Tag Archives: Bowl – finishing

Acrylic Stem Repair – A Butz-Choquin Cadre Noir 1845 St. Claude France


Blog by Dal Stanton

The next pipe on my work table is at 2 o’clock in this Lot of 13 I acquired from an eBay seller in Nevada.  There were several other pipes that attracted me in this lot as well, especially the Cherry Wood Ropp at the 4 o’clock position.  The LHS Purex at 9 o’clock is also an interesting shape – most of these are still waiting in my ‘Help Me!’ basket.  The Butz Choquin Cadre Noir got the attention of a couple who are in Bulgaria working with us for the summer.  Joy saw the pipe and wanted it as a gift for her brother.  I think it was the combination of the rustified Leprechaun shape and the gray marble acrylic stem that got her attention.When I bring the BC to my worktable, I take additional pictures to fill in the gaps.  The nomenclature is stamped on the lower side of the shank with the left side of the stamping reading in a fancy script, ‘Choquin’ [over] ‘Cadre Noir’ which means in French according to Google Translate, ‘Black Framework’ or ‘Black Setting’.  On the right side of the stamping is an arched ST CLAUDE [over] FRANCE [over] 1845 – which I’m assuming is a shape number. Pipephil was helpful in identifying the 1845 as a shape number.  The C’est bon below is the same BC pipe shape in a smooth version, which I described above as a Leprechaun – perhaps a mix between freehand and Dublin? The bowl moves from a wide rim, a narrower mid-section and then flares out again at the heel with ridges tapering toward the shank.  Very nice looking.Searching for the BC Cadre Noir online, one finds several examples of what TobaccoPipes.com describes as a BC line depicting a “modern pipe”.

BC’s Cadre Noir pipes are a unique rusticated pipe with an ostentatious clear acrylic stem. Unlike most rusticated tobacco pipes, this one is thoroughly modern.

Another listing of a 1772 Brandy shape sheds light on the actual understanding of Cadre Noir.

The Cadre Noir is a world-famous French riding school for jockeys and horses. This Butz-Choquin pipe, in order to pay some form of tribute to the country’s prized institute, has a rustic finish consisting of parallel trenches running across the bowl. With a black and clear acrylic stem, this 1772 brandy shaped pipe is a dapper addition to both a pipe collection and an equestrian’s repertoire.

The BC before me does not have a clear acrylic stem, yet it could be described as opaque in places.  The only thing that is a significant obstacle to recommissioning this BC Cadre Noir is the damage to the gray swirl acrylic stem.  The pipe generally needs only a clean-up.  The upper button has chipped off and needs to be rebuilt.  The challenge in this rebuild is getting anywhere close to matching the colors of the patch material and the acrylic stem grays.  Before I begin any repairs, I clean the pipe.  Starting with the fire chamber, using the Savinelli Pipe Knife, I scrape out the minor carbon build up on the chamber walls.  Following this, using 240 grit sanding paper wrapped around a Sharpie Pen I clean the chamber out further.  I finish by wiping the chamber with a cotton pad wetted with alcohol to remove the carbon dust.  Now looking to the external rustified surface, I use Murphy’s Oil Soap undiluted with a cotton pad and a bristled tooth brush to get into the nooks and crannies of the surface.  The pictures show the cleaning. Switching to the internals, I use pipe cleaners and cotton swabs to do the job.  When I realize my time is waning, I decide to complete the internal cleaning and refreshing with the use of a salt – alcohol bath.  Using kosher salt, I fill the bowl, and stretch and twist a cotton ball to create a wick to stuff down the mortise.  I fill the bowl with alcohol until it surfaces over the salt and I put it aside to let it soak for several hours. The soak did the job when I return home later that day.  The salt and wick had absorbed the oils and tars from the briar.  I toss the old salt, wipe the chamber with paper towel and use a bristle brush to remove all the salt residue.  I return to using cotton swabs and as billed, the soak had done the job.  The pictures show the cleaning process.Now to the acrylic stem.  I first clean the internals which were in great shape.The major challenge I face with this BC Cadre Noir 1845, is the acrylic stem button repair.  I did a repair on a Meerschaum’s Bakelite stem which was a clinic in trial and error, but finally realizing success.  That Meerschaum is now a good friend in my rotation and you can see the Bakelite stem repair at The Pipe Steward blog site here: LINK.  I take some additional close-ups of the chipped button.  This acrylic stem has a gray marble color.  The good news is that the lower button (pictured above) is intact and acts as a template for the upper button rebuild.  The challenge is matching the patch material color with the multi-colored hues of gray.  My idea of how to approach this is to use clear thick CA glue as a base.  I will mix some white acrylic paint with it to create the light base.  Then, I will very gradually add activated charcoal to the mixture to create the movement toward the grays.  I have no idea how the white acrylic paint and the CA glue will react together.  I begin this repair using a needle file to work on the button while its exposed – filing down the lower surface of the slot which is rough from the break.  I then cut an index card forming a triangle, cover it with scotch tape which prevents the patch material from adhering to it, and insert it into the slot acting as a mold.  The mold will shape the slot area as well as guard the airway from the patch material seeping into it and clogging it. Well, mixing white acrylic paint with CA glue doesn’t work, so don’t try that path!  The paint immediately gummed up as it was mixed and did not provide a lightening effect.  To build the button, I end up simply applying thick CA glue and charcoal powder mixture to the button and spraying it with an accelerator to shorten the curing time.  It doesn’t have the gray hue I was wanting to blend better, but it should look ok after sanding and shaping.  I pull out the index mold and the slot looks rough now, but good.  Using a flat needle file, I start shaping the button lip.  Without a doubt – in my opinion, button rebuilding is the most time consuming and meticulous aspect of restoring estate pipes.  Patiently, I file the button and slot to a shape that is consistent with the original button curvature.  Using the lower lip as the template, I shape, file, shape, file….  It’s looking good.  Pictures show the progress. With the main file sculpting done, I use 240 grit sanding paper and sand the button, bit, and slot to blend the patch and the native acrylic.  Then, using 600 grit paper I fine tune, then a hearty buffing with 0000 steel wool.  Often when rebuilding a button, the patch material reveals air pockets as the sanding and buffing move toward the final stages.  This button was no different.  To cover these air pockets, I paint a fine layer of thick CA glue over the lip with a tooth pick.  The air pocket pits are filled with the CA glue.  I again run over the lip surface with a light 240 grit, then 600 grit papers, then the final 0000 grade steel wool buff to blend. With the button repair completed, I move on with the micromesh pad sanding of the acrylic stem.  I wet sand using pads 1500 to 2400.  I follow this with pads 3200 to 4000 then finish with pads 6000 to 12000.  I’m careful to avoid the ‘BC’ stem stamping as I sand. During the sanding, I also sand the white acrylic divider between stem and shank to spruce it up as well.  Even though I don’t believe the application of Obsidian Oil helps an acrylic stem, I do it anyway because it looks good and seems to bring out the marbling.  I have to admit, the button’s rebuild came out better than expected.  Even though I couldn’t create the gray hue in the patch material, the black seems to blend perfectly with the stem.  The dubbing of this Butz-Choquin Cadre Noir as being a ‘modern’ pipe, I think fits well with the results – looks great.  The pictures show the stem’s progress. Next, I look at the BC’s rustified stummel.  The dark deep contours of the bubbled rustication make the peaks of the bubbles stand out.  I like the Leprechaun look of the pipe.  To polish and protect the surface, I use Museum Wax wetted with a bit of spittle, applying it with a cotton cloth.  I work the wax into the crooks and crannies of the rustification.  After working the Museum Wax into the rustified surface, I do an initial hand buff with a bristled shoe brush.  Following this, to deepen the buff and heighten the shine, I mount the Dremel with a cotton cloth buffing wheel set at 40% speed and buff the surface further.  Pictures show the progress. Again, picking up the stem, after mounting the Dremel with a cotton cloth wheel for Blue Diamond, I buff the acrylic stem with a high gloss using the compound.  Before applying carnauba wax to the stem, I want to freshen the ‘BC’ stamping on the side of the stem.  The ‘C’ has grown less distinct.  Using white acrylic paint, I apply it over the stamping hoping that there’s enough edge left in the ‘C’ to hold the paint.  After it dries, I gently rub off the excess paint using the middle flat edge of a tooth pick.  The ‘BC’ is a bit more distinct now.  Pictures show the progress. The cotton cloth is mounted on the Dremel and I apply carnauba wax to the acrylic stem at 40% speed.  After applying the carnauba over the stem, I reunite the gray marbled acrylic stem with the Leprechaun stummel and give it a good hand buff using a micromesh cloth.

