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Sprucing Up an Attractive Butz Choquin Supermate 1596 Panel

1 Reply

Blog by Dal Stanton

Without doubt, one of my favorite pastimes is go pipe picking!  My wife and I were on the Black Sea coast in the Bulgarian city of Burgas returning to an antique shop I had visited before on the main walking street very near the Black Sea coast.  I was not disappointed when I spied the copper pot full of pipes waiting for someone like me to come along.  The Butz Choquin Supermate now on my worktable was in the bunch that I pulled out to get a closer look.  To the left of the BC (pictured below) were a Oldo Billiard and Lincoln London Made with the Lindburgh Select Poker to the right.  Not pictured below that also came home with me is a Harvey Meer Lined Rusticated Dublin Rustified LONDON PARIS NEW YORK.  A very nice haul!

Jim saw the BC Supermate in the online ‘For “Pipe Dreamers” ONLY!’ collection along with a ‘Nightmare’ Canadian that was not needing a restoration but a resurrection!  In my communications with Jim, I discovered that he was from Pennsylvania and an engineer who has several hobbies that where he works with his hands and expressed appreciation for the restorations that he had seen posted from my worktable.  It was for that reason he looked at ThePipeSteward website and found two pipes that called his name and he commissioned them.  He also expressed appreciation for our work with the Daughters of Bulgaria – women and girls who have been trafficked and sexually exploited.  All the pipes commissioned by potential stewards benefit this cause. Here are pictures of this nice Paneled Butz Choquin 1596 now on my worktable.  The nomenclature on the left side of the shank is the BC fancy script ‘Butz-Choquin’ [over] ‘SUPERMATE’.  To the right, the stem is stamped with the traditional ‘BC’.  On the right shank side is the COM and shape number: ‘STCLAUDE – FRANCE’ [over] 1596.   I have heard on FB group postings that the long-time French pipe manufacturer is closing its doors.  I went to the main website of Butz Choquin and it was active, and I saw no notifications.  I’ll continue to investigate.  One of my first research projects with a French pipe, Jeantet, connected me with the history of St. Claude, France, the place that most say represent the birthplace of modern pipe manufacturing.  The BC name is among the earliest residents of St. Claude.  Pipedia provides this information about the origins of Butz Choquin:

Jean-Baptiste Choquin of Metz started out as a tobacconist. This enterprise was prosperous; he had several employees. Among those, there was a certain Gustave Butz who was its first workman and who became his son-in-law by marrying Choquin’s daughter Marie in 1858.  In 1858 Jean-Baptiste Choquin created, in collaboration with Gustave Butz, the Choquin pipe. This bent pipe with a flat-bottomed bowl was finished with an albatross-bone mouthpiece, fixed with silver rings.  In 1858, still in Metz, Gustave Butz built an establishment for the manufacture of the Choquin pipe which took the name of [Butz-Chochin]. In 1951, the Berrod-Regad company bought the trademark, continuing manufacture until 2002. Departing from Metz, the workshop was relocated to Saint-Claude, then also called ‘the world capital of the briar pipe,’ under the Berrod-Regad group. The Berrod-Regad group would go on to completely rebuild the network of representatives until finally entering the export market in 1960 and has since won several prizes, as well as the Gold Cup of French good taste.

In a few years, the brand’s collection increased from ten to seventy series. 135 years after it was founded, the pipe is still well-known not only in France but throughout the world. In 2002, the Berrod family, wishing to preserve manufacture of pipes in Saint-Claude, handed over the company to Fabien Guichon, a native of the area, who will continue to develop the brand during the 21st century.

I found this great picture of the Butz Choquin Supermate Panel in an ad on TobaccoPipe.com.  The box is classic, and I wish I had the pipe sock to go along!  I found the text along with the picture to be interesting as well in its description of the finish and the collectibility of this 1596 shape.The condition of the pipe on my table is a far cry from the other pipe that Jim commissioned, the Comoy’s The Lumberman!  While the chamber has moderately thick cake and the rim shows lava flow, the pipe generally is in very good shape. Cleaning and working on the stem’s tooth chatter and oxidation do not appear to offer any surprises.  To begin the sprucing of this BC Supermate, the stem is removed and cleaned with a pipe cleaner wetted with isopropyl 95% and added to a soak of Before & After Deoxidizer with other stems in the queue.After several hours of being in the soak, I take out the BC stem and clean the airway with a pipe cleaner dipped in isopropyl 95% to remove the Deoxidizer.  I also wipe off the raised oxidation using cotton pads also wetted with alcohol.To revitalize the stem, paraffin oil is applied with a cotton pad.Next, I tackle the stummel cleaning.  The cake in the chamber is moderately thick.To remove the cake, I use 2 of the 4 blade heads that come in the Pipnet Reaming Kit.  Following this, using the Savinelli Fitsall Tool to scrape the chamber walls, helps to fine tune the removal of carbon cake. Finally, sanding the chamber walls with 240 grade paper wrapped around a Sharpie Pen provides further cleaning of the chamber and I then wipe the carbon dust remaining with a cotton pad wetted with alcohol.Inspection of the chamber afterwards reveals healthy briar.  I move on.The picture above shows the lava buildup on the rim.  I turn now to cleaning the external briar surface using undiluted Murphy’s Oil Soap and a cotton pad. I also utilize my Winchester pocketknife carefully to scrape the rim. I take the stummel to the sink and continue the cleaning the internals with bristled shank brushes and anti-oil dish liquid soap.  After a thorough rinsing, back to the worktable to continue.  The rim cleaned off well and the stummel surface looks good. Next, targeting the internal cleaning further, pipe cleaners and cotton buds wetted with isopropyl 95% are used.  Tar and oils are excavated from the mortise walls by scraping with a small dental spoon.  After much effort, the pipe cleaners and buds start lightening and I decide to save the rest of the cleaning for later by employing a kosher salt and alcohol soak.After inspecting the briar surface, I find one old fill that I dig out with a dental probe and refill using clear CA glue.  I spot drop the glue on the small pit and use an accelerator to quicken the curing time. With 240 then 600 grade papers, I sand off the excess glue.The rim is still discolored with a dark ring around the inner rim edge.  I use a piece of 240 grade paper very lightly to sand the rim as well as the dark ring.After lightly sanding, it is apparent that there was a bevel on the inside edge of the rim which I decide to fresh. Using 240 grade paper with a hard surface pressing behind helps to form the bevel. The bevel looks classy!  I like it.There are minor nicks and cuts on the stummel surface which I use sanding sponges to address.  Beginning with the coarse sponge and following with the medium and light grade sponges the nicks and cuts are cleaned up.  I like sanding sponges as they are not as invasive as sanding papers but clean up minor problems on the surface.Next, I use micromesh pads to clean and smooth the stummel.  Starting with pads 1500 to 2400, I wet sand followed by dry sanding with pads 3200 to 4000 and 6000 to 12000.  I stay clear of the shank panels holding the nomenclatures.  Using Before & After Restoration Balm brings out the natural hues of the briar with a subtlety that I find attractive.  To apply it to the surface, I put some of the Balm on my fingers and work the Balm into the briar.  The consistency of the Balm starts with a cream-like texture and then thickens into a waxy substance.  After the Balm is fully worked in, I put the stummel aside to allow the Balm to do its things.  I take a picture during this stage.After 20 to 30 minutes, I remove the excess Balm with a cloth and then buff it up some with a microfiber cloth dedicated to the post-Balm buffing.  As hoped and expected, the deepening of the natural hues is very attractive – it looks great.  Moving on.The stem repairs are waiting, and I take a closer look at the tooth chatter and compressions on the upper and lower bit.The first step is to use the heating method by painting the damaged areas with the flame of a Bic lighter.  As the vulcanite heats, physics take over and the rubber expands.  The chatter and indentations hopefully will also expand to regain the original condition, or closer to it.  After using the flame, the upper bit’s tooth chatter all but disappeared.  The lower bit compressions lessened but are still evident.Addressing the remaining compressions on the lower bit, I use Starbond Black Medium-Thick CA glue to fill the indentations.  I first wipe the area with a cotton pad wetted with alcohol to clean the area.  Carefully, I spot drop glue on each compression.  I set the stem aside for the CA glue to cure.After the Black CA glue cures, I go to work removing the excess patch material using a flat needle file.  I also work on the button to refresh the lines.Following the filing, 240 grade sanding paper is employed to erase the file marks and to smooth the lower bit. Also using the file to freshen the button lip and 240 grade paper on the upper bit, tooth chatter sands out with no problems.Next, wet sanding with 600 grade paper followed by 000 grade steel wool smooths further – the upper then the lower bit pictured. I’m careful to avoid sanding the BC stem stamping on the left stem panel.  In the second picture, a close look at the shiny reflection reveals the subtle lines of the patch.  It looks great!Even though the ‘BC’ stem stamp is healthy, which is nice for a change(!), I avoid direct sanding over it.  To clean around the stamping and to remove residual oxidation, I use a Mr. Clean Magic Eraser sponge which is less abrasive than sanding paper.  It helps to darken and clean the vulcanite around the stamping.On a roll, I move forward with the full regimen of 9 micromesh pads.  Starting with pads 1500 to 2400, wet sanding is employed.  Following this, using pads 3200 to 4000 and 6000 to 12000, I dry sand.  Between each set of 3 pads, Obsidian Oil is used to revitalize the vulcanite stem.  The pads and Oil do the job – nice! After attempting to rejoin the stem and the stummel to apply compound, as is the case sometimes, the tenon fit is too tight.  With the cleaning process, the briar expands, and this sometimes results in the fit being too tight.  It is best not to force the fit and risk cracking the shank.  I use a half round needle file to lightly file the mortise surface – very lightly.  After another try and discovering that it is still too tight, I use 470 grade paper wrapped around the tenon and rotate the stem while the paper hugs the tenon.  After a few attempts to fit, the tenon finally seats well.With the stem and stummel rejoined, a cotton cloth buffing wheel is mounted to the Dremel with the speed set at 40% full power.  Blue Diamond is then applied methodically to both stem and stummel.  After finishing with applying the compound, a felt cloth buffing helps to remove the residual compound dust in preparation for applying wax.Before applying the wax, one project awaits: the ‘BC’ stem stamp.  To refresh the ‘BC’ stamping on the stem I dab white acrylic paint on the lettering.  Then the excess paint is absorbed using a cotton pad.  It doesn’t take long for the paint to fully dry.  After it dries, I carefully remove the excess paint using the point of a toothpick.  I also use the flat edge of the toothpick to scrape over the top of the stamp to sharpen the lines.  It looks great! After changing the cotton cloth buffing wheel on the Dremel, maintaining the same speed, carnauba wax is applied to the entire stem.  After applying a few rounds of wax to the pipe, I follow by giving the pipe a serious buffing with a microfiber cloth to raise the shine.Earlier, the ad described this pipe shape as ‘esteemed’. This description fits well.  I have a square shank Peretti Billiard that I like a lot.  This Butz Choquin Supermate 1596’s square shank transitioning to a tapered square stem is very attractive – the lines draw the eye in for a closer look.  Added to this, the Panel shape alignment compliments the flow of the shank and stem to give an overall solid or full look.  The light hues of the briar grain also add to this ensemble.  Jim commissioned this BC Supermate and will have the first opportunity to acquire it in The Pipe Steward Store.  This pipe benefits our work here in Bulgaria with the Daughters of Bulgaria – women and girls who have been trafficked and sexually exploited.  Thanks for joining me!

Redeeming a Malaga Short Cherrywood – a 2nd of 2 pipes going home

2 Replies

Blog by Steve Laug

Yesterday afternoon I received and email from a reader of the rebornpipes blog who was on the hunt for a Malaga pipe or two for a colleague of hers. What made it interesting was that the colleague’s grandfather and family were the original owners of Malaga Pipes. Here is her message to me:

Hi There

I work with Lisa Holloway formerly Saraynian and her grandfather and consecutive family were the original owner of Malaga Pipes

I’d love to be able to purchase one for her for Christmas this year but since they went out of business in 1999 I have no idea where to get one or how much they are

Would you be able to help me find one and purchase it for her?

Please let me know thanks so much

Diane

I read her email at work and when I got home I went through the Malaga pipes from George Koch’s estate. I picked two of them that I thought might interest her and sent her the pictures of the pipes that I had available. The two I chose needed to be restored before I could send them to her but they showed some promise. The first of them was a long shank Canadian that had some mixed grain and vulcanite stem that I restored yesterday and wrote a blog about the process (https://rebornpipes.com/2019/10/26/redeeming-a-malaga-canadian-the-first-of-two-that-are-going-home/). The second one is a short Cherrywood that has a great mix of grain styles around the bowl and shank combined with a saddle stem that makes it an interesting pipe. It is another one of the many Malaga pipes that came to my brother and me in several shipments of pipes from George’s daughter Kathy. When Jeff got each box the pipes were well wrapped and packed. Jeff unwrapped them and took the following photo to give an idea of the volume of the pipes that we purchased. This Malaga came in mixed in a box of pipes much like the one below.In each of the previous blogs that I have written on the restoration of George’s pipes I have told his story. If you have followed the restorations you will have read the information and the background piece that Kathy did on her father. Here is a link to one of the previous blogs on his Malaga pipes where I included her tribute in full (https://rebornpipes.com/2019/01/26/back-to-kathys-dads-pipes-restoring-a-%c2%bc-bent-malaga-author/). You can also read the bio on her Dad, George Koch. It is an interesting read and one that shows just how far our pipe collecting passion can go when we find a brand of pipes that we enjoy. I am going to only include the portion on the Malagas at this point. If you wish to read the rest follow the link above.

