Tag Archives: Bowl – refinishing

Farida’s Dad’s Pipes #6 – Restoring a Charatan Make Distinction

Blog by Steve Laug

I am back working on one of the pipes that came from the estate of an elderly gentleman here in Vancouver. I met with his daughter Farida a year ago and we looked at his pipes and talked about them then. Over the Christmas 2017 holiday she brought them by for me to work on, restore and then sell for her. There are 10 pipes in all – 7 Dunhills (one of them, a Shell Bulldog, has a burned out bowl), 2 Charatan Makes, and a Savinelli Autograph. I have restored all but three of them – a Dunhill Shell and the two Charatan’s Makes. His pipes are worn and dirty and for some folks they have a lot of damage and wear that reduce their value. To me each one tells a story. I only wish they could speak and talk about the travels they have had with Farida’s Dad.

The bowl was thickly caked and the cake had flowed over onto the smooth finish on the rim top forming hard lava that made the top uneven. The inner and outer edges of the rim were both damaged. On the right front of the bowl the rim had a burned area – it was not a deep burn but it had darkened. On the back of the bowl there was damage on the inner edge of the bowl and it looked like it might be slightly out of round. The stem was oxidized but otherwise in good condition. There was a thick sticky, oily substance on the surface of the stem that I could scrape with my fingernail. There were tooth marks and chatter on both sides in front of the button. I took photos of the pipe to show what it looked like before I started the cleanup work. 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. The outer edge has damage on the front right – burn damage and wear that comes from lighting a pipe repeatedly in the same spot. The inner edge at the back middle also shows damage but I won’t know until I remove the thick lava overflow on the surface. The stem had tooth chatter and some bite marks on the top and the underside of the stem just ahead of the button.I took a photo of the left side shank stamping – it is readable but faint on the left side.It has been a while since I have worked on the remaining pipes that belonged to Farida’s Dad. I thought it might be helpful to remind us all of the background story of these pipes. Here is the material that I quoted in previous blogs. I have included both the written material and the photo that Farida included of her Dad.

When I wrote the blog on the Classic Series Dunhill and thinking about its travels, Farida sent me an email with a short write up on her Dad. She remembered that I had asked her for it so that I could have a sense of the stories of her Dad’s pipes. Here is what she wrote: My dad, John Barber, loved his pipes. He was a huge fan of Dunhill and his favourite smoke was St. Bruno. No one ever complained of the smell of St. Bruno, we all loved it. I see the bowls and they’re large because he had big hands. When he was finished with his couple of puffs, he would grasp the bowl in the palm of his hand, holding the warmth as the embers faded. The rough bowled pipes were for daytime and especially if he was fixing something. The smooth bowled pipes were for an evening with a glass of brandy and a good movie. In his 20s, he was an adventurer travelling the world on ships as their radio operator. He spent a year in the Antarctic, a year in the Arctic and stopped in most ports in all the other continents. He immigrated to Canada in the mid-fifties, working on the BC Ferries earning money to pay for his education. He graduated from UBC as an engineer and spent the rest of his working life as a consultant, mostly to the mining companies. Whatever he was doing though, his pipe was always close by.

She sent along this photo of him with his sled dogs in the Antarctic sometime in 1953-1954. It is a fascinating photo showing him with a pipe in his mouth. He is happily rough housing with his dogs. As a true pipeman the cold does not seem to bother him at all. Thank you Farida for sending the photo and the background story on your Dad for me to use on the blog. I find that it really explains a lot about their condition and gives me a sense of who Dad was. If your Dad was rarely without a pipe I can certainly tell which pipes were his favourites.As I looked over the pipes I noted that each of them had extensive rim damage and some had deeply burned gouges in the rim tops. The bowls seemed to have been reamed not too long ago because they did not show the amount of cake I would have expected. The stems were all covered with deep tooth marks and chatter and were oxidized and dirty. The internals of the mortise, the airway in the shank and stem were filled with tars and oils. These were nice looking pipes when her Dad bought them and they would be nice looking one more when I finished.

Here are the links to the previous five blogs that I wrote on the five pipes that I have finished. The first was a Dunhill Shell oval shank pot (https://rebornpipes.com/2018/02/04/restoring-a-1983-dunhill-shell-41009-oval-shank-pot/). The second was a Dunhill Classic Series Shell Billiard (https://rebornpipes.com/2018/02/08/faridas-dads-pipes-2-restoring-a-1990-lbs-classic-series-dunhill-shell-billiard/). The third pipe was a Savinelli Autograph (https://rebornpipes.com/2018/02/15/faridas-dads-pipes-3-restoring-a-savinelli-autograph-4/). The fourth pipe was a Dunhill Red Bark Pot that was in rough shape (https://rebornpipes.com/2018/03/10/faridas-dads-pipes-4-restoring-a-dunhill-red-bark-pot-43061/). The fifth pipe was a Dunhill Root Briar Bent Billiard https://rebornpipes.com/2018/07/07/faridas-dads-pipes-5-restoring-a-dunhill-root-briar-56-bent-billiard/

Today, I went back to the remaining three pipes in the collection today and chose to work on one of the Charatans – a triangular shank Dublin. It was dirty but I was able to read the stamping. On the top left side of the triangular shank it is stamped Charatan’s Make, over London, England over Distinction. On the right side it was stamped Made By Hand in the City of London. I cannot see any shape number on the shank as it is pretty worn. The smooth finish was sticky with oils and thick grime. The bowl felt oily to touch.

To try and figure out the era of the Charatan’s pipe I was working on I turned to the pipephil website on Logos and Stampings. There is some really helpful information on each of the lines of Charatan’s Make pipes that entered the market. Here is the link to the section of the site that I turned to, http://www.pipephil.eu/logos/en/logo-charatan.html. There is an alphabetical listing of the lines but unfortunately they did not list the Distinction. The site did give a short history of the brand. I quote the portion that is most pertinent.

The brand was founded in 1863 by Frederik Charatan. When his father retired in 1910, Reuben Charatan took over the family business. All the pipes were handmade until 1973. The brand name has been overtaken by Dunhill in 1978 and sold in 1988 to James B. Russell Inc.(NJ, USA). During the period 1988-2002 Charatans were crafted by Butz Choquin in St Claude (France). Dunhill re-purchased Charatan brand name in 2002 and Colin Fromm (Invicta Briars, Castleford) followed up on freehand production.

I turned to Pipedia to see if I could find more information on the brand and possibly a link to the Distinction line (https://pipedia.org/wiki/Charatan) but once again in the general article it was not listed. It did give a little more historical information. I quote the pertinent parts and have highlighted in bold the sections that give information on this particular pipe.

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

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

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

The section called Miscellaneous Notes had some interesting information.

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

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

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

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

I found an interesting Russian site on the various lines of Charatan. Here is the link to that site – http://brbpipe.ru/wp-content/uploads/2012/06/T-shop_1-2011-12_56-69_3.pdf. I did a google translation of the section on the DISTINCTION line.

The first of two medium sized factories. Neutral flame grain under contrast stain. Sometimes, however, there is a completely fantastic, almost perfectly smooth cross cut, sometimes – inclined to the side of the smoker flame. The most important thing: in this and the next grade begins a serious predominance of freehand over cataloged shapes.

The reason for this predominance lies in the strategy of educating carvers. Both medium grades are the launch pad for those who sought the right to work with top grades. Where the freaks have become the rule. The master had to work out a sufficient number of freehands and show a personal fantasy, so that he was allowed to work with the best, selective locks. And if at this “school of life” you could make extra profits … well, you remember that in this regard, there was a little iron Hermann.

I also found a description of the Distinction on VKpipes. Here is the link to that site, https://www.vkpipes.com/pipeline/charatans-make-distinction. I quote from that site.

Distinction was one of the most successful and valued lines of Charatan’s pipes from the “first Lane era” (1961-95). These years the old good Charatan’s family manufactory turned into the brightest star of the pipe making by means of new investments, a successful management and a creative approach of the Charatan’s artisans. There’s no shape number on the pipe: it was made by one of the leading carvers at this factory regardless any catalogues…

I also found a list of the various lines of Charatan’s Make Pipes that helps to place the Distinction in the hierarchy of pipes. Here is the link to the list https://www.reddit.com/r/PipeTobacco/comments/z9knr/charatan_models_shape_information_for_the/. I will be posting it as a separate blog shortly. The Distinction line is just below the Executive line and just ahead of the After Hours line – both Charatan’s Make Freehand Straight Grains.

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

I began working on the pipe by reaming the bowl with a PipNet reamer. I used two of the four cutting heads to clean out the cake. The bowl was thickly caked so I started with the smaller of the two and worked my way up to the second one which was about the same size as the bowl diameter. I cleaned up what remained in the bowl with a Savinelli Fitsall Pipe Knife and scraped it back to bare briar. I finished by sanding the inside of the bowl with a dowel wrapped in sandpaper. I worked on the top of the rim with the edge of the Savinelli Fitsall Pipe Knife. I scraped the heavy buildup that was there. I topped the bowl on a topping board with 220 grit sandpaper to remove the damage to the top surface of the rim and clean up the damage to the edges. I did not have to remove a lot and repeatedly checked it to make sure that I had removed enough but not too much. I wanted to take the rim top down until the burn damaged area was smooth and minimized. The second photo shows the burned and damaged areas clearly. I continued to top the bowl until I had removed the damage. I wiped down the rim top with alcohol and cotton pads to remove the sanding dust. I scrubbed the exterior of the bowl and shank with a tooth brush and Murphy’s Oil Soap to break through all the grime. I rinsed the bowl under running water to remove the grime and grit. I repeated the process until I had the bowl clean. I took photos of the cleaned exterior of the bowl to show where things stood at this point in the process. I used a folded piece of 180 and 220 grit sandpaper to bevel the inner edge of the rim until I had removed most of the damage on the back inner edge.With the externals clean it was time to clean out the mortise and shank and airway into the bowl and the airway in the stem with alcohol, cotton swabs and pipe cleaners. I scraped the mortise with a dental spatula and a pen knife to loosen the tars before cleaning. I worked on the bowl and stem until the insides were clean. I wiped down the exterior of the bowl with alcohol on a cotton pad to remove any remaining oils and grimes from my cleaning of the bowl and rim. Once the alcohol evaporated the briar was very dry but also very clean. I rubbed down the briar with Before & After Restoration Balm. I worked it into the smooth finish to clean, enliven and protect the new finish. It also evened out the stain coat and gave the stain a dimensional feel. I let the balm sit for a little wall and then buffed it with a horsehair shoe brush. I buffed the bowl with a cotton cloth to raise the shine. There was some darkening on the rim top on the right front and around the inner edge of the bowl but the briar was solid all around the bowl. The bowl looked really good at this point in the process. I set it aside and turned my attention to the stem. I sanded out the tooth chatter on both sides with a folded piece of 220 grit sandpaper. I cleaned the surface of the stem with alcohol on a cotton pad and filled in the tooth marks with black super glue and set the stem aside to let the repair cure.While the stem repair was curing I stuffed the bowl with cotton balls and put a folded pipe cleaner in the shank. I filled the bowl with alcohol to leech out the oils and tars in the bowl. I set the bowl in an old ice cube tray and let it sit throughout the day while I was at work. I find that cotton balls work as well as kosher salt and the folded pipe cleaner leeches tars out of the shank as well. The first photo shows the pipe when I set it up early in the morning. The second shows it after it sat all day. The cotton balls were dark brown with the oils that had wicked out of the briar. The pipe smells fresh and new now!When the repair had cured I used a needle fill to clean up the sharp edge of the button. I sanded the repairs on the stem with 220 grit sandpaper to blend them into the rest of the surface of the vulcanite.I polished the stem with micromesh sanding pads – wet sanding with 1500-2400 grit micromesh sanding pads and dry sanding it with 3200-12000 grit pads. I rubbed the stem down with Obsidian Oil after each pad. I polished it further with Before & After Pipe Polish, using both the Fine and Extra Fine polishes to further protect and polish out the scratches. When I finished with those I gave it a final rub down with the oil and set it aside to dry. With the stem polished I put it back on the pipe and lightly buffed the bowl with Blue Diamond. I buffed the stem with a more aggressive buff of Blue Diamond. I gave the bowl several coats of Conservator’s Wax and the stem several coats of carnauba wax and buffed the pipe with a clean buffing pad to raise the shine. I hand buffed it with a microfiber cloth to deepen the shine. The pipe polished up pretty nicely. The finished pipe is shown in the photos below. This is the sixth of Farida’s Dad’s pipes that I am restoring from his collection. I am looking forward to hearing what Farida thinks once she sees the finished pipe on the blog. This Charatan Distinction will soon be on the rebornpipes store if you want to add it to your rack. The dimensions are Length: 6 inches, Height: 1 3/4 inches, Outside diameter of the bowl: 1 1/2 inches, Chamber diameter: 7/8 inches. Thanks for walking through the restoration with me as I worked over another of the her Dad’s pipes. I have two more of his pipes to work on – one more Dunhill and one Charatan’s Make.

