federal republic they composed.  This was before Puerto Rico, Guam, the Virgin Islands and Panama were granted the same status, although they did not ask for it, and despite the attempts of Texas, Hawaii and California to rule themselves   Most of the people still believed they were part of a true democracy, which of course does not exist.

The young man, whom we will call Sir Daryl, had a high-tech job that his life in general and education and training in particular had prepared him to perform with the greatest skill.  He also enjoyed his work, as much as any man likes the chronic rising from bed day in and day out and spending long hours away from home and friends, so that was a good thing.

But Sir Daryl’s real love in life was going on quests for beautiful and rare tobacco pipes that were bestowed with magical powers.  Sir Daryl’s keen eyes and a preternatural knack for recognizing the magic when he saw it aided him in his never-ending search.  Even when he traveled for business purposes, without fail he seemed able to sniff out the rare and hidden examples of the craft that awaited him   All of the precious shapes and styles he discovered in this fashion were his for the taking at prices so low he could not bring himself to turn them down.  Sometimes Sir Daryl wondered at his aura of luck in locating the treasures but did not spend much time fretting over his ostensible good fortune.  As his tastes grew more refined, which such appetites always arouse, Sir Daryl turned to antiques.

Unaware that his friends were beginning to notice the signs of a peculiar spell that was known to afflict many pipe collectors of his period, before counter-spells were found to eliminate the problem, Sir Daryl became obsessed with the thrill of the chase and ultimate liberation of these fine prizes from their previous, unworthy guardians.  And they were much admired by all who beheld them

One of Sir Daryl’s most splendid finds was crafted by the renowned house of Kaufman Brothers & Bondy and given the enticing name Blueline Bakelite, the creation of which he was able, with his considerable fact finding skills, to pinpoint to the second year of the second decade of the twentieth century.

Alas!  Sir Daryl so wanted to savor the gold-banded billiard beauty that he took it with him to his weekly informal pipe get-together early one Friday evening, still in the box in which it arrived with the day’s mail.  He settled back in the cushioned chair that had his name on it and prepared a bowl with an excellent Virginia Perique concocted with miraculous properties that made his body seem weightless and his mind travel to far-off places, not all of which he had ever seen outside of these visions.

With the slowest possible deliberation, Sir Daryl struck a wooden match and kindled the top layer of the divine amalgam in expectation of an ethereal treat, Almost immediately, his typical serene and content composure twisted into a spasm of intense revulsion apparent to his friends all about the low, round table where everyone had set out tins and other glorious, colorful containers with concoctions from around the globe that group custom made free for the trying.  Sir Daryl began to retch and reached for a tissue paper to spat out the evil spell that began its sorcery in his mouth and thence to wind an insidious path into his throat.  With the greatest of luck that was his hallmark, Sir Daryl cast out the vile spirit.

Being a naturally kind, trusting soul, the only mistake Sir Daryl made was in believing the minion who sold him the pipe with the false claim that it had been cleansed of all evil.  As Sir Daryl’s breath returned with the color in his face, one of his peers, who sat closest to him in another deep cushioned chair to his right, happened to be gifted with the power of perception.  Suspecting the foul truth of the matter, the wise aficionado asked if dottle was the problem.

Still unable to speak in a clear voice, Sir Daryl handed his newest prize to the other man, one of several Restorers present round the small table, and sipped from a bottle of mineral water, the better to wash away the diminishing remnants of old leaf and other substances too frightful to mention in this story conceived for young, impressionable children.

The Restorer scrutinized the various parts of the instrument and offered his services to Sir Daryl, for a modest fee, of course, and a deal was struck.  The trustworthy Restorer said with his natural sense of fidelity that he would return the treasured and still un-tested Blueline Bakelite the next day.  Little did he then know of the otherworldly obstacles that would befall him, beginning later that very night.

Enchantment, as a point of interest and special significance, concerns the subjection to or bewitchment by magical influences.  Some enchantments are made for good – and others not.

 THE RESTORER TELLS OF HIS ODYSSEY, IN HIS OWN UNCOUTH VOICE
Thank you, Omniscient Narrator, for that lovely, florid introduction, and for providing the most charming and flattering title you could come up with for my chapter in some other hero’s tale.  I don’t mean to be rude, but I must set a couple of facts straight, if only for the sake of dispelling that whole fidelity thing you pinned on me.

For one thing, I didn’t “offer” my services, it was more like begging Sir Daryl to grant me the honor of taking his beautiful but badly marred and filthy 1911 billiard – yes, that’s the year our Narrator meant to say in his own rather prosaic, ho-hum way –home with me.  I asked whether he wanted the final stain to adhere to the original dark brown or be lighter and was not surprised when he opted for the former. Anyone with eyes will see the KB&B was messed up outside from the shots of it I snapped as soon as I was home, which I’ll dig up some place and show in a minute.  As far as its innards go, I know more than I really needed to about that because I just had to see what Sir Daryl’s little fit was all about and later tried it in private with some of the cherriest aromatic there is.  The consequence indeed was every bit as nasty as my friend Sir Daryl let on!

Daryl in the chair with his name on it

And enough with your Sir Daryl nonsense.  He’s just a man like I am, and his name is Daryl Loomis.  Even if I didn’t know him for going on five years now, I should know his real name because he’s bought about nine pipes from me, and that’s by far the record for one person.  I suppose, based on what you said about his taste in pipes and all, this must mean I sell some pretty good ones, although I admit I never let an antique go to Daryl or anyone else.

