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Refurbishing An Early Butz Choquin “A Metz” Bent Billiard

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Blog by Paresh Deshpande

This pipe too came to me in that lot of 40 pipes purchased from Etsy.fr of which I have restored a few, the ROPP PNEUMATIC being the latest project. This pipe is a large billiard with a swan neck like graceful bend to the shank that extends over to the horn stem. The stummel appears dull and lifeless and yet through this, beautiful cross grains can be faintly made out over the sides of the stummel with bird’s eye grain at the foot. A copper band adorn the shank end with it’s crimped shank end edges covering the shank face. It is stamped over the left shank surface as “BUTZ-CHOQUIN” over “A” over “METZ”. The copper band has minuscule cartouche with some mysterious stampings that are neither visible under bright light nor under magnification.A couple of years ago, I had worked on an early Butz Choquin pipe that was very similarly stamped. I had studied the brand then and also before that when I had refurbished my inherited CHOQUIN PIPE from first era 1858. Given below is the link to the write up on the similarly stamped pipe. For the sake of brevity, I have avoided reproducing the information and implore readers to follow the link for better understanding the brand and establishing the provenance of the pipe (https://rebornpipes.com/2022/04/17/restoring-a-beautiful-older-butz-choquin-a-metz-pipe/).

After reading through the material and correlating the dates, I can, with certainty, claim that this pipe (broadly) is from pre 1951 when Berrod- Regad took over Butz Choquin and moved production from Metz to St. Claude as evidenced from the A METZ stamping.

Further narrowing down the period, I strongly feel that this pipe dates to pre 1920. This conclusion is based on the fact that; firstly, the stem and tenon material used is horn and bone respectively which were the preferred material after Amber during this period for making stems as hard rubber/ vulcanite gained prominence during 1920s. Secondly, the round orifice at the stem end was commonly used until 1920s when vulcanite/ hard rubber with elliptical slot end gained prominence subsequently. Thirdly, use of cork lining inside the mortise to firmly seat the bone tenon in to the mortise.

Any inputs and corrections to my above understanding are solicited and encouraged. Such healthy discussions not only promote interaction between us but also enhance knowledge about pipes and establishing its provenance by sharing information.

Initial Visual Inspection
The elegant swan neck shape of the shank that extends into the stem is the USP of this pipe. The chamber appears to have an even thin layer of cake that appears to have been meticulously maintained by the previous owner. There are a few minor dings to both the inner and outer rim edges. The stummel boasts of beautiful cross grains over the surface with bird’s eye grains at the foot of the stummel. The briar looks dull and lifeless. The mortise has residual old oils and gunk making the draw hard. The horn stem with bone tenon is dull, dry and shows signs of beginnings of cracks over the surface. Both the tenon and orifice slot are clogged with old tars and grime. This one will require a ton of work to spruce it up to its former glory. Following pictures should provide a better understanding of the condition of the pipe before I begin my work. Detailed Visual Inspection
The first impression that I got at a glance of the chamber was an even well maintained layer of cake with practically no darkening of the rim surface or accumulation of carbon overflow. This definitely was either a well cared for pipe or the seller had done so for bargaining a better price. There a few dings on the right and left side of the outer rim edge (encircled in blue). The inner rim edge is intact save for some very minor divots that should be easily addressed with a couple of passes of a piece of 180 grit sandpaper along the edge. The rim top is nicely even and clean, requiring no topping, which I tend to avoid as much as possible. The stummel is dull, lifeless and lacklustre. Under all the dullness and poor appearance, lurks some beautiful cross grains and bird’s eye over the feet of the stummel awaiting exposure. The stummel has developed a deep dark patina from all the years of smoking and handling. There is one fill (encircled in yellow) that would need to be refreshed. Also a couple of minor divots (encircled in red) mark the stummel surface. The mortise is chock-a-block with old oils, tars and gunk and this leads me to the conclusion that it was the seller who had reamed the cake and cleaned the rim surface to ask for a better price. The copper band at the shank end is dull and covered in dust, grime and oxidation. The first issue that I noticed on close examination of the stem surface were a number of cracks all over the upper and lower surfaces. I drew out my magnifying glass and had a hard look at the cracks under bright light. Thankfully, almost all of these cracks were minor and very superficial, save for a few (encircled in red) over the upper surface and would need to be addressed. These cracks are caused because of drying of the horn material due to lack of usage and hot weather conditions. These cracks would need to be stabilized, repaired and hydrated. There are deep tooth indentations in the bite zone, very close to the button edges on either surface of the stem. The long bone tenon has darkened considerably and is covered in grime with the opening showing accumulation of oils, tars and gunk. This condition is similar at the orifice slot. The seating of the stem in to the mortise is very loose. The Restoration Process
The process of this restoration started with stem repairs. I first cleaned the stem airway by running a few hard bristled and regular pipe cleaners dipped in isopropyl alcohol followed by further cleaning with anti oil dish washing soap and thin shank brushes. The pipe cleaners pictured below and the gunk that was removed while cleaning with the shank brushes of which pictures were not clicked, tell a story of how dirty the stem internals were. I continued cleaning of the stem air way till white foam was seen coming out from the air way. I also scrubbed the stem surface with a Scotch Brite pad and soap. The next step was to stabilize the cracks on the top surface of the stem. Using a 1 mm drill bit mounted on a hand held rotary tool, I drilled counter holes at the start and end points of these cracks. These counter holes prevent the further expansion of the cracks in either directions. I filled these holes, cracks and the tooth indentations in the bite zone with CA superglue and set it aside for the glue to harden. I was still sometime away from hitting the sack and with the stem set aside for the repairs to cure; I decided to work the stummel. I began with reaming the chamber with size 1 head followed by size 2 head of the PipNet reamer. The heap of dislodged carbon did surprise me as I had anticipated a far less cake formation along the walls. I further scraped the chamber walls with my fabricated knife to remove the remaining carbon deposits where the reamer head could not reach. Once the cake was reamed back to the bare briar, I used a 220 grit sand paper to remove all the traces of remaining cake and also to smooth out the inner walls of the chamber surface. Finally, to remove the residual carbon dust, I wiped the chamber with a cotton pad wetted with 99.9% pure isopropyl alcohol. The chamber walls are solid without any heat lines or fissures.While I was handling the bowl, the copper band at the shank end came loose and it was then that I saw the cork lining along the walls of the mortise that was in place to ensure a snug fit of the long bone tenon in to the mortise. This cork lining has dried and needs to be revitalized. This lining also means that I would have to be careful while I clean the mortise so as not to erode and break the cork thus disturbing the seating of the stem.As observed above, the mortise is completely clogged with old oils, tars and ash resulting in a very hard and laborious draw. This was the issue that I addressed next. Using dental tools and fabricated poker, I scraped out the entire gunk from the walls of the mortise taking care that the cork lining is not damaged in the process. I used the drill bit from the Kleen Reem to remove and open up the shank airway. It was a tedious and time consuming work, but well worth the caution and efforts. The heap of crud extracted from the shank confirms the reason for the hard and laborious draw. I ran a few hard and regular pipe cleaners dipped in alcohol through the mortise and airway to remove residual gunk. The mortise is now clean with a much better open and easy draw. I shall continue with the cleaning process when I clean the stummel surface.The last agenda for the night was the external cleaning of the bowl and further internal cleaning of the mortise. I cleaned the external surface with a hard-bristled toothbrush and concentrated Murphy’s oil soap. I scrubbed the rim top and stummel surface with the soap and Scotch Brit pad. I rinsed the stummel under warm running water and dried it with paper towels and soft cotton cloth. The grains are now clearly visible and awaiting a nice polish to pop out. This cleaning also brought a few dents and scratches over the stummel surface and outer rim edge to the fore that would need to be addressed and the fill observed near the foot has loosened that would need to be refreshed. I extended my work time for a while and cleaned out the shank internals. I cleaned the shank walls by scrubbing it with shank brushes and anti-oil dish washing soap while being careful around the cork! The bowl is now clean and fresh. I set the bowl aside to dry under a heat lamp.The next evening with the stummel now dry and the stem repairs completely cured, I had the option of either working on the stummel or the stem. There was this small step that was needed to address the fill that required to be refreshed and that is where I began. With sharp dental tool, I removed the old fill and cleaned the area with alcohol. Next, I mixed briar dust with CA superglue to form putty and applied this mix over the area to be filled. I set the stummel aside for an hour or so for the mix to harden, which is almost instantaneous over the surface.I set the stummel aside and worked on the stem repairs next. The repairs had completely hardened and all that needed to be done was to blend in these repairs with the rest of the stem surface. I began by sanding the fills with a flat needle file to achieve a rough match followed by sanding the entire stem with a worn folded piece of 180 grit sandpaper. The button edges were also evened out and sharpened during the process. The fills will be further blended during the polishing cycle using various grit sandpapers and micromesh pads. I applied a generous layer of EVO and massaged it in to the horn stem to hydrate it and set it aside for the oil to be absorbed into the horn.Using the same tools and sandpaper, I blend in the stummel fill with the rest of the briar surface. This blending of the fill will be further fine-tuned when I sand the stummel surface with 220 grit sandpaper to address the issue of dings and scratches over the surface.I addressed the dents and dings to the outer rim edge by creating a bevel with a folded piece of 180 grit sandpaper pinched between fingers and running them evenly over the outer edge surface. I am quite happy with the appearance of the bowl with the bevelled outer rim. Next, I cleaned the copper ferrule at the shank end with “Pitambari”, a powder that is available all across India that is used to clean and shine brass, copper and silver ware. This compound is a very fine powder and is least abrasive with fantastic results. The band is now a nice shining piece and will provide a nice contrast between the shining horn stem and the dark brown stummel. I attached the band at the shank end with all-purpose glue.The next step was to sand the entire stummel surface with sandpaper to remove the scratches and dings that are visible. I used a well worn piece of 180 grit sandpaper to sand the surface. The sanding marks that are now visible will not be so once the bowl is subjected to polishing regime with micromesh pads and compounds. There are a couple of dings and scratches that are still visible, but I shall let them be as part of the pipe’s century old existence! I followed it by wet sanding the entire stummel with 1500 to 12000 grit micromesh pads, wiping frequently with a moist cloth to check the progress. I rubbed a small quantity of “Before and After Restoration Balm” deep in to the briar with my finger tips and let it rest for a few minutes. The balm almost immediately works its magic and the briar now has a nice vibrant appearance with the beautiful grain patterns displayed in their complete splendor. The contrast of the dark browns of the Bird’s eye and cross grains with the natural patina of the rest of the stummel adds an interesting dimension to the appearance of the stummel which cannot be sufficiently described in words and be rather seen in person. I really like the looks of the stummel at this point in restoration. The grains and the clean lines of this piece of briar is really appreciable. With the stummel set aside, I polished the stem by wet sanding, starting with 400 and progressing through 600, 800, 1000, 1500 and 2000 grit sandpapers. I rubbed a good amount of EVO in to the stem surface and set it aside to be absorbed.A few hours later, I wiped the stem surface with paper towels and began the polishing cycle using micromesh pads. I wet sanded the stem surface going through 1500 to 12000 grit pads. I set the stem aside after rubbing it down with EVO again.To complete the restoration, I mount a cotton cloth buffing wheel on to my hand held rotary tool and polished the stummel and stem with Blue Diamond compound. This compound helps to remove the minor scratch marks that remain from the sanding. With another cotton buffing wheel that I have earmarked for carnauba wax, I applied several coats of the wax. I finished the restoration by giving the entire pipe a rigorous hand buffing using a microfiber cloth to raise the shine further. The finished pipe looks amazingly beautiful and is ready to join my collection. I only wish it could share with me its life story of the past years while I enjoy smoking my favorite Virginia blend in it or maybe an English blend or maybe just keep admiring it! Big thank you to all the readers who have joined me on this path by reading this write up as I restored and completed this project.

Pipe Gods Smiled and I Got Not One But Three Les Wood Pipes…Restoring the Last of the Three Les Wood Pipes; a Smooth Bent Bulldog “Reo”

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Blog by Paresh Deshpande

With this write up, I have reached a personal statistical milestone of 200th contribution on rebornpipes.com, a journey that I was encouraged to embark upon, helped and supported at each hurdle by my Guru, mentor and now a dear friend, Steve and without whom I would have remained alienated from this fantastic world of pipe repairs, restorations and pipe collection.

So, thank you Steve for making this platform available to me for learning and enjoying myself! And now, back to the pipe on my work table!

I had purchased three Les Wood pipes from a gentleman and had restored two of the three pipes and have added it to my personal collection. Given below is the link to the first write up posted on Reborn pipes and is a recommended read to know how I came to be in possession of this lot and brief research on husband wife duo of Leslie Wood and Dolly and the pipes they make.

https://rebornpipes.com/2022/08/05/pipe-gods-smiled-and-i-got-not-one-but-three-les-wood-pipes-restoring-a-les-wood-poker/

Below is the link to the second Les Wood pipe that I have refurbished and added to my personal collection. I would request you to read through the write up as the stampings are totally at a variance from those seen on the Les Wood Poker pipe.

https://rebornpipes.com/2023/07/15/pipe-gods-smiled-and-i-got-not-one-but-three-les-wood-pipes-restoring-second-of-the-three-les-wood-pipes-a-bark-silver-spigot/

The third pipe from this lot of Les Wood pipe is a large smooth bent pipe in classic English bulldog shape in dark brown and red color. The pipe oozes very high quality briar and a well cut handmade vulcanite stem, all in the hallmark of a Les Wood pipe! The pipe is stamped on the lower panel of the square shank with three stars one below the other on the far left side. It is followed by “FERNDOWN” in an arch over “REO”, all in block capital letters. These stampings are followed by “HAND MADE IN” over “ENGLAND” over “LES WOOD” towards the sterling silver shank end band. The Sterling silver band bears the stamp “L & JS” in a rectangular cartouche over “.925”. The vulcanite saddle stem is stamped on the left side of the saddle as “LJS”. In addition to the information that I have assimilated while working on the two Les Wood pipes above, I would like to reproduce the following snippet of information from pipedia.org

To many pipe smokers, Les Wood’s pipes embody the revival of great English pipe making initiated by Ashton in the early 1980s. The high-grade Italian and Spanish plateau he prefers is oil-cured in the tradition of both Dunhill and Ashton. The pipes are renowned for their pleasant, slightly nutty flavor and remarkable smoking characteristics. They feature impeccable craftsmanship extending to very good stem/bit work, though many pipes are often a bit heavier. The hallmark of his work, of course, is the excellent silver work. Almost all of his pipes feature rings or ferules for spigot stems. Grading is by finish: “Bark” (ca. 90%, rusticated, dark brown and black), “Antique Bark” (tan rusticated), “Reo” (brown and red, smooth), “Root” (orange, smooth), and “Tudor Root” (orange and brown smooth) and by size (one to four stars). He also designates straight grains with SG.

Due to the vagaries of international trademark law, he sold his earlier pipes as ” L.&J.S Briars”, “Ellwood”, “Les Wood” or “L. Wood”. Until recently, an average of 1500 – 2000 pipes a year were sold as “Ferndown” — named for the mansion he lives in — in the UK and US, but as “L. Wood” pipes in Germany.

Thus, from the above, the pipe currently on my work table is an early Les Wood pipe made in US/ UK and is one of 10% smooth pipe made in that year.