I’m very pleased with the outcome of the button rebuild and how well the patch material blends with the gray marble acrylic stem.  This French made Butz-Choquin Cadre Noir 1845, is a unique shape and will draw attention.  I’m happy to recommission this BC for Joy’s brother who will be his new steward.  Joy’s gift benefits the Daughters of Bulgaria, our work here in Bulgaria with women and girls who have been trafficked and sexually exploited.  Thanks Joy!  To learn more about how my restorations help, check out my blog, The Pipe Steward.  Thanks for joining me!

A Small C.P.F. French Briar Horn captured my attention


Blog by Steve Laug

The next pipe I chose to work on from the lot of the lot of pipes my brother and I picked up on our virtual pipe hunt in Montana is another C.P.F. French Briar. This one is a classic horn shape with a chubby shank and a horn stem. It is delicate in terms of size (4 inches long and 1 ½ inches tall) but chunky feeling at the same time. Like the other banded pipes in this lot the band on the shank is loose and has turned so that the faux hall marks are on the other side. The finish is very dirty and the rim is damaged around the inner and outer edges. The horn stem is worn and there is tooth chatter on the top and underside of the stem near the button. The stem is overturned in the shank. The photos below show what it looked like before my brother did his clean up on it. If you would like to read about some of the others I have restored I have written about them in individual blogs. They include a CPF horn stem bulldog, a CPF French Briar bent billiard, a CPF Remington French Briar military mount billiard and a CPF French Briar Rhodesian. Just a reminder – CPF stands for Colossus Pipe Factory. The brand was made in the late 1880s and 1890s.Jeff took the above photos as well as the photos that follow to show the condition of the pipe before he cleaned it up. This sad little Horn comes from the same era as the other pipes in this find – the late 1880s – early 1890s. The finish was worn dirty but the grain underneath showed promise. There one large sandpit on the bottom left side of the bowl toward the front. The rim of the bowl and top edge of the pipe were in rough shape. The outer edge had been beat up pretty good by someone knocking their pipe out against something hard (if you are tempted to knock out your pipe on a railing or a garden rock please think twice before you do so). The inner edge of the rim appeared to be out of round and carved up by the same person who had used a knife to ream the others in this lot. There was a thick, crumbling cake buildup in the bowl and the lava from the bowl overflowed onto the damaged top of the rim. The band on the shank end was oxidized and the stamping on it was almost illegible. The horn stem had tooth marks on the top and underside near the button. Jeff took close up photos of the rim top to show how bad it looked before he started the cleanup. The thick cake and lava overflow on the rim filled in a lot of the damage. The full extent of the damage would be revealed once the cake was removed and the lava was cleaned.The next photos show the condition of the bowl sides and the flaking finish. The damage on the rim edge also can be seen in the pictures. The third picture shows the sandpit on the bottom left side of the bowl. You can also see the potential in the lovely grain that is peeking through the grime and flakes of old finish peeling off. The stamping on the left side of the shank is readable – it has the C.P.F. logo in an oval with the words French Briar above and below the oval. The stamping on Briar is fainter than the rest of the stamping. The silver band on the shank has the faux hallmark stamps that I have come to associate with C.P.F. pipes. The horn stem had some great looking striations and colour underneath the wear and tear. There was some tooth chatter and bite marks on both the top and underside at the button. I am very spoiled due to the excellent cleanup work that my brother Jeff does on these old pipes before I ever get them here in Vancouver. He has a pattern to his work and it rarely varies. Jeff thoroughly cleaned the pipe reaming the bowl with a PipNet reamer and tidying up with a Savinelli Fitsall Pipe Knife. He scrubbed out the mortise and the airway in the shank and the stem with pipe cleaners, cotton swabs and alcohol. He scrubbed the exterior of the pipe with Murphy’s Oil Soap to remove the grime and grit on the bowl. He scrubbed the rim top with a tooth brush and the oil soap. He scrubbed the band and stem at the same time to clean it. I took photos of the pipe to show the condition it was in when it arrived in Vancouver. I took a close up photo of the rim top and the sandpit on the lower left side. You can see the damage along the inner and out edges of the rim and the size and location of the sandpit in the photos. The general condition of the briar is rough though the grain patterns are promising.The horn stem is dry and lacklustre but it seems to be solid. There was no delamination happening along the sides or length of the stem and the tooth marks and chatter at the button were relatively minor. This horn stem was in the best condition of all of the horn stems I have worked on in this lot from Montana. The stem was overturned to the right due to wear on the mortise and the threaded bone tenon.I repaired the sandpit with a few drops of super glue and let it dry. Once the glue had dried I sanded the repair with 220 grit sandpaper to blend it into the surface of the briar.I topped the bowl on a topping board with 220 grit sandpaper to remove the damage and minimize the damage to inside and outside edges of the rim. I did not have to take off too much so I checked as I worked over the rim. Once I had the rim smooth I stopped sanding and wiped the bowl down with alcohol on cotton pads to clean off the dust from the surface. I filled in the nicks around the outer edges of the bowl with clear super glue. I carefully over filled the spots around the rim so that I could sand it smooth and leave a smooth flow to the rim. I sprayed the repairs with an accelerator so that I could sand it sooner. The next photos show the repair process and the end results.I gently topped the rim again on the topping board to smooth out the repairs on the rim top and sanded the outer edge of the bowl and inner edge of the bowl with 180 and 220 grit sandpaper. I was able to remove the excess repair material and smooth out the rim edges on both the inside and outside. The overall look was far better than when I started the restoration and it was minimally intrusive.I polished the band with a 1500 grit micromesh sanding pad to remove the tarnish and corrosion (I would use the other grits of micromesh pads later in the process to polish the band). Underneath the film and corrosion the band was gold in tint just like the other C.P.F. pipes that I have been restoring. I coated the shank end with white all-purpose glue and pressed the band in place. I aligned the faux hallmarks with the stamping on the shank. I wiped down the glue that squeezed out around the edge of the band before it dried so that it would not hamper staining the shank end when I was ready.I carefully heated the bone tenon with a Bic lighter, moving the flame constantly and not letting it get to hot. My purpose was to loosen the tenon and turn the stem straight once again. I repeated it several times and was able to get quite a bit of turn on the stem but not enough. I backed it off and let the glue in the stem harden again. I would need to come up with another method to address the worn threads in the mortise and on the tenon.I set the stem aside for a bit and turned my attention to polishing the briar in anticipation of staining it. I went through the full range of micromesh sanding pads – wet sanding with 1500-2400 grit pads and dry sanding with 3200-12000 grit pads. I wiped the bowl down with a damp cotton pad between pads. The pictures show the way the polishing brings the grain out on the bowl. I needed to stain it to blend the repairs into the rest of the bowl surface. The trick would be to stain it with light enough colour to highlight the grain and not mute it. I mixed 1 part of dark brown aniline stain with about 3 parts of isopropyl alcohol to make a medium brown wash for the bowl. I stirred it to get a good mix. I heated the briar and applied the mixture to the bowl. I flamed it and repeated the process until I was happy with the coverage on the bowl.Once the stain dried I wiped it down with alcohol and cotton pads to remove the excess and make it more transparent. I still found that the colour was too dark so I decided to polish it with micromesh sanding pads. I wet sanded with 1500-2400 grit pads and wiped it down with alcohol on cotton pads to remove the finish I had sanded free. I touched up the shallow gold stamping with Rub’n Buff European Gold using a cotton swab. I rubbed of the excess with a cotton pad. I finished polishing the bowl by dry sanding it with 3200-12000 grit pads. I wiped it down with alcohol after each pad to clean it. The pictures tell the story of the process and the end. With the bowl finished it was time to work on the stem. I sanded the tooth marks out and smoothed the flow of the stem with 220 grit sandpaper. I polished it with micromesh sanding pads – wetsanding with 1500-2400 grit pads and dry sanding with 3200-12000 grit pads. I rubbed the stem down with Obsidian Oil after each pad. After the last pad I gave it a final coat of oil and set it aside to dry. I painted the tenon with clear fingernail polish to build up the threads. I layered it on until the threads sat well in the mortise. I put the stem on the shank and it lined properly. I buffed the bowl and stem with Blue Diamond on the buffing wheel to polish out the scratches in those surfaces. I buffed the brass coloured band with Blue Diamond as well. I gave the pipe multiple coats of carnauba wax to protect the aged briar and the horn. The finished pipe is shown in the photos below. It is a beautiful piece of pipe history and I only wish it could tell its story so I could know a bit of its travels. Until such a time that pipes can talk I am left to my own imagination. Thanks for walking with me through the process of the restoration.

