Tag Archives: Kaywoodie 500 pipes

Renewing Paw’s Kaywoodie “500” Round Shank Bulldog – The Third Pipe of a Great Grandfather’s Legacy

Blog by Dal Stanton

This Kaywoodie “500” is the final of three pipes Joe sent.  It belonged to Paw, Joe’s wife’s great grandfather.  I’ve enjoyed learning about Paw, or ‘2-Page Sam’, the name given to him by his fellow workers of Brown & Williamson Tobacco, Corp, founded in the 1800s in Winston-Salem, North Carolina. In the restoration of the first of three, a Medico Apollo Brylon (See: Another Legacy Pipe of a Great-Grandfather: Challenges Working with ‘Brylon’ on a Medico Apollo) an article in the B&W Tobacco, Co.’s company magazine, Pipeline, Sam’s 43-year career was showcased and it described how he became known as ‘2-Page Sam’.  As a salesman for the tobacco company, Sam’s daily goal was to secure enough orders from clients he would visit, ‘Ma & Pa’ establishments mostly, to reach page two of the order book for the day.  This company-wide work ethic, along with how the article captures Sam’s sincere respect for people – his fellow M&W employees and supervisors as well as the normal working-class people he sold to that made his livelihood possible.   Joe sent the picture on the left, below, of Sam among fellow employees of B&W.  I’m not sure which one is Sam but, my guess is the top, fourth man from the left!  The picture on the right is Sam (standing on the right) – capturing a moment in an age long gone.The second of Sam’s pipes that I just restored (See: Bringing to Life a Unique Kaywoodie Natural Burl 33 – Another Legacy Pipe of a Great Grandfather) was a rarer, Kaywoodie ‘Natural Burl’ 33, Apple shape.  It turned out very, very well and even included the collaborative help of Bill Feuerbach, Kaywoodie’s – or more correctly, S. M. Frank Co.’s, president, the holding company of Kaywoodie, Medico and Yello Bole.  The last of the three is on the worktable now, the Kaywoodie “500” IMPORTED BRIAR US Pat. 2808837 50C.  Here are a few pictures to take a closer look. The nomenclature on both sides of the shank is clear.  The left flank is stamped KAYWOODIE [over] “500” [over] IMPORTED BRIAR [over] PAT. 2808837.  The right side of the shank is stamped with the Kaywoodie shape number, ‘50C’.  The stem holds the classic inlaid Kaywoodie shamrock or clover. The first interesting aspect about this Kaywoodie is the shape designation.  When I first saw pictures of the pipe that Joe sent, I made the immediate identification of the shape to be a compact Rhodesian.  When I looked up the Kaywoodie shape number in the extensive list provided by kwguy originally in the Kaywoodie forum listed also in Pipepedia’s listing, the description surprised me:

50C Small bulldog, round shank 1960-1963

My main pipe shape ‘go to’ is Bill Burney’s Pipedia’s Pipe Shapes  where the debate is described:In deference to Kaywoodie, I’ll call Paw’s pipe a small Round Shank Bulldog.  What was also helpful is that the short period that the Round Shank Bulldog was in production is small – 1960 to 63.  Pipephil.eu’s comments on Kaywoodie’s
500 and 600 series were that they were cheaper, low-end pipes that ran through the period: 1959 – 1967.  It’s probable that Paw’s Kaywoodie “500” Round Shank Bulldog which isolates it as a “500” that was marketed between 60 to 63, cost him $5.95.  The 1962 Kaywoodie catalog page that Bill Feuerbach provided to include in the restoration write-up of Paw’s Kaywoodie Natural Burl, also included an ‘All New Kaywoodie “500”’ advertisement.  Bill’s explanation of the page below indicated that the cost of the pipe, $5.95, identified it as the 1962 catalog which would have encompassed the 1960 to 1963 timeframe of the round shank Bulldog production. The Kaywoodie “500” add also touts a “Syncro-Lok Stem” and a “New Miracle Finish” which lasts for years.  The “Syncro-Lok Stem” was a component part of the US Pat. 2808837 which is stamped as part of the “500” nomenclature.  According to Pipedia’s Kaywoodie article, the 1957 Pat. 2808837 applies specifically to the metal on metal fittings developed by Kaywoodie (Picture below courtesy of Doug Valitchka).  It was interesting for me recently to hear Bill Feuerbach, president of S. M. Frank Co., describing the era of Kaywoodie’s metal fitments coming to a close in his January, 2016, interview with Brian Levine on the  Pipes Magazine Radio Show.  Some reasons discussed were the changing landscape of pipe smokers where ease of cleaning and the fact that today’s pipe smoker, representing a younger generation, is not using the pipe as rigorously as those of earlier generations.  The other primal reason that Bill gave were the economics – the company that had manufactured these parts for Kaywoodie no longer was in business and finding a replacement ended up not making economic sense. With a better understanding of the Kaywoodie “500” on my worktable, I now take a closer look at the Bulldog’s issues.  The cake in the chamber is not thick in the upper chamber, but tightens toward the floor of the chamber. The rim is classic ‘2-Page Sam’ as it has sustained Sam’s rushed knocking damage on the aft quadrant of the rim – but it’s not severe.  As with the other 2 pipes, and with Paw’s Kaywoodie “500” Long Shank Billiard that I restored for Joe last year, this “500”’s rim will also carry these marks in remembrance of Paw. The internal edge of the rim has a large divot which I will repair.  The rest of the rim shows some grime and nicks on the external edge which one would expect.  The finish on the “500” series to me is not preferred.  In the Kaywoodie “500” add above it describes the finish as a “New Miracle Finish” which lasts for years.  As with the other “500”, to me the acrylic-like finish is not as attractive as a natural briar shine.  The ‘candy apple’ shine I will remove in order to reveal better the grain beneath.  The stem is thick with deep residual oxidation and the bit is caked with calcium deposits.  There is tooth chatter, but the button seems to be in good shape.One last issue is that the Kaywoodie screw in stem is slightly under clocked.  This will need a small adjustment and may even correct itself through the cleaning.  With the help of my mouse and box of matches, I’m able to show the stem’s orientation.To begin the restoration of the last of Paw’s pipes, I start by working on the stem. I first clean the internal airway with pipe cleaners wetted with isopropyl 95%.  In order to reach through the tight quarters of the 3-hole stinger, a shank brush is used to help clean.To get a jump on dealing with the oxidation and calcium deposits, I take the stem to the kitchen sink and use a Soft-Scrub-like product here in Bulgaria called CIT.  Using 000 steel wool, I scrub the stem with the CIT cleaner.  The results look good, but I’ll probably use 240 sanding on the stem after seeing how the soak with Before & After Deoxidizer goes.The Kaywoodie “500” stem then joins other pipes in the queue for a soak in the Deoxidizer. After a few hours in the soak, the Kaywoodie’s stem is taken from the Deoxidizer and drained of the excess fluid to save it for future use!  After I squeegee the liquid with my fingers, I again use a pipe cleaner wetted with isopropyl 95% to clear the remaining Deoxidizer from the stem’s airway and a cotton pad, wetted with alcohol, is used to wipe away oxidation raised by the soaking process.Then, to condition the vulcanite stem, paraffin oil, a mineral oil, is applied to the stem and set aside to absorb.Turning to the Kaywoodie “500” Bulldog stummel, the chamber has cake that thickens as it moves toward the chamber floor.  To remove this cake buildup, the smallest blade of the Pipnet Reaming Kit goes to work on the small chamber.  After using only this blade head, the Savinelli Fitsall Tool is employed to further scrape the chamber walls removing more carbon cake buildup.  Next, using 240 grade paper wrapped around a Sharpie Pen, the last vestiges of carbon are removed from the chamber wall.  After wiping the chamber with a cotton pad wetted with alcohol to clean the carbon dust residue, an inspection reveals a healthy chamber. Transitioning now to the external cleaning, the rim has some darkening from lighting and light lava flow. The stummel has normal grime. The second picture below shows the shininess of the acrylic-like finish.  I’m interested to see how the finish holds up through the cleaning.Undiluted Murphy’s Oil Soap is used on a cotton pad to begin the external cleaning.  A brass wired brush is also used to clean the rim.  After some cleaning, the stummel is taken to the kitchen sink where with shank brushes and anti-oil liquid dishwashing soap is used to clean the mortise and airway using warm water.  After a good scrubbing, the stummel is rinsed thoroughly and after returning to the worktable, I take a picture to show the results of the cleaning.Next, returning to cleaning the internals, I use cotton buds with pipe cleaners wetted with isopropyl 95% to do the job.  The metal threaded shank insert is small, and this makes it difficult for the cotton buds to exit with their buds!  The buds are pulling off the sticks in the close quarters and that makes retrieval difficult.  I discover in the end, if I ‘unscrew’ the buds when extracting them, the threads help instead of grabbing the buds.  This makes cleaning a bit slower.  A small dental spoon is helpful is scraping the mortise walls and excavating old tars and congealed oils.  Another helpful technique was folding two bristled pipe cleaners and twisting the ends together.  This provides the action of 4 pipe cleaners in the mortise at one time enhancing the cleaning action.  In time, the buds are coming out lighter and I transition to cleaning with a kosher salt and alcohol soak.The hour is late, and I’ll let the soak go through the night.  Kosher salt and isopropyl 95% are used for the soak and this method of cleaning helps to freshen the internals for the new steward.  I first fashion a ‘wick’ by pulling and twisting a cotton ball.  It is then inserted and guided down the mortise and airway with the aid of a stiff wire.The chamber is then filled with kosher salt, which leaves no aftertaste, and placed in an egg carton for stability.  Using a large eyedropper, the chamber is then filled with isopropyl 95% until surfacing over the salt.  After a time, the alcohol is absorbed, and I top the bowl off once more with alcohol and turn out the lights.The next morning, I discover that the salt and wick have soiled little which usually is a good indicator that last night’s cleaning was effective.  After tossing the expended salt in the waste and clearing the salt from the stummel with the use of paper towel and by blowing through the mortise, I use a few more pipe cleaners to complete the internal cleaning.Next, I take another look at the stummel surface and finish.  As with Paw’s Kaywoodie “500” I restored for Joe last year, the candy apple shine of the acrylic-like Kaywoodie finish lingers.  My preference is to remove the finish and to get down to the natural briar.Another reason for removing the old finish is the fact that it’s already been removed on the rim from Paw’s knocking on the back side of the rim.  Raw briar is already exposed here but the wear on the rim edge also shows where the finish is either gone or very thin.The most efficient way I found to remove the Kaywoodie “500” finish from my previous experience is with acetone.  Starting with cotton pads I incessantly rub the surface with the cotton pads wetted with acetone.  From the very beginning, the red dye begins to show on the cotton pads as the acetone breaks down the old finish.The next picture shows the progress on the stummel surface.  The shiny surface indicates old finish hanging on.  Next to it, you can see splotches of dull surface – the goal!The progress is slow with the cotton pads, so I transition to utilizing 000 steel wool wetted with acetone.  This does the trick as the following pictures show.  I’m amazed at the grain that I can now see, and it’s not half bad!  Even though I do not prefer the thick acrylic-like finish, the upside of it at this point is that it has successfully protected the stummel’s surface from damage.  Most of the nicks and scratches that could be seen before were superficial damage to the finish shell and not to the briar.  As I inspect the stummel, I’m seeing a practically pristine surface. Before moving further with the stummel’s finishing, the divot on the rim needs attention.  It’s located on the internal edge just in front of Paw’s skinned rim backside.  It’s small but filling it will provide a better rim presentation.I fill the divot by mixing a very small amount of thick CA glue with briar putty.  After placing both the briar dust and glue on the mixing palette, I use a toothpick to draw the briar dust into the glue until it reaches the thickness of molasses at which time I apply it to the divot. I use an accelerator to quicken the curing time of the patch.  I next use both flat and half-round needle files to remove the excess briar putty patch.After doing the primary removal with the needle files, 240 grade sanding paper finishes the patch blending at this point.With the 240 paper in hand, I do a quick internal rim edge sanding.  There is a dark ring remaining on most of the internal rim that is cleaned up.Taking a close look at the rims condition, there are nicks throughout the external rim’s edge.  There are also pits here and there which need cleaning.I decide to do a very gentle cosmetic topping of the stummel to clean the rim and give it a fresh definition.  Using the chopping board for my topping board, I first place 240 grade paper on it.  With the stummel inverted, I give the bowl a few rotations and check. Then, after a few more rotations, I’m satisfied.  I’m not concerned with Paw’s aft knocking damage – that remains.  I’m concerned that the rest of the rim enjoys fresh rim lines.  This is especially with a Rhodesian and Bulldog – the twin dome lines that encircle the bowl give these pipes their unique shapes. Then, switching to 600 grade paper on the topping board, the stummel goes a few more rotations to smooth things out further.Next, I use sanding sponges to further erase minuscule nicks and scratches and to start the process of coaxing out the grain that has been waiting beneath the heavy finish.  Starting the sanding with a coarse sponge is followed with a medium then light grade sponge. I avoid the nomenclature except with the final sponge. HOLD THE PRESS! – At this point I had moved into the process of applying the full regimen of micromesh pads to the “500” and Steve had published a really good write up on rebornpipes that caught my attention which I was reading as I sanded (See: Operation Rescue – “My Dog Ate my Ser Jacopo L1 Billiard!”).  He described the process of applying rustication, a skill that I’ve not had too much experience with, and I was very interested in the processes he described.  One of these processes that dovetailed with my current musings about the Kaywoodie “500” on my table was the staining process.  Steve described in his write-up using a black undercoat stain followed by a mahogany on the smooth briar parts of his project (See picture).  He also described the reasoning and the other micro steps leading into and out of this process. The motif of the Kaywoodie “500” series is obviously red, but the grain underneath is dark to stand out in contrast to the light wood.  Last year when I restored Paw’s other Kaywoodie “500” I had used a dark brown undercoat followed by an Oxblood overcoat.  This achieved results that emulated very well the “500” red theme.  The question in my mind after reading Steve’s write-up was the use of black versus dark brown.  I sent Steve an email with that question that resulted in several emails back and forth where Steve responded to more questions raised about how his approach to undercoat staining was different than what I had done and probably, much more effective in creating the affects desired.  Without repeating the full email chain, the process difference that I’m trying out with the Kaywoodie “500” from Steve’s input is to move the undercoating process before the micromesh process and to focus more on the undercoat process of removal of the excess dye.  So, now you know why the presses are on hold!

