Tag Archives: Comoy’s pipes

Restoring an Amazing Looking Comoy’s Magnum Supreme


Blog by Steve Laug

I have finished many of the pipes on my desk for refurbishing or repair and decided it was time to do something a little different that was a lot less work. I turned again to the group of 42 pipes that Jeff and I purchased from a pipeman who can no longer smoke because serious illness. It is a pleasure to be able to support this Brother of the Briar in this very hard season of his life. He had some beautiful pipes in his collection and with some work we will get them cleaned up and into the hands of other pipemen and women who can carry on the legacy of the briar.

The third of the pipes that I am working on is a large Comoy’s. It has an octagonal shank that is a really nice touch. The bottom of the bowl and shank are flat so the pipe is a sitter. It is stamped on the left side of the shank Comoy’s over Magnum over Supreme. On the right side of the shank it is stamped Made in over London England. It is a stunning piece of briar with beautiful straight, flame and birdseye grain around the bowl. The saddle stem is Cumberland and has a C inset in clear acrylic inlaid in the left side of the saddle. When it arrived at Jeff’s house and he opened the box he could see it was a beautifully grained piece of briar and an interestingly carved pipe. The pipe was dirty but there was no significant damage to the bowl or stem. The rim top had darkening and tars on the bevel of the inner edge. But it did not appear to be burned or charred. There was a thick cake in the bowl. The Cumberland stem was in great condition – just a little dirty and tooth chatter on both sides of the stem near the button. Overall the pipe was a beautiful and a dirty pipe that must have been a favourite smoker. Jeff took photos of the pipe before he started his clean up work. Jeff took photos of the bowl and the rim top to show the condition of the bowl and rim. You can see the light oil and darkening on the inner edge of the beveled rim top. You can also see the cake in the bowl and the tobacco debris stuck to the walls.   Jeff took photos of the sides and heel of the bowl to show the condition of the finish – the grime and grit all over the sides and bottom of the bowl. The overall dullness of the finish looks lifeless. It is a dirty pipe but the grain is absolutely stunning.   He took photos of the stamping on the octagonal shank. It is both artfully and tastefully done. The stamping was very readable as noted above. It is a beauty!  The Cumberland stem has an inset acrylic encased C inlaid on the left side of the saddle and is stamped faintly on the right side of the saddle with the words Hand Cut.  He took some photos of the Cumberland stem surfaces to show their condition. There were not any tooth marks just some calcification and light chatter ahead of the button on both sides.  I turned then to Pipedia to see what I could find out about this particular line of Comoy’s pipes. I read through the main Comoy’s page and looked at the page on dating the pipes by the stamping on both sides and neither one had any reference to the Comoy’s Magnum Supreme. I then turned to the article by Derek Green on Pipedia to see if there was any reference to the line there. Low and behold about half way down the article under the section entitled, The Names or Grades I found some information on the Magnum line. Here is the link to that page on Pipedia (https://pipedia.org/wiki/A_History_Of_Comoy%27s_and_A_Guide_Toward_Dating_the_Pipes#The_Names_or_Grades). I will quote from the section on the line below.

Extraordinaire. This designation was given to any pipe that was out of the ordinary in size or grain. The E/O was introduced in the 1930s, and “Extraordinaires” can be found with no other designation or also stamped, for instance, “Blue Riband” or “London Pride.” The 1936 advertisement lists the “Extraordinaire” at $13 to $23, and the 1965 catalogue also lists a “Specimen Straight Grain Extraordinaire” at $60, though I cannot imagine many of these were made! There seem to be two distinct-sized pipes that were called “Extraordinaire.” The very large or Magnum-sized variety are unique and were given shape numbers in the 800 series. My 1939 panel example is 803 and is 9 inches long, with a bowl 2 3/8” high and 1 ¾” wide. I understand that BBB, Comoy and Dunhill made these Magnum-sized pipes in the 1920s and 30s and that Dunhill purchased the bowls for their Magnums from BBB when they started producing them in 1921. Other Extraordinaires are somewhat larger than a Dunhill LBS, for instance 6 ½” long with a bowl height of 2” and 1 ½” wide. These are given normal shape numbers and are illustrated in the 1965 catalogue.

The Extraordinaire was reintroduced in 1979 as the “Extraordinaire 1,” which was priced at $100 in the 1979 catalogue in a light natural finish, and the “Extraordinaire 11,” a light two-tone walnut finish. Neither of these was as large as the 800 series.

Magnum. As mentioned above, the 800 series are “Magnum” sized, but I also have one pipe that is stamped “Magnum,” with the shape number 802 and is the same shape and size as my Extraordinaire 802. It dates from the 1960s, and Comoy’s may have used this name as a marketing exercise to supersede the 800 series. The name Magnum was re-introduced by Cadogan in the 1990s, but these were not really magnum sized.

From the site I determined that the pipe in my hand was most like made during the Cadogan time frame as it does not bear any shape number. It is large but I do not know that I would call it a Magnum sized pipe. That would make it a pipe from the 1990s which also goes along with the interesting acrylic encased C that is inlaid in the Cumberland stem.

Now I had the information I wanted to know on the brand it was time to begin to work with it and clean it up. It really is a beautiful pipe.

