Tag Archives: repairing tooth marks

Breathing Life into a Caminetto Business 127KS Pot


Blog by Steve Laug

The next pipe on my worktable is another Caminetto Business pipe but different from the others that I have worked on in that it is a Pot (really quite similar in shape to a Castello 55). With each one that I have worked on I am increasingly impressed by the craftsmanship. The pipe has a rugged rusticated finish and a stepped variegated brown acrylic saddle stem. It had come to us from an antique mall in Utah, USA. It was a filthy pipe with grime and oils ground into the rusticated finish on the bowl. The pipe had some rustic beauty shining through the dust and debris in the valleys of the rough finish. The rustication covered the rim top, bowl and shank with a smooth panel on each side of the shank. The finish was dull and lifeless and dirty from sitting around. There was a very thick cake in the bowl with lava flowing out of the bowl and over the rim top. The lava had filled in the deeper grooves of the finish on the rim top. The inner edge of the rim appeared to be in good condition under the lava coat but we would know more once it was cleaned. The stamping on the left side of the shank read Caminetto in script over BUSINESS. To the right of that toward the stem was the shape number 127 in a cartouche and below that it read KS. On the right side of the shank it was stamped MADE IN ITALY [over] CUCCIAGO (CO). The taper stem was variegated brown and had the classic Caminetto Moustache on the top side. The surface was dirty and there was light tooth chatter and marks on both sides near the button. Jeff took the following photos before he started his cleanup work on the pipe. He took close-up photos of the bowl and rim top from various angles to capture the condition of the bowl and rim top edges. You can see the lava overflow and debris in the rustication of the rim top. You can see the cake in the bowl. This was a dirty pipe but it was the finish was in great condition. The stem is also very dirty with tooth marks and chatter on both sides near the button. He took photos of the sides and heel of the bowl to show the beautiful incredibly deep rustication around the bowl. It is the same kind of rough finish that I really like on Castello Sea Rock and Savinelli Capri Pipes. You can see the oil, dust and debris in the finish on both sides of the bowl. There is also some red ink or paint on the sides of the bowl. Jeff took a photo of the stamping on the sides of the shank. It reads as noted above. The stamping is clear and readable. I have worked on several Caminetto in the past so I turned to one of the restorations on the rebornpipes blog and reread the background information on the brand. I am including that info here with this restoration (https://rebornpipes.com/2020/04/19/pretty-tired-and-dirty-messy-restoration-of-a-caminetto-business-tomahawk-182/).

When the pipe arrived I turned to Pipephil (http://www.pipephil.eu/logos/en/logo-c1.html) to see if he included not only information on this Caminetto Business 182. He gave some interesting information about the brand. It was created in 1986 by Guiseppe Ascorti, Luigi Radice and Gianni Davoli as the distributor. It states that in 1979 the first Caminetto period ended with Luigi Radice leaving the company. Guiseppe Ascorti continued making the pipe with his son Roberto. In 1986 the New Caminetto period began by Roberto Ascorti.I turned to Pipedia for more information on the Caminetto and how to date the pipe I had in hand (https://pipedia.org/wiki/The_History_of_Caminetto_(shapes,_stamping,_articles,_etc.). I quote a pertinent paragraph:

Stampings and dating: First off, dating earlier Caminetto’s is nearly impossible. Nevertheless, there were three phases, some in which were much earlier, of development that occurred in the stamping process of Caminetto. Before that though, every pipe had the stamp of Caminetto in one of two ways: Caminetto in script or Caminetto within quotation marks in block letters (I do not know how it was decided which pipe got which stamp, as I have had EARLY Caminetto’s with both)…

The stampings are shown in the photo to the left. The stamping on this pipe is like #2.

…Now, the question is which stamps are earlier and more likely to have been made by Ascorti and/or Radice. The answer is #1. The differences in #2 and #3 seem to be minute, as Cucciago is simply a suburb of Cantu. Pipes stamped like #1 are the most valuable Caminetto’s as they are the earliest production of the brand, as well as what some would claim the most perfect of Ascorti and Radice’s work. The last tidbit is, of course, debatable…

… There is also another factor in stamping, that is, which series the pipe falls in. The majority of Caminetto’s one sees are those of the “Business” series, which are stamped such with their collective shape (see photo of shapes below). Another stamp that sometimes follows the “Business” one is “KS,” which from what I know means “King-size” (this could be wrong, as there are pipes stamped with KS1, KS2, and KS3).

Now it was time to look at it up close and personal. Jeff had done an amazing job in removing all of the cake and the lava on the rim top. He had reamed the bowl with a PipNet Pipe Reamer and cleaned up the remnants with a Savinelli Fitsall Pipe Knife. He took the cake back to bare briar so we could check the walls for damage. He scrubbed the exterior of the bowl with Murphy’s Oil Soap and a tooth brush to remove the grime on the bowl and rim and was able to remove the lava and dirt. He cleaned out the interior of the bowl and shank with pipe cleaners, cotton swabs and alcohol until they came out clean. He cleaned the stem with Soft Scrub to remove the grime on the exterior and cleaned out the airway with alcohol, cotton swabs and pipe cleaners. I took photos of the pipe before I started my part of the restoration.  To show how clean the rim top and stem really was I took a close-up photo of the rim and stem. The bowl was clean and cake free. The rim top is very clean with no residual lava in the finish. The inner edges of the bowl look good. The variegated brown acrylic taper stem cleaned up nicely. The surface had some light tooth marks (heavier on the top side than the underside) but the button edge looked really good.   I took a photo of the stamping on the smooth panels on each side of the shank. The stamping was clear and readable and reads as noted above.   I took the stem off the bowl and took a picture of the pipe to give an idea of the look of the rustication and the stem. It is going to be a pretty pipe.The bowl looked very good so I did not need to do any further work on it. I rubbed the bowl and shank down with Before & After Restoration Balm to deep clean the finish on the bowl and shank. The product works to clean, enliven and protect the briar. I worked it in with my fingers and with a horse hair shoe brush to get it into the nooks and crannies of the deep rustication of the finish on the bowl and shank. I let it sit for about 20 minutes to let it do its magic. I buffed it with a soft cloth. The briar really began to have a rich shine. I took some photos of the bowl at this point to mark the progress in the restoration.   The bowl was finished so I set it aside and turned my attention to the stem. There was one deeper mark on the top side of the stem near the button. I filled it in with clear super glue and let it cure. I sanded out the light tooth marks and chatter with 200 grit sandpaper and started to polish it with 400 grit wet dry sandpaper.     I touched up the moustache stamp on the topside of the saddle stem with Rub’n Buff Antique Gold. I rubbed it into the stamp and pressed into it with a toothpick. I buffed it off with a soft cloth and left the gold in the moustache to bring it back into place.   I polished the stem with micromesh sanding pads – dry sanding with 1500-12000 grit sanding pads. I wiped the stem down after each sanding pad with a damp cloth I finished polishing it with Before & After Pipe Stem Polish – both Fine and Extra Fine and buffed it off with a cotton cloth. I gave the bowl multiple coats of Conservator’s Wax and worked it into the crevices with a shoe brush. I buffed it with a soft cloth and a shoe brush to raise the shine. Once I put the stem in place I would buff it with a clean buffing pad to deepen the shine.  This Caminetto Business 127KS Pot is shaped a lot like a Castello 55 shape and it is a real beauty and has a lot of life left. I put the bowl and stem back together again and buffed the bowl and the stem with Blue Diamond on the buffing wheel. I used a soft touch on the rusticated bowl so as not to fill it in with the polishing product. I gave the bowl several coats of Conservator’s Wax and the stem several coats of carnauba wax. I carefully buffed the entire pipe with a clean buffing pad to raise the shine. I finished buffing with a microfiber cloth to deepen the shine. The finished pipe looks very good. The rustication is very tactile and feels great in the hand. It is comfortable and light weight. The finished Caminetto Business Pot is shown in the photos below. The dimensions of the pipe are Length: 5 ½ inches, Height: 1 ¾ inches, Outside diameter of the bowl: 1 ½ inches, Chamber diameter: 7/8 of an inch. This great looking rusticated Caminetto turned out very well. It should be a great pipe. It will be going on the rebornpipes store shortly if you are interested in adding it to your collection. Thanks for reading this blog and my reflections on the pipe while I worked on it.

