Tag Archives: polishing

Life for a Republic Era Irish Second Bent Apple


Blog by Steve Laug

The next pipe on the work table came to me from one of our estate purchases. Between us we pick up quite a few pipes for restoration. I try to work them into the restoration queue so that I can keep them moving. This next one is from our ongoing hunt – a beautifully grained bent apple with a thick shank and a tapered vulcanite stem. The pipe is stamped on the left side of the shank and reads Irish Seconds and on the right side reads Made in the Republic of Ireland. It is obviously a Peterson’s second. In the photos you can see the large fills on the lower left side of the bowl. The finish had a lot of grime ground into the finish on the bowl. The bowl was thickly caked with an overflowing lava coat on the top of the rim. The edges looked to be in good condition though there is some possible damage under the lava. The stem was oxidized, calcified, dirty and had tooth chatter and some deep marks on the top and underside near the button. There were not markings or a logo on the taper stem. It had promise but it was very dirty. Jeff took some photos of the pipe before he started his cleanup work. He took photos of the rim top and bowl to give a clear picture of the thickness of the cake and the overflow of lava on the rim top. He also took photos of the top and underside of the stem to show the oxidation and the chatter and tooth marks.     Jeff took photos of the sides and heel of the bowl to give a picture of what the briar around the pipe looked like. There is some stunning grain under the grime.  He also took a photo of the large fill on the front left side of the bowl. Lots of putty in that area.He took photos of the stamping on the left side of the shank. It reads as noted above and is clear and readable.     I turned to Pipedia to read the article on Irish Seconds (https://pipedia.org/wiki/Irish_Seconds). I quote it below in full.

Irish Second pipes begin life alongside Peterson pipes in Dublin, but at some point a flaw appears making future life as one of those celebrated pipes impossible. At this point the pipes were roughly finished, given a standard vulcanite stem instead of a P-Lip, and stamped only with “Irish Second” and “Made in the Republic of Ireland”. These pipes were sold at a far more affordable rate than Peterson pipes, but are believed to no longer be sold new.

I knew from previous research that the pipe was made in the Republic Era – the years between 1950 – 1989 because of the Republic of Ireland stamp. Now it was time to work on the pipe.

Jeff had cleaned up the pipe with his usual penchant for thoroughness. He reamed the pipe with a PipNet Pipe Reamer and cleaned up the remnants with a Savinelli Fitsall Pipe Knife.  He scrubbed the bowl with undiluted Murphy’s Oil Soap with a tooth brush. He rinsed it under running warm water to remove the soap and grime. He cleaned out the inside of the shank and the airway in the stem with alcohol, cotton swabs and pipe cleaners. He soaked the stem in Before & After Deoxidizer and rinsed it off with warm water. I took photos of the pipe once I received it.    The bowl and rim top cleaned up really well with the lava coat removed. The inner edge of the rim was in good condition.  The stem surface had some oxidation and some tooth marks and chatter on both sides near the button.    I took photos of the stamping (though a little out of focus) are clear and read the same as noted above.I removed the stem and took a photo of the pipe to give a sense of the whole. The stem is tapered and narrow.Now it was time to do my work on the pipe. I decided to address the damaged fills on the lower left side of the bowl first. I took a photo of the area before I began my work. The fill was actually quite solid with some damaged areas and some shrinkage. I sanded the areas and wiped them down with alcohol to clean up any loose fill material. I filled in those areas with a clear super glue.   Once the patches cured I sanded them smooth with 220 grit sandpaper and began polishing them with 400 grit wet dry sandpaper. It really made a difference in that they were smooth and no longer pink in colour!  I wiped the bowl down with acetone to remove the stain around the bowl and prepare it for a new stain coat.   I restained it with Light Brown aniline stain. I applied the stain and lit it with a Bic lighter to flame the stain. It burns the alcohol off the surface and sets the stain in the grain.   I wiped the bowl down with alcohol and cotton pads to gain some transparency on the stained bowl. I also wanted the grain to stand out.    I buffed the bowl with Blue Diamond on the buffing wheel to raise a shine on the bowl. The grain really stands out now that it is polished. I rubbed the bowl and shank down with Before & After Restoration Balm. I worked it into the surface of the bowl sides and shank with my fingertips to clean, enliven and protect the briar. I let the balm sit for a little while and then buffed with a cotton cloth to raise the shine. The stain brings the rich reddish brown tone to life. It is a nice looking pipe. I set the bowl aside and turned to work on the stem. I “painted” the surface of the stem with the flame of a Bic lighter to lift the tooth marks in the stem surface. The flame did an excellent job of raising the marks to the surface. I would only need to polish out the oxidation on the stem and not need to do a lot of sanding.   Because the oxidation was mostly on the surface and the tooth damage had been minimized I could immediately move ahead to polishing the stem. I polished the vulcanite with micromesh sanding pads – 1500-12000 grit pads. I wiped it down with a damp cloth after each sanding pad. I used Before & After Pipe Polish – both Fine and Extra Fine to further polish the stem.   This Peterson’s Made Republic Era Irish Second Bent Apple vulcanite stem is turned out to be a great looking pipe now that it has been restored. I put the stem back on the bowl and carefully buffed the pipe with Blue Diamond on the buffing wheel using a light touch on the briar. I gave the bowl and the stem multiple coats of carnauba wax on the buffing wheel. I buffed the entire pipe with a clean buffing pad to raise the shine. I hand buffed the pipe with a microfiber cloth to deepen the shine. The finished Irish Second Bent Apple fits nicely in the hand and feels great. Give the finished pipe a look in the photos below. The dimensions of the pipe are Length: 5 inches, Height: 1 ¾ inches, Outside diameter of the bowl: 1 ½ inches, Chamber diameter: ¾ of an inch. If you are interested in adding this pipe to your collection send me a message or an email. Thanks for reading this blog and my reflections on the pipe while I worked on it. There are many more to come!

Life for a British Made Nilsson Supreme Sandblast Bent Apple


Blog by Steve Laug

The next pipe on the work table came to me from one of our estate purchases. Between us we pick up quite a few pipes for restoration. I try to work them into the restoration queue so that I can keep them moving. This next one is from our ongoing hunt – a beautifully sandblast apple or maybe a billiard with a tapered vulcanite stem. The pipe is stamped on the underside of the shank and reads Nilsson Supreme [over] Made in London England. The finish had a lot of grime ground into the sandblast finish on the bowl and some darkening around the rim top and edges. The bowl was thickly caked with an overflowing lava coat on the top of the rim. The edges looked to be in good condition though there is some possible damage on the back  inner edge of the rim top. The stem was oxidized, calcified, dirty and had tooth chatter and some deep marks on the top and underside near the button. The button itself was also worn down on both sides. There were not markings or a logo on the taper stem. It had promise but it was very dirty. Jeff took some photos of the pipe before he started his cleanup work.  He took photos of the rim top and bowl to give a clear picture of the thickness of the cake and the overflow of lava on the rim top. He also took photos of the top and underside of the stem to show the chatter and tooth marks. Otherwise the stem is quite clean.   Jeff took photos of the sides and heel of the bowl to give a picture of what the briar around the pipe looked like. There is some stunning grain under the grime.    He took photos of the stamping on the left side of the shank. It reads as noted above and is clear and readable.  I checked my usual sources of information for the brand and came up empty handed. Neither Pipedia or Pipephil had anything. I am convinced it is a second line from possibly Charatan or even GBD but there are no shape numbers to help. So I will leave it at that unless some of you who are reading the blog have some information.