Cleaning up a Fascinating KBB Yello-Bole Premier Bulldog

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Blog by Steve Laug

I am not sure where Jeff found this old pipe but I like it. Once again he showed that he has an eye for old and unique pipes. This one is a ¼ bent bulldog with a large bowl and a unique rustication pattern on the underside of the bowl and on the shank. The pattern on the shank was framed with smooth frames. The cap on the bulldog was also smooth above the twin rings. The bowl was coated with varnish or some shine coat that was worn off of the smooth part of the pipe but remained in the grooves. The rim top had a lot of dents and damage but that will become evident in the following photos. It was stamped on the left underside of the diamond shank on a smooth panel. It has the KBB in a cloverleaf and next to that it reads Yello-Bole over Cured with Real Honey. Next to that is the symbol for a registered trademark ® (R in a circle). Underneath it reads Premier over Imported Briar. On the stem is the propeller inset logo that appeared on older Yello-Bole pipes. Jeff took photos of the pipe before he started his cleanup work. Jeff took some close up photos of the rim top to show the condition of the bowl and rim. The bowl interestingly, still had some of the Yello-Bole Honey Cured coating on the top edge and the bottom half of the bowl. The rim and cap had been knocked hard on surfaces to empty the bowl. There was some lava and dirt on the rim top and the sides of the cap but there was very little cake in the bowl and the edges looked to be in good condition.Jeff also took photos of the bowl from various angles to show the condition of the finish. You can see the crackling varnish and dust in the grooves of the rustication. The varnish is worn off the smooth portions and high spots on the rustication. There is also dust and crackling varnish filling in the twin rings that separate the smooth cap from the rusticated lower portion. The stamping on the left underside of the diamond shank is clear and readable. The KBB in the cloverleaf has more wear than the rest of the stamping. You can also see the grime on the finish in the photo below. The second photo shows the propeller logo on the top left side of the diamond saddle stem.The stem was in decent condition. It was oxidized on both sides of the stem. There were some nicks and tooth marks on both sides near the button and on the top and underside of the button itself. There were no deep tooth marks which is really a relief.I went back to a previous blog about the various Yello-Bole logos in my collection of these pipes. I reread that blog to try to narrow down a date for the pipe. Here is the link to the post and the comments on the blog: https://rebornpipes.com/2013/01/25/yello-bole-logos-from-my-collection-of-old-yello-bole-pipes/. There was a comment on that blog that came from Troy who I consider my go to guy for Yello-Bole information (who has written on rebornpipes and also has a blog of his own). Troy wrote as follows on dating Yello-Bole pipes by the stamping and logos.

“I have a large KBB Yello-Bole collection. They are some of my most favorite pipes and the best smokers for the money (briar wise) you can find in my opinion. I have restored and researched them quite a bit. I have several listed on my blog that I have cleaned or restored. I own about 30-40 KBB Yello-Boles now.”

“Here is a little guide to dating KBB Yello-Boles. If it has the KBB stamped in the clover leaf it was made 1955 or earlier as they stopped the stamping after being acquired by S.M. Frank. From 1933-1936 they were stamped Honey Cured Briar. Pipes stems stamped with the propeller logo they were made in the 30s or 40s no propellers were used after the 40s. Yello-Bole also used a 4 digit code stamped on the pipe in the 30s. If the pipe had the Yello-Bole circle stamped on the shank it was made in the 30s this stopped after 1939. If the pipe was stamped BRUYERE rather than briar it was made in the 30s.” (NB. The portions above in bold and underlined were highlighted as they pertain to the present pipe.)

From that information I ascertained the following. The rusticated Premier Bulldog I had was stamped with KBB in the cloverleaf on the left underside of the shank which told me that the pipe was made before 1955. It had a propeller logo on the stem which further placed it in the period of the 30s and 40s. With all of that collected I knew the pipe was made between 1930 and 1949 which means that this old Bulldog has seen a lot of life. I wish it could tell its story.

Ah well… I don’t know for sure where it came from or what previous pipeman carried the trust of this pipe before it came to me. It still needed to be cleaned up. I turned my attention to the restoration of the Bulldog.

Jeff had worked his magic in cleaning up this pipe. It is nice to work on pipes that he has cleaned up once again. He reamed it with a PipNet reamer and smoothed the walls of the bowl with a Savinelli Fitsall pipe knife. 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 and shank with a tooth brush and Murphy’s Oil Soap to the oils and tars on the bowl, rim and shank. He rinsed it under running water. He dried it off with a soft cloth. He was able to remove much of the crackling varnish in the grooves of the rustication and the briar beneath was in good condition. The cleaning of the stem left a light oxidation in the vulcanite. The tooth marks were clean but visible. I took photos of the pipe to show its condition before I started my work on it. I took some photos of the rim top and cap to show what it looked like after Jeff had cleaned off the grime and tars. The briar was in good condition but there were some deep gouges and scratches in the flat top and there were knock marks all around the cap surface. The stem was oxidized and showed tooth chatter and wear but it was otherwise in good condition. There were no deep tooth marks.I started my work on this pipe by lightly topping the bowl to remove the damage to the surface of the rim. It did not take too much topping to remove the damaged areas.I wiped the bowl down with acetone on cotton pads to remove the varnish that remained. I worked it into the grooves of the rustication with a brass bristle wire brush. Once I was finished the finish was clean and the grain looked really good on the cap and the rim top. The rustication was clean. I took photos of the bowl after the clean up to show the condition of the bowl at this time. It is beginning to look really good. In the third photo below you can see the Yello-Bole Honey Coat still present on the walls of much of the bowl. I used a folded piece of 220 grit sandpaper to sand out the nicks in the surface of the cap and to smooth out the small nicks around the outer edge of the flat rim top. I polished the rim top and the smooth portions of the bowl with micromesh sanding pads – wet sanding with 1500-2400 grit pads and dry sanding with 3200-12000 grit pads. I wiped the bowl down after each pad with a damp cloth. I rubbed some Before & After Restoration Balm into the surface of the briar to enliven, clean and preserve it. I rubbed it in with my fingertips working it into the briar. I worked it into the nooks and crannies in the rustication on the bowl and the shank a shoe brush. I set it aside for a little while to let the balm do its work. I buffed it off with a cotton cloth and then buffed it with a microfiber cloth. The photos below show the pipe at this point in the restoration process. I set aside the bowl and turned my attention to the stem. I sanded the tooth chatter and the oxidation off the surface of the vulcanite. I wiped it down with Obsidian Oil and took some photos of the stem at this point.I polished the stem using micromesh sanding pads – wet sanding with 1500-2400 grit pads and then buffing on the wheel with red Tripoli. I dry sanded the stem with 3200-12000 grit pads to further polish it. After each pad I wiped it down with Obsidian Oil to protect and enliven the stem. I polished it further with Before & After Pipe Polish – both Fine and Extra Fine. When I finished with the polish I gave it a final coat of oil and set it aside to dry. This older rusticated KBB Yello-Bole Premier Bulldog is an interesting and unusual piece. The rustication on the bowl is really unusual and the framing of it on the shank is quite unique. The smooth rim and cap is quite nice and has some birdseye and swirled grain undulating in the briar. The reddish brown of the bowl and the black of diamond vulcanite stem contrast well together. I buffed the bowl and the stem with Blue Diamond polish to raise the shine on the briar and the vulcanite. I lightly buffed the rim top and shank end as well. I was careful to not buff the stamping and damage it. I gave the smooth parts bowl and the stem multiple coats of carnauba wax. I hand waxed the rustication with several coats of Conservator’s wax. I buffed the entire pipe 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 below. The dimensions of the pipe are: Length: 5 1/2 inches, Height: 1 3/4 inches, Outside Diameter: 2 inches, Diameter of the chamber: ¾ of an inch. It is an interesting old pipe and should make a great collectible piece. Thanks for walking through the restoration with me.

Restoring a Kriswill “Golden Clipper”

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Blog by Paresh Deshpande

“………. and now make me handsome and desirable too!!!!!” This is what the sibling of the Kriswill “CHIEF”, the “GOLDEN CLIPPER” appeared to be demanding of me and who am I to refuse this lovely pipe. So here I am with all my enthusiasm to work on this beautiful pipe with mixed grains.

This was one of the pair of Kriswill pipes which was dug out by my younger daughter from the large pile of pipes, the other being Kriswill “CHIEF”. Both these beauties had an issue with their stems. The stem of the “CHIEF” did not sit flush with the shank and appeared smaller in diameter compared to the shank, while the stem of the “GOLDEN CLIPPER” sat flushed with the shank but was larger in diameter than the shank. I addressed this issue in an ingenious way and completed the restoration of the “CHIEF”. For those interested in knowing the issue of stem in detail, process to address it and the complete restoration, please follow the link https://rebornpipes.com/2018/08/04/breathing-new-life-into-a-kriswill-chief-20/. I am sure you will find it an interesting read.

My joys knew no bounds when the “CHIEF’S” stem fit perfectly like a glove in the shank of the “CLIPPER” (the time-consuming, cautious, accurate and nerve-wracking but enjoyable work of matching the stem and shank of the “CHIEF” still fresh in my mind!!!!!!). Here are the pictures of a perfectly matching stem and shank on the CLIPPER.This KRISWILL “GOLDEN CLIPPER” has a medium sized bowl with mixed grain. It is stamped “KRISWILL” over “GOLDEN CLIPPER” over “HANDMADE IN DENMARK” on the left side of the shank. At the bottom of the shank and close to the edge of the shank where it takes the stem, is stamped with number “54”.As I had determined the dating of this pipe, while searching information for the “CHIEF”, from 1970s (the snowflakes stamp on the stem and block letters on the shank were adopted post 1970), I proceeded to carry out a visual inspection of the condition of the pipe in my hand. This helps me map the road to restoring the pipe by identifying the issues involved and identify methods/ options to address the same.

