Tag Archives: Redmanol stems

A Challenging Restoration of a c.1921 No Name Meerschaum Billiard


Blog by Paresh Deshpande

During the summer of last year while browsing on Pinterest, I came across pictures of some beautiful pipes and following the links led me to an old gentleman from the UK who was willing to sell these pipes either single or as a lot. There were around 60 odd pipes. I went through the pictures that were sent along with the rates and selected 10 pipes. After a prolonged and interesting interaction, we managed to arrive at a price point. Soon these pipes landed on the shores of India and went in to Customs hold for nearly a month. Finally, it was released and I laid my hands on these pipes after a wait of nearly 3 months! Here is a picture of the lot that I had taken moments after opening the parcel.Since then, I have refurbished, repaired a family era Barling’s Make Bulldog (yellow arrow), a c.1901 Samuel McLardy (green arrow) and added them to my personal collection while the c. 1960 Dunhill Shell (blue arrow) has made it’s way to my dear friend to enjoy. This estate lot had a beautiful block Meerschaum billiard with a Redmanol stem (red arrow) that called out to my wife. She liked the size, heft and simple classic straight lines of billiards and the way the red of the stem complimented the overall appearance of the pipe. The following picture will identify the pipes that have been restored and the meer that is now on my work table.This solid meerschaum is sans any stampings on the stummel or stem and lack of any housing case makes establishing the provenance of this pipe a tad impossible. The only pointer to this pipe being English is the stampings on the Sterling Silver ferrule at the shank end and should help in dating this pipe and identify the silversmith who mounted it on this pipe. It is stamped “H.T” in an oval over three sterling silver hallmarks. From left to right the first cartouche is with a LION PASSANT certifying silver quality followed by a cartouche with symbol for Chester Assay Office and the last cartouche contains the date code letter “V”.In order to link the maker’s mark on the silver band to a silversmith registered with Chester Assay office. I visited https://www.silvermakersmarks.co.uk/Makers/Chester-HP-HZ.html#HT  and I have reproduced the findings below that most closely matched the probable silversmith (highlighted in red).The cause for doubt in my mind with respect to the findings above is the fact that the “H.T” stamping on the silver band is enclosed in an oval whereas that shown above is in a square cartouche. However, the comment of Henry Tongue being a Pipe mounter and the period are perfectly matched. Thus the circumstantial evidence makes me want to believe that the pipe mounter of this Meerschaum pipe is Henry Tongue.  Any esteemed Reader is most welcome to shed more definitive information for the benefit of other members.

The next step was to ascertain the dating on this silver band. I frequent www.silvercollection.it for exact dating of letter code. The font style and the enclosing cartouche of the letter “V” on the shank band matches to the date year 1921. I have reproduced a screenshot of the relevant section of the date charts and the date year is indicated in red.

Now it was time to get working on the pipe.

Initial Inspection
To begin with, the stummel is dirty and covered in dust, dirt and grime of over a century gone by. The age on this pipe is manifested in the number of all the handling related scratches and marks that it has been subjected to. There is a decent layer of cake in the chamber with lava overflow over the rim top surface. Under all the crud, the rim top is deeply scratched all around. The stem seats loose in the shank. The stem has a couple of tooth indentations in the bite zone and other than that the Redmanol stem is in pretty good condition. Here are a few pictures of the pipe as it sits on my worktable. Detailed Inspection
There is a thick layer of cake in the chamber. The rim top surface has lava overflow and has darkened considerably over the entire surface. The rim top is peppered with deep scratches, probably caused when someone, somewhere through the century, tried to remove the crud from the rim top using a sharp knife or it could have been caused as damage due to uncared for storage when the rim top and rest of the stummel was being rubbed against some hard objects. This uncared for storage could be the most likely reason since the stummel too has a number of scratches and marks. The inner and outer rim edges both show a few nicks and dents. The exact extent of damage to the inner rim edge will be ascertained after the chamber and rim surface is rid of all the cake and crud. The chamber walls are thick and feel solid to the touch.The stummel has a number of scratches and marks over the surface. There is a lot of dirt and grime ground in to the stummel surface giving it a dull and patchy appearance. However under all the grime and scratches, the stummel has taken on a beautiful color/ patina through the years of smoking and it is my intent to preserve it through the process. The threads in the mortise are slightly worn out and the mortise itself shows accumulation of oils and grime. Other than these minor issues, the stummel surface is sans any major damage and feels solid to the touch. The opaque cloudy Redmanol stem looks amazing as it is and should add a new dimension to the beauty of the pipe once it is repaired and all polished up. There are a couple of deep tooth indentations in the bite zone (encircled in yellow) that would need to be addressed. The stem airway leading to the round orifice shows remnants of old oils and gunk. The threaded bone tenon is covered in very fine jute threads to increase the diameter of the tenon for improved seating of the tenon in to the mortise. Yet even after this adhoc improvisation, the seating of the stem is pretty loose. I would need to figure out a more accurate, reliable and permanent way to address this issue.The Process
I started work on this pipe by firstly getting rid of the jute threads from the tenon end and followed it 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 a soft brass wired brush; I cleaned out the entire gunk from the threads of the bone tenon.I filled the tooth indentations with clear superglue and set it aside for the glue to cure. Once the glue had cured, using a flat needle I sand the fill to achieve a rough match with the rest of the stem surface. Once I was through with this step, I dry sand the entire stem with 400, 600 and 800 grit sand papers followed by wet sanding using 1000, 1500 and 2000 grit sand papers. This progressive use of higher grit sandpapers helps to, firstly, reduce the sanding marks left behind by the more abrasive ones, secondly, completely eliminate the oxidation and imparting a clean shine to the stem surface. Thirdly, this also helps to even out the minor tooth chatter from the bite zone. To complete the stem polish, I went through the entire set of nine micromesh pads, wet sanding through 1500 to 12000 grit micromesh pads.At this stage of refurbishing this pipe, little did I know that I would be carrying out further tedious and unplanned for repairs to the stem towards the end and till then, for all purposes, I have completed the stem restoration.

Next, I worked on the stummel. I began the stummel restoration by reaming the chamber with blade size 2 followed by size 3 of PipNet reamer. With my smaller fabricated knife, I scraped out all the carbon from difficult to reach areas. I used a 220 grit sand paper, pinched between my thumb and forefinger, to sand the inner walls of the chamber of the pipe. Once I had reached the bare walls, I wiped the chamber with a cotton swab dipped in isopropyl alcohol. This removed all the residual carbon dust and also rid the chamber of all ghost smells. The walls of the chamber are nice and solid with no signs of cracks. Using a sharp knife, I gently scraped out the overflow of lava from the rim top. The scratches on the rim surface are now clearly visible and so is the extent of damage to the outer edge of the rim. With the stummel internals cleaned up, using my fabricated tool, I scraped out the entire dried gunk from the mortise. I further cleaned the shank internals with a shank brush dipped in alcohol followed by running pipe cleaners through the shank till clean.All the while that I was cleaning the chamber and the shank, the sterling silver band came loose. I was extremely relieved to note that beneath the band, the shank was in pristine condition.To address the damages to the rim surface, I topped the rim top over a piece of 220 grit sandpaper, frequently checking for the progress made as I wanted to restrict the loss of meer material to not more than absolutely necessary. Close inspection of the rim top at this stage revealed that even though few minor scratches are still visible, they are too minor with the surface smooth to the touch. This will further even and smooth out during polishing with micromesh pads.I wiped the stummel surface with a cotton swab and Murphy’s Oil soap. The stummel surface is now free of all the dust and grime. I also cleaned out the last traces of lava from the rim top surface. The stummel and rim top surface now looks dark and dull, but it is clean. The scratches/ lacerations over the stummel surface are now more prominently visible. I shall bring back the rich shine when I polish it further using micromesh pads. This step will also help further reducing a few of the minor scratches and lacerations from the surface. At this point I was caught in a conflict; should I sand the stummel with a piece of 220 grit sandpaper to remove the scratches to make it look pristine and loose the patina that has developed over the years or preserve the coloration and patina. I decided on the later, after all it is the coloration taken on by the meer over the years which is more important and the existing scratches are a part of its journey through the years, is how I convinced myself!! I polished the stummel surface by dry sanding it with 1500 to 12000 grit micromesh pads. Some minor scratches were also addressed while imparting a nice deep shine to the stummel. The patina was also preserved. All in all, I am pleased with the appearance of the stummel at this stage. Next I gave a beeswax polish to the meerschaum bowl. I assembled the equipment and materials that would be needed during the process — a heat gun, paper towels, q-tips and a container for the wax and of course, beeswax. I stuffed the chamber with cork to prevent inadvertent seepage of the melted beeswax into either. Next, I melted a sufficient quantity of beeswax in the container using my heat gun and thereafter heated the stummel. Using the a folded pipe cleaner, I completely coated the stummel with the wax and continued the application till the surface was saturated and set the stummel aside to absorb the wax. I reheated the stummel with the heat gun about 20 minutes later and let the excess wax either be absorbed or drip off from the stummel surface. I rubbed off the excess wax with a soft cotton cloth and brought a deep shine to the surface with a microfiber cloth. The stummel now sports it’s true dark color which was drawn out by wax treatment, absolutely gorgeous I say. Next, I reattach the sterling silver band to the shank end using CA superglue after polishing the band with a silver polishing cloth.The issue that now needed to be addressed was that of the loose seating of the stem in to the shank. I had an option of either coating the tenon with clear nail polish, which is a temporary solution most suitable for briar pipes or using CA superglue to coat the tenon. This is a more permanent solution, but one needs to be careful and work fast as the tenon may get stuck in to the shank as the glue hardens rapidly. I decided to go with using the superglue.