Cleaning Up a GIGI  Collection Italia  Nature 428 Bent Plateau Billiard


Blog by Steve Laug

The next pipe on the work table was purchased from an estate that we bought from the estate of a pipe man from Florida, USA. The pipe is rusticated with a tree bark like finish that is stained black and brown. It is a bent billiard shaped pipe with saddle stem. The stem has a faint GIGI stamp on the right side of the shank. The pipe is stamped on a smooth panel on the underside of the shank and reads GIGI [over] Collection [over] Italia. Toward the shank end it is stamped with the shape number 428 [over] Nature [over] Made in Italy. There was a lot of grime and dust ground into the deep rusticated finish. The bowl was heavily caked and there was a lava coat flowing onto the plateau rim top and the inner edge of the rim. The inside and outside edges looked to be in good condition but we would know more once Jeff had cleaned it. The stem was oxidized on the topside. It was lightly calcified and had tooth chatter and marks on the top and underside near the button. The button surface itself was also damaged with tooth marks. The stem was stamped GIGI in faint stamping. The pipe showed a lot of promise and had an interesting tree bark finish under the dirty grime. Jeff took some photos of the pipe before he started his cleanup work.   He took photos of the rim top, bowl and stem to give a clear picture of the condition of the pipe. The thickness of the cake and tobacco debris as well as the lava on the plateau rim top and inner edge is visible. The photos of the stem show the oxidation, calcification and the chatter and tooth marks on the top and underside.   Jeff took photos of the sides and heel of the bowl to give a picture of the rustication patterns around the bowl. The stamping on the underside of the shank clear and readable and read as noted above. I turned to Pipephil’s site to see what I could learn about the GIGI brand and the carver who had made the pipe (http://www.pipephil.eu/logos/en/logo-g3.html). I have included a screen capture of the pertinent section from the site. The information I found was as follows:

Artisan: Luigi “Gigi” Crugnola made at Gigi Pipe Via Rovera, 40 21026 Gavirate Oltrona al Lago (VA).

Now I knew that the pipe was made by Luigi “GIGI” Crugnola. That was the extent of the information on that site.I turned to Pipedia to see if I could gain a bit more information on the brand as it generally has a great digest of the history of the brand and maker (https://pipedia.org/wiki/Gigi). I quote the article in full below:

Luigi “Gigi” Crugnola was born in 1934, the same year Giorgio Rovera founded a company in his own name in Varese, Italy along with partners Angelo and Adele Bianchi, who also happened to be Luigi Crugnola’s Uncle and Mother, respectively. The company produced pipes for 30 years, largely exported to America and elsewhere in the world. Crugnola took over the company in 1964 with the death of Angelo Bianchi, changing the name soon after to his own nickname Gigi, and continues to run the company today. The vast majority of Gigi pipes continue to be made for export.

What I learned is that the pipe was made post 1964 and was in all likelihood made for export. We purchased them from the US so indeed they were exported. 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 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 plateau rim top cleaned up really well. The rim top and outer edge of the bowl appear to be in good condition. The stem surface was clean and the tooth marks and chatter on both sides near the button were very visible.    The stamping on the smooth panel on the underside of the shank is clear and readable and reads as noted above. I removed the stem and took a photo of the pipe to give a sense of the whole. It would clean up and be a nice looking pipe.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 horse hair 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.       I set the bowl aside and turned my attention to the stem. I “painted” the stem surface with the flame of a lighter to try to lift the dents. I worked fairly well with the lighter marks but left behind several on each stem surface. I filled them in with clear super glue and set it aside to cure. Once they cured I smoothed them out and recut the button edge with a needle file. I sanded out the tooth marks with 220 grit sandpaper on the stem top and underside near the button. I started polishing it with 400 grit wet dry sandpaper. I polished the vulcanite stem with micromesh sanding pads – 1500-12000 grit pads. I wiped it down with Obsidian Oil after each sanding pad. I used Before & After Pipe Polish – both Fine and Extra Fine to further polish the stem.     This GIGI Collection Italia Nature 428 Bent Billiard is a great looking pipe now that it has been restored. The rich, brown and black stained finish around the bowl and the plateau rim top is quite beautiful and works well with the polished vulcanite saddle 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 multiple coats of Conservator’s Wax 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 GIGI Nature Bent Billiard sits nicely in the hand and feels great. Give the finished pipe a look in the photos below. The dimensions of the pipe are Length: 6 inches, Height: 2 ¼ inches, Outside diameter of the bowl: 1 ½ inches, Chamber diameter: ¾ of an inch. I will be putting it on the rebornpipes store shortly. If you are interested in adding this pipe to your collection send me a message or an email. Thanks for reading this blog and my reflections on the pipe while I worked on it. There are many more to come!

New Life for a Barling’s Make Ye Olde Wood 216 EL Billiard


Blog by Steve Laug

The next pipe on the work table came to us from an online auction in Nampa, Idaho, USA.  The pipe is smooth, nicely grained Billiard shaped pipe with a saddle stem. The pipe is stamped on left side of the shank and reads Barling’s [arched over] Make [over] Ye Olde Wood [over]the shape number 216. On the right side of the shank it is stamped Made In England followed by EL. There was a lot of grime and dust ground into the smooth finish. There was also a large U shaped crack that went up each side and met on the underside of the shank (you will see photos of the crack below). The pipe had been repaired by gluing the chunk of briar in place and banding the shank with a Sterling Silver band. The bowl was heavily caked and there was a lava coat flowing onto the rim top and the inner edge of the rim. The inside and outside edges looked to be in good condition but we would know more once Jeff had cleaned it. The stem was oxidized, calcified and had tooth chatter and marks on the top and underside near the button. The stem was stamped on the topside with the Barling Cross and on the underside and read REGD 98046. The stamping was readable. The pipe showed a lot of 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, bowl and stem to give a clear picture of the condition of the pipe. The thickness of the cake and tobacco debris as well as the lava on the rim top and inner edge is visible. The photos of the stem show the oxidation, calcification and the chatter and tooth marks on the top and underside. Jeff took photos of the sides and heel of the bowl to give a picture of the grain around the bowl.  The stamping on the right and left side of the shank are clear and readable and read as noted above. You can also see the Barling Cross stamp on the top of the saddle stem. There is no picture of the Regd number on the underside.The above photos also show the crack in the shank. I am including them again so you can see the downward turn on the crack on each side and the way that it crosses the underside of the shank forming a U-shaped crack that certainly came free from the shank. It had obviously been glued back in place and then the Sterling Silver band had been glued in place on the shank end to bind it all together. I have inserted yellow arrows in the photos below to identify the path of the crack.I turned to Pipephil’s site (http://www.pipephil.eu/logos/en/logo-barling.html) to see if I could find a listing that had the same or similar stamping on the pipe. The stamping is the same other than the shape number. The pipe that I am working on has a shape number on the shank in the same location as the photo below. Barling’s [arched over] Make [over] Ye Olde Wood [over] shape number 216. On the right side Made in England was followed by EL stamp in a pattern like that shown in the screen capture below.Pipedia gives a great history of the brand (https://pipedia.org/wiki/Barling) that is well worth reading. I looked specifically for the Patent Reg’d Stamp and found that the stamping on the stem of the one I was working on was a US Patent number for the stem.

REG’D 98 046 – US patent number – 1936 – 1949

I also worked through the different eras of the Barling pipes. I found a section on redefining the eras and quote from that section as followed:

Family Era 1912 – 1962: Pipes made by the Barling family while it either owned or managed B. Barling & Sons.

Corporate Era 1962 – the Present: Pipes made after the family left off managing the company, beginning with the revised product grades and revised nomenclature that were introduced in the 1962 Dealers’ Catalog.

The Family Era pipes are highly sought after by collectors and have excellent smoking and aesthetic qualities. These pipes are famous for the “old wood” from which they were made. I’m including the 1962 “Barling’s Make” pipes in this category because, initially, they were made while the Family still ran the business. Montague Barling was still President, and Williamson-Barling was still General Manager.

These 1962 pipes were made by the same craftsman from the same materials, as the earlier product. Some of them are stamped with both the old and new model numbers.

…The “BARLING’S MAKE” has the word “BARLING’S” arched over the word “MAKE” in capital block letters. Barling used this block letter logo until late 1962.

Ye Olde Wood Stamp: Sometime around 1913, the “Ye Olde Wood” stamp made its appearance on selected pipes. An example exists stamped on a 1913 date hallmarked pipe.

