Tag Archives: staining

Restoring Jennifer’s Dad’s Champ of Denmark 4 Freehand

Blog by Steve Laug

I decided to change things up a bit and work on a few more of Jennifer’s Dad’s pipes. I just posted the finished Sasieni Four Dot Walnut “Appleby” M apple on the blog. For the next pipe from the estate of George Rex Leghorn I have chosen a nicely shaped Champ of Denmark Freehand. You may not have read about this estate before, so I will retell the story. I received an email from Jennifer who is a little older than my 64+ years about whether I would be interested in her Dad’s pipes. My brother Jeff and I have been picking up a few estates here and there, so I was interested. Here is the catch – she did not want to sell them to me but to give them to me to clean up, restore and resell. The only requirement she had was that we give a portion of the sales of the pipes to a charity serving women and children. We talked about the organization I work for that deals with trafficking and sexual exploitation of women and their children and she decided that would be a great way to carry on the charitable aspect of her Dad’s character. With some great conversation back and forth she sent the pipes to Jeff and he started the cleanup process on them. Once he had finished cleaning them all he sent them to me to do my work on them.

The Champ of Denmark pipe is stamped on the underside of the shank CHAMP over of Denmark and below that is the number 4. It came to us with a broken stem and the tenon stuck in the shank. The beautiful straight and flame grain around the bowl and up the shank is visible through the very thick coat of grime. It seemed like it had a dark stain but hard to tell. There were oil stains from George’s hands on both sides of the bowl obscuring the grain. It was so dirty that it was hard to see the colour well. There was a thick cake in the bowl and it had overflowed with lava into the plateau on the bowl top and shank end. It was a dirty and tired looking old pipe. The stem was badly oxidized with deep gouges and tooth marks both sides from the button up about 1 inch onto the stem surface. The button was cracked on the topside and tooth marks made it an unlikely candidate for a repair. It had been sitting in boxes for a lot of years and it was time to move ahead with the restoration. Jennifer took photos of the pipes she was sending. I have included two she included from this pipe.When the box arrived from Jennifer, Jeff opened it and took photos of each pipe before he started his cleanup work on them. There were two Champ of Denmark Freehands in the box – both were in bags and both had broken tenons and stems. There is something about classic Danish Freehands that is intriguing and I like working on them. The shapes seem to really capture the flow of the grain on the briar and this is no exception. The briar appeared to be in good condition underneath the grime. The finish looked intact under the grime. The bowl had a thick cake that had hardened with time. The lava overflow on the rim but it could very well have protected the rim from damage. We won’t know what is under it until Jeff had cleaned it off. The stem was irreparably damaged and would need to be replaced. The broken tenon was only one of the problems that led me to the decision that this stem would need to be replaced. (Jeff quickly pulled the broken tenon before he even cleaned the pipe.)Jeff took photos of the bowl and rim top to show the cake in the bowl and the lava build up on the plateau rim top and on the shank end as well. It was thick and hard but hopefully it had protected the rim and edges from damage. The lava coat looks horrible but it points to a well-used, favourite smoking pipe. George must have enjoyed this old timer and when the tenon broke he must have been frustrated. Jeff took photos of the sides and heel of the bowl to show the condition of the finish – the grime and grit all over the sides and flat bottom of the bowl. It is a dirty pipe. Jeff took photos of the top and underside of the broken stem showing the scratching, oxidation and deep tooth damage to the stem surface. You can also see the broken tenon (totally fixable by with the other damage I don’t think it is worth it). I looked on the Pipephil site to get a quick overview of the brand. In the back of my mind I remembered a connection to Karl Erik. I could not remember the details of the connection (http://www.pipephil.eu/logos/en/logo-c4.html). I did a screen capture of the section on the brand that was shown on the site. I have included it below.In summary it says that the brand was distributed by Larsen & Stigart a tobacconist in Copenhagen, Denmark. The warehouse had a workshop that had such famous carvers as Soren Eric Andersen, Karl Erik Ottendahl and others.

I turned then to Pipedia (https://pipedia.org/wiki/Champ_of_Denmark) to see if I could get a bit more information. I quote in full from that site:

“Champ of Denmark” were made for and distributed by Larsen & Stigart by Karl Erik Ottendahl. Larsen & Stigart had some indoor carvers at certain times, too (e.g. Søren Eric Andersen) and among other things they managed to supply Dunhill with wild Danish fancy pipes.

In an endnote under the article on Karl Erik (https://pipedia.org/wiki/Karl_Erik) I found someo more information. I quote the endnote in full.

¹ It is almost impossible to draw a sharp line between some of these brands… Larsen & Stigart – once a famous Copenhagen pipe shop, now almost forgotten – offered pipes produced by KE stamped “Larsen & Stigart” as well as pipes stamped “Larsen & Stigart” + “Champ of Denmark” or “Larsen & Stigart” + “Shelburne”. Almost needless to say, there are pipes stamped “Champ of Denmark” or “Shelburne” only. And the only reason is inconsistent stamping??? (BTW Larsen & Stigart employed own indoor carvers for approximately one decade – e.g. Søren Eric Andersen. They even managed to supply Dunhill with wild Danish fancy pipes.)

Now I had the verification of the link to Karl Erik Ottendahl. The pipe was most probably made by him for the pipe shop in Copenhagen. Before I get on to cleaning up the pipe I thought I would once again include the tribute that Jennifer wrote to her Dad for the blog. She also sent some photos and an article that her Dad wrote for Jeff and me to be able to get a feel for him. I have included those below. Note in each of them that he is holding a pipe in his left hand. I asked her to also send me an email with a brief tribute to her Dad. Here is her tribute from an email to me.

Steve, I want to thank you again for accepting my dad’s pipes.  They were so much a part of my dad’s life that I could not simply discard them. But as his daughter, I was not about to take up smoking them either. *laughing* I think my dad would like knowing that they will bring pleasure to others.  I know that I do.

I’m not sure what to say about his pipes. I always remember Daddy smoking pipes and cigars.

First a bit about my dad. Though my father, George Rex Leghorn, was American (growing up in Alaska), he managed to join the Canadian Army at the beginning of WWII, but in doing so lost his American citizenship.  He was fortunate to meet a Canadian recruiting officer who told him the alphabet began with “A” and ended with “Zed” not “Zee”, and also told him to say that he was born in a specific town that had all its records destroyed in a fire.  When the US joined the war my dad, and thousands of other Americans who had made the same choice*(see the link below for the article), were given the opportunity to transfer to the US military, and regain their citizenship.

After WWII, my dad, earned his degree at the University of California Berkeley and became a metallurgist. There is even a bit about him on the internet.

He loved taking the family out for a drive, and he smoked his cigars on those trips. (As a child, those were troubling times for my stomach.)

I most remember my father relaxing in his favorite chair with a science fiction book in one hand and a pipe in the other… Sir Walter Raleigh being his favorite tobacco… and the pipes themselves remind me of him in that contented way.  If I interrupted his repose, he’d look up, with a smile on his face, to answer me.

It seemed he smoked his Briarwood pipes the most, though he had others.  At the time, it was only the Briarwood I knew by name because of its distinctive rough shaped bowl.  And it was the Anderson Free Hand Burl Briar, made in Israel, which I chose for his birthday one year, because I thought he might like that particular texture in his hand.

At least two of his pipes, he inherited from his son-in-law, Joe Marino, a retired medical laboratory researcher (my sister Lesley’s late husband)… the long stemmed Jarl (made in Denmark), and the large, white-bowled, Sherlock Holmes style pipe.  I believe Joe had others that went to my dad, but Lesley was only sure about those two.

