Tag Archives: restaining

Restoring Pipe #18 from Bob Kerr’s Estate – A Parker 272 Super Bruyere Billiard


Blog by Steve Laug

The third pipe, #18 of Bob Kerr’s Estate is part of my continuing to change things up a bit with the pipes in the estate. This pipe is a beautiful chubby shanked billiard in Bruyere colour like the Dunhill Bruyere pipes. It was very dirty but there was some beauty underneath the grime and the lava on the rim. I will be going back to Bob’s Dunhill collection eventually. I wanted to continue the change and chubby shank Parker billiard fit the bill for me. It is stamped with the 252 shape number on the left side of the shank at the bowl shank union. Following that it reads Parker Super Bruyere. On the right side of the shank it is stamped Made in London England with a 4 in a circle designating the size of the pipe according to the Dunhill pipe sizes. The stem is tapered with the Diamond P on the top side. The grain and shape on this one is very nice and well worth the time to clean up. I took photos of the pipe before I started my cleanup on it. I turned to Pipedia to gather some background on the pipe and to see if I could possibly arrive at a date for its crafting (http://www.pipephil.eu/logos/en/logo-parker.html). I quote from that article in part to set the stage for this restoration.

Parker Pipe Co. was created in 1923 by Dunhill. After Dunhill acquired Hardcastle the two companies were merged (1967) in the Parker-Hardcastle Ltd.

Like Dunhill pipes, Parkers were also date coded but had a independant cycle.

    From 1925 through 1941 the date code of Parker pipes runs from 2 to 18.

    From 1945 through 1949 the date code runs from 20 to 24.

    From 1950 through 1957 (at least) the date suffix run from an underlined and raised 0 to 7.

More recent Parker Super Bruyere did not have the date code.

I turned  to Pipedia and did a bit more reading on the brand (https://pipedia.org/wiki/Parker). I quote in part below:

In 1922 the Parker Pipe Co. Limited was formed by Alfred Dunhill to finish and market what Dunhill called its “failings” or what has come to be called by collectors as seconds. Previous to that time, Dunhill marketed its own “failings”, often designated by a large “X” over the typical Dunhill stamping or “Damaged Price” with the reduced price actually stamped on the pipe.

While the timing and exact nature of the early relationship remains a bit of mystery, Parker was destined to eventually merge with Hardcastle when in 1935 Dunhill opened a new pipe factory next door to Hardcastle, and purchased 49% of the company shares in 1936. In 1946, the remaining shares of Hardcastle were obtained, but it was not until 1967 when Parker-Hardcastle Limited was formed.

It is evident through the Dunhill factory stamp logs that Parker and Dunhill were closely linked at the factory level through the 1950s, yet it was much more than a few minor flaws that distinguishing the two brands. Most Dunhill “failings” would have been graded out after the bowl turning process exposed unacceptable flaws. This was prior to stoving, curing, carving, bit work and finishing. In others words, very few Parkers would be subjected to the same rigorous processes and care as pipes destined to become Dunhills. Only those that somehow made it to the end finishing process before becoming “failings” enjoy significant Dunhill characteristics, and this likely represents very few Parker pipes.

After the war, and especially after the mid 1950s the differences between Parker and Dunhill became even more evident, and with the merger of Parker with Hardcastle Pipe Ltd, in 1967 the Parker pipe must be considered as an independent product. There is no record of Parker ever being marketed by Dunhill either in it’s retail catalog or stores.

Parker was a successful pipe in the US market during the 1930s up through the 1950s, at which point it faded from view in the US, while continuing to be popular in the UK. It was re-introduced into the US market in 1991 and is also sold in Europe…

…Prior to Word War II, the possessive PARKER’S stamp was used. However, at least some pipes were stamped with the non-possessive as early as 1936.

Like Dunhill, Parker pipes are date stamped, but differently than Dunhill. The Parker date code always followed the MADE IN LONDON over ENGLAND stamping. The first year’s pipes (1923) had no date code; from 1924 on it ran consecutively from 1 to 19.

There is no indication of a date code for the war years. Parker was not a government approved pipe manufacturer, while Dunhill and Hardcastle were. During the war years Parker manufactured the “Wunup” pipe made of bakelite and clay. A Parker pipe with a 19 date code has been reported, indicating there was perhaps some production of briar pipes as well, but no dating record.

From 1945 through 1949 the Parker date code runs from 20 to 24 and from 1950 through 1957 it runs from an underlined and raised 0 to an underlined and raised 7.

A little help here from anyone with date code information beyond 1957 would be most appreciated.

The site did give me a lot of information about the Parker brand and its connection to Dunhill. I could tell that the pipe that I was working on was made after 1957 as the pipes prior to that time had the date stamp following the D in England.

I took some close up photos of the rim top and the stem to show what I was dealing with. Parker Chubby Billiard was in pretty good condition considering its age and use. The photo shows the cake in the bowl and the thick buildup of lava on the back side of the rim top. You can see the cake in the bowl in the first photo below. The stem was dirty and oxidized with very light tooth chatter on the top and underside for about an inch ahead of the button. I took a photo of the stamping on both sides of the shank so you can see what it looked like when I examined it. It is clear and readable.With the identification of the pipe as coming out of the Parker/Dunhill factory after 1957 was as good as I was going to get on this old pipe. But that date works well with the other datable pipes in Bob’s collection. I thought it would be good to read about Bob again just to keep his memory alive as you read about his pipes.

I asked his son in law, Brian if he or his wife would like to write a brief biographical tribute to her father, Bob. His daughter wrote the following tribute to her Dad and it really goes well with the belief of rebornpipes that we carry on the trust of the pipe man who first bought the pipe we hold in our hands as we use it and when it is new we hold it in trust for the next person who will enjoy the beauty and functionality of the pipe.

Brian and his wife included the great photo of Bob with a pipe in his mouth. Thank you Bob for the great collection of pipes you provided for me to work on and get out to other pipemen and women who can enjoy them And thank you Brian and your wife for not only this fitting tribute but also for entrusting us with the pipes. Here is his daughter’s tribute to her Dad.

I am delighted to pass on these beloved pipes of my father’s. I hope each user gets many hours of contemplative pleasure as he did. I remember the aroma of tobacco in the rec room, as he put up his feet on his lazy boy. He’d be first at the paper then, no one could touch it before him. Maybe there would be a movie on with an actor smoking a pipe. He would have very definite opinions on whether the performer was a ‘real’ smoker or not, a distinction which I could never see but it would be very clear to him. He worked by day as a sales manager of a paper products company, a job he hated. What he longed for was the life of an artist, so on the weekends and sometimes mid-week evenings he would journey to his workshop and come out with wood sculptures, all of which he declared as crap but every one of them treasured by my sister and myself. Enjoy the pipes, and maybe a little of his creative spirit will enter you!

I reamed the bowl to remove the cake on the walls and the debris that still remained in the bowl. I used a PipNet pipe reamer to start the process. I followed that with a Savinelli Fitsall Pipe Knife to clean up the remaining cake in the U-shaped bottom of the bowl. I sanded the bowl with 220 grit sandpaper wrapped around a piece of dowel. It smooths out the walls and also helps deal with slight damage to the inner edges of the bowl. I cleaned up the rim top and removed the thick lava coat on the back top side of the rim. I used a pen knife blade the edge of the Savinelli Fitsall knife to scrape away the high spots of lava. I used a Scotch-Brite sponge pad to scrub off the remaining lava on the top of the bowl and wiped it down with a bit of saliva on a cotton pad.I polished the rim top with micromesh sanding pads – wet sanding with 1500-2400 grit pads and dry sanding with 3200-12000 grit pads. Each successive pad brought more shine to the rim top. I wiped the rim down with a damp cotton pad after each sanding pad. The shine develops through the polishing. With the removal of the lava coat and polishing of the rim it lightened significantly. I used a Maple and a Mahagony stain pen to blend the colours to match the colour of the rest of the bowl. I would buff it and blend it in better once the stain dried.I worked some Before & After Restoration Balm into the finish of the bowl and shank as well as the surface of the rim top. I worked it into the surface with my fingertips to clean, enliven and protect the wood. I let the balm sit for about 20 minutes and buffed it off with a soft cotton cloth to polish the bowl. I took photos of the pipe at this point in the process to show what the bowl looked like at this point. I cleaned out the internals of the bowl, shank and the airway in the shank and the stem with alcohol, pipe cleaners and cotton swabs until they came out clean. I set the bowl aside and turned my attention to the stem. I sanded out the light tooth chatter on the surface of the vulcanite with a folded piece of 220 grit sandpaper and worked on the spotted oxidation on the surface. I followed the 220 grit sandpaper with 400 grit wet dry sandpaper to minimize the scratching. The two papers combined did a pretty decent job of getting rid of the tooth marks and chatter as well as the oxidation.I polished the stem with Denicare Mouthpiece Polish to take out the oxidation at the button edge and on the end of the mouthpiece. I also worked hard to scrub it from the surface of the stem at the tenon end.I applied some Rub’n Buff Antique Gold to the Diamond P stamping on the topside of the stem. The original Diamond P stamp was gold. I applied it with a pipe cleaner and then buffed it off with a cotton pad. The repaired stamping looked really good.I polished out the scratches with micromesh sanding pads – wet sanding with 1500-2400 grit pads and dry sanding with 3200-12000 grit pads. I wiped the stem down after each sanding pad with Obsidian Oil. I polished it with Before & After Pipe Stem Polish – both Fine and Extra Fine. Once I had finished the polishing I gave it a final coat of oil and set it aside to dry. I put the bowl and stem back together. I buffed the bowl and stem with Blue Diamond to polish out the scratches in the briar and the vulcanite. I gave the bowl and the stem multiple coats of carnauba wax. I 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 smooth finish on this Parker Super Bruyere is very nice almost equal to its match in the Dunhill Line. The only flaw I can see is a tiny sandpit in the outer edge of the bowl toward the back. It is quite beautiful and it has some amazing grain around the bowl – a mix of cross grain, birdseye and flame. The contrast of swirling grain looked good with the polished black vulcanite. This Parker will soon be heading off to India to join Paresh’s rotation. The finished pipe is shown in the photos below. The dimensions of the pipe are Length: 5 3/4 inches, Height: 1 7/8 inches, Outside diameter of the bowl: 1 1/4 inches, Chamber diameter: 3/4 of an inch. This is the 18th pipe from the many pipes that will be coming onto the work table from the Bob’s estate. There are a lot more pipes to work on from the Estate so keep an eye on the blog to see forthcoming restorations. Thanks for reading this blog and my reflections on the pipe while I worked on it. I am having fun working on this estate.

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Refurbishing my Inherited Large “Soren” Pickaxe Freehand


Blog by Paresh Deshpande

It’s been two months since I had worked on a free hand pipe that was made in Denmark, the last being a “Soren” sitter. The next pipe that I decided to work on from my grandfather’s collection is again a “SOREN”, but this pipe is a monster sized Pick Axe with a humongous bowl!!