Kathy writes…We lived in Livonia, and that’s where his love for Malaga pipes began. After a few years he returned to Allis Chalmers and we moved back to Springfield. I remember that when we went back to Michigan to visit friends, Dad had to go to the Malaga store and acquire a few new pipes. Many a year I wrote to Malaga and they picked out a pipe for me to purchase that I could give Dad for a Christmas or birthday present. He was always pleased. His favorites were the straight stemmed medium sized bowl pipes, but he liked them all. 

He had some other pipes, but the Malagas were his favorites. I remember him smoking them sitting in his easy chair after work, with feet up on the ledge by the fire burning in the fireplace.  Growing up it was my job to clean them and he liked the inner bowl and stem coated with Watkins vanilla, leaving a little of that liquid in the bowl to soak in when I put them back on the rack…I’m very happy they are being restored by you and your brother and hope they find homes who enjoy them as much as Dad did. Thank-you for your care and interest. — Kathy, the oldest daughter

The “Malaga” Short Cherrywood is next pipe on the table. The carver did a great job of shaping the pipe to follow the grain on the briar. The bowl, round shank and straight saddle stem look very good. The bowl had a thick cake that overflowed with lava onto the rim so that it was impossible to see if there was damage on the inner edges. The sides of the bowl and shank are very dirty with grime and oils from prolonged use. The stamping on the right side of the shank read “MALAGA”. On the left side it is stamped IMPORTED BRIAR. The stem had tooth dents and chatter on the top and the underside of the stem. There was some thick calcification and also some oxidation deep in the vulcanite of the stem surface. Jeff took these photos before he started the cleanup work on the pipe. Jeff took close up photos of the bowl and rim to capture the condition of the pipe before he started his cleanup work. The rim top had some lava overflow and darkening on the back of the bowl. There appeared to be some damage to the inner edge of the grimy pipe. The outer edge looked to be in decent condition with perhaps some burn marks on the front.He also took photos of the side and bottom of the bowl and shank to show the beautiful grain around the bowl. The photos show the general condition of the bowl and dirt and wear on the rich oil finish. It is very dirty but this is another beautiful pipe. Jeff took a photo to capture the stamping on the top side of the shank. The photos show the stamping “MALAGA” on the left side of the shank and IMPORTED BRIAR on the right side. The stamping is very readable.The next photos show the stem surface. There are tooth marks and chatter on both sides near the button and wear on the button surface and edges. You can also see the calcification and the oxidation on the stem.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. I have written an earlier blog to give a little history of the Malaga Brand and the pipemaker, George Khoubesser. 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 the flat surface of the rim top and the inner edge has some serious burn damage on the front and back side. The outer edge looked very good. I took photos of the pipe to show its condition before I started my work on it. The stem also looked better. I took close up photos of the bowl and rim top as well as the stem. You can see the condition of the rim top and bowl in the first photo. Jeff was able to remove all of the tar and oils but you can now see the damage on the top and inside rim edge. The edge is out of round. There is a burn mark that extends across back and right front edge of the rim top at that point. The stem had tooth marks and chatter on both sides near and on the button surface on both sides.I took a photo of the stamping on the shank to show how good the condition is. It shows the “MALAGA” and the IMPORTED BRIAR stamp and they are very legible.I decided to address the rim top first. I topped the bowl on a topping board with 220 grit sandpaper. I wanted to minimize the damage on the top, remove the darkening and clean up the damage on the inner edges of the bowl. I used a folded piece of 220 grit sandpaper to clean up the damage on the right rear inner edge of the bowl. I gave the inner edge a slight bevel to repair the damage. I polished the edge with 400 grit wet dry sandpaper. The rim top and edges really looked better (I forgot to take photos of the rim top at this point but did so with the micromesh).I polished the rim top and the briar with micromesh sanding pads. I wet sanded the bowl with 1500-12000 grit sanding pads. I wiped the bowl down after each pad with a damp cloth to remove the sanding dust. I scrubbed the briar with Before & After Briar Cleaner and a tooth brush. I rubbed it into the surface of the briar with my finger tips and let it sit for about 10 minutes then rinsed it off with running water. I dried it off with a soft cloth. 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. I am very happy with the results. I turned to the stem to address the issues on the surface of both sides at the button. I sanded both sides smooth with 220 grit sandpaper and 400 grit sandpaper to blend the tooth chatter into the surface of the stem. As I sanded and reshaped the button and stem surface the tooth chatter disappeared.I used some Denicare Mouthpiece Polish that I have in my kit to start polishing out some of the scratches and remaining oxidation on the stem. I rubbed it in with a cotton pad and my finger tip and buffed it off with a cotton pad.I polished the stem with micromesh sanding pads – wet sanding with 1500-12000 grit sanding pads. I wiped it down after each sanding pad Obsidian Oil. I finished by polishing it with Before & After Pipe Stem Polish both fine and extra Fine and then wiped it down with a final coat of Obsidian Oil. This is a “Malaga” Imported Briar small Cherrywood with a ¼ bent vulcanite saddle stem has a great look and feel. The shape of the bowl, the cut of the rim top and briar work well to highlight the grain around the bowl sides. I polished stem and the bowl 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 grain took on life with the buffing. The rich oil cured colour works well with the polished vulcanite stem. The finished pipe has a rich look that is quite catching. Have a look at it with the photos below. The shape, finish and flow of the pipe and stem are very well done. The dimensions are Length: 5 ¾ inches, Height: 1 7/8 inches, Outside diameter of the bowl: 1 ¼ inches, Chamber diameter: ¾ of an inch. Now that the second Malaga is finished it is ready to mail off to Diane with the Canadian. I can’t wait to hear what her colleague thinks when she opens her Christmas present! I am glad that she is carrying on both the trust for George Koch and her family. Thanks for walking through the restoration with me as I worked over another one of Kathy’s Dad’s Pipes.

Redeeming a Malaga Canadian – the 1st of 2 pipes that are going home

5 Replies

Blog by Steve Laug

Yesterday afternoon I received and email from a reader of the rebornpipes blog who was on the hunt for a Malaga pipe or two for a colleague of hers. What made it interesting was that the colleague’s grandfather and family were the original owners of Malaga Pipes. Here is her message to me:

Hi There

I work with Lisa Holloway formerly Saraynian and her grandfather and consecutive family were the original owner of Malaga Pipes

Id love to be able to purchase one for her for Christmas this year but since they went out of business in 1999 I have no idea where to get one or how much they are

Would you be able to help me find one and purchase it for her.

Please let me know thanks so much

Diane

I read her email at work and when I got home I went through the Malaga pipes from George Koch’s estate. I picked two of them that I thought might interest her and sent her the pictures of the pipes that I had available. The two I chose needed to be restored before I could send them to her but they showed some promise. The first of them was a long shank Canadian that had some mixed grain and a vulcanite stem. The mix of grain styles around the bowl and shank combined with the stem make it a stunning pipe. It is one of the many Malaga pipes that came to my brother and me in several shipments of pipes from George’s daughter Kathy. When Jeff got each box the pipes were well wrapped and packed. Jeff unwrapped them and took the following photo to give an idea of the volume of the pipes that we purchased. This Malaga came in mixed in a box of pipes much like the one below. In each of the previous blogs that I have written on the restoration of George’s pipes I have told his story. If you have followed the restorations you will have read the information and the background piece that Kathy did on her father. Here is a link to one of the previous blogs on his Malaga pipes where I included her tribute in full (https://rebornpipes.com/2019/01/26/back-to-kathys-dads-pipes-restoring-a-%c2%bc-bent-malaga-author/). You can also read the bio on her Dad, George Koch. It is an interesting read and one that shows just how far our pipe collecting passion can go when we find a brand of pipes that we enjoy. I am going to only include the portion on the Malagas at this point. If you wish to read the rest follow the link above.

Kathy writes…We lived in Livonia, and that’s where his love for Malaga pipes began. After a few years he returned to Allis Chalmers and we moved back to Springfield. I remember that when we went back to Michigan to visit friends, Dad had to go to the Malaga store and acquire a few new pipes. Many a year I wrote to Malaga and they picked out a pipe for me to purchase that I could give Dad for a Christmas or birthday present. He was always pleased. His favorites were the straight stemmed medium sized bowl pipes, but he liked them all. 

He had some other pipes, but the Malagas were his favorites. I remember him smoking them sitting in his easy chair after work, with feet up on the ledge by the fire burning in the fireplace.  Growing up it was my job to clean them and he liked the inner bowl and stem coated with Watkins vanilla, leaving a little of that liquid in the bowl to soak in when I put them back on the rack…I’m very happy they are being restored by you and your brother and hope they find homes who enjoy them as much as Dad did. Thank-you for your care and interest. — Kathy, the oldest daughter

The “Malaga” Long Shank Canadian is next pipe on the table. The carver did a great job of shaping the pipe to follow the grain on the briar. The bowl, oval shank and straight tapered stem look very good. The bowl had a thick cake that overflowed with lava onto the rim so that it was impossible to see if there was damage on the inner edges. The sides of the bowl and shank are very dirty with grime and oils from prolonged use. The stamping on the top of the shank read “MALAGA”. On the underside it is stamped IMPORTED BRIAR. The stem had tooth dents and chatter on the top and the underside of the stem. There was some thick calcification and also some oxidation deep in the vulcanite of the stem surface. Jeff took these photos before he started the cleanup work on the pipe. Jeff took close up photos of the bowl and rim to capture the condition of the pipe before he started his cleanup work. The rim top had some lava overflow and darkening on the back of the bowl. There appeared to be deep gouges in the inner edge of the grimy pipe. The outer edge looked to be in decent condition with perhaps some burn marks on the front.He also took a photo of the side and bottom of the bowl and shank to show the beautiful grain around the bowl. The photos show the general condition of the bowl and dirt and wear on the rich oil finish. It is very dirty but this is another beautiful pipe.Jeff took a photo to capture the stamping on the top side of the shank. The photos show the stamping “MALAGA” on the topside of the shank and IMPORTED BRIAR on the underside. The stamping is very readable. The next photos show the stem surface. There are tooth marks and chatter on both sides near the button and wear on the button surface and edges. You can also see the calcification and the oxidation on the stem.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. I have written an earlier blog to give a little history of the Malaga Brand and the pipemaker, George Khoubesser. 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 the flat surface of the rim top and the inner edge ha some serious burn damage on the front and back side. The outer edge looked very good. I took photos of the pipe to show its condition before I started my work on it. The stem also looked better. I took close up photos of the bowl and rim top as well as the stem. You can see the condition of the rim top and bowl in the first photo. Jeff was able to remove all of the tar and oils but you can now see the damage on the top and inside rim edge. The edge is out of round. There is a burn mark that extends across back and front edge of the rim top at that point. The stem had tooth marks and chatter on both sides near and on the button surface on both sides.I took a photo of the stamping on the shank to show how good the condition is. It shows the “MALAGA”and the IMPORTED BRIAR stamp and they are very legible.I decided to address the rim top first. I topped the bowl on a topping board with 220 grit sandpaper. I wanted to minimize the damage on the top, remove the darkening and clean up the damage on the inner edges of the bowl. I used a folded piece of 220 grit sandpaper to clean up the damage on the right rear inner edge of the bowl. I gave the inner edge a slight bevel to repair the damage. I polished the edge with 400 grit wet dry sandpaper. The rim top and edges really looked better.I polished the bowl and rim with a medium and a fine sanding sponge to begin the process of removing the scratches and blending the restored rim top into the rest of the bowl. The photos tell the story. I polished the rim top and the briar with micromesh sanding pads. I wet sanded the bowl with 1500-12000 grit sanding pads. I wiped the bowl down after each pad with a damp cloth to remove the sanding dust. I scrubbed the briar with Before & After Briar Cleaner and a tooth brush. I rubbed it into the surface of the briar with my finger tips and let it sit for about 10 minutes then rinsed it off with running water. I dried it off with a soft cloth. 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. I am very happy with the results. I turned to the stem to address the issues on the surface of both sides at the button. I painted the surface of the stem with the flame of a lighter to lift the indentations. Since vulcanite has “memory” it often will return to its original condition when heated. It worked pretty well leaving behind light chatter and one small tooth mark that will need to be repaired.I used a needle file to redefine the sharp edge and the surface of the button. It had been worn down and lost its definition.I filled in the one remaining tooth dent with a drop of clear super glue and set it aside for a few moments to cure.I sanded both sides smooth with 220 grit sandpaper and 400 grit sandpaper to blend the tooth chatter and the repair into the surface of the stem. As I sanded and reshaped the button and stem surface the repaired areas and the tooth chatter disappeared.I used some Denicare Mouthpiece Polish that I have in my kit to start polishing out some of the scratches and remaining oxidation on the stem. I rubbed it in with a cotton pad and my finger tip and buffed it off with a cotton pad.I polished the stem with micromesh sanding pads – wet sanding with 1500-12000 grit sanding pads. I wiped it down after each sanding pad Obsidian Oil. I finished by polishing it with Before & After Pipe Stem Polish both fine and extra Fine and then wiped it down with a final coat of Obsidian Oil. This is a Malaga Long Shank Canadian with a vulcanite tapered stem. It has a great look and feel. The shape of the bowl, the beveled rim top and the cut of the briar work well to highlight the grain around the bowl sides. I polished stem and the bowl 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 grain took on life with the buffing. The rich oil cured colour works well with the polished vulcanite stem. The finished pipe has a rich look that is quite catching. Have a look at it with the photos below. The shape, finish and flow of the pipe and stem are very well done. The dimensions are Length: 6 ½ inches, Height: 1 ½ inches, Outside diameter of the bowl: 1 1/8 inches, Chamber diameter: ¾ of an inch. When the second Malaga is finished I will mail it off to Diane. I can’t wait to hear what her colleague thinks when she opens her Christmas present! I am glad that she is carrying on both the trust for George Koch and her family. Thanks for walking through the restoration with me as I worked over another one of Kathy’s Dad’s Pipes.