The Buescher, corncob pipe my older sister Lesley bought for Daddy while on one of her travels around the States.

A note on the spelling of my sister’s name…

My dad met my mother, Regina, during WWII and they married in Omagh, Ireland.  My mother was English and in the military herself.  The English spelling of Lesley is feminine, and Leslie masculine, in the UK… just the opposite of here in the United States.  I guess my mom won out when it came to the spelling of the name.

I’ll send you photos of my dad soon, along with his WWII experience story.



I am getting more and more used to Jeff cleaning up the pipes before I work on them. So much so that when I have to clean them it is a real chore! This pipe was a real mess just like the other ones in the collection. I did not know what to expect when I unwrapped it from his box. He reamed it with a PipNet pipe reamer and cleaned up the reaming with a Savinelli Fitsall Pipe Knife. He scrubbed out the internals with alcohol, pipe cleaners and cotton swabs until the pipe was clean. He scrubbed the exterior of the bowl with Murphy’s Oil Soap and a tooth brush to remove the grime and grit on the briar and the lava on the rim top. The finish was in rough condition with some darkening from oils on both sides of the bowl. The rim top and shank end plateau looked lifeless. Since I was going to replace the stem he cleaned the internals and scrubbed the exterior to keep the box from smelling. When the pipe arrived here in Vancouver for the second stop of its restoration tour it looked very good. I took photos before I started my part of the work. It is still darkly stained on both sides. I started sanding the bowl before I took photos so the top view shows the sanding dust… I quickly did some photos. At this point I decided to see what I had in terms of a freehand stem that would work with this bowl. I went through my options here and chose one with the approximate shape. It is a little less ornate but I think it will work well when it is cleaned up.I put the stem in the shank and took some photos to get an idea of the look of the pipe with the new stem. I will likely bend it slightly more to match the bowl angles but at the moment it is the same bend as the broken on. I like it! I took some close up photos of the rim top and also of the stem surface. I wanted to show what an amazing job Jeff did in the cleanup of the rim top. Even with the work there was still some hard lava in the plateau area I also took close up photos of the new stem to show condition it was in. It would not take a lot of work – just sanding out the scratches and polishing with micromesh sanding pads.I wiped the underside of the shank down with a cotton pad and alcohol so I could more easily see the stamping. It read as noted above.I started to sand out the inside of the bowl as noted above – a lesson learned from Paresh’s daughter Pavni while I was in India. It soon became apparent that there were some heat fissures in the briar. Fortunately they were not too deep but they were significant on the front and backside of the inner walls of the bowl. I mixed a small batch of JB Weld and used a folded pipe cleaner to fill in the fissures in those areas. I did not coat the entire bowl. Once it had cured I would sand the areas smooth leaving the fill only in the fissures themselves.Once the repair had hardened to touch it was time to continue my work on the bowl. I wanted to scrub the briar with alcohol and see if I could remove some of the oils in the briar on both sides. I also worked over the front and rear of the bowl and the shank. I was able to remove a lot of the darkening oils with the alcohol. I used a dental pick and a brass bristle wire brush to work over the rim top plateau. I was able to clean out the remaining lava and set the rest of the definition of the plateau free. It is a nice looking rim top. I wiped it down with alcohol and then touched up the valleys in the plateau with a black Sharpie pen.I polished the bowl with 1500-2400 grit micromesh to see what the sides looked like. I was not happy with the finished look on the sides of the bowl as it seemed to highlight the darkening on both sides. I was going to have to stain the bowl to try to blend in the darkening on the sides.I decided to use a Tan stain to see what I could do with it. I applied it and flamed it to set it in the grain. I repeated the process until I was happy with the coverage on the bowl. Once the stain had set and the alcohol evaporated I wiped it down with alcohol on cotton pads to make the colour more transparent. I wanted the grain to stand out but still hide the darkening on the sides of the bowl. I was happy with the results so far. Once I polished it with micromesh sanding pads and buffed it with Blue Diamond it would be even more transparent. I polished the bowl and rim with micromesh sanding pads. I wet sanded it with 1500-12000 grit pads and wiped it down between pads with a soft cotton cloth. You can see the progress in the shine as you go through the photos. I worked some Before & After Restoration Balm into the finish of the bowl and the plateau on the rim top and shank end with my fingertips to clean, enliven and protect it. I find that the balm really makes the briar come alive again. The contrasts in the layers of stain really made the grain stand out. I let the balm sit for a little while and then buffed with a cotton cloth to raise the shine. The pipe really looks good at this point. I am very happy with the way the pipe is looking at this point in the process.  With the outside of the bowl finished and the repairs on the inside hardened and cured it was time to smooth out the interior of the bowl. I sanded it with a piece of dowel wrapped with 220 grit sandpaper. I was able to remove the material around the repairs by sanding. I wiped the bowl down with alcohol on a cotton pad to clean up the dust. I mixed up a batch of bowl coating – sour cream and charcoal powder blended together. The mixture dries hard and does not have any residual taste. I put a pipe cleaner in the airway to keep the coating out of it. I coated the bowl with the mixture by painting it on the briar with a folded pipe cleaner. Once the bowl was coated, I set it aside to dry. I will need to wipe off the rim top and externals before waxing the bowl but it is looking very good at this point. I set the bowl aside to allow the bowl coating to cure and turned my attention to the “new” stem. I sanded the stem with 220 grit sandpaper to remove the oxidation followed by 400 grit wet dry sandpaper. I rubbed the stem down with Denicare Mouthpiece Polish and a cotton pad to remove remnants of oxidation and to further blend in the sanding. The stem was showing some promise at this point in the process. I heated the stem over a candle to soften the vulcanite. When it was softened I bent it over a jar to match the angle that would match the top of the bowl.I polished the stem with micromesh sanding pads – wet sanding it with 1500-12000 grit pads. I polished it further with Before & After Pipe Stem Polish – both fine and extra fine. I finished by wiping it down with Obsidian Oil after each pad and set it aside to dry. Once the bowl coating had cured I wiped the bowl down with a microfiber cloth and hand wiped off any residual bowl coating on the outside with a damp cotton pad. I put the stem back on the bowl and polished the bowl and stem with Blue Diamond polish on the buffing wheel. 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 new darker stain works well to mask the darkening and make the grain really pop. The pipe polished up really well. The polished black vulcanite bit seemed to truly come alive with the buffing. This Freehand  feels great in my hand and it is a sitter as well. It must have been a fine smoking pipe judging from the condition it was when we received it from Jennifer. There should be a lot of life left in this Champ of Denmark by Karl Erik. Have a look at it with the photos below. The dimensions are Length: 6 ½ inches, Height: 2 3/4 inches, Outside diameter of the bowl: 1 1/2 inches, Chamber diameter: 7/8 of an inch. This is one that will go on the rebornpipes online store shortly. If you want to carry on the pipe trust of George Leghorn let me know. Thank you Jennifer for trusting us with his pipes. Thanks to each of you who are reading this blog. Remember we are not pipe owners, we are pipemen and women who hold our pipes in trust until they pass on into the trust of the next pipeman or woman.


…And Steve and Jeff Laug bid adios with this restoration: a Block Meerschaum # 22!!!