The large pick axe stummel has a combination of smooth and rusticated surface covering the bowl. The cascading water flow like hand carved rustication extends from the front left side of the bowl to the back while the smooth surface covers most of the front and complete right side of the bowl. Beautiful swirls of grains can be seen on the smooth surface interspersed with flame grains extending upwards from half way of the front of the bowl. The plateau shank end is flared towards the shank end and boasts of lovely flame grains on the right side of the shank. The flared shank end bears the only stamping seen on this pipe. It is stamped as “Soren”, name of the carver in script hand over “HAND-CARVED” over “MADE IN DENMARK” in block capital letters. The fancy vulcanite stem is devoid of any stampings.

While working on my Soren sitter free hand, I had referred to pipedia.com for information on this famous pipe carver from Denmark. I reproduce the information available on pipedia.com for a quick read.

 “Søren Refbjerg Rasmussen founded a company in 1969, which employed an average of 8 – 12 craftsmen in the 1970’s. The semi-freehands they produced were traded under his prename Søren. Rasmussen himself finished only the very best pipes. So his way of pipemaking closely resembled the ways of Preben Holm, Karl Erik Ottendahl or Erik Nørding. Altogether more than 1,000,000 pipes were sold.

Today he works alone as Refbjerg and manufactures only a small number of pipes in his workshop in DK-2860 Søborg, which are considered to be tremendously precisely executed. The dimensions mostly range from small to medium sized, corresponding to his personal preferences. The shapes adhere to the classical models, but often he gives them a touch of Danish flair. Refbjerg accepts minor faults but never uses any fillings. “Straight Grain” is the only grading, used for his very best pieces. He likes stem decorations made of exotic woods or metal rings.

As Rainer Barbi once stated “Refbjerg uses only briar from Corsica and more than that, he’s the one and only to import it from there, at least in Europe. He’s supplier to the vast majority of the Danish makers”.

From the above, it can be safely assumed that this pipe was made in the 1970’s as it bears the stamp of the carver’s prename “Soren”!!

INITIAL VISUAL INSPECTION
There is a thick layer of cake in the bowl. The external surface of the stummel feels solid to the touch and I think there are no issues with the condition of the chamber. However, there are always surprises when you least expect them!!! I have learnt my lessons!!! Thus, condition of the inner walls of the chamber will be ascertained once the chamber has been reamed and the cake is taken back to the bare briar. There is a strong sweet smell of tobacco which may reduce once the cake has been reamed out and chamber has been cleaned with isopropyl alcohol.The plateau rim top and shank end is covered in the overflow of lava, dirt and grime. This will have to be cleaned. The condition of the inner edge will be determined only after removing the cake. The air way in the shank is clogged with oils and tars and will require a thorough cleaning. The stummel is covered in a thick layer of dust, dirt, oils and grime. The stummel looks dull and lackluster. The grains on the smooth surface and the sandblast rustications are all covered in tars, oils and grime. To be able to appreciate these grains and rustications, the stummel will have to be cleaned. However, there is not a single fill to be seen on this large briar estate. A few minor dents and dings are seen on the stummel surface, a result of uncared for storage over a prolonged period. This issue can be sorted out by sanding the stummel surface with a sand paper, followed by micromesh sanding and polishing. The fancy quarter bent vulcanite stem is heavily oxidized and two deep bite marks can be seen on the lower surface of the stem. The lips on both upper and lower surface show significant damage due to bite marks and are out of shape. I hope to address these issues by simple heating of the stem with the flame of a Bic lighter. The air way in the stem appears to be clogged and the air flow is laborious to say the least. This will be addressed by thorough internal stem cleaning with pipe cleaners and alcohol. There is calcification seen on either surface about an inch from the button end. The bottom of lip edge shows significant deposition of dirt and oxidation. This will have to be cleaned.THE PROCESS
I started this project by reaming the chamber with size 2 and followed it up to size 4 head of PipNet reamer. 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 briar, I wiped the chamber with a cotton pad dipped in isopropyl alcohol. This removed all the residual carbon dust but this time not the ghost smells. This cleaning revealed the first (and pray it to be the last!!) surprise. There are a few very thin webs of line seen along the front and left side of the chamber walls and one slightly larger gash on the left side. This gash is highlighted in a red circle. I shall address this issue at the end of the restoration by coating the walls with a mixture of activated charcoal and yogurt. This coating will aid in quicker formation of a fresh cake.I followed up the reaming by cleaning the mortise and air way of the pipe using hard bristled, regular pipe cleaners and q-tips dipped in alcohol. The mortise and the draught hole was so chock-a- block with all the dried tars, oils and gunk that I had to use my fabricated spatula to scrape out all the muck from the mortise and the draught hole!!!! I gave a final clean with shank brushes dipped in alcohol and dried the mortise with a rolled paper napkin. The shank internals and the draught hole are now nice and clean with an open and full draw. The issue of sweet smells of old tobacco was also reduced to a very large extent.I cleaned out the internals of the stem using hard bristled and regular pipe cleaners dipped in alcohol. I scraped the dried oils and tars from the tenon with the sharp edge of my fabricated dental spatula. The deep bite marks on the stem and lip edges were flamed with the flame of a Bic lighter.  This helps to raise the bite marks to the surface. However, this did not work. From my experience, I have learnt that getting rid of the oxidation from and around the surface to be filled helps in subsequent better blending of the fill with the stem surface. With a folded piece of used 150 grit sand paper, I sand the area that is required to be filled. I cleaned the sanded portion of the stem with cotton pad dipped in alcohol and spot filled the damaged area with a mixture of activated charcoal and clear superglue. I set the stem aside for the fill to cure. Now, it was the turn of the stummel of the pipe to get cleaned up. Using a hard bristled tooth brush dipped in undiluted Murphy’s oil soap, I very deliberately scrubbed the stummel, cleaning the surface thoroughly. Special attention was paid to scrub out all the dirt and dust from the crevices in the rustication on the sides and front of the stummel as well as the plateau rim top and shank end. I was surprised to note that while rinsing the pipe under tap water, the water ran a bright orange color. Residual orange color can be seen on the stummel, probably due to a coating of shellac!!! I do not like it and will have to get rid of it, period. The stummel, plateau shank end and rim top were dried using paper napkins and soft cotton cloth. The cleaning of the stummel revealed the second surprise!! There was a sticky and soft spot present in the rusticated portion on the stummel; this has been marked in a red circle below. When I scrubbed the stummel, it was revealed that this fill had gone soft. I dug out the old and soft fill with my fabricated sharp knife. The alignment of this fill roughly matched with that of the larger gash observed on the left side of the chamber wall. I discussed this issue with my guru, Mr. Steve, after he had seen the pictures of the damage. It was decided that the fill would be refreshed and the inner walls of the chamber should be coated with a layer of activated charcoal and yogurt. There were three other very minor fills; two on the shank end and one in the rusticated portion of the stummel at the back of the bowl. These have been circled in red. Before progressing ahead with any further restoration, I decided to address the issues of “fills” in the stummel!!!!! I completely removed the old fills using a sharp, pointed and thin fabricated knife. I press a little briar dust and realizing what a precious commodity it is, I was very careful not to waste even a microgram. I packed it in to the gouges on the stummel, pressing it tightly with the back of a toothpick and spot applied CA superglue over it with the pointed end of the toothpick. I spot filled the shank end fills with only CA superglue as they were not large and deep. With this, I set the stummel aside for the fresh fills to cure.After the fills had cured, I sand these fills using a flat head and a round needle file to achieve a rough match with the surrounding surface. With a folded piece of 180 grit sand paper, I sand the fills in the rusticated portion to match it with the worm trails in the rustication. I wiped the entire stummel with a cotton swab soaked in acetone to remove the coating of shellac, but without the expected results. The stummel still has that orange coloration. I further sand the entire smooth surface of the stummel with a piece of folded 150, 220, 440, 600 and 1000 grit sand paper to perfectly match the fills with the rest of the stummel surface and also to achieve my aim of completely removing the shellac coating, but the coloration still persists. Hopefully, remnants of the shellac coat will be addressed during the micromesh sanding and polishing process. This use of sand paper, however, addressed all issues of the dents and dings from the stummel surface!! I wanted to remove the coating of shellac while highlighting the grains seen on the smooth portion of the stummel. To achieve this aim, I sand down the stummel using micromesh pads, wet sanding with 1500 to 2400 grit pads and dry sanding with 3200 to 12000 grit pads. I wiped the stummel with a moist cloth to clean the surface of all the dust after wet sanding. The orange coloration on the stummel can be gauged by the color of my hand. I was still not happy with the results of the micromesh sanding. Using a dark brown stain pen, I darkened the worm trails in an attempt highlight and add contrast against the raised portions in the rustication. I was not satisfied with the way the pipe looked at this stage. It was still “loud” and appeared gaudy. I rub a small quantity of “Before and After Restoration Balm” in to the briar and let it rest for a few minutes. I took some extra efforts to work the balm in to the hand carved rustications on the bowl. I hand buffed it with a horse hair brush to a deep shine. I had assumed that this would help improve the look of the stummel. Alas!! That was not to be the result. The bowl still appeared ugly and definitely did not measure up to my standards. I was lost for ideas when I shared pictures of the stummel with my guru, Mr. Steve. This is what he saw. In his characteristic style, Mr. Steve suggested that “I would first get rid of the dark stain in the worm trails by wiping the entire stummel and then re-staining it”. This is exactly what I did. I wiped the stummel with a cotton swab dipped in isopropyl alcohol and removed all the stain. Mr. Steve had sent me sachets of easy-to-use stain powder which just needed to be mixed in isopropyl alcohol and applied to the stummel surface. I chose the Walnut stain. Since this was the first time that I would be using a stain, I was a bit apprehensive. I mixed a little quantity of the stain powder and mixed it with a little quantity of 99.9% pure isopropyl alcohol to a liquid consistency. I have purposely not mentioned any specific quantity of each as I had mixed the two just by relying on feel and visual confirmation. I was fortunate that I got the mix spot on in the first attempt. There is a lot of leeway in this process in that if the stain appears too dark after application, desired transparency could be achieved by wiping the stummel with a cotton swab dipped in alcohol!!!! I folded a pipe cleaner and evenly applied the stain over the complete stummel, plateau rim and shank end. This was followed by burning excess of alcohol with the flame of a Bic lighter. This also helps the stain to set on the stummel surface. Just a word of caution to all first timers like me, please wear either plastic or latex rubber gloves if you wish to avoid the struggle of removing the stains from your hands later!!! I wiped the stummel surface with a cotton swab dipped in isopropyl alcohol as the stain was slightly darker and unevenly applied than I would have liked. This helped in bringing more transparency and evenness in the stain application. Once the stain had set, I mount a cotton cloth buffing wheel on to my local machine which is similar to a Dremel.  I set the speed at about half of the full power and applied White Diamond compound to stummel of the pipe. I wiped/ buffed the pipe with another clean cotton cloth buffing wheel to clear it of any leftover compound dust. I then mounted another cotton cloth wheel on to the polishing machine and applied several coats of carnauba wax over the stummel. I finished by giving the stummel a rigorous hand buffing using a microfiber cloth to raise the shine further. The grains on the stummel now look beautiful and peek through the stain. I shared the pictures of the stummel with Mr. Steve who appreciated the look of the stummel at this stage. With the stummel nice and clean and attractive, I worked the stem of the pipe. The fill on the stem had cured nicely and I sand it down with a flat head needle file. I sharpened the lip edges using a needle file and sand the entire stem with 220 followed by 400, 800 and 1000 grit sand paper. This helps to reduce the sanding marks left behind by the more abrasive 220 grit paper, while this process eliminated the deep oxidation seen on the vulcanite stem of the pipe. To bring a deep shine to the vulcanite stem, I went through the complete set of micromesh pads, wet sanding with 1500 to 2400 grit pads and dry sanding with 3200 to 12000 grit pads. I wiped the stem with alcohol after each pad and rubbed it down with Extra Virgin Olive oil. The internals of the stem was cleaned out using alcohol and pipe cleaners. The pictures of the process and final results are shown below. The only issue remaining to be addressed, before I could proceed with the final polish, was the deeper gash seen in the walls of the chamber. I mixed activated charcoal and yogurt to a consistency which would enable an even spread and applied it on the inner walls of the chamber and set it aside to cure it overnight.To finish, I re-attach the stem with the stummel. I mount a cotton cloth buffing wheel on to my local machine which is similar to a Dremel. I set the speed at about half of the full power and applied White Diamond compound to stummel of the pipe. I wiped/ buffed the pipe with a soft cotton cloth to clear it of any leftover compound dust. I then mounted another cotton cloth wheel on to the polishing machine 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 dark brown hues of the stummel contrasting with the shiny black stem, looks lovely, fresh and vibrant; the photographs speak for themselves. The beauty, size and shape of this pipe make it one of my favorite and will find a place of pride in my modest collection. If only the pipe could tell some of the stories and incidents that it has witnessed while my grand old man puffed away.…………… Cheers!!! PS: The oversized and shape of the stummel coupled with an equally proportionately long stem, posed a challenge while taking pictures of the complete finished pipe!!!! This is one of the many areas where I need to make a lot of progress. If I am unable to capture the beauty of the finished pipe and present it in an attractive manner, I feel my efforts are in vain.