This Old CPF French Briar Rhodesian was in rough shape


Blog by Steve Laug

The next pipe I chose to work on from the lot of the lot of pipes my brother and I picked up on our virtual pipe hunt in Montana is another C.P.F. French Briar. This one is a Rhodesian shape with a chubby shank. It is an interesting shape and the carving around the band separating the cap from the body of the bowl. The band on the shank is loose and has turned so that the C.P.F. stamp on the band is on the other side. The finish is very dirty and the rim cap and top is heavily damaged. The horn stem is worn and there is tooth chatter on the top and underside of the stem near the button. There is a wrinkle in the horn on the underside mid stem. The stem looks like someone has either wrapped it or there is a gasket to keep it in place. The photos below show what it looked like before my brother did his clean up on it. If you would like to read about some of the others I have restored I have written about them in individual blogs. They include a CPF horn stem bulldog, a CPF French Briar bent billiard and a CPF Remington French Briar military mount billiard. (You can access them by clicking on the CPF Name above for a hyperlink to the blog). Just a reminder – CPF stands for Colossus Pipe Factory. The brand was made in the late 1880s and 1890s.Jeff took the above photo and the photos that follow to show the condition of the pipe before he cleaned it up. This sad little Rhodesian comes from the same era as the other pipes in this find – the late 1880s – early 1890s. If I thought the silver mount billiard was in bad shape this one was in worse condition than any of previous pipes I had worked on from this lot. It was worn and was in rough condition. The finish was worn off and appeared to be flaking in place. There were a lot of nicks, scratches around the outside of the bowl. The outside of the bowl was covered with grime, grit and was peeling. The rim of the bowl and top edge of the pipe were in abysmal condition. The rim had been knocked out on hard surfaces and burned. There were huge chunks missing all around the rim top. The front of the bowl was in worse condition than the back and sides. The height of the top cap was different all the way around. Once again there was a thick, crumbling cake buildup in the bowl and the lava from the bowl overflowed onto the damaged top of the rim. The band on the shank end was oxidized and the stamping on it was almost illegible. The horn stem had tooth marks on the top and underside near the button. There is a wrinkle in the horn on the underside mid stem.Jeff took close up photos of the rim top to show how bad it looked before he started the clean up. The thick cake and lava overflow on the rim filled in a lot of the damage. The full extent of the damage would be revealed once the cake was removed and the lava was cleaned. The third photo below shows the rim from one side and you can see the damage on that side. The next two photos show the condition of the bowl sides and the flaking finish. The damage on the rim edge also can be seen in the pictures.The stamping on the left side of the shank was readable – it had the C.P.F. logo in an oval with the words French Briar above and below the oval. The band on the shank end had the faux hallmark stamps that I was familiar with as well as the C.P.F. oval. The second photo shows something in between the shank and the stem. The first photo below shows the stem and the wrapping or gasket between the shank and stem. It is followed by photos that Jeff took when he removed the stem showing the wrapping – a thread of twine wrapped around the tenon to hold it in place in what appeared to be worn out threads in the mortise itself.The horn stem showed some tooth chatter, bite marks and what looked like wrinkles on the underside, but it was in better condition than the other previous horn stems I had worked on.Following his usual pattern, Jeff thoroughly cleaned the pipe. He reamed the bowl with a PipNet reamer and tidied up with a Savinelli Fitsall Pipe Knife. He scrubbed out the mortise and the airway in the shank and the stem with pipe cleaners, cotton swabs and alcohol. He scrubbed the exterior of the pipe with Murphy’s Oil Soap to remove the grime and grit on the bowl. He scrubbed the damaged rim top with a tooth brush and the oil soap. He scrubbed the band and stem at the same time to clean it. I took photos of the pipe to show the condition it was in when it arrived in Vancouver. You can see the damaged rim top and edges and the fill on the right side of the bowl. The condition of the briar is rough and the stem is oxidized. The band was loose so I removed it from the shank to clean it. I took a photo of the pipe parts.I took a close up photo of the rim top to show how great a job my brother did on it but also the extent of the damage that would need to be addressed in the repair.The stem was clean in decent shape. Very few tooth marks were on the top and bottom sides and those would be easy to deal with. The button was in excellent condition.I mixed a putty of super glue and briar dust to use for rebuilding the rim on the bowl and the top edge. The damage was quite significant so the repair would be extensive. I was hoping that it would work. Once it dried I topped the bowl on the topping board with 220 grit sandpaper and worked the inner edge with a folded piece of the same sandpaper. The repair came out quite well and gave me something to work with in the finished pipe. I polished the band with 1200-12000 grit micromesh sanding pads to remove the tarnish and corrosion from the surface. It worked really well and left behind a polished brass band. When I finished polishing the band I used an all purpose glue to glue it in place on the shank with the stampings aligned with those on the briar. I wiped down the bowl with alcohol on a cotton pad to remove the remaining sanding dust from the bowl and any grit that had accumulated in the carvings from my sanding. I polished the briar with micromesh sanding pads – wet sanding with 1500-2400 grit pads and dry sanding with 3200-12000 grit pads. I wiped the bowl down with a damp cotton pad to remove the dust after each set of pads. I stained the bowl with a dark brown aniline stain mixed with isopropyl alcohol in a 50/50 ratio. I flamed it and repeated the process until I was happy with the finish. I wiped the bowl down with cotton pads wetted with isopropyl to thin the stain and give it more transparency. When I finished that I buffed it with red Tripoli and sanded it down with 1500-12000 grit micromesh pads to polish it and give it the look that I was aiming for. The pictures tell the story. With the bowl done, except for the final buffing I turned my attention to the stem. The first thing I had to deal with was the worn threads in the mortise. I decided to fill in the threads on the tenon with super glue and make the stem a push stem. I could have removed the threaded tenon and inserted a new push tenon like those on meerschaum pipes but I wanted to keep the original look of the tenon and mortise so I figured that I could convert the stem to push status by simply building up the threads. I layered on clear super glue until I had the build up shown in the photos below. I still needed to sanded it smooth and reapply a final coat but you can see the process.I sanded out the tooth marks in the stem and worked on the “wrinkles” in the underside of the stem with 220 grit sandpaper until they were smooth. I worked on some of the marks at the tenon end of the stem at the same time as it seemed rough to touch.I polished the stem with micromesh sanding pads – wet sanding with 1500-2400 grit pads and dry sanding with 3200-12000 grit pads. I rubbed the stem down with Obsidian Oil after each pad to give the horn some needed oil to help with the dry feel that it had after over a hundred years of smoking. You can follow the development of the shine in the photos that follow. I love the feel and look of polished horn. There is nothing quite like it for translucency and feel. I had forgotten to touch up the gold leaf in the stamping on the shank up to this point so I applied some Rub ‘n Buff European Gold to the stamping with a cotton swab and rubbed off the excess. The stamping on this pipe was in excellent condition so it came out really readable.I buffed the pipe and stem with Blue Diamond on the buffing wheel to polish out the scratches that remained and to give it a shine. I was careful to avoid damaging the gold stamping on the shank. I gave the pipe multiple coats of carnauba wax to protect the horn and the briar. I buffed it with a clean buffing pad to raise the shine on the horn and the stem. I hand buffed it with a microfiber cloth to deepen the shine. The finished pipe is shown below. I am pretty happy how it came out considering what I started with. The rim and cap look the age of the pipe but the damage is gone and the pipe is ready for another 100 years. Thanks for going through the process with me on this challenging restoration.