As decided, I applied a layer of superglue over the tenon surface and quickly turned it in to the shank till I had achieved a perfect alignment. I was equally quick to unscrew the tenon out from the shank to avoid having it stuck inside the shank. After a wait of few minutes to let the glue harden, I applied a second layer and followed the same process explained above. After repeating the process thrice, I decided to apply the glue one last time over the tenon to achieve a perfect thickness. Unfortunately this layer turned out to be one too many and as I was turning the tenon in to the shank, the tenon snapped at the stem end leaving it embedded within the shank. This created an altogether unexpected challenge, not to mention additional work and the need to put in extra man hours.The superglue around the broken tenon would first need to be loosened and thereafter the embedded tenon removed. I used pure acetone to loosen the glue around the broken tenon and pried it out using nose pliers, round needle files and dental tools.Next on the agenda was to fix a tenon on to the stem. From my can of spare parts, I shortlisted one Teflon Delrin screw tenon that was nearest match to the shank diameter. The shoulders of the threaded tenon perfectly seated and sealed the shank opening. The smooth end of the Delrin tenon would need some work to seat perfectly in to the stem. Following pictures will give you the general idea.I evened out the stem airway to accept the Delrin tenon using a round needle file. I was careful while working on this Redmanol stem as I did not want chipped edges on this century old stem. I, thereafter, worked the smooth end of the Delrin tenon by sanding it using a flat head needle file. I fine tuned the seating of the tenon in to the stem by sanding using a piece of 220 grit sandpaper. I checked the seating of the stem in to the mortise and alignment of the stem airway, the mortise and the draught hole. Everything was perfectly aligned. Once I was satisfied, I fixed the tenon in to the stem using CA superglue and set it aside for the glue to harden.To give the finishing touches to this gorgeous century old pipe, I reattached the stem with the stummel. I then mounted a cotton cloth wheel on to the hand held rotary tool and applied several coats of carnauba wax over the stummel and the stem. I finished the restoration by giving the pipe a rigorous hand buffing using a microfiber cloth to raise the shine further. The completed pipe, with the shining dark golden hued meerschaum stummel and complimenting red of the Redmanol stem looks lovely, fresh and vibrant; the photographs speak for themselves. I shall be adding it to my ever growing pipe collection. Thanks for the read…Cheers!!!

Restoring an Old Cased Set of Aristocrat Meerschaums – Part 1


Blog by Steve Laug

After working on the pair of Turkish Meerschaum pipes I wrote about earlier I decided to keep working on meers (https://rebornpipes.com/2019/07/21/cleaning-up-a-pair-of-no-name-turkish-made-meerschaums/). The next thing on the table was a cased set of meerschaums that included a straight billiard, a bent billiard a cigar holder and a broken cigarette holder. All were smooth meerschaum with red Bakelite or Redmanol stems. All had bone tenons directly screwed into threaded mortises in the meerschaum. There was no stamping on the pipes and holders or the stems. The box itself was covered in what looked like alligator skin with brass hinges and clasps. On the inside the case was lined in an off white preformed velveteen fabric. There was a corner ribbon across the left side of the lid that read Aristocrat. The straight billiard had been smoked pretty heavily and there was a cake in the bowl and the rim top had a thick lava coat. The exterior of the bowl was dirty. The stem had tooth marks and chatter on both sides near the button. The second pipe – the bent billiard was unsmoked but dirty with dust and debris of time. The cigar holder had been lightly smoked and there were tooth marks and chatter on in near the button. The cigarette holder was broken and two parts and the stem remained. There was a missing piece from the front of the holder. It was unused and broken.  I took photos of the case and the pipes and holders before I started my work on it. I took photos of each of the pieces in the collection. The first set of photos shows the smoked straight billiard. The second set of photos shows the unsmoked bent billiard. The third set shows the cigar holder. The fourth set shows the broken cigarette holder. All four of the pieces were dirty, some more than others but all needing work.From what I could find on Pipephil’s site I found a listing for Aristocrat linking it to John Redman Ltd. in England (http://www.pipephil.eu/logos/en/logo-a7.html). The site says that it was an export brand from the company. In looking at the various stampings in the photos below I found that the Aristocrat stamping on the ribbon on the case above matches the second and third photo below.The photo below was a link on the site that took me to a photo of the John Redman LTD. and British Empire Pipe Com on Westland Place, Hackney, London, England. I think it is a nice historical touch to be able to include the photo.I turned to Pipedia (https://pipedia.org/wiki/John_Redman_Ltd./British_Empire_Pipe_Co.) to see if I could learn a bit more about the company. I quote the full article below:

John Redman Ltd. and British Empire Pipe Co. Other lines include Aristocrat, Buckingham, Buckingham Palace, Canberra, Captain Fortune, Dr John, Golden Square, Redonian, Richmond (not Sasieni), Twin Bore.

From these two sources it appears to me that this set of meerschaum pipes and holders was made for export by John Redman Ltd. I am not sure of the date as neither source gave clues to that information.

Given the information that I have in hand, I decided to start the restoration work on the straight meerschaum billiard. Only this pipe and the cigar holder had been smoked in the set so I figured why not start with the most smoked pipe – the most smoked billiard. I took close up photos of the bowl and rim top as well as both sides of the Bakelite stem to show the condition that the pipe was in when I started. The bowl had a thin cake from top to bottom. There was a thick coat of lava on the surface of the rim – heavier toward the back than the front but all around. The stem was clean but had tooth chatter and light tooth marks on the top and underside ahead of the button.I used a 1500 grit micromesh sanding pad to start the rim top cleanup and sanded the outside of the bowl to start the cleanup process.I reamed out the cake in the bowl with a Savinelli Fitsall Pipe Knife. I took the cake back to bare meerschaum. I sanded the walls of the bowl with a piece of dowel wrapped with 220 grit sandpaper until they were smooth.I decided to continue experimenting with a new product from Mark Hoover of Before & After Products. This one is a product he labels briar cleaner and it has the capacity of absorbing grime and dirt from the surface of briar. I decided to try it out this pair of meerschaum pipes. I rubbed the bowl down with some of his Briar Cleaner to see how it would work in this setting. In speaking to Mark he noted that the product is completely safe to use. The main product is even FDA approved edible. I rubbed it onto the bowl and rim top with my finger tips and worked it into the grime and grit on the bowl. I let it sit on the pipe for about 5 minutes before I rubbed it off with a microfibre cloth. I rinsed it under warm running water to remove the residue. I was pleasantly surprised by how clean the surface on the bowl looked when I was finished. Since the cleaner had worked so well I decided to try out the Restoration Balm on the meerschaum as well. I rubbed the bowl down with Before & After Restoration Balm. I worked it into the meerschaum and let it sit for a short time. I buffed it off with a microfibre cloth to bring it some life. Once again I was very surprised at how well it worked. I sent Mark Hoover a note about this experiment. He was pretty amazed at the results and said he had not thought of using it for meerschaum but was not surprised as it was made to absorb grit and grime from the surface of a pipe. I cleaned out the internals of the airway in the shank and the stem as well as the mortise and the entrance of the airway into the bottom of the bowl. I used alcohol, cotton swabs and pipe cleaners to remove the grime. It was surprisingly clean for a pipe that was as heavily smoked as this one was. I set the bowl aside and worked on the stem. I sanded the tooth chatter and marks on both sides of the stem with a folded piece of 220 grit sandpaper and polished out the scratches from the sandpaper with a folded piece of 400 grit wet dry sandpaper. I wiped the stem down with Obsidian Oil and set it aside to dry out.I wet sanded the stem with 1500 -12000 grit micromesh pads to polish it. I wiped it down with Obsidian Oil on a cloth after each sanding pad. After the 12000 grit pad I wiped the stem down a final time with Obsidian Oil and set it aside to dry. I put the bowl and stem back together. I polished the pipe with Blue Diamond to remove the remaining minute scratches in the briar and the Bakelite. I gave the bowl and stem several coats of Conservator’s Wax and buffed the pipe with a clean buffing pad to raise the shine. I hand buffed it with a microfiber cloth to deepen the shine. The pipe polished up pretty nicely. The contrast of the beautiful clean meerschaum with light colouring of age and the polished red Bakelite/Redmanol stem looked amazing. This older, beautiful, well made John Redman Ltd. Meerschaum straight billiard with a Redmanol stem will only get better with age. The finished pipe is shown in the photos below. The dimensions of the pipe are Length: 5 1/4 inches, Height: 2 inches, Outside diameter of the bowl: 1 1/4 inches, Chamber diameter: 7/8 of an inch. This is the first pipe from the Aristocrat pipe set in the photos at the beginning of this blog. The restoration of the remaining pieces in the set – the other pipe, the cigar holder and cigarette holder will be shown in future blogs. Thanks for walking through the restoration with me. Cheers. 