Restoring One of the Smallest Pipes in My Collection: A Peterson’s System 3 # 367, Eire

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Blog by Paresh Deshpande

While going through the second box of my inherited pipes, I came across the smallest pipe in the entire collection and it was a Pete!! Given my grandfather’s love for large sized pipes, this was surprising and in all probability was a gift given to him by his departing British colleagues when we got our independence in 1947.

I have researched and worked on a few vintage as well as new Peterson’s and in first glance of this pipe I knew it to be a very old Peterson’s. The stummel has a nice spread of mixed grains all around and a nice feel in the hand despite its size. It is stamped vertically on the left side of the shank as “PETERSON’S” with a forked ‘P’ over “SYSTEM” over an encircled numeral “3”. The bottom of the shank close to the edge of the ferrule bears the COM stamp “EIRE” while model/ shape code “# 367” is stamped on the right side of the shank close to the bowl. The nickel ferrule bears the trademark Kapp & Peterson’s official logo of “K&P,” each in a shield shaped escutcheon.While dating a Peterson’s pipe, I always fall back to my under mentioned favorite site; http://thepetersonpipeproject.blogspot.com/2007/07/dating-peterons-pipes.html

I quote from the above site

Eire was formed on 29 December 1937. The Made in Eire Era will be from 1938 through roughly 1940(?) or 1941 (?).

The “Made in Ireland” block format (above) can be another headache in dating Peterson pipes since this stamp was used in the late Patent Era as well as the late 1940s. So for a guide we must take into consideration the style of lettering Peterson used on their pipes. From the start of the Patent Era until somewhere in the early 1930s, Peterson used the “Old Style” lettering that used a forked tail “P” in Peterson.

Thus from the above, it can be concluded that the pipe on my work table dates from 1930s.

INITIAL VISUAL INSPECTION
The chamber has a decent layer of cake signifying limited usage. This is not surprising given the small size of the pipe. The rim top surface has several scratch marks forming a squared pattern, probably caused by scraping against abrasive surface during years of uncared for storage. The inner edge of the rim is severely damaged. Nicks and dings are also seen along the outer rim edge and the chamber appears out of round. Chamber has strong odors of sweet smelling tobaccos. The condition of the inner walls of the chamber can be commented upon once the cake has been reamed down to the bare briar, but going by the solid feel of the external surface, I do not foresee any serious issues/ surprises with the chamber walls.The stummel surface is covered in dust, dirt and grime of years of disuse and uncared for storage. Oils and tars have overflowed over the stummel and have attracted dust giving a dull and lackluster appearance to the stummel. A number of minor dents and scratches are seen over the stummel, notably towards the front, foot and the bottom of the shank. There are two fills clearly visible in front of the stummel. The mortise is clogged with accumulated dried gunk and so is the sump. The pipe smells are too strong. The full bent P-lip vulcanite stem is in a relatively good condition with light tooth chatter on either surfaces of the stem. The lower end of the stem at the tenon end which enters the mortise shows severe scratch marks and chipped surface, the result of rubbing against the sharp edges of the ferrule at the shank end. The button edges on both surfaces will need to be sharpened. The upper surface of the P-lip has bite marks and the slot edges have deformed due to bite marks. The tenon end has accumulated dried gunk and grime, both inside and outside. The stem is oxidized and the air way is not clear as the draw is laborious.INITIAL CLEANING BY ABHA…
The initial cleaning on this pipe was done by Abha, my wife (she has cleaned up around 40-50 pipes and these have now reached me for further restoration). She reamed out the complete cake and further smoothed out the chamber walls with a folded piece of 220 grit sand paper. She further cleaned out the internals of the shank with pipe cleaners and alcohol and cotton buds. She followed the internal cleaning of the shank with external cleaning of the stummel using Murphy’s Oil soap and hard bristled tooth brush and dried it with paper napkins and cotton cloth.

Next she cleaned out the internals of the stem air way and immersed it in “Before and After Deoxidizer” solution along with the stem of other pipes in line for restoration. Once the stem had soaked overnight, she cleaned the stem under running warm water and scrubbed the raised oxidation from the stem surface using Scotch Brite pad. She further removed the oxidation by scrubbing the stem with 0000 grade steel wool and applied a little olive oil to rehydrate the stem.

ONCE THE PIPE IS ON MY WORK TABLE…
The cleaned up pipes presents a very clear picture of what needs to be done to restore this pipe to a pristine and smokable condition. I really cannot thank Abha, my wife, enough for all the help and support that she extends me in my pursuance of this hobby. I proceed to carry out my appreciation of the work that needs to be done on this pipe to restore it.

Abha had told me that this is a very small pipe, but how small the chamber was, is what I noticed first when I got the cleaned up pipe on my work table. The wall of the chamber shows insignificant beginnings of heat fissure on the front right and back of the chamber walls. Though insignificant now, if not addressed at this stage, these heat fissures may further lead to burn outs. I need to address this issue. The rim top surface is uneven and pock marked with dents and dings. The inner edge is peppered with dents and dings. The chamber is significantly out of round, most notably on the right side in 1o’clock direction and charred inner rim edge on the left side in 3 o’clock direction. It is one of the major repairs on this pipe. The chamber, in spite of all the thorough cleaning by Abha, still has a strong ghost smells.The nicely cleaned stummel looks solid with nice mixed grains and swirls all around. The two fill at the front of the stummel are now clearly visible. I shall refresh this fill with a mix of briar dust and superglue. Abha had painstakingly cleaned out the mortise and the sump. However, I could still see remnants of the gunk in the sump and the still strong odor is a pointer to the requirement of further sanitizing the internals of the stummel. The ferrule at the end of the shank end came loose as I was inspecting the stummel. This gave me an opportunity to closely inspect the shank end for cracks or any damage. I scrapped out the dried old glue from the shank end. I did notice a small crack at the top where the ferrule sat on the shank end (circled in red) that would need to be repaired. The edges of the ferrule at the shank end have become very sharp and had caused the damage observed on the tenon end of the stem. I need to address this issue.The cleaned up stem that came to me shows few scratches to the tenon end where it seats in to the mortise and was caused due to the sharp edges of the ferrule. I will address this issue by sanding the surface followed by a fill, if required. The upper surface and button edge of the P-lip shows damage and will have to sharpen the button while sanding and filling the surface. Similarly, the lower button edge has a few tooth indentations and will need a fill to repair. The edges around the slot has bite marks (marked in yellow), deforming the shape of the slot. I shall need to reshape the slot end. THE PROCESS
I started this project by sanding the stem surface with a 220 grit sand paper to address the issue of ferrule damage to the tenon end of the stem. Fortunately, the scratches were completely eliminated by sanding alone, obviating the need for a fill. I wiped the stem with alcohol on a cotton swab to remove all the vulcanite dust from the stem surface. I followed it up by wiping the surface with Murphy’s Oil soap.The next stem issue to be addressed was that of the damage at the slot end of the stem. The first two pictures below shows the extent of damage to the slot, upper surface button edge and lower button edge. I heat both the surfaces with the flame of a lighter to raise the tooth chatter and bite marks to the surface and sand it with a folded piece of 220 grit sand paper to even out the surface. The next set of pictures show the efficacy of this method in raising the damage to the surface. I mix clear superglue and activated charcoal and applied it over the both button edges, upper P-lip surface and lower surface of the P-lip. I set the stem aside for the fills to cure.Next I decided to address the issue of strong ghost smells in the chamber. To eliminate the ghost smells from the pipe, I decided to treat it with salt and alcohol. I pack the sump with cotton and draw out a wick from the cotton and along with a folded regular pipe cleaner; insert it in to the mortise and through the draught hole in the chamber. I pack cotton balls in to the remaining portion of the mortise. Thereafter, I pack the chamber with cotton balls to about quarter of an inch below the rim inner edge. I soak the cotton balls with isopropyl alcohol up to the brim. About half an hour later, the level of alcohol has gone down, having being absorbed by the cotton. I top it up once again and set it aside overnight. By next afternoon, the cotton and alcohol has drawn out all the remaining oils and tars from the chamber, sump and mortise. I removed the cotton balls and the dirt can be gauged by the appearance and coloration of the cotton balls and the pipe cleaner. With my fabricated knife and dental tools, I spent the next hour scrapping out the entire loosened gunk from the mortise and the sump. I ran pipe cleaners through the mortise to clean out all the loosened tars and gunk that had lodged when I cleaned the sump and mortise. The chamber now smells clean, fresh and looks it too. I set the stummel to dry out naturally. I sand the walls of the chamber with 180 grit sand paper and removed the little carbon cake that had loosened out. This also eliminated what I had thought to be heat fissures, which in effect was carbon cake. I heaved a sigh of relief at this development.

While the chamber was soaking in the alcohol bath, I worked the stem fills which had hardened considerably. With a flat head needle file, I sand these fills to achieve a rough match. I further fine tuned the match by sanding the filled area with a folded piece of 220 grit sand paper pinched between my thumb and forefinger. I followed it up by sanding the entire stem surface using 400, 600, 800 grit sand papers and finally with a piece of 0000 grade steel wool. This serves to remove the deep seated oxidation and also reduces the sanding marks of the more abrasive sand papers. I also sharpened the button edges while sanding. I wiped the stem with a cotton swab and alcohol to remove all the oxidation and sanding dust from the surface. I applied a little Extra Virgin Olive oil over the stem and set it aside to be absorbed by the vulcanite.The two fills that Abha had noticed, was picked clean with a thin sharp edged dental tools and would need to be filled. I refreshed the fills with a mix of briar dust and superglue and set the stummel aside for the fill to cure.Turning my attention back to the stem, I decided to polish and shine up the stem surface. I wet sand the stem with 1500 to 12000 girt micromesh pads. Next I rub a small quantity of extra fine stem polish that I had got from Mark and set it aside to let the balm work its magic. After about 10 minutes, I hand buffed the stem with a microfiber cloth to a nice shine. I rub a small quantity of olive oil in to the stem surface to hydrate it and set it aside. Turning my attention back to the stummel, I matched the fill with the rest of the stummel surface by sanding the fill with a flat head needle file followed by sanding the fill and the entire stummel with a folded piece of 220 grit sand paper. I was especially very careful around the stummel stampings, least I obliterate it by sanding. This also helped to remove much of the old glue from the shank end and provide a smooth surface. The next stummel issue that I addressed was that of the rim top surface damage. I topped the rim on a piece of 220 grit sand paper, checking frequently till I was satisfied that the charred inner rim edge on the left side in 3 ‘O’ clock direction was addressed to a great extent and the rim top surface is nice, smooth and even. The inner edge is still uneven, though much better than before topping, and shall be addressed next. With a folded piece of a 220 grit sand paper pinched between my thumb and forefinger, I created a slight bevel on the inner edge of the rim top surface. This helped to mask the out of round chamber and address the minor dents that had remained on the inner rim edge. It can never be perfect, it’s a repair after all, but the repairs sure looks great. I polished the stummel with micromesh pads, dry sanding with 1500 to 12000 pads. I polished the freshly topped rim surface and the newly created inner rim bevel. I wiped the surface with a soft cloth at the end of the micromesh cycle. The stummel looks amazing with a deep shine and beautiful grains popping over the stummel surface. I am surprised that the rim top surface has the same deep brown coloration as the rest of the stummel surface and use of stain pen was not required. I massaged a small quantity of “Before and After Restoration Balm” with my fingers into the briar. The immediate and incredible transformation that takes place is a worthy reward for all the efforts!!! I let the balm sit on the surface to be absorbed in to the briar for about 20 minutes. The bowl now looks fresh and attractive with the grains popping out any which way you look at the briar; it feels somewhat like DIWALI, festival of lights celebrated here in India. I polished off the balm with a soft cloth to a lovely shine. I mount a cotton cloth buffing wheel on to my hand held rotary tool and apply a coat of Blue Diamond to the stummel and the stem to polish out the minor scratches.Before I could move on to polishing with carnauba wax, there was one issue yet to be addressed. It was the small crack that was seen at the lip of the shank end over which the ferrule was to be glued back. The crack had developed in the thinnest part of the shank end. If I were to drill a counter hole at the end of the crack, there was a possibility that the resulting vibrations of the drill bit and rotary tool would cause the surrounding surface to break/ shatter or I could end up with a through hole. The best course thus, was to stabilize the crack with superglue and the ferrule would protect the crack from further external damage.