Therefore, I stop the micromesh process mid-stream and plan to insert Steve’s approach to provide an undercoat and see how it goes!  Regarding the question of the use of black or dark brown for the undercoat, Steve saw no difference in the two.  I understand why now – the point of an undercoat is to darken the grain threads for the most part and in his approach, the undercoat is, in large measure, removed but for these effects.  I decide to apply Fiebing’s Dark Brown Leather Dye as the undercoat.  I assemble on my desktop the needed components.  With spring in full swing here in Sofia, I’m working on my 10th floor Man Cave balcony and enjoying the views while I work.  To begin, after wiping the bowl with alcohol to clean it, I warm the stummel with a hot air gun (inside again for a few minutes).  This warms the briar with the result of opening the grain to be more receptive to the dye.  Then, back on the Man Cave, I use a folded pipe cleaner to paint the aniline dye onto sections of the briar surface.  While still wet, the lit candle ‘flames’ the dye.  The flame combusts the alcohol in the dye leaving behind pigmentation in the grain.  I cycle around the bowl painting and flaming twice to make sure the coverage is thorough.  I then put the stummel aside for the initial undercoat to dry.  The following pictures show the dense appearance of the flamed surface.Turning now to the stem, there is very little chatter on the bit. The lower side pictured in the second picture only has a small button compression that I will address.Deep oxidation is still hanging on especially on the shank side of the stem.  The lighter exposure of the picture helps to show what I can see with the naked eye.To address the lower bit button compression, I use the heating method of expanding the vulcanite, a rubber compound.  With the flame of a Bic lighter, the bit is painted and as the vulcanite heats, the dent hopefully reclaims lost territory.  The result is good.  Only sanding will be necessary.The flat needle file is used to freshen the button and 240 grade paper sands the bit, and the minor chatter is erased.I expand the 240 sanding to the entire stem to address the latent oxidation.  I do not relish the thought of the oxidation emerging during the later polishing stages.  I use a plastic disk I fabricated for this purpose that I pinch up against the stem facing to guard against shouldering the edge of the stem.  The disk works well to maintain a crisp facing.Next, the entire stem is wet sanded with 600 grade paper followed by an application of 000 grade steel wool.  The 3-hole stinger also receives attention from the steel wool.The stem is now ready for the full regimen of micromesh pads beginning with wet sanding using pads 1500 to 2400 and followed by dry sanding with pads 3200 to 4000 and 6000 to 12000.  Between each set of 3 pads, Obsidian oil is applied to condition the stem and to guard against future oxidation setting in.  The Kaywoodie “500” stem looks great. Turning again to the stummel, per Steve’s description I use 430 grade paper to sand off the dried excess undercoat.I combine the sanding with wiping the stummel with a cotton pad wetted with alcohol.  This helps to remove the excess and to allow the grain to come through more.At this point I transition to applying the full regimen of micromesh pads from 1500 to 12000 in 3 pad increments – 1500 to 2400, 3200 to 4000, and 6000 to 12000.  The point of the undercoat is darkening and giving greater definition to the grain.  The progression of the micromesh process shows this to be the case. Next is the overcoat staining with the new red aniline dye I acquired.  I’m hoping to get close to the Kaywoodie “500” red finish hue.  I used Fiebing’s Oxblood as the overcoat last time.  I approach this overcoat stain as if it were the first coat.I begin by heating the stummel with the hot air gun to open the briar’s receptivity to the dye.Next, using a folded pipe cleaner, I paint the red dye on the stummel.  I discover at the first attempt to flame the dye with the lit candle, that there wasn’t enough alcohol content in it to combust.  The application of the dye transitioned into a dye wash – hmm.  I paint the dye on to get a thorough coverage.  I repeat the process once more to make sure all was covered well with the dye. Afterwards, I set the dye aside to dry.  I’m a bit concerned at this point that the red dye may not have enough resonance or depth in it.  It seems to light or pale at this point.I decide to unwrap the finish using Blue Diamond compound and a cotton cloth buffing wheel on the Dremel.  The Dremel is set at about 40% full power.After removing the dye excess my concerns were confirmed.  The new red dye mixture that I used was not ‘grabbed’ by the grain to create much of a red tent over the dark brown undercoating.  I take a quick picture on the black cloth I normally use for the finish shots at the end of the restoration to see what the camera might see.  The finish looks great – the grain looks great, but the color of the Kaywoodie “500” is falling short of expectations. Last time I worked on Paw’s other Kaywoodie “500”, I used an Oxblood over dark brown and it turned out well.  I know my processes have changed up somewhat, but I have a foundation of dark brown undercoating that has been brought down to a darkened grain presentation.  On top of that, the red dye added something… and now, Fiebing’s aniline Oxblood Leather Dye on top of that.  The only thing I do to prepare the surface for the Oxblood is to wipe it well with a cotton pad wetted with alcohol.  Interestingly, almost no dye residue came off after the red wash.  Now using Fiebing’s Oxblood, I apply the dye, flame it, and set the stummel aside to rest for several hours – overnight.  Even at this ‘raw’ state, I can see a marked difference in the dye’s resonance.The next morning, the fire-dyed stummel is ‘unwrapped’ using my normal process, with a felt buffing wheel and Tripoli compound with the Dremel set at the slowest speed.  I take a picture midstream to show the contrast between the flamed shell and the unwrapped briar surface.  The difference is marked.  As the surface is unwrapped, I purge the felt wheel many times during the process by running the felt wheel against the edge of the lapboard I’m working on.  This keeps the felt wheel cleaners and more supple.  The picture below shows the caking on the wheel that happens as the wheel does the plowing. I follow by wiping the stummel with a cotton pad wetted with alcohol.  This lightens the finish some but helps to remove excess dye build up and help to blend the finish.Next, after changing to a cotton cloth buffing wheel set at about 40% full power and after reuniting stem and stummel, Blue Diamond compound is applied to the entire pipe. Tripoli is a coarser abrasive and Blue Diamond is finer, and less abrasive as the fine sanding is completed. After completion, I use a felt cloth rag to buff/clean the pipe of compound dust in preparation for the application of wax.In the homestretch – after changing the cotton cloth buffing wheel and leaving the speed of the Dremel at 40%, carnauba wax is applied to the entire pipe – stem and stummel.  Following this, the pipe is given a rigorous hand buffing with a microfiber cloth to raise the shine.After some twists and turns trying out new processes and a new dye, I’m pleased with the results.  I believe the undercoating advice that Steve provided certainly deepened the signature of the darker grains.  Paw’s Kaywoodie “500” 50C Round Shank Bulldog is looking good with a classy, sharp presentation, and I believe the Oxblood works well to bring out the deeper red tones of the Kaywoodie “500” series.  Paw’s signature remains on the back side of the rim with the shadow of Paw’s penchant for knocking and a reminder of the man he was as ‘2-Page Sam’.  It was a privilege bringing life back to this Kaywoodie “500” for Joe and Hannah and preserving a great grandfather’s legacy to his family. Moreover, Joe’s commissioning of this restoration benefits the Daughters of Bulgaria – women and girls who have been trafficked and sexually exploited. Thanks Joe!, and thanks to all, for joining me!