The Decline of Restoring Old Pipes, Part 1/4


Blog by Robert M. Boughton
Copyright © Reborn Pipes and the Author except as cited
https://www.roadrunnerpipes2k.com/
https://www.facebook.com/roadrunnerpipes/

“I bet ya three-to-one I beat this.”
— John Joseph “The Teflon Don” Gotti, Jr. (1940-2002), Mafia boss, to law enforcement officers the night he was arrested for five murders, racketeering, loan sharking, tax evasion and related charges leading to his conviction

“The Teflon is gone. The don is covered with Velcro….”
— James Fox, FBI Assistant Director in Charge of the New York field office, upon Gotti’s conviction on all counts and sentence to life without parole

INTRODUCTION
While the denouement of the golden age of pipe restoration I anticipate here is only of importance to those who undertake the artful practice and the collectors they serve, and represents nothing as dramatic as the life of John Gotti or his vicious crimes from the age of 12 until he was convicted at 51, the problems I will describe are real and present  The dangers relate to pipes made of wood, meerschaum, synthetic plastic and even metal, in particular antiques and many that are pushing the limits of vintage.  The simple facts are that certain parts used in the construction of some old pipes are no longer manufactured nor can they be, and still more materials needed to restore them and others to original condition are not being pre-fashioned.

This dearth of components that once were ready-made or easier to come by restricts their availability to a rarefied number of true artists in the repair business possessing the essential skills to create vital pieces to the specifications of given projects.  Such craftsmen, already very difficult to track down, are in fact dying out.  The ability of most common and even some great restorers to complete their work as most would prefer – to the pipe’s authentic state – is therefore in grave peril.  This is the sad reality

The supplies I have identified so far with careful thought, but by no means having reached a comprehensive list, are Bakelite, including Redmanol;:amber and amberoid; ivory, notwithstanding its illegality in the U.S. and most other countries, or in the alternative imitation ivory; bone and horn tenon screws; replacement bowls and other components of metal and other pipes;  real corncob Aristocob inserts, made just for that infamous aluminum pipe, and the most surprising member on the endangered species list, the push-pull Teflon stem fittings used with most meerschaum pipes, especially newer ones.

AN ILLUMINATING CONVERSATION
I spoke on the telephone to Floyd Norwood, the patriarch of a two-generation family pipe repair business.  He is retired but continues taking a hand in the operation as his son now runs the shop.  Prepared for the immediate negative response, I wanted to know if I could buy an assortment of bone screw tenons from them, but his next words shook me and started the cogitation that led to this blog.  I had left his name out of this because the conversation wasn’t a formal interview, but it will become obvious later in the series.

“Nobody makes these things anymore,” the old gentleman began.  “These things” encompassed the various parts we had discussed, not only bone tenons but real amber and the Bakelite family of stem materials.  Mr. Norwood’s voice was tired, sad and a bit disgusted.

“Tell me about it!” I replied in the heat of commiseration I immediately understood could not begin to match his own sorrow after a lifetime career seeing the dissipation of the tools he employed in his labor of love.  “It took me two years to track you down, and then only in a recent, second, desperate plea for help did one friend on the Smokers Forums UK think to recommend you.”  I dropped the name of the friend, who will remain anonymous.

A few others on SF responded with vague attempts to help that I appreciated, but none could recall the name of the person who did such specialty work for them in the distant past.  Only when I posted in the thread that the problem was solved by the link provided in the first response did several other members chime in that they had also used Norwoods Pipe Repair at times and gave the man with whom I had the honor of chatting, or in more recent experiences his son, Kenneth, their highest recommendation for quality of service, speed and price.  I amended my previous comment to include the total of four glowing referrals, but it did little to cheer up the aging expert whose specialized skills I have now enjoyed for three pipes.

“The kids these days doing the repairs, and even the older restorers, just aren’t interested or able to do the work involved,” the worn out and still somewhat irked master continued, “and I mean for a single job much less volume production for sale to people like you.”

I took no offense from the last phrase.  He was correct, after all.

BAKELITE, REDMANOL AND CONDENSITE
Leo H. Baekeland (1863-1944), a Belgian-American chemist, invented Bakelite, the first synthetic plastic, in 1907.  He named it after himself.  I will save most of the ruthless and covetous tactics Baekeland undertook, in order to seize control of many much smaller companies that made similar but superior synthetic plastics, for another blog that is in the works.  Here’s all you need to know for now.

Bakelite was patented for its revolutionary innovation that employed thermosetting, a process of controlling intense heating and pressure, of phenol and formaldehyde resins sometimes combined with lesser amounts of wood or asbestos fibers that resulted in soft or liquid material. In that form, Bakelite could be molded into any shape before final curing rendered it irreversible.  Baekeland called his machine that performed the entire operation – what else? – the “Bakelizer.”  Bakelite was particularly useful because of its electrical nonconductivity and heat resistant qualities that made it ideal for diverse products including electrical casings, firearms and tobacco pipes and stems, to name only a few.

The two particular small, independent chemical research and production laboratories to which I alluded a moment ago – the Redmanol Chemical Products Co. of America in Chicago formed in 1913 by Lawrence V. Redman, after whom his creation was self-styled; and the Condensite Co., started in 1910 and headed by A.J. Aylsworth, over which Redmanol had acquired a controlling interest – developed synthetic plastics that were stronger and capable of being colored in more varieties than Bakelite.  Original Bakelite, whatever the color, still looked like plastic, while deep red, translucent Redmanol was so close to amber of the same color that it often requires an expert to differentiate the two.

Bakelite cigar holder, left; real amber compared to Redmanol, right

The greater strength and coloring qualities of Redmanol and Condensite were the results of different chemical catalysts used employing the same basic heat and pressure process innovated by Baekeland.  But Redmanol employed the action of formin on carbolic acid, while Condensite utilized the effect of chlorine on naphthalene.  Furthermore, Baekeland’s machine, the Bakelizer, was only one means of achieving the intense heat and pressure necessary for the reactions of the two ingredients he chose.  Aylsworth devised a means of heating the chlorine and naphthalene without pressure, a process Redman adopted.  The three processes, therefore, rendered each substantially different.  In 1922, however, a U.S. Federal Court judge in New York interpreted the tortuous patent laws in favor of Bakelite – which, by the way, not wanting to force its two greatest competitors to defend themselves sued not the manufacturers but their distributors – destroyed and  merged the prized competitors into its growing family in the newly and litigiously formed Bakelite Corporation.  Since then, Redmanol and Condensite products have been lumped together under the single name Bakelite.

The Bakelite patent can be read below.

The Problems
The most obvious difficulty is that Bakelite, at least for tobacco pipe products, has not been manufactured since 1939, when Bakelite Corp. was acquired by Union Carbide and Carbon Corp. (Union Carbide Corp. since 1957).  As was already noted, the curing process for Bakelite rendered it “irreversible.”  Bakelite products were custom made for whatever use was needed.  In other words, for purposes of restoring old stems made of Bakelite, which, again, includes Redmanol, any necessary replacement can be reworked in only one way: fitting an over-sized stem of an otherwise suitable candidate to a shank by serious sanding or other such methods.  Any other alteration, such as bending or threading, is strictly impossible compared to Vulcanite, acrylic and even amber.  By way of illustrations, imagine trying to find substitute parts for these beauties.

Socket pipe with meerschaum bowl, Redmanol shank and stem and bone tenon screw

KB&B gold band socket pipe with irreplaceable threaded Redmanol stem and bottom and custom-made screw-in briar bowl

AMBER AND AMBEROID
Amber is an organic material (neither gem nor stone despite common descriptions) formed by the polymerization of prehistoric pine tree resin into hard, fossilized pieces that often have inclusions, meaning trapped insects or plants.  More than half of the known inclusions found have been flies.  Its colors include yellow and orange, the most common, as well as red, green, blue and brown, and these colors range in translucence to almost opaque.  Found in the greatest quantities throughout Europe, amber is more common in the northern Baltic countries and Russia, but is also present in other places all over the planet.  Amberoid refers to pieces of amber and sometimes other resins compressed by intense heat and pressure. Most of it is used for jewelry, primarily in small bits and pieces.

Polished Baltic amber courtesy Minerals.net

The Problems
Amber is on the soft and fragile side (2-3 on the Mohs scale of 1-10, with talc being 1 and diamond 10), and it begins to decay the instant it is exposed to sunlight.  By human reckoning the process is very slow, but amber’s natural brittleness increases considerably within a human lifetime.  That means that its use as a material for pipe stems in the late 19th and early 20th centuries leaves examples that are now more prone to chipping and breaking, neither of which damage can be repaired with a purist method if at all.

Also, even for anyone alive today who is capable of fashioning an amber stem, the cost is prohibitive, and the process very difficult   Because amber does not actually melt, as in the sense of turning to liquid, but rather reaches the temperature where it would at about 570° F. and beyond that decomposes, there may be nobody around now inclined to try anyway, as Floyd Norwood suggested..

As a result, we are left with a more and more limited supply of random styles and lengths that can be found only at places such as eBay, where the sellers don’t know or care enough about pipe restoration to publish the measurements and, in my experience, are clueless when asked to provide such information.  In other words, they can be found in random lots the measurements of which can only be guessed.  The increasingly absurd prices of these lots make buying them a serious gamble with poor odds of winning.