One last thing: if I had known what was going to happen in the middle of the night, I never would have accepted the $25 Daryl paid me in advance.  Come to think of it, I would not have taken the unique pipe at all.  Then again, maybe if I had the power to see back and forth and all over Time like a certain Narrator, I suppose I would have just avoided the whole mess in the first place.  I’ve always hated trippy thoughts like that.  At any rate, at least then you wouldn’t have this grand fable to tell, would you, big guy?  And forget about any singing, springing larks popping up!  Quite the opposite is in store, in fact.  I’ll bet the old codger of a Narrator ends up claiming he knew that all along and only meant it as foreshadowing.

Anyway, I found the shots I snapped, and here are the first of them. When held to the light, as I did and will prove in good time, the Bakelite stem is remarkable in its similarity to genuine cherry red amber.  That is a seeming contradiction in terms, I’m aware, as the word amber, from the Latin and Greek origins, means orange. However, the actual stem material is a synthesis of phenol and formaldehyde resins made in a process of intense heat and pressure known as thermosetting.  The first synthetic plastic, Bakelite provided a cheaper alternative, when amber was the rage, that was difficult to differentiate from the real thing with the naked eye and was therefore popular in the manufacture of pipes during the early 20th century.

Other than the need for a serious cleaning and retorting of the inner pipe, Daryl’s Blueline Bakelite had inexplicable dark black blotches on the left middle and right rear sides of the bowl.  I never determined the cause of the stains, as I ended up having no better option to choose as the source of the marks, but there were two I ruled out: scorching with long-inflicted match or lighter flames and burnouts.  Scorches would have come out much easier than these deep flaws, and burnouts never would have cleared up.  There was also the telltale damage to the chamber that was not present.  By the way, the restoration process will be shown in a time lapse style rather than my usual frame by frame style.

The following photos were taken after a preliminary Everclear soak, during which the band came off.  I followed that with a light sanding using 600-grit paper. I reattached the band with Super Glue.  A whole lot of sanding later, starting with 150-grit paper and working back up to 800, succeeded in eliminating the blotch on the left shank, but a specter remained on the right.  A terrible slope, lacking a better word, on the right side of the rim is also apparent now for the first time in the photos I took after the scar on the left was eliminated with considerable work.  But that would have to wait to be righted. I know this was cockeyed thinking, but I wanted to see if staining would cover the spot on the right of the bowl rather than continuing to abrade the wood.  I used Lincoln Brown aniline stain, flamed it with a Bic and micro meshed to the correct shade.  Obviously, the attempt failed.I had worked on the pipe from roughly 8 p.m. the previous night, after returning from my pipe get together, and it was sometime around 4 a.m. Saturday.  True enough, I could have used a break for sleep, but I don’t blame the unthinkable calamity that happened next on my own fatigue.  Although I accept full responsibility for what followed by the simple fact that the rare and precious pipe was in my custody, and would even be happy to blame myself for some error, that was not the cause of the awful event that occurred without warning.

As I had done many times, with the same great care and patience, I unscrewed the stem from the bone tenon.  There was no resistance, no mis-threading, nothing whatsoever wrong – until the sickening sound and feel of bone that was, one second, solid, and the next, several disjointed pieces that didn’t even fit together and more or less pulp left in the shank and stem.  And the infernal softness of the sound it made when it shattered, not a snap, crackle or even a pop, but as closely as I can describe it, like the effortless breaking between a pinkie and a ring finger of the softest piece of chalk.  There I was, exhausted as I readily admit, with the bone tenon broken and crushed in my hands, the remnants scattered on the floor in bits and fine powder. Almost three years after the pipe restoration went all the way south (and I’m sure everyone knows the figurative distance and final destination I’m suggesting), I still remember most how the unimaginable tragedy lacked any definitive sound.  I know now that the bone material had passed its life expectancy long before and might have failed at any moment.  In hindsight, I am grateful it happened to me rather than Daryl.

Here is the ghastly reality my numb mind had not even processed yet as I saved the horror for the record, by pure dazed habit, after frantically trying to graft the three tangible splinters of the tenon together with Super Glue.  Note the Frankensteinian product of my mad attempt at surgery on the tenon and the perfect evenness of the fault line leading to a total impaction of the stem hole.I tried my best to sleep and, late in the morning when I got up, considered the remains, my hope to find I had dreamed the whole fiasco obliterated with less noise than the plan-changing event a few hours before.  I decided to put the stem aside for the time being.  Why tempt further catastrophe when such things have a way of finding us, like the only two certainties in life of which Christopher Bullock seems to be the first person to warn us, in his 1716 farce, The Cobler of Preston.

Instead, I turned to the mangled rim and working with a double-sided 150/180-grit sanding pad painstakingly returned it to full health. When I was finished with the rim, it was looking good.  I even managed to give it a slight inward slant before reaming and sanding the chamber smooth.Other than the missing tenon, everything was beginning to look up again.  Outside was warm and sunny, bare wisps of clouds here and there in the blue sky.  When the other incomprehensible disaster struck, I felt like a lightning rod on an old barn swaying and creaking in the storm of the century.