This logo will continue to be used in the decades to come. Initially it was used to designate a higher grade than the average, much as the “Special” grade would after the Second World War. Price lists show the “Ye Olde Wood” pipes as a separate grade from the basic BARLING’S MAKE pipe. Eventually, “Ye Olde Wood” came to represent the company to the world. The use of “YE OLD WOOD” as a stamp prior to 1940 was haphazard, at best, although the company used the slogan in advertising materials from the early teens onward. (Gage)

Crossed Barling Stem Logo: It is not known when the crossed Barling stem logo first appeared, but an example exists on a pipe with a 1923 date hallmark. And several of the mid 1920’s pipes added in this update also feature the crossed Barling stem logo.

Size Stampings:  Up to 1926 and possibly beyond, Barling used specific, completely unrelated, model numbers to designate the various sizes of a specific shape. They produced pipes in three sizes, small, medium, and large.

Barling’s published price lists show that they continued to offer pipes in only three sizes, small, medium, and large until 1941. That’s it, small, medium, and large. So when someone claims that they have a 1930’s EL, EXEL, or other size, they are mistaken.

In 1941 the published range of sizes expanded. Going from the smallest to the largest, they are SS, S, S-M, L, EL, EXEL, and EXEXEL. There is no “G” for giant. Giant pipes, or magnums, which are oversized standard billiards, were not stamped “G” but are commonly identified by collectors as such because they are obviously large relative to even EXEXEL pipes, and carried no size stampings (Gage).

Now I knew a bit about the pipe I was working on. Because of the Patent stamping on the stem I knew that it was made between 1936-1949. The use of the EL stamp also fits this time period. 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 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. The rim top and outer edge of the bowl appear to be in ok condition. There is some darkening on the back side of the inner edge and top and some burn damage on the front inner edge that will need to be addressed. The stem surface looked good with some remaining oxidation and some tooth marks and chatter on both sides near the button.    The stamping on sides of the shank is clear and readable and reads as noted above. I removed the stem and took a photo of the pipe to give a sense of the whole. It would clean up and be a gorgeous pipe.Now it was time to do my work on the pipe.  I took photos of the crack in shank to show how it looks after cleanup. The excess glue that was on the shank is gone and the crack looks clean. There is a slight ridge on the crack on the underside of the shank. I sanded out the high spots on the ridge on the underside of the shank with a folded piece of 220 grit sandpaper to smooth out the surface. I did the same on the sides of the shank without damaging the stamping on the shank sides.Now it was time to address the damage on the inside of the front edge of the rim and the darkening on the top of the bowl. I gave the edge a slight bevel to obscure the damage. I sanded the rim top with a worn piece of 220 grit sandpaper to remove the darkening.I polished the briar of the bowl and rim top with micromesh sanding pads – dry sanding with 1500-12000 grit pads. I wiped the briar down after each pad with a damp cotton pad.  I polished the silver band with a jeweler’s cloth after the first three pads. 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 to work on the stem. I put the stem in the Pipe Stem Oxidation Remover from Briarville USA. I am still experimenting with the product to remove the oxidation that remained on the stem. I let it soak for 1 hour and took it out of the bath and wiped it down with a paper towel. The photos show the stem at this point.  I used some Rub’n Buff Antique gold to touch up the stamps because they were so faint that the white filler that I usually used would not even show on the stem. The stem 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 Obsidian Oil after each sanding pad. I used Before & After Pipe Polish – both Fine and Extra Fine to further polish the stem.       This Barling’s Make Ye Olde Wood 216 EL Billiard is a great looking pipe now that it has been restored. The rich, brown stained finish around the bowl is quite beautiful and highlights the gorgeous mix of cross and birdseye grain. The finish works well with the polished vulcanite patented saddle 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 Barling’s Make Ye Olde Wood Saddle Billiard sits nicely in the hand and feels great. Give the finished pipe a look in the photos below. The dimensions of the pipe are Length: 5 inches, Height: 1 ¾ inches, Outside diameter of the bowl: 1 ¼ inches, Chamber diameter: ¾ of an inch. I will be putting it on the rebornpipes store shortly. If you are interested in adding this pipe to your collection send me a message or an email. Thanks for reading this blog and my reflections on the pipe while I worked on it. There are many more to come!

Restoring a Bertoli Napoli Bent Bulldog


Blog by Steve Laug

The next pipe on the work table came to us from a group of pipes that Jeff picked up on an online auction in Torrence, California, USA.  The pipe is an interesting looking piece. It has a classic Bulldog shape that looks very English – or maybe French. It is a smooth finished Bulldog shaped pipe with some nice grain around the bowl. The pipe is stamped on the topside of the shank and reads Bertoli [over] Napoli. On the underside of the stem it is stamped France. It is a bit of a mystery a very Italian sounding name and a French stamp on the stem. There was a lot of grime ground into the smooth finish on the briar as well as some peeling varnish and some flecks of paint. The bowl was heavily caked with a light lava coat flowing onto the top of the rim. The inside and outside edges looked to be in good condition but we would know more once Jeff had cleaned it. The stem was oxidized, calcified and had tooth chatter and marks on the top and underside near the button. There was a crescent moon logo stamped on the top left side of the Diamond 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 tobacco debris as well as the light lava on the rim top and inner edge. 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 looked like. There looks like there may be some nice grain around the sides under the peeling varnish, paint and grime. The stamping on the left side of the shank is clear and readable and read as noted above.  The Crescent Moon logo is visible in the second photo below.   I looked on both Pipephil’s site and Pipedia to find out if there was any information on either the Bertoli or Napoli brand and neither site had any information. I did a broader search on Google and found a Bertoli Napoli Canadian for sale on Worthpoint. I quote the description in full because the seller found the same lack of information I ran into (https://www.worthpoint.com/worthopedia/bertoli-napoli-smooth-mid-sized-1835956729).

Bertoli NAPOLI, Smooth Mid-Sized Canadian, Swirly Cross-Grain & Birdseye Description: Bertoli NAPOLI, France Smooth Mid-Sized Canadian Swirly Cross-Grain & Birdseye Great Overall Condition. Offering a Bertoli NAPOLI pipe in a smooth finish mid-sized Canadian shape. Could not fine info on Bertoli as a brand and the NAPOLI both sound Italian, but bottom of stem has FRANCE stamped there. The pipe condition is very nice, no notable wear to the bowl, only one very tiny tooth mark only to the stem bottom. The bowl has good rich color to the grain and nice swirly grain patterns, some small fills, no issues. Stem is original made of vulcanite, has a small moon crescent logo on the top…

Given the dead end that I had run into on the brand it was now time 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 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. The rim top and outer edge of the bowl appear to be in good condition. The inner edge also looked good. The stem surface looked good with a few small tooth marks and chatter on both sides near the button.  The stamping on the left side of the shank and the underside of the stem is clear and readable and reads as noted above. I removed the stem and took a photo of the pipe to give a sense of the whole. The stem is a saddle with a Crescent Moon the left side.Now it was time to do my work on the pipe. I started by wiping the bowl down with Acetone to remove the scattered piece of varnish still on the bowl finish. This can be seen in the photo of the underside of the shank show in photo above. There were two small chips on the front of the bowl. I filled them in with clear CA glue. I sanded the repairs with 220 grit sandpaper to smooth them out and blend them into the bowl. The sanded area would blend in better once the polishing of the bowl with micromesh sanding pads.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 came alive and the flaws while visible look better than when I began. I set the bowl aside and turned to work on the stem. I “painted” the stem with the flame of Bic lighter to lift the tooth marks in the surface of the vulcanite. I was able to life most of them a few remained that could be sanded out. I sanded them out with 220 grit sandpaper to blend them in and started the polishing with 400 grit wet dry sandpaper.    I used Rub’n Buff Antique Gold to touch up the stamps on the shank – the crescent moon and the France stamp. I applied it with a tooth pick and then rubbed it off with a cotton pad. The crescent moon stamp is a bit faint at the top but it looks better than it did. The France stamp looks very good.     I polished the vulcanite stem with micromesh sanding pads – 1500-12000 grit pads. I wiped it down with Obsidian Oil after each sanding pad. I used Before & After Pipe Polish – both Fine and Extra Fine to further polish the stem. This Bertoli Napoli Bent Bulldog is a great looking pipe now that it has been restored. The rich brown finish around the bowl is quite beautiful and highlights the grain and works well with the polished vulcanite saddle 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 Bertoli Napoli sits nicely in the hand and feels great. Give the finished pipe a look in the photos below. The dimensions of the pipe are Length: 5 ½ inches, Height: 1 ½ inches, Outside diameter of the bowl: 1 ¾ inches, Chamber diameter: ¾ of an inch. I will be putting it on the rebornpipes store shortly. If you are interested in adding this pipe to your collection send me a message or an email. Thanks for reading this blog and my reflections on the pipe while I worked on it. There are many more to come!