Amberoid is a still bigger problem.  For those willing to destroy various jewelry and other ornaments made of amberoid, the bits and pieces acquired would be useless.  The only amberoid stems I can find available to buy are already on pipes, such as this Andreas Bauer meerschaum billiard courtesy of SmokingPipes.com.IVORY, REAL AND IMITATION
Ivory in its purest form is the dense material forming the teeth and tusks of large mammals including elephants that are still present in our world, their distant relatives mastodons that have been extinct since the end of the Pleistocene epoch 10,000-11,000 years ago and woolly mammoths (another ancestor of elephants that were alive during the earliest time of humans but died off completely 4,000 years ago).

Other, less valued forms of ivory are found in walruses, narwhals, hippopotami, rhinoceroses, warthogs and sperm whales, but also in a variety of smaller species such as elks.  For most of human history, ivory has been prized for its artistic uses, from classical statues to piano keys.  The fact that ivory, in particular its oldest and finest variety, can be carved into any form made it valuable for beautiful works of art, including ornate tobacco pipes.

Japanese carved ivory tusk courtesy invaluable.com

1890 Tiffany ivory-silver pipe courtesy tobaccopipehistory.blogspot.com

Tsuge ivory billiard courtesy Brothers of Briar

There are several alternatives to ivory.  Celluloid; believe it or not; invented in France in 1865, is the oldest.  Best known for its later use as an early, highly flammable film for motion pictures; celluloid – not Bakelite – is touted on some sites as the first “successful” synthetic plastic and was used for products that were not limited to the following.

Celluloid chip and dice courtesy antiquegamblingchips.com

Billiard balls courtesy sciencehistory.org

Celluloid ivory sample sheets courtesy Rothko & Price

A second, more workable imitation ivory is vegetable ivory, found in the nuts of varieties of tropical South American palms.  The white cores of these nuts are fashionable into all kinds of shapes that harden and can be polished like real ivory, and best of all, they can be drilled for stem making purposes.  The nut below looks tiny but is in fact about the size of a large honeydew melon.  It even has a fine grain pattern that can be differentiated from that of real ivory.

Vegetable ivory nut from Micronesia courtesy palomar.edu

There is a third, still better, resin-based variety of imitation ivory for pipe makers and restorers capable of tooling a stem from scratch.  Although hesitant to promote a single business when there may be others using the same brand, I can’t find any, and the brand factor is vital because of the similarity of others that nevertheless possess serious basic differences.  These characteristics include the use of polyester in those that are inferior for pipe use, leaving them weaker, less glossy when buffed and all-in-all not so close to the real thing that there might be a problem trying to transport an object made of this stuff through airport customs.  To get around to the reluctant business plug, whatever the brand name is, it’s available at Vermont Freehand

The rods sold at that online business are offered in different diameters, the same as those used for traditional materials such as Ebonite.  Vermont Freehand describes it as the finest available.  It varies in price according to two grades, 1 and 2 where 1 is the better, and the diameter desired, from $3.60-$100.  For example, the minimum 12mm diameter rod of Grade 2 is $3.60 compared to a 14mm rod of Grade 1, which is $7.20.  The largest diameter of Grade 2 is 1.4” square at $28.80, and a 1.6” x 2.6” rectangle of Grade 1 is $100.  Again, note the grains.

Imitation ivory stem rods courtesy Vermont Freehand

The Problems
In this case, the “problems” for the most part are really solutions to a greater crisis.  Evolving international laws aimed at saving African and Asian elephant populations, devastated to the verge of extinction by poaching and unregulated exportation of tusks that are harvested for their great value, at the expense of elephant lives, have had unexpected and negative effects on the animals they are intended to protect.  Uncooperative countries that I will not name here in the interest of avoiding geo-political argument and controversy have allowed poachers to capitalize on the increased value of ivory that resulted from the various embargo attempts.

Tougher and more restrictive bans are already being enforced to degrees that seem to have stabilized at least some elephant herds in Africa and Asia, and still more effective laws are being considered, notably in the United States and the European Union.  The present laws, targeting buyers and sellers of ivory as well as art dealers and collectors, are expected to curb poaching still more.

Certain aspects of the laws have been met with resistance from art and personal rights advocates.  The issues have to do with the age of the artworks, the years they were acquired and the sources, all of which create complexities for enforcement, to put it in the simplest terms that are anything but simple.

In 2016, the Obama Administration initiated a blanket ban on the importation of elephant ivory and almost all sales of ivory throughout the country.  The very few exceptions include antiques that can be proven through a professional appraisal or a bill of sale to be at least 100 years old.  Many ivory pipes fit that category.  However, President Trump, undermining the Obama ban, directed the Fish and Wildlife Service to consider importation permits for sport-hunted elephant trophies from select African countries “on a case by case basis.”  In other words, Trump has cleared the way for his rich cronies to bring elephant heads with their tusks intact home from safaris.  This kind of favoritism, which was never announced publicly by the Trump Administration but rather via a Fish and Wildlife Service memo issued March 1, 2018, can’t possibly surprise anyone given Trump’s record since he assumed office.

Concerning imitation ivory of any kind, it is of more use to master artisans who can create a stem by hand or machine, again, rather than average or even skilled restorers.  However, this resin-based imitation ivory sold by Vermont Freehand might be fashionable into small pieces suitable for filling chips and other damages to real ivory pipes – but only with serious practice based on what I’ve learned of its physical makeup.

BONE AND HORN SCREW TENONS
The good news is that bone and horn screw tenons, which can be made from the calcified skeletal remains of animals such as cows and deer, are not in short supply.  To be sure, there are other sources, but J.H. Lowe, for example, offers “a multitude of styles and sizes” in assorted 12-packs for $28.90 – and you know what you’re getting compared to online auction sites that tend to be clueless as to the importance of the various elements of importance in measuring the correct size.  Another plus when ordering screw tenons from an actual pipe supply store is that they are new.  Here is a motley collection of bone screw tenons said to be antiques courtesy of Worthpoint.
Without impugning the integrity of the seller of those screw tenons, if they are antiques, they represent a pristine collection of unused specimens.  I’ll take this opportunity to emphasize that, although I am committed to using only the original materials for antique and extreme vintage pipe restorations, that devotion does not require any replacement parts to be as old as the pipe I’m refurbishing.  A brand new screw tenon or anything else, so long as it’s the same substance as the one with which the pipe came, is fine with me, and I’m planning on stocking up on assorted sizes, styles and shapes of everything I can find in new condition.  Still, I have a small collection of antique and vintage tenons, stems, bands, an endcap and one shank extension, upon which I look forward to expanding.  No doubt the day will come for each to find its wizened old pipe mate, and I anticipate the matches, at the risk of sounding daft, with somewhat of a sense of excitement.  Call me old-fashioned or sentimental or a codger or what you will, but there it is.

The two on the left are Redmanol.

The Problems
I realize I’ve overstepped the subject of bone tenon screws a bit in this section, for reasons of expansion on the greater subject, but now to address the problems with those parts.  Again, I stated that the bone tenons are in no immediate danger of extinction.  I should have qualified that assertion by noting in most cases.  Consider the photo of my antique bone screws above.  I have no doubt that various suppliers of newly made old-style supplies such as these screws indeed have considerable varieties on hand, but the fact remains, many were custom made as long as a century or more in the past.  As the venerable Mr. Norwood pointed out, nobody is stepping up to produce such oddities as bone screws to order.  Of course, artisans able to do so can and will be found – but the task won’t be easy, as Part 2 of my series will show.

Then there are several other problems, I’ll call them: one, fitting a bone screw requires matching it to the stem and shank.  In most cases, the measurements for each are different, not to mention the style of the tenon screw.  Just whipping out the calipers and determining the approximate diameters of the two ends and the optimum length of the whole may not be enough.  Two, bone is inherently soft and brittle, and therefore breaks with the least provocation.  If you’re lucky, the original broken tenon will be available, but if so, it’s likely to be in bits and pieces, some powdered.  It follows that matching can be problematic.  Three – and this isn’t being persnickety – adding to all of the above obstacles is the likelihood, not possibility, that re-threading the stem and/or shank into which each end of the bone tenon screws will be necessary.  To be blunt, not everyone is up to any or all of these tasks.

To sum up, the more than potential need for someone specializing in bone tenon repair will become mandatory.

METAL SYSTEM PIPES
Arguably the most fascinating coincidence in the history of pipe making was the introduction in a single year of two brands of an altogether new kind of system pipe.  The year was 1936, and the inventors were Frederick K. Kirsten, a German-born emigrant to the U.S., and Kenly C. Bugg, a native of Indiana.  Both of them were engineers and prolific inventors with great numbers of diverse patents, and each chose aluminum for the frame, because of its light weight and rapid heat dispersion, as well as screw-on briar bowls.  Otherwise, their designs were quite different   Kirsten’s pipes are more box-like while Bugg’s are sleeker and more cylindrical.

1930s Kirsten courtesy Pinterest and “very old” Falcon courtesy Smoking Metal

The basic systems – the details of which I will omit – differ, also, but suffice it to say, Kirsten’s was more complex while Bugg’s was simpler, using a moisture trap beneath the bowl.