Initial Visual Inspection
The pipe is heavy! That’s the first thing that I noticed, heavier than even the Poker that I had restored earlier. The finish is dark and dull with dust and grime ground in to the surface. There is some darkening of the rim top surface, more noticeably towards the back of the rim in 6 ‘O’ clock direction. The rim edges are sans any damage. There is a thick layer of cake inside the chamber with a wad of unburnt tobacco at the heel of the chamber. The hand cut, high quality vulcanite stem is deeply oxidized with some very light bite marks in the bite zone. The mortise has some serious accumulation of old oils and tars that needs to be cleaned. There are serious ghost smells emanating from the chamber and the mortise. Overall, with some TLC, this pipe should regain its former glory when it first left Ferndown Mansion. Detailed Visual Inspection
The chamber has a thin layer of cake with some unburnt residual tobacco at the heel of the bowl. However, if my experiences of working on two previous Ferndown from this same estate are anything to go by, then I think the cake layer is thick, but evenly maintained. The chamber smells a rather strong fragrant hinting at being used to smoke English blend or an aromatic. The rim top surface is clean, smooth and even and so are the rim edges. I do not envisage any issues related to heat lines/ fissures along the chamber walls. The stummel surface is covered in a layer of dust and grime giving the surface a dull and lackluster appearance. From underneath this grime, a mix of bird’s eye swirls and cross grains can be seen that waits to be brought to the fore. The twin rings separating the cap of the stummel from rest of the bowl is without any nicks/ chips/ dents or dings. The mortise shows presence of some oils and tars, but should be easily cleaned. The Sterling Silver band is deeply oxidized and tarnished at places. Once cleaned and polished, this band will add a nice classy bling to the appearance of the pipe. The beautiful vulcanite stem is hand cut and oozes very high quality of material use and also craftsmanship of highest quality. The stem is oxidized with very minor tooth chatter and bite marks seen in the bite zone on both the upper and lower surfaces of the stem. These tooth chatter and tooth indentation should be easily addressed by heating the affected areas to raise the vulcanite and thereafter sanding it down to match the rest of the stem surface. The tenon end and the horizontal slot end show very minor traces of accumulation of dried gunk and grime.The Restoration Process
I started the refurbishing of this Les Wood by working the stem first. Since there were other stems that were ready to be put into the stem deoxidizer solution, I decided to clean the internals of this stem first so that it could be put in the solution with other stems. I cleaned the stem airway with a thin shank brush and anti-oil soap. I used a sharp dental tool to clean the horizontal slot and further cleaned the internals with regular and bristled pipe cleaners dipped in alcohol.The stem was immersed in the Deoxidizer solution, a product that has been developed by Mark Hoover. This solution helps raise the stem oxidation to the surface thus helping in easy removal and subsequently imparting a nice shine to the stem after polishing cycle. The pipe is indicated with a red arrow. The stem is allowed to soak into this solution overnight.The pipe next to the one indicated in the picture above, is also a Ferndown which is the next pipe in line. This one is a NOS un-smoked pipe that too came from the same gentleman’s collection as these three Les Wood pipes and was the last one that he intended to pass on to his family members. However, for reasons best known to the gent, he voluntarily offered the pipe to me at the price which I had first quoted for the very first Les Wood from his collection. I could sense a feeling of sadness in his communication and I made him a payment without further queries. The pipe made its way to me as I worked on the REO.

Now it was time for me to work on the stummel. I did this by first reaming the chamber with size 3 and 4 PipNet reamer heads. I further scraped the chamber walls with my fabricated knife to remove the remaining carbon deposits where the reamer head could not reach. Once the cake was reamed back to the bare briar, I used a piece of 220 grit sand paper to remove all the traces of remaining cake and also to smoothen out the inner walls of the chamber surface. Finally, to remove the residual carbon dust, I wiped the chamber with a cotton pad wetted with 99.9% pure isopropyl alcohol. The huge pile of carbon dust that was reamed out is an indication enough to the amount of carbon that had accumulated in the chamber while the smaller heap is that of the un-burnt tobacco from the chamber. The chamber walls are solid without any heat lines or fissures. I further cleaned the mortise by scrapping out the dried gunk with a dental tool. I ran a few pipe cleaners dipped in alcohol to moisten the dried gunk and assist in its removal. I shall further continue the internal cleaning of the chamber and mortise with cotton and alcohol soak.I continued the cleaning of the chamber and shank internals with a salt and alcohol bath. I use cotton balls which is an at par substitute to Kosher salt as I have realized over the years. I draw out a wick from the cotton and along with a folded regular pipe cleaner; insert it in to the mortise and through the draught hole in to the chamber. Thereafter, I packed the chamber with cotton balls to about quarter of an inch below the inner rim edge and soaked the cotton balls with isopropyl alcohol up to the brim. About half an hour later, the level of alcohol had gone down, having being absorbed by the cotton. I topped it up once again and set it aside overnight. By next morning, the cotton and alcohol had drawn out all the remaining oils and tars from the chamber and mortise, fulfilling its intended task. I removed the cotton balls and ran pipe cleaners through the mortise to clean out all the loosened tars and gunk and further cleaned it with alcohol and q-tips. With the internal cleaning now completed, I undertook the cleaning of the external surface. I wiped the surface with Murphy’s oil soap on a cotton pad and further cleaned it with a wet cotton swab to remove all the soap from the surface and wiped it dry with paper towels and cotton cloth. The usual process that I follow while cleaning the external surface is to scrub the stummel with oil soap and rinse under running warm water. However, in this case, I was keen to preserve the stain and finish to max extent possible and hence the slight modification to the process. I further dried the surface with a heat gun to ensure that there is no moisture in the surface. My exuberance to see the shine and gloss that this pipe is capable of, thanks to the processes employed by Les Wood’s wife; I decided to continue with the stummel refurbishment. I dry sand the surface with 1500 to 12000 grit micromesh pads, wiping frequently with a dry soft cotton cloth to check the progress made. Once the micromesh polish cycle was completed, I massaged a small quantity of ‘Before and After Restoration Balm’ in to briar surface and set it aside for few minutes. Once the briar was rejuvenated, I hand buffed the stummel with a microfiber cloth to a deep and luxurious shine. It was here that I noticed that all the cleaning of the stummel had left the finish over the rim surface a bit splotchy and light. Using a dark brown wood stain pen, I stained the rim top surface and set it aside for the stain to set.Now that the internal and external cleaning of the stummel was nearly done and also the stem had now been soaking for more than 24 hours, I removed the stem from the solution. I first scrubbed the stem surface with a Scotch Brite pad, always being mindful of the stem logo on the left side. I followed this scrubbing with a nice cleaning of the surface using a 0000 grade steel wool. I rinsed the stem under running water to rid the stem of the thick deoxidizer solution. I ran a couple of pipe cleaners to remove any residual deoxidizer solution from the airway.To address the minor tooth chatter on either surface, I heated the bite zone with the flame of a soft flame lighter. The heat from the lighter expands the vulcanite and fills up the tooth chatter. The results are not always perfect, but in this instance, the results are very satisfactory.I followed it up by wet sanding the entire stem surface using320, 400, 600, 800, 1000, 1500 and finally with a piece of 2000 grit sand paper. This progressive sanding with higher grit sandpapers serves to reduce the sanding marks of the more abrasive sand papers. I also sharpened the button edges while sanding. I wiped the stem with a moist cotton swab to remove all the oxidation and sanding dust from the surface. I applied a little Extra Virgin Olive oil over the stem and set it aside to be absorbed by the vulcanite.With a jeweller’s cloth, I polished the sterling silver band at the shank end to a nice shine.On the way to complete the project, I polished the stem and stummel surface with White Diamond. Next, I replaced the buffing wheel on the rotary tool with the one that has been earmarked for Blue diamond compound and polished the entire pipe. I like the way the pipe is polishing up at this stage. With a cotton buffing wheel that I use for carnauba wax, I applied a coat of carnauba wax and continued to work on it till the complete coat of wax had been polished out. I mounted a clean cotton cloth buffing wheel and gave the entire pipe a once over buff. I finished the restoration by giving the entire pipe a rigorous hand buffing using a microfiber cloth to raise the shine further. The finished pipe looks beautiful and is ready to be added to my personal collection of pipes. P.S.: The finished pipe has a fantastic glass like shine which has been a hallmark finish from Dolly and the pipe looks very beautiful. This entire project has been very close to my heart for a reason and shall find a place of pride in my Les Wood collection.

I wish to thank readers of rebornpipes.com who have spared their valuable time in reading through this work. I look forward to your comments and suggestions for improvements. I wish to make a mention of one follower of Reborn Pipes who had been regularly in touch. However, since last month there has been no communication. If you are reading this blog my friend, a simple message of your well-being will be highly appreciated. Cheers…

Restoring a Beautiful Ropp Pneumatic Brevete S.G.D.G # 9105

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Blog by Paresh Deshpande

This pipe now on my work table came to me from a lot of 40 pipes that I had purchased from a French seller on etsy.fr just before the outbreak of the pandemic. It’s a beautiful classic billiard shaped pipe with a bone stem and beautiful flame grains along the sides of the stummel and bird’s eye grain over the rim top and the foot of the stummel.

This perfectly proportioned light weight pipe has a medium sized bowl, equivalent to a size 4 Dunhill. The piece of briar is without a single fill and oozes very high quality. The copper band at the shank face adds a classy bling to the appearance of the pipe. The stampings on this pipe is one of the most elaborate that I have come across with “PNEUMATIC” over “BREVETE S.G.D.G” stamped across the left side of the shank at an upward angle. This is followed by “ROPP” in an oval towards the shank end. The right side of the shank is stamped as “RACINE” over “DE VIEILLE SOUCHE” in a downward incline. The shape code “9105” is stamped at its end on the right surface of the shank. The shank opening is lined by a metal ring that extends inside the mortise and is stamped on the metal face as “ROPP” over the upper portion and the lower surface bears the stamp “BREVETE S.G.D.G.”.I had worked on ROPP pipes before and had a fair idea of this French marquee. But it was the stampings which intrigued me and I also knew that I was working on a very early era ROPP and had to know more specific details of this line from ROPP.

I searched the internet and came across this site that had the exact same pipe for sale. The information I got from the description with a link to the website is reproduced below:

https://www.delcampe.net/en_US/collectibles/tobacco-related/pipes-accessories/heather-pipes/tres-rare-pipe-ropp-pneumatic-brevete-s-g-d-g-virole-en-argent-date-1897-ou-1898-a-loccasion-de-linstallation-a-baume-1103869216.html

VERY RARE PIPE ROPP PNEUMATIC patented S.G.D.G silver ferrule dates 1897 or 1898, on the occasion of the installation in Baume

This “Pneumatic” model dates from the very last years of the 19th century: 1897 or 1898, on the occasion of the installation in Baume.

I decided to break down my search parameters to get a better understanding of the stampings as seen on the pipe. I searched for BREVETE S.G.D.G and this is what Wikipedia revealed:-

https://en.wikipedia.org/wiki/Brevet%C3%A9_SGDG

Breveté SGDG was a French type of patent that ceased to exist in 1968. The name was a common abbreviation for “Breveté Sans Garantie Du Gouvernement“ (patent without government guarantees).

In France, the law of 1844 states that patents are issued “without prior examination, at the risk of the applicant and with no guarantee of function, novelty and merit of the invention also in terms of precision or accuracy of the description”.

I also visited various forums to know more about this line of pipes from ROPP. Here is an interesting conversation that I chanced upon on placedelours.superforum.fr and contained a thread discussing a ROPP pipe with similar stampings that were stamped in the exact same way as seen on the pipe currently on my worktable. I have reproduced an English translation of the thread below:-

http://placedelours.superforum.fr/t33004-pipe-ropp-pneumatic

vidu52
Hello to all of you,
For a long time I have been looking for this ROPP brand pipe, marked : PNEUMATIC patented S.G.D.G and with a diamond-shaped punch.

The ROPP brand I find many, but not a single marked “PNEUMATIC” ??
Long : 14 cm approx High 4.5 cm approx, Weight: 42 Grams
I turn to you to try to help me identify this pipe and if possible its degree of rarity.
In advance Thank you….

Nucingen
Very nice pipe, with silver ferrule

this “Pneumatic” model dates from the very last years of the XIXe century: 1897 or 1898, on the occasion of the installation in Baume.
You will know everything about the “Pneumatic” by reading pages 21, 29 and 34 of this very beautiful and interesting book :
https://issuu.com/romainbassenne/docs/ropp_livre_maquette_issuu

However, the link is either no longer active or may not be accessible from my location. In any event, if anyone is able to access it, it is requested to share the information therein on Pneumatic line of pipe from ROPP for info of readers.

https://pipedia.org/wiki/Ropp

Eugène-Léon Ropp (1830 – 1907) had acquired a patent for a cherrywood pipe (wild cherry, lat.: Prunus avium) in 1869. In 1870 he established a workshop to manufacture such pipes in Büssingen (Bussang, Vosges mountains). Around 1893 the business moved into the former mill of Sicard (part of the community of Baume-les-Dames – Département Doubs, Upper Burgundy – from 1895 on).

The pipes were a big success in the export as well. Shortly before 1914 Ropp designated A. Frankau & Co. (BBB) in to be the exclusive distributor in the UK and it’s colonies.

Probably in 1917 a workshop in Saint-Claude in the Rue du Plan du Moulin 8 was acquired to start the fabrication of briar pipes. In 1923 a small building in the environment of Saint-Claude, serving as a workshop for polishing, was added.

Even though cherrywood pipes were the mainstay of Ropp until the company finally closed down in September 1991. The company was taken over by Cuty-Fort Entreprises (Chacom, Jeantet, Vuillard, Jean Lacroix…) in 1994.

I was still not satisfied with the research of this pipe. This pipe has some of the most detailed stampings that I have seen on any pipe. I have deciphered the stampings of ROPP, PNEUMATIC and BREVETE S.G.D.G. The stampings of RACINE, DE VIEILLE SOUCHE yet remains to be understood. Now, my French is what my mother tongue Marathi is to you. I searched the internet for translation and this is what I found.

(a) RACINE: – Root.

(b) DE VIEILLE: – Old stock.

(c) SOUCHE: – Stump.

These stampings together do make sense implying that the briar used to carve this pipe is an old stock briar root stump.

Though the discussion thread and description of the similarly stamped pipe stated above places this pipe to be from the period 1897/ 98, the lack of pictures of the tenon on that pipe and being unable to access the link leading to the book on the PNEUMATIC line of ROPP, I cannot conclusively place the pipe on my work table to be from the period 1897/ 98.

The aluminum tenon in a bone stem with an elliptical slot makes me inclined to place this pipe from during the WW II era, which is from 1940 to 1945/ 6.

That said this pipe is definitely an old timer and is being added to my personal collection.

Initial Visual Inspection
The pipe, as it sits on my work table, is dirty with a thin layer of cake in the chamber, a stummel that is covered in dust and grime and a tapered bone stem that has tooth indentations on either surface in the bite zone. Here are a few pictures of the pipe before I proceed with a detailed visual inspection of each part of the pipe. Detailed Visual Inspection
A thin layer of cake lines the walls of the chamber. There is no accumulation of overflowing crud over the rim surface but slight darkening is seen to the aft of the rim surface. The rim edges, both outer and inner, are sans any dents and dings. The rim top surface, however, shows a number of dents and dings likely caused due to either strikes against a hard edge or due to uncared for storage of the pipe.The stummel surface has attracted dust and dirt giving it a dull lackluster and lifeless appearance. There are a few scrub marks over the surface but these should be easily addressed during the polishing process. The briar wood has taken on a nice dark patina from the years of handling and smoking. It will be my endeavor to preserve and highlight this aspect. The stampings on the shank surface are all crisp and clearly discernible. The shank end of the stummel is adorned with a copper band. The unique feature of this pipe is a metal spacer that is stamped on the face as BREVETE and S.G.D.G as mentioned above. This spacer extends in to the mortise and is lined with cork extending up to an inch or so. The mortise is relatively clean with minor traces of residual ash and oils/ tars. The horn stem has a nice light and bright appearance with bite marks and tooth indentations on either surface in the bite zone. There are a couple of superficial cracks over the stem surface and should be addressed once the stem is sanded and polished. I think these superficial cracks are primarily the result of drying of the bone material. The long aluminum tenon is tapered and cinched at the tenon end to match the mortise opening. The tenon surface is clean but would benefit from some cleaning and polishing. The elliptical slot and tenon end shows traces of old residual oils and gunk. The button edges show a couple of minor teeth marks and would need to be sharpened. The Restoration Process
Whether to start with stem or the stummel refurbishing has always being a source of conflict for me as stem repairs and refurbishing almost always takes the longest time and efforts and hence prudent to be worked on first while the allure of unrevealing the beautiful grains of the briar weighs in favor for its refurbishing first. Well in ibid case, the lovely patina and straight grains won and I decided to start working on the stummel.