This time, no ifs ands or buts, it was my fault despite the inherent danger of meddling with Bakelite or any other synthetic plastic.  I had no trouble with some dental tools I somehow got my hands on, wheedling out a chunk of packed bone here and another there from the shank, and the mother lode popped out nice and easy   Then it was the stem’s turn, and it was ornery.  I just started to make a decent dent on the harder bone inside the tiny stem hole when I just plain blew it.  I heard it that time, the crack amplified by my ears the way a bolt from Zeus struck the railroad tracks a few yards from me as I walked home from work in Granby, Colorado just before my 21st birthday.  I was watching the storm coming closer and saw nature’s electricity hit the rails.  That flash up in the Rockies made me jump a foot in the air, but the explosive soundwave a heartbeat later sent me flying across U.S. Hwy. 40, forget about the non-stop two-way traffic between the Berthoud and Rabbit Ears Passes..

Once again, in the frenzy of emotions over my double-destruction debacle starting with the bone tenon and then the stem, I hastened to glue the two pieces of the stem together before taking pictures.  The first was while the glue was still setting, the second after I micro meshed off the excess glue and to show the great color as well as how closely the small piece fit into the big, and the third just for the sake of showing the end view.Regardless of my initial frazzled audacity to think I might be able to right this wrong, my sense of morality is intact enough that I know I would have rejected the notion of passing off the fatally flawed stem as undamaged no matter how seamless the result may have been, but I was still relieved to have any temptation removed.

The star-crossed shadow that came to lurk around every corner began to seem a curse.  Since the day I restored my first pipe, until then the thought of giving up the whole endeavor for good never occurred to me.  At that lowest point of all my work reclaiming old and worn estate pipes, to crib from Steve’s site motto, I came a breath away from scattering all of it with my arms and hands to the walls about me or wherever else they might crash and shatter – the remains of the KB&B, dozens of other pipes awaiting my attention and every tool I had acquired, all of which I didn’t yet know was soon to be stolen from me anyway.  But that’s a different story I’ll tell when I’m ready.  This was in the spring of 2016, when my life in general was, to me, dangerously pointless.  I considered selling what I could and scraping together everything I had to find Daryl a suitable replacement.  That was really all I cared about, but it was enough.

I am well aware that some readers of my blogs view my style of writing as feigned or, a little worse, contrived.  My unorthodox approach to blogging pipe restorations doesn’t help, and my habit of falling into literary mimicry now and then may annoy many of the more experienced contributors to this forum.  That’s just not how I approach any writing project, which happens to be with the same imagination and enthusiasm I try to put into the actual pipe work.  I needed a year from the completion of this particular trial merely to face the unpleasant truths of the experience and find the words to describe it, however fanciful they may strike some folks.

But I did finish the job, although it took two years and the unwavering patience of my friend Daryl to be done with it.  In that respect, the Narrator’s appellation of Sir Daryl is well warranted.   Now I can finally let everyone know something that’s been on my mind for too long: anyone who doesn’t buy the bald self-analysis of my strengths and weaknesses I just finished sharing once and for all can believes what he will and sod off.  I’m not going away, and this is for the rest of you, who hopefully know who you are and that I appreciate the encouragement.

With more time to work on the pipe afforded to me by the unhappy but, for Daryl, fortunate destruction of the tenon if not the stem while both were my responsibility to replace, I was able to eradicate the mark on the right side of the bowl.  The next shots show the re-staining and micro meshing to the correct original dark shade of brown.  Thanks to the intrinsic problems with Windows 10, the key shot of the right side was lost, and I only have one showing the final result after eliminating the remaining scratches from the excessive but necessary sanding used to make the black marks disappear, which I accomplished with every sanding and smoothing resource at my disposal. Desperate to get Daryl’s pipe back to him, I was willing to offer as a temporary solution my real cherry red amber stem from the CPF Best Make turned lion’s head meerschaum I restored in Part 2.  Preparing for that possibility, I straightened the amber by heating it in the oven.  The second pic shows the original Bakelite stem above the straightened amber stem, in which I had placed a bone tenon I happened to have on hand but that didn’t fit.  The length of the amber stem is a little longer, but I expected it would at least mollify Daryl.All of the events and work occurred during a relatively short period of time in 2016.  Not until two more years passed did I find Norwoods Pipe Repair, and Kenneth Norwood assured me he could replace the bone tenon and even the same color of Bakelite stem.  At last I can show the parts he returned with the pipe I sent him.  The replacement, as it turned out, was also a little longer than the original, but I was confident Daryl would be more than pleased.Only two years after taking on the task of cleaning and restoring the KB&B that had such wonderful potential, all I had to do was retort the pipe.  I did so immediately, and as the replacement parts arrived, believe it or not, the same day as our monthly pipe meeting, I was able to return the gorgeous completed pipe to its owner that night. THE END OF THE LONG JOURNEY
Thus ends our tale of the long and arduous task of the unlucky but persistent Restorer…who almost never faltered in his pursuit of Right versus Wrong.

And everyone lived, happily ever after.

THE NARRATOR’S PREVIEW OF THE FINAL ADVENTURE
The fourth and final Book in this series will tell the tale of the first venture by the heroic Restorer, since thus he clearly needs to be described, into the small and secretive world of meerschaum repairers in his quest to be of service to a Good Lady.  Anyone who has ever had dealings with this lonely coven will understand how they covet and guard above all else the alchemies they devise as theirs and theirs alone.  But our hero will reveal, for the whole world to know at long last, the wondrous knowledge he has uncovered with the aid of unanticipated paladins – in particular an Artisan of high renown who dwells in the same town as the Restorer.SOURCES
https://norwoodspiperepair.com/index.html
http://freakonomics.com/2011/02/17/quotes-uncovered-death-and-taxes/
https://rebornpipes.com/tag/kbb-kbb-pipe-history/