Jeff had cleaned up the pipe with his usual penchant for thoroughness. He reamed the pipe with a PipNet Pipe Reamaer and cleaned up the remnants with a Savinelli Fitsall Pipe Knife.  He scrubbed the bowl with undiluted Murphy’s Oil Soap with a tooth brush. He rinsed it under running warm water to remove the soap and grime. He cleaned out the inside of the shank and the airway in the stem with alcohol, cotton swabs and pipe cleaners. He soaked the stem in Before & After Deoxidizer and rinsed it off with warm water. I took photos of the pipe once I received it.    The bowl and rim top cleaned up really well with the lava coat removed. The inner edge of the rim had some damage at the back right otherwise it was in good condition.  The stem surface was rough with some remaining oxidation and some deep tooth marks and chatter on both sides near the button. The surface of the button was also worn down.      I removed the stem and took a photo of the pipe to give a sense of the whole. The stem is tapered and narrow.Now it was time to do my work on the pipe. I used a folded piece of 220 grit sandpaper to smooth out the damage to the back edge of the rim. I gave the entire rim edge a slight bevel to blend in the damaged area with the rest of the bowl and make sure it was as close to round as possible.    I cleaned the rim top with some undiluted Murphy’s Oil Soap on a paper towel to remove the remaining grime and sanding dust. The rim top definitely looks better. I rubbed the bowl and shank down with Before & After Restoration Balm. I worked it into the surface of the bowl sides and shank with my fingertips and a horsehair shoe brush to clean, enliven and protect the briar. I let the balm sit for a little while and then buffed with a cotton cloth to raise the shine. The sandblast finish looks very good. The briar has a rich reddish brown tone to it. I set the bowl aside and turned to work on the stem. I filled in the damaged stem surface with black super glue and rebuilt the button surface and edges at the same time. Once the repair cured I smoothed it out with a needle file. I finished shaping button and blending in the repairs with 220 grit sandpaper. I also worked on the stubborn oxidation with the sandpaper.  I started the polishing of the stem with 400 grit wet dry sandpaper.   I polished the vulcanite stem with micromesh sanding pads – 1500-12000 grit pads. I wiped it down with a damp cloth after each sanding pad. I used Before & After Pipe Polish – both Fine and Extra Fine to further polish the stem.   This English Made Nilsson Supreme Sandblast Bent Apple with a vulcanite stem is a great looking pipe now that it has been restored. I put the stem back on the bowl and carefully buffed the pipe with Blue Diamond on the buffing wheel using a light touch on the briar. I gave the bowl multiple coats of Conservator’s Wax and the stem multiple coats of carnauba wax on the buffing wheel. I buffed the entire pipe with a clean buffing pad to raise the shine. I hand buffed the pipe with a microfiber cloth to deepen the shine. The finished Nilsson Supreme fits nicely in the hand and feels great. Give the finished pipe a look in the photos below. The dimensions of the pipe are Length: 5 ½ inches, Height: 2 inches, Outside diameter of the bowl: 1 ½ inches, Chamber diameter: ¾ of an inch. If you are interested in adding this pipe to your collection send me a message or an email. Thanks for reading this blog and my reflections on the pipe while I worked on it. There are many more to come!  

Life for an American Made Classic – A Bertram Washington DC 60 Pot


Blog by Steve Laug

The next pipe on the work table came to me from one of our estate purchases. Between us we pick up quite a few pipes for restoration. I try to work them into the restoration queue so that I can keep them moving. We picked up over 120 Bertram pipes from an estate that a fellow on the east coast of the US was selling. This next one is from that estate – a beautifully grained Pot 60 Grade Bertram with a tapered vulcanite stem. The pipe is stamped on the left side with the Grade 60 number and just above that it reads Bertram [over] Washington D.C. The finish had a lot of grime ground into the smooth finish on the bowl and some darkening around the sides of the bowl. The bowl was thickly caked with an overflowing lava coat on the top of the rim. The edges looked to be in good condition. The stem was oxidized, calcified, dirty and had tooth chatter and marks on the top and underside near the button. There were not markings or a logo on the taper stem. It had promise but it was very dirty. Jeff took some photos of the pipe before he started his cleanup work.   He took photos of the rim top and bowl to give a clear picture of the thickness of the cake and the overflow of lava on the rim top. He also took photos of the top and underside of the stem to show the chatter and tooth marks. Otherwise the stem is quite clean.    Jeff took photos of the sides and heel of the bowl to give a picture of what the briar around the pipe looked like. There is some stunning grain under the grime.   He took photos of the stamping on the left side of the shank. It reads as noted above and is clear and readable.   As I have worked on Bertrams I have written on the brand and have included the following information. If you have read it in past blogs, you can skip over it. If you have not, I have included the link to Bertram history and information. I would recommend that if you don’t know much about them take some time to read the background. I include a link to the write up on Pipedia (http://pipedia.org/wiki/Bertram). Bertram pipes were based out of Washington DC. They were popular among famous politicians and celebrities of the time. They made many products for them from FDR’s cigarette holders to Joseph Stalin’s favorite pipe. They were considered some of the best America had to offer till they finally closed their doors in the 70s. Bertram graded their pipes by 10s and sometimes with a 5 added (15, 25, 55 etc.), the higher the grade the better. Above 60s are uncommon and 80-90s are quite rare. I have worked on one 120 Grade billiard. I have several blogs that I have written on rebornpipes that give some history and background to Bertram pipes. (https://rebornpipes.com/2015/06/16/an-easy-restoration-of-a-bertram-grade-60-217-poker/).

I have included the following link to give a bit of historical information on the pipe company. It is a well written article that gives a glimpse of the heart of the company. http://www.streetsofwashington.com/2012/01/bertrams-pipe-shop-on-14th-street.html#

From this information I learned that all of these Bertrams were made before the closure of the shop in the 1970s. This Bertram Pot with stunning grain has no fills around the bowl or shank. This pipe has a 60 Grade stamp on it which I am sure explains the quality of the briar.

Jeff had cleaned up the pipe with his usual penchant for thoroughness. He reamed the pipe with a PipNet Pipe Reamaer and cleaned up the remnants with a Savinelli Fitsall Pipe Knife.  He scrubbed the bowl with undiluted Murphy’s Oil Soap with a tooth brush. He rinsed it under running warm water to remove the soap and grime. He cleaned out the inside of the shank and the airway in the stem with alcohol, cotton swabs and pipe cleaners. He soaked the stem in Before & After Deoxidizer and rinsed it off with warm water. I took photos of the pipe once I received it.  The rim top cleaned up really well with the lava coat removed. The inner and outer edge of the rim looked to be in excellent condition.  The stem surface looked very good with a few small tooth marks and chatter on both sides near the button.      I took photos of the stamping on the shank. The Bertram Washington DC is on the left side of the shank toward the top. Lower on the shank it is stamped with the Grade 60 number.  I removed the stem and took a photo of the pipe to give a sense of the whole. The stem is tapered and narrow.    Now it was time to do my work on the pipe. I polished the bowl and the rim top, sides and shank with micromesh sanding pads – wet sanding with 1500-12000 grit pads and wiping it down after each pad with a damp cloth.  I rubbed the bowl and shank down with Before & After Restoration Balm. I worked it into the surface of the bowl sides and shank with my fingertips to clean, enliven and protect the briar. I let the balm sit for a little while and then buffed with a cotton cloth to raise the shine.     I set the bowl aside and turned to work on the stem. I “painted” the stem with the flame of a Bic lighter to lift the tooth marks. I was able to lift the majority of them. The ones on the top side came up easily. On the underside next to the button there was one remaining mark. I filled it in with clear super glue. Once the repair cured I smoothed it out with a needle file. I finished shaping it with 220 grit sandpaper to smooth it into the button and sharpen the edge.    I polished the vulcanite stem with micromesh sanding pads – 1500-12000 grit pads. I wiped it down with a damp cloth after each sanding pad. I used Before & After Pipe Polish – both Fine and Extra Fine to further polish the stem.   This Bertram Washington DC 60 Pot with a vulcanite stem is a great looking pipe now that it has been restored. I put the stem back on the bowl and carefully buffed the pipe with Blue Diamond on the buffing wheel using a light touch on the briar. I gave the bowl and the stem multiple coats of carnauba wax on the buffing wheel and followed that by buffing the entire pipe with a clean buffing pad. I hand buffed the pipe with a microfiber cloth to deepen the shine. The finished Bertram 60 Pot fits nicely in the hand and feels great. Give the finished pipe a look in the photos below. The dimensions of the pipe are Length: 5 ¾ inches, Height: 1 ¾ inches, Outside diameter of the bowl: 1 ½ inches, Chamber diameter: 7/8 of an inch. If you are interested in adding this pipe to your collection send me a message or an email. Thanks for reading this blog and my reflections on the pipe while I worked on it. There are many more to come!  

