Tag Archives: contrast staining

The Prince of Pipes


Blog by Kenneth Lieblich

One of my dearest friends contacted me recently to inquire if I could repair and restore a pipe that belongs to his father. His father told me that the pipe had been given to him by his wife (my friend’s mother) as a graduation gift in 1967. I was only too happy to oblige – not just to help my friend, but to raise this beautiful pipe back to life. The pipe is from The House of Bewlay and is a Prince shape. Just as an aside, the shape was named after Prince Albert, the Prince of Wales, who later became King Edward VII (1841–1910). What a gorgeous pipe! I must admit that the prince is one of my favourite pipe shapes (and possibly my outright favourite). This one is the epitome of elegance in pipe smoking. The pipe’s markings read Bewlay [over] Deluxe [over] London Made. The other side of the pipe read Made in [over] England and the shape number, 258. This corresponds nicely with a Bewlay catalogue from the late 60s, as you can see in the photo below. One additional piece of information that was useful was the date of the gift: 1967. This certainly gives us a good idea of the time period from which this pipe dates. Let us read a bit more about Bewlay from the Pipedia article:

The English brand of Bewlay & Co. Ltd. (formerly Salmon & Gluckstein Ltd.), was in business from the early 20th century until the 1950s. The brand ended up being sold and taken over by Imperial Tobacco Co. The shop chain closed in the 1980s but there seems to be one shop still in business on Carr Lane in the city of Hull. Bewlay pipes were made by prestigious firms. Notably Barling, Charatan, Loewe & Co., Sasieni, Huybrecht, and Orlik. So understandably, the English considered a Bewlay pipe a quality pipe.Anyway, on to the pipe – and what a beauty it was. However, it was not without its issues. The stummel had the following problems: lava on the rim, a notable burn to the rim, plenty of cake in the bowl, strange stain patterns, and – most serious of all – a nasty crack to the shank. Meanwhile, the stem had its own set of problems: the ‘B’ logo was nearly obliterated, some oxidation and calcification, and minor tooth marks and dents. This pipe was not going to be too tough, but I needed to be especially careful to ensure the crack would be repaired perfectly – so it could be used for many years to come. The stem was first on my list. I took a BIC lighter and ‘painted’ the stem with its flame in order to lift the tooth marks. This was reasonably successful in raising the dents. Then, I cleaned out the insides of the stem with pipe cleaners and isopropyl alcohol. It was dirty, but not too bad and I went through a decent number of pipe cleaners in order to clean it up. I also soaked the stinger in lemon-infused isopropyl alcohol. This loosened everything up and I was able to clean it up very nicely. Once this process was done, the stem went for an overnight soak in the Before & After Hard Rubber Deoxidizer. The following day, I cleaned all of the de-oxidizing sludge off with alcohol, pipe cleaners, et cetera. The oxidation had migrated to the surface and would be fairly straightforward to remove. I scrubbed vigorously with SoftScrub to remove the leftover oxidation. Before I moved on to the Micromesh pads, I built up the small dents on the stem with cyanoacrylate adhesive and let them fully cure. I then sanded it down with 220-, 400-, and 600-grit sandpapers to meld the repair seamlessly into the stem. This ensures that it keeps its shape and looks like it should. I then used all nine Micromesh pads (1,500 through 12,000 grit) to bring out the lovely black lustre on the stem. I also used Obsidian Pipe Stem Oil in between each pad scrubbing.I then took the opportunity to repair the “B” logo on the stem. It had faded – both by loss of paint over time and also by fingers inadvertently smoothing out the “B” over time. So, I added some acrylic paint with a paint brush, let it dry, and buffed it to make it look good. The “B” is back, but, as later photos reveal, a little bit has disappeared into history.

On to the stummel, and the usual cleaning procedures were in order for this pipe. I used both the PipNet Reamer and the KleenReem to remove the built-up cake and followed that with 220-grit sandpaper to remove as much as I could. I wanted to take the bowl down to bare briar to ensure there were no hidden flaws in the walls of the bowl. Fortunately, there were none. I then proceeded to clean out the insides of the shank with Q-tips, pipe cleaners, and isopropyl alcohol. There was some nastiness inside this stummel, but fortunately not too much – it only took a handful of pipe cleaners etc. to sort that out. I followed that up by cleaning the insides with some dish soap and tube brushes. I then moved on to cleaning the outside of the stummel with Murphy’s Oil Soap and some cotton pads. That removed any latent dirt. By the way, I deliberately did not de-ghost this pipe – I wanted to leave as much of the original tobacco essence as I could for the owner.As I mentioned earlier, there was some lava and a substantial burn on the rim of the stummel that also needed to be addressed. In order to minimize the impact of both, I “topped” the pipe – that is to say, I gently and evenly sanded down the rim on a piece of 220-grit sandpaper. This effectively removed the lava and most the damage, without altering the look of the pipe. However, I had to stop short of removing it all, otherwise the look of the pipe would have been altered. For the remaining bits of burn, I took some oxalic acid on a Q-tip and rubbed and rubbed and rubbed! The burn site did improve but never fully disappeared. It would be a permanent feature of the pipe going forward. I took solace from the fact that the burn did not affect the integrity of the wood. I then took a solid wooden sphere, wrapped sandpaper around it, and gently sanded the opening of the tobacco chamber. This was to achieve on the inner part of the rim the same thing that I achieved by “topping” on sandpaper. On to the major issue with this pipe: the crack in the shank. Naturally, Steve had the answers to all of this pipe’s problems. He explained that my first step was to ensure that the crack would not continue to creep after I had repaired it. To that end, I took a micro-drill bit, inserted it in my Dremel, and very carefully drilled a hole right through the wall of the shank. This was quite nerve-wracking, but it worked perfectly. I then needed to apply cyanoacrylate adhesive to the crack in order to seal and repair it. First, however, I used a Q-tip and a folded pipe cleaner to coat the inside of the shank with petroleum jelly. This would prevent the adhesive from dripping inside the shank and creating further problems. That done, I carefully applied a bead of adhesive to the tiny hole and the length of the crack. Finally, I clamped it shut and let it sit overnight to cure. This was a great success – obviously, the crack would always be visible, but I was really pleased with how the repair looked.Before moving on to sanding, there were a couple of small nicks on the underside of the stummel that I needed to sort out. I dug out my iron and a damp cloth to try and raise the nicks. The hot and moist steam created can often cause the wood to swell slightly and return to shape. There was some movement – not a lot, but it was better than doing nothing. I filled the remaining divots with cyanoacrylate adhesive. Now, with the crack repaired and the nicks filled, it was time to sand down the stummel. Just like the stem, I used all nine Micromesh pads (1,500 through 12,000 grit) to sand everything smooth. A light application of Before & After Restoration Balm brought out the best in the stummel’s grain. All of the work I had done to this point had taken its toll on the colour of the wood. Originally, there was a lovely sort of brownish-Burgundy colour on this pipe, and I wanted to restore this as best I could – and I also wanted to ensure that we got rid of that weird mottling. In order to bring back some life to this pipe, I opted for aniline dye. I dragged out some of Fiebing’s Oxblood Leather Dye, but it looked too reddish to me. Instead, I experimented with mixing to see what I could come up with. I made my own concoction of Oxblood and Medium Brown dyes, painted the stummel, and then applied flame in order to set the colour. Furthermore, since it is an alcohol-based dye, I was able to adjust the colour to my liking by applying my own isopropyl alcohol to the colour. Let it sit overnight and it worked like a charm!Then it was off for a trip to the buffer. A dose of White Diamond and a few coats of carnauba wax were just what this pipe needed. Now that the wood was looking all spiffy, I had to circle back and complete the repair on the crack in the shank. It needed a tight-fighting band to ensure that the crack would never open up again. I went to my jar of bands and picked one that looked good. I heated it up and then messed it up! See the photos. I did not apply even pressure as I was attaching the band, so it went mush. Fortunately, I had more bands and I did a much better job of getting the next one on. I glued it in place and let that set. It looked very dapper. I polished up the band with a 12,000-grit MicroMesh pad. I also went back to the buffer with both the stem and stummel, gave them a final application of White Diamond and carnauba wax, and brought out that lovely shine.In the end, what a beauty this pipe is! It is an elegant pipe, from a very fine maker. It obviously meant a great deal to its owner, and I was delighted to bring it back to life. Once the pipe was returned to its owner, he told me that it looked better than when it was new! Although I am not sure I agree with that, I am very pleased that he is very pleased. As I mentioned before, the prince is one of my favourite shapes and it was great fun to work on this one. I hope you enjoyed reading the story of this pipe as much I as I did restoring it. If you are interested in more of my work, please follow me here on Steve’s website or email me directly at kenneth@knightsofthepipe.com. Thank you very much for reading and, as always, I welcome and encourage your comments.