Restoring another Malaga – A Billiard with a Twist from Bowl to Button


Blog by Steve Laug

The next pipe in the queue is another interesting pipe from the Michigan lot – a Twisted Billiard with a twist going from the rim to the button. It is a totally unique pipe and different from any of the other Malaga pipes that I have worked on. It is not a large pipe – probably a Group 4 sized bowl. The twist is carved in around what appears to have been originally a panel bowl but I am not even sure of that as it has a round rim top. The finish is smooth and well finished in the oil cured style of other pipes from the brand. On the underside is a small flat panel running parallel to the shank that is stamped “MALAGA” with the quotation marks. The stem is vulcanite and carries on the twist of the shank and bowl. This is another nice looking piece much like the rest of those in this 21 pipe Michigan pipe lot. This Malaga joins the rusticated billiard that I worked on earlier and a freehand that also has a very interesting Malaga shape. The Malaga I am working on now is on the mat in front of the rack. It is the third pipe on the left and I have circled it in red to make it easy to identify. Jeff took some photos of the pipe when he received them to show the general condition of the pipe before he started his cleanup work. Like the rest of the pipes from the Michigan collection this pipe was dirty and well used. There was a thick cake in the bowl and lava overflowing onto the rim top. The inner edge of the bowl was damaged with nicks and cuts from a previous reaming job with a knife. The twisted carving in the bowl sides and shanks fit comfortably in the hand as it was wrapped around the bowl sides. The carving on the bowl, shank and stem make the pipe very interesting. It is another pipe that is unlike any of the Malaga pipes that I have worked on. It is grooves/twists are quite deep and are parallel on the right and left side and the front and the back. The vulcanite stem is carved in the same manner as the bowl and carries on the twist. There are deep tooth marks on both sides of the stem at the button edge and some wear on the button edge itself. The photos below tell the story and give a glimpse of the carved twisted billiard. Jeff took a close up photo of the bowl and rim to capture the condition of the pipe before he started his cleanup work. The rim top had a thick lava overflow and some darkening. There were some nicks and cuts around the rim. There also appeared to be a burn mark on the right inner edge of the rim at mid bowl and possibly on the left inner edge toward the read of the bowl . There is also a general accumulation of dust and grime in the carving of the bowl and shank.He also took photo of the right side and the bottom of the bowl and shank to show the interesting twisted carving that covers the pipe. The carving is unique and gives the pipe a rugged and tactile look and feel in the hand. It should be interesting as the pipe warms up when smoked. The finish is very dirty but this is another beautiful pipe. Jeff took a photo to capture the stamping on the underside of the shank. The photo shows stamping “MALAGA”. The stamping has the quotation marks that I have seen on some of the pipes. I have yet to figure out what the quotation marks mean as they are not on all of the pipes. Perhaps some of you might know. How about a note about this?The next three photos show the stem surface. The first shows the twist in the stem flowing out of the shank. There is some light oxidation on the stem surface. The next two show the tooth marks and chatter on both sides near the button. There are also some marks on the sharp edge of the button. The surface of the blade in front of the button also has some scratches from whoever attempted to clean it up. Once again I am including the link to a blog that I wrote that gives some of the history of the Malaga brand and the Malaga Pipe Shop in Royal Oak, Michigan in the USA. Here is the link – https://rebornpipes.com/tag/malaga-pipes/. That blog also includes links to a catalogue and the history of the pipemaker George Khoubesser. Follow the link to get a feel for the brand and the pipemaker.

Jeff reamed the bowl with a PipNet pipe reamer and followed up with a Savinelli Fitsall pipe knife to remove the cake. He scrubbed out the mortise and the airway in the shank and the stem with alcohol, cotton swabs and pipe cleaners. He scrubbed the exterior of the bowl, rim, shank and stem with a tooth brush and Murphy’s Oil Soap to remove the oils and tars on the rim and the grime on the finish of the bowl. He rinsed it under running water. He dried it off with a soft cloth. He was able to remove the lava build up on the rim top and you could see the damage to the flat surface of the rim and the inner edge on the right side and toward the front of the bowl. I took photos of the pipe to show its condition before I started my work on it. I took a close up photo of the rim top to show the darkening on the surface of the rim toward the back of the bowl. There were also some burn marks on the right side toward the middle and the ledge side toward the rear of the rim top. The inner edge of the bowl had some damage from burns and reaming but the outside edge looks really good. The stem photos show the tooth marks and the wear on the button surface on both sides. The final close up photos shows the “MALAGA” stamping on the underside of the shank.To remove the damage to the top of the rim I topped it on a topping board with 220 grit sandpaper. I worked on it to remove the burned areas and the damage to the inner edge of the rim as much as possible. I am happy with how it turned out.I used a folded piece of 220 grit sandpaper to clean up the inner edge of the round rim top. I was able to remove the majority of the damage, leaving behind a dark spot on the right side of the rim top at the inner edge. I wiped the rim top down with a damp cotton pad to remove the dust. I polished the bowl and the rim top with micromesh sanding pads – wet sanding with 1500-2400 grit pads and dry sanding with 3200-12000 grit pads. I wiped the rim down after each pad with a damp cloth. I touched up the stain on the rim with a Maple stain pen and blended it into the grain. Once it dried I buffed it with Blue Diamond to spread it out. With the rim top and bowl polished, I worked some Before & After Restoration Balm into the surface of the briar with my fingertips to clean, enliven and protect it. I let the balm sit for a little while and then buffed with a cotton cloth to raise the shine. The following photos show the bowl at this point in the restoration process. The bowl and the rim top look really good and the darkening and lava are gone. The finish looks very good with the swirling carving on the sides of the bowl and shank. The Maple stain on the rim matched the rest of the bowl perfectly. I am very happy with the results. With the bowl finished I set it aside and turned my attention to the stem. I cleaned out the tooth marks on both sides of the stem with a cotton swab and alcohol. Once the repairs had cured I used a needle file to flatten out the repaired areas. I filed it until the patches were smooth with the surface of the stem. I polished the stem with micromesh sanding pads – wet sanding it with 1500-2400 grit pads and dry sanding it with 3200-12000 grit pads. I wiped the stem down with Obsidian Oil after each pad. I further polished it with Before & After Pipe Polish – both Fine and Extra Fine. I gave it a final coat of Obsidian Oil and set it aside to dry. I polished stem with Blue Diamond polish on the buffing wheel. I gave the bowl and the stem multiple coats of carnauba wax. I buffed the pipe with a clean buffing pad to raise the shine. I hand buffed it with a microfiber cloth to deepen the shine. The pipe polished up pretty nicely. The contrasting grain came alive with the buffing. The rich browns work well with the polished black vulcanite stem. The finished pipe is a beauty and feels great in the hand. Have a look at it with the photos below. The dimensions are Length: 6 inches, Height: 2 1/4 inches, Outside diameter of the bowl: 1 1/2 inches, Chamber diameter: 7/16 of an inch. This pipe will be going on the rebornpipes store. Thanks for walking through the restoration with me on this twisted Malaga billiard.