Breathing Life into a Hexagonal Meerschaum with a Bakelite Stem


Blog by Steve Laug

The next pipe on the work table came to me from one of our estate purchases. Between us we pick up quite a few pipes for restoration. I try to work them into the restoration queue so that I can keep them moving. This next one is a smooth hexagonal block meerschaum pipe with a yellow Bakelite stem. The there is no stamping on the pipe. The finish had a lot of grime ground into the smooth finish on the bowl and there was definitely some patina developing in the shank, heel and one side of the bowl. The bowl was caked with a light lava coat on the top of the rim. The edges looked to be in good condition. There were a lot of scratches in the meerschaum on all sides and the top of the bowl. The stem was in dirty and had tooth chatter and marks on the top and underside near the button. There were not markings or a logo on the taper stem. It had promise but it was very dirty. Jeff took some photos of the pipe before he started his cleanup work.   He took photos of the rim top and bowl to give a clear picture of the thickness of the cake and the overflow of lava on the rim top. He also took photos of the top and underside of the stem to show the chatter and tooth marks. Otherwise the stem is quite clean.  Jeff took photos of the sides and heel of the bowl to give a picture of what the meerschaum looked like. It is a well carved hexagon. Jeff had cleaned up the pipe with his usual penchant for thoroughness. He reamed the pipe with a Savinelli Fitsall Pipe Knife.  He scrubbed the bowl with undiluted Murphy’s Oil Soap with a tooth brush. He rinsed it under running warm water to remove the soap and grime. He cleaned out the inside of the shank and the airway in the stem with alcohol, cotton swabs and pipe cleaners. He soaked the stem in Before & After Deoxidizer and rinsed it off with warm water. I took photos of the pipe once I received it.  The rim top cleaned up really well with the lava coat removed. The inner and outer edge of the bowl looked to be in excellent condition.  The panel on the left side had some darkening and a few stain spots. The stem surface looked very good with a few small tooth marks and chatter on both sides near the button.    I removed the stem and took a photo of the pipe to give a sense of the whole. The stem is tapered and narrow.Now it was time to do my work on the pipe. I polished the scratches in the meer and the rim top, sides and shank with micromesh sanding pads – wet sanding with 1500-12000 grit pads and wiping it down after each pad with a damp cloth.  I rubbed the bowl and shank down with Before & After Restoration Balm. I worked it into the surface of the bowl sides and shank with my fingertips to clean, enliven and protect the meerschaum. I let the balm sit for a little while and then buffed with a cotton cloth to raise the shine.     I rubbed the bowl down with Clapham’s Beeswax Polish. I let it dry on the meerschaum and then buffed it off with a soft cotton cloth. It really adds some depth to the finish.  I set the bowl aside and turned to work on the stem. It was in good condition and the tooth marks were light so I figured they would polish out fairly easily. I polished the Bakelite/amberoid stem with micromesh sanding pads – 1500-12000 grit pads. I wiped it down with a damp cloth after each sanding pad. I used Before & After Pipe Polish – both Fine and Extra Fine to further polish the stem.        This Hexagonal Meerschaum Billiard with a Bakelite/amberoid stem is a great looking pipe now that it has been restored. I put the stem back on the bowl and carefully buffed the pipe with Blue Diamond on the buffing wheel using a light touch on the briar. I gave the bowl and the stem multiple coats of carnauba wax on the buffing wheel and followed that by buffing the entire pipe with a clean buffing pad. I hand buffed the pipe with a microfiber cloth to deepen the shine. The finished Hexagonal Meerschaum fits nicely in the hand and feels great. Give the finished pipe a look in the photos below. The dimensions of the pipe are Length: 5 ½ inches, Height: 1 ¾ inches, Outside diameter of the bowl: 1 inch wide x 1 ½ inches long, Chamber diameter: ¾ of an inch. If you are interested in adding this pipe to your collection send me a message or an email. Thanks for reading this blog and my reflections on the pipe while I worked on it. There are many more to come!

A Fresh Lease On Life For a Castello Sea Rock ‘A’


Blog by Paresh Deshpande

I had restored a Castello Sea Rock from my inherited pipe lot, my first Castello pipe, last year while Steve, Jeff and Dal Stanton had visited me in Pune, India (https://rebornpipes.com/2019/06/07/a-simple-restoration-of-a-castello-sea-rock-briar-56-f-pipe-with-steve-and-jeff-laug/)

Since then after I had smoked this pipe, I always wanted to lay my hands on another Castello. They are fantastic smokers, I say. However, the prices of Castello pipes had gone through the roof and to some extent, beyond reach. During one of my search on eBay for estate pipes, I came across this Castello Sea Rock pipe that was being sold for a considerably lesser price and it had the option for Best Offer. The long and short of it is that my best offer was accepted by the seller and the pipe made its way to Abha, my wife. That this pipe was being sold for such a low price was a pointer that there were issues with this pipe, but what exact issues and the extent of these issues was neither described by the seller nor were they visible in the pictures provided by the seller.

The pipe with its large Billiard bowl and a triangular shank looks beautiful. The stummel has deep and craggy rustications that feel tactile in the hand. The shank end is adorned with a gold/ brass band that add a touch of classy bling to the appearance of the pipe. The flat lower surface of the stummel is smooth and bears the stampings on this pipe. It is stamped as “CASTELLO” over “SEA ROCK BRIAR” followed by the letter “A”. Towards the shank end, it is stamped as “MADE IN CANTU” over “ITALY” over “HAND MADE”. Stamped at the very end of the shank and partially covered by the gold/ brass band is “CARLO SCOTTI” in an oval.  The triangular Lucite stem is stamped on the lower flat surface as “HAND MADE” over “CASTELLO” over code “# 3”.  The trademark WHITE BAR adorns the upper surface of the stem.    I had researched this brand extensively when I had worked on my first Castello, link for which I have provided at the very beginning of this write up. In order to establish the provenance of this pipe, I revisited the Briar Blues site where a detailed history and dating guide is available for the discerning reader. I have reproduced the entire article here for posterity as the external link provided on pipedia.org did not work.

https://briarblues.com/castello/

CASTELLO – DATING & INFORMATION GUIDE

NEW INFORMATION JUST IN – The very first pipes made by Carlo Scotti were in 1936 in Switzerland!!!

1947 – Carlo Scotti begins the company. In the beginning (1947 – 1949, maybe 1950 ) the pipes were stamped Mi Reserva ( my reserve ). Later the Reg No was added. This Reg No has nothing to do with shape numbers, but is merely the Castello company trademark.

Vulcanite stems used until? This is an interesting question. From early Castello pipe advertising from the Wally Frank and later Hollco Rohr companies it says the pipe comes with Vulcanite stems. However the photos appear to have pipes with Lucite stems. To our knowledge no one has yet seen a Vulcanite stemmed Castello with the faux diamond logo inset.

The Old Sea Rock and the Sea Rock co-existed. As far as I know, the OSR was US only, imported by Hollco Rohr, and sported the rhinestone. The Sea Rock goes back to the early days.

There was an Antiquari (not Old Antiquari) that was also a Hollco import, and was fume top and rusticated. I think it was only around for a couple of years.

Stem logo’s. White bar, black dot, and faux diamond. The first stem logo was the white bar. However once Castello began it’s working relationship with The Wally Frank Co a different stem logo was required, as The Wally Frank Co had a line of pipes named White Bar.

The faux diamond logo was created and used primarily for the US market for many years.

Castello still occasionally put rhinestones in the mouthpieces, just to maintain it’s value as a trademark. It’s not on many pieces. The black dot logo is used on Castello pipes with white Lucite stems.

Shape numbers. Shape numbers are all 2 digits. A 2 in front indicates a “fancy” interpretation, a 3 in front means that the carving is somehow unique. I don’t know when the change was made, but currently, a π symbol is used instead of the 3xx.  It may be seen on a variety of finishes, that may have a unique carved section or some other interesting feature.

Hollco Rohr begins distribution in the mid to late 1960’s when they take over the Wally Frank Company.

Big Line – stamp used from 1968 – 1972. Replaced by Great Line, although still used on huge pipes.

Colored Lucite stems – used in the 1970’s and on occasion today although the material is difficult to find.

Pre K grading. Late 1950’s to mid 1960’s the pipe carried stamps which indicted sizes. These were as follows; SA, SB, SC, and SS. SA being the smallest and SS the largest.

K grading begins. In 1969 Franco ( Kino ) Coppo joins the firm. In the late 1960’s and early 1970’s the company began the use of the K grading. The upper case large K, was used for non smooth pipes to designate size. For smooth pipes to indicate a combination of grain quality and size. These are also the years that Castello switched from machine made pipes that were hand finished to completely hand made pipes.

Switch from large K to small k in an oval. In 1982 the company changed from the use of the large upper case K grading to a small lower case k within an oval ( 2 k or greater ) or circle for single k grades.

1984 – 1985 Franco ( Kino ) Coppo takes over the running of the firm. The Kino “knickname” given to Franco by Carlo Scotti, and is a shortened version of his full birth name, Franchino.

The Natural Vergin were issued in 1967 first but only in 1985 they started to be produced in series only on the natural carved pipes.

1987 – the 40th anniversary Castello begins the number within a castle stamp. The number added to 1947 gives the year of pipe creation. ie 50 within a castle = 1947 + 50 = 1997.

1992 – Carlo Scotti passes away.

US stamp begin in 1997

KINO stamp begin in 2007 – 60th anniversary. Kino is Franco Coppo’s nick name.

X – stamped on pipe. This stamp is added to pipes that are picked up directly at the factory by customers. Indicates a “friendship” pipe.