 

Resurrecting a Tired & Worn Special Straight Grain 122


Blog by Steve Laug

In my ongoing work on the estate pipes from the pipe shop that had closed here in Vancouver I am turning to a fourth pipe from the lot. The entire lot came to me from the estate of an older pipeman whose wife dropped them off at a pipe shop to be cleaned and sold. When the shop closed they came to me. The pipe on the table now is stamped Special over Straight Grain on the left side of the shank. On the right side it is stamped with a Comoy’s style COM stamp reading Made in London in a circle over England followed by the shape number 122. The briar has some nice straight and flame grain around the bowl with birdseye on the top of the bow, shank and the underside of both. The bowl had a thick cake in it with an over flow of lava on the rim top. The rim top looked very bad but it hard to know if there was real damage or if the marks were in the lava overflow. It was hard to know what the rim edges looked like with the thick coat covering it all. The briar was dull and dirty looking. The stem is vulcanite and is oxidized with no visible stamping or logo. There was calcification and tooth chatter and damage next to the button on both sides. There are heavier tooth marks on the underside of the stem. I took photos of the pipe when I received it.   I sent this pipe along with about twenty others from this lot to my brother Jeff in Idaho to work over and clean up. He cleaned up the pipes with his usual thoroughness – reaming the bowl and scrubbing the internals with alcohol, cotton swabs and pipe cleaners. He scrubbed the exterior with Murphy’s Oil Soap to clean off the dust and grime on the finish. When he sent it the pipe was ready to restore. Like the Savinelli I just worked on, I could not believe how good the rim top looked in comparison to what it was when he started. I was working on the Savinelli Giubileo D’ Oro and it had the same issues as this one with the trough in the bowl so I used the remaining pipe mud that I made for it to repair the bowl bottom on this pipe. In doing so I forgot to take photos before I began. I slid the stem over the pipe cleaner and put it in place to get photos. I took the following photos of the pipe to show what it looked like before I started working on the exterior. The briar was clean and the grain quite stunning. The finish looked dull and lifeless. I took a close up photo of the rim top after Jeff had cleaned it up. The look of the rim top and edges is very good. (Ignore the pipe mud in the bowl bottom.) He had been able to remove the cake and the lava very well. The bowl was clean but there seemed to be a trough in the bottom of the bowl made by a pipe cleaner repeatedly passing over the same spot. The stem is also shown and was very clean but oxidized. He had not started using Mark’s Before & After Deoxidizer at this point. The tooth marks on both sides near the button are visible in the photos.  The marks on the underside of the stem were worse than the ones on the topside.I took some photos of the stamping on the shank sides. The first photo shows the Special over Straight Grain stamp on the left side. The second shows the shape number and the COM Stamp that reads Made in London in a circle over England and the shape number 122 on the right side.There were several things about the stamping that I was unfamiliar with so I did some searching online. I had a memory of the Special being a Comoy’s product. The COM stamp on the shank and the stamping on the left side of the shank pointed to that. The shape number 122 also seemed to point in that direction. I turned to all of my usual sources – Pipedia and Pipephil and found nothing connecting the stamping to Comoy’s. There is not a note regarding the Special Straight Grain stamp on either site when it is missing the Comoy’s designation. However there was a connection with the shape number on the Comoy’s Shape Chart on Pipedia (https://pipedia.org/wiki/Comoy%27s_Shape_Number_Chart).

I have captured a portion of the chart to show the number and designation match what I have in hand.  I circled the shape number in red that is on the right side of this pipe. It fits the description of a 122 Pot with a straight stem and a medium sized bowl. I think I could safely assume I was working on a Comoy’s made pipe with an interesting and unique stamping – Special Straight Grain on the right side of the shank!

I started working on the bowl. Since I was working on the La Savinelli Giubileo D’Oro at the same time and both had parallel issues with the bowl I decided to address the trough in the bottom of the bowl first. It was quite visible and though the bottom of the bowl was still quite thick, it bothered me. I decided to mix a batch of pipe mud to fill in the trough and protect the bottom while a new cake was formed in the bowl. I mixed some cigar ash and water to form a paste. I put a pipe cleaner in the airway to protect it from being filled in. I used a folded pipe cleaner to paint the mud around the airway to clean up some of the edges and tamped some into the bottom of the bowl to fill in the trough. I packed it in place with a Czech pipe tool tamper as it fit in the bottom of the bowl. The pictures that follow tell the story. It will take a while to dry out but once it has dried it will be quite hard. I set the bowl aside while I worked on the other pipe.

(The first two photos show the bowl of the Giubileo. The bowl on the Special had a twin looking bottom and I forgot to include photos of the bowl bottom on this repair. You can imagine it from the photos below.) I wanted clean up the rim top in the least intrusive method possible and still be able to deal with the scratches and wear on the flat surface. I wanted to see if I could minimize the darkening on the back side and the bevel of the inner edge of the rim top. I sanded it on a small medium and fine grit sanding block to see what I could do to begin with (forgot to take photos). I was happy with the way it was beginning to look. I finished with the blocks and wiped the bowl down with isopropyl alcohol to get a feel for what it looked like under the sanding dust. I polished the briar by wet sanding with 1500-2400 grit sanding pads to raise the shine. I also wanted to remove as much of the scratching as I could. I dry sanded the briar with 3200-12000 grit pads. I wiped the bowl down with a damp cloth after each pad. The briar began to really shine and the grain stood out. This was a beautiful pipe and worthy of the designation SPECIAL STRAIGHT GRAIN. The pipe was beginning to look really good and the grain was beginning to really pop. It was time to work some Before & After Restoration Balm into the briar on the bowl and the rim top. I worked it into the surface with my fingertips to clean, enliven and protect the wood. I let the balm sit for about 20 minutes and buffed it off with a soft cotton cloth. I took photos of the pipe at this point in the process to show what the bowl looked like at this point. I decided to rub down the surface of the bowl and shank with a Medium Walnut Danish Oil Finish and a cotton pad to give some depth to the finish. I really like how the Danish Oil Walnut Stain can make the grain pop on the briar without really darkening the finish. I hand buffed the bowl with a soft cloth to polish the briar. I buffed it lightly on the buffing wheel using Blue Diamond on the wheel. I took photos of the bowl after buffing. I really like the way that the grain stands out now. It is truly a beautiful piece of briar. The bowl looked good so I set it aside and turned my attention to the stem. I used a flat blade needle file to sharpen the edge of the button and smooth out the tooth damage to the edges of the button. I also worked on the tooth chatter with the filed. I followed that by using a Bic lighter to paint the surface of the vulcanite with the flame. Between the file work and the heat of the flame I was able to remove some of the marks and minimize the others. The photos tell the story.   I filled in the two deep tooth marks on the underside of the stem with superglue. The tooth marks on the topside were no longer an issue so I would only need to sand out the file marks. I set the stem aside to dry. Once the glue had dried I sanded the stem surface with 220 grit sandpaper to smooth out the repairs and remove the oxidation that was on the stem surface.I polished the stem with micromesh sanding pads – wet sanding with 1500-2400 and dry sanding them with 3200-12000 grit pads. I wiped the stem down with Obsidian Oil after each pad. I gave it a further polish with Before & After Pipe Stem Polish – both Fine and Extra Fine. When I finished I gave it a final coat of Obsidian Oil and let it dry. The following photos show the stem at this point. I polished the bowl and stem with Blue Diamond to polish out the scratches in the briar and rubber. I gave the bowl and the stem multiple coats of carnauba wax. I 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 Walnut Danish Oil had really breathed life into the briar and the pipe came alive with the buffing. The contrast of colours between the briar and the stem worked really well. The Special Straight Grain pipe has a rich and classic look. The finished pipe is shown in the photos below. The dimensions of the pipe are Length: 5 1/2 inches, Height: 1 5/8 inches, Outside diameter of the bowl: 1 3/8 inches, Chamber diameter: 7/8 of an inch. This one will soon be on the rebornpipes store if you are interested in adding it to your collection. Thanks for reading this while I worked on it. It was interesting and unusual piece to restore and I really enjoyed the work.

Decking out my Grandfather’s Battered Pre-transition Barling # 1354.