Blog by Paresh Deshpande

From the heading of this post, it is but natural to infer that this would be the last pipe that Abha, Steve, Jeff and I selected to work on before we bid our farewells, but the on-ground fact is this was selected and work commenced on this pipe after we had completed the restoration of an 1846 made BBB with Amber stem from my inheritance. Here is the link to the write up which was penned by Dal Stanton –


When your life partner supports you in your hobby of restoring pipes and even helps you by doing the dirty work of initial cleaning of an estate pipe, you should be thankful to her and God for the match. And if you don’t want to rock this boat, always acquiesce with their likes and suggestion…I am a wise man too!!

Well, the above musings is the rationale for our owning this pipe in the first place. Abha, my wife, saw this pipe on eBay as I was surfing and she made a passing comment of liking the shape and look of this pipe. Her passing comment was akin to a decision and lucky for me, my bid won. I paid single digit USD for the pipe and a whopping cost of shipping when the pipe reached me about 6 months ago. When Steve and Jeff reached us on a visit, along with other gifts and pipes, Jeff had brought along “Before and After Stem deoxidizer” which I had Mark Hoover ship to Jeff in Idaho, USA to save on the costs of shipping. During one of our discussions, the efficacy of this solution in removing very heavy oxidation from the stem without resorting to any further invasive procedure cropped up. It was then decided to select one of the most heavily oxidized stem from my collection and subject the deoxidizing solution to stringent test. This is, thus, how the Meer came to the fore for restoration and the fact that it was Abha’s choice of pipe, made her happy.

This well made pipe has a beautiful Oom Paul shape with shallow non geometrical concave panels all around. The rim top shows large and evenly serrated surface. The rim top surface appears to have been painted black which has worn out over time.  The bottom of the shank is stamped as “GENUINE BLOCK” over “MEERSCHAUM” with #22 on the left, probably the shape code. The underside of the screw-in vulcanite stem surface bears a very faint stamp of “MADE IN TAN…….IA”, could be and logically most likely is, Tanzania!!The lack of any distinguishing maker’s stamps on the bowl makes it impossible to date and comment upon this pipe. The stamping on the stem points to this pipe as being made in Tanzania, probably by Amboseli? All that I can say is that this a beautiful, well made pipe that feels nice in the hand.

This is virtually an un-smoked pipe with no cake in the chamber. However there are a few scratches on the walls of the chamber. The serrated rim top surface and the rim edges are in pristine condition. The darkened rim top surface points it to have been painted black to provide a contrast with the white of the meerschaum and which over a period of time has been rubbed off. The draught hole is perfectly at the bottom center and should be a great smoker.The stummel surface is covered with minor scratches and one odd very minor chip commensurate with uncared storage and age (??). The stummel has yellowed at some places and appears lifeless being covered in dust and dirt. These issues should not pose any trouble while being addressed. The shank end is clean and air flow is full and smooth. Running a few pipe cleaners dipped in isopropyl alcohol should freshen up the shank internals. The main protagonist of the entire exercise is this heavily oxidized stem!! To be very honest, I have not seen a more heavily oxidized stem since the time I was introduced to the art of pipe restoration. Even the gentleman who coaxed/ cajoled me in to this wonderful world, Mr. Steve, was unanimous in his comment of this being one of the many most heavily oxidized stems that he has come across….. And he has seen many!!! The threaded metal tenon is clean and shining almost like new. The air flow through the stem is open and full. Again, one odd pipe cleaner through the stem air way should clean out any traces of dust and dirt that could have lodged itself in the stem.THE PROCESS
Since the aim of selecting this pipe for restoration was to check the efficacy of the “Before and After Deoxidizer” solution, this was also the start point. Jeff ran a couple of pipe cleaners dipped in isopropyl alcohol through the stem just to make sure that the air way is clean and open. Thereafter, he immersed this stem in to the deoxidizer solution and let it sit for 6 hours.While the stem was soaking in the deoxidizer solution, Pavni, my younger daughter who loves and specializes in working the chamber walls to a smooth surface, worked on the chamber walls with a folded piece of a 220 grit sand paper to a smooth and an even surface.Once Pavni was through with her work, Jeff took over further cleaning of the stummel. He began by cleaning the stummel and rim top surface with Murphy’s Oil soap on a cotton swab to remove the dust and remnants of the black coloration from the serrated rim top. He followed it up by further cleaning the stummel with a dish washer paste on his finger tip till all the accumulated dirt and dust was removed and thoroughly rinsed it under running tap water. Jeff also cleaned the internals of the shank with q tips and pipe cleaner dipped in isopropyl alcohol. I took over from where Jeff had left and began polishing the stummel with micromesh pads, dry sanding the entire stummel with 1500 to 12000 grit pads. The stummel now has a nice smooth and shiny surface. I wiped the stummel and each pad with a soft slightly moist cloth to remove the meerschaum dust from the surface. Once I was done with the micromesh pads, Steve decided to blacken the rim top surface using a permanent black marker. Since the burning tobacco would not be in contact with the rim surface, this should have no harmful effect while the pipe is being smoked. This darkening of the rim top surface transformed the complete appearance of this Oom Paul as can be seen in the last picture.  All the while, the stem was soaking in the deoxidizer solution. At the end of this stage, we got the stem out of the solution only to find that there was not much effect on the oxidation (as can be seen from the picture below) and it was then unanimously decided to let the stem soak overnight. That decided we sat down peacefully for our Single Malt Scotch, pipe smoking and discussing pipes, tobaccos and other things in general. The best part of such times was that Dal, Steve and Jeff ensured that everyone was part of the conversation by discussing and talking on topics wherein my daughters could also participate. My daughters adore these gentlemen!!The next dawn came with the excitement of seeing the result of the fight between the deoxidizer and the stubborn stem oxidation. After a hearty breakfast, we flocked around Jeff, our undisputed expert on cleaning and in use of this solution. Jeff removed the stem from the solution, washed it under running water, blew through the stem to remove any solution that had entered in the stem air way and rigorously cleaned it with a microfiber cloth. We all closely observed the result. Though at this stage, the stem did appear black, but the oxidation was still very much visible.Dal suggested cleaning the stem surface with Murphy’s Oil soap to see if that made any difference. We tried it without much success, though there was some improvement. Next Steve suggested to rub a small quantity of “Before and After Restoration” balm in to the stem surface. Although the stem was now completely black in appearance, we knew that underneath the blackness still lurks the ugly oxidation. We tried cleaning it with isopropyl alcohol and Fine and Extra fine stem polish (both products developed by Mark Hoover). All that has happened is that this residual oxidation was just masked. We kept wondering what is it that Mark does to the stem that they come out shining like they do just after a soak in this solution.When all other ideas and permutations/ combinations failed, I suggested the good old method of using sand paper to remove the oxidation, which incidentally was also the last resort!! This task fell on to the participant who had suggested it in the first place. So there I was, again in my familiar territory of sanding the stem with a 220 grit sand paper and following it up with 400, 600 and 800 grit papers. I followed it up with polishing the stem, going through the micromesh cycle of wet sanding with 1500 to 12000 grit pads. I rubbed a small quantity of Extra Virgin Olive oil in to the stem and set it aside for it to be absorbed by the vulcanite. To finish the pipe, Steve generously rubbed some natural Bee’s Wax in to the stummel surface and set it aside to coat the stummel surface. The prevalent heat here ensured that the wax remained melted and absorbed in the meerschaum! I mounted a clean cotton buffing wheel on to my hand held rotary tool and gave it a nice buffing. I polished the stem, applying carnauba wax with the rotary tool. The pipe, after marrying the stem and stummel looks amazing, to say the least. Have a look at it in the pictures below. The smile on Abha’s face and in her eyes made it well worth the effort and beyond. I wish to make it amply clear here that these conclusions are not laboratory results or a result of sterile and accurate experimentation processes under ideal conditions. This was just a fun filled attempt at attaining the level of finish which our friend Mr. Mark Hoover achieves by just a soak in to this solution. To summarize the findings, we all narrowed down to these followings facts: –

(a) Slight to slightly heavy stem oxidation is very effectively addressed by soaking in the solution of “Before and After Deoxidizing” solution followed by rigorous wipe with a microfiber cloth.