Ever wonder where your pipe came from? Which shop had it first? If so, read below;

N1 = Novelli ( Italy )
N = Noli ( Italy )
F = Fincato ( Italy )
LO = Lorenzi ( Italy ) ( this shop has closed and they used to add a * on every pipe )
B = Bonfiglioli ( Italy )
BO = Bollito ( Italy )
B15 = Bollito ( Italy )
V = Agide ( Italy )
SO = Tabaccheria Scarafioffi ( Italy )
JO = Osstermann ( Austria )
R3 = Ruocco Raffaella of Savona ( Italy )
L – Lanzola ( Italy )
US = sold into the US via the US Castello agent
A = “Amicizia” or friendship. That is the stamping for the pipes given for free to friends. It is quite rare.
LOB = is part of a large collection that the factory just re-purchased and they stamped with LOB (Legendary old briar)

The information gathered on this page comes from a variety of sources on the internet and through emails and conversations. I’d like to Thank these gentlemen for their help; Marco Parascenzo, Franco Coppo ( via Marco ), Greg Pease, Mike Penix, Bob Hamlin, Chris Jones, Mike McCain, and Mike Davis

Current finishes, grades, & SRP in US dollars;

Castello US prices have not increased since 2012!!
Sea Rock Briar – carved finish – various stains
k 380.00, kk 395.00, kkk 405.00, kkkk 425.00, G 450.00, GG 550.00, GL 615.00 & GGG 615.00
Old Antiquari – sand blast – various stains
k 415.00, kk 415.00, kkk 450.00, kkkk 450.00, G 530.00, GG 675.00, & GL 675.00
Trademark – smooth – various stains
k 430.00, kk 430.00, kkk 480.00, kkkk 480.00, G 500.00, GG 660.00, & GL 660.00
“Castello” – smooth – various stains
kk 550.00, kkkk 590.00, G 600.00, GG 690.00, & GL 690.00
Perla Nera – smooth polished black
k 560.00 & kk 590.00
Collection – smooth – various stains
k 595.00, kk 655.00, kkk 750.00, kkkk 825.00
Occho di Pernice – smooth – graded birds eye
k 685.00, kk 750.00, kkk 800.00, kkkk 855.00
Aristocratica – smooth – fumed rim
Trade Mark – 595.00, “Castello” – 690.00, Collection – 865.00, Collection Great Line – 910.00
Castello Collection Fiammata – 1090.00, Collect Great Line Fiammata – 1545.00
Dune – carved
k – ???.00, kk – ???.00
Big Line – various grades
Sea Rock – ???.00 Old Antiquari – 900.00, “Castello” – ???.00, Collection, ???.00
Collection Great Line – smooth – free style
k 780.00, kk 850.00, kkk 1000.00, kkkk 1270.00
Collection Fiammata – smooth – graded straight grains
k 970.00, kk 1150.00, kkkk 1270.00, kkkk 1600.00
Collection Great Line Fiammata – smooth straight grain free style
k 1660.00, kk 2300.00, kkk 3100.00, kkkk 3780.00
Special Series – Cavallo, Riso, etc
Sea Rock 765.00, Old Antiquari 810.00, Trademark 950.00, Castello 1050.00,
Collection 13000.00, Occhio di pernice 1300.00, Fiammata 1455.00
Preziosa ( semi precious stone floc )
Perla Nera 950.00, Castello 980.00, Collection 1180.00, Collection GL 1390.00,
Madreperla 1545.00, Fiammata 1700.00

Options

briar shank or stem application + 75.00
silver floc or band + 90.00
18 k gold band + 500.00 – now a very rare addition, due to gold cost
18k gold band with lacquer inlay + 500.00
silver pin / nail + 160.00
common stone inlay + 105.00
special pi trim + 55.00

From the above, it is evident that the pipe currently on my work table is from an early time period of Castello pipe making as evidenced by the stamp of SEA ROCK and WHITE BAR. That this pipe is stamped with the letter “A” is indicative that it was given for free to friends and IT IS VERY RARE. Lady luck smiled upon me during this purchase for sure!!

Initial Visual Inspection
This pipe has a large bowl with a depth of 2 ¾ inch. The chamber has an even layer of thick hard cake. There is a heavy overflow of lava over the rim top surface. The rim top has darkened considerably. The condition of the inner walls of the chamber and the inner edge can be commented upon after the cake has been taken down to the bare briar. The ghost smells in the chamber are not very strong.The deeply rusticated stummel surface has a very beautiful texture and is covered in dust and grime. The fact that the rustications are dusty and filled with dirt is accentuated more due to the contrast of dark and medium brown stains on the stummel and the shank. The briar is looking lifeless and bone dry and has taken on black dull hues. The smooth bottomed shank that bears all the stummel stampings, has deep scratches akin to road rash marks.The mortise was full of oils, tars and gunk and air flow was restricted. The shank end gold band made me wonder if it was a shank repair band or otherwise. However, the shank has no cracks and hence it is definitely an original adornment. The seating of the stem in to the mortise is not flush. This could be either a result of the accumulated gunk and grime in the mortise or incorrect drilling of the mortise (unlikely on a Castello though!) or a bent stem tenon.The high quality Lucite stem is nice and shiny. Some minor tooth chatter and a couple of deeper bite marks are seen on both the upper and lower stem surfaces in the bite zone. The tenon end had accumulated oils/ tars that had dried out on the inside as well as on the outside. The horizontal slot is filled with grime that will have to be addressed.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 smoothed 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.

The Process
Finally back at my work place… After enjoying a compulsory extended leave of three months with family and having honed my culinary and domestic chores skill set, I was happy to rejoin my duty and get back to completing the pending pipe restorations.

I start this project by addressing the tooth chatter and bite marks on both the surfaces in the bite zone. Since this was a Lucite stem, heating the bite zone with the flame of a lighter would have damaged the stem further; hence, I filled the deeper bite marks with a mix of CA superglue and activated charcoal and set it aside to cure.Once the fills had cured, using a flat needle file, I reshaped the button and roughly matched the fills with the rest of the stem surface. I further fine tuned the match by sanding the filled area with a folded piece of 320 grit sand paper pinched between my thumb and forefinger. I followed it up by sanding the entire stem surface using 400, 600, 800 and finally with a piece of 1000 grit sand papers. 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 cotton swab and alcohol to remove all the sanding dust from the surface. I applied a little Extra Virgin Olive oil over the stem to impart a shine.To bring a deep shine to the Lucite stem, I polished it by wet sanding with 1500 to 12000 grit micromesh pads. I wiped the stem with a moist cloth and rubbed it down with “Before and After Extra Fine Polish” to remove the minor scratches left behind by the sand paper while polishing the stem to a nice black glossy shine. The finished stem is shown below. I took a closer look at the walls of the chamber to ascertain the condition of the chamber. To my chagrin, I noticed a distinct line (marked with yellow arrows) extending for about an inch from the inner rim edge in to the chamber. It was the beginning of a heat fissure and from the point of origin (circled in green), there were other two heat lines (marked with blue arrows) extending roughly perpendicular to the first. However, these heat lines were very minor and extremely superficial while the one that moved up towards the rim was slightly deeper. I checked the external stummel surface under bright light and magnification for any corresponding crack. It was heartening to note that there were none! I thoroughly checked the rim top surface and was relieved to note that there is no damage.With my sharp dental pick, I probed and removed all the charred briar wood from the crack. It was a big relief to note that the crack did not go all the way to the outside of the stummel. Here are a couple of close up pictures of the crack to the chamber wall. I conferred with my Guru and mentor, Steve, over Face Time video call and after seeing the crack, he concurred that it was best to fill just the crack inside the chamber with J B Weld followed by a coating of activated charcoal and yogurt to the entire chamber for further protection. Before proceeding with further repairs, I thoroughly cleaned the rim top to completely remove the lava overflow from the rim top surface Murphy’s Oil soap and a brass wired brush. To protect the crack from coming in to direct contact with the burning tobacco and also to prevent the heat from reaching the external crack to the stummel and causing a burnout, I plan, firstly, to fill only the crack of the chamber with J B Weld followed by a second coat of activated charcoal and yogurt to the entire chamber which would assist in faster cake formation. 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 and filled the intended crack. I worked fast to ensure a complete and even filling of the crack and set the stummel aside for the J B Weld to harden.By the next afternoon when I got back to working on this pipe, the J B Weld coat had completely cured and hardened completely. With a folded piece of 150 grit sandpaper, I sand the weld coating to a smooth surface till I had as thin a coat as was essential to protect and insulate the crack from the direct heat of the burning tobacco. The Weld coat has completely covered only the crack and the point of origin which can be seen as a thin line. I am very pleased with the repairs at this stage. Next issue to be addressed was that of the numerous deep road rash marks that were seen to the flat lower surface of the stummel. With a folded piece of 180 followed by 600 and 800 grit sand paper, I diligently sand away the road rash marks from the lower flat surface of the stummel taking care that the stampings are preserved in total. I followed it up by polishing the surface by wet sanding with 1500 to 12000 grit micromesh pads. Though the road rash marks are not completely eliminated, they are greatly reduced. The road rash marks to the gold band are now distinctly visible in the last picture. The last issue that needed to be addressed before final polishing was that of the seating of the stem tenon in to mortise. The pictures below will give the readers an idea of the issue that I needed to address.    I checked the drilling of the mortise and it was perfect as expected. Next I checked the shank face and the gold band for unevenness but it was nice even and the band sat flush with the shank face. But yes, the seated stem in the mortise had some play in the fitting. I conferred with Steve on Face Time and he asked me to hold the stem upright with tenon side up. Immediately, it was apparent to both of us that the tenon had bent a little and was off center. To address this, I heated the tenon with the flame of a lighter till it was slightly pliable and carefully seated the tenon in to the mortise. Once completely seated, I adjusted the alignment and held the stem in place till the tenon had cooled down sufficiently. Again, though the seating is not perfectly flushed, the alignment of the stem and shank is near perfect. It has to be understood that we pipe restorers are undertaking repairs to the existing damages to make them functional again and not making new pipes, though we do strive for that kind of perfection. All said, I am quite pleased with this repair.  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 dark browns of the raised portions of the sandblast contrasts beautifully with the rest of the dark stummel and makes for a visual treat. It really is a nice piece of briar. To protect the J B Weld coated crack from the direct heat of the burning tobacco, I coat the complete chamber walls with a mix of activated charcoal and yogurt and set it aside to harden naturally.To put the finishing touches, I mount 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.    Next, I mount another cotton buffing wheel that I have earmarked for carnauba wax and applied several coats of the wax to impart a nice gloss to the finish. I finished the restoration by giving the entire pipe a rigorous hand buffing using a microfiber cloth to raise the shine further. Lastly, I polish the gold band with a jeweler’s cloth to a nice and radiant shine.  The rustications on this finished pipe looks amazingly beautiful and coupled with the brand, vintage, rarity and the contrast that the gold band imparts, makes it quite a desirable pipe. This pipe shall be joining my small collection of Castellos to be admired and be happy that I have restored it to its former beauty and functionality. P.S. Just out of curiosity, I took the stummel to my family goldsmith to check if at all the band at the shank end was gold or a brass made band. I was pleasantly surprised to be told that it was indeed an 18 carat gold band!! I am sure whoever the “FRIEND” was that received a Castello pipe with an 18 carat gold band had to be someone very dear to Carlo Scotti!! If only the pipe could tell me all about this friend…      