With the repair of the shank end crack sorted out, I move to polishing the ferrule. I rub a small quantity of ‘Colgate’ toothpowder over the ferrule surface. Those who have not tried out this trick, must try it out at least once, it works like magic and imparts a nice shine to the nickel plated (it works even better on Sterling Silver) ferrule. I apply superglue over the shank end, adding an extra dollop of glue over the crack, align the ferrule stamp with that on the shank and attach the ferrule over it. I press it down firmly for a couple of minutes to let the glue set. After the glue had completely cured, I tried the seating of the stem in to the mortise. It was perfect with no brushing against the edges of the ferrule. I applied a little petroleum jelly on the walls of the mortise with a q-tip as this reduces friction and moisturizes the briar and moved on to the final polishing with carnauba wax. With a cotton buffing wheel that I use for carnauba wax, I apply a coat of carnauba wax and continue to work on it till the complete coat of wax had been polished out. I mount a clean cotton cloth buffing wheel and give the entire pipe a once over buff. I finished the restoration by giving the entire pipe a rigorous hand buffing using a microfiber cloth to raise the shine further. The finished pipe looks beautiful and will be an addition to my collection of Peterson’s pipes!! P.S. The two refreshed fills have naturally blended in so well with the rest of the stummel that I did not feel it necessary to stain the stummel to mask them. This has to be one of the tiniest Peterson’s pipes or may be any pipes that I have worked on till date. I had just recently worked on a massive Yello-Bole “Imperial” # 68 C pipe and then this small pipe. It was fun though!! Here is a picture for size comparison between the two!Sincere gratitude to all the readers who have shared this part of my journey in to the world of pipe restoration…Cheers!!

 

An Unexpected Button Rebuild Recommissioning a French Butz Choquin Festival of St Claude 1305

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Blog by Dal Stanton

I remember well where I found this very nice looking Butz Choquin Festival.  Living in Bulgaria, I have had the opportunity to visit our neighbor to the south several time – Greece.  We were with a group of interns who were participating in our summer training program in Sofia which included a field trip to visit the ancient city of Athens.  It is an amazing city with the Parthenon towering over the city set atop the acropolis right next to Mars Hill where the Apostle Paul made his historic stand arguing with the Greek philosophers.  Since I had seen these sites several times before, while the group of interns went hiking in that direction, I went in another toward the Ministirski area to do some pipe picking – one of my favorite pastimes!

This area has many secondhand stores and antique shops with hidden treasures that lurk in the most unexpected places – I couldn’t pass up this opportunity!  There happened to be a Flea Market in session near the ancient meat market area and it was there that I found the BC Festival now on my worktable.  I spied a cluster of pipes amidst coins, bracelets and knock-off sunglasses.  The lady vendor had some very nice pipes but the asking prices started too close to the stratosphere and my pocketbook was a bit closer to earth!  I decided to focus my attention on the French BC Festival.  The shape number is 1305 which pointed to the very shapely Bent Billiard I was focused on.  What attracted me was the very full bowl/shank transition continuing to a full stem bending toward the zenith.  It also had a very solid feel in the palm – one of those pipe whisperer moments – “Take me home!” After some serious negotiating, I think I got a good deal and the BC Festival came home with me and has been waiting for a new steward in my online collection, ‘For “Pipe Dreamers” Only!’. This is where a few months later, Michael from Kansas, wrote asking about the BC Festival.  After we communicated a bit, he commissioned the BC and he wrote this:

Sounds good! I saw this post on Facebook in the Gentlemen’s Pipe Club and was interested. I was taken by your work and wanted to know more.  I’m from the states (Kansas to be exact). Smack dab in the middle. Currently it’s 17 degrees out and a nice pipe sounds pretty tasty.  I’m looking forward to seeing this beauty restored.

I appreciated Michael’s words and I also appreciate his patience!  The Butz Choquin Festival he commissioned benefits our work here in Bulgaria with the Daughters of Bulgaria – working with women and girls who have been trafficked and sexually exploited.  The attractive BC is now on my worktable and I take more pictures for a closer look at this Athens find: The nomenclature is stamped on the left flank of the shank and reads in fancy cursive, ‘Butz Choquin’ [over] ‘Festival’.  The right shank side is stamped with a curved ST. CLAUDE [over] FRANCE [over] 1305.  A very thin, ghosted ‘BC’ is stamped on the left side of the stem.I’ve had the opportunity to restore several pipes from the center of French pipe making, St. Claude.  As a refresher, Pipedia provides this information about the origins of Butz Choquin:

Jean-Baptiste Choquin of Metz started out as a tobacconist. This enterprise was prosperous; he had several employees. Among those, there was a certain Gustave Butz who was its first workman and who became his son-in-law by marrying Choquin’s daughter Marie in 1858.  In 1858 Jean-Baptiste Choquin created, in collaboration with Gustave Butz, the Choquin pipe. This bent pipe with a flat-bottomed bowl was finished with an albatross-bone mouthpiece, fixed with silver rings.  In 1858, still in Metz, Gustave Butz built an establishment for the manufacture of the Choquin pipe which took the name of [Butz-Chochin]. In 1951, the Berrod-Regad company bought the trademark, continuing manufacture until 2002. Departing from Metz, the workshop was relocated to Saint-Claude, then also called ‘the world capital of the briar pipe,’ under the Berrod-Regad group. The Berrod-Regad group would go on to completely rebuild the network of representatives until finally entering the export market in 1960 and has since won several prizes, as well as the Gold Cup of French good taste.

In a few years, the brand’s collection increased from ten to seventy series. 135 years after it was founded, the pipe is still well-known not only in France but throughout the world. In 2002, the Berrod family, wishing to preserve manufacture of pipes in Saint-Claude, handed over the company to Fabien Guichon, a native of the area, who will continue to develop the brand during the 21st century.