I am getting more and more used to Jeff cleaning up the pipes before I work on them. So much so that when I have to clean them it is a real chore! This pipe was dirty just like the other ones in the collection. I did not know what to expect when I unwrapped it from his box. He reamed it with a PipNet pipe reamer and cleaned up the reaming with a Savinelli Fitsall Pipe Knife. He scrubbed out the internals with alcohol, pipe cleaners and cotton swabs until the pipe was clean. He scrubbed the exterior of the bowl with Murphy’s Oil Soap and a tooth brush to remove the grime and grit on the briar and the lava on the rim top. The finish looked really good once it was clean. There was no damage and the grain just popped around the bowl. The rim top was bursting with birdseye grain and was beautiful. He cleaned the stem internals and scrubbed the exterior and the result looked very good. When the pipe arrived here in Vancouver for the second stop of its restoration tour it was impressive. I took photos before I started my part of the work. I took some close up photos of the rim top and also of the stem surface. I wanted to show what an amazing job Jeff did in the cleanup of the rim top. It was a real beauty. The layout of the pipe absolutely captured the birdseye grain on the pipe. I also took close up photos of the stem to show condition it was in. It would not take a lot of work – just sanding out the light tooth chatter and polishing with micromesh sanding pads.I took photos of the stamping on the left, right and underside of the shank. The stamping reads as noted above.   I polished the bowl and rim with worn micromesh sanding pads. I sanded it with 1500-12000 grit pads and wiped it down between pads with a soft cotton cloth. You can see the progress in the shine as you go through the photos.  I worked some Before & After Restoration Balm into the finish of the bowl, the rim top and shank with my fingertips to clean, enliven and protect it. I find that the balm really makes the briar come alive again. The contrasts in the layers of stain really made the grain stand out. I let the balm sit for a little while and then buffed with a cotton cloth to raise the shine. The pipe really looks good at this point. I am very happy with the way the pipe is looking at this point in the process.  I set the bowl aside and turned my attention to the stem. I sanded the light tooth chatter on both sides of the stem with micromesh sanding pads – wet sanding it with 1500-12000 grit pads. I polished it further with Before & After Pipe Stem Polish – both fine and extra fine. I finished by wiping it down with Briarville’s No Oxy Oil and set it aside to dry. This was another fun pipe to work on since Jeff had done the heavy work in cleaning it. Once I was finished I put the Hand Cut Cumberland stem with a Delrin tenon back on the bowl and polished the bowl and stem with Blue Diamond polish on the buffing wheel. I gave the bowl and the stem multiple coats of carnauba wax. I buffed the pipe with a clean buffing pad to raise the shine. I hand buffed it with a microfiber cloth to deepen the shine. The grain just pops and is almost multidimensional it is so deep. The pipe polished up really well. The polished Cumberland stem seemed to truly come alive with the buffing. This is a big pipe and it feels great in my hand and I am sure that it will feel even better radiating the heat of a good smoke. It must have been a fine smoking pipe judging from the condition it was when we received it from the pipeman who we bought it from. Have a look at it with the photos below. The dimensions are Length: 6 ½ inches, Height: 2 ½ inches, Outside diameter of the bowl: 2 inches, Chamber diameter: 1 inch. This is one beauty that is eye catching. I will be putting it on the rebornpipes store shortly. If you are interested in adding it to your collection email or message me. Thanks to each of you who are reading this blog. Remember we are not pipe owners; we are pipemen and women who hold our pipes in trust until they pass on into the trust of the next pipeman or woman.

Comoys Supreme Grain Bent Billiard Restoration


By Al Jones

This is the 2nd Comoys that I restored this weekend.  And, the first “Supreme Grain” that I’ve ever seen.  I found a few examples on the web.  The pipe was in very solid condition.  Unfortunately, I also lost the before pictures of this pipe and only have the sellers.  As you can see, it is aptly named, and better grain than some Blue Ribands that I’ve seen.

The pipe had very light oxidation and a few dings and bruises in the briar.  The shape 42 is the larger of the two Comoy’s bent billiards.

I initially thought it had a drilled C and started restoration the restoration with my usual regiment, which involves sanding right over the very durable logo.  I was horrified on closer examination to find out that the logo was not drilled.  However, it is seemingly quite deep and almost looks like an insert of sorts.  I’ve done a lot of Comoys pipes from every era, but not yet encountered one quite like this one.

I removed the very light oxidation with 800, 1,500 and 2,000 grit wet paper, this was followed by 8,000 and 12,000 micromesh. The stem was then buffed with White Diamond and Meguiars Plastic Polish.

The bowl was reamed and soaked with alcohol and sea salt.  I used an electric iron on high with a wet cloth to steam out most of the dings around the bowl.  The bowl was then buffed with White Diamond and several coats of Carnuba wax.

Below is the finished pipe.

Comoys 184 Golden Grain Restoration


By Al Jones

This looked like an easy restoration, but once in hand, it presented a few challenges.  I somehow deleted the “before” pictures, so I can’t share them.  This sellers picture shows that it was in pretty decent shape.  The shape 184 is listed as a Bent Apple on the Comoys shape chart and catalogs.

There was a white piece of the drilled, C stem logo and the button had what appeared to be a very poorly done hole repair.

The briar only needed to be reamed and soaked.  There were a few dents that I steamed out with an electric iron and cloth.

For the C logo fix, I entered a local beauty shop for the first time in my life and they recommended a white gel nail polish.  I applied the polish,let it sit overnight, than sanded smooth with 800 grit paper, it worked quite well and to the naked eye, is invisible.

I removed the very light oxidation with 800, 1,500 and 2,000  grit wet paper, this was followed by 8,000 and 12,000 micromesh.  This removed the poor repair job to a tiny pin hole underneath the bottom. I used the black superglue and accelerator to make that repair.  I cut a small v-shaped piece from an old credit card, coated that in grease and inserted it into the button to keep glue from sealing the draft hole.  Once the glue set, the plastic card is removed.

The stem was buffed with White Diamond and Meguiars Plastic Polish.

The briar was buffed lightly with White Diamond and several coats of Carnuba wax.

Below is the finished pipe.

The Guildhall Shape 256 Restoration


By Al Jones

The Comoy’s Author shape, the 256 is one of my favorites and quite rare.  I’ve never been able to find this shape in any Comoy’s catalog, perhaps that contributes to it’s rarity. Three years ago, I was fortunate to find an Old Bruyere finish 256, and detailed that restoration here:

https://rebornpipes.com/2017/05/13/finally-comoys-old-bruyere-256-restoration/

This pipe, is a Comoy’s second-line “The Guildhall”, instantly recognizable by the metal strats stem logo, which always captivates me.   The pipe arrived, with a one surprise, there were some deep circular marks in the briar, right around the shank.  I can’t imagine what created those marks, but I knew it was going to be a challenge to remove or minimize them.    Otherwise, it looked like a straightforward restoration.  There was minimal build-up on the bowl top and the stem was in very good condition.  Below is the pipe as it was received.

I used a piece of worn 2,000 grit wet paper to remove the build-up on the bowl top.  The bowl was then reamed and treated to an alcohol and sea salt soak.  While the bowl was soaking, I soaked the stem in a mild solution of Oxy-Clean.  Following the bowl soak, I cleaned the shank with a bristle brush dipped in alcohol and worked in some twisted paper towel, until it came out clean.

The stem was mounted and I used a lighter to lift the slight dents around the button.  The slight oxidation was removed with 800, 1,500 and 2,000 grit wet paper, followed by 8,000 and 12,000 micromesh sheets.  The stem was then buffed with White Diamond and Meguiars Plastic Polish.

I then turned my attention to the briar and marks.  I used a wet cloth and an electric iron set on high to steam out some of the deep marks on the bowl.  I had some success, lifting nearly all on the bottom of the bowl but some remain on the other areas.    The bowl was then buffed with White Diamond and several coats of Carnuba wax.