Another Old Timer – a Lightly Smoked but Beat up French Briar Apple


Blog by Steve Laug

The next pipe on the worktable is another interesting piece of pipe history that comes from the bag of old unsmoked and lightly smoked pipes that I have been working on intermittently. It is a straight Apple. The bowl is lightly smoked. Like the others in this lot the briar of the bowl is nicked and chipped from being shuffled through the lives and boxes of a lot of people over the years. Some of the chips have broken through the finish and the rim top is also worn and dirty. The stem is made of an ivory coloured material that appears to be made of Bakelite. It has a push tenon from the same material that is part of the stem. Other than some tooth chatter and some staining on the stem surface the stem is in really good shape. A short description would be that it is an French made lightly smoked Apple with a Bakelite stem that is connected to the shank with a integrated push tenon. It is stamped on the left side of the shank and reads French Briar arched over a pair of crossed leaves. All are stamped in gold. On the right side of the shank it is stamped Made In France in a football shape with “IN” in the middle. The pipe is a bit of a mystery really with the stamping but as you have seen in the previous two C.P.F. pipes it seems that pipes of this time period often bore the French Briar stamp which I am assuming refers to Algerian Briar.

This pipe was probably in the worst condition of any of the older pipes that I have been working on recently. The rim top was dirty and the inner edge was a little chipped. The exterior of the bowl was a mess. The stain was opaque and I could not see any grain through it. There were a lot of nicks chips in the briar of the bowl sides. The odd thing is that the chips were very light coloured. My first thought was that it was briar but the more I looked the more I wondered if they were not putty fills. The gold stamping is clear and readable. The stem is a mottled and spotted butter coloured Bakelite. It had a lot of brown stain spots on the surface that were deep in the material and would not come out. There was tooth chatter on both sides ahead of the button but nothing deep. It has an orific button (round airhole) on the end of the button. I took some photos of the pipe to show the condition when we received it. It was dusty, dirty and had some grime worked into the surface of the briar from being shuffled around a lot since it was made. I took close up photos of the bowl and rim top and the stem to show their condition. You can see the drilling is centered in the bottom of the bowl You can also see the clean briar of the bowl sides. The stem looks odd with the mottled look of the stains on it.I took photos of the stamping on the left and right sides of the shank. You can see that they are somewhat faint on the right side but are still readable.I removed the stem from the shank and took a photo of the parts to give a sense of the beautiful proportions of this nice little pipe. It is going to take some work but I think it will be quite stunning once it is restored. I took a photo of the chipping on the front of the bowl. You can see why I thought that they were briar underneath the top coat of the heavy, dark finish. There were all around the bowl and at the shank/bowl junction on the right side. It really was a bit of a mess in terms of the finish.
To deal with the damage around the bowl and shank I would need to remove the heavy finish. I am always nervous to do so as you never know what you will find with it gone. There was a reason for the thick, dark, opaque finish. But like a fool I proceeded to move ahead and wiped down the bowl and shank with acetone to break up the finish. With the opaque finish gone all of the ugly chips and marks in the finish stood out for what they were. If you look closely at the next four photos you can see all the ugly putty fills in the finish. There were at least 20 or more fills in the briar. Some were loose and chipped and some were tight and undamaged. I had definitely opened up Pandora’s Box with this clean up!! I repaired the chipped and damaged fills with clear CA glue. I was blown away by how many fills there were in this piece of briar. It really was an example of the “art of the fill”! I smoothed out the repairs with 220 grit sandpaper. I followed that with the full regimen of micromesh sanding pads. Of course in my frustration with the fills I forgot to take photos of the polishing cycle with the pads. I polished the briar with micromesh sanding pads and dry sanded with 1500-12000 grit pads. I wiped the bowl down after each pad to check and make sure there was progress. By the end the bowl was smooth and ready to stain.Now it was time to see what I could do with stain to blend in those ugly fills and give the bowl the same kind of deep reddish finish that it had before I stripped it off. I have my own process for doing this. I first used a black Sharpie pen to work on the fills in the briar. I usually work across them with various lines to approximate the grain patterns.The next step in the process was to stain the bowl with Fiebing’s Cordovan stain. I applied it with a dauber and flamed it to set the stain in the briar. I repeated the process until the coverage was solid.Once the stain had dried I wiped it off with alcohol on a cotton pad to remove the excess and blend the black and cordovan together. When I finished I stained the bowl with a Mahogany stain pen. I used it like a brush and painted the entirety of the bowl and shank with the pen. I was getting close to the colour I was aiming for – the one that I had removed! To further blend the stains together I rubbed the bowl and shank down with Before & After Restoration Balm. I worked it into the surface of the bowl sides and shank with my fingertips to clean, enliven and protect the briar. I let the balm sit for 10 minutes, then buffed with a cotton cloth to raise the shine. I repeated the process and let it sit another 10 minutes then buffed it off. The Balm did its magic and my colours worked well. The fills were hidden and the bowl looked good.Almost all of the old timer I have been working on have had brass or nickle bands. I decided to see what a brass band would add to the appearance of this old one. I have a bag of older style brass bands that work well. I heated the band and pressed it onto the shank. I like the looks of it.I polished out the scratches in the surface of the Bakelite with micromesh sanding pads – 1500-12000 grit pads. I was able to remove the tooth chatter on both sides. I also was able to minimize some of the stains on the surface. It was still odd looking. I wiped it down with Obsidian Oil after each pad. I used Before & After Pipe Polish – both Fine and Extra Fine to further polish the stem. I gave it a final coat of Obsidian Oil and set it aside to cure.I really enjoyed refurbishing this old French Briar Apple because I love the final touches that make it sing. I put the bowl and stem back together to have a look at the whole with the newly fit band on the shank. I carefully buffed the bowl and stem with Blue Diamond on the wheel. I gave it 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. It is fun to see what the polished bowl looks like with the lacy shank band and the buttery coloured Bakelite stem. This richly finished Apple is light weight and it is clean and ready load up with a favourite tobacco (if you purchase it and decide to smoke this 100+ year old unsmoked pipe). Have a look at it in the photos below. As noted above, Its measurements are Length: 5 inches, Height: 1 ¼ inches, Outside diameter of the bowl: 1 inch, Diameter of the chamber: ¾ of an inch. The weight of the pipe is 24 grams/.85 oz. I will be putting it on the rebornpipes store in the French Pipe Makers section if you wish to add it to your collection. 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 generation.

Another Rare Find – an Unsmoked C.P.F. (Colossus Pipe Factory) Billiard


Blog by Steve Laug

The next pipe on the worktable is another interesting piece of pipe history that comes from the bag of old unsmoked and lightly smoked pipes that I have been working on intermittently. It is a straight Billiard. The bowl is NOS and unsmoked. The briar of the bowl is nicked and chipped from being shuffled through the lives and boxes of a lot of people over the years. There is a nickel band on the shank that is corroded and loose. There do not appear to be any stampings on the nickel of the band. The stem is made of a butterscotch coloured material that appears to be Amber but is not. I believe it an early acrylic called Amberoid. It has a threaded bone tenon and is in really good shape. The stem is by far the part of the pipe that is in the best condition.A short description would be that it is an unsmoked Billiard with a nickel band and an Amberoid stem that is connected to the shank with a bone tenon. It is stamped on the left side of the shank and reads C.P.F. in an oval with the word French arced above the oval and Briar arced below the oval. I have a collection of C.P.F. pipes here that I have worked to build up over the years in all different sizes and shapes as well as a variety of materials. This is a NOS/ unsmoked pipe that will fit well into that collection. I wrote a blog a few years ago on the brand that gives a clear history and defines the meaning of the C.P.F. stamp. Here is the link to the blog and a pertinent quote that I am including below.

(https://rebornpipes.com/2013/04/14/some-reflection-on-the-historical-background-on-cpf-pipes/).

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

This unsmoked C.P.F. is another real beauty that I think may be a bit older than the previous NOS C.P.F. diamond shank Bent Billiard that I worked on. The rim top is clean but dusty and the finish obscures the grain that is on the bowl and shank. There are a lot of nicks and dents in the briar of the bowl sides. The gold stamping is clear and readable. The nickel band is corroded and does not have any marking. The stem is a Butterscotch coloured Amberoid (an early acrylic that was made to look like amber). There is some nicks and chipping in the surface but no tooth marks. It has an orific button (round airhole) on the end of the button. I took some photos of the pipe to show the condition when we received it. It was dusty, dirty and had some grime worked into the surface of the briar from sitting unused in someone’s collection.   I took close up photos of the bowl and rim top and the stem to show their condition. You can see the drilling is centered in the bottom of the bowl You can also see the clean briar of the bowl sides. The stem looks very good. You can also see the heavy corrosion on the nickel shank band.I took a photo of the stamping on the left side of the shank. You can see that it is faint but readable.I removed the stem from the shank and took a photo of the parts to give a sense of the beautiful proportions of this nice little pipe. I think it will be quite stunning once it is restored.I removed the corroded band from the shank and wiped down the bowl with isopropyl alcohol to remove the old varnish coat. I repeated the process until it was removed and I could clearly see the grain around the bowl and shank as well as the many nicks and dings in the briar. I filled in the many deep cuts in the surface of the briar with clear CA glue. I was careful to not over fill them as I wanted to be able to polish them out with the micromesh sanding pads.I polished the briar with micromesh sanding pads and dry sanded with 1500-12000 grit pads. I wiped the bowl down after each pad to check and make sure there was progress. By the end the bowl was taking on a natural shine and the grain really stood out. I paused the polishing to touch up the light area that had appeared where the corroded band had been. I used a Mahogany and a Cherry stain pen to combine to match the rest of the bowl and shank. Once it was finished I touched up the gold stamping on the left side of the shank with Rub’n Buff Antique Gold. I worked it into the stamp with a tooth pick and rubbed it off with a cotton pad. I went back and finished polishing the bowl and shank with the final three micromesh pads – 6000-120000 grit pads. I wiped the bowl and shank down between each pad with a damp cloth. The bowl began to look very good. I rubbed the bowl and shank down with Before & After Restoration Balm. I worked it into the surface of the bowl sides and shank with my fingertips to clean, enliven and protect the briar. I let the balm sit for 10 minutes, then buffed with a cotton cloth to raise the shine. The Balm did its magic and the grain stood out on the briar. Now it was time to deal with the band/ferrule. I cleaned off some of the oxidation and corrosion. It was badly pitted so it needed to be replaced. I had an older style polished brass band that would work. I pressed it onto the shank. I took photos of the new look of the pipe once it was in place on the shank end. I like the looks of the pipe now. I polished out the scratches in the surface of the Amberoid with micromesh sanding pads – 1500-12000 grit pads. I wiped it down with Obsidian Oil after each pad. The more I polished the stem the more I could smell the acrylic like odor of the stem material. I used Before & After Pipe Polish – both Fine and Extra Fine to further polish the stem. I gave it a final coat of Obsidian Oil as a finishing touch. I really enjoyed refurbishing this old C.P.F. French Briar Straight Billiard because I love the final touches that make it sing. I put the bowl and stem back together to have a look at the whole with the newly fit band on the shank. I carefully buffed the bowl and stem with Blue Diamond on the wheel. I gave it 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. It is fun to see what the polished bowl looks like with the lacy shank band and the Butterscotch coloured Amberoid stem. This richly finished Billiard is light weight and it is clean and ready load up with my favourite tobacco (if I decide to smoke this 100+ year old unsmoked pipe). Have a look at it in the photos below. As noted above, Its measurements are Length: 5 inches, Height: 1 ½ inches, Outside diameter of the bowl: 1 inch, Diameter of the chamber: ¾ of an inch. The weight of the pipe is 33 grams/1.16oz. This is one is still a question mark for me. I may well add it to the other C.P.F. pipes in my personal collection of the brand as it is a unique addition. Time will tell. 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 generation.