Restoring another CPF French Briar – a Remington Silver Mount Billiard


Blog by Steve Laug

The next pipe I chose to work on from the lot of the lot of pipes my brother and I picked up on our virtual pipe hunt in Montana is a C.P.F. French Briar Silver Mount Billiard. It is a classic billiard shape, while the silver ferrule and cap on the stem end give it a feeling of elegance. The photos below show what it looked like before my brother did his clean up on it. It is another one from the lot of pipes my brother and I picked up on our virtual pipe hunt in Montana. I have written about several of the other CPF finds with the latest being a CPF horn stem bulldog and a CPF French Briar billiard. Just a reminder – CPF stands for Colossus Pipe Factory. The brand was made in the late 1880s and 1890s.Jeff took the above photos and those that follow to show the condition of the pipe before he cleaned it up. This little billiard comes from the same era as the other pipes in this find late 1880s – early 1890s. It was in worse condition in many ways than the previous pipes I had worked on from this lot. It was worn and was in rough condition. The finish was worn off and there were a lot of nicks, scratches around the outer rim of the bowl and top edge of the pipe. The outside of the bowl was covered with grime and grit. Once again there was a thick, crumbling cake buildup in the bowl and the lava from the bowl overflowed over the top of the rim. The damage to the outside of the rim made me think that the inner edge of the bowl was also damaged from the same kind of knife reaming. But I could not be certain until the cake was gone. The silver ferrule on the shank end was damaged and torn on end with what looked like small cracks in the silver. The tenon endcap was worn, scratched and some brass colour showed through the finish. The vulcanite stem had small tooth marks on the top and underside near the button and was oxidized.Jeff took the next two close up photos of the rim top and bowl. You can see the thick cake in the bowl and the chipped overflow on the rim top. The damage to the inside edge and the chips on the outer edge are visible under the cake. The next three photos show the grain under the dirty and damaged finish on the bowl sides. There are also scratches and nicks in the bowl and around the rim. The stamping on the sides of the shank was very readable. The left side read The Remington and the right side read French Briar. The silver ferrule is stamped with three faux hallmarks and the logo of C.P.F. in an oval. Some of the cracks and tears on the ferrule are also visible in the third photo. Jeff took photos of the condition and tears in the ferrule. It was in very rough shape and would take some work to repair and smooth out. But was it worth the effort. The bite marks, chatter and wear on the both the top and underside of the stem surface are visible in the next photos.Following his usual pattern, Jeff thoroughly cleaned the pipe. He reamed the bowl with a PipNet reamer and tidied up with a Savinelli Fitsall Pipe Knife. He scrubbed out the mortise and the airway in the shank and the stem with pipe cleaners, cotton swabs and alcohol. He scrubbed the exterior of the pipe with Murphy’s Oil Soap to remove the grime and grit on the bowl. He scrubbed the metal ferrule and stem end at the same time to clean it. I took photos of the pipe to show the condition it was in when it arrived in Vancouver. You can see the damaged rim top and edges and the fill on the right side of the bowl. The condition of the briar is rough and the stem is oxidized. Jeff had cleaned up the rim top and what was underneath was sad. The rim was chipped and damaged. The inner and outer edge of the bowl was badly damaged. The inner edge was out of round and the cuts in it seemed like they had been down when a previous owner had reamed the bowl with a knife. The outer edge was beat up with large chips and nicks going down the side of the bowl.The next photos of the stem and end cap show the brass shining through and the oxidation on the surface of both sides. The tooth marks and chatter are also visible. Fortunately they do not appear to be deep.I topped the bowl on the topping board using 220 grit sandpaper to remove the surface damage and clean up the edges from the top view. I did not have to top it too much to smooth out the rim. Topping the bowl also removed much of the damage to the edges as well.I used clear super glue and briar dust to repair the rough outer edge on the bowl top and the damaged fill on the back right side. I sanded the repairs smooth with 220 grit sandpaper to remove the excess repair and blend it into the surface of the briar.I sanded the repairs smooth and repaired the light bevel to the inner edge of the rim with a folded piece of 220 grit sandpaper to repair the damages to the inner edge.I polished the briar rim and the sides of the bowl with micromesh sanding pads – wet sanding with 1500-2400 grit and dry sanding with 3200-4000 grit pads. I wiped the bowl down after each pad with a damp cotton pad. The photos tell the story of the polishing process on the bowl. I heated the briar and stained it with dark brown aniline stain thinned by 50% with isopropyl alcohol. I flamed it to set it in the briar and repeated the process until the stain coverage was even all around the bowl.Once the stain had dried I wiped it down with isopropyl alcohol to thin the stain and make it more transparent. When I finished wiping it down I buffed it with red Tripoli to reduce the stain even more. The pictures that follow show the process of reducing the opacity of the stain. I touched up the gold leaf on the stamping using European Gold Rub’n Buff. I applied it with a cotton swab and rubbed off the excess with a cotton pad. The repaired stamping is shown in the next two photos.I decided to experiment with a repair to the tears in the ferrule using clear super glue. I had never tried this before but I had a hunch that the hardened glue would fill in the gaps and then I could sand it smooth. I applied the glue in layers until the edge was even with the end of the ferrule. I sanded the repairs after each application of glue until the surface of the repair matched the rest of the ferrule. While the glue is slightly visible it bound the tears together and I was able to sand it smooth and blend it into the silver. I polished the repair with micromesh sanding pads – wet sanding with1500-2400 grit pads and 3200-12000 grit pads. The following photos show the progress of the ferrule repair. With the bowl and ferrule restored and functional I turned my attention to the stem. I polished the metal end cap with Blue Diamond on the buffing wheel. I polished the vulcanite with micromesh sanding pads – wet sanding with 1500-2400 grit pads and dry sanding with 3200-12000 grit pads. I rubbed the stem down with Obsidian Oil after each pad and after the final pad I set it aside to dry. I buffed the pipe with Blue Diamond on the buffing wheel to polish the briar and the stem. I gave the bowl and stem multiple coats of carnauba wax and buffed it with a clean buffing pad to raise the shine on the pipe. I hand buffed it with a microfiber cloth to deepen the shine. The finished pipe is shown in the photos below. It has come a long way from the sad and damaged pipe that I started with when I began the restoration. What do you think? Was it worth the effort? Seems to me that it was more than worth it. Thanks for walking with me through this process.