Blog by Paresh Deshpande

In one of a first, I had decided to work on four pipes simultaneously. Well, honestly, it was a decision which was forced on me due to extraneous circumstances that I had created for me. It so happened that after having discussed with my mentor, Mr. Steve, I decided to work on a John Bessai creation from my Grandfather’s collection. As I was turning the John Bessai in my hands, I felt that there were not very many major issues involved in its restoration and the small Barling’s, also from my old man’s collection, appeared to be a straight slam dunk of a restoration. Thus, I decided to work on both simultaneously, which appeared doable. However, things turned in to a challenge when I was just surfing YouTube on pipe restoration topics. In one of the videos, Hydrogen Peroxide and water solution was used to raise the oxidation to the surface and subsequent cleaning of the same was a breeze. I decided to try out this method and in order to make max use of the solution; I dunked stems of two more pipes in to it. Now I have four pipes in line to restore. I can still manage the restorations; it is the write ups that are a huge challenge for me as Mr. Steve will vouch for the delayed submissions.

The Barling’s Make pipe on my work table is a quaint little billiards with beautiful and very tightly packed birdseye grains on either side of the bowl and shank, extending over to more than half of the front of the stummel. Equally tightly packed cross grains are seen on the front left and back of the bowl and also on the upper and bottom surface of the shank. It is stamped on the left side of the shank as “BARLING’S” in an arch with block capital letters over “MAKE” in a straight line over the numeral “1354”. The right side of the shank bears the spaced out stamp “S M” towards the bowl shank junction. The vulcanite saddle stem bears the trademark Barling stamped in cross on the upper surface of the saddle and “Barling” over “Design” in a cursive hand on the lower surface of the saddle.  Even though there are quite a few Barling’s in grandfather’s collection, this beauty is the first of the Barling’s that I am trying to restore. To know more about the brand, the lines offered by the maker and attempt to date this pipe, I visited Pipedia which has a wealth of neatly cataloged heading-wise information on Barling’s pipes. Here is the link and the snippets of relevant information that I picked up https://pipedia.org/wiki/Barling#Model_Numbers:

Model Numbers:

Also according to Tad Gage, the only four-digit number that denotes a Pre-Transition piece begins with “1,” which was used for pipes sold in England. Any other four-digit Barling pipe is a Transitional piece– (Tad Gage in P & T magazine).

Model numbers were occasionally stamped below the logo as early as the late 1920’s.

Other Nomenclature:

The “MADE IN ENGLAND.” stamp was in use in the 1930’s thru 1962. As with all things related to Barling nomenclature there are variations. Sometimes there is no “MADE IN ENGLAND.” stamp. Examples exist with a “MADE IN LONDON” over “ENGLAND” stamp. And, there are examples with “MADE IN ENGLAND” with no period after the word “ENGLAND”.

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).

Size stamps were rare before WW2, but we do an example from 1925 that we will discuss later as it is part of a forgotten class of Barling pipes.

Patent Stamps:

In addition to the stampings on the briar, Barling stems had stampings that relate to specific periods. In 1935 Barling received a patent for a stem design that radically improved airflow as well as cooling of the smoke.

Pipes made in 1934-5 may have the words “Reg’d Design” on the underside.

Following the granting of the patent in 1935, Barling stems featured the following patent numbers:

REG’D 98 046 – US patent number – 1936 – 1949 • REG’D 42/8968 – WW2 production – 1942 – 1950 • REG’D 754 068 – WW2 production • Barling Design – 1950 – 1962

 Not all pipes have this stamping on the underside of the stem, but its presence is a good indicator for the period of manufacture, assuming that the stem is original.

Throughout their history Barling continued to innovate in the area of stem and bit design.

From the above information, it is conclusively assumed that this piece is from the Family era/ Pre- transition period and was made somewhere during 1950s to 1960s. The minimalist stampings indicate that this pipe was intended to be sold in the local markets.

INITIAL VISUAL INSPECTION
The chamber shows a nice even build up of a thick cake which makes it difficult to comment on the condition of the inner walls of the chamber. There is a thick overflow of lava and completely covers the rim top and further spills over on to the stummel surface. The condition of the inner edge of the rim and rim surface will be ascertained only after chamber has been reamed down to its bare briar. The outer rim, however, is damaged and has a number of chips and dents, probably caused due to hitting the bowl against a hard surface to remove the dottle! Criminal, to say the least! The surface of the stummel is covered by the overflowing lava, which in turn has attracted a lot of dirt and grime over a period of time. The stummel surface is peppered with numerous dents and dings, more so towards the heel of the bowl, probably caused due to careless and uncared for storage for the last 40-45 years!!!! It will be a big decision whether to address these dents and dings by abrasive sanding method and loose the patina which has developed on the surface, or let them be. Well, I shall cross the bridge when I reach it. The mortise is surprisingly clean and air flow through it is open and full. The vulcanite stem is heavily scratched, but not oxidized. Some light tooth chatter is seen on both surfaces of the stem towards the lip with one deep bite mark on the upper surface. This issue should not be a major headache to address. The lip edge on both sides is crisp but lightly damage. The quality of vulcanite is good.THE PROCESS
I did not soak the stem of this pipe in the Hydrogen Peroxide solution as I was not sure how it would affect the stamping and so decided to play it safe. I flamed the stem surface of the stem with a Bic lighter to raise the tooth indentations and scratches on the stem. The heat from the flame of Bic lighter causes the vulcanite to expand and regain its natural shape, reducing the marks. The tooth bite marks which were visible after the flaming were filled with a mix of activated charcoal and clear CA superglue and I set it aside to cure overnight. I reamed the chamber with size 1 head of a PipNet reamer and followed it with a size 2 reamer head. To reach the areas where the PipNet reamer could not reach to remove the carbon cake, I used my smaller fabricated knife and scraped out all the remaining cake. I further use a folded piece of 180 grit sandpaper to sand out the last traces of remaining cake and expose the walls of the chamber to ascertain that there are no cracks/ heat fissures. I wiped the chamber with a cotton pad dipped in isopropyl alcohol to remove the carbon dust left behind by all the reaming and sanding process. The walls of the chamber were solid with no damage. I gently scraped the rim top surface with a sharp knife to remove the lava overflow. This was followed by cleaning the mortise with cue tips, pipe cleaners and shank brush dipped in isopropyl alcohol. This further eliminated traces of old smells from previous usage. The old smell was still prevalent, though greatly reduced. To completely eliminate the smell, I decided to resort to alcohol bath. I packed the chamber, just below the rim, with cotton balls. I stretched a cotton ball into a thick wick, tapering at one end, and inserted it in to the shank and pushed it as far inside as I could using a straightened paper clip. I topped the bowl with isopropyl alcohol using a syringe. I know that it is generally a practice to use Kosher salt for this procedure, but since Kosher salt is not easily available here, and when available, it’s very expensive, I use cotton balls. I find that cotton balls work just fine in drawing out all the tars and smells from the mortise and the bowl. I topped the bowl with alcohol again after 20 minutes when the alcohol level had gone down and set it aside overnight for the cotton and alcohol to do its intended job.The next day, the cotton and alcohol had fulfilled its intended task. I removed the cotton balls and ran pipe cleaners through the mortise to clean out all the loosened tars and gunk. The internals of the stummel is now clean and fresh. Now, it was the turn of the stummel to get cleaned up. Using a hard bristled tooth brush dipped in undiluted Murphy’s oil soap, I very deliberately scrubbed the surface of the stummel. I cleaned the rim too. The stummel and rim top was dried using paper napkins and soft cotton cloth. I am not very happy the way the rim top appears at this stage with all the charring and uneven inner and outer rim edges. This needs to be addressed. I set the stummel aside to dry out naturally. While the stummel was drying, I worked the stem. I covered the stampings on the stem with whitener using a whitener pen. The filling of charcoal and CA superglue had cured and using a needle file, I sand the filling to match the surface of the stem. For a better blending, I further sanded the entire stem with 220 followed by 400 and 800 grit sand paper. This helps to reduce the sanding marks left behind by the more abrasive 220 grit paper. To bring a deep shine to the vulcanite stem, I went through the complete set of micromesh pads, wet sanding with 1500 to 2400 grit pads and dry sanding with 3200 to 12000 grit pads. I wiped the stem with alcohol after each pad and rubbed it down with Extra Virgin Olive oil. The internals of the stem was cleaned out using alcohol and pipe cleaners. The finished stem is shown below. After cleaning the rim top with Murphy’s oil soap, I had observed that the rim top surface was charred and the inner edge was uneven, presenting a very sorry appearance. I topped the rim on a 220 grit sand paper, checking frequently till I was satisfied that the charred surface was greatly reduced. The inner edge is still uneven, though much better than before topping, it will need to be addressed.Next, I decided to address the dents and dings on the stummel surface and on the rim outer edge. Using a whitener pen, I marked all the major areas with dents and dings as I had decided to leave the minor ones as they were. I heated my fabricated knife over the flame of a candle, placed a wet Turkish hand towel over the marked areas and steamed out the dents by placing the heated knife over the towel. Though some dents were still observed, these were greatly reduced when compared to before steaming.The steaming method had raised to the surface all the major dents and dings. However, the outer and inner edges of the rim were still uneven. I took a piece of used and worn 180 grit sand paper, folded it and pinching it between my thumb and forefinger, created a slight inner bevel on the inner edge of the rim. Using the same technique, I created a light bevel on the outer edge. Now the rim surface and both its edges appear clean, even and well rounded.Steaming out the dents and dings from the stummel surface had necessitated that the surface of the stummel be evened out by sanding. I had an option of using more abrasive 220 grit sand paper followed by micromesh pad cycle and loose the patina or straight away go to the micromesh cycle. Using the more abrasive sand paper, minor dents and dings would be further addressed but I would lose the old sheen which the briar has taken over the years.  I decided on keeping the old sheen and went straight for the micromesh cycle. The old patina and the minor dents and dings would add to the vintage look of the pipe, which it was. I wet sand the stummel with 1500 to 2400 grit pads and follow it up by dry sanding with 3200 to 12000 grit pads. I rub a small quantity of “Before and After Restoration Balm” in to briar and let it rest for a few minutes. The balm almost immediately works its magic and the briar now has a nice vibrant appearance. I further buff it with a horse hair shoe brush. To finish, I re-attach the stem with the stummel. I mounted a cotton cloth buffing wheel to the Dremel (actually it is not the brand machine, but a local machine which is similar).  I set the speed at about half of the full power and applied White Diamond compound to the entire pipe. I wiped/ buffed the pipe with a soft cotton cloth to clear it of any leftover compound dust. I then mounted another cotton cloth wheel on to the polishing machine and applied several coats of carnauba wax. I finished the restoration by giving the entire pipe a rigorous hand buffing using a microfiber cloth to raise the shine further.The completed pipe looks lovely, fresh and vibrant; the photographs in this case, do not do justice to the appearance of this beautiful little pipe. Thank you for having the patience to reach this far while reading the write up.