Restemming & Restoring a Zettervig Copenhagen Hand Made 900 Egg


Blog by Steve Laug

Sometimes the repetitive work on similar pipes and stems gets tiring to me and to alleviate the inevitable boredom I change things up a bit to refresh me. I have a box of stummels (bowls) here that I periodically go through and see if I have a potential stem that would fit them. This morning when I finished the last old timer I went through the box and picked out three bowls and found workable stems for them. All were in different states of need but all had been thoroughly cleaned before I boxed them up. The first of these was an interesting egg shaped freehand. It is stamped on the underside of the shank and reads ZETTERVIG (double stamped) [over] Copenhagen (also double stamped) [over] Handmade [over] 900. It had some great grain around the bowl and plateau on the rim top and shank end that was interesting.  I have worked on other Zettervig pipes in the past so I am not a stranger to the brand. I have included links to two different pipes that I worked on (https://rebornpipes.com/2013/12/05/a-complete-reworking-of-a-zettervig-freehand/)(https://rebornpipes.com/2018/07/28/restoring-and-restemming-a-zettervig-handmade-351-freehand/).

The bowl looked very good. The grain around the sides was quite nice and a mix of flame and straight grain. The plateau on the rim top and shank end looked good but the rim top was faded and worn. The shank end was black and looked very good. The bowl was clean and there were not any chips, cracks or checking on the walls. Examining the mortise it was clean and well drilled with no issues. The finish was washed out a bit and tired but still quite redeemable. I took some photos of the bowl before I started to work on it. I took a photo of the double stamping on the underside of the shank. It reads as noted above and is surprisingly clear and readable.I went through some of the fancy, turned freehand style stems and found this old timer. It is quite heavily oxidized and has some deep tooth marks but I think it will work with the Zettervig. I put the stem in place and took a photo to have a look at it in situation. What do you think? With the stem chosen I dropped it in a bath of Briarville’s Pipe Stem Deoxidizer that I have here. It is getting a bit tired but it still works. I let it sit while I worked on the bowl.While the stem soaked in the bath and before I started to work on the bowl I decided that I would look up some information on the Zettervig brand before I started the clean up on the pipe. I looked up information on two of my favourite sites. The first was Pipedia. Here is the link: https://pipedia.org/wiki/Zettervig. I quote in full:

In the 1960’s and into the early 1970’s Ole Zettervig had a shop in Copenhagen, Denmark where he was carving high quality pipes equal to Stanwell, Larsen, Anne Julie, Thurmann, Bang and others. These early pipes were marked “Copenhagen” and are very collectible. He sold his shop at some point in the 70’s and moved to Kolding and continued to produce pipes as a hobby, but the quality of briar and workmanship is said to not equal the early production. The later pipes he now marked as Kobenhaven rather than Copenhagen, and these were sold by Ole at flea markets throughout Europe.

That information told me I was working on an early one of his pipes from the 1960s to early 1970s as it is stamped Copenhagen.

I turned to Pipephil’s site and did a screen capture of the information that was there. There was no addition info but it did show one of the pipes (http://www.pipephil.eu/logos/en/logo-z.html). You can also see the style of the stem and the Z on the top of the stem. The one I have chosen is very different but I think it will still work.With that information in hand I turned to work on the bowl. I used a brass bristle wire brush to clean out the remaining debris and lava in the grooves of the plateau rim top and to remove the dust from the plateau shank end. Once it was clean I used a Black Stain Pen to stain it black as it was originally. I polished the briar with micromesh sanding pads – dry sanding with 1500-12000 grit pads and wiping it down with a damp cloth after each pad. It really began to shine. I worked some Before & After Restoration Balm into the surface of the smooth briar with my finger tips and into the plateau rim top and shank end with a horsehair shoe brush. The product is amazing and works to clean, enliven and protect the briar. I let it sit on the briar for 10 or more minutes and then buff it off with a soft cloth. It really makes the grain sing. With the bowl finished I turned my attention to the stem. It had been sitting in the bath for several hours. I removed it and ran a pipe cleaner and alcohol through the airway to remove any remaining soak. I wiped the stem down with a paper towel to remove the oxidation that had been loosened. It looked much better than when I put it in the bath.I “painted” the stem surface with a Bic lighter flame to raise the tooth marks. I was able to lift many of them to the surface. What remained I would fill in later. I scrubbed the stem surface with cotton pads and Soft Scrub to remove the remaining oxidation. The stem was really starting to look very good. I cleaned out the ends of the stem and button with a pipe cleaner and alcohol to remove the bits of Soft Scrub that had gotten into the airway. I heated the stem and gave it a slight bend to fit the flow of the pipe better.I filled in the remaining divots and marks in the stem with clear CA glue. Once it had cured used a small file to flatten the repair and sharpen the edge of the button. I sanded it smooth with 220 grit sandpaper to blend it into the stem. I started the polishing with 400 grit wet dry sandpaper. I polished the stem with micromesh sanding pads – dry sanding with 1500-12000 grit pads. I wiped the stem down after each pad with a cloth and Obsidian Oil. I finished the polishing with Before & After Pipe Stem Polish – both Fine and Extra Fine. I gave it a final coat of Obsidian Oil. I put the pipe back together – the bowl with its new stem. This restored Zettervig Copenhagen Handmade 900 Egg is a real beauty and I think the chosen stem works well with it. The grain on the bowl came alive with the buffing. I used Blue Diamond on the buffing wheel on both the bowl and stem. I gave both multiple coats of carnauba wax on the wheel then buffed it with a clean buffing pad to raise the shine. I hand buffed it with a microfibre cloth to deepen the shine. The Zettervig Freehand Egg feels great in the hand. It is lightweight and the contrast in the blacks of the plateau and the polished vulcanite stem with the popping grain on the mixed brown stained bowl is quite amazing. The dimensions of the pipe are Length: 5 ¾ inches, Height: 2 inches, Outer diameter of the bowl: 1 ½ inches, Chamber diameter: ¾ of an inch. The weight of the pipe is 2.05 ounces/59 grams. It really is a beauty. I will be putting it on the rebornpipes store in the Danish Pipe Makers section shortly if you are interested in adding it to your collection. Thanks for walking through the restemming and the restoration with me. Cheers.

Resurrecting A Dreary No Name Briar Calabash Shaped Pipe


Blog by Paresh Deshpande

While surfing eBay for estate pipes, I came across this one ‘no name’ pipe with a horn stem and beautiful flowing calabash shape. The beautiful curvy shape apart, the pipe had some really hideous (IMHO) rustication on the stummel surface, a semblance of widely spaced scales with thin vertical lines. The perfect shape and spacing of the scales over the stummel surface points to machined and not hand crafted rustications. Notwithstanding the rustications on the stummel, I fell in love with the pipe and had already chalked out a plan for its transformation even before I had won the auction. As I had expected, there was only a couple of other bids and the pipe soon made its way to me. A month and a half later, the pipe had reached me and now it is on my work table.

As mentioned by the seller, the stummel and the stem are devoid of any stampings and there is absolutely no clue for me to establish the provenance of this beautiful pipe. However, the threaded bone tenon, horn stem and round orifice are indicative of this pipe being from the period 1900s to 1950s. It would be interesting if further light could be shed on this pipe as regards its origin, vintage etc by the esteemed readers of rebornpipes.