Another Piece Pipe History – a Lovely CPF French Briar Bent Billiard


Blog by Steve Laug

The next pipe I brought to the work table was a little bent CPF French Briar billiard. The photos below shows what it looked like before my brother did his clean up on it. It is another one from the lot of pipes my brother and I picked up on our virtual pipe hunt in Montana. I have written about several of the other CPF finds with the latest being a nice little CPF horn stem bulldog. Just a reminder – CPF stands for Colossus Pipe Factory. The brand was made in the late 1880s and 1890s. This little bent billiard comes from the same era as the other pipes in this find. It was very worn and looked to be in rough condition. The finish was non-existent and there were a lot of nicks, scratches and grime on the surface all around the bowl. There was a thick, crumbling cake buildup in the bowl and it overflowed on to the top of the rim. It looked like the inner edge of the bowl was damaged from reaming with a knife but I could not be certain until the cake was gone. The gold band on the shank was so badly oxidized that it was impossible to see what was under the grime and sticky debris on it. The horn stem had tooth marks on the top and underside near the button and looked like it was delaminating along the edges and the bend on the underside. The horn was very dry. Jeff took some close up photos of the bowl and rim from the top. You can see the crumbling condition of the cake in the bowl and the thick overflow on the rim top. It was really hard to see the condition of the inner edge of the bowl.The grain underneath all of the grim on the sides of the bowl was really quite stunning, even through the debris, grime and buildup. The birdseye and cross grain stain out really well even through the dirty surface. The oxidation on the band was also heavy and very rough. It is hard to know what is underneath the corrosion.The stamping on the left side of the shank has the standard C.P.F. logo in an oval with French arched over the oval and Briar arched underneath. The stamping on the C.P.F. is fainter than the stamping on French Briar. The second photo shows the junction between the band and the horn stem. The horn looks rough and grainy.The next four photos show the stem from various angles. The first and second photos show what looks like delaminating on the left side near the button. The third and fourth photos show tooth marks on the top and underside of the stem at the button. The tooth marks on the top are deep. Jeff thoroughly cleaned the pipe. He reamed the bowl with a PipNet reamer and cleaned it up with a Savinelli Fitsall Pipe Knife. He scrubbed out the mortise and the airway in the shank and the stem. He scrubbed the exterior of the pipe with Murphy’s Oil Soap to remove the grime and grit on the bowl. He scrubbed the tenon with a tooth brush and removed the tars and oils. I took photos of the pipe to show the condition it was in when it arrived in Vancouver. I took a close up photo of the rim top to show the condition it was in after my brother had cleaned it up. It is amazing to me that he was able to remove the thick buildup on the rim top and the crumbling cake in the bowl and leave no debris behind. It was better than I had expected. The rough spots would be easy to sand out and smooth the ridges and bring it back to round. It appeared that the pipe had never been smoked to the bottom of the bowl as the bottom of the bowl is raw briar.The next two photos show the condition of both sides of the stem after the cleanup. Note the roughness on the underside of the stem and the tooth marks/chatter on both to top and the bottom near the button.You can see the oxidation on the band in the photos above. It is not clear what colour it is. The sticky grime was cleaned off but the oxidation would need to go. I sanded the band with 1500-2400 grit micromesh pads to remove all of the sticky substance and the oxidation on the surface. It came off really easily with some polishing. I glued the band in place on the shank with white glue and let it dry.I smoothed out the damage on the inner edge of the rim with 220 grit sandpaper and gave it a light bevel to minimize the damage. I stained the beveled edge on the bowl with a black Sharpie pen to blend it in with the inside walls of the bowl. I wet sanded the bowl and rim with 1500-2400 grit micromesh pads and dry sanded it with 3200-12000 grit pads.  I wiped it down with a damp cotton pad to remove the sanding grit. I polished the band while I worked on the bowl with the same grits of micromesh pads. The following photos showed the polishing on the briar. I touched up the gold leaf on the CPF French Briar logo with European Gold Rub’n Buff. I applied it with a cotton swab and wiped down the excess gold. The light of the flash showed more of the gold buff that needed to come off.I stained the bowl with a 50/50 mix of dark brown aniline stain and isopropyl alcohol. I applied the stain and flamed it with a lighter. I repeated the process until I felt the coverage was even. Once it dried I took some photos of the stained bowl. It is too dark to my liking but the coverage was even. I wiped the bowl down with alcohol on cotton pads to make it more transparent and let the grain show through. I polished the briar with micromesh sanding pads to further remove the stain and make the grain show through. The process of unveiling the grain is shown in the photos that follow.With the bowl finished I worked on the stem. I used some small drops of super glue to fill in the tooth marks on the stem surface and the button. Once the repairs had dried I sanded them smooth to blend them into the surface of the stem. I polished the stem with micromesh sanding pads. I wet sanded it with 1500-2400 grit pads and dry sanded it with 3200-12000 grit pads. I wiped the stem down after each pad with Obsidian Oil on a cotton cloth. I gave it a final coat after the last pad and set it aside to dry. I buffed the stem and bowl with Blue Diamond polish on the buffing wheel to polish it. I gave the stem and bowl multiple coats of carnauba wax. I buffed the waxed bowl and stem with a clean buffing pad to raise the shine. I hand buffed it with a microfiber cloth to deepen the shine. The finished pipe is shown in the photos that follow. The old timer looks really good and should have long years of life in it. I look forward to enjoying this pocket sized pipe. Thanks for walking with me through the process of the restoration.