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. Stay home…stay safe!!

Breathing Life into a Mehaffey Pipe Shop R4 Acorn


Blog by Steve Laug

The next pipe on the work table came to me from one of our estate purchases. Between us we pick up quite a few pipes for restoration. I try to work them into the restoration queue so that I can keep them moving. This next on is an interesting looking piece – a smooth oil finished Acorn shaped pipe. The pipe is stamped on the left side of the shank and reads R4 followed by Mehaffey and on the right side it is stamped R4. The finish had a lot of grime ground into the smooth finish on the briar. The bowl was heavily caked with a lava coat on the top of the rim. The edges looked to be in good condition. There were some flaws in the briar on the heel toward the front that would need to be cleaned up. The stem was in dirty but not oxidized and had tooth chatter and marks on the top and underside near the button. There were not markings or a logo on the taper stem. It had promise but it was very dirty. Jeff took some photos of the pipe before he started his cleanup work.   He took photos of the rim top and bowl to give a clear picture of the thickness of the cake and the overflow of lava on the rim top. He also took photos of the top and underside of the stem to show the chatter and tooth marks. Otherwise the stem is quite clean.  Jeff took photos of the sides and heel of the bowl to give a picture of what the briar looked like. There is some nice grain around the sides. You can also see the flaws in the final close up photo of the heel.   The stamping on the left and right sides of the shank are clear and readable and read as noted above. I turned to Pipephil to find if there as any information included on the brand. There was nothing listed. I turned then to Pipedia (https://pipedia.org/wiki/Mehaffey). There was limited information there on the brand.

E.A. Mehaffey operated a pipe & tobacco shop in Wheaton, Maryland. He used to make pipes for many years but as legend has it, his house tobacco mixtures were much more prestigious than his pipes. Mehaffey was in business up to the 1980’s.

I also turned to a previous blog on rebornpipes that wrote earlier (https://rebornpipes.com/tag/e-a-mehaffey-pipe-tobacco-shop-in-wheaton-maryland/). In that blog I quoted a previous blog by Dal Stanton on the brand and it confirmed what I noted above. I quote from there.

Dal Stanton who has written blogs for rebornpipes had worked on one Mehaffey pipe so I turned to that blog to see what he had found previously (https://rebornpipes.com/tag/e-a-mehaffey-pipe-tobacco-shop-in-wheaton-maryland/). I followed the link on the blog and turned to Pipedia to see if there was any additional information added since Dal had been there previously (https://pipedia.org/wiki/Mehaffey). There was not much information available but I quote what was there in full.

While this statement does not engender enthusiasm for E. A. Mehaffey’s pipe production, the Acorn with a Natural finish is a very nice piece of briar. Both sides of the bowl show a mix of grains. On the front of the bowl there is some nice flame grain and on the back some swirls of grain. This is a beautifully styled and positioned Acorn shape has a tapered vulcanite stem that fits proportionally well. Jeff had cleaned up the pipe with his usual penchant for thoroughness. He reamed the pipe with a PipNet pipe reamer and removed the rest of it with a Savinelli Fitsall Pipe Knife.  He scrubbed the bowl with undiluted Murphy’s Oil Soap with a tooth brush. He rinsed it under running warm water to remove the soap and grime. He cleaned out the inside of the shank and the airway in the stem with alcohol, cotton swabs and pipe cleaners. He soaked the stem in Before & After Deoxidizer and rinsed it off with warm water. I took photos of the pipe once I received it. The rim top cleaned up really well. There is one flaw/fill on the front of the rim top. The inner and outer edge of the bowl looked to be in excellent condition. The stem surface looked very good with a few small tooth marks and chatter on both sides near the button.    The stamping on both sides of the shank is clear and readable. The left side is stamped with an R4 followed by Mehaffey. On the right side of the shank it is also stamped with R4. On the left side the 4 was stamped as a superscript and on the right side it was stamped with a subscript 4.   I removed the stem and took a photo of the pipe to give a sense of the whole. The stem is tapered and narrow.Now it was time to do my work on the pipe. I filled in some flaws in the briar on the front of the heel with clear super glue. The flaws had twisted shapes and turns as noted above so I did not use briar dust.   I polished the repaired areas and the rest of the briar with micromesh sanding pads – wet sanding with 1500-12000 grit pads and wiping it down after each pad with a damp cloth.  I rubbed the bowl and shank down with Before & After Restoration Balm. I worked it into the surface of the bowl sides and shank with my fingertips to clean, enliven and protect the briar. I let the balm sit for a little while and then buffed with a cotton cloth to raise the shine. The grain has come alive.    I set the bowl aside and turned to work on the stem. It was in good condition and the tooth marks were light so I figured they would polish out fairly easily. I polished the vulcanite stem with micromesh sanding pads – 1500-12000 grit pads. I wiped it down with a damp cloth after each sanding pad. I used Before & After Pipe Polish – both Fine and Extra Fine to further polish the stem.        This Acorn R4 pipe from E.A. Mehaffey Pipe & Tobacco Shop in Wheaton, Maryland is a great looking pipe now that it has been restored. It really is a piece of pipe shop history as more and more of them disappear. The smooth oil cured finish around the bowl is quite beautiful and highlights the grain and works well with the polished vulcanite taper stem. The repaired flaws in the heel of the bowl are still visible but are now smooth to touch. I put the stem back on the bowl and carefully buffed the pipe with Blue Diamond on the buffing wheel using a light touch on the briar. I gave the bowl and the stem multiple coats of carnauba wax on the buffing wheel and followed that by buffing the entire pipe with a clean buffing pad. I hand buffed the pipe with a microfiber cloth to deepen the shine. The finished Mehaffey R4 Acorn fits nicely in the hand and feels great. Give the finished pipe a look in the photos below. The dimensions of the pipe are Length: 6 inches, Height: 2 inches, Outside diameter of the bowl: 1 ½ inches, Chamber diameter: ¾ of an inch. If you are interested in adding this pipe to your collection send me a message or an email. Thanks for reading this blog and my reflections on the pipe while I worked on it. There are many more to come!