Which man committed his plans to paper and created a prototype is moot.  Kirsten had the presence of mind to begin manufacture and sale of his pipes the same year, applied for the patent in 1937 and received his grant with US Patent No. D112, 701 on December 27, 1938.  Bugg, on the other hand, sat on his invention, not selling his first pipes until 1940 and receiving US Patent No. 142,280 on August 21, 1945.  Kirsten, therefore, is generally credited with the invention of the metal system pipe despite the uncertainty of the exact date of the metal system pipe’s conception and in whose mind it occurred,

I have included the Patents for both for your enjoyment should you wish to read them (the Kirsten first followed by the Bugg).
The transition of production of the great American original Falcon pipes to Great Britain began in 1961, when production started there.  In 1968, U.S. production of Falcon pipes was transferred altogether to Falcon Pipes Ltd. (also known as Falcon House Group) in Great Britain, which still later became the Merton and Falcon Co.  The Falcon Pipe Group now runs the operation, as far as I can tell.  Despite the convoluted name changes, Falcon pipes have maintained their quality since Kenly Bugg made the first one.  By the way, to clarify a variation that began to annoy me, there is no second e in Kenly, despite frequent errors.  See patent signature of inventor.

Everything so far in the category of metal pipes has been to explain the genesis of an explosion in brands and systems of metal pipes with bowls made of wood, meerschaum and the sundry Bakelite materials, to name some.  The exact number of Falcon pipes sold worldwide to date is difficult to pin down, but two numbers stand out: by 1954, six million of them had been sold in the U.S. alone, and starting seven years later, from between 1961 and 1974, 16 million more were sold by the oft-switching producers in England to pipers around the world, excluding the U.S.   This leads us on a nice, ordered path to…

The Problems
Rest easily, Kirstens and Falcons are in no danger of running out of replacement bowls and even other parts as both companies remain in business and don’t appear to have plans to stop.  Replacements or new screw-in bowls are available directly from Kirsten Pipes or the Falcon Pipe Group’s distributors, such as the Arango Cigar Co. in the U.S.  This is not to mention the numerous artisans who make bowls that fit either or both, including Don Warren Pipes for Kirsten bowls and DGE Handmade Pipes and Manly Things (I didn’t make up the name, so don’t shoot the messenger) for Falcon and/or Dr. Grabow Viking bowls, which are interchangeable.

That reassurance made, the rest will be brief and simple in its awfulness.  I’m not about to go through the entire A-Z Index at Smoking Metal’s UK website to locate, count and determine all of the brands – known and unidentified – of metal system pipes identified and catalogued so far by Tony Pringle.  Like a French gentleman whose first name is Richard but is known to countless pipe smokers as Pipephil (who retired a few years ago), Tony works alone and in his spare time, making his accomplishment a monumental feat even with the sparse contributions of readers.

All I need to point out is that many – no, more likely the vast majority – of the metal pipes listed and shown at Smoking Metal were manufactured without even a moment’s thought about compatibility with others of their kind.  In blatant terms, this means they can’t be replaced without making one from scratch.  And who is going to do that?

I’d say that works as the one and only necessary dilemma with this category of scarcity.

CORNCOB INSERTS FOR BELOVED OLD ARISTOCOBS
The Aristocob was invented by Joseph W. Zarikta and assigned to the Al-Cobb Corporation (later Aristocob, Inc.) of Grand Haven, Michigan with U.S. Patent No. 3,292,639, granted just in time for Christmas 1966. Here is what the new-in-plastic case product looked like, complete with the aluminum frame, plastic stem and two cob inserts, courtesy Smoking Metal.  (Filter possibly not included.)

The Problems
Missouri Meerschaum took over manufacturing the Aristocob and its inserts in the mid-1970s.  The best known maker of cob pipes discontinued the Aristocob at some point but continued manufacturing the inserts until 1983, when the endeavor became unprofitable.

While it is true that original Aristocob corncob inserts can still be found online, at one of the last sources in the astounding list at the end, for example, when they’re all gone, that will be the end of the real thing.  The substitution of a custom-carved briar insert at the expense of the original cob is perhaps better for its durability in the lone case of the Aristocob.  As far as I know, they are fashioned only by Steven LaVoice Jr. of Owl Pipes.  I happen to know Steven’s work to be excellent after being compelled to use one of his traditional wood substitutes when I restored an Aristocob three years ago, about a year after Steven started business in Western Massachusetts.

Briar insert from Owl Pipes, with a nice keychain included

Some cold-hearted pipers, hearing of the rising shortage of original corncob inserts for the Aristocob, may bid them good riddance or scoff, “So what!”  I’ll answer that hypothetical question   Those who continue to enjoy durable cob pipes know and appreciate the difference in taste afforded by the intended Aristocob insert.  Any purists are left with one of these singular “art deco” smoking metal creations that’s rendered useless for them.  Others can still buy a briar insert directly from Steven if the owner wishes to be rid of the short-lasting cob originals that I’m told become quite nasty the closer to their expiration they get, and thus avoid the intermediary restorer altogether.  Steven makes different styles of inserts, one of which has the rough exterior reminiscent of real cob.  (Being a bit obsessive-compulsive, I polished the one shown above, which sold to a happy old-timer.)  And the cost of a briar insert, which is five times greater than the $5 I paid at a garage sale for the worn old Aristocob I restored, can be a one-time expense.

The critical fact remains, though, that nobody seems to be stepping up to make quality (non-flammable) cob inserts with a coating to harden them, and therefore, when Steven is no longer around “to do the work” with briar, remaining Aristocobs will be tossed in the trash or placed with nostalgia as heartless shells on shelves.

MEERSCHAUM PUSH-PULL FITTINGS
Now, here’s the most bizarre item on the list, and I hope it sparks English Parliamentary style chaos of furious, frenzied, fibrillating debate – but no fighting, please.  I know that may be shameful of me, and I don’t care, because of the single and singular fact I will assert when I get to the proper Problems section.  For now, a push-pull fitting is formed of two small pieces of polytetrafluoroethylene (Teflon) or a generic variation.  Teflon is a polymer, or chemical compound of high molecular weight, discovered in 1938 by a new-hire at DuPont with a chemistry doctorate.  Teflon, the specific combination of gases and other substances that formed by chance when the lucky chemist heated a canister a certain way by mishap, happens to be extremely resistant to solvents, acids, bases and heat, and hence corrosion and melting, and is therefore perfect for the most part to join a meerschaum pipe shank to its stem.  Of course, it has other uses and fascinating properties anyone so inclined can read about near the end of my sources.  At its simplest, Teflon is a very fancy synthetic plastic.

The two parts are paired with one piece that screws into the shank opening and another into the stem.  A push-pull fitting, in other words, acts as a special tenon on one side that screws or pushes into the other.  Most of the time by far, the tenon part is installed in the opening of the stem and fits the shank part, but I’ve seen the process done in reverse, probably because that’s the way some restorer could make the two match up without drilling either the stem or shank opening.  The use of push-pull fittings was a great innovation to protect the fragile meerschaum and also do away with bone and horn tenons that are just as easy to break

Here are two shots, one of a trio of “standard” push-pull fittings of slight difference in size, courtesy Royal Meerschaum, that costs $3.99 for the three-pack.  The other is a screw-in stem for one of my pipes.  Standard just means they can be pushed or twisted together rather than screwed and are also the general sizes for newer meerschaum pipes.Note my Paktas billiard above with only the stem fitting that screws into the bare meerschaum shank.  I’m always very careful unscrewing it!

The Problems
The single problem with these push-pull fittings is that they’re not hard to find in all of the typical sizes that are pretty much standardized today, but that means bupkis.  The artisans who crafted meerschaum pipes in the old days – before push-pull fittings became popular in the 1970s – did everything themselves, including drilling the shank and stem however they pleased at the moment and depending on the size of the pipe.  Ay, there’s the rub.

In this day and age where everything from furniture to motor vehicles is composed entirely or at the least more than half with cheap and readily available plastic, “real” or synthetic (think imitation Naugahyde), there’s no excuse for a lack of push-pull sets designed in enough sizes to accommodate older pipes.  But there it is.  Oh, they’re no doubt out there some place, but where?  Norwoods Pipes and Walker Pipe Repair, again by way of examples, offer push-pull fittings, but (and no offense is intended to either of these fine pipe repair providers) if they have different sizes, they’re limited.

I sent the following very large lattice meerschaum stummel with no stem and a hole in the shank to Norwoods, which can provide almost any original replacement part, only to learn that the new Lucite stem was no problem, but a push-pull set that big was unavailable.  A bone tenon screw was used instead for the same price, and that pipe with its new tenon and stem arrived in the mail soon after.  In this case, I am quite pleased with the result, since I kept it for my own use and didn’t have to worry about any prospective buyer breaking the bone tenon and blaming me.  That restoration will be the subject of the final part of this series.

CONCLUSION
For now, I can continue to cobble together limited replacements of the various parts integral to the proper restoration of old pipes, and for those tasks requiring the dwindling repair services that exist, I can turn to them.  I also know of a few artisans with the know-how to tool these small yet vital implements of restoration.  Still, I have no doubt that within my lifetime the need “to do the work” myself will come.  I can only hope practice will be enough…and I had better get to it.