Renewing a Sasieni 4 Dot Natural #4 Dublin


Blog by Steve Laug

The next pipe on the work table came to us from a group of pipes that we purchased from fellow in Cornwall, Pennsylvania, USA.  The pipe is an interesting looking piece. It has a unique shape and certainly not one that I would readily identify as a Sasieni shape but it is! It is a smooth finished forward canted Volcano shaped pipe with some nice grain around the bowl. The pipe is stamped on the topside of the shank and reads Sasieni [over] Two Dot [over] London Made. On the right side of the shank it is stamped with the shape number 60 near the bowl and the rugby shaped Made in England COM stamp near the stem. There was a lot of grime ground into the smooth finish on the briar. There were also to small pinholes in the right side of the mid bowl that are strange. The bowl was heavily caked with a lava coat flowing onto the top of the rim. The inside and outside edges looked to be in good condition but we would know more once Jeff had cleaned it. The stem was oxidized, calcified and had tooth chatter and marks on the top and underside near the button. There were two light blue dots on the top of the oval 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 tobacco debris as well as the lava on the rim top and inner beveled edge. 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 looked like. There looks like there may be some nice grain around the sides under the blah finish and grime. The stamping on the right and undersides of the shank are clear and readable and read as noted above.  The 4 light blue dots are visible in the photo below. I turned to Pipephil’s site and specifically the timeline for Sasieni that is included there to see when the Four Dot changed to 4 Dot (http://www.pipephil.eu/logos/en/infos/sasieni-timechart.html).I have included a screen capture of the timeline below. From the time line I was able to learn that the 4 Dot stamping was introduced in the late 1980 – perhaps 1987. Thus I knew that I was not dealing with an earlier family period pipe but a newer one relatively speaking.

I turned then to Pipedia to focus in on that period and get an idea of where this pipe fit in the timeline and the hierarchy of the brand (https://pipedia.org/wiki/Sasieni). I found the section I was looking for in the article and have included it below. For more information on the brand be sure to read the full article.

…Somewhat later still, this was modified to reflect the finish, e.g. Four Dot Walnut, or Four Dot Natural. All these changes seem to have been made in the years between 1946 and 1950. Therefore a pipe with new style dots and old style stamping almost certainly has a replacement stem.

This system changed little if at all in the ensuing thirty years. When the company was sold in 1979, one of the first things the new owners did was to eliminate the town names from the shanks. The dots were enlarged yet further, and the Sasieni name, though still done in script, was larger, as was the rest of the shank nomenclature, which in all other ways was similar to the Pre-Transition nomenclature. While these pipes are not as collectible as the family made pipes, they were made with care and are high quality.

The nomenclature changed again in 1986, with the sale of the company to the Post-Transition firm. The three line nomenclature was changed to two lines, with the first reading “Sasieni 4 Dot” and the second identifying the finish, e.g. Natural, Walnut, or Ruff Root. Note how 4 Dot is spelled, using an Arabic numeral 4, as opposed to spelling out the word “four”. This is the easiest way to spot a Post-Transition Sasieni, as the new company has used both script and block lettering to spell the word “Sasieni” on the shank.

Now I knew I was working on a Post-Transition Sasieni made after 1986. It bore the Sasieni 4 Dot stamp and the second line Finish stamp – in this case Natural. It clearly differentiated this 4 Dot for the Four Dot pipes that I have worked on in the past.

Now on to working 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 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. The rim top and outer edge of the bowl appear to be in good condition. The beveled inner edge also looked good. The stem surface looked good with a few small tooth marks and chatter on both sides near the button.  There was also some remaining oxidation visible on the stem. The stamping on the left and underside of the shank is clear and readable and reads as noted above.    I removed the stem and took a photo of the pipe to give a sense of the whole. The stem is a saddle with 4 Blue dots on the left side.Now it was time to do my work on the pipe. 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 came alive and the flaws while visible look better than when I began. I set the bowl aside and turned to work on the stem. I “painted” the stem with the flame of Bic lighter to lift the tooth marks in the surface of the vulcanite. While I was able to life most of them a few remained on each side. I filled these in with clear super glue. Once the repairs cured I sanded them out with 220 grit sandpaper to blend them in and started the polishing with 400 grit wet dry sandpaper.  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 Obsidian Oil after each sanding pad. I used Before & After Pipe Polish – both Fine and Extra Fine to further polish the stem.       This Post-Transition Sasieni 4 Dot Natural Dublin is a great looking pipe now that it has been restored. The Natural finish around the bowl is quite beautiful and highlights the grain and works well with the polished vulcanite saddle 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 Sasieni 4 Dot sits nicely in the hand and feels great. Give the finished pipe a look in the photos below. The dimensions of the pipe are Length: 5 ½ inches, Height: 2 inches, Outside diameter of the bowl: 1 ½ inches, Chamber diameter: 7/8 of an inch. I will be putting it on the rebornpipes store shortly. If you are interested in adding this pipe to your collection send me a message or an email. Thanks for reading this blog and my reflections on the pipe while I worked on it. There are many more to come!

Righting a Wrong- Restemming a Hilson “Viva” # 278 Freehand Pipe


Blog by Paresh

This pipe had been purchased by me on eBay many eons ago and was the first pipe for me from the web store. I had this pipe in my rotation when it fell out of favor after I got a few pipes from Steve and I had commenced my journey in to the world of restoring my huge cache of inherited pipes. I felt that this pipe just did not smoke right, but what was the issue never crossed my mind and neither did I put my mind to it since I now had other pipes to enjoy!!

When Steve had visited me last year, we went through the entire pipe collection and this particular pipe caught Steve’s attention. He immediately remarked that the stem was not the right one for this pipe!! It was a replacement stem and a poorly executed job. With the problem diagnosed in a jiffy, we went about identifying a suitable stem for replacing the one currently on the pipe, which was by the way, also in a jiffy!! We found one and the pipe was soon consigned to oblivion. However, this time around after having recently worked on a stem replacement project, I decided to complete the replacement on this Hilson pipe as well. Here are a few pictures of the pipe with the stem that was replaced by the Seller. This pipe has Cutty-like foot, a Dublin like taper from the top of the rim to the foot of the stummel and the front rim top has a pronounced backward rake towards the shank. These features and for the lack of a defined shape, I rather prefer to call it a freehand. The stummel has very shallow sandblasted surface all around with a smooth shank bottom which bears the stampings seen on this pipe. It is stamped on bottom smooth surface of the shank as “HILSON” over “VIVA” in block letters with the shape number “# 278” stamped towards the stummel. The right side of the shank is stamped with COM stamp “BELGIUM” towards the shank end. The stampings are crisp and clear.I looked for information on this brand on rebornpipes.com. The information contained therein is both informative and an interesting read. Given below is the link to the write up;

https://rebornpipes.com/2016/06/11/restoring-my-paris-finds-a-pair-of-hilson-double-ecume-sandblast-pipes/

I visited pipedia.org to see if could learn more about this brand. I learned that this pipe was well respected brand in 1960s- 70s as makers of good quality pipes at very moderate prices which traced it’s roots way back to 1846 in the City of Bree!!! The brand faced financial crisis in the 1980s and was brought over by Elbert Gubbels & Zonen B.V. in the Netherlands. Here is the link to the web page;

https://pipedia.org/wiki/Hilson

The information gleaned from the two write ups makes me certain that the Hilson VIVA pipe that I am working on is Pre 1980s.