Reclaiming Paw’s Kaywoodie “500” 04 Long Stem Billiard – A Great-Grandfather’s Legacy

Blog by Dal Stanton

One of the greatest challenges to me AND honors is to receive a request to restore a pipe that is a family’s heirloom.  It’s amazing how when a loved one passes from this life, the things they leave behind become present links to the memories of the past.  Pipes are favorite heirlooms because they hold an enormous sense of the presence of the loved one – the smell, marks left on the pipe, memories of the loved one sitting and reflecting with pipe in hand and a wink of the eye….  This was one of the reasons I took the name, The Pipe Steward, because of this strong sense of passing on something of great value – not just the physical pipe, but the memories and associations welded to that pipe’s presence.   Joe contacted me with a request for some pipes that hold this honor.  Joe and Hannah work in the same organization as my wife and I, but live in Athens, Greece.  I met them for the first time at a conference there last year.  This was Joe’s request:

Hey Dal,
Joe here…, we talked for a while about pipes. I have some old pipes. They were my wife’s Great-Grandfather’s pipes from Winston-Salem, NC.  I’d love for them to be restored, and I’d love for the money to go to a good cause like
the Daughters of Bulgaria program. All of them need an intense deep cleaning, and some have some stem damage. If I sent you some pictures, do you think you could offer a guesstimation of the price? I’d love to give these pipes to my father-in-law in the same condition as his grandfather smoked them.

Many blessings,

Joe sent some pictures on to me and he settled on one pipe as a starter project – a Kaywoodie “500” Lovat shape – or what I originally identified it as.  Here were a few pictures showing the major issues.Since Joe wanted to gift the pipe to his father-in-law, which belonged to his grandfather – Hannah’s great-grandfather, I asked Joe what he knew about the pipe’s history.  This is what he wrote:

History of the pipe… hmmm. That’s going to be tricky. I will ask and see if anyone can offer more input on the history of Paw’s pipes, but I can’t honestly say much myself.

Ben is my father-in-law. He was raised by a single mom, who worked a lot to raise her 4 boys. So, Ben’s grandparents raised the boys while the mom worked so much. When Ben’s mom passed away a few years ago, we were all cleaning out her home and I noticed a pipe stand in the garage with 5 pipes and a Sir Walter Raleigh bowl cleaner, and someone was asking if that should go in the garage sale. I quickly offered to be a home for it if no one else wanted it, which made Ben happy. He didn’t really have the capacity to decide things that week, he was just glad it was staying in the family and not going to a stranger. 

My ultimate goal is to get these pipes, the stand, and this bowl cleaner in good shape to re-give them back to Ben (maybe for his 60th Birthday next year).  I’ve really just been a pipe steward, myself. I think it will mean a lot to Ben to have an heirloom from his grandfather (who functionally was his father).

Dusty, cobwebby garages often hold the key to finding special heirlooms!  After I wrote Joe describing some of the issues and remedies for Paw’s Kaywoodie “500”, he wrote back with some special instructions to preserve some of the evidences of Paw’s time with his Lovat.  With the heavy erosion to the back of the rim, I had suggested rounding/topping the rim.  Joe’s response:

My initial thoughts are to not round out the rim. I like the flat surface of the rim. As far as the damage on the backside, I know it should be cleaned up, but I wonder if taking 1/10 of an inch off instead of 1/8, if that would yield a proper looking bowl, yet still with the slightest reminder that Paw lit his pipes with a match from the back of the bowl.   It’s just a thought.   I like it when antiques look in their original condition (or close) but I’m also a sucker for the sentimental stuff, so I don’t mind having at least a little bit of the bowl erosion still visible. 