INITIAL VISUAL INSPECTION

The bowl is covered in dust, oils, tars and grime of yesteryear. It is filled with a thick cake and the lava has overflowed on to the rim. I would still say that this bowl is not as heavily caked as I have gotten used to with my grand old man’s pipes. The cake has completely dried out.The rim surface is pock-marked with few minor dents and dings of being banged around. Exact extent of damage, there appears to be some, to the inner edge will be known after the bowl has been reamed down to its bare briar. The outer edge of the rim appears to be in decent condition.The interchanging of stem with the CHIEF ensured a perfect fit of the stem on this pipe and required no matching the fit to the shank end. The stem is, again comparatively to what I have dealt with before, lightly oxidized with light tooth chatter. The lip has been bitten off at one place and will need to be rebuilt and reshaped. There is some calcification seen around the lip on either surface. As I have come to expect, the airway in the stem is blocked and the mortise is clogged with gunk, debris and tars. I will need to clean both to ensure an open draw.The stummel needs to be cleaned. I will have to decide if I should retain the stain finish or polish it to its natural look and match it to its bigger sibling, the “CHIEF”.
THE PROCESS
Abha, my wife, dealt with the cake by reaming the chamber with a Kleen Reem pipe tool and a British Buttner pipe tool. Using the fabricated pipe knife, she further scraped the cake from the bottom of the bowl and also the walls of the chamber. She was especially very careful while reaming with the knife so as not to damage the inner edge of the rim. Once the solid briar was exposed, she further smoothed the walls and removed remaining cake by sanding with a 180 followed by 220 and 600 grit sand paper. Another advantage of this process is the elimination of traces of ghosting to a great extent. She gently scraped the rim top with the sharp edge of the knife and removed the accumulated overflow of lava. Abha followed this by scrubbing the chamber walls with cotton swab dipped in isopropyl alcohol. This removed the fine cake dust, leaving the chamber clean, fresh and smooth. As can be seen from the picture, after the cleaning, the dents and dings are more pronounced and will need to be addressed. Further, if observed closely, there is a small chip to the inner edge which can be seen on the right side in the 3 o’clock direction. I had the following two courses of action to choose from to address these issues:-
(a) Create a slight bevel on the inner edge to eliminate the inner edge chip.
(b) Topping the rim on a topping board.

Abha suggested proceeding with the second option since the “CHIEF” was without a bevel and as these were together, she wanted to maintain the similarities as far as possible. I concurred with her since topping will also address the minor dents and dings seen on the rim top. I gently topped the stummel on a 220 grit sand paper, frequently checking the progress. This is very important since you do not want to lose too much briar and there is always a fear of distorting the proportions of the pipe due to excessive sanding. How much sanding is sufficient, is a question to which the answer can never be quantified. For me the mantra is, topping or sanding should be kept to the minimum and preserve maximum briar even at the cost of very minute dents/ chips being visible.

I topped the bowl just enough to address the dents and dings on the rim surface. The small nick to the inner edge of the rim has also been addressed to a great extent, but not completely. It is barely perceptible in person and acceptable to me. Hence, I left it at that!!I cleaned out the internals of the shank/ mortise and airway using pipe cleaners, cue tips and isopropyl alcohol. Thereafter using undiluted Murphy’s oil soap and tooth brush, I cleaned all the tars, oils, dust and grime from the bowl and washed it under running water. I wiped it down with paper towels and a soft cotton cloth.

Using a brown stain pen (Yes!!! I finally have them, thanks to my guru, Mr. Steve who had diligently packed them with the pipes that he had sent me after repairs, when he learnt that I was unable lay my hands on them), I stained the rim to match the rest of the bowl and set it aside to dry out. In my haste to finish the restoration, I forgot to click pictures of the above mentioned process and the look of the pipe at this stage.

While the stummel was kept aside for drying, I turned my attention to the stem. Starting with the use of Bic lighter, I painted the surface with its flame to raise the tooth chatter and bite marks as much as possible. I scrubbed the stem with a piece of moist Mr. Magic Clean sponge to clean the stem of the calcification. Minor tooth chatter was addressed to a great extent, however, some stubborn and deep bite marks and the bitten off lip stood out like sore thumb!!! Having learnt my lessons and working around the handicap of glue, I spot applied clear CA superglue with a tooth pick and set it aside to cure over night. The next morning, I applied another layer of the superglue and set it aside to cure. The reason I decided to adopt this technique is because the glue I have and available to me is of very thin consistency and hence the layering technique. After 24 hours, I checked the fills and proceeded to sand down the fills and reshape the edge of the button with a flat head needle file to match the surface of the stem. Using a 220 grit sand paper followed by wet 320 grit sand paper, I evened out the fill and removed oxidation from the stem surface. Thereafter, I used micromesh pads, wet sanding with 1500 to 2400 pads and dry sanding with 3200 to 12000 pads. I deeply rubbed a very small quantity of Extra Virgin Olive oil after every three pads. I am pleased with the way the stem has turned out. It is now smooth and shiny.Using normal and bristled pipe cleaners dipped in alcohol, I completely cleaned out the airway in the stem till the pipe cleaners came out nice and clean from the other end. However, when I checked the draw, I found it to be constricted and laborious. It was not a free flowing and open draw. I checked the alignment of the airway in the stem and shank and realized that the airway was not aligned. With a rounded needle file, I file down the tenon hole and the mortise opening in the shank to the point where there are perfectly aligned. Now the draw is full and open.

By this time, the stain on the rim top has dried out and I applied a small quantity of Before and After Restoration balm to the entire surface of the stummel, including the rim top. This product is absolutely fantastic as it freshens up the briar and makes the grain to pop out. Using a horse hair shoe brush, I buffed the bowl. Later, with a soft cotton cloth, I polished it to a nice shine. As a final touch, I rubbed a very small quantity of PARAGON wax on to the stem and the stummel. A few seconds later, using muscle power and a microfiber cloth, I polished the entire pipe to a lovely shine. Here are the pictures of the finished pipe. Hope you enjoyed reading the write up and yes, my apologies for the lack of pictures since I had to catch a flight late in the evening to rejoin my duty station, I forgot to take pictures at this stage as completing the restoration was priority task.

Refreshing a Jobey Hand Rubbed 015 Zulu/Woodstock

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Blog by Dal Stanton

This very sharp Jobey Hand Rubbed Zulu/Woodstock came to me via eBay auction block when I secured the Lot of 66 which has been a great acquisition for restoring pipes benefitting the Daughters of Bulgaria – women and girls who have been trafficked and sexually exploited. Brian, a pipe man in Kentucky, had already commissioned my last Peretti Oom Paul Sitter and saw this Jobey as he was checking out my page, For ‘Pipe Dreamers’ Only!. We came to an accord and Brian had two pipes in the queue for restoration. Here are pictures of the pipe that got Brian’s attention. The nomenclature of the Zulu/Woodstock has Jobey (cursive) over HAND RUBBED on the top of the shank. The bottom of the shank is marked with 015, which I assume is the shape number for a Zulu/Woodstock. The stem has on it the well-known JOBEY roundel ensconced on the top.When one searches the usual places for information about pipe manufacturers and names, Jobey consistently stands out as having a mysterious beginning. From TobaccoPipes.com, the Jobey history is summarized.

The exact origins of the Jobey Pipe Company are a mystery…Depending on the year, a Jobey pipe could have been produced in England, North America, or France. Since the early 1920’s, Jobey pipes have jumped continents with production falling into the hands of seven different companies over the years. No one is really sure who first produced smoking pipes under the Jobey brand. The pipes are believed to have originated in England; but their true origin is still a bit of a mystery. Jobey pipes were, for most of their history, primarily an English and American brand.

In the same article, interestingly it describes Jobey having a strong Danish influence in its early history as well:

Danish pipe artist Karl Erik had taken a strong interest in the Jobey pipes and started to offer a wide variety of pipe designs that became extremely popular in England and throughout some of the countries such as Holland and the Netherlands.

Today, Jobey pipes are manufactured out of Saint Claude, France, and in 2012 the name was taken on by the Weber Pipe Company, according to PipesTobaccos.com.

The most well-known invention that has been associated with Jobey is the Jobey Link – the tenon system that is popular for its ease of cleaning and replacing. In his post on of a Jobey Cauldron on RebornPipes, Steve became the recipient of original packing information about the Jobey Link that I found fun and interesting:The Jobey Hand Rubbed Zulu/Woodstock is fitted with the famous Link. Regarding the Jobey line, Hand Rubbed, from some old eBay posts I found some ‘Hand Rubbed’ Jobey pipes and one listing gave it a general dating in the 1980s. From this Pipedia Jobey article, I found this older ad for a Jobey Hand Rubbed Poker that I thought was interesting giving a description of the unique properties of this line of Jobey offerings. For the ease of reading, I clipped the description.The Jobey Hand Rubbed Zulu/Woodstock now on the worktable is in good shape. The cake is almost nonexistent. The stem is in good shape with almost no detectable tooth chatter but with a bit of oxidation. The briar grain is stunning, and I see few problems with the surface. The only question is the shiny finish over the briar. I’m hoping that it isn’t an acrylic finish which is a bear to remove. This restoration may be more of a refresher if the finish isn’t a problem. I begin refreshing this Jobey by first removing the Jobey Link from the stem and running some pipe cleaners dipped in isopropyl 95% to clean the internal stem. I then add the stem to a soak with Before & After Deoxidizer along with 5 other stems. The Deoxidizer does a good job dealing with oxidation and is friendly to stampings and, in the Jobey’s case, the brass roundel. After soaking for a few hours, I fish out the Jobey stem and wipe off the raised oxidation with cotton pads wetted with light paraffin oil. I also run a pipe cleaner, dipped in alcohol, through the airway to clear the Deoxidizer. The Deoxidizer has done a good job.Turning now to the stummel, with the chamber being so lightly caked, I use only the Savinelli Fitsall Pipe Tool to scrape the walls removing the cake. It did not take much. I follow by sanding the chamber with 240 grit paper to clean more and to reveal fresher briar for a fresh start. I then wipe the bowl with a cotton pad wetted with alcohol to remove the leftover carbon dust. Pictures show the progress. Now to clean the external surface. I’m hoping that using undiluted Murphy’s Oil Soap will make a dent on the shiny finish. I scrub with Murphy’s using cotton pads and rinse with cool tap water. The stummel cleans up nicely, but as the picture below reveals, there remains a shine on the surface which says to me there’s still old finish needing to be removed to get to the natural briar. I also detect a small fill that is pitted and will need some attention.To continue the cleaning regimen, I use pipe cleaners and cotton buds wetted with isopropyl 95% to clean the internal mortise and airway. I’m getting the impression that this pipe has not been smoked a lot. The internals are not too grungy, and the cotton buds and pipe cleaners are coming out clear.Now, to see if I can remove the shine from the briar surface, I first try using alcohol on cotton pads to see if it will do the trick. Not quite – still some shine. Next, I apply acetone with cotton pads. That did the trick.Now, to work on the shaky fill on the stummel. I take a closeup of it. I use a sharp dental probe to excavate the old material. I then clean it with a cotton pad and alcohol. To create a good blending patch, I mix a small amount of briar dust and CA glue to form a putty. When mixing the two, when it reaches the consistency of molasses, it’s ready to be applied to the patch. I use a toothpick as a trowel. I then set the stummel aside to allow the patch to cure.While the patch cures, I turn my attention back to the stem. The stem is in good shape, but the vulcanite surface is rough. I use 600 grade paper and wet sand the entire stem. I follow the 600 with 0000 grade steel wool. The paper and steel wool did the job, now I’m ready to move to the micromesh pad phase. Using micromesh pads 1500 to 2400, I wet sand the stem. I follow by dry sanding with pads 3200 to 4000 and 6000 to 12000. Between each set of 3 pads I apply Obsidian Oil to the stem to revitalize the vulcanite. And, it looks great! With the stem poised to join a stummel, I look now to the Jobey Zulu/Woodstock bowl. The briar dust putty patch has cured and is ready to be filed and sanded. I initially use a flat needle file to bring the patch mound down near to the briar surface. I keep the file on the patch mound to not impact surrounding briar. I follow the file with 240 grit paper and sand the mound flush with the briar surface. I then cover the scratches of the 240 with 600 grit paper. To deal with the lightening of the wood around the patch due to sanding (above) I use both a cherry and walnut dye stick to color the area – seeking to strike a good blend. I would also dab the area with a cotton pad wetted with alcohol to achieve the blend. I’m satisfied.To address the small nicks on the surface, I start the micromesh sanding pads wet sanding with pads 1500 to 2400, then dry sand with 3200 to 4000 and 6000 to 12000. I take a picture after each set of three to watch the briar grain emerge. Next, I apply Before & After Restoration Balm to the briar surface. I have grown to like this product. What I like about it is that it enhances the natural grain color by deepening and enriching it. I squeeze some of the Balm on my finger and work it into the briar. The Balm starts with a light oil texture but then thickens into a wax-like consistency as it works into the briar. After fully saturating the bowl, I set the Zulu/Woodstock aside to allow the Balm to do its work for a few minutes. I take a picture capturing this. Then, I wipe the Balm off with a cloth – it starts tacky, but this buffs out. I like the results.I reassemble the Jobey Link tenon and reunite the stem with the stummel and mount a cotton cloth buffing wheel on the Dremel with the speed set at about 40% full power. I then apply Blue Diamond compound to the stem and stummel. When completed, I use a felt cloth to buff the pipe, wiping off the compound dust in preparation for the wax. I then mount another cotton cloth wheel to the Dremel, maintain speed at 40% and apply a few coats of carnauba wax to the pipe. I complete the restoration by giving the pipe a rigorous hand buffing with a microfiber cloth to bring out the shine.