(b) Very heavy/ severely oxidized stem, similar to the one on this pipe, we could not completely remove the oxidation from the stem surface without resorting to invasive processes like sanding with grit papers etc. The oxidation was only masked, but not removed. However, the oxidation had loosened greatly and made further progress easy and rapid. This does save considerable time. It can be inferred that the heavily oxidized stem may be soaked twice for better results.

The outcome of all this is that this is an amazing product and will ease your work on stem. This could form a part of your “MUST HAVE” list while embarking on the journey in to world of pipe restoration.


Bringing a Silver Match Toronto 115 Squat Lumberman Back to Life

Blog by Dal Stanton

I acquired this Silver Match Toronto from what I have called, the ‘French Lot of 50’.  It was on the French eBay auction block and I was fortunate enough to have the winning bid.  When the Lot arrived here in Bulgaria from France, I unpacked it, took pictures of each pipe and posted them in the ‘For “Pipe Dreamers” Only!’ collection for potential new stewards to find and commission.  I have already restored many treasures in this French Lot of 50 for new stewards.  Robert saw the Silver Match Toronto 115 Squat Lumberman in the ‘Dreamers Only!’ collection and wrote me about commissioning it.  In my interchanges with Robert describing the pipe and what was involved in commissioning it, he wrote this in response:

Dal I’m still interested in commissioning the lumberman pipe and I’m in no rush. My wife and I just had a baby he just turned 1 week old! I found out about your restorations on Facebook on The Gentleman’s Pipe Smoking Society.  Thanks for returning my email and I can’t wait to see the outcome of this little pipe!

I also found out that he and his family reside in central Virginia and when we were writing, it was getting ready to snow where he lived!  Well, that was last November, and it has taken this long for Robert’s Lumberman to work its way up the queue and I’m thankful for Robert’s patience! – As well as all the stewards who commission pipes which benefit the Daughters of Bulgaria – women and girls who have been trafficked and sexually exploited.  Here’s a picture of the original Lot of 50 in the ‘wild’ that I saw on eBay – the Lumberman it identified with an arrow.Now with Robert’s commission on my worktable, I take more pictures to show this smart squat Lumberman – I call it ‘Squat’ but the bowl is large and will handle a nice packing of one’s favorite blend. The nomenclature is stamped on the upper and lower sides of the oval stem.  On the upper is stamped ‘SILVER MATCH’ [over] ‘TORONTO’.  The lower shank bears what I’m assuming to be a shape number: ‘115’.  The stem is also stamped with a design which I assume is the flame of a match being depicted – my best guess at this point, but I’m not sure! The information about the Silver Match name is thin.  A quick search on the internet shows that Silver Match has been the name of tobacco accessories manufacturer since the 1800s, but mainly of lighters.  Silver Match lighters seem to be highly collectable with vintage lighters dating back to the 1800s but most listed that I saw have a French origin.  The only information in Pipedia refers to Silver Match in the list of British pipe makers as an inexpensive brand sold by Roy Tallent Ltd., and marked with the stamping SM (LINK).  This is confirmed in my copy of Wilczak & Colwell’s, ‘Who Made That Pipe?’ that Silver Match has English origins and manufactured by Roy Tallent LTD/S’Elite LTD – both of which seem more to be in the accessories market than focusing on the manufacturing of pipes.  Pipephil.eu (LINK) brings these two together in the following panel.  It pictures pipes distributed by the famous lighter brand, Silver Match, but shows the two different stem stampings that may indicate either French or British manufacturing – the flame (French) and the SM (England).  If this is correct, the Silver Match Toronto 115 has a French origin, but I found no other information to corroborate this.  Arriving from France in my ‘French Lot of 50’ is anecdotal evidence perhaps supporting this.I’m calling this Silver Match a ‘Squat’ Lumberman because he meets all the qualifications of his place in the Canadian family with the oval shank, but he’s on the shorter side but I’m impressed with the nice ample bowl. I did look at both French and British made shape charts to see if I could discover a lead on who produced the Silver Match but found no matches with 115 that provided this information.