SOURCES

http://norwoodspiperepair.com/index.html
https://patents.google.com/patent/US942699A/en?oq=942699
https://books.google.com/books?id=oYZGAQAAQBAJ&pg=PA6&lpg=PA6&dq=redmanol+chemical+products+founder&source=bl&ots=juthNFh-rW&sig=b9qO8plogjv6fj_u2TBjkdpIfCM&hl=en&sa=X&ved=0ahUKEwj-gNj4h9nNAhUM9YMKHXKjBwMQ6AEINDAE#v=onepage&q=redmanol%20chemical%20products%20founder&f=false, Phenolic Resins Technology Handbook, by NPCS Board of Consultants and Engineers, 2017, excerpted by permission
https://books.google.com/books?id=nTs8AQAAMAAJ&pg=PA144&lpg=PA144&dq=redmanol+bakelite+infringement+judgment&source=bl&ots=TCel6fmccJ&sig=ehZijKCRrQSs- RnL6xiDbVA5aKM&hl=en&sa=X&ved=0ahUKEwi39veundvNAhUT32MKHbeiCJwQ6AEIHDAA#v=onepage&q=redmanol%20bakelite%20infringement%20judgment&f=false Factory and Industrial Management, Vol. LXIV, No. 3, August 1922, excerpted by permission (p.144)
https://books.google.com/books?id=11FHAQAAMAAJ&pg=PA816&dq=in+search+of+the+man+made+amber+redmanol&hl=en&sa=X&ved=0ahUKEwis5OvgmNvNAhVk0oMKHYveA6sQ6AEIIzAB#v=onepage&q=in%20search%20of%20the%20man%20made%20amber%20redmanol&f=false Compton’s Pictured Encyclopedia, Vol. 2, excerpted by permission (p. 818)
https://en.wikipedia.org/wiki/Bakelite
https://rebornpipes.com/2016/07/05/the-scintillating-antique-kbb-redmanol-pipe/
http://www.jhlowe.com/bits-bakelite.htm
https://rebornpipes.com/2013/10/14/louis-blumfeld-1901-bbb-bent-billiard-by-james-gilliam-of-jsecpipes-com/comment-page-1/#comment-23486
https://www.minerals.net/gemstone/amber_gemstone.aspx
http://mentalfloss.com/article/73608/15-clear-facts-about-amber
https://www.amazon.com/REPLACEMENT-TOBACCO-STEMS-AMBER-STRAIGHT/dp/B01HZU8NBU
https://www.amazon.com/REPLACEMENT-TOBACCO-STEMS-STRAIGHT-AMBER/dp/B01HZU7M94
https://leta.st/blog/2016/07/history-of-russian-amber-1/
https://en.wikipedia.org/wiki/Baltic_amber
https://www.thefreedictionary.com/amberoid
https://www.shutterstock.com/search/amberoid
http://www.uniclectica.com/conserva/ivory1.html
https://www.washingtonpost.com/news/energy-environment/wp/2016/06/02/its-final-selling-just-about-any-item-containing-elephant-ivory-is-a-crime-in-the-u-s/?utm_term=.fe4c2ac312fb
https://www.npr.org/sections/thetwo-way/2018/03/06/591209422/trump-administration-quietly-decides-again-to-allow-elephant-trophy-imports
https://www.sciencehistory.org/distillations/magazine/celluloid-the-eternal-substitute
http://vermontfreehand.com/product/imitation-ivory/
https://www.amazon.com/ARVORIN-PLUS-Imitation-Substitute-Material/dp/B0755RG32T
https://www.chicagotribune.com/news/ct-xpm-2002-09-22-0209220243-story.html
https://www.dictionary.com/browse/casein
https://www2.palomar.edu/users/warmstrong/pljan99.htm https://www.ebay.com/itm/Antique-BONE-tenons-88-PIECES-Lot-of-Assorted-Sizes-Victorian-Vintage-pipe-/202297224337
http://www.jhlowe.com/misc-items.htm
http://www.smokingmetal.co.uk/pipe.php?page=56
http://www.kirstenpipe.com/pipes.html
https://www.etsy.com/shop/DonWarrenPipes?section_id=22062561
http://www.musiccitymarketing.com/cart_catalog_search.cfm
https://www.dgehandmadepipes.com/catalog/replacement-falconviking-bowls
https://www.ebay.com/itm/VINTAGE-NOS-ARISTOCOB-REFILL-COB-BOWLS-3-PER-BOX-ESTATE-PIPE-ALUMINUM-METAL-NOS/323553620046?hash=item4b554c704e:g:HGYAAOSwlHJbOmP0:rk:2:pf:0
https://www.owlpipes.com/product-page/briar-aristocob-inserts
http://www.jhlowe.com/misc-items.htm https://pipedia.org/wiki/Kirsten_Pipe_Company
https://pipedia.org/wiki/Falcon
http://www.smokingmetal.co.uk/pipe.php?page=366
https://www.markwaterpumps.limited/falcon-pipes-aluminium-die-casting-specialist-keeps-traditional-product-alive/
https://www.paykocimports.com/plastic-tenon-screw-set-3-pack/
https://en.wikipedia.org/wiki/Polymer
https://en.wikipedia.org/wiki/Fluoropolymer
http://www.royalmeerschaumpipes.com/Regular-Stem-Push-Pull-Fittings-p/sft-3.htm
http://www.walkerpiperepair.com/html/pipe_repairs.html

Breathing life into a Superior Real Briar Bulldog


Blog by Steve Laug

This older C.P.F. style bulldog with an ornate rim cap and shank end cap was another pipe that my brother and I found in our pipe hunt in Montana. That hunt yielded a lot of older C.P.F. and WDC pipes from between the late 1890s and the early 1900s. This one is certainly from that time period. The briar is very worn and the finish is gone. The metal rim cap and shank cap or ferrule are brass coloured but blackened with oxidation. The top of the rim is thickly caked with the lava overflow from the heavy cake in the bowl itself. The stem is either Redmanol or Bakelite and has some cracking near the shank/stem junction but nothing that affects the fit of the stem to the shank. There is some tooth chatter and tooth marks near the button on the top and underside of the stem. My brother took the photos that follow before he did his clean up.The pipe has some faint stamping on the left side of the shank. The photo below shows the condition of the stamping. It clearly reads SUPERIOR in a diamond. There seems to be other stamping that is faint underneath SUPERIOR in the diamond but I am unable to read it. On the outside of the diamond there is stamping on either side. It is faint but to the left under the edge of the diamond is faint stamping Real and under the right edge of the diamond it reads Briar. There appears to be something underneath the diamond going across the shank but it is not clear enough for me to be able to read.The next two photos show the pipe from two different angles to give an idea of what the pipe looked like in its entirety. There is some real promise with this old pipe.The rings around the cap on the bowl are in excellent condition. There is some debris lodged in them but there are no chips or cracks in the ring. The finish on the briar is spotty with small remnants of the original finish in place. The grain on the pipe is quite nice underneath the grime. The bowl has a thick cake in it and the lava has flowed over on top of the rim top. The metal rim top is blackened and has a thick cake of lava on it. It is hard to know what the inner edge of the rim will look like at this point because of the cake in the bowl. The carvings/castings in the metal rim cap and the shank end are dirty and have a lot of grime built up in the grooves and crannies. The Bakelite/Redmanol stem had tooth marks and chatter on both sides of the stem from the button forward about an inch. There were some small cracks in the shank end of the stem that would need to be addressed in the repair.Jeff did an amazing job of reaming out the bowl on this one and revealed that the metal cap was folded over and lined the inner edge of the rim thus protecting the rim from damage. He was able to ream the bowl back to bare briar without damaging this inner rim edge. He cleaned out the internals of the pipe with pipe cleaners, cotton swabs and alcohol until they were clean. He scrubbed the exterior of the bowl and the metal with a tooth brush and Murphy’s Oil Soap. This removed the grime in the nooks and crannies of the metal work and also cleaned the briar. He was careful around the already damaged stamping so as not to damage it further. When the pipe arrived in Canada it was clean and ready for restoration. I took photos of the pipe before I began my work to show what it looked like cleaned and ready for me. I love working on clean pipes! He was able to get all of the buildup off the rim cap but the surface was pitted and worn from all of the years of grime sitting on the brass. The bowl looked really good and the brass folded over the inside edge was darkened but undamaged.The stem was cleaned of the tars that were on the inside of the airways. The photos show the cracking at the shank end near the band. While the cracks were not rough to touch they were present. There were also many tiny little spidering cracks on the inside of the airway.I polished the metal rim cap and inner edge with micromesh sanding pads, wet sanding it with 1500-2400 grit pads. I was able to remove much of the pitting and scratching on the surface and the blackening of the inner edge of the cap. I dry sanded it with 3200-12000 grit pads to further polish the cap and edge.I laid the bowl aside for the time being and turned my attention to the stem repairs. I cleaned the surface of the stem around the largest and roughest feeling crack with a water dampened cotton pad. I sanded it with 1500 micromesh and wiped it another time to remove the sanding residue. I filled in the cracked surface with clear super glue and let it cure. When it dried I sanded it smooth with 220 grit sandpaper and also sanded the tooth marks and chatter on both sides of the stem at the button.I cleaned out the interior of the stem with pipe cleaners and water to remove more of the debris from the airway.I polished the stem with micromesh sanding pads – wet sanding it with 1500-2400 grit pads and dry sanding it with 3200-12000 grit pads. I rubbed the stem down with Obsidian Oil after sanding with each micromesh sanding pad, gave it a final coat of oil and set it aside to dry. I turned back to the bowl to finish my work on it. I wiped the briar down with a cotton pad and alcohol being careful around the faint stamping on the shank. I was hoping that when it was wet it would be more readable. Sadly it was not. The SUPERIOR stamp was all that I could read. The briar has some nice grain. I decided to leave the nicks and scratches alone as they were well earned character marks on this 100+ year old pipe. I really like the look of the raw briar on this one so I decided to rub it down with olive oil to make the grain stand out and give the briar some life. The next photos show the grain on the oiled bowl. It looks really good to my eye. I gave the bowl a coat of Conservator’s Wax to protect the briar and when the wax dried I buffed it with a flannel cloth to give it a shine. I put the stem back on the shank and in doing so remembered that it was slightly overturned. The lines of the shank and the diamond stem did not align. I have found that on these old bone tenon and threaded mortises that they wear down slightly over time. A little trick I use to address the wear is to paint the tenon with a thin coat of clear fingernail polish that I swiped from my daughters years ago. It dries clear and just one thin coat was enough to align the stem perfectly when I screwed it into the mortise.I lightly buffed the bowl and stem with Blue Diamond on the buffing wheel to remove the tiny scratches that remained on the brass and the briar. I gave the briar portion of the bowl and the stem multiple coats of carnauba wax and polished them with a clean buffing pad to raise the shine. I polished the brass with a jeweler’s cloth and buffed it with a clean buffing pad. I hand buffed the entire pipe with a microfiber cloth to put on the finishing touches. The pipe is shown in the photos below in all of its beauty. I love the look of these older pipes with all of the bling and the Redmanol/Bakelite stems. They really look elegant and show their era well. Thanks for coming with me on this refurb.