Below is the finished pipe.

 

The Restoration of the First of Jennifer’s Dad’s Estate Pipes – A Comoy’s Deluxe 78


Blog by Steve Laug

The next pipe on the worktable came from the estate of George Rex Leghorn. I received an email from his daughter Jennifer who is a little older than my 64+ years about whether I would be interested in his estate. My brother Jeff and I have been picking up a few estates here and there, so I was interested. Here is the catch – she did not want to sell them to me but to give them to me to clean up, restore and resell. The only requirement she had was that we give a portion of the sales of the pipes to a charity serving women and children. We talked about the organization I work for that deals with trafficking and sexual exploitation of women and their children and she decided that would be a great way to carry on the charitable aspect of her Dad’s character. With some great conversation back and forth she sent the pipes to Jeff and he started the cleanup process on them. Once he had finished cleaning them all he sent them to me to do my work on them.

The first pipe I chose to work on from the lot was a Comoy’s De Luxe 78 Military Bit Apple. It had some amazing grain on the bowl sides and shank. It had a Sterling Silver ferrule on the shank end that was oxidized and blackened. It had a badly oxidized stem with tooth marks and chatter on the top and underside near the button. There was a thick cake in the bowl and it was dirty and tired looking. It had been sitting in boxes for a lot of years and it was time to move ahead with the restoration. Jennifer took photos of the pipes she was sending. I have included the three she included from this pipe. When the box arrived from Jennifer Jeff opened it and took photos of each pipe before he started his cleanup work on them. This Comoy’s was a real beauty underneath the grime, tarnish and oxidation on the bowl and stem. The finish looked intact under the grime. The bowl had a thick cake that had hardened with time. The lava overflow on the rim could very well have protected the rim from damage. We won’t know what is under it until Jeff had cleaned it off. The silver work was tarnished but still looked classy on this old timer. The ferrule was undamaged with no dents of dings that are often found on these pipes. The stem was worn looking with a lot of deep oxidation and some tooth chatter and bite marks on both sides at the button. The overall look of the pipe made me think seriously about adding it to my own collection. Jeff took photos of the bowl and rim top to show the cake in the bowl and the lava build up on the edges of the bowl. It was thick and hard but hopefully it had protected the rim and edges from damage.The grain around the bowl sides and heel was quite beautiful. Lots of cross grain and birdseye that would clean up very nicely. It was a beautiful pipe.Jeff took photos of the stamping on both sides of the shank. The left side was stamped Comoy’s De Luxe and the right side had the Comoy’s COM stamp and shape number. The COM stamp is a circle with Made and London arching around “in” in the centre. Underneath it read England. The shape number is 78. I am not overly familiar with this line of Comoy’s and will need to do some work to get an idea of both age and value in the hierarchy of the lines.He also took photos of the stamping on the ferrule and the three circle inlay of the C on the left side of the stem. The ferrule read HC in a box over STERLING LONDON. There were no hallmarks on the silver so I could not use those to help date the pipe. The C inlay looked very good and did not show damage to any of the three circles. Jeff did not take photos of the stem at this point. It is so easy to miss some photos in the processing of pipes.Jennifer consented to write a short tribute to her Dad for the blog. She is also sending along some photos and an article that her Dad wrote for Jeff and me to be able to get a feel for him. When it arrives I will post the photo with the other blogs on his pipes and will add it to this one as well. In the meantime I asked her to also send me an email with a brief tribute that I can use until then. Here is her email to me.

Steve, I want to thank you again for accepting my dad’s pipes.  They were so much a part of my dad’s life that I could not simply discard them. But as his daughter, I was not about to take up smoking them either. *laughing* I think my dad would like knowing that they will bring pleasure to others.  I know that I do.

I’m not sure what to say about his pipes.   I always remember Daddy smoking pipes and cigars.

First a bit about my dad. Though my father, George Rex Leghorn, was American (growing up in Alaska), he managed to join the Canadian Army at the beginning of WWII, but in doing so lost his American citizenship.  He was fortunate to meet a Canadian recruiting officer who told him the alphabet began with “A” and ended with “Zed” not “Zee”, and also told him to say that he was born in a specific town that had all its records destroyed in a fire.  When the US joined the war my dad, and thousands of other Americans who had made the same choice*(see the link below for the article), were given the opportunity to transfer to the US military, and regain their citizenship.

After WWII, my dad, earned his degree at the University of California Berkeley and became a metallurgist. There is even a bit about him on the internet.

He loved taking the family out for a drive, and he smoked his cigars on those trips. (As a child, those were troubling times for my stomach.)

I most remember my father relaxing in his favorite chair with a science fiction book in one hand and a pipe in the other… Sir Walter Raleigh being his favorite tobacco… and the pipes themselves remind me of him in that contented way.  If I interrupted his repose, he’d look up, with a smile on his face, to answer me.

It seemed he smoked his Briarwood pipes the most, though he had others.  At the time, it was only the Briarwood I knew by name because of its distinctive rough shaped bowl.  And it was the Anderson Free Hand Burl Briar, made in Israel, which I chose for his birthday one year, because I thought he might like that particular texture in his hand.

At least two of his pipes, he inherited from his son-in-law, Joe Marino, a retired medical laboratory researcher (my sister Lesley’s late husband)… the long stemmed Jarl (made in Denmark), and the large, white-bowled, Sherlock Holmes style pipe.  I believe Joe had others that went to my dad, but Lesley was only sure about those two.

The Buescher, corncob pipe my older sister Lesley bought for Daddy while on one of her travels around the States.

A note on the spelling of my sister’s name…

My dad met my mother, Regina, during WWII and they married in Omagh, Ireland.  My mother was English and in the military herself.  The English spelling of Lesley is feminine, and Leslie masculine, in the UK… just the opposite of here in the United States.  I guess my mom won out when it came to the spelling of the name.

I’ll send you photos of my dad soon, along with his WWII experience story.

Jennifer

*https://www.thestar.com/news/world/2013/10/22/the_americans_who_died_for_canada_in_wwii.html

I turned to my usual sources for information about the De Luxe line of Comoy’s and found nothing on the pipephil website. On the Pipedia site there was nothing clearly written identifying the brand but there was a page from a Comoy’s Catalogue advertising Specialty pipes from Comoy’s that included the De Luxe (https://pipedia.org/wiki/File:Comoy-Specialty.jpg). I have included a screen capture of the page for you to have a look.It describes the De Luxe as being available in 14 Army styles in walnut and sandblast finishes. These fine pipes have their beauty enhanced by heavy gauge sterling silver bands hand fitted by silversmiths. It is also available in Blue Riband and London Pride on special order. So it seems that it is a specialty item and a beautiful one at that. Does anyone know anything else about the line?