Fashioning a Churchwarden from a Dimpled Bent Billiard Bowl


Blog by Dal Stanton

The great thing about the Churchwarden shape is that it is the only pipe that is identified not strictly by the shape of the bowl but by the length of the stem.  Bill Burney’s Pipedia Pipe Chart explanation describes this unique characteristic of the Churchwarden shape.  When I received an email from Coleman, he was looking to add a Churchwarden to his collection.  He wrote:

Hey Dal, I was browsing your website love the pipes, wanted to see if you had any more churchwardens available for commission or sale. I’ve always wanted one, and I can’t think of a better place to buy one than from Daughters of Bulgaria. The longer the stem the better. I really liked the billiard churchwarden, and the French imperial one in the shop that’s already sold. Do you think you’ll get anymore?

Last time I was with Coleman was he was an intern serving with us here in Bulgaria about 5 or so years ago.  He was single then, but as life happens, he is now happily married to Rebecca for 4 years!  He had spoken to Rebecca about adding a Churchwarden to his collection from The Pipe Steward and was agreeable to Coleman’s acquisition because the sales benefit the Daughters of Bulgaria – women and girls who have been trafficked and sexually exploited.  Thank you, Rebecca!

Coleman described wanting a Billiard stummel with a bent shank.  I rummaged through potential stummels that could be repurposed to fashion an acceptable Churchwarden for Coleman.  I found three good candidates and sent pictures to him.  In the end, he settled on the Dimpled Bent Billiard in the center which has great promise for a beautiful display of natural briar grain with interesting rusticated accents.  We discussed the terms and came to an accord and I placed Coleman’s Churchwarden project in the queue.

Taking the stummel out and placing it on the work table, when I first acquired the Dimpled Bent Billiard, it came in the Lot of 66 I got off the eBay auction block.  When I initially looked at it, I did not see anything that looked like markings.  With a closer look now, I can just make out on the lower side of the shank the COM being France – I can barely make out ‘ANCE’.  The markings are now so thin that they have nearly passed out of remembrance and undoubtedly will with this fabrication.  I take a closeup of the ghosted marking on the lower shank.What I was not looking for but what is obviously revealed in the closer look at the lower shank is a small stress fracture in the briar.  I take a few more pictures with different angles of light highlighting it.  The good news is that the crack is isolated – not going through to the shank end. I’m assured of this after inspecting closely looking at the shank end and mortise.  My guess is that the small, barely visible crack was formed from a fall where the stem was the first to hit and it pressed up and in opposite reaction, the tenon pressured downwardly on the lower mortise wall and the stress crack resulted on the lower shank. A guess.  I’ll think about what needs to be done about the crack and address it later.The accenting rusticated dimple effect is interesting giving the smooth briar contoured, rustic relief – I like it, and so did Coleman.  The grain shows nice potential in the pictures below. The chamber has some carbon cake build up – I’ll be removing it to give the briar a fresh start.Finally, I take a picture showing the stummel and the Warden stem together – what we’re aiming for!  The bend of the shank sets the stage for a nice, long sweeping Warden stem.I start the Warden fabrication by cleaning the stummel.  Starting with reaming the chamber, I use only the smallest blade head from the Pipnet Reaming kit and follow by scraping the chamber wall with the Savinelli Fitsall tool.  Finally, after wrapping 240 grit paper around a Sharpie Pen, I sand the chamber removing more of the carbon and getting down to the briar.  To remove the carbon dust, I wipe the chamber with a cotton pad wetted with alcohol.  After an inspection of the chamber, it shows no signs of heat damage with cracks or fissures.To clean the external briar, I use undiluted Murphy’s Oil Soap and a cotton pad to scrub.  I also get into the dimples to clean them.  On the rim, the internal lip of the rim is darkened from scorching.  I use a brass wire brush to clean the rim, but even after scrubbing the darkened briar is still evident. The internals of this stummel was no picnic!  Using pipe cleaners and cotton buds dipped in isopropyl 95%, I clean the mortise and airway.  I also do a lot of excavating of tars and oils by scraping the mortise walls with a dental spatula which you can see wiped in plenty on the cotton pad in the picture below.  Using a long shank brush, I’m able to scrub the airway.  It took a good bit of time, but the buds started lightening until enough progress had been made.  Later, I will continue the cleaning by giving the bowl a kosher salt and alcohol soak.I decide to move forward with the stummel repair before beginning the shaping of the Churchwarden stem.  I have two issues to address before moving on.  The rim is scorched and even after cleaning a dark ring persists around the inner lip of the rim.  With the rim already rounded, I will simply go with that flow and bevel out the internal rim damage.  The other challenge is to address the small stress crack on the lower shank.