I started the process of refurbishing by reaming the chamber first. Using reamer head sizes 1 and 2 of the PipeNet pipe reamer, I took the cake down to the bare briar. The amount of carbon that was dislodged from the chamber was really surprising as I had appreciated a thin layer of carbon and the quantity of carbon that was removed was anything but a thin layer. With my fabricated knife, I removed all the cake and took it down to the bare briar. I further sand the chamber wall with a folded piece of 180 grit sandpaper to smooth out the wall and remove the last bit of stubborn carbon that remained stuck to the chamber. To finish the reaming process, I wiped the chamber walls with a cotton swab dipped in alcohol to clean the last traces of residual carbon dust. I was happy to note a clean and well seasoned solid chamber.Next, I cleaned out the shank internals. Early on, I realized that I could not pass a pipe cleaner trough the draught hole due to blockages in the shank airway. I used a modified poker tool to push through and dislodge this block of dried oils and gunk. I further scraped out all the dried and crumbly oils and tars from the walls of the mortise with my dental tool. I cleaned out the mortise and shank walls with pipe cleaners dipped in alcohol. I shall continue further cleaning of the shank and mortise while going through the other processes.Now on to de-ghosting the pipe…. I packed the chamber with cotton balls and drew out a wick from the cotton and along with a folded regular pipe cleaner, inserted it into the mortise and through the draught hole into the chamber. I tightly packed cotton balls in to the remaining portion of the mortise. Thereafter, I soaked the cotton balls with isopropyl alcohol up to the brim. About half an hour later, the level of alcohol had gone down, having being absorbed by the cotton. I topped it up once again and set it aside overnight. By next afternoon, the cotton and alcohol had drawn out all the remaining oils and tars from the chamber and mortise. I removed the cotton balls and ran pipe cleaners through the mortise and draught hole to clean out all the loosened tars and gunk that was lodged in the draught hole and mortise. The chamber and mortise now smelled clean, fresh and looked it too. I set the stummel to dry out naturally.With the night still being young and not wanting to break the momentum of work as the stummel soaked in cotton and alcohol bath, I decided to use the time to address the stem issues. I first ran a few pipe cleaners dipped in alcohol through the stem airway and they came out very dirty. To conserve pipe cleaners, I put off further cleaning of the airway and would continue the internal cleaning using shank brushes and oil soap under warm water. With a sharp dental tool, I scraped out the dried oils and gunk from the slot end and tenon face. I also cleaned the aluminum tenon surface with a cotton swab wetted with isopropyl alcohol.Continuing with the stem cleaning, I followed the internal cleaning of the stem with cleaning the airway using thin shank brushes and anti oil dish cleaning soap. I ran a couple of pipe cleaners to clean and dry out the airway. Using Scotch Brite pad and oil soap; I cleaned out the entire gunk from the aluminum tenon, elliptical slot end and the stem surface.The last agenda for the day before I turned in for the night was to address the bite marks on either surface in the bite zone. I cleaned the surface with alcohol on a cotton swab in preparation of the surface for a fill. I filled the deep tooth indentation in the bite zone on the upper stem surface with clear medium CA superglue. Once the fill had hardened sufficiently, I similarly filled the tooth indentation in the lower stem surface. I set the stem aside for the fills to cure.By the time I again sat at my work table the next evening, the alcohol and cotton had leached out all the old oils from the chamber walls and the stem fills had cured too.

Next, I proceeded to clean the exterior of the stummel. I used a hard bristled tooth brush, Scotch Brite pad and Murphy’s Oil soap to scrub the stummel and rim top. For this stummel cleaning, I used Murphy’s Oil soap as I wanted to preserve the old patina that had developed on the stummel and this product really helps in cleaning the briar surface. After the scrub with oil soap, I washed the stummel under running warm water with anti oil dish washing detergent till the stummel surface was clean and dried it using paper towels and soft cotton cloth. I simultaneously cleaned the shank internals with the detergent and hard bristled shank brush and set the stummel aside to dry out. That the shank end is internally lined with cork is now apparent after the cleaning and this further restricts the cleaning process, adding caution to the equation while further cleaning the shank internals. I was fortunate that the alcohol bath has not loosened and removed this cork lining. To aid in the drying process, I heat the stummel under a 100 watt filament bulb as it is very important that the briar is completely dry as presence of slight moisture leads to growth of fungus over the surface subsequently.With the stummel set aside for drying, I used a needle file to sand the stem fill to achieve a rough match of the filling with the rest of the stem surface. To achieve a better blend, I sand the fill with a folded piece of 180 grit sandpaper. I also worked the button edges to a crisp edge with the file. By no means is the blending complete and shall be continued with during the sanding and polishing process.To bring a deep shine to the horn stem, I went through the complete set of micromesh pads, wet sanding with 1500 to 12000 grit pads. I wiped the stem with moist cloth after each pad and rubbed it down with Extra Virgin Olive oil to rejuvenate the horn which is very prone to drying and developing cracks over the surface. The finished stem is shown below.Remember the stummel that had been set aside to dry out under the bulb? Well, in the while that I completed the repairs and initial polishing of the stem, the briar had completely dried out and was ready to be worked on further.

The issue that needed immediate attention was the number of dents and dings over the rim top surface. To address it, I topped the surface over a piece of 220 grit sandpaper till these damages all but disappeared. I am quite pleased with the appearance of the rim top at this stage.I followed it by wet sanding the entire stummel with 1500 to 12000 grit micromesh pads, wiping frequently with a moist cloth to check the progress. I really like the looks of the stummel at this point in restoration. The grains and the clean lines of this piece of briar is really appreciable. Next, I rubbed a small quantity of “Before and After Restoration Balm” deep in to the briar with my finger tips and let it rest for a few minutes. The balm almost immediately works its magic and the briar now has a nice vibrant appearance with the beautiful grain patterns displayed in their complete splendor. I further buffed it with a horse hair brush. The contrast of the dark browns of the Bird’s eye and straight grains with the dark natural patina of the rest of the stummel adds an interesting dimension to the appearance of the stummel that cannot be insufficiently described in words and be rather seen in person. I have now reached the homestretch in this restoration project. To complete the restoration, I mounted a cotton cloth buffing wheel on to my hand held rotary tool and polished the stummel and stem with Blue Diamond compound. This compound helps in polishing and also in removing the minor scratch marks that remained from the sanding process. I mounted another cotton buffing wheel that I have earmarked for carnauba wax and applied several coats of the wax. I finished the restoration by giving the entire pipe a rigorous hand buffing using a microfiber cloth to raise the shine further. The finished pipe looks amazingly beautiful and is ready to join my collection. I only wish it could share with me its life story of the past years while I enjoy smoking my favorite Virginia blend in it or maybe an English blend or maybe just keep admiring it!!!! Big thank you to all the readers who have joined me on this path by reading this write up as I restored and completed this project. P.S.: I came across an interesting flyer/ advertisement bearing the stamp  “RACINE, DE VIEILLE SOUCHE” in French language. I have included the same here and would be happy to receive any information on the pipe in English for the sake of enhancing my knowledge on this pipe.Thank you once again for your time and assistance.

ADDENDUM – Pages 21,29 and 34 of the French Ropp Book (Ropp, ça ne fume plus). Kenneth Lieblich scanned the pages and translated them for Paresh.

Translation of the highlighted parts of page 21

Trademarks were registered for each of his creations: La Cosaque, La Pneumatic and La Norvégienne appeared at the beginning of the century, between 1904 and 1908. According to the INPI records, these brands were intended to be affixed to the pipes, smoking accessories and other handmade items as well as cases, boxes, packaging of pipes… The reasons for choosing most of these names are unknown.

Regarding La Pneumatic, we can see a link with current events. In fact, the tire was invented in 1888 by Irishman John Boyd Dunlop and the removable tire by Michelin in 1891. Its use became widespread at the beginning of the 20th century. Another pipe was named Pipe des aviateurs (1909) when, on July 25, 1909, Louis Blériot succeeded in crossing the Channel by plane for the first time.

Each pipe had several varieties of shapes, sizes and ornaments. La Pneumatic could be fitted with a fancy band: gold, silver or other metal; in straight or bent models; of medium to very large size; and with oval or round bowls. Then, the types of briar evolved with the appearance in 1910 of Cum-mer root, Cum-mer briar, blood briar and blood root, recalling both the raw material used and its particular red grain.Translation of the highlighted parts of page 29

To explain the changes, Ropp cited three main reasons: moving towards thinner pipes, the choice of raw materials and the improvements made to the different systems. These developments had made the pipe a “clean, practical and elegant” accessory. The fact that the brand sought to constantly modernize itself, while paying attention to consumer demand, was also an important selling point. The ads spoke of “the important technical research” which allowed the factory to frequently employ new manufacturing processes or new models. La Pneumatic system, developed when the company set up in Baume-les-Dames, was one of the manufacturing processes most appreciated by smokers.Translation of the highlighted parts of page 34

At the start of the 20th century, system pipes and other inventions aimed at better health were very popular with French smokers. Concerns about the harmful effects of tobacco and nicotine were in vogue, as were concerns about hygiene: pipes were sometimes difficult to clean and maintain. These were different from filter pipes since the piece inserted into the stem did not absorb the condensation but only stopped it. These system pipes, with different variations, appeared healthier and more hygienic. La Pneumatic is one of the system pipes that Ropp put on the market and patented. A separate ferrule was housed inside the stem while a piece of cork, providing friction, made it easier to separate the stem from the stummel and also made cleaning easier.

An Interesting Project : Resurrection Of a Pre-1920 KB&B Pembroke

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Blog by Paresh Deshpande

The next pipe is stamped as “PEMBROKE” over KB & B” on the left shank surface and came to me as part of inherited pipes that predominantly constituted pipes from various English brands, most notably LOEWE, BBB, COMOY’S, PETERSON’S, BARLING’S etcetera. However, this lot did also contain many pipes from American pipe makers like WDC, KB & B/ KAYWOODIE and others. I have researched and worked on a few of the KAYWOODIE pipes from this collection and recollect that KB & B changed their name to KAYWOODIE in 1920s to promote their Kaywoodie line of pipes or was it for some other reason? For clarification and recollection of history of this renowned brand from USA, I re-read the history from https://pipedia.org/wiki/Kaufmann_Bros._%26_Bondy#Brands and have only reproduced that information that helps to date the pipe:-

Early History

Kaufmann Bros. & Bondy (KB&B), Kaywoodie has been making pipes since well before the Civil War – around 1851. They peaked in the late 1950’s along with most American Briar works. In the early 20th century, their pipes were the standard others were measured by, along with Sasieni, Charatan and Comoy’s. There were few other world-class American pipe-crafters (William Demuth Company, early L & H Stern). Their pipes were as good as any of the renowned British firms. Kaywoodie just did not merely produce quantity, they provided quality: in the 1920’s they bought the exclusive rights to some of the choicest briar fields in history, hauling out 250 year-old roots the size of 27″ TVs and fashioning masterpieces out of this spectacular-grained ancient briar.

Early KB&B (non Kaywoodie)

Kaywoodie was the name a pipe offered by Kaufmann Bros. & Bondy Company (KB&B), first appearing in February of 1919.

The origin of the name Kaywoodie is a combination of the K from Kaufmann and wood, as in briar. Not much is known of the original KB&B company other than it was started in 1851 by the German born Kaufmann brothers when they opened a small pipe shop in the Bowery section of New York City.

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 KB&B. By the late 1800’s, branches of KB&B 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 KB&B initials inside, were issued in 1881.

Pre-Kaywoodie KB&B

According to Hackert, the firm of Kaufmann Bros. & Bondy (KB&B) began producing the Kaywoodie Pipe in 1915.

Business thrived and in 1854 the Kaufmanns took in a partner named Bondy. … The three partners retired in 1898, but their relatives continued on with the firm, which had begun to manufacture their own briar pipes under the KB&B trademark. In 1915 the Kaywoodie brand was created as a marketing umbrella for a new briar pipe which the KB&B Company introduced. …”

Hacker concludes his history of Kaywoodie Pipes by noting that: “The KB&B briar pipe brand existed from 1900 until just after World War I (with some overlapping with the Kaywoodie from 1915 — 1917), and collectors refer to the KB&B as a Kaywoodie transition pipe.

The pre-Kaywoodie KB&B pipes were marked on the shank with a cloverleaf around KB&B. 

In March of 1955, when S.M. Frank & Co. Inc. bought Kaufmann Bros. & Bondy, The Kaywoodie Company, Reiss-Premier Corp., The New England Briar Pipe Co. and – of course – Yello-Bole.

Thus, comparing literature notes with the stampings as seen on the pipe that I am working on, I am certain that it dates as to being pre- 1920. Another pointer is the orific slot which was gradually replaced by more elliptical slot from 1920 and progressed further to the horizontal slot that we see on pipes today.

Here are the pictures of the stampings as seen on the PEMBROKE: Initial Visual Inspection
The PEMBROKE, currently on my worktable, is a medium sized classic bent billiards with a decent sized bowl in dark reddish brown color. The well seasoned briar is covered in dirt, dust and grime from decades of use. There are a couple of deep scratches on the stummel surface. There is a thick cake in the chamber with heavy overflow of cake, oils and tars over the rim top surface. The inner rim edge is uneven and charred. The outer rim edge, likewise, is peppered with dents and dings. The high quality hard rubber stem is oxidized with flattened bite zone on either surfaces of the stem. The tenon has a narrow extension at the end and is covered in dried oils and tars. The round orifice slot is similarly clogged with dried gunk. The stem does sit flush with the shank face and the seating is too damn tight within the mortise. Following pictures will give the readers a general idea of the condition of the pipe before I start to work on the pipe. Detailed Inspection
The chamber has a thick hard cake that has spilled over the rim top surface. The cake is thicker around the upper half of the chamber. The outer rim edge has dents and dings all around but is most severely damaged along the front half portion (encircled in yellow), a damage that can result only due to repeated strikes against a hard edged surface. The inner rim edge, prime facie, is sans any damage. The condition of the inner walls of the chamber can be commented upon after the cake has been taken down to the bare briar. There is a strong ghost smell in the chamber which is all pervading. There are remnants of un-burnt tobacco at the bottom of the chamber.The stummel surface is covered in dust, dirt and grime giving a dull, lifeless and lackluster appearance to the pipe. However, the briar has taken on a nice dark patina which has been a result of more than 100 years of usage and would be worth preserving. However, eliminating/ addressing the deep scratches (encircled in green) on both side of the stummel and the few dents and dings would entail sacrificing the patina. This is a call that I would need to take at some stage in the restoration process. The mortise is chock-a-block with old oils, tars, ashes and grime making for a laboured draw. The thick cake and blocked mortise hides the draught hole from the view. These issues need to be addressed. The high quality hard rubber stem is deeply oxidized. The unique feature of the stem is that the stem surface is flattened in the bite zone on either surface with defined cut edges. Now, the question that came to my mind was if these flattened surfaces were original to the stem or carved out by the piper who owned it, probably for ease of clenching? Well, to me it appears that this unique carving of the bite zone is machined and not handmade since the edges are too well defined and sharp to be handmade using home tools. But that the flattening of the bite zone makes it comfortable for clenching is unquestionable. There are no significant bite marks or chatter in the bite zone or over the button edges. The orifice slot shows dried accumulated oils and tars that would need to be cleaned. The tenon has a stepped hard rubber (?) extension similar in shape to the ones seen on Peterson’s Deluxe line of pipes. The tenon and extension too is covered in a thick layer of dried crud. The stem does not seat flush in the mortise and is fit is very tight. I think the seating issues would address itself once the tenon and mortise is cleaned.The Process
I began the repair and refurbishing process with reaming of the chamber. I reamed the chamber with head sizes 1 and 2 of the PipNet pipe reamer. I removed the carbon from the areas where the reamer head could not reach with my fabricated knife. To completely remove the residual carbon from the walls of the chamber and smooth out the walls, I sanded the chamber walls with a folded piece of 220 grit sandpaper followed by cleaning the chamber with a cotton swab wetted with isopropyl alcohol. The chamber walls are in pristine condition. I gently scrapped off the lava build up over the rim top using a sharp knife to avoid damage to the surface. I cleaned the mortise and shank walls of the pipe using dental tool. I scraped out the dried oils and tars from the walls of mortise and shank walls. The pile of crud that was scraped out is indicative to the amount of gunk that was lodged in the mortise and shank internal. At the end of this step, I still was not able to pass a pipe cleaner through the mortise. Out came one of the many modified tools in my arsenal and after some deft use of this poker, I was able to dislodge the blockage from within the mortise. I ran a bristled pipe cleaner and q-tip dipped in alcohol through the mortise and out through the draught hole further clearing the passage. I will continue this further cleaning during the course of refurbishing of this pipe.Next, I decided to subject the chamber and mortise to cotton and alcohol bath. I packed the chamber with cotton and drew out a wick from the cotton and along with a folded regular pipe cleaner, inserted it into the mortise and through the draught hole into the chamber. I tightly packed cotton balls into the remaining portion of the mortise. Thereafter, I soaked the cotton balls with isopropyl alcohol up to the brim. About half an hour later, the level of alcohol had gone down, having being absorbed by the cotton. I topped it up once again and set it aside overnight. By next afternoon, the cotton and alcohol had drawn out all the remaining oils and tars from the chamber and mortise. I removed the cotton balls and the dirt can be gauged by the appearance and coloration of the cotton balls and the pipe cleaner. I ran pipe cleaners through the mortise and draught hole to clean out all the loosened tars and gunk that was lodged in the draught hole and mortise. The chamber and mortise now smelled clean, fresh and looked it too. I set the stummel to dry out naturally.Once the internals of the chamber and shank were cleaned, I cleaned the external surface of the stummel with Murphy’s Oil soap and cotton swabs followed by scrubbing the surface with a toothbrush and dish washing soap. This rid the stummel surface of all the accumulated dust, dirt and grime. Using a piece of Scotch Brite scrub, I deliberately cleaned the rim top and removed the crud from the surface. The damage to the rim edges is now amply evident.Simultaneously, I also cleaned the shank internals with dish washing soap and a shank brush. I set the stummel aside to dry out naturally while I worked the stem.I began the process of refurbishing the stem by first scraping off the dried gunk from the tenon and tenon end extension using a sharp thin knife. I was careful not to damage or break the extension or the stem face. I cleaned the tenon extension with a cotton swab moistened with alcohol and ran a pipe cleaner through the airway to check if the airway was clear of any blockage. Fortunately, it was.Using thin shank brushes and anti-oil dish washing soap, I cleaned the stem airway. I have modified this process of cleaning the stem airway by doing away with pipe cleaners and alcohol as it saves me a ton of pipe cleaners, which is a precious commodity for me here in India. I continued this cleaning till only white clean foam came out of the stem airway, indicating that the airway was nice and clean. I ran a couple of pipe cleaners dipped in alcohol through the airway to dry it out and make sure that there are no traces of soap and gunk hidden in the airway. I also scrubbed the stem surface to remove surface oxidation and rubbed a small quantity of EVO in to the stem surface. Since there were no damages to the stem, I set it aside and shall return to polishing the stem after I am done with the stummel repairs.Next, I got around to addressing the rim top damage. The extent of the damage to the outer edge, caused due to banging against a hard surface, would necessitate heavy topping off of the rim surface, and I for one, absolutely wish to avoid any loss of briar. Also topping to the extent that was required to eliminate the dents/ dings and chipped areas would completely alter the original shape and symmetry of this pipe.  So, I planned on first filling up these dents and dings on the rim edge using briar dust and superglue to roughly match the surrounding intact rim surface and some more and then topping it to achieve a smooth even surface. Theoretically, this sounds logical.