Jeff cleaned the pipe with his usual penchant for thoroughness that I really appreciate. He reamed it with a PipNet pipe reamer and cleaned up the reaming with a Savinelli Fitsall Pipe Knife. He scrubbed out the internals with alcohol, pipe cleaners and cotton swabs until the pipe was clean. He scrubbed the exterior of the bowl with Murphy’s Oil Soap and a tooth brush to remove the grime and grit on the briar and the lava on the rim top. He was able to get most of the oxidation off of the silver ferrule as well. He soaked the stem in Before & After Deoxidizer to remove the oxidation on the rubber. When the pipe arrived here in Vancouver for the second stop of its restoration tour it looked very good. I took photos before I started my part of the work. I took some close up photos of the rim top and stem surface. I wanted to show what an amazing job Jeff did in the cleanup of the rim top and the great condition it was in under the thick lava coat. I also took close up photos of the stem to show the tooth marks and chatter in front of the button on both sides.I also took some photos of the stamping on the pipe – both sides of the shank and the Sterling ferrule. You can see the three part C in the stem as well. The ferrule is loose and will need to be glued in place again. You can see in the third photo below that it is on the top of the shank instead of aligned on the left side with the stamping on the briar.I decided to repair the tooth marks on the top and underside of the stem so it could be drying while I worked on the bowl. I cleaned the tooth marks with a cotton swab and alcohol and dried it off. I filled in the deep divots with black super glue and set the stem aside so the repairs could cure.I turned my attention to the bowl. I painted some white all-purpose glue on the shank end and carefully pressed the ferrule onto the end of the shank. I turned it on the shank to align the HC Sterling London stamp on the ferrule with the Comoy’s stamp on the briar shank. I let the glue dry on the ferrule and once it had set I polished the briar with micromesh sanding pads. I wet sanded with 1500-2400 grit pads and dry sanded it with 3200-12000 grit pads. I wiped the bowl down after each pad with a damp cloth. The grain really began to stand out. I worked some Before & After Restoration Balm into the briar with my fingertips to clean, enliven and protect it. I find that the balm really makes the briar come alive again. The grain shines through and really stands out. I let the balm sit for a little while and then buffed with a cotton cloth to raise the shine. The pipe really looks good at this point. I am very happy with the results. I used some silver polish to remove the remaining oxidation on the Sterling Silver ferrule. I rubbed it in with a cotton pad and polished it once it had dried. It took some time to polish out the scratches in the silver and give it a shine. I followed that up by polishing the ferrule with a jeweler’s polishing cloth. The photos show the shine.I set the bowl aside at this point and turned back to address the cured repairs on the stem surface. I sanded the stem with 220 grit sandpaper to blend the repairs into the surface of the rubber and also to remove the oxidation that remained after Jeff’s cleanup. I polished it with 400 grit sandpaper to smooth out some of the scratching that was left behind by the earlier sanding.I polished the stem with micromesh sanding pads – wet sanding it with 1500-2400 grit pads and dry sanding it with 3200-12000 grit pads. I wiped the stem down with Obsidian Oil after each pad. I polished it with Before & After Pipe Stem Polish – both Fine and Extra Fine polishes. I wiped it down with a final coat of Obsidian Oil and set it aside to dry. I put the stem back on the bowl and polished the bowl and stem with Blue Diamond polish on the buffing wheel. I carefully worked around the Sterling Silver ferrule so I would not damage it. I gave the bowl and the stem multiple coats of carnauba wax. I buffed the pipe with a clean buffing pad to raise the shine. I hand buffed it with a microfiber cloth to deepen the shine. The grain on this briar is absolutely beautiful and the shine on it makes the grain really shine. The pipe polished up really well. The wax and the contrasting stain on the bowl made the grain just pop on the briar. The polished black vulcanite seemed to truly come alive with the buffing. Comoy’s really captured this shape in a way that no one else has in my opinion. The pipe is perfect in my hand and when it warms with smoking I think it will be about perfect. Have a look at it with the photos below. The dimensions are Length: 5 1/2 inches, Height: 1 3/4 inches, Outside diameter of the bowl: 1 1/4 inches, Chamber diameter: ¾ of an inch. This is one that will remain in my collection. Once I figure out the value of the pipe I will make a donation on behalf of Jennifer’s Dad to the organization that I work for. It is a pipe like no other Comoy’s that I have seen before. I want to carry on the pipe trust of George Leghorn. Thank you Jennifer for trusting us with his pipes. Thanks to each of you who are reading this blog. Remember we are not pipe owners, we are pipemen hold our pipes in trust until they pass on into the trust of the next pipeman or woman.