First, I address the rim.  After taking a close-up of the rim to mark the starting point.  In succession, I pinch rolled pieces of sanding papers between my thumb and the inner rim from coarser to less coarse grades: first 120, then, 240, 470 and 600 grade papers.  This removes the damaged briar and freshens the rim and it looks much better.  The rounded rim will look good as a Churchwarden.  Before and after pictures follow: Now, I decide to address the pressure crack on the lower shank.  I will drill two counter-holes at the ends of the crack to guard against the crack growing.  This stops the possibility of the crack creeping in the future.  Drilling these holes is not easy using a hand held Dremel extension with a 1mm drill bit.  Not only do I have the ‘shakes’ as an obstacle of accomplishing a good, true hole drilling, but the depth of the drilling is also of concern.  The shank is not a thick piece of briar!  I do not want to see sunlight coming into the mortise! The first picture is simply of the crack – difficult to see with a magnifying glass.  In order to help guide the drilling, I use a sharp dental probe, again with the aid of a magnifying glass, to mark the ends of the crack with an imprint where the counter-holes will be drilled.Next, I change out the Dremel clamping and mount a 1mm drill bit into the handheld extender.  This is where the jitters really start jittering.  Perhaps, one day I’ll secure a more stable drilling platform but today is not that day!  Thankfully, and I do mean thankfully, the drilling goes well.  Not too much shaking nor too deep. Next, I use thin CA glue because the crack is very subtle, and I want the CA glue to fill and penetrate what it can.  I apply CA glue to the two holes and crack and apply briar dust to the patch.  Hopefully, this aids the holes to later blend.  I put the stummel aside to allow the patch to cure.Several hours later I make it back to the work table and the shank patch has cured and I begin filing the mound with a flat needle file until the patch mound is almost flush with the briar surface.  I then switch to sanding with 240 grade paper to bring the patch flush with the surface and finish at this point with 600 grade paper to smooth it out and blend it.  The patch looks good and I believe the repair was necessary.  It should blend well with the surrounding bird’s eye grain. Time to focus on fashioning the Warden stem with the use of the Pimo Tenon Turning tool which has been a very useful addition to my instruments in my restoration toolbox.  I keep the directions on the wall in front of me!  The visuals give an idea of how this tool works to quickly and accurately resize a tenon.The precast stem is 8 5/8 inches long.  I begin by measuring the inside diameter of the mortise using an electronic caliper.  The measurement is 8.50 mm.  This represents the critical target width of the tenon to fit the mortise.  The precast tenon is obviously fat and I use the Pimo Tool to take off a layer of the fat tenon simply to serve as a starting point.I first pre-drill the airway with the drill bit provided by the Pimo kit to allow the guide pin of the Turning Tool to fit into the airway.After the first ‘fat’ cut of the tenon, the tenon is 9.60mm.  My goal is not to cut the tenon exactly at 8.50mm for a ‘perfect’ fit, but to give myself about .40mm of extra width to then conservatively sand my way to a good tenon/mortise fit. Every mortise is different, and I have found it better to go at it slowly.  So, adding .40 to 8.50 gives me a tenon target width of about 8.90 to aim for using the Pimo tool. With the hex wrench provided I turn the set screw to the left to reduce or tighten the Carbide Cutter Arm of the Pimo tool.  Again for an initial measurement, I only cut small portion of the tenon and measure (picture below).  There’s always the chance of taking too much off!  The test measurement is 8.79mm.  This cut results in the tenon being underneath the 8.90 conservative target but still above the 8.50mm critical measurement.  I take the tenon down to that measurement and begin sanding. To smooth off and form the end of the rough tenon, I make quick work of it with a sanding drum mounted on the Dremel.Gradually sanding with 240 grit paper as well as using a flat needle file, eventually I achieve a good fit.  The tenon is snug but not too snug.You can see in the next picture the overhang of the shank which needs to be sanded down flush with the stem butting against the shank face.  What I also notice is that the face of the stem is shouldered – or down-turned.  This is from not taking off enough vulcanite to have a flat face surface for the stem face to seat against the shank face.  Not shown is remounting the Pimo tool onto the drill and shaving off a bit more of the stem face to improve the junction.  With the flattening of the stem face the tenon seats well.  I go to work sanding the shank to bring it flush with the stem.  I also taper the sanding up the shank to achieve more flow – not having the stuffed pants look.  After sanding the shank/stem junction looks great. Even though the Warden stem is a new precast stem, it must be shaped, filed and sanded to remove vulcanite ripples and manufacturing seams.  I work on the button area with the flat needle file and then 240 grade paper.  I also fully sand the entire stem with 240 grade paper.  You can see manufacturing ripples in the new stem which the sanding smooths out. After completing the sanding with the 240 grade paper, I wet sand the entire stem with 600 grade paper followed by applying 0000 steel wool.  The Warden stem is looking great.  It’s difficult to take good pictures of the Warden stem because the view is always from orbit to get the full length!  So, I provide a few close-ups as well.To hydrate the vulcanite, I then wipe it down with paraffin oil, a mineral oil.I refit the stem with the Dimpled Billiard stem to get a look at the progress.  I’m liking what I’m seeing.Now I need to bend the stem.  I use a hot air gun to heat the vulcanite to make it supple and bendable.  I first put a pipe cleaner in the airway just to make sure the airway does not collapse during the bending.  The general aim is to give the Warden stem a gentle and flowing bend so that the end of the stem is generally in a parallel orientation with plane of the rim.In the end, I re-heat, re-bend, re-heat and re-bend a few times until I was satisfied. I think it looks good.  I go for the flowing look which is more ‘Gandalf-like’ – the subjective bar for all Churchwardens!  I think this will be agreeable to Coleman.With the Warden stem bent, I start the micromesh process by wet sanding the stem with pads 1500 to 2400, then dry sanding with pads 3200 to 4000 and 6000 to 12000.  After each set of 3 pads I apply Obsidian Oil to continue to hydrate the vulcanite.  There is a pop to the freshly sanding/polished vulcanite!Turning now to the stummel, I use sanding sponges to clean the surface of the Dimpled Billiard removing minor cuts and nicks.  I first take some starting pictures then sand the stummel with a coarse sponge followed by medium and then, finish with a light grade sponge.  The sanding goes over the top of the rusticated dimples.  To get into and clean, sand and polish the dimples, later I will use the compounds and the Dremel to do this. I then go directly to sanding with micromesh pads starting with wet sanding pads 1500 to 2400, then dry sanding with pads 3200 to 4000 and 6000 to 12000.  I enjoy watching the grain emerge during the micromesh process. Before going any further with the stummel polishing, I continue the internal cleaning using kosher salt and isopropyl 95% as I indicated earlier. I begin by forming a wick by stretching and twisting a cotton ball to insert into the mortise.  I then fill the bowl with kosher salt, which unlike iodized salt, does not leave an after taste.  I then place the stummel in an egg crate for stability and add isopropyl 95% to the bowl until it surfaces over the salt.  I wait a few minutes while the alcohol is absorbed and top it off once again.  I then set the stummel aside to soak for several hours. The soak did the job.  The discoloration of the salt and wick show the absorbing action of the salt and alcohol.  I toss the expended salt in the trash can, wipe the bowl out with a paper towel and blow through the mortise as well to dislodge remnant salt crystals.  I finish off by expending a few more alcohol wetted pipe cleaners and cotton buds to make sure all is clean, and it is.  Moving on. With Coleman’s agreement, I’m staying with the natural grain color and because of this I utilize Before & After Restoration Balm to condition the briar surface.  The Balm deepens and enriches what is already present in the grain and I like the subtle improved results of using it.  I put some Balm on my finger and rub it into the surface.  The Balm’s texture begins as a thinner oil-like thickness and then gradually thickens into a wax-like texture.  I work the Balm into the rusticated dimples as well. After fully covering the surface, I wait about 30 minutes and then wipe/buff the excess Balm. I use a toothpick also to make sure the dimples are not holding collected Balm.  A few ‘After’ pictures to compare.  It looks great! With the Balm applied, I mount a cotton cloth buffing wheel to the Dremel at 40% speed.  I then apply Blue Diamond compound to the stummel surface taking special care to work the compound into the rusticated dimples. The sanding processes do not get into the crevasses but pass over.  Using the smaller buffing wheel, I’m able to direct the compound into the crevasses.  I also apply Blue Diamond to the Churchwarden stem.  Its easier to keep the stem and stummel separate because of the size of stem and the rotating motion I use with the Dremel.  After completing application of the Blue Diamond, I apply carnauba wax to the stem and stummel using another cotton cloth buffing wheel and leaving the speed the same.  After completing application of the wax, I unite stem and stummel and give the newly born Churchwarden a rigorous hand buffing to raise the shine.