The pipe made it to Bulgaria from Greece via another colleague and another conference in Barcelona that I attended.  With the Kaywoodie “500” now on my worktable I take more pictures to get a better idea of the pipe’s condition. The nomenclature on both sides of the long Lovat stem is clear.  The left flank is stamped KAYWOODIE [over] “500” [over] IMPORTED BRIAR [over] PAT. 2808837.  The right side of the shank is stamped with the Kaywoodie shape number, ‘06’.  The stem holds the classic inlaid Kaywoodie shamrock or clover.  Almost missed and lurking on the lower side of the stem is stamped: “B75” – I’ll need to check this out! Looking first for information about the shape number, ‘06’, Pipedia Kaywoodie Shapes Numbers list is helpful:

04 Large saddle bit billiard, long shank, short bit 1931-1958, 1961-1970

The description is spot on with the saddle stem and long shank.  Calling it a long shank Billiard is essentially the same as a Lovat, in the Canadian family of shapes.  The potential dating brackets are also helpful.  Another Kaywoodie Shapes chart I go to at Kaywoodie Free Forum confirms that this number describes a medium Billiard, long shank, saddle stem but I also see specific shape numbers for Canadians, ‘71’, and such.  So, in deference to the Kaywoodie shape number specifications, I’ll be calling this a Long Shank Billiard and not a Lovat.  Also at Kaywoodie Free Forum, there is a very helpful Kaywoodie Master List that was compiled and I quickly find the Kaywoodie “500” series listed as ‘low end pipes’ with the date range of 1957 to 1967.  The list provided this example of the “500” series of a classic Billiard which matches Paw’s pipe scheme perfectly.  These were not expensive pipes but attractive and well within a working man’s budget.I still have not seen anything regarding the ‘B75’ stamp on the lower side of the saddle stem.  So, as I often do, with all of Steve’s rebornpipes.com experience, I send a note to him with the inquiry.  This response cleared up the mystery:

As for the stamping on the stem I was told by a fellow on the KW forum that they were part numbers to make replacement of a stem easy, I have seen it on quite a few of the KWs I have restored.

So, with that mystery resolved, I look more at the Kaywoodie name.

I’ve worked on several Kaywoodies before this and I am always intrigued by the story and repeat it here to give the broader heritage of Paw’s “500”. The Kaywoodie website, actually the S. M. Frank Co. & Inc. site, is informative:

The history of S. M. Frank & Co. spans nearly a century and half of pipe making, supporting our claim as the “oldest pipe house in America.” S. M. Frank, as it exists today, is a combination of some of the biggest names in pipe making from the early part of the 20th. century. The pipe names Kaywoodie, Yello-Bole, Reiss-Premier, DeMuth, Medico, Heritage and Frank are familiar to generations of pipe smokers.

The article describes how in 1919 the Kaufman Brothers & Bondy Company (KBB) produced the Kaywoodie and Dinwoodie pipe lines.  By 1924 the Dinwoodie line fell by the wayside and the primary name of Kaywoodie was the mainstay pipe line and the company came to be known by that name.  Little is known about the early activities of the KBB Company which started in 1851 by the German born Kaufman brothers.  The company had several locations but was centered in the New York City region throughout its production history.  The expansion of the KKB Company following the gold rush I find fascinating:

produced the Kaywoodie and Dinwoodie pipe lines.  By 1924 the Dinwoodie line fell by the wayside and the primary name of Kaywoodie was the mainstay pipe line and the company came to be known by that name.  Little is known about the early activities of the KBB Company which started in 1851 by the German born Kaufman brothers.  The company had several locations but was centered in the New York City region throughout its production history.  The expansion of the KKB Company following the gold rush I find fascinating:

When one of the men from the New York office got “gold fever”, he carried a large supply of pipes with him to California that he sold along the way. This early “national distribution” did much to build the reputation of KBB. By the late 1800’s, branches of KBB were opened in Chicago, Atlanta, San Francisco and St. Louis with family and friends acting as agents. The trademarks, for the inlaid cloverleaf and the cloverleaf with the KBB initials inside, were issued in 1881. 

In 1935, KBB boasted of being the largest pipe making facility in the world with 500 employees and a production of 10,000 pipes per day from their facility in West New York, New Jersey.  In 1955, Kaywoodie was acquired by S. M. Frank & Co. (See Link) and continues to the present with well-known names Yello-BoleReiss-PremierWilliam Demuth CompanyMedico, Heritage (Heritage Pipes Inc.), along with Kaywoodie (Link).

I enjoyed seeing this picture in the 1955 Kaywoodie Catalog from Pipedia with a specific listing of shape 04.  The ‘04’ is the forth pipe down (picture to the left) and this shows that the shape designations for Kaywoodie pipes stay consistent.  This catalog pre-dates by a few years the ’57 to ’67 dating for the “500” series, but the shape again is spot on.  I enjoyed seeing this catalog page because it shows the huge inventory variety that Kaywoodie provided its customers.  The subtle nuances between these long shank, saddle stem Billiards is interesting to me.  The ‘04’ enjoys the distinction of the longest shank compared to the shapes presented.