What a Mess – a Weary Comoy’s Tradition 157 Barrel


Blog by Steve Laug

The next pipe in the queue came from an auction in Los Angeles, California that Jeff picked up online. This one was a Comoy’s Tradition Barrel Billiard. It is stamped on the left side of the shank Comoy’s Tradition and on the right side of the shank is the Comoy’s COM Stamp (Made in London in a circle over England) as well as the shape numberb157. It is a barrel shaped pipe with a flat bottom on the heel and sits well as a sitter. As is typical of Comoy’s Tradition pipe this one is a beauty. The finish is smooth and looks like nice grain under the grime of years. The rim top was smooth and had a beveled inner rim edge. There was a thick coat of lava on the rim and on the beveled inner edge. The pipe was dusty but the finish looked like it was rich and would clean up well. The stem is a vulcanite taper with a Comoy’s three part inlaid C on the left side of the stem. The stem has tooth marks and chatter on both sides at the button edge. The photos below tell the story and give a glimpse of the pipe before clean up. Jeff took a photo of the bowl and rim to show the condition of the pipe before he started his cleanup work. The lava overflowing the thick cake in the bowl all but concealed the inner and outer edge of the bowl and made it impossible to know the condition of the pipe. There was also tobacco debris in the bowl and stuck in the lava on the rim top.He also took photos of the right side and left side and underside of the bowl and shank to show the amazing birdseye and cross grain around the bowl and the smooth bottom that made the bowl a sitter. The classic Comoy’s stain looked pretty good under the grime.Jeff took photos of the stamping on both the left and right side of the shank and the Comoy’s C on the left side of the stem. It reads as noted above. The stamping is legible and very readable. The next two photos show the stem surface. They show the tooth marks and chatter on both sides near the button. They also show the deep oxidation on the stem.Once again, Jeff did his usual thorough clean up job on the pipe so that  when it arrived here in Vancouver it looked amazingly good – almost like a different pipe. Jeff reamed the bowl with a PipNet pipe reamer and followed up with a Savinelli Fitsall pipe knife to remove the cake. He scrubbed out the mortise and the airway in the shank and the stem with alcohol, cotton swabs and pipe cleaners. He scrubbed the exterior of the bowl, rim, shank and stem with a tooth brush and Murphy’s Oil Soap to remove the oils and tars on the rim and the grime on the finish of the bowl of the pipe. He rinsed it off under running water. He dried it off with a soft cloth. He was able to remove all of the lava build up on the beveled rim top of the pipe. The rim top and beveled edge looked very good. The birdseye grain was beautiful and the pipe looked very good. The stem looked a lot better than previously. Jeff had soaked it in Before & After Deoxidizer and it had done a great job on the oxidation. There were tooth marks and chatter visible on both sides of the stem at the button. I took photos of the pipe to show its condition before I started my work. I took close up photos of the bowl, rim and stem surfaces to capture the condition of the pipe after Jeff had done his cleanup. It reminded me once again how glad I am that he does this work for me and I can work on a clean pipe. The rim top was clean and the beveled inner edge was in excellent condition. There was some rim and edge darkening but it was relatively undamaged. The stem was quite clean with some tooth marks and chatter on the top and underside near the button.I decided to address the rim darkening first so I used a folded piece of 220 grit sandpaper to smooth out the edge of the bevel and clean up the darkening.I polished the briar with micromesh sanding pads (1500-1200 grit pads) and wiped the bowl down with a wet cloth to remove the sanding dust. I was so intent on doing it that I forgot to take pictures of this part of the work but you all know the effectiveness of micromesh in polishing briar. Once I was finished polishing it I worked some Before & After Restoration Balm into the surface of the briar with my fingertips to clean, enliven and protect it. I let the balm sit for a little while and then buffed with a cotton cloth to raise the shine. At this point I remembered to take photos. The following photos show the bowl at this point in the restoration process. The bowl and the rim top look really good and the grain really stood out on the smooth rim. The finish looks very good with the combined dark and medium brown stain on the bowl and rim. I set the bowl aside and turned my attention to the stem. I filled in the deep tooth marks on both sides with black super glue. It takes a while  to cure so I set it aside and worked on another pipe while it hardened. Once the repair had cured, I sanded it with 220 and 400 grit sand paper to smooth out the repairs and blend them into the surface of the stem. I polished the stem with micromesh sanding pads – wet sanding with 1500-2400 grit pads and dry sanding it with 3200-4000 grit pads. I buffed the stem with red Tripoli and brought it back to the work table and finished polishing it with 6000-12000 grit pads. I wiped the stem down with Obsidian Oil after each pad. I further polished it with Before & After Pipe Polish – both Fine and Extra Fine. I finished by giving it a final coat of Obsidian Oil and setting it aside to dry. Since I had finished both the bowl and stem I put them back together and polished the bowl and stem with Blue Diamond polish on the buffing wheel. I gave the bowl and the stem multiple coats of carnauba wax. I buffed the pipe with a clean buffing pad to raise the shine. I hand buffed it with a microfiber cloth to deepen the shine. The pipe polished up pretty nicely. The smooth rim top and the beautiful birdseye and cross grain finish on the bowl came alive on the buffing wheel. The rich brown stain works well with polished black tapered vulcanite stem. The finish looks amazing and it is smooth and light weight in the hand. Judging from the condition when we got it, I am sure that it will be an amazing smoker. Have a look at it with the photos below. The dimensions are Length: 5 1/4 inches, Height: 1 3/4 inches, Outside diameter of the bowl: 1 1/4 inches, Chamber diameter: 3/4 of an inch. I will be putting this beauty on the rebornpipes store shortly and it can be added to your collection. Thanks for walking through the restoration with me on this beautiful Comoy’s Tradition Barrel 157 pipe.

 

Refreshing a Comoy’s Made in London, England Bent Bulldog


Blog by Dal Stanton

I saw this Comoy’s Bent Bulldog as a charity listing on eBay for the Akron Art Museum, in Akron, Ohio.  The seller, like me, was providing pipes for a good cause and I like that.  I also liked the Bulldog I saw in the pictures the seller provided and by the description, it seemed the seller was a pipe person.  The nuts and bolts description:

A classic bulldog! About 5 1/4” long, bowl is 1 1/2” tall, 1 5/8” wide tapering to 1 1/8” at rim. ID 13/16”, depth 1 5/16”. Marked on one side of shank COMOY’S, other side MADE IN LONDON ENGLAND in circular fashion 4097, beneath shank a capital H. A capital C stamped on side of bit. No other marks detected.

Diamond saddle bit is well-seated push fit, cleaned and polished, showing some bite wear but no holes through. Some oxidation as well. Stummel is well hand worn and smoothed, some dings and scratches, scorch on rim, light cake in bowl. Though the pipe is smokable as is, this one has the possibility of being a real beauty with some TLC!

I took the gambit dangled in the last sentence regarding this Bulldog’s possible condition with some TLC.  My bid on the auction block was sufficient, I supported the Akron Art Museum, and now this Comoy’s Bent Bulldog is on the worktable here in Sofia, Bulgaria, on track to benefit the Daughters of Bulgaria, my favorite cause.  This was the second pipe that Stephen commissioned along with a Custom-Bilt Rusticated Panel.  Here’s the picture I saw on eBay which got Stephen’s attention in the For ‘Pipe Dreamers’ Only! collection:Now on my worktable, I take more pictures to get a closer look at the condition of this Comoy’s Bent Bulldog. The nomenclature on the Bulldog’s diamond shank is clear.  On the upper left shank is stamped ‘Comoy’s’.  The right upper shank has encircled, ‘MADE’ with ‘IN’ in the center and ‘LONDON’ on the bottom.  Underneath the circle is ‘ENGLAND’ in straight script.  To the right is shape number ‘409 7’.  Underneath this on the lower right shank panel is stamped ‘H’.  All indicators of the nomenclature point to a Cadogan era pipe which began in 1979 with the merger absorbing Comoy’s.  The simple ‘C’ stem stamp confirms this without the classic 3 piece inlaid ‘C’.  The shape number of 409 has historically indicated a Bulldog on earlier shape charts with a slight quarter bend.  The addition of the ‘7’ on this Bulldog I’m not clear on this, except that during the Cadogan era they added a 4th number to the shapes according to the Pipepedia article on shapes. I would say that this Comoy’s Bent Bulldog has been lovingly enjoyed over the years.  He’s got quite a few scrapes and bruises for the wear, mainly on his dome and circling the double grooves.  I took quite a few pictures of these above.  I’ll need to do some repairs especially on the back side of the dome where there are several small concentrated dents.  The front of the rim has been scorched from lighting practices it appears.  The dome grooves need to be cleaned and I detect a few chips of briar on the back-right side along the grooves.  Also, of interest are two huge fills on the right side of the bowl as it tapers down.  I’ll need to take a good long look at these.  The stem has oxidation and typical tooth chatter and compression dents on the button lip and just before the button.  The former steward was a clencher.