The fabrication of this Dimpled Billiard Churchwarden came out great.  I’m pleased.  The rusticated Dimpled Billiard has beautiful grain with a splay of grain spreading to the rim and much bird’s eye populating the heel of the stummel.  Often, rustication is used to hide blemishes in a lesser quality bowl, but this is not the case with this stummel.  The rusticated dimples are interesting shapes on a beautiful canvas of briar grain.  I believe Coleman will be pleased.  He commissioned this Dimpled Billiard Churchwarden and has the first opportunity to acquire it from The Pipe Steward Store.  This pipe benefits the Daughters of Bulgaria – women and girls who have been trafficked and sexually exploited.  Thanks for joining me!

Restemming and Restoring a Malaga Scoop


Blog by Steve Laug

Since I am already working on restemming pipes I figure I might as well fit a stem to a MALAGA bowl that Alex dropped by a while ago. It is an interestingly shaped piece and I really like the looks of it. MALAGA called this shape a scoop. The grain swirls around the bowl sides and shows some great cross grain on the rim top. It is a pretty clean bowl with a bit of darkening on the rim top and cake build up at the bottom of the bowl. The pipe is stamped on the underside of the shank horizontally with the stem shank junction and reads MALAGA. The finish on the pipe is very in great condition with a few dings and pits in the briar on the right front near the rim. It has the classic Malaga oil cured look and is a rich, natural brown colour. The stem was missing so I would need to fit and shape a new one for it. I went through my can of stems to find an oval stem that would work with this shape pipe. I picked a new stem blank that I thought showed some promise. I took photos of the pipe and the potential stem before working on it. The photos give a pretty clear picture of the shape of the pipe and its general condition when I received it.