Initial Visual Inspection
This pipe has been with me for many years and at one point in time was an integral part of my pipe rotation. However the lure of new got the better of me and in my exuberance to try out the newer additions to my pipe collection, this pipe kept falling further and further down the pile. So when Steve suggested replacing the stem, I got this pipe out of oblivion. The stummel has a shallow sandblasted surface that has accumulated a little dust and dirt in the crevices of the sandblast. The left side of the stummel has a few fills and probably, I think, is the reason for the stummel to be sandblasted. Once the stummel surface has been thoroughly cleaned and the fills exposed, will I decided to refresh these fills or let them be. Before being stowed away, the chamber and the mortise had been completely reamed and cleaned. However, with passage of time, the mortise and the chamber walls are covered in dust and coupled with the high moisture content in the atmosphere, has coated the walls in a thin layer of grime. There is an even layer of thin coat of dust that has hardened over the thick chamber walls. The rim top surface shows very shallow sandblast and was cleaned earlier by me. It is now that I have observed a fill on the left side that runs from the inner to outer edge (indicated by indigo arrows). Both the inner and the outer rim edges are sans damage. The inner walls of the chamber are solid and thick. The chamber odors are mild. The draught hole is dead center and at the bottom of the chamber and coupled with the new stem that would replace the old one, makes me believe that the smoking quality of this pipe should improve manifolds. Further cleaning of the chamber and mortise should completely eliminate the ghost smells from the chamber.The Process
The first issue to be addressed in this project was to replace the previously poorly executed stem replacement job. The whistling sound emanating from the shank when air was drawn from the stem was a pointer that the alignment of the stem air way and mortise/ draught hole was skewed. I tried the pipe cleaner test and it was with great effort and maneuvering that the pipe cleaner came out through the draught hole. Steve and I had selected a pearly variegated acrylic saddle stem with swirls of light browns and grays as a replacement stem for this pipe. It was decided that this saddle stem be modified in to a military mount stem with the tenon seating as close to the walls of the mortise as possible. Here is how the pipe looks with this pearly saddle stem. The tenon would need to be sanded down for it to seat in to the mortise and this would be the trickiest part of this stem replacement. I would have to be very careful to sand it evenly and equally from all around and ensuring this while sanding down manually and eyeballing the evenness is not as easy as it would be while using a tenon turning tool (which I am still on a lookout for at a good price!!).   The replacement pearly variegated acrylic saddle stem too came with its own set of damages. The stem was badly damaged with heavy and deep tooth indentations in the bite zone over the upper stem surface. The button edge on the upper stem surface is also deformed with heavy tooth indentations. The lower stem surface, in addition to the tooth chatter, had a large chunk of the surface chewed off from the bite zone including the button. The bite zone on either surface is covered in a thick layer of calcification, probably a result of using a rubber bit. The stem airway appears BLACK and completely clogged with accumulated saliva, oils and tars. The tenon end and horizontal slot are clogged with gunk. The bite zone and buttons on either surfaces will have to be reconstructed and reshaped. The airway will be a bear to clean. Only after the stem has been thoroughly cleaned and sanitized, the issue of seating of the stem in to the mortise will be dealt with. I cleaned the external surface of the stem with a Scotch Brite pad and liquid dish washing soap. Once the external surfaces were clean, I cleaned the stem internals with a small shank brush and liquid dish soap. I gently scraped out the gunk and grime from the tenon and slot openings with my fabricated knife and dental tools. I thoroughly rinsed the stem surface and internals under warm running water till the stem was sparkling clean. I have realized that using small shank brush and liquid soap reduces consumption of pipe cleaners by about 85%. This is considerable savings considering that I pay thrice the cost of pipe cleaners on cost of shipping!! Next, I ran a couple of dry pipe cleaners through the stem to clean and dry it out. I avoid using isopropyl alcohol in cleaning stem air way just to guard it against crazing (call it my paranoia to use alcohol on an acrylic or Perspex stem!!). The stem surface, tenon end, slot and the air way is now clean. After about an hour of cleaning and ton of elbow grease, I can now handle this stem without any disgust!! I shall first adjust the tenon to achieve a snug seating in to the mortise and thereafter manipulate the saddle portion of the stem to achieve the taper for a military mount style stem. I mounted a 150 grit sanding drum on to my hand held rotary tool and sand down the tenon till I had achieved a rough seating of the tenon in to the mortise. My previous experience has taught me an invaluable lesson; “SAND ONCE AND CHECK TWICE”!! Once I had achieved a rough seating, I got down to the arduous and time consuming task of manually sanding down the tenon with a folded piece of 220 grit sandpaper till I had achieved a perfect seating of the tenon in to the mortise. Here I was extra careful and vigilant while sanding the sides of the tenon and frequently checked the alignment of the stem airway with the shank airway and finally the draught hole. Excess sanding of any one side of the tenon disturbs this alignment even though the seating may appear to be snug and seamless. I gave final check to progress being made and the seating was perfectly snug and seamless with all the airways perfectly aligned. I am very happy with the progress until now!!Next step was to shape the saddle portion to resemble a military mount style stem profile. Continuing with the same assembly of sanding drum and rotary tool used for tenon turning, I gradually start sanding the saddle portion from the tenon end and progressively working my way upwards. I frequently checked the profile of the stem with the stummel. Here is how the pipe appears at this stage. Getting there, but not close yet!! I continued with sanding down the saddle further till I had a nice taper with the saddle edge merging with the tenon. The profile of the pipe has drastically improved and as per my mantra “LESS IS MORE”, I decided to proceed with manual sanding and shaping with a piece of 220 grit sandpaper to match the surfaces and fine tune the seating of the stem in the mortise.  However, contrary to my mantra, I was still not very pleased with the stem profile. Unable to identify what exactly was amiss, I shot off a couple of pictures of the progress made to Steve and sought his advice. He suggested that I should give a bit more taper to the tenon end and it would be good. Ah…. The stem was a bit broad at the shoulders and that’s what was wrong!! I re-profiled the saddle shoulders with the 150 grit sanding drum. This now looks and feels much better and the flow of the stummel in to the stem is about perfect. Here are a couple of pictures that will give the Readers an idea of the seamless merging of the flow of the stummel in to the flow of the stem. With the profiling and seating adjustments to the stem now completed, I can turn my attention to the stem repairs. Next I inserted a pipe cleaner smeared with petroleum jelly in to the stem airway through the slot end. The coating of petroleum jelly on the pipe cleaner prevents the superglue from sticking to the pipe cleaner and seeping in to the air way and blocking it. I applied a generous coat of superglue over the bite zone, including over the buttons, on the lower surface which had a through hole and set it aside to cure. Once the fill had hardened to an extent that it was not runny, I applied a coat of superglue over the upper surface and set the stem aside for the fills to harden completely. Once the fill has hardened, I shall file and sand the fills to match the surface of the stem and sharpen the button edges on either surface.  While the stem fills and repairs were curing, I worked on the stummel by reaming the chamber with my fabricated knife to remove the remaining carbon deposit and the hardened coat of dust and grime. Once the cake was reamed back to the bare briar, I used a 150 grit sand paper followed by 220 grit sand paper to remove all the traces of remaining cake and also to smooth out the inner walls of the chamber surface. Finally, to remove the residual carbon dust, I wiped the chamber with a cotton pad wetted with 99.9% pure isopropyl alcohol. The chamber walls are sans any damage. The outer and inner rim edge is in great shape. The rim top surface is in decent condition, save for the fill on the left side. The ghost smells are greatly reduced and may be eliminated after the shank/ mortise are thoroughly cleaned. With the bowl internals clean, I move to clean the exterior of the stummel. I used a hard bristled tooth brush and Murphy’s Oil soap to scrub the stummel and rim top. After the scrub with oil soap, I washed the stummel under running warm water with anti oil dish washing detergent till the stummel surface was clean and dried it using paper towels and soft cotton cloth. I simultaneously cleaned the shank internals with the detergent and hard bristled shank brush and set the stummel aside to dry out naturally. The stummel surface has cleaned up nicely with the beautiful shallow sandblast patterns on full display. There are two major fills that would need to be refreshed; one on the rim top surface and the other on the left stummel surface. The ghost smells are completely eliminated and the pipe now smells fresh, odorless and clean. The shank air way is nice and open. I am sure that the pipe will turn out to be a fantastic smoker with a full wide and open draw. Next I addressed the issues of the two fills in the stummel surface. With a sharp dental tool, I gouged out the fill to the left side and one on the rim surface. Using the layering method, I filled these gouges with a mix of briar dust and CA superglue till the mound of the mix was slightly above the rest of the stummel surface. This helps in a better blending of the fill with the rest of the stummel surface while sanding and reduces the scratches caused by the use of a needle file as you have a correct perspective of the sanding that is required. I set the stummel aside for the fills to cure. While the stummel fills were set aside to cure, the next afternoon, I worked on the stem fills which had cured completely. With a flat head needle file, I worked on the filling till I had achieved a rough match with the surrounding surface and had sufficiently sharpened the button edges. I further sand the fills with a piece of 180 grit sand paper to achieve a better match. I used a slot file to even out the horizontal slot edges and widen it a bit. I am very happy with the stem profiling and repairs at this stage in restoration and also the buttons now have a nice crisp edge to them.   Thereafter, I began the process of final fine tuning of the seating of the stem in to the mortise, shaping the saddle for a sharper military mount look and bringing a nice shine to the surface by sanding with 320, 600, 800 and 1000 grit sandpapers. The technique that I used is very simple; sand one side, check the seating and if the seating is not snug, sand the relevant side and continue to do so till I achieved a snug airtight fit. The closer I came to the perfect fit, the higher grit sand paper I used. A lot of patient and diligent work, I reached the point where I felt “ no more sanding… this is the perfect seating and perfect military mount profile!!”. My mantra “LESS IS MORE” was also playing at the back of my mind. I had simultaneously sanded the entire stem surface through all the above mentioned grit sand papers. I was very pleased with my efforts as I had achieved a perfect snug seating of the stem in to the mortise while being able to maintain the semblance of a military mount stem!! To bring a deep shine to the acrylic stem, I went through the complete set of micromesh pads, wet sanding with 1500 to 12000 grit sandpapers. I wiped the stem with moist cloth after each pad. At the end of micromesh cycle, I polished the stem with “Before and After Fine & Extra Fine” paste. The finished stem is shown below.With the stem re-profiling and repairs completed, I turned to the stummel repairs. The fills had cured nicely and using a flat head needle file, I sand the fill till I had achieved a rough match with the surrounding stummel surface. I sand the fills with a piece of 220 grit sand paper to further blend in the fills with the stummel surface. Next, I rubbed a small quantity of “Before and After Restoration Balm” deep in to the briar and in to the crevices of the sandblast 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 sandblast patterns displayed in their complete splendor. I further buffed it with a horse hair brush. The contrast of the lighter browns of the sandblast with the natural patina of the rest of the stummel adds an interesting dimension to the appearance of the stummel.  To check and verify the correctness of the alignment of the stem airway, the tenon opening, shank/ mortise airway and finally through the draught hole, I did the PIPE CLEANER TEST.  The pipe cleaner passed through cleanly and without any obstruction from the slot end right through the draught hole.   I have now reached the homestretch in this restoration project. To complete the restoration, I mount a cotton cloth buffing wheel on to my hand held rotary tool and polished the stummel and stem with Blue Diamond compound. This compound helps to remove the minor scratch marks from the stem surface that remain from the sanding. I mounted another cotton buffing wheel that I have earmarked for carnauba wax and applied several coats of the wax. I finished the restoration by giving the entire pipe a rigorous hand buffing using a microfiber cloth to raise the shine further. The finished pipe looks amazingly beautiful and is ready to move on to another piper to be enjoyed for a long time. P.S. The finished pipe really looks amazing and with the thick chamber walls, a perfect wide open draw with perfectly aligned airway, this will definitely be a fantastic smoker. The pearly variegated acrylic saddle stem has a nice pearly sheen to it and the swirls of browns and grays add to the visual drama. The rebuilt lower bite zone does show sign of repairs, but it always does with acrylic stems. The beautiful pearl white of the stem appears yellowish in the above pictures and also the background does change in couple of photographs. This is so because of the reflection of light from the prop that is being used. I still need to work on my photography skill set in order to highlight the beauty of the finished pipes!!