I begin the restoration of this Comoy’s Bulldog by placing the stem in a soak of Before & After Deoxidizer along with other pipes and stems in the queue.  Whoops, I include the original seller’s pictures – I forgot to take pictures of the original stem’s condition before putting the stem into the soak. After some hours of soaking, I remove the Bulldog stem and using a cotton cloth wetted with alcohol, I wipe down the stem removing the raised oxidation.  I follow this by wetting a cotton pad with light paraffin oil (mineral oil) and continue to wipe off the oxidation and the oil helps rejuvenate the vulcanite.After the soak wiping and the stem dries, I can still detect oxidation on the stem which requires more attention.  Before I start sanding the stem, I use Before & After Fine and Extra Fine Polishes to work on the oxidation.  It is advertised to continue the raising process of oxidation.  I start first with the Fine Polish by putting some on my finger and rubbing it in the vulcanite.  I also work it in well around the ‘C’ stamping to clean it more.  After applying, I allow it to stand for some time and then wipe off.  I do the same with the Extra Fine Polish.  After I’ve finished, I still see a deep greenish hue indicating the oxidation is still holding on.  The last picture below tries to capture what I see with the naked eye – it doesn’t do a very good job! One more noninvasive approach to the oxidation I’ll try.  I scrub the stem surface using Magic Eraser.  After working the white sponge over the entire surface, it did do a good job.  More oxidation was removed, but not enough to make me happy!  I still see oxidation especially on the ‘saddle’ of the saddle stem.  The pictures show the progression.Next, I sand the stem starting first with 240 grit paper.  I do not like going through the fine tune buffing with micromesh pads and start seeing oxidation!  So, I sand the entire stem, avoiding the Comoy’s ‘C’ stamping.  I also use at disc to sand against at the stank side of the stem.  The disc helps to guard against shouldering the stem so that the edges are not sharp as the stem joins the shank.  This sanding is primarily for dealing with the oxidation.  In the pictures below, you can see the bit area compressions that are left untouched by the sanding.Before proceeding further with the sanding of the stem, I use the heating method to raise the compressions in the vulcanite in the bit area.  Using a Bic lighter, I paint the bit and button to heat the vulcanite which causes it to expand.  The hope is that this will cause the indentations perhaps to go away or lessen in their impact so that they will then sand out more easily. After painting the bit with the open flame, it helped to minimize some, but it did not erase the dents and compressions on the bit and on the button lips.  I follow with a flat needle file to file the button to refresh and shape the edges.  I follow again with 240 grit paper continuing to sand the dents on the bit.  Using the Bic lighter to raise the dents helps and I’m able to sand out all the dents and compressions from biting. Before proceeding further with the sanding of the stem, I use the heating method to raise the compressions in the vulcanite in the bit area.  Using a Bic lighter, I paint the bit and button to heat the vulcanite which causes it to expand.  The hope is that this will cause the indentations perhaps to go away or lessen in their impact so that they will then sand out more easily. After painting the bit with the open flame, it helped to minimize some, but it did not erase the dents and compressions on the bit and on the button lips.  I follow with a flat needle file to file the button to refresh and shape the edges.  I follow again with 240 grit paper continuing to sand the dents on the bit.  Using the Bic lighter to raise the dents helps and I’m able to sand out all the dents and compressions from biting.  Next, I wet sand the entire stem using 600 grade paper and follow this by buffing with 0000 steel wool. One last thing at this point before turning to the stummel, I give the stem a coat of light paraffin oil to help revitalize it.  I put the stem aside to absorb the oil and dry. With the stummel in hand, I begin the internal cleaning by reaming the light cake build up in the chamber.  I use 3 of the 4 blade heads available from the Pipnet Reaming Kit.  I then use the Savinelli Fitsall Pipe Tool to reach the hard to reach places in the chamber.  I then sand the chamber with 240 grade paper wrapped around a Sharpie Pen followed by wiping the bowl with a cotton pad wetted with alcohol to clean the carbon dust left behind.  Inspection of the chamber reveals some heat fissures on the floor of the chamber.  There also appears to be a small fissure creeping up just above the draft hole.  I take a few pictures that show what I’m seeing.  Are these fissures severe enough to warrant a durable patch or perhaps apply a pipe mud to enhance the growth of a protective cake?  That’s what I’ll be considering.  Continuing the cleaning, I use undiluted Murphy’s Soap on the external briar surface.  To work on the grit lodged in the grooves I use a bristled tooth brush.  I also use a brass wire brush to work around the dome and rim to clear away the old oils. Using a sharp dental probe, I painstakingly clean both dome groves, scraping packed dirt out.  I’m careful not to jump ‘track’ out of the grooves and scratching the briar surface.  The picture shows the cleaning progress. With the externals cleaned up, I turn now to the internal mortise and airway.  Using pipe cleaners and cotton buds dipped in isopropyl 95% I go to work. I quicken the work by scraping the mortise with a dental spatula.  In time, the cotton buds and pipe cleaners were coming out clean.  I’ll continue cleaning later using a kosher salt and alcohol soak.Turning again to the stummel surface, the rim and dome cleaned up well but show the dents and pockets from knocks and drops.  There remains a scorched area at the front of the rim/dome area.  There are small chips in several places around the circumference of the dome grooves.  I believe they’re all too small to patch, but with sanding I’m hoping that most should disappear or be minimized.  The most daunting aspect of the briar landscape is a huge, double fill patch on the right lower side of the stummel.  I take two pictures of the fills to show the position and a super close-up to show the appearance of the fills.  I poked the fills with a dental probe and both fills are rock solid.  Yet, as the close-up picture reveals, there are small air pocket holes in the fills and gaping around the fills.  I’ll leave the fills in place but touch them up with thin, clear CA glue and then sand to blend.  These fills will pretty well drive the boat regarding the finished look of the Comoy’s Bulldog.  The finish needs to be darker in order to mask the fills as much as possible, though even a dark stain will not hide these giants.   Looking again around the dome grooves, on the back-right quadrant there may be at least 2 candidates for a patch before sanding.  I take a picture of this area.  To the top left of the groove chips, there are also a few small holes that I’ll fill with a spot-drop of CA glue.  In this picture there are also two other small fills that seem to be in good shape.Before I begin sanding and patching, I start from the top and work my way down!  