This Jobey Hand Rubbed Zulu/Woodstock is a keeper and I enjoyed recommissioning him. The briar grain reminds me of a zebra – the bird’s eye and swirls are incredible. The Zulu/Woodstock shape always seems to have a bit of attitude to it. This Jobey Zulu/Woodstock is a classic expression of this pipe shape. Brian commissioned this Jobey Zulu/Woostock and he will have first opportunity to acquire it in The Pipe Steward Store and this benefits the Daughters of Bulgaria – helping women and girls who have been trafficked and sexually exploited. Thanks for joining me!

The Last of Boston’s Peretti Oom Paul Sitter Recommissioned

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Blog by Dal Stanton

I’ve enjoyed restoring a Lot of 10 Peretti pipes and recommissioning them for new stewards. All the Oom Pauls in the picture below, except for one which I added to my collection, are in the hands of new stewards except for the one on my worktable now. I have been pleased to hear back from stewards who have these Oom Pauls and often I’ve heard that they have become favorites in their rotation lineups! I like Perettis myself and have a healthy collection of them. They are great smokers in my experience and my Peretti Oom Paul is a favorite for me too – he hangs on the chin perfectly, like a good lap dog! When I began my research on the L J Peretti name, I was surprised to discover that it is not an Italian pipe as one might expect with such a name! In fact, I discovered the genesis of a significant story of Americana pipe history with the establishment of the L. J. Peretti Company of Boston in 1870 (Pipedia citing: Pipes, Artisans and Trademarks, by José Manuel Lopes), the second oldest tobacco shop in the US, second only to Iwan Ries & Co. of Chicago established in 1857 (See: Link). The Peretti family originally comes from Switzerland, but the Italian name is explained by the fact that they originated from the southern slopes of the Swiss Alps which flows south toward Italy more easily than to the north – the heart of Switzerland. The Calabash (upper left) and the Goliath Billiard (bottom) are waiting to be restored to be added to my collection of Perettis. The hefty Egg in the middle is already in my lineup!Brian commissioned two pipes (See: For ‘Pipe Dreamers’ Only), a nice looking Jobey Hand Rubbed Dublin (next on the worktable) and the Oom Paul Sitter before me – both pipes benefit the Daughters of Bulgaria – helping women and girls who have been trafficked and sexually exploited. Thanks Brian! For a close-up look at the Oom Paul Sitter, I take several pictures on my worktable. The nomenclature is the simple L.J. PERETTI stamp on the left shank. This Oom Paul shares every single challenge that his former brothers had – the former steward seemed to have a scorched earth policy. The chamber is heavily caked, and the rim scorched. The rim challenges are the most daunting for this restoration. The stummel has a build up of grime and minor nicks from usual wear. The stem has significant oxidation and bit clenching and chewing which needs addressing. To begin the restoration of this, the last Peretti Oom Paul Sitter in need of a new steward, after cleaning the internal airway with a pipe cleaner dipped in isopropyl 95%, I put the stem in a soak with Before & After Deoxidizer along with 5 other stems. After some hours soaking, I fish out the Peretti stem and wipe off the raised oxidation with a cotton pad wetted with light paraffin oil (mineral oil in Bulgaria). The Deoxidizer seems to have done an adequate job. Next, I attack the chamber carbon cake build up using the Pipnet Reaming Tool. Putting paper towel down to minimize clean up, starting with the smallest blade head, I use 3 of the 4 blades available to me. I follow the blade heads by using the Savinelli Fitsall Tool to reach down into the chamber to scrape more carbon off the wall. Then, to clean the chamber and to bring out fresher briar, I sand the chamber using a piece of 240 grit paper wrapped around a Sharpie Pen. To remove the thick carbon dust left behind, I wipe the chamber with cotton pads wetted with alcohol. After clearing the cake away, a look into the chamber reveals no problems – no heat cracks or fissures. Good! Now to scrub the stummel surface and the rim with its thick lava I start with undiluted Murphy’s Oil Soap and cotton pads. I also use a brass brush on the rim to break up the lava crust. To scrape the rim, I use a pin knife as well as the straight edge of the Savinelli Fitsall tool. As I scrape the crust off, I also remove the scorched charcoal that is on the inside of the rim mainly on the left side of the stummel – the area where the former steward damaged all his pipes. The result is that the left side of the rim is narrower after the cleaning. The stummel is in great condition – the rim is the challenge. Before moving on with the rim repairs I continue with the internal cleaning of the stummel. Using pipe cleaners and cotton buds dipped in isopropyl 95% I go to work. I also employ a dental scalpel to scrape the internal wall. I’m pleased that there wasn’t too much resistance. At the end of my work day I’ll continue the cleaning process by giving the stummel a kosher salt and alcohol soak.Turning now to the stem, I begin addressing the tooth dents and chatter on the bit. With his brother Oom Pauls, there usually was some button damage too, but this guy’s in better shape in that regard. I first use the heat method to raise the vulcanite dents to make them less severe. By heating the vulcanite, it expands, and the dented vulcanite naturally seeks its original positioning. I use a Bic lighter and paint the upper and lower bit and after heating several passes, I do see a lessening of the severity of the dents as the vulcanite expands. As a result, I can sand the remaining dents out with both the upper and lower bit. Before the heating:After the heating:I sand out the damage using 240 grit paper.I move on to using 600 grit paper by wet sanding the entire stem. I follow this with 0000 steel wool sanding/buffing the entire stem.Moving forward with the stem, I wet sand using micromesh pads 1500 to 2400 followed by dry sanding with pads 3200 to 4000 and 6000 to 12000. To revitalize the vulcanite, I apply a coat of Obsidian Oil after each set of 3 pads. I love the glossy pop! Looking now to the stummel, I see a few very small, nicely camouflaged fills which are in good shape, but I see one significant cut into the briar that needs attention. To address it, using a toothpick, I lay a line of thick CA glue over the cut. I set the stummel aside to allow the patch to cure.After a while, the patch has set enough for me to work on the rim. The bad news is that the loss of briar on the left side of the internal rim from scorching is gone – it can’t be replaced. The good news is that the aesthetic imbalance of the rim as a result can be mitigated somewhat by creating a bevel around the entire rim. The bad news – there is additional loss of briar. In restoring a pipe there’s always this tension between loss and gain. With this Peretti, as with all his Oom Paul brothers, I did the same thing and they turned out well. I start the process by taking the stummel to the topping board to remove the damaged wood on the top. Topping an Oom Paul can be a challenge because the shank extends beyond the plane of the rim. So, to top the rim, the shank needs to hang off the side, so it isn’t unintentionally topped! I take a picture to mark the start. I turn some rotations on the board and check out the progress. I also utilize a small sanding block which allow me to focus on a certain area of the rim. After the 240 paper, I put 600 grit paper on the board and do a few more rotations. The pictures show this progress. Now, using a tightly rolled piece of coarse 120 grit paper, I begin beveling the internal rim edge – hoping to bring more balance to it. I take a bird’s eye picture first to mark the progress. I pinch the paper under my thumb as I move it in the areas of the rim to be reduced. While I work on equalizing the rim diameter, I’m also sanding down the chamber to taper the walls as they move downwardly. I’m looking for greater aesthetic balance. I come to the point where I’ve done all I can do. I think it looks much better. I do another bird’s eye shot for comparison. I take the stummel one more time to the topping board using 600 grade paper. I do this simply to reestablish the lines after the sanding. One more thing I want to do with the rim. I’ve worked on the inside balance, now I also introduce a very gentle bevel on the outside of the rim. I do this to soften the edge which is sharp after the topping. I use 120 grit paper then 240 and finish with 600 – each rolled tightly. With the rim repair done, I take the flat needle file and begin to file down the patch on the side of the stummel. When I bring the patch down close to the surface, I switch to using 240 grit paper to remove the excess patch to the briar surface, making the patch area flush with the surface. I then finish the sanding with 600 grit paper. The patch will blend well later.My day has ended and I will continue the cleaning process of the stummel with a kosher salt and alcohol soak. This freshens the briar and draws out more latent tars and oils from the briar. I fashion a wick from a cotton ball by pulling and twisting it. I insert it down the mortise and airway. I then fill the bowl with kosher salt, which has no aftertaste, and then put isopropyl 95% into the bowl until it surfaces over the salt. I wait a few minutes and top off the alcohol and turn out the lights. The next morning the soak has done the job through the night. The salt and wick show soiling from the tars and oils. I clean the stummel of residue salt with paper towel, blowing through the stummel, and to be on the safe side, I run a cotton bud with alcohol through the mortise to clean up any leftover remnants – after a couple of cotton buds I move on. The next step is to address the external briar surface of the Peretti Oom Paul Sitter. I filled the one cut I saw on the surface that stood out. There are other nicks and scratches that are normal from use. To address these, I use micromesh pads. I first wet sand using pads 1500 to 2400, then dry sanding 3200 to 4000 and 6000 to 12000. The grain looks good as the micromesh pads coaxed it out. The one bummer is the darkened wood from the scorching damage around the inner edge of the rim. That will not go away because it would sacrifice too much briar to accomplish it. Since the rim had been topped and sanded, it is a shade lighter than the rest of the stummel. To remedy this, I apply a maple color dye stick around the rim. I forgot to take a starting picture for comparison but here is the aftermath. It looks good and matches well.As I’ve done with all the other Peretti Oom Pauls (and one Bent Billiard!) I restored, I kept the color true to the original as much as possible. To do this I used Before & After Restoration Balm on the briar and it does a great job deepening and enriching the color already there. I do the same with this Sitter. I squeeze some of the Balm on my fingers and work it into the surface. The Balm starts with the consistency of light oil but as it is worked into the briar it gradually thickens to a wax-like feel. After applying it fully and working it in, I set the stummel aside for a while, about 30 minutes to allow the Balm to do its thing and take a picture.After about 30 minutes I use a clean cloth to wipe and buff off the Balm. I’m pleased with the results. Turning now to the application of Blue Diamond compound, I rejoin stem and stummel, mount a cotton cloth wheel onto the Dremel, set the speed at 40%, and methodically apply the compound. After finished, I wipe the pipe with a felt cloth to remove compound dust in preparation for the wax. I mount a different cotton cloth wheel to the Dremel dedicated to applying carnauba wax, leave the speed at 40% and again, methodically apply a few coats of wax to stem and stummel. I finish the restoration of the Oom Paul Sitter by giving the pipe a rigorous hand buffing with a microfiber cloth to raise the shine.

I am very pleased with the restoration of this, my last for now, Peretti Oom Paul Sitter. The grain is rich on the huge, ample bowl which is the reason many pipe men and women desire an Oom Paul in their collections. The added benefit to this Oom Paul is that it is a Sitter. He can comfortably join his steward at a table playing cards or board games! Brian commissioned (see For ‘Pipe Dreamers’ Only) this Peretti Oom Paul Sitter and will have the first opportunity to acquire it in The Pipe Steward Store. This pipe benefits the Daughters of Bulgaria – women and girls who have been trafficked and sexually exploited. Thanks for joining me!