I can see some nice briar underneath the thick layer of grime over the briar surface, but I see one large fill that will need attention on the lower shank near the shape number.  The cake is thick in the chamber with corresponding lava covering the rim.  The stem has oxidation and the button is chipped and will need to be rebuilt.  With this inventory of the challenges this Silver Match Toronto Lumberman faces, I start the restoration by adding the oxidized stem to a soak of Before & After Deoxidizer along with other pipes in the queue.  I first clean the airway with a pipe cleaner wetted with isopropyl 95%. After several hours I fish the Silver Match stem out of the Deoxidizer and use a cotton pad wetted with alcohol to wipe off the raised oxidation. I also run another pipe cleaner wetted with isopropyl 95% through the stem to clean the Deoxidizer remaining in the airway.The Before & After Deoxidizer does a good job and it preserves the white in the Silver Match stem stamp logo – I still can’t figure out for sure what it’s depicting!  I follow by applying paraffin oil to the stem to begin the rejuvenation process.  I put the stem aside to dry and absorb the oil. Next, I address the very thick cake in the chamber.  The chamber is almost closed off as the cake angles down the chamber.  Using the Pipnet Reaming Kit, starting with the smallest blade head, I use 2 blades of the 4 available to me.  I follow the reaming by using the Savinelli Fitsall Tool to further scrape and clean out the carbon build-up.  Finally, I sand the chamber after wrapping a piece of 240 grade paper around a sharpie pen to give me reach and leverage.  To remove the carbon dust, I wipe the chamber with a cotton pad wetted with isopropyl 95%. After the cleaning, I inspect the chamber and it doesn’t have any cracks and fissures from heating damage.  It looks good!Next, I continue the cleaning by using undiluted Murphy’s Soap on the external surface using a cotton pad to scrub.  I also use a Winchester blade to scrape the rim addressing the thick lava you can see in the picture above. I also use a brass wire brush on the rim which doesn’t damage the briar.  After being in India, I learned about some of Jeff Laug’s (Steve’s brother) cleaning techniques and I decide to employ some of them.  After cleaning the stummel with Murphy’s, I take the stummel to the sink and clean the external surface with a bristled toothbrush with regular dish soap – the kind that is anti-oil.  I also use shank brushes to clean the mortise with the dish soap and warm water. After rinsing well, I dry the stummel with a cloth.  It came out well.As I observed earlier, there is a very large fill on the underside of the shank.  As expected, the cleaning of the stummel softens the old fill material and most of it fell out with the cleaning.  Using a sharp dental probe, I continued to excavate the material from the hole to clean it.Addressing the internals, I now use cotton buds, pipe cleaners, shank brushes and a dental spatula to scrape the mortise wall.  Using my tools to clean takes a bit of effort, but after some time, the buds started coming out lighter.  Later I will give the internals a further cleaning using a kosher salt and alcohol soak.Next, I patch the huge crater on the shank.  After I make sure all the old fill material has been removed, I clean the hole with alcohol. In the recent trip to India I discovered that there was some mild controversy around my method for filling holes using a putty created by mixing CA glue and briar dust.  Both Steve and Paresh said that they could not duplicate what I’ve been doing for some time – mixing the two components and creating a putty that remained supple.  What they experienced was the CA glue instantaneously solidifying when it touched the briar dust.  We discussed many different possible factors that would cause this difference in results – elevation, kind of glue, etc.  Another possible difference I suggested was that when I used an index card as a mixing platform, I would first cover the card with a strip of packing tape so that the glue would not be absorbed into the paper – which may, if it did absorb, cause the CA to solidify more rapidly.  Both Steve and Paresh were mixing on an index card surface without the tape.  I don’t know if they’ve had better results yet!  I decide to use a plastic lid as my new mixing platform.  You can see that I also put some scotch tape down so that I can clean easily.  I place briar dust on the tape and add BSI Extra Thick Max-Cure CA glue.I gradually pull briar dust into the puddle of CA glue and mix it with a toothpick.  I don’t overwhelm the glue with a lot of briar dust but gradually mix more in.As you can see, the CA is not solidifying as I add more.When the resulting mixture thickens to that of molasses, I use the toothpick and trowel the putty to the shank and fill the huge hole.  After filled, I put the stummel aside to allow the briar dust putty to cure.With the hour becoming late, I further advance the internal cleaning with a kosher salt and alcohol soak.  The patch on the shank has set up sufficiently.  I fashion a ‘mortise wick’ using a cotton ball. I stretch and twist the cotton until it creates a wick that will serve to draw out the tars and oils from the mortise.  I stuff the wick down the mortise with the help of a stiff wire.  After placing the stummel in a egg carton for stability, I fill the bowl with kosher salt which doesn’t leave an aftertaste as does iodized salt.  I then add isopropyl 95% to the bowl until it surfaces over the salt.  After a few minutes, the alcohol absorbs, and I top off with some additional alcohol and then put the stummel aside to soak through the night.   The next morning, I see what I was hoping to see.  The salt has soiled and after I draw out the wick it shows that it has continued the internal cleaning process of drawing out the tars and oils. After thumping and dumping the expended salt in the waste, I wipe the bowl with a paper towel and blow through the mortise to remove the salt crystals.I follow with a pipe cleaner and cotton bud wetted with isopropyl 95% to clean residue left behind after the soak.  I find that the internals are clean and refreshed for the new steward.  I move on!The crater fill on the lower side of the Lumberman shank has cured, and I begin the process of removing the excess briar putty using a flat needle file.  I file the mound down almost to the briar surface and then I switch to sanding with 240 grade paper to bring the patch flush with the briar surface. As is often the case, from the picture above, you can see the air pockets left in the sanded patch material.  To blend this, I touch up the patch with a dye stick after sanding the patch further using 600 grade paper.Turning now to the rim, the front and sides of the rounded rim have been skinned up a good bit which the following two pictures show. I use 240 grade paper on the rim and go with the rounded rim flow and sand out the roughened areas around the rim. I follow the rim sanding using sanding sponges over the entire stummel, including the rim.  I use a coarse sponge, followed by a medium sponge and finish with a fine sanding sponge.  The briar on this Silver Match Toronto is expressive and It’s coming out nicely with the sanding. After the sponge sanding, I identify a pit on the lower left side of the bowl. I decide to apply a clear CA glue patch to fill this pit.  After cleaning this area with alcohol, I blacken in the pit using a fine point Sharpie Pen then apply a drop of regular clear CA glue and set the stummel aside for the glue to cure. Not long after, the CA glue cures and I file the patch with a flat needle file followed by 240 and 600 grade papers. The result of this quick patch looks good.Waiting in the wings is the short stem of the Lumberman which sports a chipped button.  The button will need to be rebuilt using a mixture of activated charcoal powder and CA glue.I form an initial triangular insert from index card stock which fits into the slot of the button fully.  I had covered the inserted part with a layer of scotch tape to serve as a barrier to the patch material – to easily be able to remove the insert after the charcoal powder and CA mixture cures.  I then insert another triangular piece of card stock into the initial insert.  This serves to expand and tighten the insert.I open one capsule of activated charcoal dust on the plastic disc (also put a few strips of tape down for easier cleaning) and add BSI Maxi-Cure Extra Thick CA glue in a small puddle next to the charcoal powder and mix in gradually using the toothpick.  As with the briar dust putty, I draw charcoal powder into the CA glue until it reaches the viscosity of molasses and then trowel the putty to the stem to fill the missing button cavity. I trowel enough to fully over-coat the area.As hoped, after the charcoal patch sets up after a few minutes, with a bit of wiggling, the insert comes out leaving the slot and airway clear of the patch material.After several hours, the patch material has fully cured, and I go to work using a flat needle file.  I first work on clearing the excess patch material on the end of the stem.To more rapidly remove the mound of excess patch over the button I employ a small sanding drum mounted on the Dremel.  This removes the patch material very easily. I follow using the flat needle file to bring about the fine shaping of the button repair. I follow the filing and shaping of the button with 240 grade sanding paper to further smooth and shape.  I notice significant air bubbles being revealed by the sanding – ugh…Following the 240 paper, sanding with 600 grade paper and 0000 grade steel wool – upper and lower stem, brings out the air pockets even more distinctly. To address the significant presence of air pockets in this button repair, I first darken the pockets with a fine point Sharpie Pen then I paint thin CA glue over the button lip.  I put the stem aside for the CA to cure.Putting the stem aside for the time, I turn back to the stummel sanding it with the full regimen of micromesh pads.  Beginning with pads 1500 to 2400, I wet sand the stummel.  Following this, I dry sand using pads 3200 to 4000 and 6000 to 12000.  Wow!  The grain on this Silver Match Lumberman is nice.  You can tell that when the grain patterns in the briar are random, as in this stummel, it is usually a good indication that it was cut from the upper part of the burl which is called the ‘branch wood’ section where the branches of the briar shrub form.  This article I’ve found helpful in understanding better the nature of briar grain – Published in Pipes & Tobaccos, Fall 1999, GRAIN: The first of an infrequent series of articles concerning THE BRIAR PIPE By R. D. Field (See: LINK).  The grain that emerges through the micromesh process is very nice – the Silver Match Toronto is shaping up well. The thing that bothers me like a burr under a saddle is the huge crater fill on the underside of the shank. Even with a darkened stain to mask the fill, it will still be there.  Yet, the light briar surrounding it in the current state is too much contrast for me to swallow!  I come to a decision to stain the stummel a dark brown to provide as much blending as possible and to use the staining process to tease out in greater contrast of the grain. I assemble on the worktable all the needed components for applying stain to the stummel.  I will use Fiebing’s Dark Brown Leather Dye with the possibility of lightening the dye because it’s an aniline dye – alcohol based.  I can wipe it with a cotton pad wetted with alcohol to lighten the finish and blend it.  I first clean the surface using isopropyl 95% and a cotton pad and using a cork inserted into the shank as a handle, I heat the stummel with a hot air gun.  This expands the briar and helps the grain to be more receptive to the dye.  I then use a folded over pipe cleaner to apply dye in swatches and then I flame the wet dye using a lit candle.  This immediately combusts the alcohol in the dye and it sets the dye pigment into the surface.  I methodically apply dye to the surface and flame as I go.  I then set the newly dyed stummel aside to allow the dye to rest – I’ll let it sit through the night.  This helps setting the new stain so that it will not come off on the hands when the stummel is first fired up when it goes into service. With the stummel resting, I return to the patched button addressing the air pockets.  Unfortunately, I forgot to take pictures during this process, but the result is shown.  I use a flat file to remove the some of excess patch material and then gently sand with 240 grade paper and 600 paper.  I finish this phase using 0000 steel wool over the entire stem.  I’m not 100% satisfied with the button rebuild, but the stem is structurally ready to return to service.I move straightaway to using micromesh pads on the stem.  I begin wet sanding with pads 1500, 1800, and 2400 and follow with dry sanding with pads 3200, 3600, and 4000 and finish with pads 6000, 8000 and 12000.  Between each set of three I apply Obsidian Oil to the stem to help rejuvenate the vulcanite and the expected high-level gloss of the stem makes an appearance.  Nice.  I put the stem aside to dry and absorb the oil. The newly stained stummel rested through the night and it’s time to unwrap the stummel from the flamed crust residue revealing the grain below.  To do this I mount a new felt cloth buffing wheel to the Dremel and set the speed to the slowest possible to reduce the possibility of overheating with the friction.  I then apply Tripoli compound to the entire stummel.  I have been asked how long this process takes as I ‘plow off’ the crust and ‘clean’ the residue dye revealing the grain detail.  I timed it this time and the Tripoli compound application took me one hour and 10 minutes – yep, that long. When the help of my wife, she takes a picture of the process of removing the crust and revealing the hue of the newly stained briar underneath.  I’m pleased with the results.  The crater fill on the underside of the shank almost disappears as it blends with Fiebing’s Dark Brown Leather Dyed grain.  After I complete the application of Tripoli with the felt cloth wheel, I switch to a cotton cloth wheel, increase the speed to about 40% full power, and again apply Tripoli to the stummel.  I do this for two reasons.  First, with the cotton cloth wheel I’m able to reach into the crook of the bowl and shank which the felt cloth wheel cannot reach.  Secondly, I find that it sharpens the grain presentation as additional excess dye is taken away.  The result is almost like a luminescent effect. After applying the Tripoli, I give the stummel a gentle wipe with a cotton pad wetted with alcohol.  This lightens the hue a bit and helps blend the new dye.Next, I mount another cotton cloth buffing wheel and maintain speed at 40% and apply Blue Diamond compound, less coarse than Tripoli, to both stummel and stem.Next, I again detach the stem and I want to freshen the Silver Match ‘flame’ stamping.  It took me a while to figure out that was what it was – at least that’s what I think it is!  I apply white acrylic paint over the stamp and then gently wipe it off while still wet using the flat side of a toothpick. I use a cotton bud and the point of the toothpick to clean off the excess. The result is about 80% success.  The upper part of the flame wasn’t deep enough to catch the paint.  The result still looks good.After reuniting the stem and stummel, I mount another cotton cloth wheel to the Dremel, maintaining 40% full power, and apply carnauba wax to the entire pipe.  I give the pipe a few coats of wax then I give it a rigorous hand buffing with a microfiber cloth to raise the shine and complete the restoration of this nice looking pipe.