Initial Visual Inspection
The first thing one can notice is the lovely shape of the pipe and the second is its ultra light weight. The chamber has been neatly reamed and the rim top surface is devoid of any lava overflow. There is severe charring to the inner edge in 12 o’clock direction. There are a couple of minor tooth indentations in the bite zone of the otherwise pristine stem. The stem is overturned to the right and not in alignment with the shank/ stummel. The stummel is dirty, dull and lifeless to look at. Overall, it is in decent condition as can be seen from the pictures below. Dimensions Of The Pipe
(a) Overall length of the pipe: –          5 3/4 inches.

(b) Bowl height: –                               1.5 inches.

(c) Inner diameter of chamber: –         0.7 inches

(d) Outer diameter of chamber: –        1.3 inches

Once The Pipe Is On My Work Table……
It appears that an attempt has been made to refurbish this pipe, but for reasons best known to the previous restorer, it was abandoned. Save for a little dust and soot, the chamber is nicely reamed back to the bare briar. The chamber walls, though not very thick, are without any heat fissures or pits and that’s a big relief. The rim top surface is peppered with numerous minor hairline scratches. The inner rim edge shows severe charring at 12 o’clock direction (encircled in yellow) and it extends over more than half way towards the outer edge. There is a smooth band of briar wood below and adjoining the outer rim edge. There are no ghost smells in the chamber. Addressing the charred inner rim edge is going to be tricky as the topping required would be extensive to the extent that the profile of the stummel and pipe as a whole, would be considerably altered. I would top the rim surface well within the limits of the smooth briar band below the outer rim edge and up to the point where I reach solid, albeit darkened briar. I would, thereafter polish it and attempt to blend the darkened areas by a applying a dark stain to the rest of the rim top surface. The stummel surface is without any damage. There is dust and dirt embedded in to the rusticated nooks and crannies giving the briar an old and lifeless look. The patterned scaled rustications also do not help in the overall appearance of the stummel. The mortise is threaded into which seat the threaded bone tenon of the stem and appears to be clean. I plan on complete rustication of the stummel and thereafter contrast staining with black and brown stains. The only issue I need to keep in mind is that the walls of the stummel are not very thick and thus I need to be cautious least I end up gouging too deep into the chamber wall. The tapered horn stem is clean with no major issues. The upper stem surface has a couple of minor bite marks at the base of the button and also over the button edge. The lower surface has some minor tooth indentations in the bite zone. The button edges on both the surfaces need to be sharpened. The round orifice and the tenon end are clean.The seating of the stem in to the mortise is overturned to the right by a huge margin and is very loose. This would need something more permanent than the clear nail polish coat application. The following pictures will give the readers a correct perspective of the issue.The Process
The process of transforming this pipe began with cleaning the chamber that had been reamed and cleaned before it reached me. With my fabricated knife, I completely removed the dust and little residual carbon from the walls of the chamber. I further cleaned the walls with a folded piece of 220 grit sand paper to completely remove the carbon from the walls and wiped the chamber with a cotton pad and alcohol. The charred surface at the inner rim edge was also gently scraped with the knife and sandpaper to remove the burnt briar till I reached solid briar underneath. Next, I cleaned the mortise and shank with regular and bristled pipe cleaners dipped in alcohol. At first I just could not get the pipe cleaner to pass through the mortise and out through the draught hole. I then inserted the pipe cleaner through the draught hole and with some efforts; it came out through the mortise dislodging some dried gunk from the air way as it came out. Other than the stuck dried gunk, the mortise was clean and just a couple of pipe cleaners were put to use. I was particularly deliberate in cleaning the threads in the mortise in preparation of further repairs to improve the seating of the threaded tenon, the process for which will be covered subsequently.After I was done with the internal cleaning of the stummel, I cleaned the external surface. I generously applied Murphy’s oil soap with a hard bristled tooth brush and scrubbed the stummel and rim top with the soap. I washed the stummel under running warm water with anti oil dish washing detergent and brass wired brush till the stummel surface was clean and dried it using paper towels and soft cotton cloth. The rim top surface was deliberately cleaned with a Scotch Brite pad to further remove the charred wood from the rim edge. I simultaneously cleaned the shank internals with the detergent and hard bristled shank brush. The stummel surface has cleaned up nicely with the scaly and thin lined rustication plainly visible. Truth be told, the stummel now appear more dull and unattractive to my eyes! Once the internals and the external surface of the stummel had been cleaned, I progress to rusticating the stummel. To rusticate, I firmly held the stummel in my left hand and using my right hand began gouging out the briar with my fabricated rusticating tool. The technique is to firmly press the pointed four prongs of the modified Philips screwdriver into the surface, rotate and gouge out the removed chunk of briar. I worked diligently till I was satisfied with the rustications and the appearance of the stummel. I was careful to avoid gouging too deep as the walls are not very thick and I feared that deep rustications will lead to further thinning of the walls and subsequent burn out. As I reviewed the rusticated stummel, the rustication is prominent while the thickness of the wall is not compromised at all. I am very pleased with the progress thus far. I cleaned the stummel surface with a brass wired wheel brush mounted on a handheld rotary tool. While cleaning the surface of all the debris, this rotating brass brush wheel also creates subtle patterns of its own and this adds an additional dimension to the appearance of the stummel. I sanded down the jagged high points in the rustication to a smooth and even surface using a worn out piece of 150 grit sand paper without compromising on the tactile feel to the hand.Next I decided to work on the damage to the rim top and inner rim edge. I topped the rim on a piece of 220 grit sand paper, checking frequently till I was satisfied that the darkened surface is addressed to an acceptable extent without compromising on the stummel profile and the rim top surface is nice, smooth and even. The darkened rim is still evident but the briar in this area is nice and solid and so I shall leave it be. All this while that I was working on the stummel, Abha quietly worked on the stem. She cleaned the stem internals with regular and bristled pipe cleaners dipped in alcohol. It didn’t take many pipe cleaners to get the stem air way clean.Next she sanded the stem surface with a 320 grit paper. This addressed the minor tooth indentations and bite marks on either surface in the bite zone. She progressively moved to polishing the stem through 400, 600, 800 and 1000 grit sand paper. She finished the stem refurbishing by wet sanding the stem with 1500 to 12000 grit micromesh pads. She rubbed a little Extra Virgin Olive oil into the stem surface to hydrate it and set it aside to be absorbed into the bone. Next I polished the rim top and the high spots in the rustication using micromesh pads, wet sanding with 1500 to 12000 grit pads. I wiped the bowl with a moist cloth after each pad to clean the surface. I am happy with the appearance of the stummel at this point in the restoration. The stummel is now ready for a fresh coat of stain.I wanted to highlight the difference between the rusticated and the smooth stummel surface. I decided to stain the rusticated surface with a black dye which would contrast beautifully with the browns of the rim top and the raised knobs of the rustications. I heated the rusticated portion of the stummel surface with my heat gun to open up the pores on the stummel so that the stain is well absorbed. I used Fiebing’s Black Leather dye and liberally applied it over the heated surface, flaming it with a lighter as I went ahead to different self designated zones on the surface. This helps in the setting of the stain in the grain of the briar. I ensured that every inch of the rusticated surface is coated with the dye. I immediately followed it by wiping the raised portions of the rustication with cotton pad and alcohol to lighten the knobs. Once polished, these will contrast with the black of the rest of the stummel surface. I set the stummel aside overnight for the dye to set into the briar surface.  The following day, I again wiped the stummel with a cotton swab and alcohol to remove any excess stain and followed it up by sanding the raised rustication with a folded piece of 320 grit sand paper. This was followed up by careful dry sanding of the entire stummel, especially the raised rustications with 1500 to 12000 grit micromesh pads. This lightens and highlights the high spots in the rustications. Next, I rubbed a small quantity of “Before and After Restoration Balm” in to the briar with my finger tips, working it deep into the rustications and let it rest for a few minutes. The balm almost immediately works its magic and the briar now has a nice vibrant appearance over the smooth surface with the beautiful rusticated patterns on full display. I further buffed it with a horse hair shoe brush. The only issue that remains unaddressed at this stage is the issue of loose and overturned seating of the stem into the mortise. I had the option of using the clear nail polish to tighten the seating but that would have been a temporary solution as the threaded bone tenon was way too loose fitting in to the mortise and no amount of smoking would have tightened the mortise to the required extent and hence was dropped. I decided on using CA superglue for the purpose. I applied a coat of superglue over the threads of both the mortise and tenon and let it set for a few seconds.  Thereafter, I threaded the tenon in to the mortise till the stem was perfectly aligned and again held it in place for a few seconds for the superglue to take the shape of the threads. I repeated the process once over and achieved a perfectly aligned and snug seating of the stem in to mortise. It was at this juncture that a new issue came to the fore as I was taking pictures of the stem and shank junction under magnification. The green arrows tell the story!Closer inspection revealed that the cause of this gap was the uneven shank end and the tenon was not flush with the stem face (which by the way is also not perfectly shaped). The gap was more on the lower surface than the upper. To address these issues, I firstly topped the shank face on a piece of 220 grit sandpaper till it was even. I was extremely careful while topping so that there was minimum loss of briar as the tenon was already slightly long and I had no desire to increase this gap any further. Secondly, I bridged the gap between the shank face and stem by using a brass band. This also added a nice touch of bling to the entire pipe. I like the way the pipe has shaped up. To complete the restoration, I first mounted a cotton cloth buffing wheel that is dedicated for use with Blue Diamond, onto my hand held rotary tool.  I set the speed at about half of the full power and polished the stem. The Blue Diamond compound helps to erase the minor scratches that are left behind even after micromesh polishing cycle and followed it by applying several coats of carnauba wax with a cotton cloth buffing wheel dedicated to Carnauba Wax. I finished the restoration by giving the entire pipe a rigorous hand buffing using a microfiber cloth to deepen the shine further. The finished pipe looks amazingly beautiful and has undergone quite a transformation. With its perfectly balanced weight, a nice full bent shape and light weight, this is a perfect pipe for clenching while working. This is one pipe that will I feel will not disappoint either aesthetically or functionally. In case this beauty calls out to you, please let me know and we shall work out a mutually beneficial deal. I wish to thank our esteemed readers for sparing their valuable time to read through and any input or advice is always welcome. And how can I not thank Abha, my wife for her patient efforts in imparting glass like finish to the stem and rim top surface!