Fashioning a Churchwarden from a Forlorn, Throw away Billiard – a story of the Phoenix

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Blog by Dal Stanton

The Greek mythological Phoenix is a long-lived bird that cyclically regenerates or is otherwise born again, according to Wikipedia. It is regenerated out of its own demise, from its own ashes. The images that come to mind are Harry Potter-esque – the Phoenix’s name is Fawkes and “as stated by Dumbledore, they are extremely loyal creatures, and are capable of arriving to the aid of beings who share a similar devotion. This was how Fawkes arrived to assist Harry in slaying the Basilisk in the Chamber of Secrets during his second year at Hogwarts” (LINK). The tear of the Phoenix could also bring healing and recovery from near death.

What does the Phoenix have to do with pipes and Billiards? True confession: I enjoy immensely working on vintage pipes with well-known and sought names like Dunhill, Savinelli, Comoy’s, Stanwell, GBD, Jeantet and BBB. But truth be known, I LOVE taking the throwaways, the discarded, the ‘only good for the waste heap’ pipes – that make most people cringe and reach for latex gloves – to take these pipes and see what I can do to help. There is a satisfaction at the end of such projects that translates into, ‘Wow! Who could have imagined…!” The discovery of hidden beauty that was always there, but no one took the time to help it emerge. I guess, at the core of it is the sense that sometimes people are treated in such a way or may view themselves in such a way that does not reflect the often hidden value that people intrinsically have. Helping is seeking to bring new life out of the ashes of the past.

I want you to meet my forlorn Billiard stummel. I’m sure that one past day he enjoyed the attention of a steward. He proudly was settled on the rack with other proud pipes of The Rotation. One day something happened, and he lost that favored position, and everything changed. I found him in a bag of a second-hand/antique vendor in Sofia, Bulgaria’s ‘Antique Market’ in the city-center. The bag was full of broken and discarded stems, stummels and other things unrecognizable. He had no stem. I plucked him out of the bag along with a few other pieces, paid the vendor a very small sum for what had no value to the vendor or to anyone else. The small Billiard stummel was marked with the most generic of all markings, ‘Real Briar’. Absolutely nothing special. Here are pictures of the redeemed Billiard on my worktable. I just completed the restoration of a Monarch Pat. 1989069 – 1074H Bent Ball for Andy, a pipe man living in Maryland, who attends the church where I was formerly the pastor on the Eastern Shore – the peninsula created by the Chesapeake Bay and Atlantic Ocean east of Washington DC. Andy commissioned the Monarch from the ‘For Pipe Dreamers Only!’ section on my blog. He told me he was also hoping to land a Peretti Oom Paul and a Churchwarden someday. He had seen several of the Peretti Lot of Oom Pauls that I had already restored and recommissioned for new stewards and was hopeful. I had no more Perettis to share, but I proposed that I could fashion a Churchwarden from repurposed stummels. I also had one 8-inch Warden stem left in my stores. Not long ago, I completed a fun restoration I called ‘A Tale of 3 Church Wardens’ – where I fashioned 3 Churchwardens that all found new stewards in Germany. I directed Andy to check out the post to decide what he wanted to do. It didn’t take long and he decided to add a Churchwarden to his Monarch Bent Ball – each of these pipes benefit the work we do here in Bulgaria with the Daughters of Bulgaria – helping women and girls who have been trafficked and sexually exploited to find a new life and hope. The next question for Andy was what stummel would mast the Warden stem and rise from the ashes like the Phoenix? Here were the options I sent to Andy with a warning not to be distracted by the color or condition – to look only at the shape. Here’s what he saw.From the top, his choices were a Rhodesian, a Panel, a carved Apple and the forlorn Billiard. Andy chose the classic Billiard shape, influenced mainly by the longer shank which will add a bit of flow to the Churchwarden he would become when transformed. The interesting factoid that I reported before, in my writeup of the 3 Churchwardens, was from Bill Burney’s Pipedia Pipe Chart. It provides the framework for forlorn bowls to rise as the Phoenixes. What brings this power? A Churchwarden stem:As you would expect, our Billiard that Andy chose has many challenges. The worst of his obvious problems is the rim which has been chewed and gnarled! It has a large divot on the internal lip over the shank. Also, on the shank side, the rim slopes away having endured a ‘skinned knee’ experience. The old finish is totally old and the stummel has some small fills that need checking. Yet, underneath the grime and tired finish – where there is finish, is briar grain with potential. I begin the story of this Billiard hoping to rise as a Phoenix by doing the basic cleaning of the stummel before fashioning the precast Churchwarden stem. To mark the beginning of the restoration, I take a picture of the Billiard stummel with the Warden stem – the place where Pipe Dreamers begin!I take a picture of the chamber and see that there is very little cake build up, but I also see that it appears someone took a pocket knife to the chamber in the past – with little care. I take the Savinelli Fitsall Tool and I ream the bowl of residue carbon. Following this, I sand the chamber with 240 grit paper by wrapping the paper around a Sharpie Pen seeking to clean it but also to smooth the top of the chamber where knife marks were. I then clean the chamber with a cotton pad wetted with isopropyl to rid it of carbon dust. The chamber wall seems to be in good shape – no cracks or heat fissures are visible, but I will need to do a bit more sanding – I’ll wait to do this along with the rim repair. Now I turn to internal cleaning of the stummel. Using cotton buds dipped in isopropyl 95%, I realize very quickly that the grunge in this mortise and airway was thick. I put the cotton buds down for a time and start scraping the mortise walls with dental spatulas. I also insert a drill bit the size of the airway and hand turn it to excavate the tar and oil buildup. In time the cotton buds started coming out less soiled. I plan to give the stummel a kosher salt and alcohol soak through the night to clean the internals further and freshen the stummel for the new steward. The pictures show the grunge warfare!With the stummel cleaned, I now turn to the precast Churchwarden stem. I begin by pulling out my new electronic caliper that I acquired when I fashioned the 3 Churchwarden stems before. I take an internal measurement of the Billiard’s mortise, which is the target. The reading is 8.13 mm. For a conservative target in shaping the new tenon on the precast Warden stem, I add .40 mm to the 8.13 which gives me a conservative target of 8.53 mm. I now mount the drill bit to drill the tenon’s airway enlarging it to receive the guide pin for the Pimo Tenon Turning Tool, which I also just added to my tools. I mount the Pimp Tenon Turning Tool into the drill chuck and cut a conservative practice cut on the tenon to get an initial measurement. The practice cut measurement is 8.96 mm which means I need to remove around .43 mm to arrive at the conservative target of 8.53 mm. The purpose of the conservative target is to get close to the exact size of the mortise, but not quite. This leaves room to sand the tenon to fashion the custom size because every mortise is different. The fit between the newly fashioned tenon and the mortise must be snug but not too tight. I crank down the blade on the Tenon Turning Tool a bit and make another practice cut and remeasure. Now, I have a perfect example of why doing practice cuts is a good idea! The next measurement was 8.23 – only .10 mm off the actual mortise size – too close for comfort. I don’t want to risk taking off too much. I back the blade off a little and recut. I come to an 8.49 mm which is good. Using a flat needle file, 120 and 240 grit papers I gradually bring the size of the tenon down. After MANY filings/sanding and testing the fit in the mortise, I can seat the tenon snugly into the mortise. The shank is slightly larger than the diameter of the stem when the stem is inserted into the mortise. The picture below shows how the briar is extending at this point, but as I look around the shank, the amount of overhand is not the same. I use the flat needle file to start bringing the briar overhang flush with the Warden stem. The picture below shows the shank having that ‘stuff pants look’ as the taper of the shank to the stem is not gradual. To address this, I file and sand around the shank to create a more gradual tapering from the bowl through the shank to the Warden stem. Most of the briar bulging was on the shank sides not on the upper and lower areas which look pretty good. After a lot of sanding with a flat needle file, 120 and 240 papers, I arrive at a nicer tapering from shank to stem. I sacrificed the ‘Real Briar’ stamping on the left side of the shank for the more balanced look on both sides of the shank. I thought about it for a few minutes, and sanded away in favor of a reborn Phoenix! The shank overhang has been sanded out and the shank/stem junction is flush. I like the flow from bowl, through the shank, and into the stem. Before bending the stem, while still in the same customized position, I also file and sand down the sides of the precast stem to remove the seams created by the casting halves. I aim for rounding the stem. With the Billiard’s straight shank, the bend will be very small and subtle. Last time I fashioned Churchwarden stems I found that I was consistently overbending the stem and then I would need to back off the bend for the best look. I place pipe cleaners in the stem at both ends to maintain the integrity of the airway during the heating and bending process. I use a hot air gun and warm the vulcanite in the area where I make the bend. As it warms, the vulcanite, a rubber compound, becomes supple and is fashioned easily. After making the bend, by simply eyeballing it, I take the heated stem to the sink and cool it with tap water to set the bend. I remount the bent stem and I like it. It has a gentle bend, not too much. The Phoenix is coming to life!Looking now to the stummel, I use a sharp dental probe to test the very small fills on the stummel. They seem to be solid. I then look at the gnarly rim. The next step is to remove the damage by utilizing the topping board. Using a chopping block, I place a sheet of 240 grade paper on it. After inverting the stummel on the board, I begin to rotate the stummel over the paper. I’m thankful for the fact that Churchwardens typically have smaller bowls. That’s good news because I’m taking a bit of briar off the top. After a while, there is still a divot on the inside of the rim over the shank which I will address by creating a bevel. After the 240 grade rotation, I then use 600 for a bit and finish the topping. Using 120 grit paper, I start carving a bevel on the inside lip of the rim. I follow by moving to the outside edge of the rim. I create the bevel by pinching the rolled piece of sanding paper under my thumb and then methodically move it around the rim putting pressure on the paper. The continuous movement is what keeps the bevel consistent. I then follow with 240 paper for both the inside and outside edges of the rim. I think it looks good – what an improvement!To address the stummel surface to remove the top surface and scratches and old finish, I start by using a coarse sanding sponge on the entire stummel. I follow the coarse sponge with medium and then light sanding sponges.I decide now to continue working on the stem. Using a flat needle file and 240 grit sanding paper I continue smoothing and shaping the stem. I work on the rough button with the file to shape it with the file. I sand the entire stem with 240 grit because, even though the stem is new, the vulcanite contains ripples and ribs from the casting process. I work the stem with sand paper so that it’s smooth and the stem is rounded. From filing and 240 grit, I sand the entire stem with 600 grade paper. I finish this sanding phase by sanding/buffing the stem with 0000 grade steel wool. The pictures show the progress. My day is ending and I finish at the worktable with a kosher salt and alcohol soak to further clean and refresh the stummel. I create a wick from a cotton ball by stretching and twisting the cotton. I then insert/stuff the wick in the mortise and airway. I then put the stummel in an egg crate to stabilize it and fill the bowl with kosher salt which leaves no after taste as does iodized salt. I then use a large eye dropper to fill the bowl with alcohol until it surfaces over the salt. After a few minutes I top off the alcohol. I set the stummel aside and turn out the lights.The next morning the kosher salt and alcohol soak did the job – the salt and wick are soiled by drawing out more tars and oils from the mortise and airway. After dumping the expended salt, I wipe the chamber with paper towel to remove the old salt. I blow through the stummel as well to clear out the left overs. To make sure all is clean, I run a few more cotton buds dipped in isopropyl 95% through mortise. Moving on.Time to micromesh the Churchwarden stem. Using pads 1500 to 2400 I wet sand the stem. Following this, I dry sand using pads 3200 to 4000 and then, 6000 to 12000. After each set of 3 pads, I apply Obsidian Oil to the stem to enrich the new precast Warden stem. I take only one picture at the end because it’s difficult enough to see the detail of black vulcanite with regular sized stems, with the Churchwarden stem, the picture is from orbit!With the stem drying, it’s time to begin the micromesh sanding of the stummel. Using micromesh pads 1500 to 2400 I wet sand the stummel. As has happened on previous restorations, the wetting of the stummel during the wet sanding process spelled the end of the once solid fills that I saw before. The fill material must be made of a water-soluble material – not sure what it is, but it isn’t anymore! The fills fully disintegrated.The detour means that I need to apply patches to the pits – I mix briar dust and thick CA glue to form a putty that I apply to the holes. I first use a sharp dental probe to make sure the pits are free of debris. I use an index card to do the mixing by placing some dust in a pile. I then place some of the CA glue next to the briar dust. Using a toothpick, I gradually draw a bit of the dust into the glue while mixing it with the toothpick. I continue to do this until the putty reaches a molasses-like consistency. I then apply the putty to the places needed – there are a few. After applying the briar dust putty, I spray the patches with an accelerator to cure the patches more rapidly. Then, using a flat needle file, I begin filing down the patches to near the briar surface. Then I use 240 grit paper to remove the remaining excess patch material bringing the fill flush with the briar surface. Following the 240 paper, I use 600 grit paper on each of the patch areas. Finally, I return to the initial micromesh pads and sand the patches with 1500 to 2400 grade pads. The detour is complete, back on track. The pictures show the patch repairs. These patches will blend very well. I pick up again by dry sanding using pads 3200 to 4000 and then 6000 to 12000. The pictures show the finished result. I enjoy so much watching the grain emerge during the micromesh process. This lonely stummel just may be a Phoenix after all!At this point, aiming for the color preferences Andy described when he commissioned the Billiard, I will stain the stummel using the base as Fiebing’s Saddle Tan Pro Dye but add to it just a bit of Fiebing’s Dark Brown Leather Dye to darken it a bit. I believe this will add more depth to the grain contrast – or I hope! After mixing the dyes in a shot glass, and inserting a cork into the shank to act as a handle, I then warm the stummel using a hot air gun. This expands the briar making the wood more receptive to the dye. After warmed I apply the stain using a folded pipe cleaner. After the stummel is completely covered, I flame the aniline stain using a candle. The alcohol in the dye immediately combusts leaving the dye set in the grain. After a few minutes, I repeat the same regimen including flaming. I then set the stummel aside to rest and settle through the night. The next morning, after an early 5AM trip to the Sofia Airport to drop off a summer intern who was returning to the US, I returned to the worktable ready to ‘unwrap’ the Billiard that had been dyed the night before. I enjoy this a lot! I mount a felt wheel on the Dremel, set to the lowest speed, and begin removing the flamed crust encasing the stummel. I use the coarser Tripoli compound to do this. As I work the buffing wheel methodically over the surface, I avoid applying too much downward pressure but allow the felt wheel, speed and compound to do the work. During the process, I purge the wheel often to clean it and keep it soft. After finishing with the felt wheel, I switch to a cotton cloth wheel and apply Tripoli to the crook between shank and stummel which the felt wheel is unable to reach. After the Tripoli, I wet a cotton pad with alcohol and wipe down the stummel to blend the new stain and to lighten it a bit.In the same manner as the Tripoli compound, I apply Blue Diamond, a finer compound. I mount another cotton cloth wheel on the Dremel, increase the speed to about 40% of full power. I apply the compound to both stem and stummel. After I finish, I wipe down both stem and stummel with a felt cloth to remove compound dust in preparation for applying the carnauba wax. Before applying the wax, I want to add a special touch to this reborn Phoenix Billiard Churchwarden. I decide to band the shank – always a nice touch. I pull out my collection nickel bands and find one that fits over the shank but leaves about a 1/4 inch slack between the end of the shank and the end of the band. To slide the band safely up the shank I heat the band with a hot air gun while on the shank at the tension point. As the band heats, it will expand microscopically. After a time of heating, I turn the shank downward and gently but firmly press down against a thick cloth on the hard wood surface. This pressure moves the band up the shank a few millimeters and the cloth cushions the end of the band so it doesn’t bend with the pressure. If one presses too hard and tries to expand the band too quickly, the nickel can rip – that is not good. I got through the heating and pressing cycle a few times and the band is seated well. I remount the stem and eyeball the band placement. It looks good and I think the new steward will like this touch of class a lot for this Phoenix Billiard Churchwarden. Before I wax the pipe, I mount a cotton cloth buffing wheel on the Dremel that I use exclusively on nickel. I want to shine the band up before applying wax. I set the speed at 40% and apply White Diamond compound to the band. I’m careful not to run the buffing wheel over the band to the briar as it can discolor the wood. I learned this the hard way in the past. I’m not sure what the chemical process is, but when polished at high speed, a dark residue is produced. You can see it on the White Diamond bar as well as on the wheel. This is another reason why each compound and use have a dedicated wheel. After finishing with the White Diamond buffing, I buff the band with a microfiber cloth and, oh my! How it shines!Now, the home stretch. Time to wax the pipe. Again, I change to another cotton cloth wheel dedicated to carnauba, maintain a 40% speed on the Dremel, and apply a few applications of the wax to the stem and stummel. I finish the polishing by hand buffing the Churchwarden with a microfiber cloth to raise the shine.