Breathing Life into a mixed finish Serafini Oom Paul


Blog by Steve Laug

The next pipe on the work table came to me from Jeff’s pipe hunts or auction purchases. Between us we pick up quite a few pipes from our hunts. I try work them into the restoration queue so that I can keep them moving. This next on is an interesting looking piece – a mixed finish Oom Paul shape (smooth panels and shank with a rusticated body to the pipe). The pipe is stamped on the left side of the shank and reads Serafini. The finish had a lot of grime ground into rustication and the smooth finish on the briar. The bowl was heavily caked with a lava coat on the top of the rusticated rim. It was hard to tell how the inner edge of the rim actually looked until the bowl was reamed. The stem was in oxidized and had tooth chatter and marks on the top and underside near the button. There were not markings or logo on the fancy turned stem. It had promise but it was very dirty. I took some photos of the pipe before I started my cleanup work.   I took a photo of the rim top and bowl to give a clear picture of the thickness of the cake and the overflow of lava on the rim top. He also took photos of the top and underside of the stem to show the chatter and tooth marks. Otherwise the stem is quite clean.  The stamping on the left side of the shank is clear and readable and reads as noted above. The stem does not seat properly in the shank. You can see that in both the photos above and the one below. I did some searching on the internet in my other sources Pipedia and Pipephil to see if I could find any information on the brand. Unfortunately there was nothing on either site regarding the brand. I did some hunting on the word Serafini and found that it means the burning ones and refers to a type of celestial or heavenly being in the Abrahamic Religions. It is also a common Italian family name. Other than that the make of the pipe was not clear. Can any of you who are reading this shed some light on the brand??

I reamed the pipe with a PipNet pipe reamer with the third cutting head. I took the cake back to bare briar and removed the rest of it with a Savinelli Fitsall Pipe Knife. I sanded the walls of the bowl with 220 grit sandpaper wrapped around piece of dowel.  I scrubbed the bowl with undiluted Murphy’s Oil Soap with a tooth brush. I worked the soap into the rustication of the briar with the tooth brush. I rinsed it under running warm water to remove the soap and grime. The soap also removed a lot of the shellac finish on the smooth portions of the bowl and shank.    The varnish or shellac coat was pealing. I wiped the smooth portions of the bowl and shank down with acetone on a cotton pad. I was able to remove remnants of the shiny coat with the acetone. I took a photo of the shank end to show the crack at the top of the shank. It was tight but nonetheless very present. I went through my bag of bands and found a copper/brass band that would bind the crack and not cover any of the stamping on the shank. I used a tooth pick to coat the shank end with all-purpose white glue. I pressed the band in place on the shank and took photos of the newly banded shank. I cleaned out the inside of the shank and the airway in the stem with alcohol, cotton swabs and pipe cleaners.I rubbed the bowl and shank down with Before & After Restoration Balm. I worked it into the surface of the bowl sides and shank with my fingertips and a horsehair shoe brush to clean, enliven and protect the briar. I let the balm sit for a little while and then buffed with a cotton cloth to raise the shine. You can see the sparkle in the rustication surfaces as the light hits them.  I sanded out the tooth marks and chatter on both sides of the stem at the button. I also sanded the oxidation on the stem surface with both 220 grit sandpaper and started the polishing with 400 grit wet dry sandpaper.  I polished the vulcanite stem with micromesh sanding pads – 1500-12000 grit pads. I wiped it down with a damp cloth after each sanding pad. I used Before & After Pipe Polish – both Fine and Extra Fine to further polish the stem.      This Serafini Oom Paul is a great looking pipe now that it has been restored. The mix of finishes – smooth portions and and rusticated finish around the panels. The combination of brown stains makes the smooth panesl and rustication almost sparkle and works well with the polished vulcanite taper stem. The polished brass band/end cap looked great with the briar and the vulcanite. I put the stem back on the bowl and carefully buffed the pipe with Blue Diamond on the buffing wheel using a light touch on the briar. I gave the bowl and the stem multiple coats of carnauba wax on the buffing wheel and followed that by buffing the entire pipe with a clean buffing pad. I hand buffed the pipe with a microfiber cloth to deepen the shine. The finished Serafini Oom Paul fits nicely in the hand and feels great. Give the finished pipe a look in the photos below. The dimensions of the pipe are Length: 6 ½ inches, Height: 2 ½ inches, Outside diameter of the bowl: 1 ¼ inches, Chamber diameter: ¾ of an inch. If you are interested in adding this pipe to your collection send me a message or an email. Thanks for reading this blog and my reflections on the pipe while I worked on it. There are many more to come!

Restoring a Savinelli Oscar Aged Briar 701 Rusticated Lovat


Blog by Steve Laug

The next pipe on the work table came to me from Jeff’s pipe hunts or auction purchases. We pick up quite a few pipes from his hunts. I try work them into the restoration queue so that I can keep them moving. This is an interesting looking piece – a multi-hued rusticated Lovat showing through the grime. The pipe is stamped on the underside of the shank and reads Oscar [over] Aged Briar to the right of that it is stamped with a Savinelli Shield S followed by the shape number 701 [over] Italy. The finish had a lot of grime ground into rustication on the briar. The bowl was heavily caked with a lava coat on the top of the rim. It was hard to tell how the inner and outer edge of the rim actually looked until the bowl was reamed. The stem was in decent condition with tooth chatter and marks on the top and underside near the button. It had the typical Savinelli Made Oscar shooting star on the left side of the saddle stem. It had promise but it was very dirty. Jeff took some photos of the pipe before he started his cleanup work.   He took a photo of the rim top and bowl to give a clear picture of the thickness of the cake and the overflow of lava on the rim top. He also took photos of the top and underside of the stem to show the chatter and tooth marks. Otherwise the stem is quite clean.   He took photos of the sides and heel of the bowl to show the rustication patterns and variations in colour on the bowl. It is a pretty pipe. The stamping on the heel of the bowl and shank is clear and readable and reads as noted above. The shooting star on the stem side is also clear.       Jeff had picked this pipe up in April of 2017 and had cleaned it and sent it to me not long after that. That will tell you how far behind I am on the restoration projects sitting all around me. Jeff had done his usual thorough cleanup on the pipe. He reamed it with a Pipnet Reamer and cleaned up the reaming with a Savinelli Fitsall pipe knife.  He had scrubbed the exterior of the bowl with Murphy’s Oil Soap and a tooth brush and rinsed it off with warm water to remove the grime from the finish. He cleaned the internals of the shank and stem with alcohol, cotton swabs and pipe cleaners to remove the tarry residue and oils in the shank and airway. He soaked the stem in Before & After Deoxidizer to remove any oxidation on the stem surface. When it arrived here on my work table I took photos of the pipe before I started my part of the restoration. The pipe looked amazingly good.   The inner and outer edges of the rim were in good condition. The inner beveled edge of the rim looks very good. The rim top is absolutely beautiful! The stem look good but there was still some oxidation and there were tooth marks and chatter on both sides near the button.    I took a photo of the stamping on the heel of the bowl and underside of the shank. The stamping is clear and readable and reads as noted above.      I took the stem off the pipe and took a photo of the parts to show the look of the pipe as a whole.The pipe was in such good condition after Jeff’s clean up work that the rim top only needed to be polished with 1500-12000 grit micromesh sanding pads to raise a shine.  I rubbed the bowl and shank down with Before & After Restoration Balm. I worked it into the surface of the bowl sides and shank with my fingertips and a horsehair shoe brush to clean, enliven and protect the briar. I let the balm sit for a little while and then buffed with a cotton cloth to raise the shine. You can see the sparkle in the rustication surfaces as the light hits them.   I set the bowl aside and turned my attention to the stem. I touched up the Shooting Star logon the left side of the saddle stem with Antique Gold Rub’n Buff. I am out of white paint and for some reason the liquid paper does not work on the shooting star. I am going to hunt down some Rub’n Buff White that should work as well. I pushed it into the stamping with a tooth pick. I rubbed it off with a cotton pad to remove the excess and still leave some in the stamping.     I polished the vulcanite stem with micromesh sanding pads – 1500-12000 grit pads. I wiped it down with a damp cloth after each sanding pad. I used Before & After Pipe Polish – both Fine and Extra Fine to further polish the stem.   This Savinelli Made Oscar Aged Briar 701 Lovat is a great looking pipe now that it has been restored. The mix of brown stains makes the rustication almost sparkle and works well with the polished vulcanite taper stem. I put the stem back on the bowl and carefully buffed the pipe with Blue Diamond on the buffing wheel using a light touch on the briar. I gave the bowl and the stem multiple coats of carnauba wax on the buffing wheel and followed that by buffing the entire pipe with a clean buffing pad. I hand buffed the pipe with a microfiber cloth to deepen the shine. The finished Savinelli Made Oscar Aged Briar Lovat fits nicely in the hand and feels great. Give the finished pipe a look in the photos below. The dimensions of the pipe are Length: 5 ½ inches, Height: 1 ¾ inches, Outside diameter of the bowl: 1 ¼ inches, Chamber diameter: ¾ of an inch. If you are interested in adding this pipe to your collection send me a message or an email. Thanks for reading this blog and my reflections on the pipe while I worked on it. There are many more to come!