Praying for the safety and well being of you and yours…stay home, stay safe and get your vaccines please.

It is about time to Breath Life into a new Frankenpipe


Blog by Steve Laug

I have not created a Frankenpipe for a long time. I call them Frankenpipes with a tip of the hat to Mary Shelley’s grand creation Frankenstein. These remind me of her story what with the gathering of parts, “stitching” them together and breathing life into them. It is a thoroughly creative process I enjoy and I suppose there is always the possibility of crafting of a monster. Over the years I have crafted quite a few of these pipes and they tend to stay in my collection. You can search on the blog and see the variety of Frankenpipes that have come together. I find them incredibly enjoyable because they are very different from a restoration. Truly it is looking at a bunch of parts and imagining combining them into something that reflects the parts but as a whole it very different from any of them.

This afternoon I had an urge to make a Frankenpipe so after work I went through my parts. I found some parts that with some imagination could make an interesting looking pipe – at least in my mind’s eye. The parts for this Frankenpipe have all been around for a long time. The bowl is one I have had in a box here that had a snapped tenon in the shank. The stem had disappeared a long time ago and I did not have a stem for it that interested me. It is a large magnum sized “Malaga” bowl. It is far from a perfect piece of briar with a bald spot on the front left of the bowl. The rim top has burn marks and the bowl is out of round – thicker on the front side of the bowl than either side of the back of the bowl. The inner edge had a burned in “bevel” on the back right. The finish was worn and tired with black streaks over the bald spot on the left front of the bowl. It needed some serious TLC to bring life to it. Jeff had done his thorough clean up on the bowl so it was ready to work on. Here is what I saw with the bowl! As I stared at the bowl I thought that a band might look interesting on it. Don’t ask me why because as yet I had not chosen a stem for the bowl. I just thought a band would work. I went through my box of bands and nothing turned my crank or caught my eye. Then I remembered a bag of parts that I have from the mid to late 1800s. In that bag were several unique and original bands. There was one that caught my eye and I really thought it had promise. I took it out of the bag and found that it was in excellent condition and was probably never used. Here are some pictures of the decorative brass band.At that point I had an aha moment. I remembered an odd stem that I had in my collection of stems that just might be the thing that I was looking for on this Frankenpipe. It was unique and one that Jeff had picked up and save for me. I had never found a use for it but now I thought I might have. The two knuckle bamboo shank and acrylic stem is a single that has bend bonded together. The stem is thus a unit with the bamboo and the Delrin tenon on the other end is also integrated. It is drilled for a filter so I found a repair tenon that I could craft into an adapter to convert the tenon to a regular pipe sans filter. It would be removable if needed. Here is what it looked like with and without the tenon adapter. (The adapter would need to be shortened but you get the idea.)All of the parts have been here for quite a while. All of them give silent testimony to my crazy propensity to collect parts!! And all of them would finally come together to form a new Frankenpipe that was more than the sum of its parts. Read along as I walk through my process.

I began the work by addressing the issues with the bowl. I tried to pull the broken tenon with a screw. It was stuck so I put the bowl in the freezer for a little while. After about 10 minutes I tried again and was successful pulling the tenon out of the shank.With that finished I need to address the shank of the pipe to fit the conical ferrule/band that I had chosen. In the next photos you can see that I have chosen to shape the shank end to match the flow of the band. I did this with a Dremel and sanding drum and smooth it out with files and sandpaper. I was careful to leave the original Malaga stamp intact. I was not as concerned with the Imported Briar stamp on the right side of the shank. Progress is being made.I did a bit more shaping on the shank end. The decorative band now fit it quite well. I put the parts side by side and took some photos of the parts of the pipe. I took photos from various angles and sides. Can you begin to see what I am seeing with this pipe? I think it is going to work. Do you? Now back to work on the bowl! I decided to deal with the rim top damage by topping the bowl. It was in rough shape so I used 150 grit sandpaper on a topping board and remove the damaged parts of the rim top. It looked better. I worked over the inner edge of the rim with a folded piece of 150 sandpaper to give it all a bevel to match the burn damage at the back of the bowl. At this point I wanted to try the fit of the band on the shank. I heated it slightly with a lighter and pressed in place. I like what I am seeing. I removed the band once it cooled and went to work some more on the bowl. It needed to be polished and stained before I set the band in place but I wanted to have a look. Didn’t you? I wiped the bowl and shank down with acetone on a cotton pad to try to remove the dark patches and the remnants of the stain. All of this was in preparation for the future staining of the bowl. I polished the bowl with micromesh sanding pads – dry sanding with 1500-12000 grit pads to prepare it for staining. I wiped it down with a damp cloth to remove the debris after each pad. I stained the polished bowl with Fiebings Light Brown aniline stain. I applied the stain, flamed it and repeated the process until I was happy with the coverage. I set it aside to dry.Once the stain dried I wiped the bowl down with alcohol to make the stain more transparent. I buffed the pipe on the buffer with both Red Tripoli and Blue Diamond to further reduce the heaviness of the colour. I worked some Before & After Restoration Balm into the surface of the briar with my finger tips. The product works to clean, enliven and protect the briar. I let it sit on the briar for 10 minutes then buffed it off with a soft cloth. With the bowl finished and the stain cured it was time to press the band in place. I gave it a thin layer of white all purpose glue on the inside of the band and pressed it onto the shank end. It looks quite fetching to me. I set it aside to let the glue cure but I like it! I set the bowl aside and worked on the tenon adapter and the stem surface. I used the Dremel and sanding drum to shorten the adapter until the fit in the tenon allowed the shank to fit snug against the shank end.With the internals finished it was time to work on the tooth marks and chatter on the surface of the acrylic stem. I sanded them smooth with a folded piece of 220 grit sandpaper. I started polishing the stem surface with 400 grit wet dry sandpaper.I polished the stem with micromesh sanding pads – 1500-12000 grit pads. I dry sanded the stem with the pads and wiped it down with a damp cloth after each pad. I finished the polishing with Before & After Pipe Stem Polish – both Fine and Extra Fine. I gave it a final buff with a cloth and Obsidian Oil. I put the parts of the Frankenpipe together and took the pipe to the buffer. I buffed it with Blue Diamond and really like the way the brass and bamboo polished up. They looked great after buffing. The bowl and stem also shone but I expected that really. The combination of the darker stain on the bowl, the antique brass band, the 2 knuckle bamboo with developing patina and the black acrylic stem came together even better than expected. I gave the pipe several coats of carnauba wax on the buffing wheel. I buffed it with a clean buffing pad to raise the shine and hand buffed it with a microfibre cloth to deepen the shine. The finished pipe really shone with rich hues. The dimensions of this Frankenpipe are Length: 5 ½ inches from the front of the bowl to tip of the stem, Height: 2 inches, Outer diameter of the bowl: 1 ¾ inches, Chamber diameter: 7/8 of an inch. The weight of the pipe is 69 grams/ 2.47 ounces. It really surprised me as it looks to be a much bigger pipe than it is. I would say it is Dunhill Group 5 pipe at least in terms of bowl size. It really is a beautiful pipe in person and it will be staying with me along with the other Frankenpipes I have crafted. I am looking forward to enjoying a bowl shortly. It was a fun pipe to work on. I hope you enjoyed the process as you read about it. Thank you for taking time to read about it. As Paresh says – Stay safe/Stay healthy.

New Life for a Butz-Choquin Regate 1282 Zulu


Blog by Steve Laug

The next pipe on the table is one that came to us from Australia. It went to Jeff first then was shipped to me. It is a well traveled pipe that was purchased in 2020 from the estate of a fellow pipeman in Australia, shipped to the US and then to Canada. The shape is very nice, with the forward canted bowl and the quarter bent stem. It is a great shape with a taper vulcanite stem. The finish was dirty with grime ground into the finish around the bowl sides. There was a thick cake in the bowl and lava overflow on the top of the rim – heavier on the backside of the rim top but nonetheless on the entire rim top. There was some burn damage on the right front inner beveled edge of the bowl. The pipe is stamped on the left side of the shank and reads Butz-Choquin at an angle [over] Regate. On the right side it reads St. Claude – France [over] the shape number 1282. The stem was lightly oxidized and there were tooth marks and chatter on both sides near the button. The taper stem also has a BC stamped on the left side. Jeff took some photos of the pipe before he started the clean up work. He took photos of the rim top and bowl to give a clear picture of the thickness of the cake and well as the nicks, lava and darkening on the rim top. The inner edges showed some burn damage on the inner bevel of the bowl. The outer edges of the bowl appeared to be in great condition. He also took photos of the top and underside of the stem to show the light oxidation and the chatter and tooth marks. Jeff took a photo the sides and heel of the bowl to give a picture of the beautiful grain around the bowl and shank. There were also shiny spots of varnish around the bowl and shank sides. The stamping on the sides of the shank is clear and readable and read as noted above. There is also BC stamp on the left side of the stem. I turned to Pipephil’s site and looked for information on the Butz – Choquin Regate I was working on (http://pipephil.eu/logos/en/logo-butzchoquin.html). As always there was a good, brief description of the history of the brand.