This Silver Match Toronto Squat Lumberman came out well.  The grain is striking with a smattering of swirls, waves, bird’s eye, and flame…, it’s an expressive piece of briar!  The darkened stain works great and masked the fill on the underside of the shank almost to perfection.  I’m pleased with the button rebuild, though I want to work more on reducing the air pockets in the process.  Overall, this stout Lumberman is ready for service.  Robert commissioned him and has the first opportunity to purchase this pipe from The Pipe Steward Store.  This pipe benefits the Daughters of Bulgaria – helping women and girls who have been trafficked and sexually exploited.  Thanks for joining me!

A Knute of Denmark Freehand – a Special Gift for My Son

Blog by Dal Stanton

This story begins in October of 2017 and concludes less than a week ago with the graduation of my son who received a master’s degree in counseling.  My wife and I have lived in Europe over 25 years and periodically we return to the US for several months from Bulgaria, to visit friends, family, and supporters of our work in Bulgaria.  It’s a great time renewing relationships and we travel a lot during these visits – often very tiring!  One of our favorite things to do as we travel (when we’re not flying over America from airport to airport) is to rent a car and drive off the interstates on the ‘Old Roads’ when we are visiting and speaking about Bulgaria.

On one such road trip, we were traveling from visiting our son (in St. Louis) and our daughter and her husband (in Nashville) and we were returning to home base near Atlanta, Georgia – to a little hamlet railroad stop called, Palmetto.  As often as possible when time allows, we break off from the interstates and cling to two lane highways that trace our path through small towns and villages.  Of course, I’m always looking for the antique and second-hand shops along the way to do pipe-picking!  We came across one such place in a small crossroads town of Alabama which was a great place to stop and rest and to search for pipe treasures!

I found 3 pipes that were candidates, but the one that received the lion’s share of my attention was the Knute of Denmark, a stout Freehand that had a beautiful balance of upper blasted briar and a large underside shank of smooth briar that encased the Danish nomenclature.   The bowl’s plateau was striking but the shank plateau facing sloping toward and tying in the fancy stem was frosting on an already nice-looking cake!  I was fully present in the moment of this exceptional find – a find that I would keep for myself and add the first freehand to my collection of vintage pipes.

I left the 3 at the front of the shop while I did a walk about through the shop.  While doing this, I was also researching the ‘Knute of Denmark’, the sole marks on the pipe.  I discovered that ‘Knute’ was a second of well-known Danish Freehand pipe maker and manufacturer, Karl Erik Ottendahl – this sweetened the pot considerably!

Dave’s Antiques was primarily a consignment shop and the desk person, perhaps it was Dave, had the number of the owner of the Knute and called him with my counter offer.  To my surprise and gratification, the owner accepted my offer.  The Knute Freehand joined me when my wife and I returned to Bulgaria and has waited patiently in my own personal “Help Me!” basket for his turn on the work table.  Here are some pictures of the Knute of Denmark I took while still in the US on that trip. Pipedia’s listing for Knute provided helpful information to appreciate more my newest acquisition and the Karl Erik name behind it:

Karl Erik Ottendahl

Knute of Denmark pipes are said to be made by Karl Erik, see his listing herein. Karl Erik Ottendahl was born in Aalborg in 1942, just a few miles from the very northernmost tip of Denmark. He began his career as a Lithographer as an apprentice in the craft at the age of 16. While working as an apprentice he began hand carving pipes as a hobby and to give as gifts to his more senior colleagues. He began his career making pipes for various labels in Denmark and the United States. Often, he would make the higher-grade pipes for a well-known brand that was known for their midrange or low-end pieces such as Wally Frank. While doing this he administered a factory of fifteen craftsmen. During this period, he did make some of his own handmade pipes, but he felt that the responsibility of managing the factory did not give him the freedom he wished he had.

Other brands confirmed to be from Karl Erik are: Champ of Denmark, HTL, Jobey Dansk, Knute, Golden Danish, Lars of Denmark, Larsen & Stigart (Copenhagen pipe shop), Shelburne, Sven Eghold and Wenhall (for Wenhall Pipes, New York), some Ben Wade and pipes marked IS and IIS.

One other paragraph from the Karl Erik article in Pipedia referenced above is noteworthy in understanding this pipe man who died in 2004:

As one of the few notable Danes Karl Erik Ottendahl dedicated himself to the needs of the normal pipe smoker with a normal income. In the end he was one of the last of this tier. He never made any pretense of the fact that his “hand mades” were prefabricated to a large extent on automated machines and only the last steps of fine-shaping and finishing were carefully made by hand. But he never employed a copy milling, so many KE pipes may look very similar but no two are identical. As well the bulk of the stems was supplied by Stanwell in a close-to-finished state. Stanwell also did the sand blasting for KE to a large extent.