Breathing Life into a GIGI Collection Italia Studio X 40288


Blog by Steve Laug

It was time to go back to working on the estate pipes from the pipe shop that had closed here in Vancouver. The entire lot came to me from the estate of an older pipeman whose wife dropped them off at a pipe shop to be cleaned and sold. When the shop closed they came to me. The pipe on the table now was an Italian made with a bit of a freehand look to it. It is stamped GIGI over Collection Italia on the left side of the shank. On the right side it is stamped Studio X 4 over 40288. On the underside of the shank it is stamped REGD. NUMBERS over 256267-386165 followed by Made in Italy. The briar has some nice straight and flame grain around the bowl with what looks like faux plateau on the top of the bowl and the shank end. The bowl had a thick cake in it with an over flow of lava on the rim top. The plateau type finish was filled in with lava and was a real mess. It was hard to know what the rim edges looked like with the thick coat covering it all. The briar was dull and dirty looking. The freehand style stem is vulcanite and is oxidized. It had a turned portion near the tenon and the stem itself was oval. There was calcification and tooth chatter and marks damage next to the button on both sides. I took photos of the pipe when I received it. I sent about twenty of the pipes to my brother Jeff in Idaho to work over and clean up. He cleaned up the pipes with his usual thoroughness – reaming the bowl and scrubbing the internals with alcohol, cotton swabs and pipe cleaners. He scrubbed the exterior with Murphy’s Oil Soap to clean off the dust and grime on the finish. When he sent it the pipe was ready to restore. I took photos of the pipe when I unpacked it. The briar was clean and the finish dull. There were some small fills on the left underside of the shank and bowl that needed to be repaired. I took a close up photo of the rim top after Jeff had cleaned it up. The look of the rim top and edges is very good. The carved finish on the plateau top is clean and undamaged. He had been able to remove the cake and the lava very well. The bowl looked very good. The plateau on the shank end is also very clean. The stem is also shown and was very clean. The tooth marks on both sides near the button are visible in the photos.  I was unfamiliar with the brand so I did some searching online and found some basic information on Pipedia. I quote in full:

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 (https://pipedia.org/wiki/Gigi).

I turned to my other go to website, Pipephil. The site included a photo of the carver and confirmed the information that I had read on the Pipedia site. It gave the contact information for the pipe company. It is as follows: Gigi Pipe Via Rovera, 40 21026 Gavirate Oltrona al Lago (VA) The link is – http://www.pipephil.eu/logos/en/logo-g3.html.

From that I learned that the pipe was made by Luigi “Gigi” Crugnola and was made after he took over the company in 1964 and changed the name of the brand. I also learned that the majority of the pipes were made for export from Italy so it was not unusual to find one in Canada.

Armed with that information I decided to start on the bowl. I repaired the fills on the underside of the bowl and shank with clear super glue. Once the glue dried I sanded it with 220 grit sandpaper to blend the repairs into the surface of the briar. The fills looked much better with the darkening that occurs with the glue repairs than they did before my work. The photos below show the repaired areas.I polished the briar with micromesh sanding pads to smooth out the surface of the briar and blend the repairs into the rest of the bowl. I wet sanded it with 1500-2400 grit pads and dry sanded it with 3200-12000 grit pads. I wiped it down with a damp cloth after each sanding pad. I worked Before & After Restoration Balm into the briar and the plateau on the rim top and the shank end. I worked it into the surface with my fingertips to clean, enliven and protect the wood. I let the balm sit for about 20 minutes and buffed it off with a soft cotton cloth. I took photos of the pipe at this point in the process to show what the bowl looked like at this point. I used a Medium Walnut Danish Oil Finish to touch up the repaired area and the rest of the bowl. The walnut stain really makes the grain pop on the briar. I hand buffed the bowl with a soft cloth to polish the briar. I buffed it lightly on the buffing wheel using Blue Diamond on the wheel. I took photos of the bowl after buffing. The grain is really standing out on the bowl at this point. It is beautiful. I took photos of the stamping at this point because it really stood out now.I set the bowl aside and turned my attention to the stem. I used a Bic lighter to paint the surface of the vulcanite with the flame. The heat of the flame raised the tooth marks around the button edges. It raised the bite marks significantly but a repair would still need to be done. As I worked on the stem I noticed that it was faintly stamped on the right side of the stem near the turning with the words GIGI.I sanded the tooth marks and the surface of the stem with 220 grit sandpaper to minimize the tooth damage and to remove the oxidation. I was able to remove the majority of the tooth damage other than a few small spots along the button on the top side and the underside.I filled in the tooth marks with superglue spreading it with a toothpick. I set it aside to dry.Once the glue repairs cured I sanded them with 220 grit sandpaper to smooth out the repairs. I sanded them to blend them into the surface of the rubber. I began the polishing of the stem with Denicare Mouthpiece Polish to work on the oxidation. I polished the stem with micromesh sanding pads – wet sanding with 1500-2400 and dry sanding them with 3200-12000 grit pads. I wiped the stem down with Obsidian Oil after each pad. I gave it a further polish with Before & After Pipe Stem Polish – both Fine and Extra Fine. When I finished I gave it a final coat of Obsidian Oil and let it dry. The following photos show the stem at this point. I polished the bowl and stem with Blue Diamond to polish out the scratches in the briar and rubber. I gave the bowl and the stem multiple coats of carnauba wax. I 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 original patina on the bowl came alive with the buffing and worked well with the polished vulcanite stem. The pipe has a rich look. The finished pipe is shown in the photos below. The shape, finish and flow of the pipe and stem work give the pipe a very classic look. The dimensions of the pipe are Length: 6 inches, Height: 2 inches, Outside diameter of the bowl: 1 1/2 inches, Chamber diameter: 3/4 of an inch. Thanks for reading this while I worked on it. It was interesting and unusual piece to restore and I really enjoyed the work.

Farida’s Dad’s Pipes #7 – Restoring a Charatan’s Make Belvedere 48DC Pot


Blog by Steve Laug

I am back working on one of the two pipes that are left in the lot that came from the estate of an elderly gentleman here in Vancouver. I met with his daughter Farida almost a year ago and we looked at his pipes and talked about them then. Over the Christmas 2017 holiday she brought them by for me to work on, restore and then sell for her. There are 10 pipes in all – 7 Dunhills (one of them, a Shell Bulldog, has a burned out bowl), 2 Charatan Makes, and a Savinelli Autograph. I have restored all but three of them – a Dunhill Shell and the two Charatan’s Makes. His pipes are worn and dirty and for some folks they have a lot of damage and wear that reduce their value. To me each one tells a story. I only wish they could speak and talk about the travels they have had with Farida’s Dad.

The pipe I am working on is a Charatan’s Make Belvedere. Whenever I see that stamping I am taken back to a US sitcom that I used to watch in the 80s called Mr. Belvedere. It was about a butler, Lynn Aloysius Belvedere who worked for an American family called Owens. Throughout the series, Mr. Belvedere serves as a mentor of sorts to Wesley as well as to the other children. Being a cultured man with many skills and achievements (having even once worked for Winston Churchill), he also comes to serve as some sort of “counselor” to the Owens clan, helping them solve their dilemmas and stay out of mischief (https://en.wikipedia.org/wiki/Mr._Belvedere).

The stocky and solid look of this cultured Charatan’s Make Belvedere is built almost as solidly as Lynn Aloysius Belvedere. When it came to me it was worn and tired looking. I have already caused a lot of discussion on the cleanup of this pipe on the Facebook Tobacco Pipe Restorers Group. The ongoing debate of Restoration vs. Preservation filled a lot of airtime on the group. I do not care to relive or recount that as I am only following the directives of the daughter of the original deceased pipeman. She wanted them restored to usable condition so others can carry on her father’s love of these pipes. She is quite happy with the finished results and others of his pipes are now all over the world being enjoyed by the next generation of pipemen.

When first looked at the pipe here is what I saw. The bowl on the pipe was thickly caked and the cake had flowed over onto the smooth finish on the rim top forming hard lava that made the top uneven. It was hard to know if there was damage to the inner and outer edges of the rim and I would not know until I removed some of the grime. It looked like there was some burn damage on the top toward the front of the bowl but it was hard to know. The outer edge looked far better than any of the other pipes in this collection when I started. The finish was invisible under the thick coat of oils and grime that covered the bowl and shank. In fact at this point I had no idea what the stamping looked like because it was covered. I have wondered as I cleaned the other pipes in this lot if the oily build up was a combo of the life lived in the Antarctic. The stem was oxidized and very dirty but otherwise in good condition. There was a thick sticky, oily substance on the surface of the stem that I could scrape with my fingernail. There were tooth marks and chatter on both sides in front of the button. The stem would not seat properly in the tenon do to the tars in the shank. I took photos of the pipe to show what it looked like before I started the cleanup work. I took close up photos of the bowl and rim top as well as the stem. You can see the condition of the rim top and bowl in the first photo. The outer edge appears to be in decent condition under the grime and lava. The inner edge looks ok but there looks like some damage on the front. I won’t really know the full story until I remove the thick lava overflow on the surface. The stem had tooth chatter and some bite marks on the top and the underside of the stem just ahead of the button.It has been a while since I have worked on the remaining pipes that belonged to Farida’s Dad. I thought it might be helpful to remind us all of the background story of these pipes. Here is the material that I quoted in previous blogs. I have included both the written material and the photo that Farida included of her Dad.

When I wrote the blog on the Classic Series Dunhill and thinking about its travels, Farida sent me an email with a short write up on her Dad. She remembered that I had asked her for it so that I could have a sense of the stories of her Dad’s pipes. Here is what she wrote: My dad, John Barber, loved his pipes. He was a huge fan of Dunhill and his favourite smoke was St. Bruno. No one ever complained of the smell of St. Bruno, we all loved it. I see the bowls and they’re large because he had big hands. When he was finished with his couple of puffs, he would grasp the bowl in the palm of his hand, holding the warmth as the embers faded. The rough bowled pipes were for daytime and especially if he was fixing something. The smooth bowled pipes were for an evening with a glass of brandy and a good movie. In his 20s, he was an adventurer travelling the world on ships as their radio operator. He spent a year in the Antarctic, a year in the Arctic and stopped in most ports in all the other continents. He immigrated to Canada in the mid-fifties, working on the BC Ferries earning money to pay for his education. He graduated from UBC as an engineer and spent the rest of his working life as a consultant, mostly to the mining companies. Whatever he was doing though, his pipe was always close by.