Topping the stummel will re-define the rim and address the front quadrant of the rim/dome where the former burn damage has thinned the rim.  I take some pictures to show these issues and mark the start. I put 240 grade paper on the chopping board and rotate the inverted stummel several times, checking as I go to make sure I’m staying level and not leaning into soft spots in the briar. When enough of the top is removed, I then switch the paper to 600 grade paper and turn the stummel a few more rotations. I take pictures to show the progress.  Now to the patching party!  I first wipe the stummel with a cotton pad wetted with alcohol to clean the area. I start with the two large fills by spot dropping a small amount of thin CA glue over the fills and spreading the glue over the entire fill – filling the pockets and gaps.  To move the work along faster, since these are not ‘weight bearing’ patches, I use an accelerator to quicken the curing process.   For the groove patch, I insert a piece of an index card into the groove to create a flow barrier for the CA glue.  I then spot-drop a small amount of CA glue slightly above the chip and draw the glue over the chipped area with a toothpick.  Again, I use an accelerator to solidify the glue.  After a few minutes, I pull the index card away and use a sharp dental probe to make sure the groove is clear of CA glue seepage.  Next, I apply small drops to four other small pits near the grooves and above them – again, I use an accelerator.  I decide also to apply a small drop to the right of the primary groove repair.   The repairs look a mess now, but I’m hopeful that the sanding will prove to reveal a more pleasing surface!Next, I begin the filing and sanding of the two large fill patches down to the surface level.  I use a flat needle file to do this initially when the patch mound is more distinct, then follow with 240 grade paper as the sanding nears the briar surface.  The gaps and pits in the original patch filled nicely, blending better with the surrounding briar.To both clean and sharpen the grooves at the groove patch repair, I insert 240 grade paper into the groove itself.  The groove is only large enough to accommodate a single sheet, so I must flip the paper to sand both the upper and lower edges of the groove.  I use a sawing motion with the paper while in the groove and I flex the paper up to apply a little more sanding action to the groove edge.  This technique does a good job redefining and cleaning up groove edges, especially at the point of the CA glue repair.After filing, sanding the groove patch repairs, and ‘groove sanding’ the groove repair looks great!  The patch has blended, and the groove is cleaner and smarter.Next, I move on to filing and sanding the 4 patches to the left of the groove repair on the dome.  I file the patch mounds down until near the briar surface and then take over with 240 grit paper.  I sand the area of the patches to blend.  It looks good – not pristine, but much less ragged!  The battered stummel is showing some signs of life!I follow by ‘groove sanding’ this area.  I like the results of this technique, so I decide to continue the groove sanding around the entire circumference of the dome for both the upper and lower grooves.  Since I’m able only to do one directional sanding on the grooves, it requires four circuits around the dome to do the job!  I refined the technique as I work – by flexing the paper somewhat I can sand more directly chips encountered on the groove edge as I slowly work around the dome.  The pictures show the groove sanding progress and results – much cleaner and crisper for this Comoy’s Bulldog! I continue preparing the external briar surface by sponge sanding starting first with the coarse sanding sponge.  I then use a medium grade sponge then finish with a light grade sanding sponge.  I avoid totally the upper shank panels with the nomenclature.  Sanding sponges help to clean the surface of the minor nicks and cuts and soften the look without an overly intrusive sanding effect.  The pictures show the results of the 3 sponges. As I sponge sand the dome of the Bulldog, I notice a chip in the inner lip of the rim that became more distinct during the sanding process.  To erase this small divot, I introduce a very gentle inner bevel to the rim using 240 grade paper rolled.  This dispatched the divot quickly. Earlier, I avoided using the sanding sponges on the nomenclature panels in order not to diminish the Comoy’s stampings.   I do want to clean the panels more to rid the old residue finish before applying a fresh stained finish.  To remove the old finish and to clean the panel I apply acetone to a cotton pad and wipe the panels.  This does the job. With the time of my departure for the work day rapidly approaching, I continue the internal cleaning of the mortise and airway using a kosher salt and alcohol soak.  After forming a wick by stretching and twisting a cotton ball, I insert it down the mortise and airway using a stiff wire.  The wick acts to draw out the tars and oils.  I then add kosher salt (no aftertaste) to the chamber and place the stummel in an egg crate for stability.  With a large eyedropper, I add isopropyl 95% to the chamber until is surfaces over the salt.  After a few minutes, after the alcohol has absorbed into the chamber, I top off the alcohol and set the stummel aside to soak for the day.Arriving home several hours later, the soak did the job of finishing the internal cleaning.  I clean the expended salt from the chamber with paper towel and shank brushes as well as blowing through the mortise.  I run an additional pipe cleaner and cotton bud wetted with alcohol to assure the internals were clean.  They are, now moving on!Before proceeding further with the external stummel preparation, I’ve come to a decision point regarding the chamber issues that I saw earlier.  The floor of the chamber has heat fissures which the first picture shows.  The second picture shows the fissure immediately above the draft hole.  The upper chamber shows some heating issues with small, more normal chamber wear.  Earlier, my question had been, do the fissures on the floor of the chamber need a more durable response than simply applying a pipe mud mixture to enhance the growth of a protective cake?  The floor of the chamber has experience overheating issues and I believe at this point would benefit from applying J-B Weld to prevent further damage and to reinforce the resistance of the chamber floor.J-B Weld comes with two components that are mixed together and once mixed harden to form a heat resistant bond.  I’ll mix a small amount and apply it to the floor of the chamber then spread it over the area, including above the draft hole, filling the fissures with the Weld.  After it hardens and cures, I’ll sand the excess. I first wipe the chamber with alcohol and put a pipe cleaner through the airway to block seepage into the draft hole.  After I mix J-B Weld components in equal parts, I apply a small amount on the floor of the chamber and spread it with a dental spatula and my finger. I rotate the pipe cleaner so that it is not stuck but I leave it in place – I don’t want to pull it out while the J-B Weld is wet leaving the mixture in the mortise.  I put the stummel aside for the J-B Weld to cure.  