I’m thankful for my family.  We’ve been spread out all over the world for many years, but we stay close.  My son, Josiah, is number 4 of our 5 children.  He’s pictured to the right of his baby sister and my wife, when we were in Nashville during our Christmas visit to the States last year.  Soon, we’ll be heading to the US again in May to join Josiah with other gathered family members as he graduates with a master’s degree in counseling from Covenant Seminary in St. Louis.  During his years in college and seminary, as a younger pipe man, he has enjoyed a bowl now and again.  He has gifted me with pipes that are special to me because they came from him AND they are very nice pipes as well after restoring them!  My first Peretti came from Josiah.  I have gifted all my kids, sons and daughters, with pipes that I’ve restored.  It gives me joy to pass pipes on which then become family heirlooms because ‘the ole man’ restored them.

I had been thinking for some time which pipe I could give to Josiah commemorating this great milestone accomplishment in his life.  The Knute of Denmark waiting for restoration came to mind.  Several weeks ago, when Josiah and I were Face Timing, he in St. Louis and I in Sofia, I asked him if he would like this Freehand as a graduation present?  His response did not take long!  I have viewed that Knute somewhat as a ‘Pearl of Great Price’ – looking forward to restoring it and recommissioning it into my collection and service.  Yet, for Josiah to have it to commemorate his graduation is something that will always be important.  When he goes through the ritual of taking the pipe from the rack, methodically packing the bowl with his favorite blend, lighting and reflecting upon life and faith – he will remember his accomplishment as well as how proud his family is of him.