She sent along this photo of him with his sled dogs in the Antarctic sometime in 1953-1954. It is a fascinating photo showing him with a pipe in his mouth. He is happily rough housing with his dogs. As a true pipeman the cold does not seem to bother him. Thank again Farida for sending the photo and the story of your Dad for me to use. I find that it explains a lot about their condition and gives me a sense of who Dad was. If your Dad was rarely without a pipe I can certainly tell which pipes were his favourites.As I looked over the pipes I noted that each of them had rim damage and some had deeply burned gouges in the rim tops. The bowls seemed to have been reamed not too long ago because they did not show the amount of cake I would have expected. The stems were all covered with deep tooth marks and chatter and were oxidized and dirty. The internals of the mortise, the airway in the shank and stem were filled with tars and oils. These were nice looking pipes when her Dad bought them and they would be nice looking one more when I finished.

Here are the links to the previous six blogs that I wrote on the five pipes that I have finished. The first was a Dunhill Shell oval shank pot (https://rebornpipes.com/2018/02/04/restoring-a-1983-dunhill-shell-41009-oval-shank-pot/). The second was a Dunhill Classic Series Shell Billiard (https://rebornpipes.com/2018/02/08/faridas-dads-pipes-2-restoring-a-1990-lbs-classic-series-dunhill-shell-billiard/). The third pipe was a Savinelli Autograph (https://rebornpipes.com/2018/02/15/faridas-dads-pipes-3-restoring-a-savinelli-autograph-4/).The fourth pipe was a Dunhill Red Bark Pot that was in rough shape (https://rebornpipes.com/2018/03/10/faridas-dads-pipes-4-restoring-a-dunhill-red-bark-pot-43061/). The fifth pipe was a Dunhill Root Briar Bent Billiard (https://rebornpipes.com/2018/07/07/faridas-dads-pipes-5-restoring-a-dunhill-root-briar-56-bent-billiard/). The sixth pipe was a Charatan’s Make Distinction https://rebornpipes.com/2018/08/22/faridas-dads-pipes-6-restoring-a-charatan-make-distinction/

Today, I went back to the remaining two pipes in the collection today and chose to work on the Charatan’s Make – a pot shaped pipe. It was dirty so it took a bit of cleaning on the shank to read the stamping. On the left side of the shank it is stamped Charatan’s Make, over London, England over Belvedere. Under that at the bowl shank junction is a cursive L in a circle denoting a Lane era pipe. To the right of the stamping near the shank stem junction it is stamped with the shape number 48DC. The DC refers to the Double Comfort style stem. The smooth finish was sticky with oils and thick grime. The bowl felt oily to touch.

To try to figure out the era of the Charatan’s pipe I was working on I turned to the pipephil website, Logos and Stampings. There is some really helpful information on each of the lines of Charatan’s Make pipes that entered the market. Here is the link to the section of the site that I turned to, http://www.pipephil.eu/logos/en/logo-charatan.html. There is an alphabetical listing of the lines but the Belvedere they showed had a stem made for a 9mm filter while the one I have is a nonfiltered pipe. The site did give a short history of the brand. I quote the portion that is most pertinent.

The brand was founded in 1863 by Frederik Charatan. When his father retired in 1910, Reuben Charatan took over the family business. All the pipes were handmade until 1973. The brand name has been overtaken by Dunhill in 1978 and sold in 1988 to James B. Russell Inc.(NJ, USA). During the period 1988-2002 Charatans were crafted by Butz Choquin in St Claude (France). Dunhill re-purchased Charatan brand name in 2002 and Colin Fromm (Invicta Briars, Castleford) followed up on freehand production.

I turned to Pipedia to see if I could find more information on the brand and possibly a link to the Distinction line (https://pipedia.org/wiki/Charatan) but once again in the general article it was not listed.  It did give a little more historical information. I quote the pertinent parts and have highlighted in bold the sections that give information on this particular pipe.

In 1863 Frederick Charatan, a Russian/Jewish immigrant, opened a shop in Mansell Street, located in the borough of Tower Hamlets, London E1, where he began to carve Meerschaum pipes. These pipes got very popular soon, and thus Charatan moved to a bigger workshop in Prescot Street, just around the corner. Here he began to make briar pipes which should make the name famous the world over. Charatan was the first brand to make entirely hand-made briars from the rough block to the finished pipe including the stems. The nomenclature “Charatan’s Make” refers to this method of production and was meant to differ Charatan from other brands who “assembled” pipes from pre-drilled bowls and delivered mouthpieces.

Being the undisputed No. 1 in English pipemaking, Charatan was approached by Alfred Dunhill who was unsatisfied with the quality of the pipes he imported from France. During 1908 – 1910 Dunhill bought pipes from Charatan paying exorbitant prices to ensure he had some of the very best pipes for sale in England. In 1910 he lured away Joel Sasieni, one of Charatan’s best carvers, and opened his own small pipe workshop on 28 Duke Street. On the retirement of his father in 1910 Reuben Charatan took over the family business…

…The pre-Lane period (prior to 1955) and the Lane era pipes (1955 to until sometime between 1979 – 1984) are of primary interest the collector. The Lane era is often quoted as beginning about 1950… Charatan records are almost non-existent before Lane due to a factory fire, making it difficult to date pre-Lane pipes. Charatan used 4 basic grades prior to 1950: Supreme, Selected, Executive, and Belvedere. After 1950 Herman Lane’s influence began, and the grades started to expand. In 1955 Lane took over sole distributorship of Charatan in the US. In 1957 he introduced the Supreme S. Most of his other introductions were from the 60’s and early 70’s…

The section called Miscellaneous Notes had some interesting information.

Charatan records indicate the DC (Double Comfort) bit was introduced in the 50’s, but some report seeing them in earlier production. Still others indicate they were introduced by Lane in 1960. Regardless, the DC bit is not an accurate way to date a pipe because many Charatan’s were made with regular and saddle type bits throughout the “Lane Era”…

…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.

I continue digging further into the dating of the pipe, but what I had found was a good start for me. If some of you would like to try your hand at dating it more accurately as to the time period it came out you might want to check out the article on Pipedia on Dating Charatans (https://pipedia.org/wiki/Dating_of_Charatans). I had enough for me to start working on the pipe itself and see what lay beneath the heavy tars and oils.

Like most work the refurbisher does this one walks a fine line between restoration and preservation. The deciding feature with this pipe was the wishes of the family. They wanted the pipe to be cleaned and smoked by someone who could carry on the pipe man’s legacy of their Dad. I understand that it meant changing the current state of the pipe to bring it back closer to the way it was when their father bought it. I reamed the bowl with a PipNet reamer. I used two of the four cutting heads to clean out the cake. The bowl was thickly caked I started with the smaller of the two and worked my way up to the second which was about the same size as the bowl. I cleaned the remnants with a Savinelli Fitsall Pipe Knife and scraped it back to bare briar. I finished by sanding the inside of the bowl with a dowel wrapped in sandpaper. I scraped the top of the rim with the edge of the Savinelli Fitsall Pipe Knife to remove the lava. I scrubbed the exterior of the bowl and shank with a tooth brush and Murphy’s Oil Soap to break through all the grime. I rinsed the bowl under running water to remove the grime and grit. I repeated the process until I had the bowl clean. I took photos of the cleaned exterior of the bowl to show where things stood at this point in the process. I topped the bowl on a topping board with 220 grit sandpaper to remove the damage to the top surface of the rim and clean up the damage to the edges. I did not have to remove a lot and repeatedly checked it to make sure that I had removed enough but not too much. I wanted to take the rim top down until the burn damaged area was smooth and minimized. The second photo shows the remaining burn mark at the front of the bowl. I used a folded piece of 180 and 220 grit sandpaper to bevel the inner edge of the rim until I had removed most of the damage on the back inner edge.With the externals clean it was time to clean out the mortise and shank and airway into the bowl and the airway in the stem with alcohol, cotton swabs and pipe cleaners. I scraped the mortise with a dental spatula and a pen knife to loosen the tars before cleaning. I worked on the bowl and stem until the insides were clean. I wiped down the exterior of the bowl with alcohol on a cotton pad to remove any remaining oils and grimes from my cleaning of the bowl and rim. Once the alcohol evaporated the briar was very dry but also very clean. I restained the bowl with a Maple stain pen to match the colour that was original on this pipe. The rim top matched the rest of the bowl. When the stain dried I wiped the bowl down with alcohol to even out the stain on the sides and top of the bowl. I rubbed down the briar with Before & After Restoration Balm. I worked it into the smooth finish to clean, enliven and protect the new finish. It also evened out the stain coat and gave the stain a dimensional feel. I let the balm sit for a little wall and then buffed it with a horsehair shoe brush. I buffed the bowl with a cotton cloth to raise the shine. I buffed the bowl with Blue Diamond on the buffing wheel to raise the shine and smooth out the finish. I took photos of the pipe at this point to show the condition. I was still not happy with the burned edge toward the front of the bowl and figured I would give it a light bevel to smooth it out and make it less noticeable. The next series of photos tells the story on this. Though I know some will find this damaging to the bowl to me it removes the significant char on the front edge of the bowl and gives it a refined look.  I polished the rim top with micromesh sanding pads – wet sanding with 1500-2400 grit pads and dry sanding with 3200-12000 grit pads. I wiped the rim down with a damp cloth after each pad. The rim was really looking better. I gave it a light coat of a walnut stain to blend it in with the rest of the bowl colour. The photos below tell the story. I set the bowl aside and turned my attention to the stem. I sanded out the tooth chatter on both sides with a folded piece of 220 grit sandpaper. I polished the stem with micromesh sanding pads – wet sanding with 1500-2400 grit micromesh sanding pads and dry sanding it with 3200-12000 grit pads. I rubbed the stem down with Obsidian Oil after each pad. When I finished I gave it a final rub down with the oil and set it aside to dry.  With the stem polished I put it back on the pipe and lightly buffed the bowl with Blue Diamond. I buffed the stem with a more aggressive buff of Blue Diamond. I gave the bowl several coats of Conservator’s Wax and the stem several coats of carnauba 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 finished pipe is shown in the photos below. This is the seventh of Farida’s Dad’s pipes that I am restoring from his collection. I am looking forward to hearing what Farida thinks once she sees the finished pipe on the blog. This Charatan’s Make Belvedere Pot shaped pipe will soon be on the rebornpipes store if you want to add it to your rack. The dimensions are Length: 5 ¼ inches, Height: 1 3/4 inches, Outside diameter of the bowl: 1 1/2 inches, Chamber diameter: 7/8 inches. Thanks for walking through the restoration with me as I worked over another of her Dad’s pipes. I have one more of his pipes to work on –a Dunhill Shell Billiard with a saddle stem.