I turned to Pipedia (https://pipedia.org/wiki/Butz-Choquin) to see what I could find on the brand that the Regate line there. I found a catalogue page from Doug Valitchka on the Regate that listed the pipe line and a description (https://pipedia.org/wiki/File:BC10.jpg). I have captured that image below. The description under the Regate heading reads –

Regate (and the description below is in both French and English)

Les veines classique qui rallie les suffrages de la plupart des fumeurs

A great classic which meets with the approval of the majority of smokers.

I have also included another picture from Doug Valitchka that shows the shape of the pipe that I am working on (https://pipedia.org/wiki/File:BC06.jpg). It is the second shape that is shown on the page – Shape 1282. The shape is called a Genoises. Now it was time to work on the pipe. Jeff had cleaned up the pipe following his usual procedures. He reamed the pipe with a PipNet pipe reamer and cleaned up the remnants with a Savinelli Fitsall Pipe Knife. He cleaned out the inside of the shank and the airway in the stem with 99% isopropyl alcohol, cotton swabs and pipe cleaners. He scrubbed the exterior of the bowl with undiluted Murphy’s Oil Soap and a tooth brush. He rinsed it under running warm water to remove the soap and grime. He soaked the stem in Before & After Deoxidizer and rinsed it off with warm water. I took photos of the pipe once I received it.  The rim top cleaned up really well. But the cleaning revealed some serious burn damage on the rim top and front inner edge toward the right side. The stem surface looked good and the light tooth marks and chatter would be easy to address. The stamping on the sides of the shank is readable and reads as noted above.I removed the stem and took a photo of the pipe to give a sense of the shape and the grain on the bowl and shank. It was a great looking shape and would be a beautiful pipe when I was finished. I decided to start my work on the pipe by wiping the bowl down with acetone on a cotton pad to remove the heavy stain around parts of the bowl sides. I wanted really be able to see the grain on the bowl. I dealt with the damage to the rim top by topping it on a topping board with 220 grit sandpaper. I cleaned up the beveled inner edge of the rim with 220 grit sandpaper to remove as much of the burn damage as possible. I polished the bowl with micromesh sanding pads – 1500-12000 grit pads. I wiped it down with a damp cloth after each sanding pad.  It was beginning to look good to my eyes. I stained the inner edge and rim top with an Oak Stain Pen to match the rest of the surrounding bowl. It helps to blend in the burned area some more. The rim top and edges definitely look better than when I started.I rubbed the bowl and shank down with Before & After Restoration Balm. I worked it into the surface of the bowl sides and shank with my fingertips to clean, enliven and protect the briar. I let the balm sit for ten minutes then buffed the bowl with a cotton cloth to raise the shine. I set the bowl aside and turned my attention to the stem. I “painted” both sides of the stem with the flame of a lighter to lift the tooth marks. It did a great job and left only one deep mark on the underside and some lighter tooth marks on the topside along the button. I filled them in with clear CA glue and once it cured I used a small file to sharpen the edge of the button and smooth out the repair. I sanded the stem with 220 grit sandpaper to smooth out the repairs. I started polishing it with 400 grit sandpaper.  I used some white acrylic fingernail polish to touch up the BC stamp on the left side of the stem. I painted it on with the brush and once it dried scraped it off and sanded it with a 1500 grit micromesh sanding pad.I polished the stem with micromesh sanding pads – 1500-12000 grit pads. I wiped it down with Obsidian Oil after each sanding pad. I used Before & After Pipe Polish – both Fine and Extra Fine to further polish the stem. This Butz-Choquin Regate 1282 Zulu is a great looking pipe now that it has been restored. The combination of various brown stains around the bowl is quite beautiful and highlights grain very well. The finish works well with the polished curved vulcanite taper stem. I put the stem back on the bowl and carefully buffed the pipe with Blue Diamond on the buffing wheel using a light touch on the briar. I gave the bowl and the stem multiple coats of carnauba wax on the buffing wheel and followed that by buffing the entire pipe with a clean buffing pad. I hand buffed the pipe with a microfiber cloth to deepen the shine. The finished Butz-Choquin Regate Zulu sits nicely in the hand and feels great. Give the finished pipe a look in the photos below. The dimensions of the pipe are Length: 6 inches, Height: 1 ¾ inches, Outside diameter of the bowl: 1 ¼ inches, Chamber diameter: ¾ inch. The weight of the pipe is 35 grams/1.23 ounces. I will be putting it on the French Pipemakers section of the rebornpipes store shortly. If you are interested in adding this pipe to your collection send me a message or an email. Thanks for reading this blog and my reflections on the pipe while I worked on it. There are many more to come! 

A Labour of Love – Repairing a Badly Damaged, Cracked Karl Erik Grade A Hand Made


Blog by Steve Laug

I am pretty sure that I am a sucker for both a good story and a badly damaged pipe. The next pipe on the table came with both. I received an email from Dewey in Iowa about a pipe he bought over 20 years ago. It was one of his favourite pipes and it had a serious crack in the exterior of the bowl. He wrote asking what he could do about it. Here is what he wrote:

Dear Steve,

I have owned a Karl Erik pipe for over 20 years. Bought it from the National Cigar Store in Waterloo, Iowa…..it is my favorite pipe…

just yesterday I found a large crack has appeared on the bottom of the pipe. It still smokes fine but is there anything that can be done to stop it from cracking further and can the crack be filled?The crack does extend up the front of the pipe into a small design where a short second crack is present…wow…

I was going to send pics but don’t know how to add them here

Thank you so much for your time and consideration.

I wrote him back and asked him to send the photos to my email account. He sent three photos of the pipe. I think that the first two are teasers to get my interest before he hits me with the photo of the damage to the bowl. He obviously took photos mid smoke. It is a uniquely shaped pipe and one that he really loves to smoke. You can see from the photos above what I saw. The pipe was obviously heavily caked and the plateau on the rim top was filled in with lava overflow. The stem was chomped and had deep tooth marks visible on the topside. But so far it looked no different than any other pipes that I have worked on. It was a nice looking Karl Erik pipe that had been thoroughly enjoyed for over 20 years. Then came the next picture of the damage in question. Wow!He also added that there was more damage. I have included our further email conversation below.

Steve, the crack does extend up the front of the pipe into a small design where a short second crack is present…wow…

…there is also a very small crack extending below the stem hole…but it has been there for quite a while now and doesn’t seem to be growing larger.

Thanx, Dewey

So now I knew what we were talking about. A crack in the heel of the bowl and up the front into the carved design with a second smaller crack in the design itself. There was also a small crack on the shank end extending downward from the mortise. I wrote Dewey back about what he could do with the crack in terms of self repair. His response was to ask if I would do the repair. We wrote back and forth for a while and finally I agreed to take on the project. I wanted to make sure that he understood that the repair would be solid but that it could possibly crack again. He was fine with that and reiterated that he was in no hurry with the pipe. Several weeks went by and the pipe arrived in Vancouver. Here is what I saw. The pipe was far dirtier than I could see from the photos. When the package arrived and my wife brought it in I could smell the sweet, smoky aroma of the pipe through the padded envelope. My wife handed it to me we the short declaration “IT STINKS”. I had to admit that it did. The bowl had a lot of oils and grime ground into the surface of the briar that all but hid the grain on the bowl. The plateau rim top was almost smooth with the filled in lava overflow and there was a thick cake in the bowl. The stem was oxidized, calcified and chomped with heavy tooth marks on both sides ahead of the button. When I removed the stem the mortise and airway were reduced from the tars and the airflow through the shank and stem were restricted. The pipe would need a serious ream and clean before I could assess the damage from the crack. I would need to ream it back to bare briar to see if the cracks went into the chamber. It was impossible to see the condition of the chamber.

I took close up photos of the rim top and bowl and the stem before I started my clean up work so that I could document the condition of the pipe when I started my work on it.The stamping on the underside of the shank is quite filled in with the grime but reads Karl Erik [over] Hand Made in Denmark [over] A which is the grade stamp.I took photos of the crack in the heel of the bowl and up the front side into the carving. It is quite long and large and the crack is singular. It has not taken off in other directions. That is the good news with this damaged bowl.I removed the stem from the shank and took a photo of the look of the pipe. It is an interesting shaped pipe with a jutting chin on the front.In order to move forward with the examination of the bowl I needed to clean it up. To inspect the inside walls of the chamber and the base of the chamber to see if the crack goes into the chamber I needed to remove all of the cake. It needed to be smooth if I was going to be able to examine it properly. I reamed the bowl with a PipNet pipe reamer and cleaned up the remnants in the chamber with a Savinelli Fitsall Pipe Knife. I wrapped a dowel with 220 grit sandpaper and sanded the walls and bottom of the bowl to further clean it up.At this point I examined the bowl with a flashlight and a dental probe and I could not see any cracking on the bottom of the bowl or the sides parallel to the crack on the heel and the front of the bowl in the carving. That was a wonderful discovery! I knew now that I was dealing with a crack on the exterior of the bowl that had not proceeded inside. I am wondering at this point if Dewey had dropped the pipe on a hard surface as that would explain what we were dealing with.