 

 

NOS Picadilly Brand Genuine French Rustique Briar


Blog by Steve Laug

My brother bid on a boxed set of pipes that was in a box covered with a green alligator pattern material. Inside the box was a yellow linen lining with a diamond logo on the inside of the lid that read Picadilly Brand Genuine French Rustique Briar Price $15.Pic1When he received it in the mail and opened it the set of pipes inside was not quite what he had expected. There was Redmanol or red Bakelite cigarette holder, a bent billiard with a Remanol or Bakelite stem with an orific button. The shank was stamped Real Briar over Made in France. The stamping was set with gold. The second pipe in the box was a billiard with a vulcanite stem that was notably newer in age than the bent billiard. It was stamped on the underside of the shank with 7118 Berkley Club over London Made. At the bowl end of the shank the word England was stamped in an arc. The fourth indentation which should have had a cigar holder held a Lovat stem from a screw mount shank. It obviously did not go with this set. Thus looking at the set we could see that the cigar holder and the straight billiard were missing.Pic2Not long after receiving the set in the mail he was scanning eBay and found another boxed set that bore the same gold filigree diamond on the lid. It was in a brown vinyl box with a linen coloured lining. The exterior and the interior of the box were in great shape. This one had both the straight and bent billiard and the cigar holder but was missing the cigarette holder. We talked about it and decided to bid on it. He won it and soon it was on his desk next to the other one.Pic3 Pic4He put the cigarette holder from the first case in the second one. He compared the bent billiards and kept the one that came with the second case. The entire set was new old stock. It had not been smoked and it was in great shape. The only issues were that both Bakelite stems were overturned and the surface of each bowl that faced upward was dusty in the grooves and crevices. The bowls were pristine. The cigar holder also was unsmoked though it had obviously been held between someone’s teeth as there were some tooth marks in the top and bottom side near the button. The cigarette holder from the first set was also unused. Putting the four pieces together in the second box gave a full unsmoked new old stock collection. We were excited.Pic5I took the pipes out of the case and lined them up on the work table. The rustication on both billiard pipes was dusty on the exposed side. The rims on both were clean but had some sticky substance on the surface. The Redmanol/Bakelite stems were both oxidized and dull. The stamping on both pipes was gold. The Bakelite stem on both pipes had been overturned. The straight billiard had a paper washer between the shank and the stem to try to compensate for the overturned stem. The surface of the pipe stems and the cigarette holder were all free of tooth marks or dents. The cigar holder was also dusty on the exposed side and the Redmanol/Bakelite stem had some tooth dents on both sides near the button even though the holder was unsmoked. The stem was also overturned on the cigar holder.Pic6I decided to work on the straight billiard first. I took photos of the pipe before I started working on it. You can see the paper washer between the stem and the shank. You can see the sticky substance on the top of the bowl rim.Pic7 Pic8I took a photo of the gold leaf stamping on the shank. The Made in France stamping is double stamped on the Made In portion. France was single stamped.Pic9The tenon was metal and it had glue or something that had been added to the threads to try to align the stem and shank. I removed the paper washer and threw it away. I picked out the glue in the threads with a dental pick. The mortise was threaded directly into the briar.Pic10I used a 1500 grit micromesh sanding pad to remove the sticky substance on the rim top. It was hard and tacky so the micromesh worked well to remove it. The rim surface was clean and undamaged when I was finished.Pic11With the pipe and tenon cleaned up I used a Bic lighter to heat the metal tenon. Once the glue in the stem softened I screwed the stem back in place and aligned the stem and the shank.Pic12I scrubbed the rustication of the bowl and shank with Murphy’s Oil Soap and a tooth brush. I rinsed it under running water to remove the soap and debris.Pic13I wet sanded the stem with 1500-2400 grit micromesh sanding pads and wiped the stem down with Obsidian Oil. I dry sanded it with 3200-4000 grit pads and rubbed it down with another coat of oil. I finished sanding it with 6000-12000 grit pads, gave it a final coat of Obsidian Oil and set the stem aside to dry.Pic14 Pic15 Pic16I lightly buffed the stem with Blue Diamond and gave it several coats of carnauba wax. I gave the bowl a coat of Conservator’s Wax and hand buff it with a shoe brush. I hand buffed the whole pipe with a microfibre cloth to raise a shine. I took a few photos of the finished pipe before moving on to the second one.Pic17 Pic18I worked on the bent billiard next. It had not been smoked and was clean. The stem was overturned. The gold leaf stamping was in great shape and was single stamped. The stem had an orific button and was made out of Redmanol/Bakelite. It was oxidized but in good shape with no tooth marks or chatter. The bowl was in great shape and still pristine new briar. The rim had some sticky material on the top the same as the other billiard. The rustication was in good shape but it was dusty on the exposed side.Pic19Pic20I sanded the rim with a 1500 grit microfibre sanding pad to remove the hardened sticky substance on the top of the rim. I scrubbed the bowl with a tooth brush and Murphy’s Oil Soap to remove the dust from the rustication. I rinsed it under running water to remove the soap and debris and dried it off.Pic21I used the Bic lighter to heat the metal tenon until the glue in the stem was warm and then screwed the stem onto the shank to realign it. Once it was aligned I let it cool. I wet sanded the stem with 1500-2400 grit micromesh sanding pads and gave it a coat of Obsidian Oil. I dry sanded it with 3200-4000 grit pads and gave it another coat of oil. I finished sanding it with 6000-12000 grit pads, gave it a final coat of oil and set it aside to dry.Pic22 Pic23 Pic24I gave the bowl a coat of Conservator’s Wax and hand buffed it with a shoe brush. I buffed the stem with Blue Diamond and gave it multiple coats of wax. I buffed it with a clean buffing pad and then hand buffed the pipe with a microfibre cloth. I took the following photos to show the finished pipe.Pic25 Pic26I turned next to the cigar holder. It was in decent shape though it too had dust on the exposed side. The stem was overturned and there were some tooth marks in the surface of the Bakelite/Redmanol stem next to the button on the top and bottom sides.Pic27The inside of the holder was pristine and had not been smoked.Pic28I unscrewed the mouthpiece from the holder and cleaned up the threads with a dental pick and a tooth brush.Pic29I cleaned out the inside to remove the dust with cotton swabs and alcohol. I gave the threads a coating of clear fingernail polish. I wanted to build up the thread slightly so that the mouth piece would align correctly.Pic30I sanded out the tooth marks with 220 grit sandpaper. I wet sanded the stem with 1500-2400 grit micromesh sanding pads and gave the stem a coat of Obsidian Oil. I dry sanded it with 3200-4000 grit pads and gave it another coat of oil. I finished sanding with 6000-12000 grit pads, gave it a final coat of oil and set it aside to dry.Pic31 Pic32 Pic33 Pic34I gave the briar part of the holder a coat of Conservator’s Wax and hand buffed it with a shoe brush. I buffed the stem with Blue Diamond and gave it several coats of carnauba wax. I lightly buffed the holder with a clean buffing pad and then again by hand with a microfibre cloth. I set the cigar holder aside until I had finished the rest of the set.

I had one more item to clean up. The cigarette holder from the other box was oxidized and dull. There were no tooth marks or bite marks in the Redmanol/Bakelite. There were a lot of scratches in the surface of the holder that needed to be polished out to remove them.Pic35I wet sanded the holder with 1500-2400 grit micromesh sanding pads and gave the holder a coat of Obsidian Oil. I dry sanded it with 3200-4000 grit pads and gave it another coat of oil. I finished sanding it with 6000-12000 grit sanding pads, gave it a final coat of oil and set the holder aside to dry.Pic36 Pic37 Pic38I buffed the holder with Blue Diamond on the wheel and then gave it multiple coats of carnauba wax. I buffed it with a clean buffing pad and then by hand with a microfibre cloth. I set the finished cigarette holder in the case.