Refreshing a Comoy’s Made in London, England Bent Bulldog


Blog by Dal Stanton

I saw this Comoy’s Bent Bulldog as a charity listing on eBay for the Akron Art Museum, in Akron, Ohio.  The seller, like me, was providing pipes for a good cause and I like that.  I also liked the Bulldog I saw in the pictures the seller provided and by the description, it seemed the seller was a pipe person.  The nuts and bolts description:

A classic bulldog! About 5 1/4” long, bowl is 1 1/2” tall, 1 5/8” wide tapering to 1 1/8” at rim. ID 13/16”, depth 1 5/16”. Marked on one side of shank COMOY’S, other side MADE IN LONDON ENGLAND in circular fashion 4097, beneath shank a capital H. A capital C stamped on side of bit. No other marks detected.

Diamond saddle bit is well-seated push fit, cleaned and polished, showing some bite wear but no holes through. Some oxidation as well. Stummel is well hand worn and smoothed, some dings and scratches, scorch on rim, light cake in bowl. Though the pipe is smokable as is, this one has the possibility of being a real beauty with some TLC!

I took the gambit dangled in the last sentence regarding this Bulldog’s possible condition with some TLC.  My bid on the auction block was sufficient, I supported the Akron Art Museum, and now this Comoy’s Bent Bulldog is on the worktable here in Sofia, Bulgaria, on track to benefit the Daughters of Bulgaria, my favorite cause.  This was the second pipe that Stephen commissioned along with a Custom-Bilt Rusticated Panel.  Here’s the picture I saw on eBay which got Stephen’s attention in the For ‘Pipe Dreamers’ Only! collection:Now on my worktable, I take more pictures to get a closer look at the condition of this Comoy’s Bent Bulldog. The nomenclature on the Bulldog’s diamond shank is clear.  On the upper left shank is stamped ‘Comoy’s’.  The right upper shank has encircled, ‘MADE’ with ‘IN’ in the center and ‘LONDON’ on the bottom.  Underneath the circle is ‘ENGLAND’ in straight script.  To the right is shape number ‘409 7’.  Underneath this on the lower right shank panel is stamped ‘H’.  All indicators of the nomenclature point to a Cadogan era pipe which began in 1979 with the merger absorbing Comoy’s.  The simple ‘C’ stem stamp confirms this without the classic 3 piece inlaid ‘C’.  The shape number of 409 has historically indicated a Bulldog on earlier shape charts with a slight quarter bend.  The addition of the ‘7’ on this Bulldog I’m not clear on this, except that during the Cadogan era they added a 4th number to the shapes according to the Pipepedia article on shapes. I would say that this Comoy’s Bent Bulldog has been lovingly enjoyed over the years.  He’s got quite a few scrapes and bruises for the wear, mainly on his dome and circling the double grooves.  I took quite a few pictures of these above.  I’ll need to do some repairs especially on the back side of the dome where there are several small concentrated dents.  The front of the rim has been scorched from lighting practices it appears.  The dome grooves need to be cleaned and I detect a few chips of briar on the back-right side along the grooves.  Also, of interest are two huge fills on the right side of the bowl as it tapers down.  I’ll need to take a good long look at these.  The stem has oxidation and typical tooth chatter and compression dents on the button lip and just before the button.  The former steward was a clencher.