I resorted to the layering method again; first I layered superglue along the damaged surfaces of the rim followed by sprinkling of briar dust, another layer of superglue followed by a final layer of briar dust. This final layer of briar dust reduces the probability of air pockets (or so I thought). In the second picture, you can see that the layering has not been done to the level of the rim surface but above the surrounding intact rim surface as I would be sanding the rim subsequently. I set the stummel aside to cure. I revisit the stummel the next evening after the repairs are completely cured and hard. Using flat needle files, I sand the repairs to achieve a rough match with the surrounding briar surface. Once I had achieved a rough match, I top the rim surface over a 220 grit sandpaper to even out the surface and achieve a perfectly even rim top surface. The inner and outer rim edges are still slightly uneven and shall be addressed next.To get the inner and out rim edges back to round, I created a bevel over the edges with a folded piece of 220 grit sand paper. I am pretty pleased with the progress being made thus far. It was now that I decided to address the numerous scratches over the stummel surface and the process of steaming these out is the best way forward. I assembled the items that are essential to this process; a wet Turkish towel, a knife and a candle. I heated my fabricated knife over the flame of the candle till it was really hot. I covered the scratched surface with the wet towel and placed the hot knife over it. The steam that is generated expands the briar raising the scratches to the surface. I repeated the process over the areas till the issue of scratches was addressed over the entire stummel surface. Though these scratches were pulled to the surface, I would still need to sand the stummel to eliminate them.Using a folded piece of 220 grit sandpaper, I sand the scratched surfaces till these were completely eliminated. I followed the 220 grit sandpaper by sanding the surface with a piece of 800 grit sandpaper. However, here I also realized that this also resulted in losing the patina that I so dearly wanted to preserve. You win some and lose some, that’s how it always is!To further clean and highlight the grains, I sand the stummel with micromesh pads, wet sanding with 1500 to 12000 grit pads. I wiped the stummel after each wet pad with a moist cloth to remove the resulting dust and note the progress being made. I rub a small quantity of “Before and After Restoration Balm” in to briar and let it rest for a few minutes. The balm almost immediately works its magic and the briar now has a nice vibrant appearance. I further buff it with a horse hair shoe brush. I set the bowl aside and took to working on the stem. I once again cleaned the stem surface using the Scotch Brite sponge and followed it up by a scrub with 0000 grade steel wool. This helps in further removing the oxidation from the surface. I also ran a thin shank brush through the stem airway to ensure that it was clean and clear of all the soap deposits. I rubbed the stem with some EVO to hydrate the surface.To impart a deep black shine to the stem while getting rid of the oxidation from the stem surface, I wet sand the stem surface with 400, 600, 800, 1000, 1500 and 2000 grit sand papers. I again rub the surface with some EVO to hydrate the stem and prevent oxidation from again creeping over the surface due to exposure to natural elements and set the stem aside.To bring a deep shine to the hard rubber stem, I polished the stem, wet sanding with 1500 to 12000 grit micromesh pads. I rubbed it down with Extra Virgin Olive oil to rejuvenate the hard rubber. The finished stem is shown below.With the stem refurbishing nearly completed, I took a long hard look at the stummel now bereft of the patina and the original dark reddish brown stain. I discussed with Abha about the difference in the appearance of the stummel at this stage in restoration from the way it appeared at the start. The unanimous decision was to stain the stummel to its original color or as close to it as possible and with the decision made; I decided to stain wash the stummel using Feibing’s Cordovan leather dye.

Using a heat gun, I warm the stummel to open the pores in the surface to accept the stain. I mix a small amount of alcohol with the dye to dilute it and apply it over the heated surface with a folded pipe cleaner. I set the stain by flaming it with the flame of a lighter as I went ahead to different self designated zones of the surface. This helps in the setting of the stain into the grain of the briar and set the stummel aside. The next evening, approximately 18 hours later, as Dal describes, I began to unwrap the stain in the hope to see beautiful grains. I mount a felt cloth buffing wheel on my hand held rotary tool and setting the tool at its slowest speed, I began to peel off the stain from the stummel surface first using Red compound. The stain was peeled out gradually revealing a nice shining surface and grains underneath the stain.Next, I mount a fresh felt cloth buffing wheel and polish the stummel with White Diamond compound. This further lightens the stain, highlighting the grains while imparting a nice shine to the stummel surface. The similar coloration achieved at this stage to the original color, uplifted my spirits sky high. I shall continue the polishing regime further using Blue diamond and finish off with carnauba wax polish.I have now reached the homestretch in this restoration project. To complete the restoration, I mount a cotton cloth buffing wheel on to my hand held rotary tool and polished the stummel and stem with Blue Diamond compound. This compound helps to remove the minor scratch marks that remain from the sanding while further highlighting the grain and lightening the stain. I mount another cotton buffing wheel that I have earmarked for carnauba wax and applied several coats of the wax. I finished the restoration by giving the entire pipe a rigorous hand buffing using a microfiber cloth to raise the shine further. The finished pipe looks amazingly beautiful and with the Cordovan stain, as good as original. In fact, the pipe looks much more endearing and beautiful in person than it does in the pictures below. It shall find a place of pride in my “American pipe makers” section of my personal collection. P.S. – This then is one project which has given me greatest of satisfaction that I have experienced after it’s completion.

I am not too concerned with successes or failures of any project. What matters to me is the journey.

Resurrecting a Stanwell Royal Silver #214 Following A Duped Deal

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Blog by Paresh Deshpande

Stanwell pipes have always been one of my favourites and I seldom miss an opportunity to lay my hands on one whenever I come across a good deal, especially the older early era ones. These are some of the best factory-made pipes coming out of Denmark. Most of the Readers are more than aware of the history of these pipes; however, I feel it is prudent to reintroduce a brief history of this brand to refresh the memory. Pipedia.org (https://pipedia.org/wiki/Stanwell) has an excellent compilation of the brand’s history, picture gallery, various lines etc and a few important pieces of information has been produced from this site.

When pipe smokers talk about pipes that are consistently great smokers, exhibit the creative and beautiful designs that exemplify Danish pipemaking and offer the best value in factory produced pipes, they are talking about Stanwell. We hear time and time again, from customers and top pipe makers from around the world, that Stanwell is the best factory produced pipe in the world. During WWII, Danish pipe smokers could no longer buy the English made briar pipes they preferred to smoke. In 1942, because of the unavailability of English pipes and raw briar, Poul Nielsen began making pipes from beech wood for Danish customers. At the time, Poul was managing a company called Kyringe, which made various wood products.

At the end of the war, briar became available again, so Nielsen began importing his own briar and started making briar pipes to compete with the English manufacturers. It must be remembered that in 1948, England was the single great center for pipe making. Therefore, Nielsen changed the name of his pipes to “Stanwell”, which sounded much more like a proper English name than “Nielsen”. He also created the horse drawn carriage logo for its English connotations. He later changed his own last name from Nielsen to Stanwell, a testament to his devotion to the pipes he made. Stanwell’s relationships with Danish pipe makers goes back to Sixten Ivarsson, who is considered the originator of modern Danish pipe making. Ivarsson was commissioned to design Stanwell shapes. In 1969, the factory was moved a town called Borup, just outside of Copenhagen to be closer to Ivarsson.

Stanwell relies on designs from the great Danish pipe makers, from Sixten Ivarsson to Jess Chonowitsch from which they create their hundreds of shapes. Since most sandblasting for Danish pipemakers is done at the Stanwell factory (Stanwell has a reputation for excellence in sandblasting that is used by many, many Danish carvers from Poul Winslow to Jess Chonowitsch), many of the pipes that they sandblast are then observed and used as starting points for Stanwell shapes with the consent of the original carvers. This interesting and unusual symbiotic relationship gives Stanwell the opportunity to offer hundreds of unusual and interesting shapes at an affordable price. Once a new shape is established and hand carved, it is then reproduced using a lathe. Following the initial carving of the pipe which is done by machine, all other processes are done by hand, from the final sanding and staining to the application of the wax finish. There are approximately 120 manual steps to Stanwell’s pipe making process. The Stanwell factory is arguably the most efficient pipe operation in the world. It is this efficiency that has made Stanwell so remarkably price competitive and able to offer pieces of superior quality to those created by other large factories.

Essentially the goal of Stanwell is, and always has been, to produce high quality pipes at a price that is truly within the reach of the common man. In this they have succeeded admirably, offering perhaps more pipe for the money than any other pipe manufacturer in their price range. Stanwell pipe offers exceptional quality at a remarkably affordable price.

Stanwell pipes are a must for any pipe collection. The Stanwell name is a cornerstone of Danish pipe making. In owning a Stanwell, you will not only enjoy beautifully styled, great smoking pipe at a great price, you will own a piece of pipe making history.

Pricing on top models – mid to late 1980s

  • Golden Contrast 600 DKK.
  • Silver S 600 DKK.
  • Hand Cut, sandblasted 1200 DKK.
  • Hand Cut, smooth 1500 DKK.

Another important aspect of Stanwell pipes is the determination of designers of a particular pipe that is well documented with the help of shape numbers. This pipe has the shape number #214 and from a visit to the under mentioned site it is determined that this pipe is classified as a freehand but without any designer specified.

https://pipedia.org/wiki/Stanwell_Shape_Numbers_and_Designers

  • 210 Sixtus, with hexagon stem and mouthpiece, brass ring, Pot by Tom Eltang.
  • 211 Sixtus, with hexagon stem and mouthpiece, brass ring, Freehand by Tom Eltang.
  • 212 Sixtus, with hexagon stem and mouthpiece, brass ring, Freehand by Tom Eltang.
  • 213Sixtus, with hexagon stem and mouthpiece, brass ring, Freehand by Tom Eltang.
  • 214 Freehand, slightly bent, square stem and mouthpiece.
  • 215 Freehand, slightly bent, triangular stem, saddle mouthpiece by Poul Ilsted.
  • 216 Zulu with tapered stem, by Tom Eltang.

This pipe came to me from eBay.com as one of the lot of four pipes, three Stanwells and one Vauen pipe in a pipe bag, from a Germany based Seller. The following pictures were uploaded by the seller with no description at all and based on which I had made my decision to purchase it.Once these pipes reached me here in India, I was aghast to note that each of the pipes had one or the other serious major damage which will be brought out as I work on each of these pipes. This was another sour deal on eBay!!