I put the pipes and holders back in the case and took some photos of the finished pipes in place in the case. It is a great looking set of pipes and holders and shows some age on it. I wish I could figure out who made it but so far I have not been able to find any information in my usual spots on the web. Thanks for walking with me through this refurb. Thanks for looking. If any of you have any information on the set let me know in the comment box below.Pic39

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Chuck’s Gift Pipes Part 2 – an Old Diamond Shank WDC Pot with a Bakelite Stem


The second pipe in the gift from Chuck (desertpipe on Smokers Forums) was an old WDC with a Bakelite or Redmanol Stem. It is a beautiful translucent red stem. The band has gold filigree like scrolling on each of the four sides of the diamond shank band. The bowl was clean but in need of a light reaming. The finish was broken but did not seem to hide any obvious fills in the dark colour. The stem was over turned almost a quarter turn (pictures 1-3 below). The tenon was a bone tenon screw mount into a thread shank (picture 4 below). The stem also had two tooth marks one on the top that was not too deep and one on the underside that was deep (pictures 5-7). The button was missing an edge on the right side. It was almost like a piece of the button had been sliced off and it was a smooth angle (picture 8). The stem had some kind of buildup on it near the shank junction. At first it looked like chips or flake on the surface of the stem but upon inspection it was just buildup. The orific button was central and the curvature of the button face was nicely done. This one showed some promise. I was going to need to figure out how to correct the over turn on the stem. ImageImageImageImageImageImageImageImage

I took the pipe apart and reamed the bowl carefully. It was lightly caked but I wanted to smooth out the surface of the walls to get a clean start to the building of a new cake. I personally prefer removing the old cake so that I can build a good hard cake of my own making rather than live with the ghosts of the old one. The next two pictures show the Pipnet reamer that I prefer using on these old pipes as it is very controllable and easily handled. Image

I used finger nail polish remover (acetone) to remove the finish from the bowl. I wanted to have fresh wood to work on with the new stain and finish. I wiped it down with the cotton pads that are visible in the pictures below. I find that these are perfect for wetting with the acetone and rubbing off the finish. Once I had wiped it down and the finish was gone sanded the bowl down and also topped the bowl just a bit. The edge of the bowl had been rounded quite a bit and the rim was not clean. I sanded it carefully to remove the scratches and the dents as well as to level the edges and give the surface a more crisp sharp edge. I also sanded the inner edge to smooth out some of the out of round portions of the bowl. I was careful in the sanding and the wiping down with acetone to not remove the gold paint that had been put in the stamping of the triangle and WDC logo on the shank. Pictures 1-2 below show the bowl after sanding and wiping down with acetone. Picture 3 shows the top of the bowl and rim after the slight topping and sanding. Picture 4 shows the nice graining on the diamond shank and the “keel” on the underside of the bowl. ImageImageImageImage

Once I had the bowl clean I decided to work on the bite marks on the stem. Picture 1 shows the bite mark on the top of the stem. It was not too deep so I was able to raise it a bit with boiling water and then I sanded out the remaining tooth mark. Picture 2 shows the underside of the stem with the bite mark. It is on the low part of the stem near the button. It is a bit hard to see in the picture but it was significantly deeper than the one on the top of the stem. The heat lifted it a bit and I was able to sand it but it still was present and too much sanding would have changed the curvature of the stem. ImageImage

The button, seen in the first picture below, is missing a portion on the top right (or lower left in picture 1 below). It does not have the graceful curve of the other side but is actually a slice or a flat spot on the button that tapers into the stem with no edge. The second picture shows the first layer of the fill I added with super glue. I wanted to build up the missing portion by layering superglue until it was repaired and then shape it with sandpaper and files. ImageImage

While the superglue patch cured a bit I decided to work on the over turned stem. To correct that overturn I would need to loosen the bone tenon in the stem. In the past I have heated the tenon and then turned the stem like I have done on the metal tenons on Kaywoodie pipes. This one was a totally different fix. In picture 1 below I filled a cup with water and boiled it in the microwave for 3 minutes. Once I removed it from the microwave I placed the stem in the bowl – tenon down in the boiling water. I repeated this until I was able to loosen the tenon. Picture 2 shows the tenon loose and free of the stem. The threading on the portion in the stem is finely threaded. I tried different methods to align the stem. Picture three and four show the tenon screwed into the shank to different levels. I then would twist the stem on until it was tight. No matter how many times I did this and no matter how many turns I could not get it to align properly with the shank. It was always either a ½ turn or a full turn off. I wrapper the tenon with cotton thread and reinserted it to lift the tenon a bit from the stem. The results were categorically them same – overturned or under-turned no matter how many ways I tried it. I was mystified on how to do it so I set it aside and went to bed for the night. ImageImageImageImage

This morning when I got up I had an idea on how to tackle the overturn. In the middle of the night I woke with a thought – what if I turned the stem back and forth a bit and see what happened. I remembered the concept of self adjusting emergency brakes on a car. On one of my old cars I would put the car in reverse and pull the emergency brake on and off until it was adjusted. I adapted that with the stem. I turned it forward and backward a few times and sure enough after a few turns the stem was aligned properly! I could not believe it! I don’t know what I would have done had I not had that flash of memory in the middle of the night. Picture 1 below shows the aligned stem and the sanded smooth bowl ready to be stained. Image

I restained the bowl with an oxblood stain applied with a cotton swab. I was careful about putting too much stain on the gold stamping of the WDC in the Triangle. I wanted to retain that feature. Once the stain was applied I flamed it with a match and then rubbed the surface with a piece of flannel to remove the excess stain and allow the grain to show through. I then took it to the buffer and buffed it with White Diamond to bring back a good shine. I coated it with several coats of carnauba wax and buffed it with a flannel buff to polish it. The four pictures below show the final look of the bowl after the stain and the wax. Picture 3 shows the nice grain on the “keel’ of the pipe. I love the cross grain on this old beauty. Picture 4 shows the polished rim and top after buffing. The edges are now crisp and much more defined than in the original photos of the pipe. ImageImageImageImage

The next pictures show the work I did on the button to build up the worn part. Picture 1 shows the state of the patch after the first layer of super glue. Picture 2 shows the second layer of super glue. The button is starting to come back to the original shape and match the other side. Picture three shows the superglue patch to the deeper tooth mark on the underside of the stem. I had heated and sanded the spot but it did not rise any further so I filled the remaining tooth mark with clear super glue. I have found that the clear superglue works very well on Bakelite and on horn stems. Once sanded and blended in with micromesh it is virtually invisible. Picture 4 shows the stem from an end view. On the right top you can see the damage to the button. You can also see that the super glue is building up the area to match the left top. After this photo I added several more layers of super glue. ImageImageImageImage

The next picture shows the continued build up of the button with the super glue. The first picture shows that the curve of the button is coming back to match the left side of the button. My goal was to build up the button on the right side to a point where it was actually a bit overfilled and slightly larger than the curve on the left and then sand it until it matched. Image

Picture 1 below shows the recut button. I used needle files to cut the edge of the button to a clean sharp edge differentiating it from the smooth curve of the stem. I also sanded the stem and the edge of the button with fine grit emery cloth to make the transition between the button and the stem very clear. Picture 2 below shows the button from the end after I have begun to shape the right edge to match the left edge. The angles and shape are like a North American football. ImageImage

From this point on the shaping progressed to 1500 grit micromesh as I wanted to fine tune the shaping and smooth the transitions and angles of the button. The first picture shows the edge is clean and sharp. The brown spots at the top of the photo are the remnants of sanding dust after using the micromesh pads. Picture 2 shows that the shape is curved and the match of left and right is virtually perfect. ImageImage

The next series of photos show the button after sanding with the 1800 grit micromesh pad. Pictures 1 and 2 show the stem in profile. The button is distinct and clear in the pictures. Picture 1 is of the left side – the unrepaired side of the stem. You can see the sharp edges of the cut between the stem and the button. Picture 2 is the right side in profile – the repaired side. Again the sharp edge of the cut between stem and button are clear. The slope of the button matches the left side as well. The stem repair on this one is done. All that remains is to polish it with the remaining grits of micromesh. Picture 3 shows the stem from the top. You can see the new edge of the button and the nice straight edge from left to right. The surface is smooth and once the remaining sanding is done it will look as good as new. Pictures 4 and 5 show the button from the end. You can see the nice curves of the “football” on each end and the gentle curve to the middle of the button over the orifice airway. ImageImageImageImageImage

I worked on the stem and button with micromesh pads from 1500-12,000 grit and water to shape and polish the button and the stem. One of the beauties of the Redmanol stem is the rich ruby glow to the stem when the light reflects off of it. That glow is hard to capture in photos but it is what I was aiming for in the polishing of this stem. Picture 1 and 2 show the finished button on the pipe stem. It is a perfect match on the left and the right. The super glue patch and build up blended in perfectly and even in hand is not visible. I love the way it blends with this Redmanol/Bakelite stems. ImageImage

The next series of photos (pictures 1-4) show the finished pipe. It has had many coats of carnauba by this point and is back to its original lustre. The oxblood stain brings the deep richness of the bowl back to the surface and it looks like it must have in much better days. Pictures 5 and 6 show one last look at the stem. The button is smooth and the transition between the stem and the button is crisp and clean. The “football” shape of the button is restored and the pipe is ready to smoke. ImageImageImageImageImageImage

Thank you once again Chuck for giving me the opportunity of restoring this pair of old timers to life again. It has been a pleasure and each was a challenge in its own way as I worked to bring them back to life again. I look forward to firing up a bowl in each of them in the course of the weekend ahead.