Jen’s Trove No. 8 – Restore & Upgrade of a Dr. Grabow Omega Smooth Billiard


Blog by Dal Stanton

I begin the restoration of the final pipe in Jen’s Trove before she leaves Bulgaria and returns to the US.  As I have posted eight times before this (I just figured out that I mis-numbered her pipes – two number 5s!), these pipes have been culled from my “Help Me!” basket and boxes to give as gifts to the men in her family.  I have been pleased to restore these pipes for Jen, especially because she knows each pipe she acquires benefits the Daughters of Bulgaria, help women and girls who have been sexually exploited and trafficked.  Thank you, Jen!

Her final pipe is a Dr. Grabow Omega Smooth Billiard – Dr. Grabow’s humbler version of a Peterson System pipe or the WDC Wellington.  Similarities include the Military stem with a P-Lip, and band.  The Omega is a smart looking pipe.  The eBay seller had a good selection and I rolled the Dr. Grabow Omega with four other pipes.  One of these was a GBD Americana Made in England which I restored (See this link at The Pipe Steward) and has become a regular friend in my rotation.  The restored Americana follows and then the seller’s picture of the Dr. Grabow Omega. The Lewis B. Linkman Co. started in 1892 (Pipedia).  Yet, the name, Dr. Grabow, was used for the first time in 1930 or 1931.  Since this is my first Dr. Grabow to restore, I find the story of the ‘Dr. Grabow’ name interesting because the Doctor is a real doctor!  From Pipedia’s article on the history of Dr. Grabow (and photo courtesy of Doug Valitchka):

Dr. Paul E. Grabow was a general physician in Chicago, located at 2348 N. Seminary Ave. Some doors north at No. 2400 was the drug store owned by Mr. Brown, a personal friend of Dr. Grabow. Grabow and Brown, both fond of fly-fishing, would often sit together in the early evening hours in a back room of the drug shop talking to one another and enjoying their pipes. Before long, they were joined by Mr. Linkman, owner of M. Linkman & Co., a large pipe factory located one block west on W. Fullerton Ave., at the corner of Racine Ave. These three gentlemen shared common interests and became fast friends.

During one of their evening get-togethers in 1930, Linkman mentioned he would introduce a new type of pipe soon that exhibited what he felt were fine improvements that greatly improved the pipe smoking experience. He was still looking for a good name and believed his pipes would sell better if they bore the name of a physician. (1) Linkman asked his friend Dr. Grabow if he would permit him to use his name. The good doctor felt flattered by the idea a pipe should be designated for him and consented. A formal agreement was not made, nor were there any contracts signed or royalties paid to Dr. Grabow for the use of his name; it was, according to one of Dr. Paul Grabow’s sons, Milford, a “friendly understanding” and Linkman expressed his thanks by sending Dr. Grabow numerous pipes throughout Dr. Grabow’s lifetime. (see The Legend of Dr. Grabow). Also interesting of note are the various instances where Dr. Paul Grabow stated that he developed, or helped develop, the Dr. Grabow brand of pipes. This was a tactic used to convince people that a pipe developed, endorsed, and used by a medical physician would be ‘more healthful’ than a pipe that was not developed by someone in the medical community.

Dr. Grabow pipes have been known as inexpensive, quality smokers – the ‘Drug Store’ variety.  The Dr. Grabow Omega line started production in the 1970s (LINK) coming in a smooth and blasted finishes.

I take additional pictures of the Omega on my work table to fill the gaps.  The nomenclature is stamped on the shank sides – OMEGA [over] DR. GRABOW on the left.  The right is stamped, IMPORTED BRIAR.  The Military mount stem has the classic Dr. Grabow Club card suit mark.  Overall, the Omega is in good shape.  The fire chamber has very little carbon cake.  The stummel surface and rim are clean.  The P-Lip stem has chatter especially on the lover button area and the stem shows no oxidation.  The biggest problem that I see on this Dr. Grabow is the finish.  I don’t like it.  These two comments on a Pipes Magazine Forum discussion about Dr. Grabow Omegas’, cost, quality and appeal, capture my thoughts regarding positives and negative:

Positives: An Omega was the first briar pipe that I ever owned. It still gets regular use and like Brewshooter, I have no complaints with it. Bowl size is a little bit smaller than I like, but it makes for a nice quick smoke, and the military mount makes it really easy to clean. I have Savinellis that I have easily paid four times more for, and sure, they smoke a little bit better, but in terms of a good smoking instrument, the Omega will do you well as long as it is smoked properly and maintained properly.

Negative: One thing I noticed about my Omega is that it had a heavy varnish or clear coat. I sanded it and gave it a nice wax. It seems to breathe a little better now and I like seeing more of the grain. I also gave the band a bit of a brushed look with some fine grain sandpaper. It’s a nice little pipe for that quick smoke.