Few words describe the transformation of this lonely Billiard into a Phoenix. Again, I’m amazed at the beauty in what God has created, even that which we often pass by with the shrug of the shoulders. The gain revealed in the Billiard is beautiful. The rim, gnarled as it was, looks great and is not diminished by the briar I was forced to take off. As I look at it, the slightly squatter bowl works very well as the mast of the long, flowing Churchwarden stem. The band mounted on the shank simply rocks, what can I say. Andy commissioned this Billiard now Phoenix Churchwarden and he will have the first opportunity to acquire it in The Pipe Steward Store. This pipe benefits the Daughters of Bulgaria – women and girls trafficked and sexually exploited. Thank you for joining me in the telling of the story of the Phoenix!

An email from France brought me another SINA pipe – a Horn Stemmed Chubby Billiard

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Blog by Steve Laug

A couple of weeks ago I received an email from Jean Paul in France asking if I was interested in purchasing an old pipe he had. It was stamped SINA on the left side of the shank and on the stem. I asked him to send me some photos of the pipe to show me what he was offering. He sent me the following photos – a left side view, a top view and a photo of the pipe taken apart. The pipe was definitely an old one. The stamping on the left side of the thick shank and on the horn stem had remnants of gold stamping and reads SINA. The rim top was dirty and had a thick looking overflow but it was hard to see what the cake looked like. The inner and outer edges of the bowl looked to be in good condition. The horn stem was in excellent condition with some light tooth chatter on both sides of the stem at the button. There was an inner tube that ran from the tenon end into the bowl. It was heavily lacquered with tobacco oils and tars but otherwise in good condition. I sent another email and a payment via Paypal and the pipe was mine. The pipe was soon on its way across the Atlantic. The SINA brand was not uncommon to me as I have previously worked on another older SINA – a Rhodesian with a hard rubber stem. If you are interested in reading about the restoration of that old pipe the link will take you to the blog (https://rebornpipes.com/2014/08/28/giving-new-life-to-a-sina-rhodesian/). I have included two photos of the other SINA pipe in my collection. It is also an old timer from the same time period. When I worked on that pipe I did a bit of research to find out about the maker of the SINA pipe. I have included the information I found for that blog below. I figured it would be good to have it here as well as in the earlier blog. I quote:

I looked on Pipephil’s site and was able to find out that there was indeed a connection to GBD. The connection was with the French branch of GBD.From the screen capture above you can see the two links under the photo on the left. The first connects the pipe to the Marechal Ruchon & Co. factory that made GBD pipes. They eventually sold out to the Oppenheimer group. The French brand was also connected to C.J. Verguet Freres and to Sina & Cie which were sold to Oppenheimer in 1903-1904. In 1905-1906 Oppenheimer merged the two companies. The accompanying chart gives an overview of the twisted trail of the GBD brand and its mergers and sales. The chart also comes from the Pipephil site and was the second link under the above photo. Once I had refreshed my memory on the SINA brand I knew that this second pipe was made before the 1905-1906 mergers as well. It fits well with the thick horn stem and the shape of the button and narrow slot opening. The thick shank also fits well with the period. I really like the shape and style of this era of pipe history so this one would be a pleasure to clean up. I took the following photos of the pipe when I took it out of the box. It was really dirty as I had guessed from the presale photos. It was in good condition underneath it looked like but it was a mess. The outside of the bowl was very dirty grime and tars covering the front and right side of the bowl. The rim top had a thick coat of lava and tars and there was a thick cake in the bowl. The stem looked pretty decent other than tooth marks on the top and underside near the button. I took close up photos of the rim top and both sides of the stem to show its condition. You can see from the photo the thick cake in the bowl and the overflow on the rim top. The second and third photos show the tooth marks chatter on both sides of the stem at the button. The final photo shows the SINA in a logo stamped on the left side of the shank.I took photos of the bowl from a variety of angles to show the ground in grime and dirt in the briar on the exterior. I reamed the bowl with a PipNet pipe reamer starting with the smallest cutting head and working up to the third cutting head. I took the cake back to the walls of the bowl. I cleaned it up with a Savinelli Fitsall Pipe Knife to remove the cake that remained behind on the walls and on the bottom of the bowl. I sanded the inside of the bowl smooth with 180 grit sandpaper wrapped around a piece of dowel. I scraped the rim top with the Savinelli Fitsall Knife to remove the thick lava that had overflowed onto the rim. I wiped it down with acetone on cotton pads to remove the residual grime on the rim and around the bowl and shank.I took photos of the bowl after I had wiped it down with the acetone. The bowl looked quite good. There was some deep pits and nicks on the rim top and bowl edges as well as some burn marks toward the front of the bowl. I lightly topped the bowl with 220 grit sandpaper on a topping board. I worked over the inner edge of the bowl with a folded piece of 220 grit sandpaper.I polished the rim top and the rest of the bowl with micromesh sanding pads – wet sanding with 1500-2400 grit pads and dry sanding with 3200-12000 grit pads. I wiped the bowl down after each sanding pad with a damp cloth. I touched up the stain on the rim top with an Oak coloured stain pen to match the rest of the bowl. I would blend in the stain later in the process.I rubbed some Before & After Restoration Balm into the surface of the briar to enliven, clean and preserve it. I rubbed it in with my fingertips working it into the briar. I set it aside for a little while to let the balm do its work. I buffed it off with a cotton cloth and then buffed it with a microfiber cloth. The photos below show the pipe at this point in the restoration process. I touched up the gold leaf in the oval SINA logo on the left side of the shank using Rub’n Buff Antique Gold. I rubbed it into the stamping on the shank side and pressed it into the stamp with the sharp point of a sanding stick. Once the gold had dried I buffed it off with a cotton cloth. The second photo shows the stamp after the touch up. It does not look too bad for a pipe made before 1905-06.I scraped out the inside of the shank with a dental spatula to remove the lacquered tars and oils that had hardened in the mortise. I don’t think this pipe had been cleaned since it was first smoked in the early 1900’s.I turned the inner tube in the metal tenon in the stem to remove it. It was pressure fit and the tars and oils had it held tightly in place. With it removed and the shank scraped clean the pipe was ready to be cleaned up.I cleaned out the inside of the mortise and the airway in the shank and stem with pipe cleaners, cotton swabs and alcohol.I used clear super glue to repair the tooth marks on the stem. I sanded the stem surface with 220 grit sandpaper to smooth out the chatter and wiped it down with alcohol on a cotton swab. I filled in the tooth marks with clear glue and set it aside to cure.When the repair had cured, I sanded the surface of the repairs on the stem with 220 grit sandpaper to smooth out the repairs and blend them into the surface of the horn stem. I forgot to take photos of this part of the process as I was anxious to see what the stem looked like polished. I quickly move on to polish the stem with micromesh sanding pads – wet sanding with 1500-2400 grit pads and dry sanding with 3200-12000 grit pads. I wiped the stem down after each sanding pad with Obsidian Oil and after the final sanding pad I gave it a final coat of oil and set it aside to dry. The horn stem was beginning to look really good for a pipe of this age. I put the cleaned inner tube in the tenon and aligned the angle of the spear end so that it would sit on the bottom of the bowl when inserted in the shank. I took photos of stem at this point to show the inner tube.I used the sharp point of a sanding stick to apply Rub’n Buff Antique Gold to the stamping on the left side of the stem. I worked it into the grooves. I let the gold dry and then buffed it off with a soft cloth.This SINA, GBD predecessor is a beautiful pipe with mixed grain all around the bowl sides, top and bottom. The grain really is quite stunning. The rim top looks much better. The horn stem repaired easily and shined up well. I buffed the bowl and the stem with Blue Diamond polish to raise the shine on the briar and the vulcanite. I was careful to not buff the stamping and damage it. I gave the bowl and stem multiple coats of carnauba wax. I buffed the entire pipe 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 below. The rich patina of the original finish allows the grain to really stand out on this pipe and it works well with the rich lustre of the polished horn stem. The dimensions of the pipe are: Length: 5 1/4 inches, Height: 2 inches, Outside Diameter: 1 3/8 inches, Diameter of the chamber: 3/4 of an inch. This old and beautiful SINA Chubby Billiard will sit next to the other SINA pipe in my personal collection. I am looking forward to enjoying my first bowl in it soon. Thanks for walking through the restoration with me.