The condition of the Festival on my worktable is generally good.  The chamber is clean, and I will soon find out whether the cleaning of the chamber is true also of the internals.  The external briar surface appears only to need a sprucing up, but with a closer look, I find several pockets and dents over the surface.  This will require some work to fill the pockets and to try raising the dents. I take a few pictures to show these challenges. The grain is very nice and expressive – this guy will clean up nicely.  The stem shows some oxidation and the bit has distinct biting compressions on the upper and lower bit.  This will be addressed. To begin the recommissioning this commissioned Butz-Choquin Festival, I address the oxidation issues of the stem using Before & After Deoxidizer.  I clean several stems of other pipes in the queue at the same time.  To preserve the Deoxidizer solution, I first run pipe cleaners wetted with isopropyl 95% through the stem’s airway to clean it.  Unfortunately, when I inserted a pipe cleaner into the BC’s airway, I discover it is blocked.  By measuring the pipe cleaners’ progress, the blockage is toward the button.  I try blowing through the airway and it is rock-solid blocked.  Since, I’m in the conveyer line of cleaning, I move forward with the deoxidation process first.After soaking in the B&A Deoxidizer for several hours, I fish out the BC’s stem and wipe it down to remove raised oxidation with cotton pads wetted with isopropyl 95%. I apply paraffin oil to begin rejuvenating the vulcanite stem and I set it aside to absorb.Before moving on, I need to figure out how to clear the airway of the blockage.  From the button, the blockage begins about 1/2 inch from the end of the stem.  When reaching with a pipe cleaner from the tenon side and measuring, the blockage appears to be about a 1/4 inch of blockage. I use the straightest dental probes I have and reach into the stem airway to extract the blockage.  The dental probes both have spurs on the topside of the metal points which prove useful in hooking and pulling out debris. What I start pulling out with the probes appears to be paper, of course shredded at this point.  I have no idea how paper would be lodged in the stem.  This method has some success, but soon the probes’ effectiveness is nullified by the bend in the stem. After some time of using the probe and realizing diminishing returns, I decide to straighten the stem to reduce the pressure in the bend.  I heated the stem with the hot air gun to do this.  As the vulcanite heats, I’m able to unbend the stem.  What I forgot to picture was the use of a drill bit that fit into the airway from the mortise side.  As I heat the vulcanite and as it unbent, I wedged the drill bit further into the airway.  I did this to keep the airway straight and it works well.  The downside was that the drill bit was not long enough to do the full job.With the stem straightened, I’m able to continue with some success the use of the dental probes. I use a long stiff wire to push from the tenon side, and then dig more with the dental probes from the button side.  The progress is slow.Progress was slow but unfortunately, overzealousness reaching with the dental probe cracked the button.  Ugh!  What I failed to do is to take into consideration the gradually expanding shaft of the probe that pushed outwardly on the slot and the rest is history.  Doing repairs on a pipe one is restoring is one thing.  Creating more problems for a restoration is not what we aim for!  I take a few closeups of the cracks – not a pretty picture!  I decide to continue carefully digging out the blockage.  Eventually, the paper, or whatever, is extricated and I’m able to run a pipe cleaner through.  This took a lot of time and unfortunately, friendly fire damage to the button to open the airway must now be addressed.I proceed with the stem repairs.  Before addressing the button damage – cracks and bite compressions, I re-bend the stem to restore it to the original profile.  Again, after placing a pipe cleaner through the stem to protect the airway integrity, I heat the vulcanite stem with the hot air gun, but I first focus on heating and bending the thicker section of the stem.  If I heat the whole stem at once to make one bend, the thinner part of the stem, toward the button, will accept the bend much easier and this will create a more severe end bend appearance rather than a gentle curve throughout. When the thicker portion of the stem becomes supple and willing to be shaped, I place it over a miniature cue ball #15 and gently shape the fat part of the stem.   I hold it in position over the ball for a few minutes allowing the vulcanite to cool and firm its position.  Then, holding the bend in place I take it to the sink to cool the rubber further under cool tap water.   I forgot to picture the current state of the stem’s orientation, but in the picture below you can see that the end of the stem is still shooting out straight without any bend.With the fat part of the stem’s bend solidified, I then take the stem back to the hot air gun heating the thinner section which softens much more rapidly.  When supple, I again take it to #15 and finish the bend.  My aim is to have the end of the stem’s trajectory parallel with the plane of the rim.  The finished bend looks good.  I move on.Now, I take another close look at the cracks and button biting problems.  Normally, at this point I would attempt to raise and expand the compressed vulcanite using the flame method – painting the vulcanite with the flame of a Bic lighter.  With the cracks, and a desire to salvage the stem as it is without the whole button cracking off, I also want to apply CA glue to weld the cracks together.  The question in my mind is concerning the composition of the CA glue.  If I apply CA glue now, before applying the heating method, will the composition of the CA glue be a problem if I then heat it?  If I use the flame first and then glue it, will the ‘new’ contour of the bit hinder gluing cleanly…  Or, should I forgo using the flame method?  Questions….Using regular clear CA glue, I apply a line of glue over the cracks.  I stress flex the cracked button a small amount allowing the thinner glue to seep into the cracks more efficiently.  My hope is that this will form a solid weld.After the clear CA glue cures, I go to work on the upper button repair.  I use a flat needle file to redefine the button lip and follow by sanding with 240 grade paper.  The crack is still visible at this point, but the repair appears to be solid.Flipping over to the lower bit, it has serious bite compressions and the button lip has been chewed.  I take a starting picture before using the flame technique to raise the compressed vulcanite.  I use a Bic lighter to paint the area with flame and as the vulcanite heats it expands and reclaims the original position of the stem – or at least in theory.After painting with the flame, there isn’t a substantive change in the compressions.  Using a medium thick black CA glue, I apply glue to the bit filling the compressed areas.  I also apply the glue to the button lip edge and put the stem aside for the glue to cure.With so much attention drawn to the challenges of the stem – obstruction, cracked button to repair and compressions, it’s been awhile since the stummel was in view.  Returning now to the regular rhythm of the restoration, with the stem put to the side, I now turn to cleaning the stummel.  There is no cake build up in the chamber and to clean the briar I use a piece of 240 grade sanding paper wrapped around a Sharpie Pen and sand the chamber.Next, using undiluted Murphy’s Oil Soap, I scrub the stummel using cotton pads.  The gunk on the rim comes off easily.  Then, taking the stummel to the sink, I rinse it with warm tap water.  Continuing the cleaning in the mortise and airway, I use shank brushes with a bit of anti-oil dish soap and scrub the internals.  After a thorough rinsing, I bring the stummel back to the worktable.I continue the internal cleaning using pipe cleaners, cotton buds dipped in isopropyl 95%.  A dental spoon assists in scraping oils and tar build-up off the sides of the mortise.  After some effort, the pipe cleaners and buds start to lighten, and I call it clean for now.  I’ll continue later with a kosher salt and alcohol soak to clean further.Looking at the external briar surface, I identified earlier a couple pits that need filling.  I use a dental probe to clean out the pits before filling. After wiping the surface with alcohol to clean, I go to work mixing briar dust and BSI Extra Thick CA Glue.  I do the mixing on an index card after covering a patch with scotch tape.  I use the tape to keep the moisture of the glue from being absorbed into the card stock. After putting a small mound of briar dust on the tape, I add a small puddle of CA glue next to it.  Using the toothpick as my stirrer and trowel, I pull small amounts of the briar dust into the puddle and stir with the toothpick as I go.  After the putty begins to thicken – about the consistency of molasses, I trowel the putty with the toothpick to fill the pits. The end of the toothpick is used to knead the putty before it begins to harden which hopefully minimizes air bubbles from being trapped.   I put the stummel aside for some hours for the putty patches to cure. The black CA glue filling the lower bit tooth compressions has cured.Using a flat needle file, I file carefully and gently remove the excess patch material and to form the button lip.After the file brings the patch material down to the stem surface, I sand using 240 grade paper to remove more patch material and to smooth.  I like the results.There are ripple marks in the vulcanite on the lower side at the bend.  These ripples developed when I re-bent the stem after clearing the airway obstruction.  I expand the sanding to smooth this area as well as the upper side of the stem. First, 240 grade paper is employed then following with 470 grade over the entire stem. Finally, I wet sand the stem using 600 grade paper.  Throughout the sanding process, I’ve avoided sanding the ‘BC’ stamping on the stem, which is already ghosting.  I follow the 600 grade paper with 0000 steel wool over the entire stem.  The repairs on the upper and lower bit are looking good.  I’m hopeful!The slot is rough.  A pointed, rounded needle file does a good job smoothing the slot edges.  Following the file, 240 grade paper finishes the edges well.The briar putty filling the pits on the stummel have cured.  Before sanding these, earlier, along with the pits, one dent was detected on the fore of the stummel.  I take another look at it before powering my wife’s iron.  Wood is porous and has sponge-like characteristics when exposed to heat and moisture.  To draw out the dent, I use the heat of the iron while pressing it on a wetted cloth against the dent – I use a cotton handkerchief, to ‘steam’ the dent.  I have been amazed how this has helped with previous restorations.  I take a close-up to show the dent with the help of the arrows.  I’ll use this picture to compare with the ‘after’ steaming picture. The procedure worked. The dent is gone as hoped!  Moving on.Next, using a flat needle file and following with 240 grade sanding paper, I go to work removing the excess briar putty on the 3 patches.  For each, I first apply the file over the patches by filing them down very close to the briar surface without slipping off the patches and causing collateral damage to the surrounding briar.  I then use 240 paper to bring the patch flush with the briar surface.  The pictures show the progress with each patch. The rim cleaned up nicely before but a residual ring of darkened briar on the internal edge of the rim from mild charring.Using 240 sanding paper, I gently sand the rim and I go with the slight internal beveling to remove the darkened briar.  I follow the 240 sanding with a quick 600 grit sanding.  The results look good.  The sanding does not impact the patina.To clean the briar surface further of minor nicks and scratching, I employ 3 sanding sponges – coarse, medium and light grade sponges.  I like using sanding sponges as they are gentler and are not as invasive as regular sanding papers.  After using each in succession, the briar surface looks good and the grain is emerging with nice bird’s eye patterns.From the sanding sponges, the full regimen of 9 micromesh pads is used by first wet sanding with pads 1500 to 2400 and then dry sanding with pads 3200 to 4000 and 6000 to 12000.  The pictures show the progression. Before proceeding further with the external briar surface conditioning, the internal cleaning is continued using the kosher salt and alcohol soak.  This not only cleans the internal briar more but freshens the pipe for the new steward.  Using a cotton ball, I pull and twist the cotton to form a wick to insert into the mortise and airway.  This ‘wick’ serves to draw the oils and tars out of the internal walls.I use a stiff piece of hanger wire to help guide the wick down through the airway. After the wick is in place, I fill the bowl with kosher salt which has no after taste and place the stummel in an egg carton for stability.  Next, using a large eye dropper, the bowl is filled with isopropyl 95% until it surfaces over the salt.  After a few minutes when the alcohol has been absorbed, the bowl is topped off once more.  I put the stummel aside for several hours allowing the soak to do its thing.With the stummel on the sidelines, attention is turned to the stem to apply the full regimen of micromesh pads.  Before starting, to guard against over-zealousness in sanding, a small piece of masking tape is cut and covers the ghosted ‘BC’ stem stamping.  The Butz Choquin stamp is on its last legs and I do not wish to add to its deteriorated condition!  Next, using pads 1500 to 2400, I wet sand the stem.  Following this, using pads 3200 to 4000 and 6000 to 12000, I dry sand.  Between each set of three pads Obsidian Oil is applied to the stem which aids in rejuvenating the vulcanite. After several hours, the kosher salt and alcohol soak resulted in soiled salt and wick.  I toss the expended salt in the waste and wipe the chamber with a paper towel as well as blow through the mortise to remove salt crystals.  To make sure the internals are clean, I run a few more cotton buds and pipe cleaners wetted with isopropyl 95% through the mortise and airway and all looks good.  Moving on.Next, with the cleaning complete, Before & After Restoration Balm is applied to the stummel by putting some on my fingers and rubbing it in to the briar surface.  I like the Balm because it brings out the subtle hues of the natural briar.  The Balm begins with a cream-like consistency and gradually thickens as it is massaged into the briar.  After applying the Balm, the stummel is set aside for about 15 or 20 minutes while the Balm is absorbed.  I take a picture during this state.  Following this, using a cloth I wipe the excess Balm away and buff the stummel with a microfiber cloth.  With the B&A Restoration process completed, I reunite Butz Choquin Festival stem and stummel and after mounting a cotton cloth buffing wheel on the Dremel, setting speed at 40% of full power, I apply Blue Diamond compound to the pipe.  When I finish, using a felt cloth I buff the pipe to remove the compound dust before applying the wax.  After applying the Blue Diamond, I take a closer look at the stem repair on the button and I’m not satisfied with what I’m seeing.  The button lip where the crack was repaired is not smooth.  I use a dental probe to test the seam of the repair and the piece of the button I tried to salvage pops off.  Well, the button repair was not successful and I’m glad that I discover this before shipping it off to a new steward!  I take a picture to show the break and new challenge.My second approach to repairing this button will be to mix activated charcoal and Extra Thick CA glue to form a patch material.  I first clean the area with alcohol then form an insert made from index card stock.  I form a cone with a pipe cleaner inserted through it.  The end of the cone is covered with scotch tape and I coat it with a small amount of petroleum jelly to prevent sticking with the CA glue.  The cone inserts into the open slot with the pipe cleaner in the airway.Next, I mix activated charcoal and Extra Thick CA glue.  I first cover a piece of index card with scotch tape so that the glue is not absorbed into the card stock.  After putting a small mound of charcoal on the card, I then put a small puddle of CA glue next to the charcoal.  Using a toothpick, I pull charcoal dust into the glue and mix as I go.  To thicken the patch material, I draw more charcoal into the mixture.  When it is about the thickness of molasses, I trowel the patch material with the toothpick and apply it to the bit. I fill the slot cavity and cover the entire button lip.  I do this to provide the foundation for filing and shaping a new button.  After applying the patch material, I set the stem aside, turn out the light and leave it to cure through the night.The next morning, with a little jiggling, the card stock wedge comes out of the slot.The view toward the ‘raw’ end of the stem.Using a flat needle file, the excess is first removed from the end of the stem and then the file is used to shape the rebuilt button.  The change in the work surface reveals that I’m enjoying a sunny day on our 10th floor balcony which I call my ‘Man Cave’.  First a picture of me enjoying a bowl while I work!  After filing to shape the button and slot, I use 240 grade paper to smooth further and remove excess patch material.After the 240 paper, I use in succession, 470, 600 and 000 steel wool to work on the surface. As I sand and smooth the area, the pits emerge which is irritating! I continue to try to figure out how to minimize the air pockets that always emerge after using the CA glue and activated charcoal patch pictured below. To remedy this, I use a regular, thin CA glue to fill the pits by painting the area with a thin film of glue using a toothpick.  After applying the CA glue, I put the stem aside to cure. To remove the excess CA glue, in succession I apply 470, 600 grade papers and 000 steel wool.Next, as before, I apply to the bit area the full 9 micromesh pads from 1500 to 12000 by first wet sanding with 1500 to 2400 and dry sanding from 3200 to 12000.  I apply Obsidian Oil between each set of three.I again apply Blue Diamond compound to the button and bit.  I shine up the stinger that came with the pipe with steel wool and replace it in the tenon.  After reuniting stem and stummel and changing the buffing wheel again to another cotton cloth buffing wheel, maintaining the same speed, I apply a few coats of carnauba wax to stem and stummel.  To complete the restoration, I give the pipe a rigorous hand buffing with a microfiber cloth to raise the shine.

This BC Festival Bent Billiard is a beautiful pipe.  The full Bent Billiard shape has a nice balance and settles well in the hand.  The grain is appealing with a serious patch of bird’s eye covering much of the bowl.  The challenges with the stem obstruction, leading to a friendly fire cracked button was not in the plan!  Yet, the repair is completed, and this French Butz Choquin Festival is ready for a new steward.  Michael will have the first opportunity to secure the BC Festival from The Pipe Steward Store benefiting our work here in Bulgaria working with women and girls who have been trafficked and sexually exploited – the Daughters of Bulgaria.  Thanks for joining me!

Restoring my Inherited Huge KBB Yello-bole “Imperial” # 68c

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Blog by Paresh Deshpande

The next pipe on my work table had all the traits/ signs of it being used by my grand old man; it was huge, it was solid with a nice hand fill, it was heavily caked with severe signs of being knocked around the rim edges, blocked shank and stem airways and the likes!! From the number of pipes that I have inherited from him, it appears that regular pipe cleaning and maintenance was an alien concept to him and whence a pipe fouled up, he just chucked it and got a new one- a very simple concept, to say the least!

The pipe that I decided to work on is a large full bent billiards with a P-lip stem. It is stamped on the left side of the shank as “YELLO-BOLE” over “REG. U.S. PAT. OFF” (Registered U.S. Patent Office) in block capital letters over “Imperial” in cursive script over “CURED WITH REAL HONEY”. To the left of these stampings towards the bowl, KBB is stamped in the clover leaf. The right of the shank bears the stamp of “ALGERIAN BRUYERE” over shape code “68C”. The shank end is adorned with a ferrule that bears the stamping of K B & B in a clover leaf over “NICKLE PLATED”. The stem bears the Yello-Bole logo in bright yellow circle. All the stampings are crisp and clear and is definitely surprising that it has survived over all these years!! Researching a pipe is always an enriching learning and I look forward to the same on every pipe that I work. Having worked on a few Kaywoodies and also on Yello-Bole, I knew about the connection between the two. However, what intrigued me during the research is that both the brands also have shared the shape codes along the way, albeit at different points in time. Given below are extracts of the most relevant details from pipedia.com, specifically pertaining to this pipe on my work table, wherein I have highlighted information which merits attention:-

Tips for Dating Yello-Bole Pipes (https://pipedia.org/wiki/Yello-Bole#Tips_for_Dating_Yello-Bole_Pipes)

  • KBB stamped in the clover leaf indicates it was made in 1955 or earlier as they stopped this stamping after being acquired by M. Frank.
  • Pipes from 1933-1936 they were stamped “Honey Cured Briar”
  • Post 1936 pipes were stamped “Cured with Real Honey”
  • Pipe stems stamped with the propeller logo were made in the 1930’s or 1940’s – no propellers were used after the 1940’s.
  • Yello-Bole used a 4 digit code stamped on the pipe in the 1930’s.
  • Pipes with the Yello-Bole circle stamped on the shank it were made in the 1930’s, this stopped after 1939.
  • Pipes stamped BRUYERE rather than BRIAR it was made in the 1930’s.

Thus, from the above tips it is evident that I am dealing with a pipe from the 1930s. However, when I visited the pipedia.com page on Collector’s Guide on Kaywoodie (https://pipedia.org/wiki/Collector%27s_Guide_to_Kaywoodie_Pipes#HINTS_ON_COLLECTING.2C_DATING_AND_PRICING_KAYWOODIES), under the heading “1947 Kaywoodie Shape Numbers and Descriptions”, I found the shape # 68C with the description as Extra Large Billiard, Full Bent which perfectly matched with the size and shape of the pipe on my work table.

Also on the same page, there is a picture of an advertisement flyer for CHESTERFIELD KAYWOODIE from 1947. The similarities between this Kaywoodie (read P-lip stem, large sump, massive size and shape) and the Yello-Bole that I am working on is striking.

Thus, the pipe that I am working on is from 1930s, specifically after 1936 as per the stampings seen on the pipe, however, the shape number and description matches with the Kaywoodie catalogue from 1947. Thus it is an interesting conflict as Yello- Bole was designed as an outlet for lower grade briars not used in Kaywoodie production, but the shape code and Chesterfield similarities were incorporated in Yello-Bole earlier than its introduction in Kaywoodie pipes!! I would be happy if anyone reader can clarify this conflict.