I remember when I first saw the Dr. Grabow Omega sitting in my palm after it arrived in the mail.  My first thought was, ‘Nice pipe if it didn’t have that candy apple finish.’  Even then, I knew when this pipe came to my work table, I would be removing the finish – it may be an acrylic finish and they often are bears to remove.  I’m hopeful that the acrylic finish doesn’t hide a lot of surprises.  So, with a better understanding of the Dr. Grabow Omega, Imported Briar before me, I begin its upgrade by putting the military mount stem in the OxiClean bath.  Even though I don’t detect oxidation, I want to be sure that what is there will be raised and revealed. The very light carbon cake in the bowl is addressed with the Savinelli Pipe Knife.  After putting down paper towel for a quick clean up, I ream the cake and follow by sanding the bowl with 240 grit paper wrapped around a Sharpie Pen for better leverage.  I then wipe the bowl using a cotton pad wetted with isopropyl 95% to remove the residue carbon dust.  The pictures show the progress. Even though I think it will be unsuccessful, I first try to remove the acrylic finish using cotton pads wetted with acetone.  Was I surprised.  The finish peels off immediately with the acetone.  What I thought was acrylic is more like a jell that thickens with the acetone and gums up on the surface.  It also has a reddish color to it.  I use several cotton pads because they gum up quickly with the red goo coming off the surface.  While I remove the red top layer of finish, after working on the stummel with the acetone, it still is darker than I expected if all the finish had been removed.  I also am now able to see more fills – one larger area in the back of the bowl, over the shank.  That will need some attention.  I take some pictures of the progress and fills.  I decide to let the stummel soak in an acetone bath to remove more of the old finish.  While the stummel soaks in the acetone bath, I fish the Military mount stem out of the OxiClean bath and take a picture.  While there is not much in the way of oxidation showing on the stem, the OxiClean had the effect of bringing out small speckling on the surface.  I use 600 grit paper and wet sand the surface of the stem.  I follow with a rigorous buffing with 0000 grade steel wool.  The 600 grit paper and steel wool were sufficient to work out all the tooth chatter.  I then use pipe cleaners and cotton swabs wetted with alcohol for the filter bay, and to clean the internals of the stem.  Very little was needed to finish the job. Now it’s time to fish the stummel out of the acetone bath.  The finish is removed and I’m looking at the natural briar and it does have a darker hue.  I use a sharp dental probe to test the fills I see variously around the stummel.  I see a few very small fills and most seem strong.  On a few, and on the large fill that I referenced before on the back side of the bowl, above the shank, the fill has a crevasse next to it.  Before working on the stummel fills, I first use a medium grade sanding sponge followed by a light grade sanding sponge to remove the surface blemishes on the stummel.  I like using the sanding sponges because they are gentler than regular sanding paper and soft – conforming to the nooks and crannies of the curves of the stummel.  I also do a ‘sponge topping’ to clean up the rim.  One of the things I want to do to upgrade this Dr. Grabow Omega is to work on the rim.  To me, the flat-top, sharp cut of the rim is detracting. I will introduce an internal bevel and a very gentle external bevel on the rim lip to soften the lines.  As I have said in several other restorations, I believe a beveled rim classes up the pipe.  I use a coarse 120 grit rolled piece of sanding paper to cut the initial bevel, and then following with 240 then 600.  The final picture below shows the addition of the external bevel which is less obtrusive.  I use only the 240 grit paper followed by the 600 grit paper to fashion this bevel.  I do the external bevel like this as more of an accent to the rim – softening the lines.  I really like the grain movement on the rim – upgrading Dr. Grabow Omega! After the sponge sanding, almost all of the pitting and nicks are removed from the briar surface.  At this juncture, only the large fill on the back of the stummel needs attention.  I take a close-up to show the fill.  I use Hot Stuff Special ‘T’ CA glue to fill the crevasse running along this fill. I drip a bit of glue on a toothpick and run the drop to the point to strategically place the glue.  Afterward, I spray the CA glue with an accelerator to shorten the curing time.  In a few minutes, I use a flat needle file to file the mounded CA glue down close to the briar surface.  I then use 240 grit and 600 grit paper to bring it down flush with the briar surface and blend.  Finally, I use the medium and light grade sanding sponges to finish the blending.  The pictures show the progress. With the patch sanded down, I’m ready to utilize micromesh pads on the bowl to bring out the grain of the briar.  I begin by wet sanding using micromesh pads 1500 to 2400. I follow by dry sanding with pads 3200 to 4000 and then 6000 to 12000.  Oh my, oh my.  I love to watch the grain emerge through the micromesh cycles.  This Dr. Grabow is looking good for a drug store pipe! Standing back a bit and looking at the Dr. Grabow Omega again, I reunite the unfinished smooth Billiard stummel with unfinished Military Mount stem to assess where things are and get a sense about which way this Omega wants to go in his upgrade. I’m drawn to the black, darker hues of the natural briar.  The currents of the briar’s grain flow remind me of a storm with bird’s eye swirls and flamed currents unleashed in the wind.  The stummel heel has an almost solid dark plane with a spurt of grain reaching out.  This Dr. Grabow’s newly revealed grain has some personality – no doubt! This grain pattern reminds me of a restoration I did with a very large pipe, A Desirable Reject London Made, where for the first time I used black dye as part of the staining mixture.  The results were surprising to me by pulling out almost a copper kettle hue – attractive.  Here is a picture of that project.For the upgrade of this Dr. Grabow Omega, I decide in favor of the same approach mixing 2/3s-parts Fiebing’s Dark Brown Leather Dye with 1/3-part Fiebing’s Black Leather Dye with the lightening option available by wiping down the bowl with alcohol later.  I set up my staining station and take a picture to show the setup and tools.  What I didn’t show are the latex gloves I’ve started wearing to keep my hands from being colored!  After inserting a fashioned cork in the shank as a handle, I warm the stummel with the hot air gun to open the briar grain for better reception of the dye.  Then, using a folded over pipe cleaner, I liberally apply the dye mixture to the stummel to have 100% coverage.  While the dye is wet on the stummel, I fire it using a lit candle and the alcohol in the aniline dye immediately burns off, setting the pigment.  After a few minutes of cooling, I repeat the process above and then set the stummel aside to rest.  The pictures show the staining process. With the stummel resting, I take the stem and wet sand with micromesh pads 1500 to 2400.  I follow by dry sanding with pads 3200 to 4000, then 6000 to 12000.  After each cycle, I apply Obsidian Oil to the stem to revitalize the vulcanite.  The stem looks good!  I put the stem aside to dry. This point of the process is like a kid getting up on Christmas morning!  With the stained, fired, crusted bowl in hand, I mount the felt buffing wheel in the Dremel, set the speed at the slowest speed (20%) and use the Dremel’s adjustment wrench to purge the wheel of old compound and to soften it.  Using Tripoli compound, I ‘unwrap’ the stummel with the felt buffing wheel.  When I finish with the Tripoli, I wet a cotton pad with alcohol and wipe down the stummel.  I do this to lighten it a bit and to blend the dye.  Then, with the cotton cloth buffing wheel mounted to the Dremel, and turning up the speed to 40%, I apply Blue Diamond compound to the stummel and use it to buff up the nickel planted band.  While the Blue Diamond buffing wheel is mounted, I also use it on the stem to buff.  The pictures show the progress with the compounds. Well, it was going so well until it wasn’t!  My wife arrived home with KFC Chicken for supper that we ate on the ‘Man Cave’ balcony of our 10th floor flat.  Yes, we have Colonel Sanders in Bulgaria. After finishing the chicken which was ‘finger licking good’ I was anxious to show my wife the progress on the Dr. Grabow.  You can guess.  On the balcony, perhaps because of the ‘finger licking good’ chicken was still a bit on my fingers, the Dr. Grabow literally took off and launched from my hand and hit the floor.  With inspection, the dent on the rim was evident… oh my.  Oh well….  I remembered in the back of my mind, I think I read it on an Al Jones’ post, about using a wet towel super-heated with the help of an iron, can help expand dented wood as it heats and absorbs the moisture.  Wood is more like a sponge.  I used my wife’s iron and gave it a go.  Believe it or not, it worked well.  Before and after pictures are #1 and #3.  The briar had dulled where the iron was applied so again I use the buffing wheel with Blue Diamond to restore the sheen with the rest of the stummel. Disaster averted.  Thanks, Al!  I buff the stummel with a clean cotton cloth to remove compound residue.  I mount the Dremel with a cotton cloth buffing wheel and apply carnauba wax to stem and stummel.  Following a few coats of wax, I give the entire pipe a hand buff with a microfiber cloth.