I begin the restoration of this Comoy’s Bulldog by placing the stem in a soak of Before & After Deoxidizer along with other pipes and stems in the queue.  Whoops, I include the original seller’s pictures – I forgot to take pictures of the original stem’s condition before putting the stem into the soak. After some hours of soaking, I remove the Bulldog stem and using a cotton cloth wetted with alcohol, I wipe down the stem removing the raised oxidation.  I follow this by wetting a cotton pad with light paraffin oil (mineral oil) and continue to wipe off the oxidation and the oil helps rejuvenate the vulcanite.After the soak wiping and the stem dries, I can still detect oxidation on the stem which requires more attention.  Before I start sanding the stem, I use Before & After Fine and Extra Fine Polishes to work on the oxidation.  It is advertised to continue the raising process of oxidation.  I start first with the Fine Polish by putting some on my finger and rubbing it in the vulcanite.  I also work it in well around the ‘C’ stamping to clean it more.  After applying, I allow it to stand for some time and then wipe off.  I do the same with the Extra Fine Polish.  After I’ve finished, I still see a deep greenish hue indicating the oxidation is still holding on.  The last picture below tries to capture what I see with the naked eye – it doesn’t do a very good job! One more noninvasive approach to the oxidation I’ll try.  I scrub the stem surface using Magic Eraser.  After working the white sponge over the entire surface, it did do a good job.  More oxidation was removed, but not enough to make me happy!  I still see oxidation especially on the ‘saddle’ of the saddle stem.  The pictures show the progression.Next, I sand the stem starting first with 240 grit paper.  I do not like going through the fine tune buffing with micromesh pads and start seeing oxidation!  So, I sand the entire stem, avoiding the Comoy’s ‘C’ stamping.  I also use at disc to sand against at the stank side of the stem.  The disc helps to guard against shouldering the stem so that the edges are not sharp as the stem joins the shank.  This sanding is primarily for dealing with the oxidation.  In the pictures below, you can see the bit area compressions that are left untouched by the sanding.Before proceeding further with the sanding of the stem, I use the heating method to raise the compressions in the vulcanite in the bit area.  Using a Bic lighter, I paint the bit and button to heat the vulcanite which causes it to expand.  The hope is that this will cause the indentations perhaps to go away or lessen in their impact so that they will then sand out more easily. After painting the bit with the open flame, it helped to minimize some, but it did not erase the dents and compressions on the bit and on the button lips.  I follow with a flat needle file to file the button to refresh and shape the edges.  I follow again with 240 grit paper continuing to sand the dents on the bit.  Using the Bic lighter to raise the dents helps and I’m able to sand out all the dents and compressions from biting. Before proceeding further with the sanding of the stem, I use the heating method to raise the compressions in the vulcanite in the bit area.  Using a Bic lighter, I paint the bit and button to heat the vulcanite which causes it to expand.  The hope is that this will cause the indentations perhaps to go away or lessen in their impact so that they will then sand out more easily. After painting the bit with the open flame, it helped to minimize some, but it did not erase the dents and compressions on the bit and on the button lips.  I follow with a flat needle file to file the button to refresh and shape the edges.  I follow again with 240 grit paper continuing to sand the dents on the bit.  Using the Bic lighter to raise the dents helps and I’m able to sand out all the dents and compressions from biting.  Next, I wet sand the entire stem using 600 grade paper and follow this by buffing with 0000 steel wool. One last thing at this point before turning to the stummel, I give the stem a coat of light paraffin oil to help revitalize it.  I put the stem aside to absorb the oil and dry. With the stummel in hand, I begin the internal cleaning by reaming the light cake build up in the chamber.  I use 3 of the 4 blade heads available from the Pipnet Reaming Kit.  I then use the Savinelli Fitsall Pipe Tool to reach the hard to reach places in the chamber.  I then sand the chamber with 240 grade paper wrapped around a Sharpie Pen followed by wiping the bowl with a cotton pad wetted with alcohol to clean the carbon dust left behind.  Inspection of the chamber reveals some heat fissures on the floor of the chamber.  There also appears to be a small fissure creeping up just above the draft hole.  I take a few pictures that show what I’m seeing.  Are these fissures severe enough to warrant a durable patch or perhaps apply a pipe mud to enhance the growth of a protective cake?  That’s what I’ll be considering.  Continuing the cleaning, I use undiluted Murphy’s Soap on the external briar surface.  To work on the grit lodged in the grooves I use a bristled tooth brush.  I also use a brass wire brush to work around the dome and rim to clear away the old oils. Using a sharp dental probe, I painstakingly clean both dome groves, scraping packed dirt out.  I’m careful not to jump ‘track’ out of the grooves and scratching the briar surface.  The picture shows the cleaning progress. With the externals cleaned up, I turn now to the internal mortise and airway.  Using pipe cleaners and cotton buds dipped in isopropyl 95% I go to work. I quicken the work by scraping the mortise with a dental spatula.  In time, the cotton buds and pipe cleaners were coming out clean.  I’ll continue cleaning later using a kosher salt and alcohol soak.Turning again to the stummel surface, the rim and dome cleaned up well but show the dents and pockets from knocks and drops.  There remains a scorched area at the front of the rim/dome area.  There are small chips in several places around the circumference of the dome grooves.  I believe they’re all too small to patch, but with sanding I’m hoping that most should disappear or be minimized.  The most daunting aspect of the briar landscape is a huge, double fill patch on the right lower side of the stummel.  I take two pictures of the fills to show the position and a super close-up to show the appearance of the fills.  I poked the fills with a dental probe and both fills are rock solid.  Yet, as the close-up picture reveals, there are small air pocket holes in the fills and gaping around the fills.  I’ll leave the fills in place but touch them up with thin, clear CA glue and then sand to blend.  These fills will pretty well drive the boat regarding the finished look of the Comoy’s Bulldog.  The finish needs to be darker in order to mask the fills as much as possible, though even a dark stain will not hide these giants.   Looking again around the dome grooves, on the back-right quadrant there may be at least 2 candidates for a patch before sanding.  I take a picture of this area.  To the top left of the groove chips, there are also a few small holes that I’ll fill with a spot-drop of CA glue.  In this picture there are also two other small fills that seem to be in good shape.Before I begin sanding and patching, I start from the top and work my way down!  Topping the stummel will re-define the rim and address the front quadrant of the rim/dome where the former burn damage has thinned the rim.  I take some pictures to show these issues and mark the start. I put 240 grade paper on the chopping board and rotate the inverted stummel several times, checking as I go to make sure I’m staying level and not leaning into soft spots in the briar. When enough of the top is removed, I then switch the paper to 600 grade paper and turn the stummel a few more rotations. I take pictures to show the progress.  Now to the patching party!  I first wipe the stummel with a cotton pad wetted with alcohol to clean the area. I start with the two large fills by spot dropping a small amount of thin CA glue over the fills and spreading the glue over the entire fill – filling the pockets and gaps.  To move the work along faster, since these are not ‘weight bearing’ patches, I use an accelerator to quicken the curing process.   For the groove patch, I insert a piece of an index card into the groove to create a flow barrier for the CA glue.  I then spot-drop a small amount of CA glue slightly above the chip and draw the glue over the chipped area with a toothpick.  Again, I use an accelerator to solidify the glue.  After a few minutes, I pull the index card away and use a sharp dental probe to make sure the groove is clear of CA glue seepage.  Next, I apply small drops to four other small pits near the grooves and above them – again, I use an accelerator.  I decide also to apply a small drop to the right of the primary groove repair.   The repairs look a mess now, but I’m hopeful that the sanding will prove to reveal a more pleasing surface!Next, I begin the filing and sanding of the two large fill patches down to the surface level.  I use a flat needle file to do this initially when the patch mound is more distinct, then follow with 240 grade paper as the sanding nears the briar surface.  The gaps and pits in the original patch filled nicely, blending better with the surrounding briar.To both clean and sharpen the grooves at the groove patch repair, I insert 240 grade paper into the groove itself.  The groove is only large enough to accommodate a single sheet, so I must flip the paper to sand both the upper and lower edges of the groove.  I use a sawing motion with the paper while in the groove and I flex the paper up to apply a little more sanding action to the groove edge.  This technique does a good job redefining and cleaning up groove edges, especially at the point of the CA glue repair.After filing, sanding the groove patch repairs, and ‘groove sanding’ the groove repair looks great!  The patch has blended, and the groove is cleaner and smarter.Next, I move on to filing and sanding the 4 patches to the left of the groove repair on the dome.  I file the patch mounds down until near the briar surface and then take over with 240 grit paper.  I sand the area of the patches to blend.  It looks good – not pristine, but much less ragged!  The battered stummel is showing some signs of life!I follow by ‘groove sanding’ this area.  I like the results of this technique, so I decide to continue the groove sanding around the entire circumference of the dome for both the upper and lower grooves.  Since I’m able only to do one directional sanding on the grooves, it requires four circuits around the dome to do the job!  I refined the technique as I work – by flexing the paper somewhat I can sand more directly chips encountered on the groove edge as I slowly work around the dome.  The pictures show the groove sanding progress and results – much cleaner and crisper for this Comoy’s Bulldog! I continue preparing the external briar surface by sponge sanding starting first with the coarse sanding sponge.  I then use a medium grade sponge then finish with a light grade sanding sponge.  I avoid totally the upper shank panels with the nomenclature.  Sanding sponges help to clean the surface of the minor nicks and cuts and soften the look without an overly intrusive sanding effect.  The pictures show the results of the 3 sponges. As I sponge sand the dome of the Bulldog, I notice a chip in the inner lip of the rim that became more distinct during the sanding process.  To erase this small divot, I introduce a very gentle inner bevel to the rim using 240 grade paper rolled.  This dispatched the divot quickly. Earlier, I avoided using the sanding sponges on the nomenclature panels in order not to diminish the Comoy’s stampings.   I do want to clean the panels more to rid the old residue finish before applying a fresh stained finish.  To remove the old finish and to clean the panel I apply acetone to a cotton pad and wipe the panels.  This does the job. With the time of my departure for the work day rapidly approaching, I continue the internal cleaning of the mortise and airway using a kosher salt and alcohol soak.  After forming a wick by stretching and twisting a cotton ball, I insert it down the mortise and airway using a stiff wire.  The wick acts to draw out the tars and oils.  I then add kosher salt (no aftertaste) to the chamber and place the stummel in an egg crate for stability.  With a large eyedropper, I add isopropyl 95% to the chamber until is surfaces over the salt.  After a few minutes, after the alcohol has absorbed into the chamber, I top off the alcohol and set the stummel aside to soak for the day.Arriving home several hours later, the soak did the job of finishing the internal cleaning.  I clean the expended salt from the chamber with paper towel and shank brushes as well as blowing through the mortise.  I run an additional pipe cleaner and cotton bud wetted with alcohol to assure the internals were clean.  They are, now moving on!Before proceeding further with the external stummel preparation, I’ve come to a decision point regarding the chamber issues that I saw earlier.  The floor of the chamber has heat fissures which the first picture shows.  The second picture shows the fissure immediately above the draft hole.  The upper chamber shows some heating issues with small, more normal chamber wear.  Earlier, my question had been, do the fissures on the floor of the chamber need a more durable response than simply applying a pipe mud mixture to enhance the growth of a protective cake?  The floor of the chamber has experience overheating issues and I believe at this point would benefit from applying J-B Weld to prevent further damage and to reinforce the resistance of the chamber floor.J-B Weld comes with two components that are mixed together and once mixed harden to form a heat resistant bond.  I’ll mix a small amount and apply it to the floor of the chamber then spread it over the area, including above the draft hole, filling the fissures with the Weld.  After it hardens and cures, I’ll sand the excess. I first wipe the chamber with alcohol and put a pipe cleaner through the airway to block seepage into the draft hole.  After I mix J-B Weld components in equal parts, I apply a small amount on the floor of the chamber and spread it with a dental spatula and my finger. I rotate the pipe cleaner so that it is not stuck but I leave it in place – I don’t want to pull it out while the J-B Weld is wet leaving the mixture in the mortise.  I put the stummel aside for the J-B Weld to cure.  After the repair cured overnight, I take a picture of the sanding process using 240 grade paper wrapped around a Sharpie Pen.  I concentrate on removing the excess J-B Weld so that all that is left of the weld is what has filled the fissures and cracks. The next pictures show a much healthier chamber.  At the floor of the chamber in the first pictures and concentrating on the area immediately above the draft hole in the second picture, you still see what appears to be rough spots, but it is now smooth to the touch in large measure.  The Weld filled the cracks and reinforced the area.  The application of J-B Weld and the additional sanding on the floor and the walls of the chamber cleaned it up nicely.  Putting the stummel aside, I take the stem and wet sand using micromesh pads 1500 to 2400.  I follow by dry sanding with pads 3200 to 4000 and 6000 to 12000.  Between each set of 3 pads I apply Obsidian Oil to revitalize the vulcanite. With the stem waiting in the wings, I continue with the stummel by wet sanding with micromesh pads 1500 to 2400.  I follow this by dry sanding with pads 3200 to 4000 and 6000 to 12000.  I take pictures of both sides of the stummel to show the huge fills on the right side.  If it weren’t for these unavoidable fills, the fantastic recovery the stummel has made would encourage me to leave the original, natural grain finish in place.  The briar surface had many issues, but the results of the micromesh sanding reveal a very attractive grain presentation.  The next step is to apply a dark stain to the Comoy’s Bulldog that will serve to help mask the issues prevalent on the surface.  Without question, my plan is to apply Fiebing’s Dark Brown Leather Dye to the stummel surface.  I assemble all the needed components on the table to apply the stain.  First, using a sharp dental probe I carefully dig out and scrape the dome grooves to make sure the debris is gone.  After wiping the stummel with alcohol to clean and prepare the surface, I fit the stummel with a cork I’ve fashioned as a handle inserted into the mortise.  Next, I heat the stummel with a hot air gun to expand the briar grain.  This aids the briar in absorbing the dye pigment.  Using a folded over pipe cleaner, I apply the dye to the stummel.  After a thorough application, I flame the stummel with a lit candle and the alcohol-based aniline dye combusts and sets the dye in the grain.  After a few minutes, I apply the dye again and flame again to make sure there is an even coverage.  I then set the stummel aside for the dyed stummel to rest. After resting for several hours through the night, it’s time to unwrap the fire-crusted Comoy’s stummel.  Over time, I have developed my own techniques for use with the Dremel since this is my main and only work horse tool on the 10th floor flat of a formerly Communist block apartment building!  My usual method for ‘unwrapping’ has been with the use of a felt buffing wheel, which is more abrasive than cotton, applying Tripoli compound.  I love this technique because the result reveals a more brilliant grain pattern as it lightens the grain veins leaving them in contrast to the softer briar wood which absorbs more of the dye.  However, I have found that using the felt buffing wheel lightens the entire stummel.  With the large dark fills on this stummel in need of remaining masked for better blending, I use a cotton cloth buffing wheel with Tripoli compound to unwrap the flamed crust.  The softer cotton wheel isn’t as abrasive and leaves a darker dyed hue on the briar surface.  After mounting a cotton cloth wheel on the Dremel, I set the speed at the lowest RPM and I apply Tripoli to the stummel. I take a couple staged pictures to show the contrast between the flamed crust and the surface that has been ‘unwrapped’ and buffed with compound.  After completing with the Tripoli, I wet a cotton pad with alcohol to wipe the stummel not so much to lighten but to blend the new stained finish. Next, I rejoin the stem and stummel to apply Blue Diamond compound.  I discover that the junction between the tenon and mortise has loosened through the cleaning process – a common thing in my experience.  To remedy this, I take a drill bit the next size larger than will fit through the tenon airway.  I use a Bic lighter and heat the tenon and after a bit, the vulcanite tenon becomes supple and allows me gradually to insert the drill bit end into the airway.  This expands the tenon and tightens the connection.  This works like a charm!  With the stem now fitting snuggly, I continue to apply Blue Diamond to the stummel and stem.  I mount a cotton cloth buffing wheel to the Dremel and increase the speed to about 40% full power.  I apply Blue Diamond compound to both stem and stummel.Before moving on to applying carnauba wax to the pipe, I have two more projects to do.  The first is to apply white acrylic paint to refresh the Comoy’s ‘C’ stamping on the stem.  The second is to apply pipe mud to the chamber.  I decide to do the latter first.  After the repair done to the chamber, to enhance the healthy development of a protective cake (which should be maintained at about the width of a US dime coin) I use a mixture called pipe mud – a combination of cigar ash and water.  This mixture, once applied to the chamber and dries, hardens to create a starter surface for the cake to develop.  My colleague, Gary, who lives in Plovdiv, Bulgaria, is the cigar man who saves his ash for my use. Thanks, Gary!  I mix some water with ash in a plastic dish and mix it with my pipe nail until it starts to thicken. At this point, I apply it in the chamber with the nail and my finger.  It doesn’t dry quickly so there’s time to spread it evenly over the chamber.  After spread, I insert a pipe cleaner through the draft hole to keep it clear of the mud.  I then put the stummel aside in the egg cart for the mud to cure. Turning now to the Comoy’s ‘C’ stem stamp, I put a drop of white acrylic paint over the ‘C’ and absorb the excess with a cotton pad and ‘dob’ it out so that the paint thins and dries.  I then use a toothpick’s flat edge to gently scrape the excess paint off after it dries.  I have to reapply paint a few times to get it right.  The pictures show the process. After allowing the pipe mud to cure, I rejoin stem and stummel and once more, run the sharp dental probe in the grooves around the circumference of the dome then buff the pipe with a felt cloth clearing away the compound dust before applying wax.  I then mount a cotton cloth buffing wheel to the Dremel, keep the speed at about 40% full power and apply a few coats of carnauba wax to the pipe.  I finish the restoration by using a microfiber cloth to give the pipe a rigorous hand buffing to raise the shine.

I’m pleased with the results of this Comoy’s Made in London, England, Bent Bulldog.  The restoration was fought in the trenches!  The many repairs done to the stummel surface came out well, though the two large fills are still evident, but not as overt. The dark brown dye came out beautifully and the groove patches and repairs have all but disappeared.  I’m glad I also addressed the heat fissure issues in the chamber.  This Comoy’s Bent Bulldog will provide many more years of service to a new steward.  Stephen commissioned this Comoy’s and will have first opportunity to acquire it in the Pipe Steward Store and this pipe benefits the Daughters of Bulgaria – women and girls who have been trafficked and sexually abused.  Thanks for joining me!