An Interesting Pipe To Work On – a GBD Prehistoric Xtra Horn


Blog by Paresh Deshpande

This pipe has attracted the attention of my wife, Abha, since the time I had received three huge boxes of pipes that once belonged to my Grandfather. So when she took the plunge of helping me in restoring all these inherited pipes, this was one of the first she had earmarked for cleaning up. After she had done the initial cleaning up, this pipe languished at the bottom of the pile of around 50 plus pipes that she had cleaned up. And it was during the period of my stay at home on compulsory leave due to the countrywide lockdown to contain the spread of CORONA VIRUS (COVID-19) that this pipe came up for restoration.

The pipe with its forward canted Horn shape with a long military mount vulcanite stem has a delicate feel and look to it. It has beautiful and deep sandblast with some astonishing grain patterns that are seen over the stummel surface. The shank end is adorned with a gold ferrule that adds a touch of classy bling to the appearance of the pipe. It is stamped at the foot of the stummel as “PREHISTORIC” in Gothic hand followed by “GBD” in an oval over “XTRA”. The gold ferrule is stamped as “GBD” in an oval over four different shaped cartouches bearing the stampings, from left to right, numeral “6 (or is it 9 ?) in a rhombus followed by purity grade number “.375” in a rectangle followed by date code letter “F” and lastly the symbol of the city Assay Office that has worn out but I guess it appears like a LION HEAD with protruding lines from the four corners. The vulcanite stem is stamped, not very deeply, on the left side as “GBD” in an oval over “XTRA” in a slight upturned arch. The stampings, save for the Assay Office, is crisp and clear. There is plenty of material available on pipedia.org on the brand GBD that makes for an interesting read. The link below should take you to the relevant page on pipedia.org. For the sake of brevity, I have reproduced only the relevant portions that are related and of interest with respect to the pipe that I am working on (https://pipedia.org/wiki/GBD).

Early GBDs were made only in one single grade concerning the wood’s quality, later supplemented by a second one, and there was only a very limited number of finishes. But toward the end of the 19th century, the demand changed. For example the Britons preferred darker stainings. More differentiated customer’s wishes made the introduction of additional markings necessary. GBD Xtra and GBD Special were very early models who’s names indicated special final treatments and / or fitments. The standard quality was stamped simply with GBD.

There is a very simple explanation for GBD’s program to turn more “British”: GBD became a British company soon after the turn of the century! In 1902 Marechal and Ruchon sold GBD to A. Oppenheimer & Co. in London.

The claims after the 1st World War demanded further distinctions. First of all was the London Made, which became the Standard London Made, followed by the New Era— in 1931 the top model asking 12½ Shilling. The Pedigree, although sketched around 1926, was not produced until the later 1930s. The New Standard was introduced in order to give the popular Standard of the 20s a higher rank in value. The Prehistoric, a deeply sandblasted black pipe, that still carried the small GBD Xtra stamp, was entirely new and unusual.

Dating GBDs
Xtras haven’t been made since the 1930’s.

That this pipe currently on my work table was made from 1918 to 1930s can be inferred from the information gleaned above:

(a) GBD Xtra and GBD Special were very early models whose names indicated special final treatments and / or fitments.

(b) The ferrule stamping of AO points to the fact that the pipe is post 1902 as Marechal and Ruchon sold GBD to A. Oppenheimer & Co. in London in 1902.

(c) The Prehistoric, an entirely new and unusual line that still carried the small GBD Xtra stamp, was introduced after WW I.

(d) Xtra hasn’t been made since 1930s.

To pinpoint the year of make of this pipe, I decided to follow the stampings on the ferrule. Here, I was not very sure about the Assay Office hallmark as it was pretty buffed out and the numeral could have been a 6 or a 9. But having worked and researched a few silver hallmarked pipes, I guessed that the Assay Office hallmark should be a lion head. I visited https://www.gold-traders.co.uk/hallmarks/

This site is a step-by-step guide to help identify the carat/ purity, Assay Office and year of hallmark on all things gold. All things matched up perfectly and I have included a screen shot of the final result.From the above, it can be conclusively indentified that this GBD Prehistoric Xtra was made in England (London Assay Office) in 1921, give or take a year as the ferrules were always sent to the Assay Office in bulk to be used over a period of time, usually a year.

Initial Visual Inspection
As I have mentioned above, this pipe was initially handled by Abha and she is not in a habit of taking many pictures as she works on each piece of briar. There are not many pictures to give the readers an idea about the condition of the pipe before she had worked her magic and presented me with a nice clean canvas to carry forward my repair and refurbishing tasks. I have included a description of the initial condition of the pipe as documented by her.

This pipe has a rather small and narrow bowl in a classic Dublin shape with a pronounced forward cant. The chamber tapers towards the foot and has a chamber depth of about 1 ¼ inches. The chamber had an even layer of thick hard cake. There was a heavy overflow of lava over the rim top surface. Through this thick layer of lava, a crack is clearly visible over the rim top (marked with yellow arrows) that extends over both the inner and outer stummel surface on the right side in the 5 o’clock direction. The rim top was darkened considerably and I had suspected a charred inner rim edge in 6 o’clock direction (marked in green). The condition of the inner walls of the chamber can be commented upon after the cake has been taken down to the bare briar. The ghost smells in the chamber are not very strong.The deeply sandblasted stummel surface has very beautiful grain patterns and is covered in dust and grime. The fact that the sandblasted patterns are dusty and filled with dirt is accentuated more due to the contrast of dark and medium brown stains on the stummel and the shank. The briar was looking lifeless and bone dry and had taken on black dull hues. The mortise was full of oils, tars and gunk and air flow was restricted.

The high quality vulcanite stem was deeply oxidized. Some minor tooth chatter and calcified deposit were seen on both the upper and lower stem surfaces in the bite zone and at the bottom of the button edge respectively. The tenon end had accumulated ash and oils/ tars that had dried out on the inside as well as on the outside. The horizontal slot has scratch marks which will have to be addressed.    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 smoothed out the chamber walls with a folded piece of 220 grit sand paper. She 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.

The Process
The stummel crack was something that would essentially require materials and equipment that are available to me at my work place; therefore, I had no option but to relegate the stummel repairs to a later date.

I start this project by addressing the tooth chatter on either surface in the bite zone. Since vulcanite has a property to expand and regain its original shape when heated, I heat the bite zone with a candle flame to raise the tooth chatter to the surface. The deeper bite marks were filled with a mix of CA superglue and activated charcoal and set aside to cure. Once the fills had cured, using a flat needle file, I reshaped the button and roughly matched the fills with the rest of the stem surface. I further fine tuned the match by sanding the filled area with a folded piece of 220 grit sand paper pinched between my thumb and forefinger. I followed it up by sanding the entire stem surface using 400, 600, 800 grit sand papers and finally with a piece of 0000 grade steel wool. This serves to remove the deep seated oxidation and also reduces the sanding marks of the more abrasive sand papers. I also sharpened the button edges while sanding. I wiped the stem with a cotton swab and alcohol 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. To bring a deep shine to the vulcanite stem, Abha polished it by wet sanding with 1500 to 2000 grit sandpapers followed by further wet sanding with 3200 to 12000 grit pads. She wiped the stem with a moist cloth after each pad and rubbed it down with Extra Virgin Olive oil to rejuvenate the vulcanite. The finished stem is shown below.  Further repair and refurbishing work would have to be put on hold till I rejoin my work place.

Part II
Finally back at my work place…… After enjoying a compulsorily extended leave of three months with family and having honed my culinary and domestic chores skill set, I was happy to rejoin my duty and get back to completing the pending pipe restorations.