INITIAL VISUAL INSPECTION
The chamber is heavily caked with lava overflow on the rim top surface. The inner edge of the rim is severely damaged. Nicks and dings are also seen along the outer rim edge and chamber appears out of round. Chamber has strong odors of sweet smelling tobaccos. The condition of the inner walls of the chamber can be commented upon once the cake has been reamed down to the bare briar, but going by the solid feel of the external surface, I do not foresee any serious issues/ surprises with the chamber walls. The stummel surface is covered in dust, dirt and grime of years of use and uncared for storage for the last 45 years when my grandfather quit smoking in the late 1970s. Oils and tars have overflowed over the stummel and have attracted dust giving a dull and lackluster appearance to the stummel. A number of minor dents and scratches are seen over the stummel, notably towards the front, foot and the bottom of the shank. Through all the dirt, some really stunning straight and bird’s eye grains are waiting to be exposed. The mortise is, well mildly put, clogged to hell and back!! That the sump is overflowing and overfilled with accumulated gunk is a fact that could be seen with the naked eyes. Believe you me readers, the pipe smells are too strong. The large bent vulcanite stem exudes high quality and is heavily oxidized. The tenon is covered in a very thick coat of dried gunk and blobs of accumulated dried tars are seen inside the wide tenon opening. This also indicates the extreme clogging that can be expected in the expanded portion of the stem and in the stem air way. The lower button edge has a deep tooth indentation and tooth chatter in the bite zone. The button edge on the upper surface has worn down and would need to be sharpened. The lower end of the stem at the tenon end which enters the mortise shows severe scratch marks and chipped surface, the result of rubbing against the sharp edges of the ferrule at the shank end. INITIAL CLEANING BY ABHA…
The initial cleaning on this pipe was done by Abha, my wife (she has cleaned up around 40-50 pipes and these have now reached me for further restoration). She reamed out the complete cake and further smoothed out the chamber walls with a folded piece of 220 grit sand paper. She further cleaned out the internals of the shank with pipe cleaners and alcohol and cotton buds. She followed the internal cleaning of the shank with external cleaning of the stummel using Murphy’s Oil soap and hard bristled tooth brush and dried it with paper napkins and cotton cloth.

Unfortunately, this time around, she could not clean the stem as it was too large to fit in to the container of the stem deoxidizer solution.

ONCE THE PIPE IS ON MY WORK TABLE…
The chamber is massive, that is what I noticed first when I got the cleaned up pipe on my work table. The wall of the chamber shows insignificant beginnings of heat fissure on the left and back of the chamber walls. Though insignificant now, if not addressed at this stage, these heat fissures may further lead to burn outs. I need to address this issue. The rim top surface is uneven and pock marked with dents and dings. The inner edge is severely damaged with dents and dings, some of them quite large. The chamber is significantly out of round, most notably on the left side in 10 o’clock direction. The rim repairs required are extensive.The nicely cleaned stummel looks exciting with beautiful transverse flowing straight grains on the sides of the stummel and shank and bird’s eye on the front of the stummel and extending to the bottom of the shank. Patches of old lacquer coat can still be seen in the fold between the bowl and shank and also along the bottom of the stummel. The dents and scratches to the front and at the foot of the stummel are now clearly visible. I intend to let them be as they are part of the pipe’s past and also since I wish to preserve the patina. Abha has painstakingly cleaned out the mortise and the sump. However, I could still see remnants of the gunk in the sump and the still strong odor is a pointer to the requirement of further sanitizing the internals of the stummel. The ferrule at the end of the shank end came loose as I was inspecting the stummel. This gave me an opportunity to closely inspect the shank end for cracks or any damage. Lucky me, there are no such hidden gremlins here!! I did notice a fill at the base where the ferrule sat on the shank end (circled in yellow) that would need to be refreshed. The edges of the ferrule at the shank end have become very sharp (I did manage a nick during inspection) that had caused the damage observed on the tenon end of the stem. I need to address this issue. The unclean stem that came to me shows heavy scratches to the tenon end which seats in to the mortise and caused due to the sharp edges of the ferrule. I will address this issue by sanding the surface followed by a fill, if required. The upper surface and button edge of the P-lip shows damage and will have to sharpen the button while sanding and filling the surface. Similarly, the lower button edge has a deep tooth indentation and will need a fill to repair. The heavy oxidation will be a bear to get rid off given the size of the stem. The tenon is covered in a thick coat of dried gunk, not to mention the clogged the stem air way. THE PROCESS
As is my norm, I started the process with stem cleaning and repairs. I cleaned the accumulated dried gunk from the insides of the tenon by scrapping it out with my dental tools followed by q-tips, pipe cleaners and isopropyl alcohol. I soon realized that no matter how many pipe cleaners and q-tips I used, the insides of the wide tenon will still keep throwing out dirty pipe cleaners. I would need to use a more invasive method. Using a shank brush and dish washing soap, I thoroughly cleaned out the gunk. I rinsed it under running warm water. Once satisfied with the internal cleaning, with my fabricated knife I scrapped off the dried oils and tars from the tenon surface. I wiped the tenon end with cotton swab and alcohol till clean. I also cleaned the stem air way and the slot end with pipe cleaners and alcohol.While I was working on the stem, a colleague had come visiting and was amazed at the patience and care being exhibited, traits which I am usually not associated with. He did crack a joke on this and clicked a couple of pictures which I have included here for posterity.I cleaned the stem surface with isopropyl alcohol on a cotton swab and followed it with a scrub using Murphy’s Oil soap and cotton swab. I also smooth the sharp edges of the ferrule with a folded piece of 150 grit sand paper. I mix clear superglue and activated charcoal and paint the damaged tenon end surface and also applied it over the both button edges, upper P-lip surface and lower surface of the P-lip. I set the stem aside for the fills to cure. I cleaned the stummel surface with acetone on a cotton swab to remove the patches of old lacquer. This cleaning further highlighted the beautiful grains on this pipe. This is sure going to be beautiful pipe in my collection. Next I decided to address the issue of strong odor in the chamber. To eliminate the ghost smells from the pipe, I decided to treat it with salt and alcohol. I do not use Kosher salt as it is not readily available here and if available, it’s very expensive. I use cotton balls which is an at par substitute as I have realized over a period of time. I pack the sump with cotton and draw out a wick from the cotton and along with a folded regular pipe cleaner; insert it in to the mortise and through the draught hole in the chamber. I pack cotton balls in to the remaining portion of the mortise. Thereafter, I pack the chamber with cotton balls to about quarter of an inch below the rim inner edge. I soak the cotton balls with isopropyl alcohol up to the brim. About half an hour later, the level of alcohol has gone down, having being absorbed by the cotton. I top it up once again and set it aside overnight. By next afternoon, the cotton and alcohol has drawn out all the remaining oils and tars from the chamber, sump and mortise and the cotton and alcohol had fulfilled its intended task. I removed the cotton balls and the dirt can be gauged by the appearance and coloration of the cotton balls. With my fabricated knife and dental tools, I spent the next hour scrapping out the entire loosened gunk. I ran pipe cleaners through the mortise to clean out all the loosened tars and gunk that had lodged when I cleaned the sump and mortise. The chamber now smells clean, fresh and looks it too. I set the stummel to dry out naturally. By this time the stem fills had cured and with a flat head needle file, I sand these fills to achieve a rough match. I further fine tuned the match by sanding the filled area with a folded piece of 220 grit sand paper pinched between my thumb and forefinger. I followed it up by sanding the entire stem surface using 400, 600, 800 grit sand papers and finally with a piece of 0000 grade steel wool. This serves to remove the deep seated oxidation and also reduces the sanding marks of the more abrasive sand papers. I also sharpened the button edges while sanding. I wiped the stem with a cotton swab and alcohol to remove all the oxidation and sanding dust from the surface. I applied a little Extra Virgin Olive oil over the stem and set it aside to be absorbed by the vulcanite.The next stummel issue to be addressed was that of the rim top surface damage. I topped the rim on a piece of 220 grit sand paper, checking frequently till I was satisfied that the charred surface was addressed to a great extent and the rim top surface is nice, smooth and even. The inner edge is still uneven, though much better than before topping, and shall be addressed next. With a folded piece of a 220 grit sand paper pinched between my thumb and forefinger, I created a slight bevel on the inner edge of the rim top surface. This helped to mask the out of round chamber and address the sever dents that had remained on the inner rim edge. It can never be perfect, it’s a repair after all, but the repairs sure looks great. I know I have scrapped the shank end while topping the rim, I should have been careful, but I noticed it early and will be under the ferrule, so no sweat!! The one fill which was seen and readied for a fresh fill was patched up with a mix of briar dust and superglue and set aside to cure. Once the fill had hardened, and it was very quick indeed, I matched the fill with the rest of the stummel surface by sanding the fill with a flat head needle file followed by sanding the fill with a folded piece of 220 grit sand paper.To preserve the patina and bring a deeper shine, I polished the stummel with micromesh pads, dry sanding with 1500 to 12000 pads. I wiped the surface with a soft cloth at the end of the micromesh cycle. The stummel looks amazing with a deep shine and beautiful grains popping over the stummel surface. The massive size of the stummel helps accentuate these grains further. The result of all the topping and subsequent micromesh polishing was that the rim top surface had a lighter hue as compared to the rest of the stummel surface. I matched the rim top surface with the rest of the stummel by staining the surface with a dark brown stain pen. I set it aside for the stain to cure.Turning my attention back to the stem, I decided to polish and shine up the stem surface. I wet sand the stem with 1500 to 12000 girt micromesh pads. Next I rub a small quantity of extra fine stem polish that I had got from Mark and set it aside to let the balm work its magic. After about 10 minutes, I hand buffed the stem with a microfiber cloth to a nice shine. I rub a small quantity of olive oil in to the stem surface to hydrate it and set it aside. After the rim top surface stain had cured for about 6 hours, I rub a small quantity of “Before and After Restoration Balm” in to the briar with my finger tips and let it rest for a few minutes. I applied the balm over the rim top surface also. The balm almost immediately works its magic and the briar now has a nice vibrant appearance with the beautiful darkened grain patterns on full display. I further buff it with a horse hair shoe brush. I wiped it with a microfiber cloth. The rim top is now perfectly matched with the rest of the stummel dark coloration. I am very pleased with the blend. I mount a cotton cloth buffing wheel on to my hand held rotary tool and apply a coat of Blue Diamond to the stummel and the stem to polish out the minor scratches. It was at this point in the process of restoration that I realized that I am yet to attach the ferrule at the shank end. I rub a small quantity of ‘Colgate’ toothpowder over the ferrule surface. Those who have not tried out this trick, you must try it out at least once, it works like magic and imparts a nice shine to the nickel plated (it works even better on Sterling Silver) ferrule. I apply superglue over the shank end, align the ferrule stamp with that on the shank and attach the ferrule over it. I press it down firmly for a couple of minutes to let the glue set. After the glue had completely cured, I tried the seating of the stem in to the mortise and realized that the stem surface still brushed against the sharp ferrule edge. With a needle file I sand the edges, frequently feeling for the sharpness with my fingers and checking the seating of the stem in to the mortise. Once the edges and seating were smooth, I applied a little petroleum jelly on the walls of the mortise as this reduces friction and moisturizes the briar and moved on to the home stretch.With a cotton buffing wheel that I use for carnauba wax, I apply a coat of carnauba wax and continue to work on it till the complete coat of wax had been polished out. I mount a clean cotton cloth buffing wheel and give the entire pipe a once over buff. I finished the restoration by giving the entire pipe a rigorous hand buffing using a microfiber cloth to raise the shine further. The finished pipe looks beautiful. Having addressed the cosmetic aspect of this pipe, I move on to address the functionality aspect by addressing the ridges and re-entrant formed at the draught hole as well as the minor/ insignificant heat fissures. I insert a petroleum jelly coated pipe cleaner in to the draught hole. I mix a small quantity of the contents from the two tubes of J B Weld in equal proportions and apply it evenly only over the damaged area near the draught hole with my fingers. I had to work deftly and fast as the compound starts to harden within 4 minutes. I set the stummel aside for the JB Weld coat to completely harden.The next day, the compound had completely hardened. With a folded piece of 220 grit sand paper, I sanded the fill to as thin a layer as I thought would be just sufficient to protect the heel and ensure a smooth even surface for the pipe mud coating.Next I mixed activated charcoal and yogurt to a thick consistency and evenly applied it over the chamber walls and set it aside to dry out naturally. Once the coating had dried I buffed the pipe again with a microfiber cloth to a nice deep shine. P.S. This was a fun project and I absolutely loved and enjoyed working on it. It has some stunning grains and beats me that even though Yello-Bole was designed as an outlet for lower grade briars not used in Kaywoodie production, this beauty is anything but lower grade!! This would be joining my collection and I shall get to admire the beauty whenever I so desire.

Thank you all for sparing your valuable time in reading thus far and I would be happy to hear comments on the conflict that I find between Yello-Bole and Kaywoodie.

Restoring 16th Pipe from the Mumbai Bonanza Lot; an Amphora X-tra # 726

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Blog by Paresh Deshpande

The next pipe that I had selected to work on was dictated by my desire to work on something that would be a simple and an easy project. I went through the lot that Abha, my wife, had sent me duly cleaned and selected one that came to us in a lot which I prefer to call as my Mumbai Bonanza!!