Resurrecting a Badly Damaged BBB ** Billiard

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Blog by Victor C. Naddeo

I have been following the Pipe Club of Brasil Group on Facebook for quite a while now and have enjoyed the posted that Victor Naddeo has made about his restoration work. He is the administrator of the Facebook Group and we have chatted back and forth. When he posted this restoration I was intrigued by his solution to the crack in the bowl. He sent me photos on Messenger and we talked about the repair and BBB pipes in general. Seems we are both devotees to BBB pipes. I asked him to write up this repair on an old BBB ** that was in very rough shape before he started. He gladly did so. I am hoping this is just the first of many blogs on rebornpipes by Victor. Welcome to rebornpipes! Now in Victor’s own words.

A few years ago i had my first experience with restorations. As a young man just into adulthood, I had little money to invest in good pipes, and on one fateful day I met an old Bent Apple BBB ** for sale at an antique dealer. The pipe had a very rusty stem, there were beat marks all over the edge of the bowl, and a cake that looked more like the shell of a turtle. Already for some time I followed the blog rebornpipes and the work of Steve, and inspired by him I decided to get involved in this project. Two months later (and after many mistakes made) I finally managed to bring the old warrior back into action. On that day I gained two new passions: Restoration and old BBB’s. This restoration I will show you below began months ago when in an auction I bought this BBB billiard from a not very honest auctioneer who had not reported that the bowl was cracked. After some time waiting in a drawer, I finally decided to do something to bring another warrior to this army of BBBs, I hope you like it!

As you can see, looking from the side he was just an old billiard that needed a bit of polishing and cleaning. Good shapes, harmonious proportions, these are typical features of an old BBB and the main reasons that made me fall in love with the brand. What I did not expect was that his former owner somehow managed to create a large crack in the front of the bowl with about 3cm.The interior of the ducts was also completely clogged with a mass of tar residues derived from years of non-cleaning use. The cake was also quite thick, which led me to believe that the pipe had never been reamed, and if it was, that was many decades ago. To remove the cake, I had to use some chisels first, because as the passage was very narrow, it was impossible to insert my Senior Reamer into the chamber. It took me some time (and I also got some blisters on my hand). In the picture you can see the amount of carbonized material being removed from inside the bowl. After using the chisels and also the senior reamer, I also use a series of sandpaper inside the bowl, starting from grit 220 through 400, 600 and ending with 800, so that the inside of the bowl has a uniform surface.After a 30 minute bath in a solution of Oxyclean and water, I washed the inside of the stem using bristle pipe cleaners and running water. With a Dremel and felt disks, used blue polishing compound to polish the inner tube. I finished cleaning the inside of the stem using cotton pipe cleaner soaked in grain alcohol, removing what was left of residues and possible bacteria. The Oxyclean bath brings the oxidation back to the surface of the stem, which facilitates the polishing and removal of the oxidized material. Returning to the subject of the dreaded crack in the bowl. I decided to use a briar insert to cover it. To prevent cracking from increasing over time and to facilitate insertion of the insert, I used a cutting blade attached to the Dremel to cut the broken part and make a V shape instead of the crack. I used this same disk to also cut out a briar block, an insert of a similar size and I used sanding paper to leave it the perfect size to fit into space. To glue the insert, I used a mixture of briar dust, pigments and super glue. I settled the insert and held it for a few minutes until the glue dried. I waited a few hours to make sure that all the glue was dry and insert was firmly in place. I cut the burrs and used sandpaper to level the insert with the rest of the bowl. I also used brown and black dye to match the colors. I used 220, 400, 600, 800, 1000 and 1200 grit sanding sticks to remake the shapes of the bowl edge that were completely destroyed by the beat marks. As you can see, after reshaping the top of the bowl, you can already see the ancient times of glory of this pipe that once was the faithful companion of some gentlemen.

After dying, it was time for the first polish. I used two different compounds, red and brown, on denim disks and jeans disks, such as a high spin, to remove sediments and dirt that were stuck to the outside of the bowl and excess dyeing of the insert and the new bowl top . I used the same process on the stem to remove the oxidized material, but finalizing with flannel discs using the blue compound and white diamond to give a mirrored sheen.

This is a Beautiful Heritage Heirloom Square Shank Tall Bulldog 50S

1 Reply

Blog by Steve Laug

Jeff picked up the latest pipe that I am working from an antique shop in Freeland, Washington, USA in February of 2017. Once again he has proved to have an eye for the unique and unusual. The shape and the look of the pipe caught my eye when I was looking for a pipe to work on next. Jeff took photos of the pipe before he did his cleanup work. The 50S square shank Tall Bulldog pipe was in good condition. There was a thick cake in the bowl and a light overflow of lava on the rim. The inner edge of the rim appeared to have some reaming damage and perhaps some burn damage. The grain on the sides of the bowl is quite stunning and is straight and flame grain on bowl and shank with birdseye on the top and underside of the shank and bowl. The finish was dirty but appeared to be in good condition under the grime and grit the years. The exterior of the bowl and square shank were clean and undamaged. It was stamped Heritage over Heirloom over Imported Briar on the left side of the shank and has the shape number 50S on the right side of the shank. The stem had light oxidation, some tooth chatter and some deeper tooth marks on both sides of the stem just ahead of the button. The double diamond logo on the left side of the stem was in good condition. The quality vulcanite had held up well through the years. Jeff took some photos of the rim top to show the tarry buildup on the flat surface and the potential damage to the inner edge of the bowl. There appears to be some damage on the inner edge at the back side of the bowl.Jeff also took some photos of the sides and bottom of the bowl and shank to show the condition of the pipe and the lovely grain all around. The next photos show the stamping on the shank – both the left and right sides. The stamping is dirty and faint but readable. The left side reads Heritage over Heirloom over Imported Briar. The right side reads 50S which is the shape number. The double white diamond insert on the left side of the saddle stem appears rough under magnification. He took photos to show the condition of the stem – the tooth marks and the worn edge of the button on both sides is very clear in the photos. The stem was also oxidized.I went back and read previous blogs I have written and others have written for rebornpipes on the Heritage brand of pipes. Andrew Selking did a great bit of research on the brand and did several blogs. I quote from his work at this link, https://rebornpipes.com/2014/12/23/refurbishing-a-heritage-heirloom/.

These pipes were made in the Kaywoodie factory, but on a completely separate line. Heritage pipes were Kaywoodie’s answer to Dunhill. According to one of their brochures, Heritage pipes were made from “briar burls seasoned and cured for up to 8 months,” with only “one briar bowl in over 300 selected to bear the Heritage name.” “Heritage stems are custom fitted with the finest hand finished Para Rubber stems. Mouthpieces are wafer thin and concave.”

The Heritage line began in the early 1960’s, with the trademark issued in 1964. The line was started at the request of Stephen Ogden, (who worked for Kaywoodie in 1962). Mr. Ogden had previous experience working for Dunhill, either running the New York store or working for Dunhill North America. Mr. Ogden was made President of Heritage Pi pes, Inc., Kaywoodie Tobacco Co. Inc. and Kaywoodie Products Inc. as well as a Vice President of S.M. Frank & Co. Heritage Pipes were produced from 1964 until 1970 (Source Kaywoodie.myfreeforum.org).

Andrew also included a copy of the Heritage brochure that I am also including below (Courtesy Kaywoodiemyfreeforum). On the fourth page I circled the 50S shaped pipe. This is the one that I am working on. Jeff had worked his magic in cleaning up this pipe. It is nice to work on pipes that he has cleaned up for a change. He reamed it with a PipNet reamer and smoothed the walls of the bowl with a Savinelli Fitsall pipe knife. 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 and shank with a tooth brush and Murphy’s Oil Soap to the oils and tars on the bowl, rim and shank. He rinsed it under running water. He dried it off with a soft cloth. Once the grime was removed the finish underneath was in good condition. The rich patina of the older briar and the straight grain around the bowl and shank and the birdseye grain on the top and underside of the shank were beautiful. There were some dark spots on the left side of the cap and at a few spots around the edges. There was some damage to the rim top on the right rear. They appear to be burn marks or at least burn damage though the briar is solid. The cleaning of the stem left a light oxidation in the vulcanite. The tooth marks were clean but visible. I took photos of the pipe to show its condition before I started my work on it. I took some close up photos of the bowl, rim top and stem to show the condition of the pipe before I started to do the restoration work on it.I took close up photos of the burn damage to the left side of the bowl on the cap and double ring around the bowl. Fortunately the burn damage is not deep into the briar. The wood in the darkened portions is solid and not charcoal.To remove the damaged areas on the rim top I topped the bowl on a topping board with 220 grit sandpaper. You can see from the second photo that the damaged area on the right rear of the surface had been removed. I scraped out the remnants of cake on the walls of the bowl using my Savinelli Fits all Pipe Knife. I sanded the walls of the bowl with sandpaper wrapped around a piece of dowel.I used a folded piece of 220 grit sandpaper to smooth out the inner edge of the rim and give it a light bevel inward to deal with the damage on the edge. I sanded the burned areas on the left side of the bowl cap to try to minimize them and blend them into the surrounding briar. I polished the exterior of the bowl and shank with micromesh sanding pads, carefully avoiding the stamping on the sides of the shank. I wet sanded the bowl with 1500-2400 grit pads and dry sanded it with 3200-12000 grit pads. I wiped the bowl down after each sanding pad with a damp cloth to remove the sanding dust. I rubbed some Before & After Restoration Balm into the surface of the briar to enliven, clean and preserve it. I rubbed it in with my fingertips working it into the briar. I set it aside for a little while to let the balm do its work. I buffed it off with a cotton cloth and then buffed it with a microfiber cloth. The photos below show the pipe at this point in the restoration process. I set the bowl aside to address the issues with the stem. I painted the surface of the stem with the flame of a Bic lighter to lift the tooth dents in the surface of the vulcanite. I was able to lift them quite a bit and then filled in the dents with black super glue. When the repair had cured I recut the edge of the button with a needle file and flattened out the surface of the repair to match the rest of the vulcanite. I sanded the surface of the repairs and the oxidation on the stem with 220 grit sandpaper to smooth out the repairs and shape the button. It also removed the surface oxidation that was on the stem. I polished the stem with micromesh sanding pads – wet sanding with 1500-2400 grit pads and dry sanding with 3200-12000 grit pads. I wiped the stem down after each sanding pad with Obsidian Oil and after the final sanding pad I gave it a final coat of oil and set it aside to dry. I polished it with Before & After Pipe Stem Polish – both Fine and Extra Fine. I used it to polish out some of the remaining scratches. I gave it another coat of Oil and set it aside. This Heritage Heirloom Square Shank Tall Bulldog is a real beauty with straight and flame grain all around the sides of the bowl and shank. It also has some beautiful birdseye on the top and underside of the bowl and shank. The grain really is quite stunning. The rim top looks much better. The Heritage high quality vulcanite stem repaired easily and shined up well. I buffed the bowl and the stem with Blue Diamond polish to raise the shine on the briar and the vulcanite. I was careful to not buff the stamping and damage it. I gave the bowl and stem multiple coats of carnauba wax. I buffed the entire pipe 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 below. The rich patina of the original finish allows the grain to really stand out on this pipe and it works well with the rich black of the polished vulcanite stem. The dimensions of the pipe are: Length: 6 inches, Height: 2 1/4 inches, Outside Diameter: 1 1/4 inches, Diameter of the chamber: 7/8 of an inch. In my years of refurbishing pipes I have not seen one quite this shape. I have worked on quite a few Heritage pipes since Andrew brought them to my attention but none have caught my eye like this one. So, this beautiful Heritage Heirloom 50S will fit really nicely into my personal collection for now. I am looking forward to enjoying my first bowl in it soon. Thanks for walking through the restoration with me.