I decided to clean up the exterior of the bowl next. I scrubbed it with undiluted Murphy’s Oil Soap, a tooth brush and a brass bristle brush for the plateau. I scrubbed it with the soap and the brushes until it was a mess and rinsed it off with warm running water. I repeated the process until I was convinced I had removed the thick grime coat and lava on the rim top. I took photos of the cleaned bowl at this point. It is nice to see the grain poking through. It is a really nicely grained pipe. I am thinking that the characteristic carved patterns around the bowl and shank were done to deal with flaws in the briar. I wonder if the crack started in the carved area and proceeded downward? I focused some of the cleaning on the crack on the front carving where it appeared that there were two cracks. I have circled the crack in the second photo and have red arrows pointing to the damaged spots. I also cleaned the crack down into the heel of the bowl. I wanted it to be free of grime and oils so that the repair would be solid.With the externals clean and the bowl reamed it was time to clean out the mortise and the airway in the shank and the stem. I scrubbed them with 99% isopropyl alcohol, cotton swabs and pipe cleaners until they came out clean. The pipe was finally beginning to smell less sour.With the pipe clean it was now time to work on the cracks. I drilled a small micro pin hole at each end of the crack to stop it from spreading further. I filled in the pin holes and the crack with briar dust and clear super glue. I layered the repair using a dental spatula to pressed the dust deep in the cracked area. I did the same thing with the small hairline crack on the shank end.Once the repair had cured I sanded the heel of the bowl, the front of the repair and the chin edge with 220 grit sandpaper to smooth out the repaired area and blend it into the surrounding briar.I used a black stain pen to fill in the crevices of each of the carved areas around the bowl and shank sides as well as those in the plateau areas on the rim top and shank end. It appeared that this is what it looked like originally and I like the sense of contrast and depth that it gives those areas once the bowl is polished.I stained the repaired areas with a Maple stain pen to match the surrounding briar. It involved staining the heel of the bowl, the nose and carved area on the front of the bowl, the rim top high points on the plateau and the high points on the plateau on the shank end. The pipe is beginning to take shape and look better.With the staining finished I polished the briar with micromesh sanding pads – dry sanding with 1500-12000 grit pads. I wiped the bowl down between the pads with a damp cloth to remove the debris. By the end o f the process the bowl began to take on a rich shine. The repairs, while still visible were less so than when I started the polishing. I rubbed the bowl down with some Before & After Restoration Balm. I worked it into the briar with my finger tips to clean, preserve and protect the briar. I let it sit for 10-15 minutes then buffed it off with a cotton cloth. I set the bowl aside and turned my attention to the stem. I scrubbed the stem with Soft Scrub and cotton pads to remove the oxidation and calcification which seemed to reside on the surface of the vulcanite. I scrubbed out the tooth marks at the same time working the scrub deep into them. I was amazed at how clean it was when I had finished. I “painted” the tooth marks with the flame of a lighter to lift them to the surface. The heat raised them significantly but not completely. I filled in the remaining marks with clear super glue and once it had cured flattened the repairs with a file and also recut the button edges. I sanded the stem with 220 grit sandpaper to blend the repairs into the surface and started polishing the stem with 400 grit wet dry sandpaper. 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 pad with Obsidian Oil which cleans and protects the vulcanite. I polished it further with Before & After Pipe Stem Polish – both Fine and Extra Fine. I gave it a final wipe of Obsidian Oil and set it aside to dry. It was good to be finished with this labour of love. I would be glad to pack it up and send it back to Dewey. It looks amazingly good considering where it was when I started. Some may not agree with my method of repair but it has worked for me for many years. The cracks in the exterior of the briar were repaired and filled in. The bowl been restained and polished. I buffed the bowl and stem with Blue Diamond on the buffing wheel and the bowl began to shine. The Karl Erik A Hand Made Freehand looked almost like new (minus the dark line of the crack repair). The dimensions of the pipe are Length: 7 inches, Height: 2 ½ inches, Outer diameter of the bowl:1 ¾ inches, Chamber diameter: 7/8 of an inch. I know Dewey will be excited to get this back when I send it out next week. It is a beautiful pipe and with the repair and restoration it should continue to serve Dewey for a long time to come. Thanks for walking through this repair with me.

Refreshing A Guildhall 250 Straight Stemmed Dublin by Comoy’s


Post by Mike Belarde

Hello. Thank you for taking the time to read this post, and walk with me through a fun and enjoyable restoration project.

Pipe restoration has become a recent hobby for me, and I’ve been restoring estate pipes for my personal collection over the last year and a half.  Most of the techniques I use, I have gleaned from the Reborn Pipes and The Pipe Steward websites.  Both Steve and Dal have been a great source of info. Steve has also been very gracious, and has let me share a post on the site.

I have had this nice Dublin for several months now, and am finally getting a weekend to work on it and clean it up.  I purchased it through an online auction from a seller out of Minnesota. What caught my eye with this pipe was the interesting looking grain, and the shape.  I have several bent Dublins, but did not own a straight stemmed version.  The fact that the pipe was a Guildhall also caught my attention.  I own several Everyman Pipes, which are also Comoy’s seconds, and seem to be of good quality.

This pipe is marked with the Guildhall, and made in England stamps, and a shape number of 250.

I have provided a link to the Comoy’s article from Pipedia here, which lists Guildhall as a Comoy’s second.  https://pipedia.org/wiki/Comoy%27s.  Also, on the Pipedia site there is an interesting example of a Comoy’s advertisement briefly describing the Guildhall line, and I have included it below.According the Pipedia site’s shape chart reference, the shape number 250 corresponds to a straight stemmed, oval shanked, Dublin. This matches the pipe that I’m working on. When I received the pipe, it was in fairly good condition. The stummel had a light shine, but still looked slightly grimy. The rim had a light coating of carbon/lava overflow, and the chamber was lightly caked. From what I could see, the shank and draft seemed to be in good condition without a lot of tar and carbon build up. As you can see from the pictures, the pipe has some interesting cross grain and perhaps small birds’ eyes. Once the cleanup process is complete, I’m expecting that this will be a very attractive pipe, and a nice addition to my collection. The stamping on the pipe was in good condition and easily legible. The stem looked to also be in great condition. The stem was only lightly oxidized. There didn’t seem to be any tooth marks or chatter, but there was a small area of calcification around the button portion of the stem. Perhaps the prior owner had utilized softy bits? All in all, the pipe looked to be in great shape! The first step in the process is to address the internals of both the briar and stem, and then clean up the grime on the stummel, and the carbon build up on the rim.   Recently, I’ve been trying to clean the shank with a shank reamer and nylon shank brush dipped in alcohol first in order to save on the amount of pipe cleaners that I have been going through. My first step is to ream the bowl and clear as much of the cake that I can. I used two head sizes on the reamer, and gently cleared out the majority of the carbon. I transitioned next to a piece of 220 grit sandpaper wrapped around a small dowel to further sand out the chamber.I then turned my attention to the shank. I first run the shank reamer through the shank and gently turn it in a clockwise motion to remove any of the buildup in the airway.  This particular reamer is 3.5mm in diameter. I only want to remove the build up without removing any of the actual briar. I don’t want to alter and widen the draft on this pipe. On Steve’s advice, I have also attached a similar sized drill bit to a cordless drill and have gently turned other stummels by hand to clear the airways.I run a shank brush several times through the shank and rinse it under running water, then dip the bristles about half way up the brush. I found out the hard way that if you dip the entire brush in alcohol, you can inadvertently sprits the stummel with alcohol on the backstock, potentially damaging a good stain and finish.

Once that shank brush starts to come out only lightly soiled, I move on to cleaning the shank with bristled pipe cleaners, and then soft pipe cleaners. Thankfully this pipe was fairly clean, and I only ran through a handful of cleaners on the stummel and stem.Once that step is completed, I moved on to cleaning the shank and the chamber with cotton swabs dipped in alcohol. As you can see by the swabs, the pipe cleaners still left some tar in the shank. With the internals cleaned, I scrubbed the stummel with Oil Soap and an old toothbrush. I gently sanded some of the lava build up on the rim with a piece of 220 grit sandpaper, and removed the rest of the build up with a green scouring pad. Now that everything is clean, it looks like the rim and chamber are in great shape! I decided to de-ghost and clean the stummel further.  I inserted two tapered fluffy pipe cleaners through the shank and down into the chamber to act as a wick.  I have found using the fluffy pipe cleaners is easier for me than trying to fish an elongated cotton ball down the shank.  I then placed a cotton ball in the chamber and saturated it with isopropyl alcohol.   I resaturated the cotton ball every couple of hours and then left the stummel to sit overnight.