I was fortunate enough to have heeded the advice of my dear friend and mentor, Steve, and struck a deal with a junk collector from Mumbai. He did not know what he was selling and I did not know what I was buying as we reside in different cities!! The argument that Mr. Steve presented was that if not anything, I shall at least have some spares and this was logical. I struck a deal and here are pictures of the pipes that I received in this lot. This lot contains some very nice collectible pipes, a few well known brands and some mediocre brands. Overall, with seven Dunhill pipes, a Preben Holm #1 FH, a couple of “Made in England” Pete System pipes, a couple of  Charatan’s Belvedere, Custom-Bilt, Stanwell and other assorted pipes, I would say that I had struck a decent haul!! This is indeed my “Mumbai Bonanza”.

This 16th pipe that I decided to work on from this find is a medium sized straight billiards and is indicated in yellow color arrow. It has a very solid feel in the hand with top quality briar. The pipe in fact oozes of very high quality of craftsmanship with perfect proportions and classic design!! It is stamped on the left of the shank as “AMPHORA” in block capital letters over “X-tra – 726” in sentence form. The right side of the shank is stamped as “GENUINE BRIAR” over COM stamp “AMPHORA – Holland”. All the stampings are crisp and easily readable. The logo seen on this stem is letter ‘A’ embossed in a circle.Since this is the first Amphora pipe that I am working on, I was keen to know more about this brand and if possible, dating this pipe. I first turned to pipedia.org for information and the little information that I gained is reproduced below:-

Amphora pipes are made in Holland by the Jos. Gubbels organization, the same company which makes the very well known and loved Amphora Pipe Tobaccos. The pipes are produced in relatively small numbers to a high standard and not commonly found. They were used primarily in promotions and incentives for Amphora tobacco.

The Royal Dutch Pipe Factory Elbert Gubbels & Sons B.V. is the only manufacturer of briarroot tobacco pipes in the Benelux countries where pipes of high quality are made under the brands Big Ben, Hilson, Royal Dutch and Amphora. They also supply numerous smokers’ accessories of high quality.

I came across this shape chart posted on this site courtesy Doug Valitchka, which shows the shape # 726 as being a medium billiard and similar to the one on my table.Next I turned to pipephil.eu and the only additional information I learned was that its mother company, The Royal Dutch Pipe Factory went bankrupt in 2012.

Still not satisfied with the information gained so far, I turned to rebornpipes.com and sure enough, I came across this addendum by Robert M. Boughton which points to a connection of Amphora pipes to Dr. Grabow!! This does make for a very interesting read and is highly recommended. Here is the link to the write up:-

https://rebornpipes.com/2016/08/24/about-the-winner-of-an-amphora-bent-billiard-and-more-information-on-the-brand/

INITIAL VISUAL INSPECTION
The pipe came to us in a very well smoked state and a thick layer of cake build up is observed in the chamber. The rim top surface is covered in the thick overflow of lava and several dents and dings to the inner and outer rim edges can be seen, probably caused due to tapping it must have received at the hands of the previous owner to remove the dottle. This will need to be addressed.The smooth stummel surface has beautiful grain patterns with a mix of Bird’s eye, cross grains and nice swirls. The stummel surface has dulled a bit and appears lifeless due to accumulation of dust and dirt. The mortise and the draught hole are clogged with accumulation of oils and tars making the draw laborious.The straight vulcanite saddle stem has a slight flair out towards the slot end and is deeply oxidized with bite marks and tooth chatter on either surface in the bite zone, more so on the upper surface of the stem. The insides of the slot and tenon have heavy accumulation of oils and tars. The stem has calcification deposits towards the button end. The button edges also have bite marks; in fact, they are worn out at places. The embossed logo of ‘A’ has faded a bit.INITIAL CLEANING BY ABHA…
The initial cleaning on this pipe was done by Abha, my wife (she has cleaned up around 40-50 pipes and these have now reached me for further restoration). She reamed out the complete cake and further smoothed out the chamber walls with a folded piece of 220 grit sand paper. She further cleaned out the internals of the shank with pipe cleaners and alcohol and cotton buds. She followed the internal cleaning of the shank with external cleaning of the stummel using Murphy’s Oil soap and hard bristled tooth brush and dried it with paper napkins and cotton cloth.

Next she cleaned out the internals of the stem air way and immersed it in “Before and After Deoxidizer” solution along with the stem of other pipes in line for restoration. Once the stem had soaked overnight, she cleaned the stem under running warm water and scrubbed the raised oxidation from the stem surface using Scotch Brite pad. She further removed the oxidation by scrubbing the stem with 0000 grade steel wool and applied a little olive oil to rehydrate the stem.

ONCE THE PIPE IS ON MY WORK TABLE…
The cleaned up pipes presents a very clear picture of what needs to be done to restore this pipe to a pristine and smokable condition. I really cannot thank Abha, my wife, enough for all the help and support that she extends me in my pursuance of this hobby. I proceed to carry out my appreciation of the work that needs to be done on this pipe to restore it.

The chamber is odorless and the walls are solid without any signs of damage. The smooth rim top surface with nicks and uneven surface is where all the action is on this pipe with an equally damaged inner and outer rim edge. This should be addressed to some extent when I top the rim surface.The stummel surface is without any fills or dents and dings. The only issue that I can figure is the dull and dry appearance of the stummel. This stummel will turn out beautiful and the grains will stand out once I have sanded and polished the surface. The mortise and shank internals are nice and clean.The oxidation on the vulcanite stem has been greatly reduced, thanks to all the efforts put in by Abha, clearly defining the deeper bite marks and the damage to the button edges on both surfaces of the stem. These tooth marks would be required to be filled with a mix of activated charcoal and superglue. A bit of sanding to match the fill and remove the deeper oxidation followed by micromesh polishing cycle should add a nice shine to the stem. The stem logo, unfortunately, appears to have worn out during the initial cleaning. I shall try and highlight it to the extent possible.THE PROCESS
The first issue I addressed was that of the stem repairs as this would take the maximum of my time to clean, repair and subsequently spruce up the stem. I flamed the damaged button edge and the tooth indentations with the flame of a lighter. This helps the vulcanite to rise to the surface as it has an inherent property to regain its original shape when heated. Once the vulcanite had risen to the surface, a few linear pits were observed right at the bottom of the button edge on both sides of the stem surface (marked in red semi circle). It appears as if the stem surface would break and cave in along these linear pits. To address this issue and also to sharpen the button edges, I mixed superglue and activated charcoal powder and diligently applied it over the pits in the bite zone on both upper and lower stem surface and over both the button edges and set it aside to cure.With the stem fill set aside to cure, I started with cleaning of the stummel surface. With a folded piece of 220 grit sand paper, I sand the entire stummel surface. This not only removes the stubborn dirt and grime that remained on the stummel but also evens out the minor dents and dings from the surface. I followed it up with sanding using a piece of 0000 grade steel wool. This helps reduce the sanding marks left behind by the coarser grit sand paper. These sanding marks will be completely eliminated once I am through with micromesh and Blue Diamond polish.Now that I had a fair idea of the extent of topping required to the rim surface, I top the rim on a piece of 220 grit sand paper to even out the rim surface dents and dings. I addressed the uneven inner edge by creating a light bevel to inner edge with a folded piece of 220 grit sand paper pinched between my thumb and index finger. To further smooth out the scratches left behind by the abrasive 220 girt sand paper, I top the rim surface on a piece of 400 grit sand paper. I had hoped that further sanding with a 400 grit paper will address the minor dings that remained on the outer edge, but that was not to be. Thus, with a folded piece of 220 grit sand paper pinched between my thumb and index finger, I created a light bevel over the outer edge. I am very happy at the way the chamber and rim top surface appears at this point in restoration.I subjected the stummel to a complete cycle of micromesh polish, wet sanding with 1500 to 12000 grit pads. I paid greater attention to polish the rim top surface and the bevels created on the inner and outer rim edges. I wiped the stummel with a moist cloth after every grit pad to remove the sanding dust left behind by the pads. This also helps in monitoring the progress being made and provides an opportunity to take early corrective action, if required. I am happy with the progress being made till now. Next, I rub a small quantity of “Before and After Restoration Balm” in to the briar with my finger tips and worked it deep in to the surface and let it rest for a few minutes. The balm almost immediately works its magic and the briar now has a nice vibrant appearance with the beautiful swirl grain patterns on full display. The contrast of the dark browns of the grain with the light hues of the rest of the stummel adds an interesting dimension to the appearance of the stummel. I further buffed it with a horse hair brush to further deepen the shine. Turning my attention to the stem repairs in my home stretch, using a flat head needle file, I reshaped the button and roughly matched the fills with the rest of the stem surface. I sand the fills with a piece of folded 220 grit sand paper and followed it up by further sanding the stem with 320, 600, 800 grit sand papers and finally with a piece of 0000 grade steel wool to achieve a perfect blending of the fills with the stem surface and a build a crisp button edge on either surface of the stem. The repairs look good and the stem should polish up nicely.I completed the polishing cycle of the stem by wet sanding the surface with 1500 to 12000 girt pads. The stem looks great with the fills nicely matched with the rest of the surface. I gave a final rub with “Before and After Extra Fine” stem polish compound from Mark to remove fine scratches from the stem surface. I rub a little quantity of Extra Virgin Olive oil in to the stem surface and set it aside to be absorbed by the vulcanite. The stem polished up nicely and appears as good as when new. To complete the restoration, I mount a cotton cloth buffing wheel on to my hand held rotary tool and applied a coat of Blue Diamond to the stummel and the stem to polish out the minor scratches. With a cotton buffing wheel that I use for carnauba wax, I apply a coat of carnauba wax and continue to work on it till the complete coat of wax had been polished out. I finished the restoration by giving the entire pipe a rigorous hand buffing using a microfiber cloth to raise the shine further. The finished pipe with a natural finish to the briar looks amazingly beautiful and is now ready for a change of guard with a new piper. The pipe feels really light in the hand and has such a perfect balance in the mouth if you like to smoke your pipe clenched. I really appreciate your valuable time spent in walking the distance with me on this restoration.

Redeeming an English Made Flumed Meerschaum Author

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Blog by Steve Laug

Over the past two weeks I was traveling in Alberta with my brother Jeff and his wife, Sherry. In between work appointments and presentations we took some time to visit local antique shops and malls. We found quite a few pipes. In a small Antique Shop in Lethbridge we found a few interesting pipes. The first of the ones that I am working from that find is an oval shank meerschaum Author. It has a flumed top and some colouring happening around the bowl and the shank. The saddle stem has a ribbon shaped/bookmark stamped logo on the top of the saddle. The pipe was dirty and caked when we picked it up. The rim top had a little lava and some small scratches in the edges of the bowl. The bowl had a thin cake in it that was hard and dense. The exterior of the bowl and shank are very dirty with grime and oils from prolonged use. The stamping on the underside of the shank below the shank/stem junction was faint but readable and read Genuine Block Meerschaum with an arched Gt. Britain at the stem shank joint. The vulcanite stem was had tooth chatter on the top and the underside of the stem. There were tooth marks on both sides and on the button. I took photos of the pipe before I started the cleanup. I took close up photos of the bowl and rim to capture the condition of the pipe before I started my cleanup work. The rim top had some lava and a few nicks on the inner edge. Other than being so dirty it appeared to be in great condition. The stem was dirty and there was tooth chatter on the top and underside near the button and on the button surface itself. The stem was lightly oxidized.I took a photo to capture the stamping on the underside of the shank near the stem/shank joint. The photo shows the stamping Genuine Block over Meerschaum. Next to that there was an arched stamp that read GT BRITAIN. There was a small nick in the underside of the meerschaum next to the vulcanite stem.While we were traveling I decided to do a bit of work on some of the pipes that we had found. I scraped the inside of the bowl with a sharp knife. I scraped the tars and lava off the top of the rim with the same knife. I took the stem off and you can see the metal tenon set in the shank of the pipe. It is anchored firmly and the stem pressure fit over the top of the tenon.I scrubbed the exterior of the bowl with warm water and some Dawn Dish Soap to remove the buildup of grime around the bowl and on the rim top. I rinsed it well and wiped the bowl down with a clean paper towel to polish the finish on the bowl. I decided to follow up on my initial cleaning of the bowl and shank. I reamed the bowl with a Savinelli Fitsall pipe knife to remove the remnants of the cake in the bowl. I sanded the bowl with 220 grit sandpaper wrapped around a piece of dowel to smooth out the inside walls of the bowl.I scrubbed out the mortise and the airway in the shank, the metal mortise and the stem with alcohol, cotton swabs and pipe cleaners.I polished the meerschaum with micromesh sanding pads – wet sanding the bowl walls and rim top with 1500-12000 grit pads. I wiped the bowl down after each sanding pad with a damp cloth to wipe of the dust. I worked some Before & After Restoration Balm into the surface of the meerschaum 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 photos show the bowl at this point in the restoration process. I set the bowl aside and turned my attention to the stem. I sanded out the tooth chatter with 220 grit sand paper and started to polish it with a folded piece of 400 wet dry sandpaper. Once it was finished it began to shine.I polished the stem with micromesh sanding pads – wet sanding with 1500-12000 grit sanding pads. I wiped it down after each sanding pad with a damp cloth. I polished it with Before & After Pipe Stem Polish – both Fine and Extra Fine and buffed it off with a cotton cloth. This is a beautiful Flumed top Block Meerschaum Oval Shank Author with a black saddle vulcanite stem. It has a great look and feel. The shape is very tactile and is a beauty. I polished stem and the bowl 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 meerschaum had already begun to take on a patina and it came alive with the buffing. The rich mottled browns of the meerschaum colour works well with the polished vulcanite stem. The finished pipe has a rich look that is quite catching. Have a look at it with the photos below. The shape, finish and flow of the pipe and stem are very well done. The dimensions are Length: 5 ¼ inches, Height: 1 ½ inches, Outside diameter of the bowl: 1 ½ inches, Chamber diameter: ¾ of an inch. I will be adding the pipe to the rebornpipes store shortly. If you are interested in adding this block meerschaum, English made Author to your collection let me know. Thanks for walking through the restoration with me as I worked over the first of the finds of Jeff and my Alberta pipe hunt.