Breathing New Life into a Kriswill “Chief” # 20

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Blog by Paresh Deshpande

I had completed the refurbishing of LANE ERA CHARATAN’S MAKE “SPECIAL” and thoroughly enjoyed the process. Apart from preserving memories, the thing that I enjoy the most while refurbishing/ restoring my inherited (and some purchased) pipe collection, is the transformation of the pipe that unfolds before your eyes as you progress. It is something akin to a flower bud that gradually blooms and opens itself in all its beauty for you to feast your eyes upon. This is what I love when I work on a pipe.

While rummaging through the large box with an equally large number of my inherited pipes with my younger 10 year old daughter, she laid her hands on a pair of pipes with “SHINING SUN”, as she liked to call it, on its stem. With the selection of next two projects decided by her, I had a closer look at these pipes. These were a pair of KRISWILLS, one stamped as “CHIEF” and the other as “GOLDEN CLIPPER”. The first thing that struck me was that there was something amiss with the way the stems sat into the shank of each pipe. The “CHIEF” did not have its stem sitting flush with the shank. Also, the shank’s outer diameter appeared larger than that of the stem. The “GOLDEN CLIPPER” had its stem flush with the shank; however the diameter of the stem was larger than that of the shank. The following picture will clarify what exactly I was faced with……

CLIPPER

CHIEF

As I was wondering what could be done to address this issue and surfing the net for buying new/ used original stems for these pipes, Abha, my wife who was having a closer look at both these pipes simply interchanged the stems and surprise of all surprises, the stem that was on the “CHIEF”, sat flushed and perfectly matching with the shank of the “CLIPPER”. However after considerable effort, though the stem that was on the “CLIPPER” sat flushed with the shank of the “CHIEF”, the diameter of the shank was larger than that of the stem. So now what we have is a KRISWILL “GOLDEN CLIPPER” with a perfectly matching and fitting original stem and a KRISWILL “CHIEF” with a fitting, but mismatched stem diameter.

KRISWILL “CHIEF”

KRISWILL “GOLDEN CLIPPER”

I discussed with Abha and it was decided that since the “CLIPPER” has a perfect stem match, I would work on the “CHIEF” and make the shank match the stem. With this decision made, I kept the CLIPPER aside and took the “CHIEF” into my hands.

The CHIEF has a nice, deep bowl and nicely fills the hand. The size, weight and heft of the pipe is just beautiful. Beautiful cross grains adorn the sides and the back of the bowl while the front of the bowl boasts lovely mixed grains of swirls, flame and Birdseye. It is stamped “KRISWILL” over “CHIEF” over “HANDMADE IN DENMARK”. At the bottom of the shank where it meets the stem, is the numeral “20” and yes…. this positioning of the number did cause me a great deal of grief during the process of sanding!!! All the stamps are crisp and clear.I was curious to know about the history, geography and carvers for Kriswill while attempting to date this pipe. While referring to “Pipephil” I came across this information which I have reproduced below verbatim (http://www.pipephil.eu/logos/en/logo-k3.html)

“Kriswill is a brand of Kriswork Briar Trading, in Kolding (Denmark) established about 1955. Some of Kriswill pipes were designed by Sigvard Bernadotte, Swedish prince and brother to the late Queen Ingrid of Denmark. He collaborated with his Danish partner Acton Bjørn. When the company went bankrupt in the late 1970s it was on a level with Stanwell. Dan Pipe Cigar & Company (Hafenstrasse 30 D-21481 Lauenburg/Elbe, Ge) bought the rights to use the name and it is Holmer Knudsen and/or Poul Winsløw who make the Kriswill line. Nørding, on its side, bought the plant and introduced a Kriswell line”.

Prior to 1970 the stampings are in script letters on the shank and on the mouthpiece. The star on the stem and block letters on the shank were introduced from that date on.

While researching for more information on Kriswill pipes on “Pipedia”, I came across this additional information which is reproduced below:

Kriswill was one of the large pipe manufacturers in Denmark during the 1960s and 1970s, and I believe closed around 20 years ago. Their catalog cover read “By Appointment to the Royal Danish Court, KRISWILL, Kriswork Briar Trading, Briar Pipes Hand Made in Denmark.”

Thus, from the above information, it is safe to assume that this pipe is post 1970.

INITIAL VISUAL INSPECTION
As with all other pipes, the CHIEF, too is covered in dust, oils and grime of all past years, though comparatively to a lesser extent. The chamber is heavily caked with lava overflowing on to the top of the rim. A few small dents and dings, though minor, are visible on the outer edge of the bowl. The condition of the inner edge and that of the inner surface of the chamber will be ascertained once the bowl has been reamed and the lava removed from the rim top.The airway in the shank is blocked and air does not flow through the shank. Close observation of the shank revealed presence of debris in the mortise. This needs to be cleared and cleaned. Maybe this will also help in a smooth and snug fit of the stem into the mortise.The stem shows calcification near the button and deep oxidation all along the stem. There are bite marks near the button and some deep tooth chatter. The button has been bitten and will need to be reconstructed.THE PROCESS
Since this would be the first time I would be attempting to undertake the process of adjusting the fit of the tenon and matching the diameter of the shank with that of the stem, I Face timed with Mr. Steve who advised me to, firstly, be very careful during the sanding of the shank so as not to lose too much briar making the shank diameter too small, secondly, he told me to ensure that the entire shank should be sanded such that the taper at the shank end is not abrupt and blends well into the overall shape of the pipe. Thirdly, it is most important to exercise a lot of patience and diligence while working and check very frequently the fit, finish and shape of the shank and the stem.

I started with cleaning the shank of all debris using a dental spatula, pipe cleaners, cue tips and isopropyl alcohol. I was surprised to see the amount of gunk that was removed from the shank. I tried to fit the stem on to the shank. Though the tenon has inched further in to the mortise, a prominent gap is clearly visible between the shank end and the stem.Using a 220 grit sand paper, I very carefully began the process of sanding down the tenon, checking ever so frequently for the fit of the tenon into the mortise. Finally I was able to achieve a perfect fit of the stem and the shank with all the right noises!!!!Now that the issue of fit of the stem into the shank has been addressed, I turned my attention to match the size of the diameter of the shank with that of the stem by sanding down the shank. I started this sanding using a 220 grit sand paper. This process was made difficult and uneven at the bottom of the shank due to the stamped number “20” being very close to the shank end.I took care so as not to sand off the stampings on the shank and stem by masking them. Once I was satisfied with the results of sanding with 220 grit paper, I switched to sanding with a 440 grit sand paper to further blend the shank and stem. Mr. Steve’s advice of being very diligent and frequent checking was always ringing in my ears as I progressed towards the goal of matching the shank with that of the stem. A word of caution for first timers like!!!!!!!! During the process of sanding you may notice a considerable dip at the shank end.This signifies that the sanding of the shank end is excessive and thus sanding needs to be done from further up the shank and a bit over the stem too. This will ensure a seamless joint between the shank and the stem.

Using a 220 grit sand paper, I sanded the shank to match the dip at the shank end and also a little of the stem end, all through taking care of the stampings on the shank and stem. I further evened out the shank and the joint with 600 and 800 grit sand paper. Once I was satisfied with the seamlessness of the joint, I showed it to Abha, my wife and she too approved of the job done. Thereafter, I further blended and merged the entire shank and the stem through the joint using micromesh pads, wet sanding with 1500 to 2400 pads and dry sanding with 3200 through to 12000 pads. I wiped the sanded area with alcohol after each pad to remove the sanding dust. Boy!! Was I pleased with the results, hell YEAH!!!! I shared pictures of the end result with Mr. Steve on What’sApp and he too approved of the seamless joint. Next I turned my attention to the stem and painted the surface of the stem with the flame of a Bic lighter to raise the tooth chatter and minor bite marks. The deeper tooth bites with a mixture of activated charcoal and clear CA superglue and let it cure for 24 hours. Using a flat head file needle, these fills were blended into the surface of the stem. For a better blending of the fill, I further sanded the entire stem with 220 followed by 400 and 800 grit sand paper. This helps to reduce the sanding marks left behind by the more abrasive 220 grit paper. To bring a deep shine to the vulcanite stem, I went through the complete set of micromesh pads, wet sanding with 1500 to 2400 grit pads and dry sanding with 3200 to 12000 grit pads. I wiped the stem with alcohol after each pad and rubbed it down with Extra Virgin Olive oil. The internals of the stem was cleaned out using alcohol and pipe cleaners. The finished stem is shown below.With the stem taken care of, I once again turned my attention to the stummel. The sanded shank was lighter hued as compared to the rest of the stummel. Since I was still awaiting my stain pens, which have been held back in custom clearance for the last 50 odd days and also since I have not yet graduated to use of aniline stains/ dyes, I was contemplating what could be done to blend the finish of the shank with that of the stummel. Being the intelligent of the two, Abha suggested that the bowl could be sanded using micromesh pads to match the finish of the shank. That decided, Abha reamed the chamber using Kleen Reem pipe tool and with the fabricated pipe, she removed the remaining cake from the chamber.With the same knife, she gently removed all the overflow of lava, oils and tars from the rim surface. She further sanded the interiors of the chamber with a 220 grit sand paper to get rid of the last traces of the remaining cake. She also topped the rim on 220 grit sand paper and evened out all the remaining lava and minor dings and dents that were revealed after the lava was removed. Using isopropyl alcohol, hard bristle and normal pipe cleaners, she completely cleaned out the internals of the shank.I cleaned the external surface of the bowl with undiluted Murphy’s Oil soap and tooth brush to remove all the grime and dirt and rinsed it under running water. I took care that no water enters the chamber and the shank. Using paper napkins and soft cotton cloth, I completely dried the surface. Thereafter began the entire process of sanding down with micromesh pads as enumerated while working on the shank. I also worked on the rim top to match it with the rest of the bowl. The bowl has some interesting grains and patterns. I rubbed in some Before and After Restoration balm in to the briar to bring out the shine and enliven the briar. After a few minutes, I rubbed and polished the bowl with a soft cloth. Finally, I finished the pipe by rubbing a small quantity of Paragon wax and polishing it using raw and undiluted muscle power and a microfiber cloth. I am very pleased and happy with the way the complete project has turned out. It was an exhilarating experience to be able to appreciate the transformation and a sense of accomplishment that accompanied it. I must thank Abha and Mr. Steve for walking with me through this project. Here are the pictures of the finished pipe.