It is obvious from the condition of the Kaywoodie “500” that Paw loved this pipe and this pipe hung in there a long time!  As you would expect, the briar surface has its share of nicks and grime after over half a century of service. The chamber has thick cake that has built up and closes the chamber as you go downward. The rim has seen better days.  What I first thought might be burn damage on the back side of the rim.  I think there’s evidence of that too, as the inner rim lip is burnt and receded, but there’s more.  Because the briar is raw here, it indicates something else about Paw’s habits and rituals of pipe smoking.  It looks as if Paw was a knocker.  With that nice long shank in hand after finishing his bowl, my guess is that he would twist the pipe over and give the bowl a few knocks on whatever hard surface was nearby to loosen and remove the ashes.  The knocker dent is what Joe would like to preserve to some extent as a lasting memory of Paw.  The second picture below is convincing forensically to prove that Paw was a knocker – the angle is perfect! The stem is a mess.  The oxidation is deep.  The tooth chatter and button compressions suggest also that Paw was a chewer!  The upper bit over time took the brunt and over time cracked and the entire top of the button broke off, taking with it some of the flat bit vulcanite real estate.  This area will need rebuilding.The stem shows one more issue that needs addressing: the stem is over-clocked.  It tends to be normal with these pipes as they age, with much wear and use, the metal fittings rubbing, gradually there is a microscopic loss in the metal composition.  The result is more thread room and therefore, when the stem turns to the right and tightens, it’s not in the proper orientation.  This is the case for this Kaywoodie “500” as this picture shows. With an ongoing appreciation for the history of the Kaywoodie name, and of this pipe’s former steward and Joe’s desires to gift the pipe to his father-in-law, Ben, I begin the restoration of Paw’s Kaywoodie “500” with a pipe cleaner dipped in isopropyl 95% and clean the airway of the stem.  I also use a thin shank brush to clean up through the air hole on the metal Kaywoodie tenon.  I then add the stem to a soak of Before & After Deoxidizer to work on the deep oxidation in the vulcanite.  I don’t believe the Deoxidizer will have total success in raising all the oxidation, but this is a good start.  There are other pipes and stems in the commissioning queue that the Kaywoodie joins, all of which have been restored and shipped off to new stewards!After several hours, I fish out the Kaywoodie saddle stem and let it drain.  I then put another pipe cleaner wetted with alcohol through the airway to remove the excess Deoxidizer liquid.Next, wiping the stem surface with cotton pads wetted with alcohol removes much of the raised oxidation.  Much comes off, but the evidence of the residual deep oxidation is easily seen.  I take some close up pictures of the upper and lower bit to show what I’m seeing – I notch down the aperture of the iPhone app I use to allow more light to see the brown/olive green oxidation more clearly. For now, with a cotton pad I apply paraffin oil (a mineral oil) to the stem to begin the process of revitalizing the stem.I now commence the cleaning regimen of the stummel. First, I remove the carbon cake build up by reaming the chamber.  I take a picture of the chamber to mark the start.  I start by using the Pipnet Reaming Kit. After putting paper towel down to minimize cleanup, I start with the smallest blade head and go to work. It takes some time for the blade to break through to the floor of the chamber – the cake is hard and stubborn.  In addition, I use the next 2 larger blade heads of the 4 blades available in the kit.  I then scrape the walls more using the Savinelli Fitsall tool and finish by sanding the chamber with 240 grade sanding paper wrapped around a Sharpie Pen to give me reach and leverage.  After wetting a cotton pad with alcohol, I clean the chamber of the carbon dust residue left over.  The pictures show the progress. When I inspect the chamber, the walls look good. There are heating veins in the wood, but no cracks or fissures from heating damage.  I do note two things that give me some concern.In the picture below I mark off the draft hole with 2 yellow marks.  The first issue I see is marked by the arrows. Through decades of reaming and scraping, which I just added to, a curved ridge has formed – you can see the edge of the ridge marked by the arrows.  The briar curves outwardly to the ridge which I show with the curved red line.  The ridge is only on the back side of the chamber, over the draft hole.  I may need to sand this ridge down so that the chamber doesn’t have an abrupt bump to hinder future reaming and cleaning.  The second issue is caused by overzealous reaming.  The floor of the chamber drops underneath the proper amount of space below the draft hole.  A floor cavity has been created by the chamber floor wearing down over time.  The ridge of this floor cavity is marked with the red dashes. Not only does this create a burning dynamic that will always leave excess tobacco beneath the draft hole, but also the danger of a burn through is a concern with the thinning of the floor.  I will continue to think about these new issues as I continue the cleaning process.Next, I work on cleaning the external briar surface by using undiluted Murphy’s Oil Soap on a cotton pad and I scrub.  I also use a brass wire brush to clean the thick lava flow over the rim.  I use cool tap water to rinse off the soap.  The Murphy’s Soap does a good job cleaning, but the cleaning reveals the rough shape of the stummel. The finish is very thin with shiny finish patches here and there.  There are also many scratches and pits – too many to count.  I take pictures for an inventory. I need to remove the old finish so that there aren’t the shiny patches and unevenness.  I first try wiping the stummel surface with cotton pads wetted with isopropyl 95%.  The pads take a good deal off as evidenced in the coloration of the cotton pads, but there are still patches with the old finish hanging on.Next, I wet a cotton pad with acetone and again I scrub the surface.  This does the trick.  I move on.I turn now to the stummel internal cleaning.  The effort is made difficult by the Kaywoodie metal shank facing which only provides a very small access point to the mortise through the thread air hole.   I use cotton buds and pipe cleaners wetted with isopropyl 95% to clean the tars and oil accumulation out of the mortise and airway.  I also reach through the metal hole with a smaller dental spatula to scrape the mortise wall as far as the tool will reach.  But it doesn’t reach far.  To save on my limited supply of pipe cleaners, I utilize shank brushes also wetted with isopropyl 95%.  After some time, I decide to call a halt to this frontal assault which reminds me of the carnage of WWI – carnage but little advance as the lines were kept in check.  The hour is late, and I change gears.I utilize the more passive approach of allowing the stummel to soak through the night with a kosher salt and alcohol soak. First, I stretch and twist a cotton ball to create the ‘wick’ which I stuff down through the mortise into the long shank airway.  The wick will help draw out the tars and oils from the internal briar.  I then set the stummel in an egg crate to stabilize it and fill the bowl with kosher salt which does not leave an aftertaste.  I then fill the bowl until with isopropyl 95%, the purest alcohol I can purchase in Bulgaria, until it surfaces over the salt.  In a few minutes I top off the alcohol after it has absorbed into the internals.  I then turn the lights off and another day ends. The next morning, I’m hoping that the fact that the cotton wick and salt are strongly soiled is indication that the cleaning of the internals has advanced significantly with the kosher salt and isopropyl 95% soak through the night.  I toss the expended salt in the waste and clean the leftover salt from the chamber with a paper towel, also blowing through the mortise to remove crystals.  I follow this with a renewed regimen of pipe cleaners, cotton buds, shank brushes, and scraping with a dental spatula.  Eventually, as I hear the hallelujah course in the recesses of my mind, the cotton buds begin to lighten and finally I declare that the job completed!  