Redeeming a Malaga Bent Volcano from Kathy’s Dad’s Pipes

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Blog by Steve Laug

I have been working on a lot of different estate pipes and selling them for different families. Once in a while it is good to change things up a bit. Not long ago Alex came by and went through the Malaga pipes from George Koch’s estate. Alex added the newly chosen pipes to the box that I have of pipes for him. There are quite a few of them to work on so I decided to continue to work on them. The next of these Malaga pipes is a shape I would define as a volcano. It has some mixed grain and a Lucite stem. The mix of grain styles around the bowl and shank combined with the stem make it a stunning pipe. It is one of the many Malaga pipes that came to my brother and me in several shipments of pipes from George’s daughter Kathy. When Jeff got each box the pipes were well wrapped and packed. Jeff unwrapped them and took the following photo to give an idea of the volume of the pipes that we purchased. This Malaga came in mixed in a box of pipes much like the one below.In each of the previous blogs that I have written on the restoration of George’s pipes I have told his story. If you have followed the restorations you will have read the information and the background piece that Kathy did on her father. Here is a link to one of the previous blogs on his Malaga pipes where I included her tribute in full (https://rebornpipes.com/2019/01/26/back-to-kathys-dads-pipes-restoring-a-%c2%bc-bent-malaga-author/). You can also read the bio on her Dad, George Koch. It is an interesting read and one that shows just how far our pipe collecting passion can go when we find a brand of pipes that we enjoy. I am going to only include the portion on the Malagas at this point. If you wish to read the rest follow the link above.

Kathy writes…We lived in Livonia, and that’s where his love for Malaga pipes began. After a few years he returned to Allis Chalmers and we moved back to Springfield. I remember that when we went back to Michigan to visit friends, Dad had to go to the Malaga store and acquire a few new pipes. Many a year I wrote to Malaga and they picked out a pipe for me to purchase that I could give Dad for a Christmas or birthday present. He was always pleased. His favorites were the straight stemmed medium sized bowl pipes, but he liked them all. 

He had some other pipes, but the Malagas were his favorites. I remember him smoking them sitting in his easy chair after work, with feet up on the ledge by the fire burning in the fireplace.  Growing up it was my job to clean them and he liked the inner bowl and stem coated with Watkins vanilla, leaving a little of that liquid in the bowl to soak in when I put them back on the rack…I’m very happy they are being restored by you and your brother and hope they find homes who enjoy them as much as Dad did. Thank-you for your care and interest. — Kathy, the oldest daughter

The Malaga Bent Volcano with a rounded bottom and carving around the bowl is next on the table. The carver did a great job of shaping the pipe to follow the grain on the briar. The large bowl, chubby shank and bent tapered acrylic stem look very good. The bowl had a thick cake that overflowed with lava onto the rim so that it was impossible to see if there was damage on the inner edges. The sides of the bowl and shank are very dirty with grime and oils from prolonged use. The stamping on the left side of the shank read MALAGA. The acrylic stem had tooth dents and chatter on the top and the underside of the stem. Jeff took these photos before he started the cleanup work on the pipe. Jeff took close up photos of the bowl and rim to capture the condition of the pipe before he started his cleanup work. The rim top had some lava overflow and darkening on the back of the bowl. There appeared to be deep gouges in the outer edge on the right of the grimy pipe.He also took photos of the sides and bottom of the bowl and shank to show the beautiful grain and unique carvings around the bowl. The photos show the general condition of the bowl and wear on the finish. It is very dirty but this is another beautiful pipe. Jeff took a photo to capture the stamping on the top side of the shank. The photos show the stamping MALAGA on the left side of the shank. The stamping is very readable.The next photos show the stem surface. There are tooth marks and chatter on both sides near the button and wear on the button surface and edges.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. I have written an earlier blog to give a little history of the Malaga Brand and the pipemaker, George Khoubesser. 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 the flat surface of the rim looked very good. The inner edge of the rim has some serious burn damage on the front right side. The outer edge looked very good. I took photos of the pipe to show its condition before I started my work on it. I took close up photos of the bowl and rim top as well as the stem. You can see the condition of the rim top and bowl in the first photo. Jeff was able to remove all of the tar and oils but you can now see the damage on the inside rim edge. The edge is out of round. There is a burn mark that extends across back edge of the rim top at that point. The acrylic stem had tooth chatter on both sides near and on the button surface there was also a large deep bite mark on the underside of the stem.I took photos of the grain and carving around the bowl. The pipe looked really good. Just some work to do on the rim top and edges. I took a photo of the stamping on the shank to show how good the condition is. It shows the MALAGA stamp and it is very legible.I decided to address the rim top first. The first photo shows the rim top before I cleaned it up and reworked the damage. I lightly topped the bowl on a topping board with 220 grit sandpaper. I wanted to minimize the damage on the top, remove the darkening and clean up the damage on the front outer edge of the bowl. I used a folded piece of 220 grit sandpaper to clean up the damage on the right rear inner edge of the bowl. I gave the inner edge a slight bevel to repair the damage. I polished the edge with 400 grit wet dry sandpaper. The rim top and edges really looked better.I polished the rim top and the briar with micromesh sanding pads. I wet sanded the bowl with 1500-12000 grit sanding pads. I wiped the bowl down after each pad with a damp cloth to remove the sanding dust. I scrubbed the briar with Before & After Briar Cleaner and a tooth brush. I rubbed it into the surface of the briar with my finger tips and let it sit for about 10 minutes then rinsed it off with running water. I dried it off with a soft cloth. I restained the rim top and edges with an Oak Stain Pen. I was able to blend it into the rest of the bowl.I worked some Before & After Restoration Balm into the surface of the briar with my fingertips to clean, enliven and protect it. I let the balm sit for a little while and then buffed with a cotton cloth to raise the shine. The following photos show the bowl at this point in the restoration process. I am very happy with the results. I turned to the stem to address the issues on the surface of both sides at the button. I sanded both sides smooth with 220 grit sandpaper and 400 grit sandpaper to blend the tooth chatter and the repair into the surface of the stem. As I sanded and reshaped the button and stem surface the repaired areas and the tooth chatter disappeared.I polished the stem with micromesh sanding pads – wet sanding with 1500-12000 grit sanding pads. I wiped it down after each sanding pad Obsidian Oil. I finished by polishing it with Before & After Pipe Stem Polish both fine and extra Fine and then wiped it down with a final coat of Obsidian Oil. This is a Malaga Bent Volcano with a Lucite/acrylic tapered stem. It has a great look and feel. The shape of the bowl, the beveled rim top and the cut of the briar work well to highlight the grain around the bowl sides. The carved streaks and boxes look very good around the sides and bottom of the bowl. I polished stem and the bowl 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 grain took on life with the buffing. The rich oil cured colour works well with the polished acrylic stem. The finished pipe has a rich look that is quite catching. Have a look at it with the photos below. The shape, finish and flow of the pipe and stem are very well done. The dimensions are Length: 6 inches, Height: 1 ¾ inches, Outside diameter of the bowl: 1 ¼ inches, Chamber diameter: ¾ of an inch. I will be adding the pipe to the finished Malaga pipes that I have set aside for Alex. I am glad that he is carrying on the trust for George Koch. Thanks for walking through the restoration with me as I worked over another one of Kathy’s Dad’s Pipes.

 

New Life for a Malaga Egg Shaped Oom Paul for Alex

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Blog by Steve Laug

I have been working on a lot of different estate pipes and selling them for different families. I am continuing to work on the Malaga pipes that Alex put aside for restoration. He also brought other pipes to add to his box. I have a box of pipes from Alex that I am always working away at. He periodically drops more Malaga pipes into his box. There are quite a few of them to work on so I decided work on a few of them. The next one of these was another Malaga pipe. It is a beautiful Egg shaped Oom Paul that has a very tight grain pattern. It also has a fancy turned vulcanite stem. The pipe was dirty and caked when arrived. The rim top has a little lava and some small nicks on the left and front of the outer edge of the bowl. The bowl had a thin cake in it that was hard and dense. The exterior of the bowl and shank are very dirty with grime and oils from prolonged use. The stamping on the underside of the shank below the shank/stem junction was faint but readable and read MALAGA. The vulcanite stem was had tooth chatter on the top and the underside of the stem. There were tooth marks on both sides as well and the button was worn. I took photos of the pipe before I started the cleanup work. I took close up photos of the bowl and rim to capture the condition of the pipe before I started my cleanup work. The rim top had some lava and a few nicks on the outer front and left edge. The inner edge was slightly worn on the right inner edge where the rest of the inner edges was smooth and unbeveled. Other than being so dirty it was in great condition. The stem was dirty and there was tooth chatter on the top and underside near the button. There were tooth marks on the topside and underside ahead of the button and the sharp edge of the button was worn and damaged. The stem was also lightly oxidized.I took a photo to capture the stamping on a smooth panel on the underside of the shank near the stem/shank joint. The photo shows the stamping MALAGA on the underside of the shank is very readable.If this is the first of the Malaga restorations that you have read about then you should know the backstory of the brand. 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. I have written an earlier blog to give a little history of the Malaga Brand and the pipemaker, George Khoubesser. 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.

I decided to start with the issues with the rim top first. I wiped down the rim top of the bowl with a damp cloth to remove the tars and lava. I topped the bowl with 220 grit sandpaper on a topping board to remove the damaged areas. Once the top was smoothed out I filled in the holes on the front and left outer edge with clear super glue. Once the repairs cured I sanded the top and edge smooth with a folded piece of 220 grit sandpaper and 400 grit wet dry sandpaper. I followed our regular regimen for cleaning estates. I reamed the bowl with a PipNet pipe reamer and followed up with a Savinelli Fitsall pipe knife to remove the cake. I sanded the bowl with 220 grit sandpaper wrapped around a piece of dowel to smooth out the inside walls of the bowl. I scrubbed out the mortise and the airway in the shank and the stem with alcohol, cotton swabs and pipe cleaners. I restained the top of the rim and inner edge with an oak coloured stain pen to match the colour of the rest of the bowl. Once it had dried the match was very good.I polished the briar with micromesh sanding pads – 1500-12000 grit pads. I wiped the bowl down after each sanding pad with a damp cloth to wipe of the dust. I scrubbed the briar with Before & After Briar Cleaner. I rubbed it into the surface of the briar with my finger tips and let it sit for about 10 minutes then rinsed it off with running water. I dried it off with a soft cloth. I worked some Before & After Restoration Balm into the surface of the briar with my fingertips and a horsehair shoe brush 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 photos show the bowl at this point in the restoration process. I set the bowl aside and turned my attention to the stem. I wiped down the stem with alcohol and cleaned out the tooth marks and deep dents in the vulcanite. I filled them in with clear super glue and also built up the surface of the button on the top and underside. I set it aside and let the repair cure.Once the repairs had cured I used a needle file to cut button edge, reshape the button and also smooth out the repaired areas. I sanded out the tooth chatter with 220 grit sand paper and started to polish it with a folded piece of 400 wet dry sandpaper. Once it was finished it began to shine.I polished the stem with micromesh sanding pads – wet sanding with 1500-12000 grit sanding pads. I wiped it down after each sanding pad with a damp cloth. I polished it with Before & After Pipe Stem Polish – both Fine and Extra Fine and buffed it off with a cotton cloth. This is a beautiful Malaga Egg shaped Oom Paul with a fancy black vulcanite turned stem. It has a great look and feel. The shape is very tactile and is a beauty. I polished stem and the bowl with Blue Diamond polish on the buffing wheel. I gave the bowl and the stem multiple coats of carnauba wax. I buffed the pipe with a clean buffing pad to raise the shine. I hand buffed it with a microfiber cloth to deepen the shine. The pipe polished up pretty nicely. The rich oil cured briar took on life with the buffing. The rich brown colour of the briar works well with the polished vulcanite stem. The finished pipe has a rich look that is quite catching. Have a look at it with the photos below. The shape, finish and flow of the pipe and stem are very well done. The dimensions are Length: 6 ½ inches, Height: 2 1/8 inches, Outside diameter of the bowl: 1 ¼ inches, Chamber diameter: 3/4 of an inch. I will be adding the pipe to the finished Malaga pipes that I have set aside for Alex. This will be a great addition to his collection of Malaga pipe. Thanks for walking through the restoration with me as I worked over another Malaga.