The first pipe from this lot that I decided to work on is what I consider being a variation of the horn shape but described as a freehand in Stanwell’s shape charts as brought out before and is from the late 1980s. It is stamped as “STANWELL” over “MADE IN DENMARK” over “ROYAL SILVER” on the left panel of the square shank while the right panel is stamped with the shape number “#214”. The stem bears the trademark “S” with a crown in silver. Initial Visual Inspection
This horn shaped Stanwell has many things going in its favor; be it the shape that is eye-catching with paneled surfaces, a size that feels perfect to hold, light weight, quality acrylic stem and capable of housing a 9 mm filter for those who prefer them. A thick layer of cake is seen in the chamber. The rim top and edges are clean with no lava overflow or evident signs of charring. The four paneled stummel is clean and the reddish hued stain makes it a looker! However, I have noticed a darkened spot (encircled in yellow) over the front panel towards the foot and that could potentially be bad news (read a burnout). The mortise has minute traces of old oils and tars, but the airflow is smooth and open. The thin white metallic band (or is it silver?) at the shank end lends the pipe a classy bling. The acrylic black stem is in good condition. The tenon housing for 9 mm filter is clean and so it the horizontal slot. Overall, save for the dark spot over the stummel surface, the condition of the pipe is good. Detailed Visual Inspection
The chamber has a thick, hard and uneven layer of cake. The upper portion of the cake is slightly thicker than at the heel. I am curious to know the condition of the chamber walls, more so the area corresponding to the dark area observed over the stummel surface but that will have to wait till the cake is removed and the walls are exposed. The inner edge is uneven (encircled in green) but not charred. This could be a result of reaming using a sharp knife edge. The rim top surface is clean with no damage or crud accumulation.The stummel has been carved out of a beautiful piece of briar and in true quality assurance that Stanwell is so well known for. The four panelled stummel with square shank has cross grains on either side with mixed grain to the front and aft of the surface. The surface is clean and sans any dents or dings and grime. The red stain with a shank end band contrasts beautifully with the black acrylic stem. The only cause of concern is the dark area seen to the front of the stummel and is highlighted by an encircled yellow. The spot within this darkened area (encircled in orange), so to speak, is the eye of the damaged area. Now, this could just be a darkening of the surface due to a burning cigarette placed in proximity of the pipe or it could be the beginning of through burnout and the clue for the exact reason lies within the chamber walls. However, the dark area feels no different from the rest of the surface…or not? The mortise is clean with just minor traces of old dried oils and tars over the mortise walls. The square silver (?) band at the shank end is dull and would benefit from a nice polish. The square faced acrylic stem contrasts with the red stained stummel surface adding an attractive eye candy affect to the overall appearance of the pipe. The buttons in particular and the bite zone in general, is sans any tooth indentations or scratches. The tenon houses a 9 mm filter and shows minor accumulation of oils and grime, ditto for the horizontal slot. The stem logo of silver letter S with a crown atop is slightly oxidized, but otherwise in pristine condition.The Process
The first step in restoring this particular pipe was the cleaning of the chamber. I began the process of refurbishing this pipe by reaming the chamber with a PipNet reamer tool, using the first and second head. Using my fabricated knife; I further took the cake down to the bare briar. That the cake was thick and hard made this cleaning a lot difficult and a long drawn affair. With a folded piece of 180 grit sandpaper, I took the cake down to the bare briar and also smoothened the chamber walls. A final wipe with a cotton swab moistened with isopropyl alcohol removed the carbon dust from the chamber. I had expected that any damage to walls of the chamber would reveal itself at this stage. However, I could not decipher any prominent damage corresponding with the dark area seen on the outer surface. I decided to subject the chamber to a cotton and alcohol bath in the hope that the damage, if any, would reveal itself in the form of seepage of the alcohol or deep heat lines/ fissures.Moving on to deeper cleaning of the chamber and the mortise in an attempt to highlight any damage to the chamber walls… I subjected the chamber to a cotton and alcohol bath. I draw out a wick from the cotton and along with a folded regular pipe cleaner; insert it in to the mortise and through the draught hole in to the chamber. Thereafter, I pack the chamber with cotton balls to about quarter of an inch below the rim inner edge and soak the cotton balls with isopropyl alcohol up to the brim. About half an hour later, the level of alcohol had gone down, having being absorbed by the cotton. It was here that I anticipated seeing seepage to the front of the stummel through what I have assumed to be a burnout. However, this did not happen. Also even at this stage I did not feel any give in the briar in the darkened area as compared to the rest of the stummel surface.  I topped it up once again with alcohol and set it aside overnight. By next afternoon, the cotton and alcohol had drawn out all the remaining oils and tars from the chamber and mortise, fulfilling its intended task. I removed the cotton balls and ran pipe cleaners through the mortise to clean out all the loosened tars and gunk. I set it aside to dry out naturally.Next, I decided to clean the exterior surface of the stummel. I had also hoped that further cleaning of the stummel would reveal the extent of damage or otherwise lurking beneath the darkened area. I used a hard bristled tooth brush and Murphy’s oil Soap, to scrub the stummel, chamber walls and rim top. I washed the stummel under running warm water with anti oil dish washing detergent till the stummel surface was clean. I simultaneously cleaned the shank internals with the detergent and hard bristled shank brush and dried it using paper towels and soft cotton cloth. At this stage in restoration, I still could not fathom the nature and cause of the dark area. I was still not clear if the dark spot was an indicator of the beginning of a burnout or was it just a superficial darkening of the surface. I turned to Steve to seek his advice and sent him pictures of the suspected damaged area. He enquired if the spot was a little soft to the feel or did it sound any different when tapped with finger nail as compared to the rest of the surface. I tried and couldn’t notice any change. Here Steve suggested that I thoroughly clean the darkened spot with oxalic acid. If it is just a superficial burn, oxalic acid would lighten it and reveal the exact condition and that is exactly what I did. When I was done with this step, I shared pictures of the result with Steve. He pointed out that it appeared that the center of the dark spot (encircled in red) maybe damaged and to confirm the same by tapping the area with a screw driver or some such hard tool.As discussed with Steve, I tapped the suspected damaged area, lightly at first and then a bit more firmly and the briar gave way leaving behind a gaping hole. I used a needle file to remove the charred briar from around the burned out spot. I continued to remove the charred briar around using rounded needle file till I reached solid intact hard wood. Now that all the charred briar wood was removed, it was necessary to smooth out the edges of the burned out area to ensure an even round hole for a snug fitting briar plug. I fine tuned the rounded hole at the foot of the stummel using 180 grit sandpaper wound around a thin bamboo dowel. Next, I cut a suitably sized block of briar to be shaped into a plug using a small hacksaw blade.Using a sanding drum mounted on a rotary tool, I roughly shaped the plug that would fit into the foot of the stummel. I deliberately left the top of the plug duly flanged (indicated with blue arrows). The general idea was to push the plug from inside the chamber to the outside so that the plug flanges will sit over the remaining intact heel of the chamber forming a new heel with the rest of the plug protruding outwards of the foot of the stummel. With the rough shape of the plug completed, I began the process of fine tuning the fit of the plug to seat snugly in to the hole at the foot of the stummel. Using a flat head needle file and a folded piece of 180 grit sandpaper, I sand down the plug and its flanges checking frequently for the fit in to the hole. I avoided further sanding of the plug once I reached the stage where with a tap of a small hammer, the plug sat firmly in to the hole with no gaps. The plug flanges are also covering the hole at the heel of the chamber (indicated by yellow arrows). To fix the briar plug in to the heel of the chamber, I decided to apply a layer of JB Weld to the bottom of the entire heel. J B Weld is a two-part epoxy Cold Weld that consists of two parts; hardener and steel which are mixed in equal parts in a ratio of 1:1 with hardening time of 5-6 minutes and complete curing time of 6-8 hours. I poured the contents of the two tubes and mixed it well. With a flat bamboo frond, I applied this mix over the heel of the chamber from inside. I turned the bowl over and filled the minor gaps between the briar plug and the adjoining stummel surface with the J B Weld mix and set the stummel aside for the epoxy to cure overnight.  By evening when I continued my work on this pipe, the J B Weld had cured completely. Using my hand held rotary tool mounted with a 150 grit sanding drum, I sand down the plug from the foot (outside) and heel (inside) of the stummel and achieved a rough match with the surrounding surface. I further matched the plug with the rest of the stummel foot with a flat head needle file. I perfectly matched the plug with the rest of the surrounding surface, both inside and out, by sanding with a folded piece of 180 grit sandpaper. The plug is now flush with the foot of the stummel while the flanges of the plug provide additional support to the plug from within the chamber. I had reached that stage in restoration where an important decision was required to be taken which would affect the aesthetics of the pipe. To blend in the repair, I had an option of staining the entire pipe red or to rusticate only the front panel of the stummel right up to the shank end and further stain this rusticated panel in contrasting black/ dark brown. I discussed this step with Abha and she was of the opinion that a perfect geometrical pattern does go with the flow of the shape and recommended a complete rustication of only the front panel followed by the contrasting stain.

To rusticate, I firmly held the stummel in my left hand and with my right hand and began gouging out the briar. 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 cleaned the debris off the rusticated surface with a brass wired brush. The high points in the rustications were lightly sanded down using a piece of 220 grit sandpaper.Next, I polished the stummel using micromesh pads, wet sanding with 1500 to 12000 grit pads. I also polished the high spots in the rustication with the micromesh pads. I wiped the bowl with a moist cloth after each pad to clean the surface. I rubbed a small quantity of “Before and After Restoration Balm” into the briar with my finger tips but not in to the rusticated surface. The balm almost immediately works its magic and the briar now has a nice vibrant appearance over the smooth surface with the beautiful grain patterns on full display on the smooth surface of the stummel. I further buffed it with a horse hair shoe brush. The rusticated part of the stummel is now ready for a fresh coat of stain. I had decided to stain the rusticated surface with a black dye which would contrast beautifully with the red of the rest of the smooth surface. I heated the rusticated portion with my heat gun to open up the pores on the stummel so that the stain is well absorbed. I used Fiebing’s aniline black leather dye and liberally applied it over the heated surface, flaming it with the flame of a lighter. This helps in the setting of the stain in the grain of the briar. I ensured that every inch of the rusticated surface was coated with the dye while the smooth surfaces are not stained. I set the stummel aside for a day to set the dye into the briar surface.Once the stain had set, to highlight the contrast of the high points in the rustication, I lightly sanded the high points with a worn out piece of 180 grit sandpaper followed by dry sanding with 1500 to 12000 grit micromesh pads to polish the high points. I rubbed a small quantity of “Before and After Restoration Balm” with my finger tips deep into the nooks and crannies of the rustications as well as the smooth surface and let it rest for a few minutes. With this, save for the final polish, the stummel repairs and refurbishing are now complete.It was now time for me to work on the stem. Using thin shank brushes and anti-oil dish washing soap, I cleaned the stem airway. I have modified this process of cleaning the stem airway by doing away with pipe cleaners and alcohol as it saves me a ton of pipe cleaners, which is a precious commodity for me here in India. I continued this cleaning till only white clean foam came out of the stem airway, indicating that the airway was nice and clean. I ran a couple of pipe cleaners dipped in alcohol through the airway to dry it out and make sure that there are no traces of soap and gunk hidden in the airway.Next, I progressed to wet sanding the entire stem surface with 800, 1000, 1500 and 2000 grit sand papers. I rubbed a small quantity of EVO into the stem surface and set it aside for the vulcanite to absorb and hydrate.To complete the restoration, I mounted a cotton cloth buffing wheel on to my hand-held rotary tool and polished the stem with Blue Diamond compound. This compound helps to remove the minor scratch marks that remain from the sanding. I followed the Blue Diamond polish 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 been transformed from being a write off to being one that is now ready to provide years of happy smokes to one of my club member who had commissioned this beauty! The Pipe Gods are being very kind to me now-a-days and pray that they continue to be so. Following are the pictures of the restored pipe. P.S. The last functional aspect which I addressed was to protect the repairs to the heel of the chamber. I mixed activated charcoal and yogourt to a consistency which allows for an easy and even spread and evenly applied it on the inner walls and heel of the chamber. This coating helps in preventing the epoxy at the heel of the chamber from coming into direct contact with the burning tobacco, a sort of insulation and assists in quicker formation of a cake. I set it aside to dry out naturally for a week before it makes its way to my friend. This was an interesting project that was labor intensive involving long man hours but equally satisfying one. I appreciate all esteemed readers who have dedicated their time in reading this article and thus joining me along on this journey of bring back pipes that are deemed to be lost case!

Reclaiming a Greaves Patent 2 Stubby Billiard Pipe

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Blog by Paresh Deshpande

This pipe was always being relegated down the line up for restorations because of its uncanny resemblance to a Peterson’s pipe and having worked on quite a few challenging Peterson’s, I just wanted to take a break from another Peterson’s. However, the shape, size and the overall quality of this piece was undeniably attractive.

Thus, this time around when I closely observed the stamping, it turned out to be stamped across the shank on the left side as “GREAVES” over “PATENT” followed by encircled numeral 2. The right side bears the COM stamp “MADE” over “IN” over “FRANCE” in a football shape. The vulcanite stem is stamped as “GREAVES” over “PATENT”. A silver band adorns the shank end and is stamped as “S.S.G” over “E.G” followed by three faux hallmarks. I say faux hallmarks since firstly; all the cartouches differ from other and secondly, the symbols, or those that are discernible, are nothing to match the lion passant or the date code letter or the Assay office. This brand/ manufacturer is unknown to me and thus I visited pipedia.org. The information provided therein is very meagre (https://pipedia.org/wiki/Greaves) and is reproduced below:

Greaves was one of many brands owned by the Oppenheimer Pipe group, apparently made in France, likely by Marechal Ruchon & Cie. as evidenced in the following catalog page from a Circa 1950s Oppenheimer Pipes Catalog. Unfortunately, for the info of readers, this link has expired and does not work.

I have also reproduced a couple of pictures of c.1950s Oppenheimer pipe catalog from this site.I visited pipephil.eu for some additional information on this brand. Here I learned that the Greaves stem differs from the Peterson P-Lip in that the hole is drilled straight in to the bit in Greaves stem and the smoke is not deflected towards the palate as in P-lip. I have included a screen shot of the same along with the link below. http://www.pipephil.eu/logos/en/logo-g5.htmlGreaves is a brand of Marechal Ruchon (which became C.G. Verguet Frères). These companies belonged to Oppenheimer Holding.

I further searched the internet for additional information and came up naught. There were a few pictures, some with ferrule and some without. However, those with ferrule all were stamped as GREAVES over PATENT in football shape. Here are a few pictures for your consumption.Thus from the above it is understood that this was one of the French brands, likely from Marechal Ruchon & Cie. in the Oppenheimer holdings and find mention in 1950s catalog. However, the question that still haunts me is the difference in the ferrule stampings and makes me question if the band is original to the pipe or otherwise and for what purpose. It definitely is not a repair band as the shank face shows no signs of cracked shank end and the only plausible reason is decorative purpose! Any clarifications on this issue would be most welcome.

Initial Inspection
This Greaves Patent pipe has a classic chubby Billiard shape. It is a small sized pipe, about 5 inches in length, but the stout shank, bowl and stem lends it an overall attractiveness and hand feel. The rim top is covered in lava overflow while the chamber has a medium layer of uneven cake. The chamber appears to be out of round due to the thinning of the inner rim edge in the 12 ‘O’clock direction. The stummel surface is covered in dirt and grime through which beautiful flame grains are seen that radiate from the front of the bowl to the sides. The front of the bowl has a chipped area that will need to be filled. The mortise is clogged and the airflow through it is greatly restricted. The P-lip tapered vulcanite stem is oxidized with minor bite marks/ tooth indentations and traces of calcification in the bite zone. The stem does not fit snugly in to the mortise. The following pictures should give the readers a general idea of the condition of the pipe before I start working on it. Detailed Visual Inspection
The chamber has a decent layer of uneven cake and has a strong residual pungent smell of Latakia forward blend of tobacco. There is thick overflow of tobacco oils, ash and grime over the rim top surface that spills over to the sides of the bowl. The condition of the outer rim edge can be ascertained only after the rim surface is rid of complete lava overflow. However, that the inner rim edge has damage is visible through the grime. The rim surface has thinned out (encircled in yellow) in 12 and 3 o’clock due to removal of charred edge by the erstwhile individual who held the pipe in his/ her trust. Any other issues with the inner rim edge will be known after the rim top surface has been cleaned. The draught hole is at the bottom centre of the chamber and thus should be a decent smoker.The smooth stummel surface has some very beautiful cross grain patterns on the sides with loosely packed bird’s eye grain to the front and back. The stummel has taken on a lovely dark patina from years of usage. The lava overflow from the chamber has spilled over on to the sides of the stummel and has accumulated a lot of grime and dust imparting the stummel a lifeless and bone dry appearance. The front of the stummel has a prominent chip from where a chunk of briar is missing (encircled in pastel blue). There are a few minor scratches and dings over the bowl surface commensurate to the pipe’s journey to date. The stem is very firmly attached in to mortise and would not budge. I shall initiate measures to separate the two subsequently. The P-lip like stubby tapered vulcanite stem is deeply oxidized and covered in dirt and grime. A few deep tooth chatter and tooth indentations are seen on both the upper and lower stem surfaces in the bite zone and the lower button edge has been chewed off. The tenon of the stem is firmly stuck in to the mortise and its condition will be ascertained once the two are separated. The airflow through the airway is laboured and not smooth.The Process
The first issue that I addressed was to separate the stem from the shank. I dribbled a few drops of alcohol through the gap between the stem and shank with an eyedropper with the intent that the alcohol would moisten and loosen the gunk holding the tenon and set it aside for a few minutes. Thereafter, I gently twisted the stem the stem in order to pull the stem out. However the stem did not budge. I repeated the process of moistening the gunk holding the tenon in to the mortise using alcohol. After repeating the process a couple of times, I was finally able to separate the stem from the shank. A close observation of the mortise revealed a completely clogged mortise and an equally gunk and crud encrusted tenon end. It appears that the mortise and stem has never ever been cleaned.With the stem now separated from the shank, I cleaned the stem airway and surface using thin shank brushes and anti oil dish washing soap. I dried the stem airway by blowing out excess water and thereafter running a couple of pipe cleaners through the airway. Once the stem internals had been cleaned, I immersed it in “Before and After Deoxidizer” solution along with the stem of other pipes in line for restoration. This solution has been developed by Mark Hoover and works to draw out all the deep seated oxidation from the surface making its subsequent cleaning and polishing a breeze. I would definitely recommend this product as it saves on to time and efforts. The pipe has been marked with a yellow arrow for easy identification.While the stem was soaking in the deoxidizer solution, I worked on the stummel by reaming the chamber walls with my fabricated knife to remove the carbon deposits. Once the cake was reamed back to the bare briar, I used a 150 grit sand paper followed by 220 grit sand paper to remove all the traces of the remaining cake and also to smooth out the inner walls of the chamber surface. Finally, to remove the residual carbon dust, I wiped the chamber with a cotton pad wetted with 99.9% pure isopropyl alcohol. I gently scraped the rim top surface to remove the lava overflow. This was followed by cleaning the mortise with cue tips, pipe cleaners and a shank brush dipped in isopropyl alcohol. I scraped the walls of the mortise with my fabricated knife to remove the dried oils and tars. The heap of gunk scraped out from the mortise walls tells the sordid saga of the condition of the shank internals. Well, the shank internals are clean and will be further cleaned once the stummel exterior is cleaned using oil soap and shank brushes. However, the odours are still very strong and would need more intrusive methods of cleaning.Continuing with the internal cleaning of the chamber and shank, I subjected it to a salt and alcohol bath. I used cotton balls which is an at par substitute to kosher salt as I have realized over the years. I drew out a wick from the cotton and along with a folded regular pipe cleaner; inserted it into the mortise and through the draught hole and further into the chamber. Thereafter, I packed the chamber with cotton balls to about quarter of an inch below the rim inner edge and soaked the cotton balls with isopropyl alcohol up to the brim. About half an hour later, the level of alcohol had gone down, having being absorbed by the cotton. I topped it up once again and set it aside overnight. By next afternoon, the cotton and alcohol had drawn out all the remaining oils/ tars from the chamber and mortise and loosened out any residual cake and tar build up, fulfilling its intended task. I removed the cotton balls and ran pipe cleaners through the mortise to clean out all the loosened tars and gunk. Using my fabricated tool, I scraped out the entire loosed gunk from the mortise and further cleaned it with alcohol and q-tips. I also scraped the moist cake from the chamber using my knife and sanding it smooth with 180 grit sandpaper. The chamber now smelled clean and fresh and the tiny veins observed in the chamber were eliminated. I set the stummel to dry out naturally.As I was cleaning the shank internals, the metal band came loose from the shank end. Careful inspection of the now exposed shank end confirmed that the surface is sans any cracks or chips. I kept the band aside to be worked upon later.