While the stummel was de-ghosting. I placed the stem in a small Tupperware container to soak overnight in Briarville’s Oxidation Remover solution.  After soaking overnight more of the tar build up was removed from the stummel. The stem also looked good. The light oxidation and calcium build up was removed, and this revealed a few light toothmarks on the underside of the stem. I decided to work on the stem first. I tried lifting some of the toothmarks with a Bic lighter. It raised the indentations some. I sanded the rest of the marks out with a small piece of 320 grit sandpaper.  After the toothmarks were dealt with I began to polish the stem. I took the stem through the progression of micromesh pads. After each pad I wiped down the stem with a cotton pad soaked in Obsidian Oil.  In the last step I polished the stem with Before and After’s Extra Fine Polish. The stem seemed to have come out pretty well. I moved on to the stummel. I started to polish the stummel with the micromesh pads and about halfway through the process decided that the stain looked a little worn and washed out. So, I decided to touch up the stain.

I mixed a one-to-one ratio of Cordovan Leather with alcohol to thin the leather dye down a bit.  Recently I have been finding that my dye jobs have been darkening the briar too much, and hiding a lot of grain. I wanted to see how this would turnout.  I like to apply the stain with a small hobby brush. I find it helps me to coat the stummel evenly. Once the stain was applied, I used a small tea candle to fire the briar and set the dye.  I let the stummel sit for a couple of hours and then removed some of the excess stain with a cotton pad soaked in acetone. After removing some of the excess stain with acetone I began to polish the stummel with the micromesh pad series. I wiped the briar down with a damp paper towel between each pad.Once I was finished with the micro pads, I worked some Before and After Restoration Balm into the stummel. It is always encouraging to see the grain come to life after applying the balm! I let the balm sit for about 10 minutes and then buffed the stummel with a cotton cloth. The last step in the process, I buffed both the stummel and stem with Red Tripoli and Blue Diamond.  I then gave both several coats of Carnauba wax and buffed them with a cotton cloth.

I am pretty please with how the pipe turned out.  Thanks for taking the time to read this post!

Resurrecting a Tired Warrior – a Butz-Choquin Casino 1575 Spigot Billiard


Blog by Steve Laug

The next pipe on the table is a Butz-Choquin Spigot style pipe with a polished nickel ferrule and a polished nickel stem end. The pipe had classic shape and at first glance looked very good. We purchased this from an online auction late in 2020 in Elgin, South Carolina, USA. It had a rich finish somewhere underneath all of the debris, grime and damage to rim edges and sides. There was a thick cake in bowl and lava on the rim top. The rim top was uneven with dips and burns on the top. The front of the bowl had significant burn damage from the rim top down into the surface of the briar on the front. The left side had the same issue and had been worn away over time so that it was canted inward making that part of the bowl thinner on the side. The pipe is stamped on the left side of the shank Butz-Choquin at an angle [over] Casino and on the right side it was stamped St Claude in an arch over France [over] the shape number 1575. The nickel ferrule and stem end were oxidized and scratched. The stem was oxidized but had deep tooth marks on the top and underside near the button. The deepest marks were on the underside with one that was almost a bite through. The BC logo on the topside was faded and needed to be touched up. Jeff took photos of the pipe before he started his clean up work. I like to have an idea of how the pipe was smoked before we got it and what the bowl and rim top looked like. Jeff always takes some photos of the bowl and rim from various angles to show what it looked like. This bowl and rim top were in rough condition. The stem was a real mess with deep tooth marks and damage on both sides. He took a photo of the nickel ferrule and stem end to give a picture of their condition when we received the pipe. It definitely needs work. He took photos of the sides and heel of the bowl to give a sense of the grain on the pipe. You can also see the damage around the top front and sides in the photos. Jeff captured the burn damage on the front of the bowl in the next photo and some of the nicks and gouges in the sides of the bowl in the second photo. There is work to do on this one!The next photos show the stamping on the left and right side of the shank. It is clear and readable as noted above. Jeff also captured the BC stamp on the topside of the stem. I turned to Pipephil.eu and read through the listing on the brand. It is always a quick reminder to me of the basics of a brand. The Casino line was not listed there. I include the short summary of the history below.

The origin of the brand reaches back to 1858 when Jean-Baptiste Choquin in collaboration with his son-in-law Gustave Butz created their first pipe in Metz (France). Since 1951 Butz-Choquin  is a brand of the Berrod-Regad group (Saint-Claude, France).

Jean Paul Berrod managed the company from 1969 to 2002 when he retired and sold the corporate to Mr Fabien Gichon. Denis Blanc, already owner of EWA, took over the S.A. Berrod-Regad in 2006.

I could not find anything specific in Pipedia about the Casino line, but a simple search on the internet will show many different shapes available in the Casino line from Butz-Choquin.   Now it was time to work on the pipe.

Jeff had done a great cleanup on the pipe. He 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 bowl exterior with a tooth brush and Murphy’s Oil Soap to remove the grime on the finish of the bowl and the lava from the rim top. He rinsed it under running water. One of the benefits of this scrub is that it also tends to lift some of the scratches and nicks in the surface of the briar. He dried it off with a soft cloth. He cleaned the internals and externals of the stem with alcohol, pipe cleaners and cotton swabs. He soaked the stem in Briarville’s Pipe Stem Deoxidizer and rinsed it off with warm water and cleaned out the airway in the stem with alcohol. When I received it the pipe looked very good.  I took a photo of the rim top and stem to show the condition. The rim top and the inner edge of the bowl were in rough shape. The outer edge had a lot of burn damage on the front and the left side. The rim top and inner edge also has significant burn damage and was not flat. The stem was vulcanite and there were some deep tooth marks and chatter on both sides ahead of the button. The stamping on the pipe is clear and readable as noted above. The BC logo on the stem is deep and needs to be repainted with white (as seen in the photo of the top of the stem above).I started my work on this pipe by dealing with the damage to the outer edge of the bowl and rim top. I topped the bowl first on a topping board with 220 grit sandpaper. I flattened out the rim top and made the top of the rim consistently flat. I removed much of the burn damage to the bowl top. I worked on the damaged areas on the left side and front of the bowl by building them up with briar dust and clear super glue. I built up the left side of the inner edge with super glue and briar dust as well. There the burn damage was shallow but it made the bowl out of round. I topped it once again to smooth out the repair on the rim top. I used a piece of dowel wrapped in sandpaper to sand the inner edge of the rim and smooth out the repair in that area. It worked well.I smoothed out the repairs on the left and front of the bowl with 220 grit sandpaper and blended them into the surrounding briar.I gave the inner edge of the bowl a slight bevel with 220 grit sandpaper to help reshape it and bring it back to round. The rim top and edges looked good at this point in the process.I restained the pipe with a light brown aniline stain. I applied it with a dauber and flamed it with a Bic lighter to set it in the grain. I repeated the process until I was happy with the coverage.Once the stain had dried I wiped the bowl down with 99% isopropyl alcohol to make it a bit more transparent. I find that doing a wipe down at this point evens the finish before I start polishing it with micromesh.I polished the briar with 1200-1500 micromesh sanding pads and wiping it down with damp cloth after each sanding pad. As I worked through the cycle of pads the shine developed with each change of pad. The damage on the rim sides looks better. I left some of the nicks and sandpits as they really are a part of the pipe’s story. I rubbed the bowl and shank down with Before & After Restoration Balm. I worked it into the surface of the bowl sides and shank with my fingertips to clean, enliven and protect the briar. I let the balm sit for 10 minutes, then buffed with a cotton cloth to raise the shine. The Balm did its magic and the grain stood out on the briar. I set the bowl aside and turned my attention to the stem. I decided to address the tooth marks on the stem. They were ragged, with sharp edges and heat did not lift them at all. I filled them in with clear super glue. I let the repairs cure and once they hardened I flattened and shaped them with a small file. I sanded them with 220 grit sandpaper to blend them into the surface of the stem. I started the polishing of the stem with 400 grit wet dry sandpaper. I touched up the BC stamp on the left side of the stem with white acrylic nail polish. I worked it into the stamp with a tooth pick and then sanded off the excess once it had dried with a 1500 micromesh sanding pad.I polished it with micromesh sanding pads – 1500-12000 grit pads. I wiped it down with Obsidian Oil after each sanding pad. I used Before & After Pipe Polish – both Fine and Extra Fine to further polish the stem. The photos below show the polished stem. This Butz-Choquin Casino 1575 Spigot Billiard with a polished nickel ferrule and stem cap on a vulcanite stem is a great looking pipe now that it has been restored. It was a lot of work and I took a decision to leave some of the journey of the pipe in the finish so it is far from flawless but it is a beauty. The rich browns of the stain made the grain come alive with the polishing and waxing. I put the stem back on the bowl and carefully buffed the pipe with Blue Diamond on the buffing wheel using a light touch on the briar. I gave the bowl and the stem multiple coats of carnauba wax on the buffing wheel and followed that by buffing the entire pipe with a clean buffing pad. I hand buffed the pipe with a microfiber cloth to deepen the shine. The finished BC Casino 1575 Spigot really is a beauty and fits nicely in the hand and looks very good. Give the finished pipe a look in the photos below. The dimensions of the pipe are Length: 6 ¼ inches, Height: 1 ¾ inches, Outside diameter of the bowl: 1 ¼ inches, Chamber diameter: ¾ of an inch. The weight of the pipe is 1.87oz./53grams. This beauty will be going off to its new trustee in Michigan along with several other nice pipes. Thanks for reading this blog and my reflections on the pipe while I worked on it. There are many more to come!