Any reader interested to add this beauty to their collection, may please let Steve know and this pipe can be shipped to you from across the seas to be enjoyed for years to come.

A note of thanks to all the readers who have joined me in this journey that has been such a pleasure! You and your loved ones are always in our prayers…

Breathing Life to a Tired and Worn Handmade in Denmark Dublin


Blog by Steve Laug

The next pipe on the work table came to us from a group of pipes that Jeff and I picked up from a fellow in Hermann, Missouri, USA. The pipe is sandblast Dublin shaped pipe with a mix of brown stains. It is a medium sandblast with shallow valleys and ridges around the bowl and shank. The pipe is stamped on smooth panel on the underside of the shank and reads Handmade [over] Denmark that is followed by a second stamp that reads Imported [over] Briar near the stem end. The pipe was tired and worn looking with a lot of grime and dust in the crevices and valleys of the sandblast finish. The bowl was heavily caked with a heavy lava coat flowing onto the beveled sandblast rim top. It was hard to know what the rim and top looked like under all of the thick lava cake. The stem was oxidized, calcified and had tooth chatter and deep tooth marks on the top and underside near the button and on the button surface. 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 tobacco debris as well as the thick lava on the rim top and inner edge. He also took photos of the top and underside of the stem to show the oxidation and the chatter and deep tooth marks. Jeff took a photo the sides and heel of the bowl to give a picture of the sandblast and the worn finish on the bowl.   The stamping on the top and underside of the shank are clear and readable and read as noted above. This was a mystery pipe – the stamping read Handmade Denmark and Imported Briar and lead to no further information on the maker. I decided to leave the mystery and just work on the pipe itself. 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. The rim top and outer edge of the bowl appear to be in good condition. The stem surface looked good other than the deep tooth marks on the button surface and stem on both sides near the button.  The stamping on the underside of the shank is faint and readable and reads as noted above.I removed the stem and took a photo of the pipe to give a sense of the whole. The bowl looked very good and once I cleaned up the stem the pipe would look very good.Now it was time to do my work on the pipe. The bowl was in such good condition that 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 tooth marks on the top and underside of the button and stem service were very deep and no amount of heating or sanding them would lessen them. I filled them in with black super glue and set the stem aside to let the repairs cure. Once they had hardened I used a needle file to flatten the repair to match the surrounding vulcanite. I sanded the stem with 220 grit sandpaper to smooth out the remaining chatter on the top of the stem and further blend in the repair on the underside. I started the polishing process with 400 grit wet dry sandpaper. I polished the vulcanite stem with micromesh sanding pads – 1500-12000 grit pads. I wiped it down with Obsidian Oil after each sanding pad. I used Before & After Pipe Polish – both Fine and Extra Fine to further polish the stem.     This Danish Handmade Imported Briar Sandblast Dublin is a great looking pipe now that it has been restored. The rugged sandblasted brown stained finish around the bowl is quite beautiful and highlights the nooks and crannies of the sandblast. The finish works well with the polished vulcanite oval 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 multiple coats of Conservator’s Wax 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 Danish Handmade Sandblast sits nicely in the hand and feels great. Give the finished pipe a look in the photos below. The dimensions of the pipe are Length: 6 inches, Height: 2 inches, Outside diameter of the bowl: 1 ½ inches, Chamber diameter: 1 inch. I will be putting it on the rebornpipes store shortly. If you are interested in adding this pipe to your collection send me a message or an email. Thanks for reading this blog and my reflections on the pipe while I worked on it. There are many more to come!

New Life for a Charatan’s Make Sandblast 260 Zulu


Blog by Steve Laug

The next pipe on the work table came to us from an antique store in Utah that Jeff picked up on one of his pipe hunts.  The pipe is sandblast Zulu or Yachtsman shaped pipe. It is a rugged sandblast with some deep valleys and ridges around the bowl and shank. The pipe is stamped on smooth panel on the underside of the shank and reads Charatan’s Make [over] London England [over] the shape number 260 near the stem edge and a Lane Era Circle L toward the bowl. There was a lot of grime and dust in the crevices and valleys of the sandblast finish. The bowl was heavily caked with a lava coat flowing onto the sandblast finish of the top of the rim – heavier toward the rear of the bowl. The inside and outside edges looked to be in good condition but we would know more once Jeff had cleaned it. The stem was oxidized, calcified and had tooth chatter and marks on the top and underside near the button. The interlocking CP logo was stamped on the left side of the taper stem. The stamping was readable but was faintly stamped. 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 tobacco debris as well as the lava on the rim top and inner edge. He also took photos of the top and underside of the stem to show the oxidation and the chatter and tooth marks. Jeff took a photo the sides and heel of the bowl to give a picture of the sandblast. It is quite stunning.The stamping on the top and underside of the shank are clear and readable and read as noted above.  You can also see the CP stamp and the faint inset in the vulcanite.I turned to Pipephil’s site (http://www.pipephil.eu/logos/en/logo-charatan.html) to see if I could find a listing for the Charatan’s Make London England in a sandblast finish. I knew that I was dealing with a Lane Period pipe because of the circle L on the shank but the stem did not have a DC bit as expected. I found this section that shows a similarly sandblast pipe with the same stamping other than the DC.Pipedia gives a great history of the brand (https://pipedia.org/wiki/Charatan) that is well worth reading. There was also a helpful paragraph on the L stamping on the shank. I quote:

The Lane Trademark serif and circled L indicates the pipe is from the “Lane Era” (approx. 1955 to 1979 -1984?), however it appears that both the English factory or Lane themselves sometimes, or perhaps even often forget to stamp the L on a pipe. The Charatan factory was known for inconsistencies, especially in stampings. Therefore, although an L on the pipe definitely defines it as a Lane Era pipe, the lack of it could simply mean the pipe missed receiving the stamp from the factory. The lack of the trademark could also mean the pipe was destined for the European market.