The new steward will do well to clean the internals on a regular basis to avoid this in the future! For a change of scenery and to start on the stem repairs, I take a close look at the stem upper and lower.  There remains deep oxidation of the vulcanite stem requiring sanding to bring it out.  It is mainly in the flat part of the saddle stem.  The tooth chatter and button compressions are significant and of course the upper button must be rebuilt using a mixture of CA glue and activated charcoal.  Before working on this, I decide to use the heating method to bring out and minimize the tooth chatter by painting the areas with a Bic lighter.  I do this before rebuilding the button because of the differences in the materials.  Vulcanite will expand with heat – the CA glue/charcoal will not – at least not in the same way.  So, to be on the safe side, I will work on raising and minimizing the tooth chatter and lower button compressions first, before working on the rebuild.  Sanding will be necessary after both.I paint both upper and lower bit with a Bic and sand with 240 grade paper.  The heating did raise the chatter nicely and the sanding erased it.  I also work on the lower button with a flat needle file to refresh the lip and to work on a small compression.  I’m pleased with this first phase of the stem repair.Next, the button repair. The first thing I do is create a wedge that fits in the slot. I use stiffer index card material to do it.  I fold the card stock to form it into a triangle so that it wedges up the slot into the airway.  I trim it a bit with scissors to make a good fit.  I then cover the fashioned wedge with smooth scotch tape to help it not to stick to the patch material. I leave the end of the wedge open – not covered by the tape in order to leave a ‘sleeve’ opening to tighten the fit. I fit the wedge into the slot then slide other folded pieces of the index card through the end of the wedge which expands the wedge to hold it firm but also to form a mold for the formation of the slot. I also put a very thin coating of petroleum jelly on the wedge to help with the non-sticking.With the wedge firmly in place, I open a capsule of activated charcoal on an index card.  I then place a puddle of thick CA glue next to the charcoal and then draw charcoal into the CA glue gradually until the mixture thickens to the consistency of molasses.  I then apply the mixture to the button and build a mound over the cavity. The first application hardens on the index card before I had dolloped enough to area.  I wait a few minutes and mix another batch and finish building the mound over the button rebuild area.  With this completed, I set the stem aside for several hours for the CA glue and activated charcoal rebuild fully to cure.I look again to the stummel and decide that I will continue in the mixing and patching mode.  I mix a small amount of J-B Weld Kwik to rebuild and reinforce the chamber floor.  It will not take much J-B Weld to do this.  I put a pipe cleaner in through the airway to better show the landscape.Again, on an index card, I mix a small amount of the two components of the Weld, the ‘Steel’ and the ‘Hardener’.  The Weld does not set up immediately which is good.  It takes about 4 minutes before it begins to set.  As it’s setting, I will form a rounded chamber floor so that it’s not flat.  I begin by wiping the chamber floor with a cotton pad wetted with alcohol to clean it.  I mix small equal amounts of the J-B Weld and then spoon up a portion of the Weld on the end of a dental spatula and carefully carry it to the floor of the chamber. I hold the dental spatula there allowing the Weld to slide off the spatula to fill the cavity. I then carefully remove the spatula to avoid getting the Weld on the chamber wall.  I repeat this again by bringing a spoon of Weld and allowing it to fill the cavity as it runs off the spatula. I take a picture of the Weld filling the cavity in the chamber floor and decide that I would let it set as it is which will result in a flat floor.  I will use a grinding ball on the Dremel later to round it out for a more natural bowl.  I set the stummel aside allowing the J-B Weld to cure fully.The stem button rebuild has set up and cured.  As hoped, the wedge easily is removed revealing the rough form of a slot to be shaped.Using a flat needle file, I file and shape by bringing the build overhang of the wedge flush with the button face.After filing so that the button face is flush, I’m able to see the basic form of the slot.  The left side of the slot is closed more than the right side as you can see in the picture above.  I use a rounded sharp needle file to file the tighter end.  I’m patient.  I file gently and methodically.I come to a place where the button slot looks balanced.  I can fine tune it later.Next, again using the flat needle file, I file the top of the button down to form the upper contours.  I have the advantage of having the original ends of the button on both sides that were not broken off.  These provide me with the angles of trajectory the upper button lip took.  I try to file down to be consistent with this to form the button.The button is looking good, but I’m concerned that I did not put enough CA glue/charcoal mixture at the side.  In the picture below you can see the unfiled repair material jutting on the right side.  I’m concerned that this may leave a gap when I start filing the inner edge of the button.  To be on the safe side, I apply a drop of Black CA glue on this gap to make sure that I have a uniform platform to file out and shape the button.  I put the stem aside to allow the patch to cure.When CA patch cures, I quickly file off the excess patch material and continue with the lateral filing to form the internal button edge.After completing the filing, I switch to sanding the newly formed button with 240 grade paper and continue to smooth.  I also sand the upper and lower bit to remove residual oxidation.While sanding the new button, an air pocket is uncovered which is visible on the lower side of the button.To fill this very small air pocket, I paint the button with regular CA glue.  I apply a small drop on a toothpick and spot drop it and this spread the CA over the area.I spray the CA glue patch with an accelerator which quickly cures the glue.  I then sand it with 240 grade paper.The stem is still rough from the 240 sanding and filing.  I switch to 600 grade paper and wet sand the entire stem and follow this with applying 000 grade steel wool.  Wow!  I am pleased with the button rebuild.  It looks great and blends well.   I put the stem aside for now.Again, focusing attention on the stummel and the chamber repair.  The J-B Weld is fully cured filling the cavity at the chamber floor. With gravity forming the orientation of the Weld, the floor is now flat.  For a more natural bowl curvature, I initially use a round grinding ball mounted on the Dremel.  Using the round ball, I grind out the flat surface of the J-B Weld.  As I rotate the ball moving it in circles, I check often with my thumb to measure the progress.When the floor feels good, I mount a small sanding drum on the Dremel and reach in to the lower chamber above the new floor where I had earlier detected a distinct ridge from overzealous reaming.  I use the sanding drum to smooth these out.  I do the same as with the grinding ball, I sand and then feel with my thumb.  Progress is made.After the sanding drum, I switch to sanding with 240 grade paper wrapped around a Sharpie Pen to help me reach and give me leverage.  I further smooth the lower chamber.  A ridge is still detected, but it is much less distinct.  I like the progress and the entire chamber looks and feels much better. The new floor is now at a more appropriate orientation to the draft hole that is seen in the picture below.With the internal chamber repair complete, I turn to the external surface.  The first thing I look at is the rim repair.  Joe wants the pipe in a pristine condition as much as possible.  Yet, he asked to preserve in some degree the rim knocking damage at the back of the rim as an ongoing remembrance of Paw. With this motif in view, the restored rim will provide a strong contrast of new and old, but not forgetting what the ‘old’ represents.  To begin the rim preservation and restoration, I take the chopping board and place 240 grade paper on it.  Keeping the forward rim surface in contact with the board, I top the forward part of the inverted bowl.The picture below first shows the beginning progression and then after further rotations, the second picture shows the full extent of topping with 240 grade paper.  