After the repair cured overnight, I take a picture of the sanding process using 240 grade paper wrapped around a Sharpie Pen.  I concentrate on removing the excess J-B Weld so that all that is left of the weld is what has filled the fissures and cracks. The next pictures show a much healthier chamber.  At the floor of the chamber in the first pictures and concentrating on the area immediately above the draft hole in the second picture, you still see what appears to be rough spots, but it is now smooth to the touch in large measure.  The Weld filled the cracks and reinforced the area.  The application of J-B Weld and the additional sanding on the floor and the walls of the chamber cleaned it up nicely.  Putting the stummel aside, I take the stem and wet sand using micromesh pads 1500 to 2400.  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 revitalize the vulcanite. With the stem waiting in the wings, I continue with the stummel by wet sanding with micromesh pads 1500 to 2400.  I follow this by dry sanding with pads 3200 to 4000 and 6000 to 12000.  I take pictures of both sides of the stummel to show the huge fills on the right side.  If it weren’t for these unavoidable fills, the fantastic recovery the stummel has made would encourage me to leave the original, natural grain finish in place.  The briar surface had many issues, but the results of the micromesh sanding reveal a very attractive grain presentation.  The next step is to apply a dark stain to the Comoy’s Bulldog that will serve to help mask the issues prevalent on the surface.  Without question, my plan is to apply Fiebing’s Dark Brown Leather Dye to the stummel surface.  I assemble all the needed components on the table to apply the stain.  First, using a sharp dental probe I carefully dig out and scrape the dome grooves to make sure the debris is gone.  After wiping the stummel with alcohol to clean and prepare the surface, I fit the stummel with a cork I’ve fashioned as a handle inserted into the mortise.  Next, I heat the stummel with a hot air gun to expand the briar grain.  This aids the briar in absorbing the dye pigment.  Using a folded over pipe cleaner, I apply the dye to the stummel.  After a thorough application, I flame the stummel with a lit candle and the alcohol-based aniline dye combusts and sets the dye in the grain.  After a few minutes, I apply the dye again and flame again to make sure there is an even coverage.  I then set the stummel aside for the dyed stummel to rest. After resting for several hours through the night, it’s time to unwrap the fire-crusted Comoy’s stummel.  Over time, I have developed my own techniques for use with the Dremel since this is my main and only work horse tool on the 10th floor flat of a formerly Communist block apartment building!  My usual method for ‘unwrapping’ has been with the use of a felt buffing wheel, which is more abrasive than cotton, applying Tripoli compound.  I love this technique because the result reveals a more brilliant grain pattern as it lightens the grain veins leaving them in contrast to the softer briar wood which absorbs more of the dye.  However, I have found that using the felt buffing wheel lightens the entire stummel.  With the large dark fills on this stummel in need of remaining masked for better blending, I use a cotton cloth buffing wheel with Tripoli compound to unwrap the flamed crust.  The softer cotton wheel isn’t as abrasive and leaves a darker dyed hue on the briar surface.  After mounting a cotton cloth wheel on the Dremel, I set the speed at the lowest RPM and I apply Tripoli to the stummel. I take a couple staged pictures to show the contrast between the flamed crust and the surface that has been ‘unwrapped’ and buffed with compound.  After completing with the Tripoli, I wet a cotton pad with alcohol to wipe the stummel not so much to lighten but to blend the new stained finish. Next, I rejoin the stem and stummel to apply Blue Diamond compound.  I discover that the junction between the tenon and mortise has loosened through the cleaning process – a common thing in my experience.  To remedy this, I take a drill bit the next size larger than will fit through the tenon airway.  I use a Bic lighter and heat the tenon and after a bit, the vulcanite tenon becomes supple and allows me gradually to insert the drill bit end into the airway.  This expands the tenon and tightens the connection.  This works like a charm!  With the stem now fitting snuggly, I continue to apply Blue Diamond to the stummel and stem.  I mount a cotton cloth buffing wheel to the Dremel and increase the speed to about 40% full power.  I apply Blue Diamond compound to both stem and stummel.Before moving on to applying carnauba wax to the pipe, I have two more projects to do.  The first is to apply white acrylic paint to refresh the Comoy’s ‘C’ stamping on the stem.  The second is to apply pipe mud to the chamber.  I decide to do the latter first.  After the repair done to the chamber, to enhance the healthy development of a protective cake (which should be maintained at about the width of a US dime coin) I use a mixture called pipe mud – a combination of cigar ash and water.  This mixture, once applied to the chamber and dries, hardens to create a starter surface for the cake to develop.  My colleague, Gary, who lives in Plovdiv, Bulgaria, is the cigar man who saves his ash for my use. Thanks, Gary!  I mix some water with ash in a plastic dish and mix it with my pipe nail until it starts to thicken. At this point, I apply it in the chamber with the nail and my finger.  It doesn’t dry quickly so there’s time to spread it evenly over the chamber.  After spread, I insert a pipe cleaner through the draft hole to keep it clear of the mud.  I then put the stummel aside in the egg cart for the mud to cure. Turning now to the Comoy’s ‘C’ stem stamp, I put a drop of white acrylic paint over the ‘C’ and absorb the excess with a cotton pad and ‘dob’ it out so that the paint thins and dries.  I then use a toothpick’s flat edge to gently scrape the excess paint off after it dries.  I have to reapply paint a few times to get it right.  The pictures show the process. After allowing the pipe mud to cure, I rejoin stem and stummel and once more, run the sharp dental probe in the grooves around the circumference of the dome then buff the pipe with a felt cloth clearing away the compound dust before applying wax.  I then mount a cotton cloth buffing wheel to the Dremel, keep the speed at about 40% full power and apply a few coats of carnauba wax to the pipe.  I finish the restoration by using a microfiber cloth to give the pipe a rigorous hand buffing to raise the shine.

I’m pleased with the results of this Comoy’s Made in London, England, Bent Bulldog.  The restoration was fought in the trenches!  The many repairs done to the stummel surface came out well, though the two large fills are still evident, but not as overt. The dark brown dye came out beautifully and the groove patches and repairs have all but disappeared.  I’m glad I also addressed the heat fissure issues in the chamber.  This Comoy’s Bent Bulldog will provide many more years of service to a new steward.  Stephen commissioned this Comoy’s and will have first opportunity to acquire it in the Pipe Steward Store and this pipe benefits the Daughters of Bulgaria – women and girls who have been trafficked and sexually abused.  Thanks for joining me!