Charatan pipes were not well distributed prior to the Lane Era, so very few pre-Lane pipes exist today. Herman Lane greatly grew the brand in the U.S., which caused corresponding growth in Europe.

Now I knew a bit about the pipe I was working on. It was made between 1955-1979-84 as show by the circle L stamp on the shank.  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 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. The rim top and outer edge of the bowl appear to be in good condition. There is some darkening around the inner edge that will probably remain but it is not too bad. The stem surface looked good with a few small tooth marks and chatter on both sides near the button.  The stamping on the underside of the shank is clear and readable and reads as noted above. I removed the stem and took a photo of the pipe to give a sense of the whole. When I took it apart I noted the white Delrin replacement tenon. It was in excellent condition and the fit in the shank was perfect so I decided I would leave it alone.Now it was time to do my work on the pipe. The bowl was in such good condition that 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.   I set the bowl aside and turned my attention to the stem. The tooth marks on the top were not too bad and would likely sand out well. Those on the underside were deeper and sharper. I filled them in with black super glue and set the stem aside to let the repairs cure. Once they had hardened I used a needle file to flatten the repair to match the surrounding vulcanite. I sanded the stem with 220 grit sandpaper to smooth out the remaining chatter on the top of the stem and further blend in the repair on the underside. I started the polishing process with 400 grit wet dry sandpaper. I touched up the CP stamp on the left side of the taper stem with PaperMate Liquid Paper. I daubed it onto the stamping and worked it into the stamp with a tooth pick. I was not overly hopeful as the stamping was not very deep but it was worth a try. Once it dried I scraped off the excess and left the white in the stamping. It is not complete but the original shape of the stamp is discernible.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 Obsidian Oil after each sanding pad. I used Before & After Pipe Polish – both Fine and Extra Fine to further polish the stem.       This Charatan’s Make London England 260 Zulu is a great looking pipe now that it has been restored. The rugged sandblasted brown stained finish around the bowl is quite beautiful and highlights the nooks and crannies of the sandblast. The finish works well with the polished vulcanite oval 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 multiple coats of Conservator’s Wax 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 Charatan’s Make Sandblast Zulu sits nicely in the hand and feels great. Give the finished pipe a look in the photos below. The dimensions of the pipe are Length: 5 ½ inches, Height: 1 ¾ inches, Outside diameter of the bowl: 1 3/8 inches, Chamber diameter: 7/8 of an inch. I will be putting it on the rebornpipes store shortly. If you are interested in adding this pipe to your collection send me a message or an email. Thanks for reading this blog and my reflections on the pipe while I worked on it. There are many more to come!

A Tale of the Rebirth of 3 Pipes – Pipe #2 – a Comoy’s Tradition 3591 Panel Prince


Blog by Steve Laug

By default this nice little Prince moved to the third slot while waiting for the stem repair to cure. It is now finished and it is a really nice looking pipe. Give the blog a read.

Last week I received an email from a fellow named Stanley who had gotten my info from the local Pipe and Cigar shop. He wrote that he had a trio of Comoy’s pipes that needed to be worked on. Two of them were Grand Slam Pipes and one was a Tradition. We connected via email and he said he would drop them off this week for me to work on. I am including part of his email so you have a sense of what I would be working on. I am also including the two photos that he attached to the email for me to see.

Hey Steve,

I had recently the chance to talk to a very kind and excellent gentleman over at City Cigar, I unfortunately was never able to get his name. However I mentioned I was looking for some replacement stems and he gave me your info…

…The pipes in question are attached in photos, I’ve never done any sort of pipe restoration in my life but I have attempted to take the cake down with a pocket knife. If you’d do it, would you be able to do a ream/clean on the three, as well as deal with the stems?

If possible, I’d prefer to save the original stems by repairing them, but it seems to me that most people remedy this problem with a replacement stem. Whatever you think is best I will go with.

If you think that I’d be better off without the stinger insert in the shape 64, then would you be able to remove it? I’m afraid I’d break the stem if I tried haha.

The 484b also seems to have a crack starting near the “Comoy’s Grand Slam” part of the shank, where it meets the stem. Is it possible to deal with this?

That is all! Please let me know what you think!

Thanks!  Stanley Last night Stanley stopped by and dropped off the three pipes. I took photos of pipes as there were when I opened the bag they were in. All three pipes were very dirty but the reaming had been started as noted in his email. The stems all had bite throughs on the underside. The bottom pipe in the photo below is a Grand Slam Pipe shape 64 Billiard. The stem has a 3 part C on the left side. The middle pipe is a Tradition 3591 Prince with 8 flattened panels on the bowl near the top. The stem also has a bite through and a missing divot. It also has a 3 part C on the left side. The top pipe in the photo is also Grand Slam Pipe 484B with a replacement stem that also has a bite through. The shank is also cracked on the left side.The last pipe left to work on in this threesome is the Tradition 3591 Panel Prince. It is a beautifully grained Comoy’s Prince that really is a pipe of Pipe Smoking History. The pipe is stamped on the left side of the shank and reads COMOY’S [over] Tradition. On the right side it has the shape number 3591 (the stamp is faint) next to the bowl/shank junction and that is followed by a Comoy’s COM stamp is worn away. 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 had been scraped but there was still a moderately heavy cake. There was an overflow of thick lava on the top of the rim and on the inner bevel of the bowl. It was hard to know what the rim top and inner edge of the bowl looked like under the grime. The stem was lightly oxidized and there was a large bite through on the underside. There was a three part inlaid C on the left of the taper stem. The pipe had promise but it was very dirty. I took photos of the pipe before he started his cleanup work.   I 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. It is hard to know if there is damage to the inner edge of the bowl because of the lava coat. I also took photos of the top and underside of the stem to show the condition of the stem surface and the bite through on the underside.   I took photos of the stamping on both sides and underside of the shank. They read as noted above. I also included a photo of the 3 part C logo on the left side of the taper stem. I removed the stem and took a photo of the pipe to give a sense of the whole. It is a well shaped billiard. Once the stem was off you can see the step down tenon that was on these older Comoy’s pipes.I looked on Pipephil’s site for information on the Comoy’s Tradition and found the following information I have included a screen capture (http://www.pipephil.eu/logos/en/logo-comoy.html). It has the three part C which dated it to 1946 and following. The stamping is the same as the one I am working on.I turned to the article on Pipedia about dating Comoy’s pipes but the style of the stamping (https://pipedia.org/index.php?title=Comoy%27s_Dating_Guide#1917_to_the_end_of_the_1930.27s_.28at_least_1938.29). I have include the section in the screen capture below that date this pipe to the 1950s.

Now the Comoy’s stamp can be found in three variants in the 1950s

  1. A simple block-letter style without serifs but with the C larger than the other letters and the apostrophe before the “S”.
  2. A return to the slightly more fancy block letters with serifs and the apostrophe. (It seems that some grades carried different stamps, or at least that the stamping changed in different years for some grades.)
  3. A simple block-letter style without serifs and without the apostrophe and with the “C” the same size as the rest of the letters. This stamp was probably not used very long.
  4. A simple block-letter style without serifs but with the apostrophe before the “S” and with the “C” the same size as the rest of the letters.

Inlaid “C”

C” was first inlaid in the side of the mouthpiece around 1919. This was a complex inlay needing three drillings. First, a round white inlay was inserted, then the centre of the white was drilled out, and a smaller round black inlay was inserted. Finally, another drilling was made to remove the open part of the “C,” and an even smaller black inlay was inserted. This inlaid “C,” known as the “three-piece C,” was continued until the Cadogan era in the 1980s. However, the “C” in the 1920s and early 30s is much thinner and more delicate than the one post-WW II.

That article gave me some helpful information regarding the pipe that I was working on. I knew that the stamping and logos identified the pipe as having been made in following WW2 and from what I can see from the above information it is a 1950s era pipe.