For those of you who are unfamiliar with the brand, I am also including the link to a blog that I wrote that gives some of the history of the Malaga brand and the Malaga Pipe Shop in Royal Oak, Michigan in the USA. Here is the link – https://rebornpipes.com/tag/malaga-pipes/. That blog also includes links to a catalogue and the history of the pipemaker George Khoubesser. If you are interested to learn more, then I invite you to follow the link to get a feel for the brand and the pipemaker. I changed my habitual pattern of working on pipes with this one as the bowl was pretty clean. I would do the reaming later. I set up my cordless drill and drilled the airway in the tenon so that the guide on the tenon turner would fit. I put the PIMO tenon turner in the chuck and turned the tenon until it was the right diameter for the shank. I know many use a micrometer to set the tenon turner correctly but the way the tool is configured that has never worked for me. I always eyeball it and turn it in degrees. After each turning I check it in the shank. When I get close I stop and finish with sandpaper and files. Probably a bit of a troglodyte but hey, it works for me.Once I had the diameter so that the tenon was snug I put the stem in the shank and took photos of the pipe at this point. It is way for me to see if I like the proportion of the length of the shank and bowl with the length of the stem. I have gotten to this point on other pipes and pitched the stem in the can and turned a different stem. In this case I thought it would work very well. I would need to reduce the diameter of the saddle, remove the casting marks on the stem and give it a slight bend when I was finished. What do you think? I took some close up photos of the rim top and the fit of the stem to the shank to give you a clearer picture of where things stood at this point in the process. Incidentally, in the last photo below you can see the MALAGA stamping on the underside of the shank.I used the Dremel and sanding drum to take off the casting marks on the sides and button end of the stem. I also used the sanding drum to remove the majority of the excess stem material on the saddle. I hand sanded it with a file and 220 grit sandpaper to get the fit close to a smooth transition. I little a tea light candle and heated the stem to bend it to the angle I wanted to work with the bowl. I took photos of the stem after the bending to show what the pipe looked like at this point in the process. There was still a lot of fine tuning and shaping to do but the pipe was beginning to look complete. I liked the look of the new stem. Some of you may wonder why I sand the shank the bit that I do. My experience is that I can smooth out the transition this way. I know that others do it differently but this is my process. I continued to sand and shape the stem and fit it to the shank end. I beveled the mortise end a bit more than it was originally using a small half circle needle file. Once that was done I sanded the stem to smooth out the transition with the shank. The photos below show that it is getting closer to a fit. I took some close up photos of the fit of the stem to the shank at this point. It is getting better and better. I still need to do a few adjustments to the tenon to get a snug fit to the shank.I sanded the stem with 400 grit wet dry sand paper to polish out the scratches left behind by the files and 220 grit sandpaper.I polished the stem with micromesh sanding pads – wet sanding it with 1500-2400 grit pads and dry sanding with 3200-12000 grit pads. I wiped the stem down after each of the pads using Obsidian Oil. I polished it further with Before & After Pipe Stem Polish – both Fine and Extra Fine grits. I gave it another coat of Obsidian Oil and set it aside. With the stem fit and finished I set it aside to work on the bowl. The bowl was in decent condition other than some darkening on the top and two small pits on the right front of the bowl. There was also a little bit of cake in the bottom one third of the bowl. Whoever had reamed it did not take the conical bowl into their thoughts. The rest of the bowl was well reamed but the bottom portion was not. I reamed the bowl with a Savinelli Fitsall pipe knife to clean up the bottom part of the bowl. I filled in the two small pits with clear super glue and when the patches cured sanded them smooth with 400 grit sandpaper. Unfortunately I did not take a photo of that part. Ah well. It is easy to get caught up in the process and forget the photos… I apologize for that.I polished the briar with 2400-12000 grit micromesh sanding pads – wet sanding with 1500-2400 grit pads and dry sanding with 3200-12000 grit pads. I wiped the bowl down with a damp cloth after each pad. I found that with each successive grit of micromesh the grain stood out more and gave a shine to the pipe. I liked what I saw when I looked at it. I worked some Before & After Restoration Balm into the surface of the briar with my fingertips to clean, enliven and protect it. I let the balm sit for a little while and then buffed with a cotton cloth to raise the shine. The following photos show the bowl at this point in the restoration process. The bowl and the rim top look really good and the darkening is gone. The finish looks very good with the rich oil finish on the bowl and rim. I am very happy with the results. Now with both parts of the pipe finished, I polished stem with Blue Diamond polish on the buffing wheel. I gave the bowl and stem multiple coats of carnauba wax. I buffed the pipe with a clean buffing pad to raise the shine. I hand buffed it with a microfiber cloth to deepen the shine. The pipe polished up pretty nicely. The contrasting grain came alive with the buffing. The rich oil finish on the briar works well with the new, polished black vulcanite stem. The finished pipe is a beauty and feels great in the hand. Have a look at it with the photos below. The dimensions are Length: 5 ½ inches, Height: 1 1/2 inches, Outside diameter of the bowl: 1 ¾ inches, Chamber diameter: 9/16 of an inch. This one will be going back to Alex with the rest of his pipes that I am working on. Thanks for walking through the restoration and restemming with me on this nicely shaped MALAGA Scoop.