I leave the area on the back side of the rim and it looks good.I then switch the paper on the board to 600 grade paper and turn the inverted stummel several more rotations to smooth out the 240 scratches.After the topping, I examine the rim edges.  The external rim edge still shows many cuts and nicks.  The internal edge is darkened. To freshen the rim edges and to address the residual blemishes I lightly run a rolled piece of 240 grade paper around the external and internal circumferences (minus Paw’s patch).  I follow the 240 grade with 600 grade.  This doesn’t introduce a bevel as much as clean the edges and soften the flat rim presentation.  I think it looks good.Next, I take another inventory of the stummel’s briar surface.  It has many nicks, scratches and some bruising on all sides of the stummel. I decide to clean the surface by utilizing sanding sponges.  Sanding sponges do a great job addressing the minor issues of normal wear and tear that accumulates on the briar surface.  The soft sponge texture also helps clean and freshen the nooks and corners.  To protect the already thin Kaywoodie “500” nomenclature and shape number, I cover them with masking tape to protect their integrity during the sanding phase.I first use a coarse sanding sponge followed by medium and light grade sponges.  The results are good, but I decided that whatever remains on the surface that is not removed through the sanding belong to Paw 😊.Next, I take the Kaywoodie to the sink to wet sand with micromesh pads 1500 to 2400 grade pads.  I follow wet sanding by dry sanding with pads 3200 to 4000 and 6000 to 12000. I take a different angle picture with each set of 3 pads. For the last 6 pads I remove the protective masking tape which reveals the contrast of the finish as it was and as it is now. I will add a stain to the stummel which will mask the difference between the dark nomenclature residue of the former hue and the rest of the stummel.  To reduce this contrast, I try rubbing the darkened areas with a cotton pad wetted with acetone.  This works somewhat, but there’s still a contrast, but toned down some.The cotton pad in the picture above gives a good indication of the reddish hue of the original stain which is consistent with other examples that I’ve found on line of the “500” series.  Pipephil’s information on the Kaywoodie “500” provides a few pictured examples.  Here is one that shows the color used for this line of Kaywoodie pipes.  I’ll aim to match it.  My approach will be to first stain the stummel using a dark brown stain.  I’ll then apply an overcoat of Fiebing’s Oxblood over this.  I start with the dark brown first to darken the grain which is evident in the pictures below.I assemble my desktop staining station and fit the stummel with bent pipe cleaners through the mortise to serve as a handle.  I have Fiebing’s Dark Brown Leather Dye in a shot glass with another bent over pipe cleaner ready to serve as an applicator.  I wipe the stummel with a cotton cloth wetted with isopropyl 95% to clean it. I then warm the stummel with a hot air gun to heat the briar to expand the grain making it more receptive to the dye.  I then use the pipe cleaner to apply the Dark Brown dye to the stummel and as I paint different sections of the stummel, I flame the dye by igniting it with a lit candle.  As an aniline dye, the alcohol combusts, and it flames out leaving the dye pigment set in the grain.  After I apply the dye thoroughly, I set it aside for a few hours to rest before the next step of the process. After a few hours, I mount the Dremel with a felt cloth buffing wheel, speed set at the lowest possible to avoid too much heat.  I then apply Tripoli compound to the stummel to remove the fired shell on the stummel.  It takes some time to methodically move through the process of ‘plowing’ the crust then following with Tripoli. With my wife’s assistance, a picture of this is shown. When completed, I change the felt buffing wheel to a cotton cloth buffing wheel and again apply Tripoli compound to the entire stummel.  This time it is much faster and the felt wheel allows me to reach into the elbow of the shank and bowl which was not possible with the harder felt wheel.  After I complete the cotton cloth wheel cycle of Tripoli, I then buff the stummel with a felt cloth to remove the compound dust.The first phase results in the darkened grains.  The grain is beautiful – the next pictures show the side of the bowl with beautifully swirled bird’s eye.The first phase results in the darkened grains.  The grain is beautiful – the next pictures show the side of the bowl with beautifully swirled bird’s eye.I repeat the same process for the next phase of applying Fiebing’s Oxblood Leather Dye over the dark brown stained stummel – warming the stummel, applying and flaming the aniline Oxblood dye. I put the newly stained stummel aside to rest overnight.Before I rest, I turn again to the Kaywoodie saddle stem waiting in the wings.  I apply the entire regimen of 9 micromesh pads beginning with wet sanding using pads 1500 to 2400 followed by dry sanding with pads 3200 to 4000 and 6000 to 12000.  Between each set of three pads I apply a coat of Obsidian Oil to enrich the vulcanite.  This stem has come a long way and is looking great. Next, after a few days of a business-related trip, I return to Sofia and to the stummel that had been dyed first with a dark brown undercoat then with an Oxblood overcoat.  I remove the Fiebing’s Oxblood Leather Dye fire crusted shell using a cotton cloth buffing wheel on the Dremel applying Tripoli compound.  When completed, I use a cotton pad wetted with alcohol to lightly wipe the stummel to blend the dyed surface.  I then change to another cotton cloth buffing wheel on the Dremel, remaining at 40% of full power and apply Blue Diamond to both stummel and stem.  Following this, I wipe the surface of the stummel and stem with a felt rag to remove the compound dust.Before moving to applying carnauba wax, I reunite the stem and stummel and address a few smaller projects.  First, I noted before that the stem was overclocked by a few degrees.  This happens through time.  To realign the stem to the correct orientation, I heat the metal stinger until the heat loosens the grip of the metal stinger and while it is hot, I rejoin the stem and turn it clockwise.  When it tightens it puts the necessary torque on the heated stinger which loosens it and allows me to continue the clockwise turn.  I turn it a full 360 degrees bringing it back around into proper orientation. This works well.  I move on.Next, I do a quick job of polishing the metal shank facing using a piece of 000 steel wool.  It did a great job.On last project before applying the wax.  I rebuilt the chamber floor using J-B Weld. Now I apply a mixture of natural yogurt and activated charcoal to form a thickened mixture to apply to the chamber floor and wall to create a cake starter.  After inserting a pipe cleaner in the airway to block the mixture, I then put a small about of Bulgarian natural yogurt in a dish and add activated charcoal and mix it.  I continue to add charcoal and mix until it thickens and will not run. I then apply it to the chamber floor and wall using a dental spatula to apply and spread.  It works well and I put the stummel aside for a time for the coating to cure. In the home stretch, I mount another cotton cloth buffing wheel to the Dremel, maintaining the same speed, and apply carnauba wax to the stem and stummel.  After applying a few coats, I then give the pipe a rigorous hand buffing using a microfiber cloth.  This raises the shine even more.

It was a privilege to restore Paw’s old Kaywoodie “500” Long Stem Billiard.  I’m pleased with the stem button rebuild and catching the thinning chamber floor.  I think the final stained hue captures well the historic Kaywoodie “500” theme that ranges from 1957 to 1967 – truly a vintage pipe.  Best of all are the remnants of Paw’s stewardship of the Kaywoodie.  Leaving the rim with latent evidences of Paw’s thumping and lighting, as he went through his own unique ritual with his Kaywoodie in hand, reflecting on life and family with his favorite blend stoked and ready to go.  Joe’s desire to safeguard this heritage and restore this pipe for his father-in-law, benefits the Daughters of Bulgaria – women and girls who have been trafficked and sexually exploited.  Thanks, Joe!  And thanks for joining me (ThePipeSteward)!