I reamed the bowl with a PipNet pipe reamer using the 2nd and 3rd cutting head to remove the remaining cake back to briar. I followed up with a Savinelli Fitsall pipe knife to remove the remnants of cake. I sanded the walls of the bowl with a piece of 220 grit sandpaper wrapped around a piece of dowel. I scrubbed out the mortise and the airway in the shank and the stem with alcohol, cotton swabs and pipe cleaners. I scrubbed the exterior of the bowl, rim, shank and stem with a tooth brush and Murphy’s Oil Soap to remove the oils and tars on the rim and the grime on the finish of the bowl. I rinsed it under running water and dried it off with a soft cloth.      I was able to remove some of the lava build up on the rim top and finished by scraping it with the Fitsall knife and then a piece of 220 grit sandpaper.  I cleaned up the bevel with the sandpaper at the same time. 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 carefully avoided the stamping on the shank so as not to damage the stamping.   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 aside the bowl and turned my attention to the stem repairs. I cut a piece of cardboard for a pallet, put aside two charcoal capsules, and set out the spatula and the Loctite 380 black CA glue. I greased a pipe cleaner with Vaseline and inserted it in the stem. I filled in the hole in the stem with a mixture of charcoal powder and Loctite. I used the spatula to fill in the bite throughs on all of the stems. I sprayed the repair with an accelerator to set the glue and removed the pipe cleaners from the stems.        I filled in the deep tooth marks on the top side of the stem with black super glue and set the stems aside to let the repairs cure. I took a photo of the three pipes at this point to give a feel for where things stood. I smoothed out the repairs with a needle file and started blending them into the surface of the stem. I sanded the remaining repairs with 220 grit sandpaper to further blend it into the stem surface. I started polishing it 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 50s era Comoy’s Tradition 3591 Panel Prince with a vulcanite taper stem is a great looking pipe now that it has been restored. I did a lot of work on the bowl and repaired the bite through on the stem. The rich browns and blacks of the contrasting stains came alive with the polishing and waxing. I put the stem back on the bowl and carefully buffed the pipe with Blue Diamond on the buffing wheel using a light touch on the briar. I gave the bowl and the stem multiple coats of carnauba wax on the buffing wheel and followed that by buffing the entire pipe with a clean buffing pad. I hand buffed the pipe with a microfiber cloth to deepen the shine. The finished Comoy’s thin shank Panel Prince is a beauty and fits nicely in the hand and looks very good. Give the finished pipe a look in the photos below. The dimensions of the pipe are Length: 5 ¾ inches, Height: 1 1/8 inches, Outside diameter of the bowl: 1 ½ inches, Chamber diameter: ¾ of an inch. He will be stopping by to pick them up soon. I am looking forward to what Stanley thinks of his repaired pipe. He had said the threesome were his favourite pipes. This is the second of  the three but the last one I finished. Thanks for reading this blog and my reflections on the pipe while I worked on it. There are many more to come!

New Life for a Peterson’s Republic Era System Standard 306 Bent Sitter


Blog by Steve Laug

The next pipe I have chosen is a smooth Peterson’s System Standard Sitter that was incredibly dirty. The grime on the finish pretty much obscured the grain around the bowl sides. The contrast of the dark stain made the grain stand out clearly. Jeff and I picked it up as part of group of pipes we traded for from Hermann, Missouri, USA. It was stamped on the left side of the shank. The stamping was readable. It read Peterson’s [arched over] System [arched over] Standard. On the right side of the shank it was stamped Made in the Republic of Ireland [over] the shape number, 306. It was in rough condition when he brought it to the table. The finish was dirty with grime ground into the briar sides and rim. There was a thick cake in the bowl and an overflow of lava on the rim top and the beveled inner edge of the bowl. The stem was oxidized, calcified and had light tooth marks and chatter on the top and underside on and near the button. Jeff took photos of the pipe before his cleanup work. They tell the story and give a glimpse of the promise that we see in this pipe.  Jeff took photos of the rim top to show the interior the bowl and the beveled inner edge. It is heavily caked with a thick lava overflow. The stem is oxidized, calcified and has tooth marks on the top and underside near the button.   Jeff took some photos of the bowl sides and heel to show grain that was around this bowl. It is a nice looking pipe.  He took a photo of the sides of the shank to show the stamping. The stamping is readable in the photos below and is as noted above – it reads Peterson’s [arched over] System [over] Standard. The nickel ferrule is also stamped K&P Peterson’s on the left side. On the right side it is stamped Made in the Republic of Ireland [over] shape number 306. I am including the information from Pipedia’s article on Peterson pipes. It is a great read in terms of the history of the brand (https://pipedia.org/wiki/Peterson). I have included a bit of the pertinent history here.

1950 – 1989 The Republic Era  – From 1950 to the present time, the stamp for this era is “Made in the Republic of Ireland” in a block format generally in three lines but two lines have been used with or without Republic being abbreviated.

During the 1950’s and 60’s the Kapp & Peterson Company was still in the ownership of the Kapp family. However 1964 saw the retiral of the company Managing Director Frederick Henry(Harry) Kapp.

I knew that I was dealing with a Republic Era pipe made between 1950-1989. The K&P mark on the nickel band ties to Kapp & Peterson brings the date to the time between 1950-1964. Now it was time to work on the pipe.

Jeff had done a great job cleaning up the pipe as usual. He reamed the pipe with a PipNet reamer and cut back the cake back to the bare briar. He cleaned up the walls with a Savinelli Fitsall Pipe Knife. He scrubbed the interior of the bowl and shank with pipe cleaners, cotton swabs and alcohol to remove the tars and oils. He scrubbed the exterior of the pipe with Murphy’s Oil Soap and a tooth brush to remove the grime from the finish. He worked on the rim top lava and darkening with the soap and tooth brush. He scrubbed the inside of the stem with alcohol and pipe cleaners. He scrubbed the exterior with Soft Scrub and then soaked it in Before & After Deoxidizer. He washed it off with warm water to remove the deoxidizer. The pipe looked far better. The stamping on the side of the stem was very light and the white that had remained was gone. I took some close up photos of the rim top and also of the stem surface. I wanted to show how well it had cleaned up. The rim top and edges show a darkening but are not damaged. It should clean up really well. I also took close up photos of the stem to show the tooth marks on the surface and on the button.  I took a photo of the stamping on the left side of the shank. You can see that it is stamped as noted above. It is clear and readable. I took the pipe apart and took a photo of the pipe. It is a good looking pipe and has some great grain around the bowl and shank.I decided to start my restoration work on this one by dealing with the rim top and the damaged beveled inner edge of the bowl. I sanded the rim top and the inner edge of the bowl with 220 grit sandpaper to remove the darkening and damage.  I started polishing it with 400 grit wet dry sandpaper.I wiped the bowl down with acetone on a pad to remove the remnants of the finish on the briar before I did the repairs to the chips and nicks on the bowl sides. With the bowl cleaned off I filled in the deep nicks and cuts in the briar with clear super glue.   Once the glue repairs cured I sanded them smooth with a folded piece of 220 grit sandpaper to blend it into the surface of the surrounding briar. I polished the briar with micromesh sanding pads – wet sanding it with 1500-12000 grit pads. After each pad I wiped the briar down with a damp cloth.  I worked some Before & After Restoration Balm into the surface of the briar 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 photos show the bowl at this point in the restoration process. With that done the bowl was finished other than the final buffing. I set it aside and turned my attention to the stem. I filled in the tooth damage with clear CA glue and set the stem aside to cure. I sanded out the repaired tooth marks and chatter with 220 grit sand paper to blend them into the rest of the stem surface. I started to polish it with a folded piece of 400 wet dry sandpaper. Once it was finished it had begun to shine.    I polished the stem with micromesh sanding pads – wet sanding with 1500-12000 grit sanding pads. I wiped it down after each sanding pad with Obsidian Oil. I polished it with Before & After Pipe Stem Polish – both Fine and Extra Fine.     I am excited to finish this Republic Era Peterson’s System Standard 306 Sitter. I put the pipe back together and buffed it with Blue Diamond on the buffing wheel. I gave the bowl and the stem multiple coats of carnauba wax. I hand buffed the pipe with a clean buffing pad to raise the shine. It is fun to see what the polished bowl looks like with the grain popping through on the bowls sides and rim top. Added to that the polished black vulcanite stem with the shining nickel ferrule was beautiful. This mixed grain on the smooth finish Peterson’s Sitter is nice looking and the pipe feels great in my hand. It is light and well balanced. Have a look at it with the photos below. The dimensions are Length: 6 ½ inches, Height: 2 inches, Outside diameter of the bowl: 1 ¼ inches, Chamber diameter: ¾ of an inch. It is a beautiful pipe and one that will be on the rebornpipes store soon. If you are interested in adding it to your collection let me know. Thanks for walking through the restoration with me as I worked over this pipe. Thanks to each of you who are reading this blog. Remember we are not pipe owners; we are pipemen and women who hold our pipes in trust until they pass on into the trust of the next pipeman or woman.