I took a closer look at the crack on the right side of the stummel in the 5 ‘O’ clock direction. This crack extends over the rim top surface and in to the chamber. With my sharp dental pick, I probed and removed all the charred briar wood from the crack and also dislodged the entire lava overflow that had embedded itself in to the crack over the rim top. It was a big relief to note that the crack did not go all the way to the outside of the stummel. Here are a couple of close up pictures of the crack to the chamber wall and outer stummel surface at this stage. I conferred with my Guru and mentor, Steve, over Face Time video call and after seeing the crack, he concurred that it was best to fill just the crack inside the chamber with J B Weld followed by a coating of activated charcoal and yogurt to the entire chamber for further protection. Before proceeding with further repairs, I decided to thoroughly clean the rim top and the stummel again to remove all the dirt and dust that had accumulated since last one year and also to completely remove the lava overflow from the rim top surface. I cleaned the stummel using Murphy’s Oil soap and a hard bristled tooth brush. With a brass wired brush, I cleaned the rim top to remove the lava overflow. The stummel and the rim top have cleaned up nicely.   Next I decided to address the crack to the stummel surface. I marked the end point of the crack on with a sharp dental tool under magnification. This helps to identify the end point later with naked eye and also provides initial traction for the drill bit to bite in. With a 1 mm drill bit mounted on to my hand held rotary machine, I drilled a counter hole at the end of the crack, taking care not to go too deep and end up drilling a through-hole. I had to mark and drill a second counter hole as I later realized that the crack extended slightly below the first one that I had drilled. I ran the sharp dental tool along the crack to remove the dirt and debris that may have been lodged in the crack. I filled the drilled holes and the crack to the stummel surface with a mix of CA superglue and briar dust. I also filled the crack at the rim top surface with the mix of superglue and briar dust and set the stummel aside for the fills to cure. A few hours later, the fills had hardened completely. I sand them down with a flat head needle file to achieve a rough match with the rest of the stummel. I fine tuned the match with the rest of the surface by further sanding with a piece of 180 grit sandpaper. I used a tightly folded 180 grit sand paper to sand the fills and had carefully moved along the ridges of the sandblast to achieve a near perfect match. I vigorously brushed the rim top with a hard bristled brass wired brush to further blend the fill with the rest of the rim top surface.    Now that the external repairs are done, I decided to address the crack to the wall of the chamber. To protect the crack from coming in to direct contact with the burning tobacco and also to prevent the heat from reaching the external crack to the stummel and causing a burnout, I plan, firstly, to fill only the crack of the chamber with J B Weld followed by a second coat of activated charcoal and yogurt to the entire chamber which would assist in faster cake formation. 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 and filled the intended crack. I worked fast to ensure a complete and even filling of the crack and set the stummel aside for the J B Weld to harden.By the next afternoon when I got back to working on this pipe, the J B Weld coat had completely cured and hardened considerably. With a folded piece of 150 grit sandpaper, I sand the weld coating to a smooth surface till I had as thin a coat as was essential to protect and insulate the crack from the direct heat of the burning tobacco. The Weld coat has completely covered only the crack which can be seen as a thin line. I am very pleased with the repairs at this stage.I refreshed the stem logo by first coating the logo with a white correction liquid and once it had dried, I wiped it lightly with a cloth. I polished the stem surface with “Before and After Extra fine” stem polish developed by Mark Hoover. This polish helps in removing the minor scratches left behind due to sanding while imparting a nice shine to the stem.   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 dark browns of the raised portions of the sandblast contrasts beautifully with the rest of the dark stummel and makes for a visual treat. It really is a nice piece of briar. Now that the cosmetic aspects of this pipe have been dealt with, all that remained was the functional aspect that needs to be taken care of. The J B Weld coated crack needs to be protected from the direct heat of the burning tobacco and for this; I coat the complete chamber walls with a mix of activated charcoal and yogurt and set it aside to harden naturally. The mix has to be of the right consistency; neither too thick nor too runny. It should be of a consistency that is thick enough to spread easily, evenly and stick to the walls. Also the coating should not be very thick. A thin film is all that is required. Another important aspect to remember is that it is essential to insert a pipe cleaner in to the mortise and through the draught hole for two reasons; first is obviously to keep the draught hole from getting clogged and secondly, the pipe cleaner absorbs all the moisture from the mix and helps in faster and even drying of the coat.To put the finishing touches, I mount 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.  Next, 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. Lastly, I polish the 9 carat gold ferrule with a jeweler’s cloth to a nice and radiant shine. The blast pattern on this finished pipe looks amazingly beautiful and coupled with the vintage, shape rarity and the contrast that the gold ferrule imparts, makes it quite a desirable pipe. This pipe shall be joining my small collection of GBDs to be admired and be happy that I have restored it to its former beauty and functionality. P.S. In one of my previous blogs, I wrote that the question “Why do I enjoy bringing these old battered and discarded pipes back to life?” had popped up in my mind. I gave my third reason in my last write up and in all my subsequent write ups I intend to share with you, my readers my reasons as to why I really love this hobby.

The fourth reason is that every restoration project that I undertake is a new challenge for me. It sets my adrenaline pumping as I see the beauty of the pipe being unraveled before my eyes as I progress through each process of restoration. It helps me keep myself motivated and I wake up to each morning with enthusiasm to address the challenges that any project throws at me. Upon successful completion of repairs and refurbishing of a pipe to make it beautiful and most importantly FUNCTIONAL, gets me to a nice peaceful sleep at night… isn’t that what we all strive for?     

I wish to thank each one for sparing their valuable time to read through this write up and each one is in my prayers. Stay home…stay safe!!

 

Restoring a Savinelli Oscar Aged Briar 122 ¼ Bent Pot


Blog by Steve Laug

The next pipe on the work table came to me from the estate of a Vancouver pipe smoker whose widow left them with a local Pipe Shop after he died. I was asked to clean them up and sell them for the shop as it has since closed. This is another interesting looking piece – great grain showing through underneath the grime. There is cross grain and birdseye grain around the bowl. The pipe is stamped on the left side of the shank and reads Oscar [over] Aged Briar. On the right side of the shank it is stamped with a Savinelli Shield S followed by the shape number 122 [over] Italy. The finish was dull and lifeless with a lot of grime ground into the briar. The bowl was heavily caked with a lava coat on the top of the rim. It was hard to tell how the inner and outer edge of the rim actually looked until the bowl was reamed. The stem was oxidized, calcified and had tooth chatter and marks on the top and underside near the button. It had promise but it was very dirty. I took some photos of the pipe when I received it.   I had sent the batch of pipes from the shop to my brother Jeff in Idaho and he had cleaned them up for me. It was several years ago now that he sent them back to me and I am just now getting to finish them. He reamed them with a Pipnet Reamer and cleaned up the reaming with a Savinelli Fitsall pipe knife.  He had scrubbed the exterior of the bowl with Murphy’s Oil Soap and a tooth brush and rinsed it off with warm water to remove the grime from the finish. He cleaned the internals of the shank and stem with alcohol, cotton swabs and pipe cleaners to remove the tarry residue and oils in the shank and airway. He soaked the stem in Before & After Deoxidizer to remove the oxidation on the stem surface. When it arrived here on my work table I took photos of the pipe before I started my part of the restoration. The bowl was a definite improvement but the stem still showed some oxidation.    The inner and outer edges were in good condition. The inner beveled edge of the rim looks very good. The stem look good but there was still some oxidation and there were tooth marks and chatter on both sides near the button. The underside was worse than the topside.      I took a photo of the stamping on the sides of the shank. The stamping is clear and readable and reads as noted above.  I took the stem off the pipe and took a photo of the parts to show the look of the pipe as a whole.I polished the rim top and bowl with 1500-12000 grit micromesh sanding pads to polish the briar.    I rubbed the bowl and shank down with Before & After Restoration Balm. I worked it into the surface of the bowl sides and shank with my fingertips to clean, enliven and protect the briar. I let the balm sit for a little while and then buffed with a cotton cloth to raise the shine. You can see the grain showing through the deep glow. I set the bowl aside and turned my attention to the stem. I “painted” the stem surface with the flame of a Bic lighter. I was able to lift the majority of the dents but there were two on the underside and a dent along the button on the top side. I filled them in with black super glue and set it aside to cure. Once the repairs cured I used a needle file to smooth out the repairs and blend them into the surrounding vulcanite. I sanded the repaired areas with 220 grit sandpaper and scrubbed the surface of the stem with Soft Scrub all-purpose cleanser to remove the oxidation that remained on the stem surface.      I touched up the Shooting Star logon the left side of the saddle stem with Antique Gold Rub’n Buff. I pushed it into the stamping with a tooth pick. I rubbed it off with a cotton pad to remove the excess and still leave some in the stamping.      I polished the vulcanite stem with micromesh sanding pads – 1500-12000 grit pads. I wiped it down with a damp cloth after each sanding pad. I used Before & After Pipe Polish – both Fine and Extra Fine to further polish the stem.       This Savinelli Made Oscar Aged Briar 122 Pot is a great looking pipe now that it has been restored. The pipe came to me from the local pipe shop estate that I am restoring and selling for them. The medium brown stain highlights the grain and works well with the polished vulcanite taper stem. I put the stem back on the bowl and carefully buffed the pipe with Blue Diamond on the buffing wheel using a light touch on the briar. I gave the bowl and the stem multiple coats of carnauba wax on the buffing wheel and followed that by buffing the entire pipe with a clean buffing pad. I hand buffed the pipe with a microfiber cloth to deepen the shine. The finished ¼ bent Savinelli Made Oscar pot fits nicely in the hand and feels great. Give the finished pipe a look in the photos below. The dimensions of the pipe are Length: 5 ½ inches, Height: 1 ½ inches, Outside diameter of the bowl: 1 ½ inches, Chamber diameter: 7/8 of an inch. If you are interested in adding this pipe to your collection send me a message or an email. Thanks for reading this blog and my reflections on the pipe while I worked on it. This is an interesting estate to bring back to life.