This Dr. Grabow Omega was an unremarkable ‘Drug Store’ pipe.  Now, he’s enjoys an upgrade – he has cuff links now!  The grain hidden underneath the original finish is not unremarkable!  I’m pleased that all this Omega needed was a little TLC.  Jen will give this pipe to one of the men in her family.  ALL the gifts she has given benefit our work here in Bulgaria with the Daughters of Bulgaria – helping women and girls who have been trafficked and sexually exploited.  This Dr. Grabow is the last pipe in Jen’s Trove.  Thanks, Jen!  Check out The Pipe Steward to find out more about why I do what I do.  Thanks for joining me!

Breathing life into an 1890’s era CPF French Briar Horn Stem Bulldog


Blog by Steve Laug

I decided to work on another one of the older 1890s CPF (Colossus Pipe Factory) pipes that my brother and I found on our virtual pipe hunt in Montana. That antique mall had just received a large estate of older CPF and WDC pipes. We picked up 30 pipes and one pipe case. There were 11 unique CPF brand pipes. Included were the following pipes (the three pipes that I have already restored are listed as hyperlinks below and you can click on any of them to read about the restoration. The rest will be finished in the near future). I chose to work on the French Briar Bulldog for this blog.

CPF military mount Oom Paul
CPF The Remington, French Briar, (military mount)
CPF French Briar with Hallmarked band and horn stem. Filigree carving around bowl
CPF Pullman with Horn Stem
CPF Siamese with twin horizontal stems
CPF Cromwell with twin vertical stems
CPF Olivewood Bowl Sitting on Petals- Horn Stem
CPF French Briar Bulldog with Horn Stem (the pipe in this blog)
CPF French Briar with tarnished metal band and a Horn Stem (looks like mini-Wellington)
CPF French Briar Horn Shaped Pipe with metal band and Horn Stem
CPF Colon French Briar with Black Meer Bowl and Amber stem

It is a beautifully grained, long shank Bulldog with a horn stem. It is stamped with the C.P.F. in an oval logo. Arched above and below the logo it is stamped French Briar. There is a small flaw in the briar at the end of the Briar stamping. The finish was worn but the pipe was in otherwise good shape. There was a thick cake in the bowl and an overflow of lava on the rim top. The inner edge of the rim top appeared to have some damage but otherwise it was in good shape. The double ring around the bowl under the cap was undamaged and the center ring was unbroken. The horn stem was worn at the button and had been well chewed on both the top and bottom sides. The stem appeared to be underclocked in the pictures that follow but once my brother cleaned it up I would have a better idea with regard to that.

My brother took the following photos of the pipe before he started cleaning it. They give an overall picture and also close up pictures of the pipe from a variety of angles. He included a photo of the stamping on the left side of the shank. It was originally stamped with gold filigree in the letters but that had pretty much worn out. You can see the flaw or gouge going through the AR on the word Briar.The next four photos show the grain on the bowl from a variety of angles. The finish is very worn and dirty but the grain is quite nice and there are no fills in the briar. The close up photo of the rim top shows the scratches and lava on the top and the slight damage to the inner edge of the bowl. A fairly thick cake lines the walls of the bowl and is peeling on the front edge.The next two photos show the underclocked horn stem and what appears to be red thread that had been used to align the stem. It had obviously not worked.The next four photos show the condition of the horn stem. It is dried, chewed and delaminating at the button on both sides of the stem. The button itself also has some tooth damage to the top and underside. There appears to be a lot of colouration to the striations of the horn and it should clean up and be beautiful once polished. My brother did an amazing job on the cleanup of this old timer. His work keeps getting better and better and does not damage the old briar or horn. He reamed the bowl with a PipNet Reamer and cleaned it up with the Savinelli Fitsall Pipe Knife. He scrubbed the airway through the tenon and into the shank with pipe cleaners, cotton swabs and alcohol until it was clean. He scrubbed the externals with Murphy’s Oil Soap and was careful around the remaining gold filigree in the stamping on the left side of the shank. He was able to remove the tar and lava build up on the rim top and showed that inner edge was just lightly damaged. And low and behold once he had removed the thread on the metal tenon the stem lined up perfectly. I took the next four photos of the pipe when it arrived in Vancouver. I took a close up photo of the rim top and bowl to show how thoroughly Jeff had cleaned it. It would take very little work with a folded piece of sandpaper to smooth out the remaining damage to the inner edge of the bowl.He had been able to clean out the debris from inside the stem and also smooth out the exterior of the stem. The delamination of the horn would need to be stabilized and the deep tooth wear would need to be rebuilt to restore the taper of the stem.I decided to change my normal routine a bit and used amber coloured super glue from Stewart MacDonald to stabilize the horn around the button and up the surface of the stem for about an inch. This would bind together the strands of the horn and build up the tooth damaged areas on the surface. Once it dried I would be able to smooth out the repaired surface and blend it into the rest of the stem. I had an idea that the amber super glue would blend in better with the colours of the horn in this particular stem.I sanded the repairs with 220 grit sandpaper to blend them into the surface of the horn. I wanted a smooth transition between the repair and the rest of the horn. I also wanted to see if I had covered the damaged area of the stem surface well enough. I was pleased by what I saw once I had smoothed the repairs out. I polished the stem with micromesh sanding pads – wet sanding with 1500-2400 grit pads and rubbing the stem down with Obsidian Oil after each pad. I dry sanded the stem with 3200-4000 grit pads to further polish it and gave it more oil after each pad. The oil serves to give life to the dried horn. I buffed the stem with Blue Diamond on the buffing wheel before finishing polishing it with 6000-12000 grit micromesh sanding pads. I rubbed it down with Obsidian Oil after each of the micromesh sanding pads and let it dry after the final pad.With the stem finished I worked on the inner edge of the bowl. I used a folded piece of 220 grit sandpaper to smooth out the damage on the bowl edge. It did not take too much work to make it smooth once again. I sanded the top of the rim with micromesh sanding pads – wet sanding with 1500-2400 grit pads and dry sanding with 3200-12000 grit pads (I forgot to take photos of the work on the rim top with the 3200-12000 grit pads).I used some European Gold Rub’n Buff to rework the stamping on the shank side. I applied it to the stamping with a cotton swab and then wiped off the excess. The photo below shows the stamping with the gold applied.I put the stem back on the shank and buffed the pipe with Blue Diamond on the buffing wheel. I carefully worked over the shank so as to not damage the stamping. I gave the entire pipe multiple coats of carnauba wax to protect the briar and the horn. I buffed it with a clean buffing pad to raise the shine and hand buffed it with a microfiber cloth to deepen the shine. The finished pipe is shown in the photos below. It is a classic piece of pipe history. The shape and the finish of the pipe are exceptionally well done and show European craftsmanship that Colossus Pipe Factory was famous for. This is one of those pipes that will have a place in my own collection. It is just too beautiful to part with!