The next morning, I removed the stems that had been soaking in the deoxidizer solution overnight. I cleaned the stem surface and airway under running warm water and scrubbed the raised oxidation from the stem surface using a Scotch Brite pad and the airway with thin shank brush. I further removed the oxidation by scrubbing the stem with 0000 grade steel wool and applied a little olive oil to rehydrate the stem.While the stem was set aside to rehydrate and absorb the EVO, I cleaned the external surface of the stummel with Murphy’s Oil Soap. I scrubbed the stummel surface with anti oil dish washing detergent using a Scotch Brite pad and a hard bristle toothbrush under warm running water, always being mindful of the stamping on the shank surface. I paid particular attention to the rim top surface to rid the rim of all the residual crud and lighten the darkening around the rim surface. Thereafter, I dried the stummel using paper towels and a soft cotton cloth and set it aside to dry out naturally. The extent of the gouge is now easily discernible and is encircled in blue. This will need to be addressed. I followed up the external cleaning of the stummel with internal cleaning of the mortise and shank using anti oil soap and shank brushes. The shank internals are now clean and fresh.Continuing with the stem refurbishing, I heated the bite zone with the flame of a lighter to raise the tooth indentations to the surface. Though the results were not what were expected, the vulcanite was raised a little leaving behind two visible tooth compressions on either surfaces. The button edges and deeper tooth indentations on either surfaces of the stem were filled with a mix of CA Gorilla superglue and activated charcoal powder and set aside for the fill to cure.With the stem repairs set aside, I addressed the rim top darkening and unevenness by topping the surface on a piece of 220 grit sandpaper. I frequently checked the progress being made as I hate to lose briar more than what is absolutely necessary. The chamber now appears more out of round than before and would be addressed by creating a bevel over the inner rim edge. With a folded piece of 220 grit sandpaper pinched between my forefinger and thumb, I imparted a nice bevel to the inner rim edge. This masked the out of round appearance of the chamber and also eliminated the minor charring over the edges. I evened out the outer rim edge n the same way. The rim top surface now has a nice rounded appearance with even rim edges.Next, I filled the deep gouge to the front of the stummel with a mix of briar dust and superglue. This mix hardens very rapidly and invariably reveals air pockets when sanded. To mitigate this, one has to re-patch the fill and this is exactly what I followed. Using a flat needle file, I sanded the patch to achieve a rough match of the fill with the rest of the stummel surface. I further evened out the patch with a folded piece of 220 grit sandpaper. I am quite satisfied with the appearance of the stummel surface at this point in restoration. Thereafter, I completed the polishing of the stummel by wet sanding the surface with 1500 to 12000 grit micromesh pads. I wiped the stummel with a moist cloth in between the pads to gauge the progress being made and massaged a small quantity of Before & After Restoration balm and set it aside for 10 minutes for the briar to rehydrate. Thereafter, I gave a rigorous hand rub using a microfiber cloth. The stummel now has a nice vibrant shine to it with the beautiful cross grains and bird’s eye grains resplendent in all their glory. I completed the mundane but equally important task of polishing the Sterling Silver filigree band. I used Colgate toothpowder to polish the band. The ultra fine powder was rubbed over the band and wiped it out. The polish completely removed the oxidation and gave a nice shine to the band which was further improved by polishing it with a jeweller’s cloth. Using CA superglue, I reattached the band at the shank end.Stummel repairs and refurbishing is now complete, save for the final polishing, I moved on to stem repairs. The stem had cured completely and began the stem refurbishing by first sanding the stem fills using a flat needle file to roughly match the rest of the stem surface. I masked the stem markings with a tape to preserve them as it was already worn out and avoid further wearing down during the polishing process. Thereafter I sand the fill with a piece of 320 grit sandpaper to blend in the repairs. I also lightly sand the entire stem surface to remove the raised oxidation from the surface.I followed it up by wet sanding the entire stem surface using 400, 600, 800, 1000, 1500 and finally with a piece of 2000 grit sand paper. This serves to reduce the sanding marks of the more abrasive sand papers. I also sharpened the button edges while sanding. I wiped the stem with a moist cotton swab to remove all the oxidation and sanding dust from the surface. I applied a little Extra Virgin Olive oil over the stem and set it aside to be absorbed by the vulcanite.I went through the 1500 to 12000 grit micromesh pads to wet and dry sand the stem. The stem now has a nice deep shine with no traces of oxidation around the entire stem surface. To apply the finishing touches, I mounted a cotton cloth buffing wheel on to my hand held rotary tool and applied a coat of Blue Diamond to the stummel and the stem to polish out the minor scratches. With a cotton buffing wheel that I use for carnauba wax, I applied a coat of carnauba wax and continued to work on it till the complete coat of wax had been polished out. I mounted a clean cotton cloth buffing wheel and gave the entire pipe a once over buff. I finished the restoration by giving the entire pipe a rigorous hand buffing using a microfiber cloth to raise the shine further. The finished pipe looks beautiful and is ready to be added to my collection of inherited pipes. I thoroughly enjoyed working on this project and seeing the pipe transforming itself in to a beautiful piece. However, the research on this particular pipe has highlighted more questions than answers. I would appreciate if the knowledgeable readers could clear the cobwebs of questions surrounding the provenance of this beauty. Thank you for reading through this write up and also in anticipation for the input on this particular piece.

 

Transforming an Old, Battered and Abused Brigham #417 Four Dot

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Blog by Paresh Deshpande

This pipe has been in my possession for so long that details of how, when and where of this pipe have faded away from my memory. However, years after procrastinating on the restoration of this pipe, it’s finally on my work table.

This is a partially rusticated straight Rhodesian with smooth side panels and a smooth shank bottom that bears the stampings of this pipe. The rustications are worn down and at some places the rustications have completely smoothed out, signifying that it had been in regular use of the previous pipe man/ woman and has been extensively used. Though the stampings are quite worn, they are easily discernible under bright light and magnification. It is stamped towards the shank end as “BRIGHAM” in script at an upwards angle moving from left to right over “CANADA” in straight capital letters. Towards the bowl end, faint shape code # “417” can be seen. The left of the stem towards the tenon end and shrouded beneath all the oxidation and grime, four dots arranged in a diamond shape are visible. I have a post-patent era (1956- 1969) Brigham that I had got from Steve and had read through the entire write up. It provided a deep insight in to the genesis, history and the dating of Brigham pipes. Here is the link to the write up and is highly recommended read.

https://rebornpipes.com/2019/01/13/restoring-pipe-16-from-bob-kerrs-estate-a-brigham-3-dot-canadian-691/

Next to ascertain the date and significance of the dots, I visited pipedia.org and went through the complete article written by well known to me pipe restorer, researcher and author of an authoritative book on Brigham pipes, Charles Lemon of Dad’s Pipe. I have reproduced an extract of relevant information related to the pipe that I am working on.

 “I have dubbed the decades between 1980 and 2000 the Late Canadian Era, a period that saw several changes at Brigham that are of note to the collector. First, the traditional 8-grade pinning system (the famous Brigham “Dots” which denoted the quality of the pipe) was changed to a 7-grade system to simplify pinning (more on this below), and the Norsemen and Valhalla series were merged to form the President Series, which represented the very finest pipes coming out of the Toronto factory. Early pipes from this era (left, below) are stamped with a shape number and “Brigham” over “Canada”; later pipes (late 1980s+, on right below) are stamped simply with a shape number and the Brigham logo.”

The Original Brigham Dot System 1938 – 1980
Brigham pipes are reknown in the pipe world for their famous “Brigham Dots”, a system of brass pins inset in the stem to denote the grade of each pipe. The original 8-grade pinning system, used for 42 years between 1938 and 1978 (spanning the Patent, Post-Patent and Canadian Eras) looked like this:The pipe on my work table, thus, is from the early 1980s and a “Director” grade Brigham.

With the provenance of the pipe now established, it was time to move ahead with the initial/ detailed inspection and restoration.

Initial Inspection
The pipe, as it sits on my work table, does not present a very promising picture. However, having worked on a couple of hundred pipes, some in much worse condition that this one, I am sure with some TLC and repairs, the beauty of this pipe can be restored to its former glory. The smooth rim top shows damages consistent with having been knocked against hard edges and is covered with overflowing lava. The partially rusticated stummel surface is covered in dirt and grime giving the surface a dull and lacklustre appearance. The rustications are worn down at places to nearly a smooth surface. The vulcanite stem is deeply oxidized and is missing a chunk of vulcanite from the bite zone on the lower surface. The seating of the stem in to the mortise is loose. The following pictures will give you a clear idea to the condition of the pipe as I start the restoration work. Detailed Inspection
The stummel is smooth towards the tapered upper ½ inch and extends over the rim top surface. The rim top surface is uneven, a result of being knocked against a hard edge of a table. I suspect that this damage is more severe on the left side between 6 and 9 o’ clock direction (encircled in green). The cake is thick and hard and overflowing over the rim top surface. It is also observed that the cake is thicker towards the upper half of the chamber and has a strong sweet molasses like smell permeating from the pipe. The condition of the chamber walls is hidden beneath the thick cake and will be ascertained only after the cake has been taken down to the bare briar. However, after careful external examination of the surface, I am confident that there is no damage to the chamber walls as the stummel surface is hard and solid all around.The partially rusticated stummel surface is covered in dirt, dust and grime giving the surface a dull, dirty and lifeless appearance. The nooks and crannies of the rustications shows accumulated oils, tars and dust that have darkened over time. There are flecks of white paint embedded within these crevices of the rustications. These rustications have worn down significantly and have smoothed out at many places. The stummel surface is solid to the touch signifying less likelihood of any chamber damage. The stummel has taken on a nice dark patina from 40 years of heavy usage and I would like to preserve it through all the cleaning and polishing. The mortise is relatively clean as expected since the long metallic tenon housing the trademark maple wood filter sits close to the mortise face. The vulcanite stem is deeply oxidized and appears dirty green. The lower surface of the stem has a large chunk of vulcanite missing from the bite zone, including the button. The four brass dots are covered in oxidation and would need to be cleaned and polished. Once the stem has been cleaned and polished, these brass dots will add an element of dazzle to the entire pipe. The long aluminum tenon which houses the Brigham trademarked Maple wood filter is covered in dried oils and tars. The filter is completely stuck in to the tenon and wouldn’t budge and the sweet smell too is very strong.The Process
The first issue that I tackled was that to separate the maple filter from the aluminum tube tenon. I chucked the stem in to the freezer for a couple of hours. Thereafter, I gently and lightly heated the tenon with a Bic lighter. This loosened the oils and tars and gunk that held the filter in to the tenon. Using a pair of nose pliers, I gently pulled out the maple wood filter. The following pictures will give you an idea as to how filthy and dirty the filter was and made me ask myself whether the filter was ever replaced/ cleaned.In preparation for immersing the stem in to the oxidation remover solution, I cleaned out the aluminum tenon and stem airway using dish washing soap and shank brushes. I further cleaned the stem airway using hard and regular pipe cleaners and alcohol. The stem internals are now clean and ready for further processes.I immersed it in “Before and After Deoxidizer” solution along with the stems of other pipes in line for restoration. This solution works to draw out all the deep seated oxidation from the surface making its subsequent cleaning and polishing a breeze. I would definitely recommend this product as it saves on to time and efforts. The pipe has been marked with a blue arrow for easy identification. At this stage, I called it a day as it was well past midnight.The next afternoon, I removed the stems that had been soaking in the deoxidizer solution overnight. I cleaned the stem and the stem airway under running warm water and scrubbed the raised oxidation from the stem surface using a Scotch Brite pad and the airway with thin shank brush. I further removed the oxidation by scrubbing the stem with 0000 grade steel wool and applied a little olive oil to rehydrate the stem. I used the steel wool to clean the aluminum tenon and it did make a world of difference to the appearance of the tenon.Continuing with the stem repair, I inserted a triangulated index card covered in transparent tape in to the slot. The tape prevents the mix of superglue and charcoal from sticking to the index card. I mixed superglue and activated charcoal powder and generously applied it over the bite zone, including over the buttons and set it aside for the fill to cure.Once the repairs had hardened, I shaped the button and the bite zone using a flat needle file. I roughly matched the freshly shaped surface with the rest of the stem by sanding the patch with a folded piece of 220 grit sand paper. At this stage, I noticed air pockets in the patch on the upper surface of the stem (encircled in red) and also the horizontal slot needed a rebuild. I mixed a fresh batch of activated charcoal and superglue and rebuilt the entire bite zone on the upper surface and also the horizontal slot. I set the stem aside for the fills to cure. While the stem repairs were set aside to cure, I moved on to reaming the chamber with my PipNet pipe reamer. I started the reaming process with head size 1 of the PipNet reamer blade and progressed through to head size 2. I used my fabricated knife to remove cake from areas inaccessible to the reamer blades and completed the process of removing the cake by sanding the walls smooth with a folded piece of 180 grit sandpaper. I wiped the chamber with a cotton swab wetted with alcohol to clean the residual carbon dust. The chamber walls are solid and the hard layer of cake had worked well to protect the chamber walls.Next, I cleaned the mortise by scraping out all the dried oils and tars from the walls with a dental tool. I further cleaned the mortise using bristled and regular pipe cleaners dipped in alcohol. Continuing with the internal cleaning of the chamber and mortise, I subjected it to a salt and alcohol bath. I used cotton balls which is an at par substitute as I have realized over the years. I drew out a wick from the cotton and along with a folded regular pipe cleaner; inserted it into the mortise and through the draught hole and further into the chamber. Thereafter, I packed the chamber with cotton balls to about quarter of an inch below the rim inner edge and soaked the cotton balls with isopropyl alcohol up to the brim. About half an hour later, the level of alcohol had gone down, having being absorbed by the cotton. I topped it up once again and set it aside overnight. By next afternoon, the cotton and alcohol had drawn out all the remaining oils/ tars from the chamber and mortise and loosened out any residual cake and tar build up, fulfilling it’s intended task. I removed the cotton balls and ran pipe cleaners through the mortise to clean out all the loosened tars and gunk. Using my fabricated tool, I scraped out the entire loosed gunk from the mortise and further cleaned it with alcohol and q-tips. The large blobs of now moistened gunk that was removed from the mortise should give the readers an idea of how filthy the mortise was when I started the process of cleaning. The chamber now smells clean and fresh. I cleaned the external surface of the stummel with undiluted Murphy’s oil soap and a hard bristled toothbrush. I cleaned the smooth rim top surface with the soap and Scotch Brite pad. I scrubbed the rim top surface with a wire brush to remove the lava overflow and followed it up with a scrub using Scotch Brite pad. The stummel was dried using paper towels and soft cotton cloth. The clean rim top presents charred surface between 6 and 9 o’clock and in 12 o’clock direction (encircled in yellow) and also a couple of dents with thinning of the rim (encircled in red). I simultaneously cleaned the mortise with dish washing soap and shank brushes till all the loosened oils, tars and gunk, a result of the salt and alcohol bath, were completely removed. I dried the shank internals using paper towels and pipe cleaners.The external cleaning had revealed all the issues to the stummel surface that needed to be addressed and I decided to tackle the darkening and dents/ dings to the rim top surface. To address the rim top damage, I topped the rim top on 220 grit sandpaper till the surface was nice and even. I hate losing any briar and restrict it to the barest minimum that is required. The damage to the inner rim edge, though greatly eliminated, can still be seen to the back and left side of the rim edge (encircled in green) and the chamber too appeared to be out of round. These issues would be addressed next. To get the chamber back to round and address the still visible chipped surfaces over the inner rim edge, I created a bevel over the inner and outer edge with a folded piece of 220 grit sand paper. I am pretty pleased with the progress being made thus far. Next, I subjected the smooth surfaces over the stummel to a complete cycle of micromesh polish, wet sanding with 1500 to 12000 grit pads. I wiped the stummel with a moist cloth after every grit pad to remove the sanding dust left behind by the pads. This also helps in monitoring the progress being made and ensures early corrective action. I am happy with the progress being made until now. I massaged a small quantity of “Before and After Restoration Balm” into the briar surface with my finger tips and worked it deep into the surface and let it rest for a few minutes. The balm almost immediately works it’s magic and the briar now has a nice vibrant appearance with the beautiful bird’s eyes and cross grain patterns on full display. Now that the stummel repairs are completed, I turned my attention back to the stem repairs. The second attempt fills were well cured and I moved ahead with the process of filing and shaping the button end with a flat head needle file. With a flat needle file, I reshaped the horizontal slot end. For a better blending, I further sanded the entire stem with a folded piece of 220 grit sandpaper. The few minor air pockets that are visible will be completely eliminated as I progress with the sanding and polishing process. I continued to work on the stem and progressed to wet sanding the entire stem with a folded piece of 320 followed by 600, 800, 1000, 1500 and 2000 grit sand papers. Thereafter, I polished the stem by dry sanding the stem with 3200 to 12000 grit micromesh pads. I strictly avoided running the lower grit sand papers over the four brass dots, polishing them with 6000 to 12000 grit micromesh pads. I rubbed a small quantity of EVO into the stem surface and set it aside for the vulcanite to absorb and hydrate. Before moving on to final polishing of the entire pipe using polishing compounds, there was one aspect, though not critical, but important and that was to clean the gaps between the two rings separating the cap from the rest of the stummel. I used a sharp dental tool to clear out all the debris that had lodged between the rings.To complete the restoration, I mounted a cotton cloth buffing wheel on to my hand held rotary tool and polished the stummel and stem with Blue Diamond compound. This compound helps to remove the minor scratch marks that remain from the sanding. I wiped/ buffed the pipe with a soft cotton cloth to clear it of any leftover compound dust. With a cotton buffing wheel that I use for carnauba wax, I apply a coat of carnauba wax and continue to work on it till the complete coat of wax had been polished out. I mount a clean cotton cloth buffing wheel and give the entire pipe a once over buff. I finished the restoration by giving the entire pipe a rigorous hand buffing using a microfiber cloth to raise the shine further. The finished pipe looks beautiful and is ready to join my other Brigham that I had received from Steve. Looking forward to enjoying my leisure time with this beautiful and gorgeous looking pipe, smoking my favorite tobacco!! P.S.: No Brigham pipe is complete without it’s trademark Maple wood filter. I replaced the old and clogged filter with a fresh filter and now it’s truly ready to deliver it’s unique smoking experience that I have come to appreciate after smoking the one in my collection. I storngly recommend that every pipe smoker must experience the pleasures of smoking a Brigham pipe at least once.

Refurbishing a C.G.F Majestic Bruyere

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Blog by Paresh Deshpande

The next pipe that I chose to work on is a pipe from the lot of 50 odd pipes that Abha, my wife, had cleaned up for me way back in early 2018.

It’s a beautiful Dublin shaped pipe with an oval shank and a short saddle stem. The pipe has rustications that are somewhat similar to the micro rustications seen on BRAKNER pipes, but not as fine, much more widely spaced and uneven in orientation. It is stamped on the upper flat surface of the oval shank as “MAJESTIC” over “BRUYERE”. The oval upper stem surface bears the letters “C.G.F” in a rhombus.I had never worked on this and of pipe before and was keen to understand more of this brand. My first visit to unearth the mystery of this pipe to pipephil.eu and pipedia.org did not yield the answers that I was looking for except on pipedia.org which had few pictures under the name MAJESTIC; one picture was that of C.G.F PARIS and another one was that of A. Pandevant & Roy. Given below is the link to the webpage.

https://pipedia.org/wiki/File:2070-01.jpg

The name A. Pandevant & Roy immediately brought back recollection of the research that my friend Dal Stanton aka The Pipe Steward had done on this pipe maker way back in 2019. It makes for a very informed read and his research of this brand has been included in pipedia.org, a remarkable and praise worthy achievement for sure. I implore readers to read through this research, the link to which is given below.

https://rebornpipes.com/2019/02/22/discovering-the-history-with-the-reclamation-of-this-petite-epc-majestic-bent-horn-stem-billiard/

I have reproduced excerpts from the write up as condensed on pipedia.org (https://pipedia.org/wiki/A._Pandevant_%26_Roy_Co.)

  1. Pandevant & Roy Co. of Paris had its beginning in 1884 and disappeared with the commencement of WWII in the late 30s or early 40s. “E.P.C.”, “La Savoyarde”, “MAJESTIC”, “La Parisienne” and “E.P.” were registered trademarks of the company.

Note: The follow example and the information for this article is courtesy of Dal Stanton, The Pipe Steward

Thus, from the above information, it is evident that the pipe currently on my work table is from the stables of A. Pandevant & Roy Co. and definitely pre dates to early 1940s when the company became one of the many victims of World War II.

Initial Visual Inspection
As expected, my wife had not taken any “Before” pictures of the pipe prior to working her magic on this pipe and here I am talking about the year 2018 and even today she conveniently forgets to take pictures of the pipes that she works on initial cleaning. However, she did enclose a note with each pipe giving out the issues that need to b addressed and the note with this pipe pointed out to a through hole in the stem’s bite zone.

Initial Cleaning By Abha…
The initial cleaning on this pipe was done by Abha, my wife (she has cleaned up around 40-50 pipes and these have now reached me for further restoration). She reamed out the complete cake and further smoothened out the chamber walls with a folded piece of 220 grit sand paper. She further cleaned out the internals of the shank with pipe cleaners and alcohol and cotton buds. She followed the internal cleaning of the shank with external cleaning of the stummel using Murphy’s Oil soap and hard bristled tooth brush and dried it with paper napkins and cotton cloth.

Next she cleaned out the internals of the stem air way and immersed it in “Before and After Deoxidizer” solution along with the stem of other pipes in line for restoration. Once the stem had soaked overnight, she cleaned the stem under running warm water and scrubbed the raised oxidation from the stem surface using scotch brite pad. She further removed the oxidation by scrubbing the stem with 0000 grade steel wool and applied a little olive oil to rehydrate the stem.

Once The Pipe Is On My Work Table…
The overall condition of the pipe is very encouraging without any major damage to the stummel. The only damage visible is on the stem where a chunk of button along with a portion of the bite zone is missing. The stummel surface appears dull and lifeless. Here are a few pictures of the pipe as it sits on the work table. Detailed Inspection
The chamber walls are nice clean and fresh. There are no ghost smells and the rusticated rim top surface is clean and undamaged.The rusticated stummel surface is without any fills or dents or dings. The only issue that I see is the dull and dry appearance of the stummel. This stummel will turn out beautiful and the rustications will stand out once I have polished the surface. The mortise and shank internals are nice and clean. The vulcanite saddle stem on this pipe is where there is max damage and would take a considerable time and work to repair. To start with, the step tenon end has a chunk of vulcanite missing (encircled in green) and would need to be rebuilt. The lip on the upper stem surface has deep tooth indentation (encircled in red) while the bite zone of the lower surface has been completely chewed off and there is no button/ lip (encircled in red). These issues would need to be addressed. The stem stamping is slightly worn out with the letter C being more worn out than the other letters.The Process
I started the process of restoration of this pipe by cleaning the internal and external surfaces of the stem even though Abha had cleaned them earlier as the pipe had been lying around for more than five years! Using anti oil dish washing soap, I cleaned the external surface with a Scotch Brite followed by 0000 grade steel wool. The stem airway was cleaned using the soap and thin shank brush.Continuing with the stem repair, I inserted a triangulated index card covered in transparent tape in to the slot. The tape prevents the mix of superglue and charcoal from sticking to the index card. I mixed superglue and activated charcoal powder and generously applied it over the bite zone, including over the buttons, on either surfaces of the stem and set it aside to cure. I shall rebuild the step end of the tenon once these fills are cured and completely hardened.While the stem repairs were set aside to harden, I decided to freshen up the already clean stummel surface. To enliven the briar wood, I rubbed a little quantity of “Before and After” balm in to stummel surface and set it aside for 20 minutes for the balm to be absorbed in to the briar. Thereafter I hand buffed it with a microfiber to deepen the shine. The stummel looks nice and vibrant. While I revitalized the stummel surface, the stem repairs had cured sufficiently to allow me to work on rebuilding the broken step tenon end. I tightly wound a transparent tape around the tapered end of a pipe cleaner and inserted it in to the airway from the tenon end. The rounded pipe cleaner will help in achieving a better thickness and shape profile of the tenon end while the triangular shaped index card that I used for the slot helped in achieving the desired V shape and horizontal thickness of the slot. Using a mix of CA superglue and food grade activated charcoal powder, I rebuilt the tenon end. I made sure that the fill is in excess of the requirement as that would provide me with more material to work on and shape the tenon end. I set the stem aside for the fills to cure overnight. By next afternoon, the stem and tenon rebuild patches had cured perfectly and was fit to work on. I moved ahead with the process of filing and shaping the button end with a flat head needle file. For a better blending, I further sanded the entire stem with 320. I used a folded piece of 320 grit sand paper to sand the tenon end patch and achieve an even match with the rest of the tenon surface. I shaped the opening of the rebuilt tenon for smooth and even airway surface using a round needle file and topped the tenon face on a piece of 220 girt sand paper to achieve a perfect seating of the step tenon into the mortise. I covered the slightly worn out stem stamp with a tape to protect it and wet sand the stem progressing through 400, 600, 800, 1000, 1500 and 2000 grit sand paper. I wiped the stem after each grade of sandpaper to view the progress being made and also identify areas on the stem surface that were still covered with traces of oxidation. I wiped the stem with EVO at the end of 2000 grit sanding and set the stem aside.I followed it up with dry sanding the entire stem using 3200 to 12000 grit micromesh pads to completely smooth out the surface and bring out the deep black shine of the vulcanite.

I have reached the stage in this project which can be considered as the home run. I polished the entire stem with blue diamond using a cotton wheel mounted on to my hand held rotary tool. The blue diamond compound helps to eliminate the minor scratches that remain after the use of micromesh pads. I completed this project by hand polishing the stummel with Halcyon II wax. I rubbed this polish deep into the rustications and after a couple of minutes, vigorously hand buffed the stummel with a microfiber cloth to a deep shine. I polished the stem with carnauba wax using my hand held rotary tool. This is a gorgeous looking pipe and I consider myself fortunate to have the opportunity to work on this beauty and it is ready for the next pipeman or pipewoman who wish to carry forward the trust in this pipe till it is time to pass it on to others. If this pipe calls out to you or to someone that yo care for, please feel free to either get in touch with Steve or send me a mail on deshpandeparesh@yahoo.co.in.  Here are a few pictures of the completed pipe for you to appreciate while I take the opportunity to thank you each of you for sparing your valuable time in joining me on this journey.

A Touch of TLC to Resurrect a Luigi Viprati 5* Grade Volcano

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Blog by Paresh Deshpande

When I first laid my eyes on this pipe, I knew I had to have it. It was not the brand nor was it the shape and size that got me attracted, but it was the beautiful straight grains all around that caught my attention.

This is a beautiful volcano with perfectly straight grains all around and a flat bottom with some fantastic bird’s eye grains. This flat bottom extends to the lower shank surface and is adorned by; you guessed it right, bird’s eye grains. It is stamped on the left shank surface as “L. VIPRATI” in flourishing cursive hand over “HAND MADE ITALY”. The bottom flat surface of the shank bears five clover leaves, which I think is the grading for this pipe. The top surface of the black acrylic stem bears a fancy intertwined letters L and V in metal, most likely aluminum.Luigi Viprati is a brand that was completely unknown to me until the moment I laid my eyes on this handsome hunk and thus I set about to know more about the brand and it’s carver. Reborn pipes is usually the first place where I hunt for information on all things related to pipe brands and apparently, this may be the first Luigi Viprati pipe to feature on Reborn pipes. The next site I visit for pipe related information is pipedia.org and sure enough there was information on the brand. Given below is the link to the Viprati page on the site and snippets of information reproduced for quick reference.

https://pipedia.org/wiki/Viprati

Though we are accustomed, in Italy, to the quality of design and have always abounded in beautiful and bizarre models of pipes, the creations of Luigi Viprati strikes our eyes. And … think that he is a self-taught.

As a pipe smoker, he began to realize pipes during the free time since the 1972, either for himself than his friends. But his hobby has been stronger and stronger during the years so to become his real job. From then on, his pipes, that in the upper quality have a perfect veining of pellet or flame, are really required. Viprati offers numerous series; one of them the “”Collection Special”” is decorated with silver ornaments applied on the blowpipe and on the head: they are really works of art.

HANDMADE PIPES, HOW IS BORN MY PASSION FOR THE PIPE?

“If you can’t be a highway, then just be a trail,
If you can’t be the sun, be a star; It isn’t the size that you win or you fail… Be the best of whatever you are.” Martin Luther King

When a passion catches you when you are young, you will be fascinated by it for your whole life. It all began in 1972, during my military service, when I bought a briar root and I carved a pipe just for fun. This is how a long life passion was born. In the following years, I became more and more expert on briar wood, delving into the ancient culture of pipes. In 1984, I started to sign my pipes with the brand “La Pipa di Viprati” and soon after I met Alberto Paronelli, a well-known producer and founder of an important museum dedicated to the pipe. It was then that I clearly realized my purpose: creating high quality pipes. Now, after having created so many pipes which have made a lot of pipe smokers happy, the idea of this website has come into my mind, in order to show what my hands and my mind have been able to create in these forty years. Years dedicated to a unique and special object, a great companion of our life.

SALVADOR DALI COLLECTION

Each year, beginning in 2003, Luigi Viprati creates a new limited edition pipe for his Salvador Dali Collection, in homage to the great artist’s centenary. Each pipe in the series incorporates unique and distinctive characteristics seen in Dali’s paintings, as interpreted by Luigi. The pipes are numbered and available in smooth or sandblasted/rusticated finishes.

I think I have just added a pipe to my ever growing bucket list of desirable pipes! Continuing with further exploration on the carver to better I visited various sites and have reproduced relevant information below along with the source.

https://www.pipeshop-saintclaude.com/luigi-viprati-handmade-pipes-49

Pipes made by the Italian craftsman Luigi Viprati are all unique handmade creations. Luigi Viprati first worked with renowned Italian pipe makers for a number of years, before starting his own brand in 1984. He only uses briar from the Italian regions of Liguria, Tuscany and Calabria. Nowadays, thanks to the very high quality of his work, Luigi Viprati’s pipes are famous all around the world. His pipes are classified according to a 1-to-5 clover-scale.

https://www.bollitopipe.it/en/60-viprati

Luigi Viprati has built a justifiably powerful reputation for hand crafting some of the most breathtaking straight grains available anywhere. No one realizes this more than Viprati who has built strong personal relationships with the mills or “segerie” which supply his briar, and he visits them periodically to hand select each block of the extra-extra plateaux briar. Recently, Viprati lengthened his usual visit by accompanying the harvesting crew into the dry hills of Tuscany. There he saw how the briar is wrested from the earth, and the meticulous handling it goes through to ensure the smoking characteristics of fine briar.

https://www.tobaccoreviews.com/an-artists-soul-pipemaker-luigi-viprati/

Luigi Viprati says that he’s retired, but he has a damn funny sense of retirement. While he’s no longer putting in the daily grind of work each day to produce the 1,500 or so pipes he used to make each year, he’s still committing a good amount of his time inside his small workshop in Pontoglio, Italy, refining the art he loves most. Instead of donning his fishing cap or buying a set of golf clubs, Viprati is spending his “retirement” passionately pursuing and perfecting the craft for which he has become world-famous—and he is now aiming to produce just 100 pipes of his best quality each year. Anyone who has had the pleasure of meeting the Italian pipemaker, who is now in his mid-60s, wouldn’t expect anything less from him.

Great pipes cannot be created without excellent quality briar. Throughout the years, Viprati has placed such importance on obtaining the best briar available that he regularly went up into Italy’s forested mountains in Sicily, Calabria and Tuscany with the briar harvesters to be the first to pick through the harvest and select the best pieces for himself, including some of the largest briar roots cut from the earth. After selecting the briar boles he wished to purchase, he also discussed with the briar cutters how he wanted his briar to be cut into blocks, preferring larger ebauchons that routinely gave him more options when it came time to carve them into pipes. Once he had returned to his workshop with a ready supply of briar, Viprati always set aside the best in his inventory because he knew that it would be those briar blocks that would yield the super high-quality pipes he really wanted to make.

For most of the pipes he made throughout his career, Viprati typically used briar that had been aged between three and four years; for the highest quality lines—Straight Grain, Collection and Ciro’s Collection—the briar has been aged for at least seven years, and more often it has been aged for at least 10 years.

“A good pipemaker tries to follow the briar and understand the grain,” Viprati explains. “I start with an idea, and the briar tells me what it wants, and I adapt the idea. I use only Italian briar from Tuscany, Calabria and Sicily because Italian briar is the best. The most important thing is who cuts it—he has to be clever to cut it the right way. You can have the best piece of briar and cut it the wrong way, and then it is [crap].”

Having now armed myself with the information and a better and deeper appreciation of the art, skill, ethos and mindset of the carver, LUIGI VIPRATI, it’s time for me to move ahead with inspection of this pipe.

Initial Visual Inspection
There was a thick layer of hard and even cake in the chamber. There was no crud and gunk nor any signs of charring/ lighting marks over the rim top surface. The mortise was relatively clean. The stummel surface appears clean but the appearance was dull and lifeless. The acrylic stem was also very clean with some minor scratches and tooth chatter in the bite zone. All said and done, this pipe was very clean and would just require some cleaning and polishing to bring this pipe back to it’s former glory. The following pictures will give the readers a general idea about the condition of the pipe as it sat on the work table. Detailed Inspection
This pipe has a huge chamber and at 31/4 inches, is one of the larger ones in my collection. The chamber widens considerably at the heel of the bowl while being narrow at the mouth of the chamber. There is a thick layer of hard and even cake inside the bowl and more so towards the bottom of the chamber. There is no lava over flow on to the rim top surface and the inner and outer rim edges are in good condition. The chamber walls will be inspected for signs of damage like heat fissures, pits or burnouts after the cake has been completely eliminated and the bare briar is exposed. However, given the solid feel of the external stummel surface this seems unlikely. The ghost smells points towards Virginia tobacco that the previous custodian had likely smoked in this pipe. The stummel boasts of beautiful straight grains all around the surface and along the sides of the shank while fantastic bird’s eye grains adorns the foot of the stummel, top and bottom surfaces of the shank. It is evident that Luigi Viparti has let the grains of the wood dictate the shape of this pipe in consonance with his design philosophy. The dark stains of the grains contrasts with the lighter hues of the rest of the briar further accentuating the straight and bird’s eye grains. The stummel surface is very clean but dull and lackluster due to use and storage. There are a few very minor thin fills towards the aft of the bowl and can be identified by the pale putty (encircled in yellow) which can be seen in the following pictures. The mortise is also relatively clean. This pipe does seem to be well cared for and must have been a treasured pipe of the previous owner. The acrylic stem surface has a few scratches and minor tooth chatter in the bite zone on either surface. The tenon opening and the slot are clean without any accumulation of old oils and gunk.The Process
I started this project by running a pipe cleaner dipped in alcohol through the stem airway and was pleased to note that it came out perfectly clean. The previous steward had really looked after this pipe with great care.Next I addressed the minor scratches and tooth chatter in the bite zone by sanding the surface with a folded piece of 400 grit sandpaper. I ran the sandpaper along the button edges also to sharpen it a bit.The excitement of seeing a nicely polished and shining stummel with those exquisite straight and bird’s eye grains resplendent in all it’s glory made me decide to work on the stummel. The narrow mouth of the chamber with a slight broad heel of the stummel meant that use of my trusted PipNet reamer was ruled out. Thus, I reamed the chamber with my knife. Once the cake was taken down to the bare briar, I used a folded piece of 220 grit sandpaper to sand the chamber walls to remove residual cake and even out the wall surface. I wiped the chamber with a cotton swab wetted with alcohol to clean the carbon dust and expose the briar. There is a web of very thin minor heat veins toward the back and above the draught hole. Though not an immediate major concern, it needs to be addressed now to prevent any disasters in future. However, there was a spot on the right side of the chamber where the briar was slightly more charred (encircled in red). I cleaned out all the charred briar from that area and will address it towards the end. I believe that this damage to the inner walls of the chamber was caused by the use of a jet lighter to light the tobacco and hence must be avoided at all costs. This was followed by cleaning the mortise with pipe cleaners dipped in isopropyl alcohol. I scraped the walls of the mortise with my fabricated knife to remove the dried oils and tars. The old smells of the tobacco are still strong and would need more invasive methods to get rid of these odours.I continued the cleaning of the chamber and shank internals with a salt and alcohol bath. I used cotton balls which is an at par substitute as I have realized over the years. I drew out a wick from the cotton and along with a folded regular pipe cleaner; inserted it into the mortise and through the draught hole into the chamber. Thereafter, I packed the chamber with cotton balls to about quarter of an inch below the inner rim edge and soaked the cotton balls with isopropyl alcohol up to the brim. About half an hour later, the level of alcohol had gone down, having being absorbed by the cotton. I topped it up once again and set it aside overnight. By the next morning, the cotton and alcohol had drawn out all the remaining oils and tars from the chamber and mortise, fulfilling it’s intended task. I removed the cotton balls and ran pipe cleaners through the mortise to clean out all the loosened tars and gunk. The chamber now smells clean and fresh. I set the stummel aside to dry out naturally.With the bowl internals clean, I moved to clean the exterior of the stummel. I used a hard bristled tooth brush and wood cleaner soap to scrub the stummel and rim top. I washed the stummel under running warm water with anti oil dish washing detergent and Scotch Brit pad till the stummel surface was clean and dried it using paper towels and a soft cotton cloth. The stummel surface, including the rim top has cleaned up nicely with the beautiful grain patterns on full display. The three very small fills that I had noticed under magnification, are all solid and refreshing them is not required. I simultaneously cleaned the shank internals with the detergent and hard bristled shank brush and set the stummel aside to dry out naturally.While the stummel was set aside to dry, I decided to complete the preliminary polishing of the stem. I wet sanded the stem surface with 600, 800, 1000, 1500 and 2000 grit sandpapers. This progressive use of higher grit sandpapers helps to eliminate remaining oxidation and also eliminate the sanding marks left behind the lower grit sandpapers. I wiped the stem with a little EVO to hydrate and deepen the shine over the stem surface.I went through the 1500 to 12000 grit micromesh pads to wet sand the stem. The stem now has a nice deep shine with no traces of oxidation around the entire stem surface.Next, I polished the stummel with micromesh pads, wet sanding through 1500 to 12000 pads, wiping the surface with a soft cloth at the end of the micromesh cycle. The stummel looks amazing with a deep shine and beautiful grains popping over the stummel surface. I massaged a small quantity of “Before and After Restoration Balm” with my fingers into the briar. The immediate and incredible transformation that takes place is a worthy reward for all the efforts!!! I let the balm sit on the surface to be absorbed in to the briar for about 20 minutes. The bowl now looks fresh and attractive with the grains popping out any which way you look at the briar. I polished off the balm with a soft cloth to a lovely shine. To apply the finishing touches, I mounted a cotton cloth buffing wheel on to my hand held rotary tool and applied a coat of Blue Diamond to the stummel and the stem to polish out the minor scratches. This was followed up by polishing the entire pipe with a fresh cotton buffing wheel to remove any excess compound that is left behind. A wipe with a microfiber cloth and the pipe is ready for the next stage of polishing.With a cotton buffing wheel that I use for carnauba wax, I applied a coat of carnauba wax and continued to work on it till the complete coat of wax had been polished out. I mounted a clean cotton cloth buffing wheel and gave the entire pipe a once over buff. I finished the restoration by giving the entire pipe a rigorous hand buffing using a microfiber cloth to raise the shine further. The finished pipe looks beautiful and is ready to be added to my personal collection of pipes. There was only one more issue that needed to be addressed and one that could not be ignored, being a functional issue. Remember the charred spot on the walls of the chamber caused by a jet lighter and the thin web of heat lines? I addressed the former issue first. I decided to fill only the area from where I had removed the charred briar with layer of J B Weld. J B Weld is a two-part epoxy Cold Weld in two tubes; hardener and steel which are mixed in two equal parts (ratio of 1:1) with hardening time of 5-6 minutes and complete curing time of 6-8 hours. I poured the contents of the two tubes and mixed it well. I applied this mix, as evenly as possible, over the heat lines in the chamber wall surface. I worked fast to ensure an even coat before the weld could harden. I set the stummel aside for the application to harden and cure overnight.By the next afternoon, the J B Weld had cured and hardened considerably. With a folded piece of 150 grit sandpaper, I sanded the filled JB Weld from the area till all that remained was a smooth surface with the weld deeply embedded into the heat lines and protecting the briar from further damage.Next, to prevent the walls from coming in to direct contact with the burning tobacco, I mixed activated charcoal and plain yogurt to a thicker consistency, just enough that it would spread easily and applied it evenly all along the chamber walls after inserting a folded pipe cleaner through the draught hole to keep it open. Once dry and set, this will not only protect the walls but also aid in faster build up of cake. This also addressed the minor thin web of heat lines noticed above the draught hole. I set the stummel aside for 2-3 days for the pipe mud to dry out completely. I wish to thank each one for sparing their valuable time to read through this write up and each one is always in my prayers.

Refurbishing an Ultra Lightweight Amphora X-Tra #728 Tall Pixaxe

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Blog by Paresh Deshpande

The pipe currently on my work table came to me in the year 2018 from eBay. It’s a beautiful pipe with shallow sandblast, tall pickaxe shaped and very light in weight. I had worked on other Amphora billiards from my Mumbai Bonanza (https://rebornpipes.com/2019/10/11/restoring-16th-pipe-from-the-mumbai-bonanza-lot-an-amphora-x-tra-726/) but it was selected by a very dear friend of mine and I couldn’t refuse him. The moment I selected this pipe to work on, I had decided to add it to my personal collection given the beautiful shape, ultra-light weight and the fact that I had no Amphora in my collection.

The pipe is stamped as “Genuine Briar” over “Amphora Holland” towards the bowl followed by “Amphora” over “X-tra – 728” towards the shank end. The stem bears the trademark stem logo “A” in a circle on the left side on the saddle portion of the vulcanite saddle stem. The stampings are clear and easily readable.Having worked on and researched Amphora brand earlier, I refreshed my memory by revisiting the write up, the link to which has been provided above. I re-read the addendum by Robert M. Boughton which points to a connection of amphora pipes to Dr. Grabow!!!! This does make for a very interesting read and is highly recommended. Here is the link to the write up:

https://rebornpipes.com/2016/08/24/about-the-winner-of-an-amphora-bent-billiard-and-more-information-on-the-brand/

With my memory refreshed, let’s move ahead with the initial visual inspection of this pipe.

Initial visual inspection

The pipe has some beautiful shallow sandblast with the bird’s eye grains showing as pits over the sides of the stummel while the horizontal sandblasts showing cross grains to the front and back of the bowl. There is a decent layer of cake in the chamber with overflowing lava on the rim top surface. The stummel tapers down to a very narrow point at the foot of the stummel. The mortise shows accumulation of dried oils, tars and gunk. The stem shows tooth chatter and indentation over the lower surface in the bite zone. The virgin finish of the stummel gives it a nice clean look and has darkened as it was smoked over the years. The light weight and the thin stem make it perfect for clenching. This should be a nice and easy project. Detailed visual inspection
The tall pickaxe shaped stummel has some beautiful shallow sandblast which highlights the bird’s eye grains over the sides of the stummel and shank surface while the straight cross grains adorn the front and back of the bowl and also over the top of the shank surface. The surface is covered in dirt, dust and grime from usage giving it a dull, dark and lifeless appearance. The stummel tapers towards the foot making for a prominent chin which than extends upwards to the shank. The bottom surface of the shank is smooth and bears all the stampings described above. The bowl is solid to the touch and i don’t foresee any major damage to the chamber walls. The mortise shows remnants of dried oils, tars and gunk. The chamber shows a thick layer of dry and hard cake. The rim top surface has darkened by overflowing lava. The steeply narrowing of the chamber towards the heel will pose a challenge while taking the cake down to the bare briar. The inner and outer rim edges are in pristine condition with no visible damage or discoloration. The condition of the chamber walls will be ascertained only once the cake has been removed. The step tenon saddle vulcanite stem has light oxidation over the surface. The bottom of the saddle portion is flat and sits flush with the flat bottom of the shank. There is some tooth chatter and bite mark in the bite zone over the lower surface with some bite marks over the button edge. The tenon end and the horizontal slot are relatively clean.The process
The process of refurbishing this pipe started with the cleaning of the stem. I cleaned the stem air way with regular and bristled pipe cleaners dipped in 99.9% pure alcohol followed by further cleaning of the stem internals with thin shank brushes and dish soap to remove the any stubborn residual gunk from within the airway.Once the stem internals had been cleaned, i gently sand the stem surface with a used piece of 220 grit sand paper and immersed it in “before and after deoxidizer” solution along with the stem of other pipes in line for restoration. The amphora is indicated with a green arrow.The next evening, I removed the stems that had been soaking in the deoxidizer solution overnight. I cleaned the stem and the stem airway under running warm water and scrubbed the raised oxidation from the stem surface using a Scotch Brite pad and the airway with thin shank brush. I further removed the oxidation by scrubbing the stem with 0000 grade steel wool and applied a little olive oil to rehydrate the stem.The deep tooth indentations are now clearly visible. I used a lighter to heat and raise these indentations to the surface. These tooth indentations were raised to the surface to some extent due to the heating; however, it would require a fill to complete the repairs. I prepared a mix of ca superglue and activated charcoal and carefully applied it over the damaged bite zone on the lower surface and lip and set it aside for curing overnight. I had applied this mix in sufficient thickness which would help during the filing and sanding to match the fills with the stem surface.With the stem repairs set aside to cure, i reamed the bowl with my Pipnet pipe reamer using the first head size. Using my fabricated knife, i cleaned the cake from areas which could not be reached by the reamer heads. I used a 220 grit sand paper, pinched between my thumb and forefinger, to sand the inner walls of the chamber. Once i had reached the bare walls, i wiped the chamber with a cotton pad dipped in isopropyl alcohol. This removed all the residual carbon dust and also allowed a clear inspection of the walls. The walls of the chamber are nice and solid with no signs of heat fissures or cracks. The beveled inner rim edge shows no charring or chipping. I cleaned the mortise and shank walls using q-tips, shank brush, regular and hard bristled pipe cleaners dipped in alcohol. I scraped the walls with a dental tool and removed the entire accumulated gunk. I shall further clean it with a shank brush and liquid dish soap once i clean the stummel surface. With the bowl internals clean, i move to clean the exterior of the stummel. I cleaned the surface using Murphy’s Oil Soap and used a hard-bristled tooth brush to scrub the stummel and rim top with the solution. After the scrub with briar cleaner solution, I washed the stummel under running warm water with anti-oil dish washing detergent till clean and dried it using paper towels and soft cotton cloth. I deliberately cleaned the rim top with a brass wire brush and Scotch Brite pad and set the stummel aside to dry out naturally. The stummel surface has cleaned up nicely with the intricate sandblast patterns on full display. I simultaneously cleaned the shank internals with the detergent and hard bristled shank brush. The pipe is now clean and fresh with no ghosting.Next, I rubbed a small quantity of “before and after restoration balm” in to the briar with my fingertips, working it deep in to the sandblasts and let it rest for a few minutes. The balm almost immediately works it’s magic and the briar now has a nice vibrant appearance with the beautiful sandblast patterns displayed in their complete splendour. I further buffed it with a horse hair brush. I set the stummel aside and worked on the stem. The stem fills had cured nicely and using a flat head needle file, i sanded the fill to achieve a rough match with the surrounding stem surface. I further sanded the stem surface with a folded piece of 220 grit sand paper to further blend in the repairs.I followed it with wet sanding the entire stem with 400, 600 and 800 grit sandpapers and further with 1000, 1500 and 2000 grit sandpapers. I wiped the stem with a moist cloth to remove the dust and monitored the progress being made after every three grit papers. Here there is something that i tried new. Instead of resorting to polishing with micromesh pads, i polished the stem with white compound followed by red Tripoli and blue diamond compound. The stem polished up nicely and had a rich deep black shine to it. I applied a little extra virgin olive oil to rehydrate the vulcanite and set the stem aside. To complete the restoration, I mounted a cotton cloth buffing wheel on to my hand held rotary tool and applied several coats of carnauba wax. I finished the restoration by giving the entire pipe a rigorous hand buffing using a microfiber cloth to raise the shine further and remove any residual wax from in between the sandblasts. The finished pipe looks amazingly beautiful and is now ready for its long second innings with me. If only this pipe could share with me its life story of the past years!