With Josiah’s master’s graduation present now on my worktable, I look more closely at the pipe itself to assess its needs and issues.  The narrowing chamber has thick cake.  The attractive squared plateau is covered with lava flow and there is much dirt and grime lodged in the valleys between the ridges.  The sandblasted stummel is beautiful, but is also covered with grime, but I see no problems with the briar.  The same observation of much needed cleaning is also true for the shank facing plateau. The lower side with the smooth briar is blotched because the finish seems thin and uneven.  I also detect a few nicks where it looks like it was knocked on the edge of something – just to the lower right of the Knute of Denmark stamping.  The fancy stem has some oxidation and tooth chatter and compressions show on the stem bit.  I take a few fresh pictures to look more closely at the plateau and the smooth briar underside.  I begin the restoration of the Knute of Denmark by using a pipe cleaner wetted with isopropyl 95% and cleaning the fancy stem’s airway.  I then add the stem to a soak of Before & After Deoxidizer along with other pipes in the queue. After several hours soaking, I fish out the fancy stem and run another pipe cleaner wetted with isopropyl 95% and clear the airway of the Deoxidizer.  I also use cotton pads wetted with alcohol and wipe off the raised oxidation.  The Deoxidizer does a great job.  The fancy stem looks good.To start the process of rejuvenating the vulcanite stem, I wipe it down with paraffin oil, a mineral oil, and set is aside to absorb and dry.Looking now at the Freehand stummel, I use the Pipnet Reaming Kit and start removing the thick cake in the chamber.  I put down paper towel to catch the excavated carbon. Starting with the smallest blade head I begin reaming the chamber. Wow, the carbon cake is as hard as a brick!  I’m careful not to force the blade head too much but allow the metal blades to crush the carbon cake gradually as I rotate the handle.  I take a picture at the starting point and then about half way down the chamber that shows how the chamber has narrowed over time. I finally break through to the floor of the chamber and I’m careful not to over ream – to continue forcing the blade downwardly which would begin to damage the briar.  I continue with the next two blade heads, using 3 of the four available in the kit.I then switch to the Savinelli Fitsall Tool – the name of this tool is apropos, as it not only scrapes the chamber walls further but also reaches down and works around the draft hole – removing cake that is hard to reach.To clean further I also sand the chamber using 240 grade paper which I wrap around a Sharpie Pen using it as a dowel rod.  With this configuration I’m able to reach down into the huge chamber cavity and sand with some leverage.  This does a great job cleaning the chamber and removing the last vestiges of cake.Finally, I wipe the chamber with a cotton pad wetted with isopropyl 95% to remove the carbon dust left behind.  I take a picture of the pile of carbon cake removed from the chamber and the full arsenal used.After the reaming, I inspect the chamber and it shows no problems with heating cracks or fissures.  I move on!I’m anxious to see how the external blasted surface cleans up as well as the smooth briar – will the cleaning remove the thin finish?  The plateaus are full of grime as well.  I use undiluted Murphy’s Oil Soap on a cotton pad to begin the scrubbing.  I use a bristled tooth brush as well on the blasted surface and the plateaus.  To help clean the lava on the rim plateau I also employ a brass wire brush that will not damage the briar.  The cleaning did well. The rim plateau cleaned up but also lightened in the process – not unexpected.  The rest of the blasted stummel looks good. The picture below shows the blotch of old, thin finish.  The cleaning with Murphy’s did not remove it.  To clean it off and give the smooth briar under-panel a cleaned surface, I use a cotton pad wetted with alcohol to do the job.  I wipe it and it comes off.  The surface looks good now. With the external briar surface cleaned, I now start working on the internals.  Using pipe cleaners and cotton buds I go to work…, and I work!  The internals are very dirty and there seems to be no end to the cotton buds coming out looking like nothing was happening.  I also use a smaller, dental spoon to reach into the mortise to scrape the tars and oils which have accumulated on the internal briar surface.  I continue until the hour of the night is too late and I decide to change gears.Before going to bed I continue the cleaning effort on the internals by using a kosher salt and alcohol soak.  To do this I first create a cotton mortise wick by pulling and twisting a cotton ball and then stuffing it down the airway with the help of a stiff hanger wire.  I then fill the ample bowl with kosher salt and place it securely in an egg crate.  Then, using a large eye dropper, I fill the internal chamber with isopropyl 95% until it surfaces over the salt in the chamber.  After waiting a few more minutes, I top off the alcohol once more and turn out the lights!  Hopefully, through the night progress will be made as the cotton wick and salt draw the tars and oils from the internal briar. The next morning, the cotton wick was very soiled showing that progress was made through the night.  I remove the soiled and expended salt from the chamber to the waste and clean the remaining salt crystals using paper towels and blowing though the mortise. I follow with more pipe cleaners and cotton buds wetted with isopropyl 95% and at first, I was worried that I still had a ways to go!  But after a few times through, the cotton buds removed the remaining tars and oils drawn from the briar and started to emerge much lighter!  Success in hand, I move on.Looking at the external stummel, I have essentially 2 projects to consider, the sanding of smooth briar and color repair to both rim and shank plateaus.  After the cleaning process to the plateaus, the wood has lightened and there are bald spots that need to be colored to blend.  I decide to do this after sanding.  The large underside of the Freehand is beautiful and has a few very minor nicks. The other sanding needed is to clean up the internal chamber wall that rises to form the forward crest of the rim plateau.  This will clean up very nicely and should provide a striking contrast to the rough, rusticated plateau.  This ridge rise continues around the circumference of the upper chamber. I start by using a coarse 120 grade paper to work on mainly the gouges and scratches to the upper chamber wall where it appears that cleaning tools were a little too anxious!  This injury is primarily on the shorter rise on the back of the chamber (picture immediately above, to the left a bit).  After I work out these larger gouges, I switch to 240 grade paper and work it around the entire upper chamber area.  Then, I finalize the inner upper chamber with 470 then 600 grade papers.  I like it! Switching to the underside, but also including the upper chamber, I go directly to using micromesh pads by wet sanding with pads 1500 to 2400 followed by dry sanding with pads 3200 to 4000 then 6000 to 12000.  I’m careful to keep my thumb over the nomenclature stamping, Knute of Denmark on the underside.  Wow!  The smooth briar contrasts are taking shape and I like what I’m seeing. Now, the second project – repairing the briar coloration on the plateaus.  I take a few close ups of both the rim and shank facing plateaus.  I have been thinking a lot about my approach to this.  I’m satisfied with the condition of the color of the blasted surface – it has a classy looking weathered and rustic appearance with the dark stain that appears to have an oxblood or mahogany lean and is flecked with reds. I also take a closeup of the stummel surface to show what I’m seeing. I begin by cleaning each plateau with alcohol using a cotton bud – careful not to spread alcohol on the stummel surface.  Color matching is more of a dance or an artform rather than a science.  I use a cotton pad as a canvas and use different dye sticks to identify the best match for the darker overcoat color.  I have two brands of mahogany that are the two marks – the upper one is darker, and I like it better.  The cotton bud on the top is Fiebing’s Oxblood Leather Dye.  I like this for the undercoat.With a cotton bud I apply Fiebing’s Oxblood to both plateaus which serve as the undercoat. After waiting about 15 minutes to make sure that Oxblood was dry, I then use the Mahogany Dye Stick and go over the Oxblood application.  I do this for both plateaus. In the next picture it shows the Oxblood colored edge which is not the finished product!  I will address this.To help erase this edge line, as well as to lightly sand the plateaus to bring out the oxblood flecks, I use a 3200 grade micromesh pad and sand over the tops of the ridges of the rusticated plateaus.  This removes a bit of the darker overcoat and exposes the oxblood undercoat.  I also use the micromesh pad to reestablish the line of the smooth upper chamber briar helping to remove the line of oxblood.  I follow the 3200 grade pad and go through the remaining 5 pads to sand and polish the smooth upper chamber briar.  Lastly, I do a light wipe with a cotton pad wetted with alcohol to remove excess and blend the dyes on the plateaus.I like the results!  Both rim plateau and shank facing plateau look refreshed and emulate the flecking that is evident on the Knute stummel. With the plateaus completed, I condition the rest of the stummel using Before & After Restoration Balm aiming to bring the rest of the stummel into a harmonious alignment with the refreshed plateaus.  My hope and expectation are that it will deepen and darken the beautiful blasted surface.  It will be equally enriching to the smooth briar patches.  I take ‘before’ pictures to compare, but I doubt whether the pictures will detect the darkened tones.  We’ll see. I put a generous amount of the Balm on my fingers and work it into the blasted stummel surface, the rusticated plateaus and on the smooth briar patches.  I can immediately see the briar responding to the Balm.  Josiah is going to love this beautiful Karl Erik Knute Freehand!  After saturating the surface with the Balm, it gradually thickens to a wax-like viscosity as I work it in.  Finally, I place it on the pedestal to allow the Balm to do its thing as the briar absorbs it.  I take this picture during this period.  After about 15 or 20 minutes, I use a microfiber cloth to wipe off the excess Balm and buff the stummel rigorously making sure the excess balm has been removed from the nooks and crannies of the rustication and blasted surface.  I love it!  As hoped, the stummel’s enrichment with the Balm darkened it and both plateaus and stummel are closer in shade, but the plateaus, by design, just a wee bit darker.  Yes!The fancy stem is waiting in the wings.  The Before & After Deoxidizer did a great job removing the oxidation.  Now to address the tooth chatter and bites on the button.  The stem has a very slight bend to it to mark the orientation.  The upper bit has tooth chatter and a compression, but also long scratches along the length.  The Lower bit also has tooth chatter and compressions – the button is chewed as well.  When you freehand it with a Freehand you’re bound to see evidences of clamping. To begin to address these issues, I use the heating method to see if the compressions will lessen.  Using a Bic lighter, I paint the areas with the flame.  As the vulcanite heats, it expands, and the hope is that the compressions disappear or are much lessened.  I apply the flame on both sides, and it does make a difference in lessening the compressions.  I move on to using 240 grade paper to sand both the upper and lower sides.  I also use the flat needle file to freshen the button lips edges.  The compressions sand out nicely.  The pictures show the results with the upper and lower bit. Next, I wet sand the entire stem using 600 grade paper. I then buff the stem with 0000 steel wool.I see that the slot is not smooth, and I use rounded needle file to file the edges.Next, I apply the full regimen of micromesh pads to the stem.  I begin by wet sanding with pads 1500 to 2400 and then dry sanding with pads 3200 to 4000 and 6000 to 12000.  After each set of 3 pads, I apply a coat of Obsidian Oil to revitalize the vulcanite.  As expected, the Knute fancy stem now has that glossy shine – like new and better. I’m in the home stretch. I keep the stem and Freehand stummel separated for now as I apply Blue Diamond compound and wax.  It’s easier this way to manipulate the pieces.  I mount a cotton cloth buffing wheel on to the Dremel, set the speed at 40% of full power, and I apply Blue Diamond compound to both stummel and stem.  When finished, I buff both with a felt cloth to remove compound dust from the surfaces.  I use a bristled brush as well to make sure the rusticated and blasted areas are free of dust.  I use the felt cloth again.  I don’t usually have these action pictures, but with my wife’s help here are a few.Then I change buffing wheels on the Dremel, maintain the same speed, and apply a few coats of carnauba wax to the Knute stummel and stem.  I then hand buff the stummel and stem with a microfiber cloth to blend and collect any excess wax and raise the shine more.  Again my wife provides the picture and a good shot of The Pipe Steward workstation on the 10th floor of a formerly Communist apartment complex ‘block.’  All the tools of the trade!  I finish the restoration of the Karl Erik Knute, by rejoining the stem and stummel.After completing the Knute of Denmark, I slipped it into a black, pull string pipe sock and placed it in a Bulgarian ornate lidded wooden box to serve as the protector of the Knute of Denmark and the gift box for my son’s graduation gift.  When my wife and I flew to St. Louis from Bulgaria for the graduation ceremony, the pipe was safely stowed in my backpack.  Most of our family was able to gather from all over the United States to celebrate Josiah’s achievement.  Family is special – a gift from God to remind us of the way He created us – to be in loving and supportive relationships. Our family gathering around Josiah’s celebration was rich blessing for me and my wife since we live so far away.  Admittedly, often words fail to express the depths of a father’s pride for his son – for all his children and grandchildren.  They fail me now. During the ceremony we watched as Josiah was donned by his professors with his master’s degree hood.  Afterwards, we gathered together as a family in our hotel room where we enjoyed the precious moments and gifts were given.  Among them was the Knute of Denmark which met his new steward – a gift expressing the pride and love of a father for his son, and carrying a blessing of,  “Well done, son!”

Thanks for joining me!


Restoring your own Petersons Pipes – Part 1

Mark Irwin sent me two pipes from the late Mike Leverette’s estate. He had been tasked with selling some of Mike’s pipes for his wife Jeanette. I asked him to pick out a pipe or pipes for restoration that covered the gamut of restoration issues for this article. Mark chose well – a reproduction 1910 Straight Bulldog and Deluxe 11S. He emailed me the descriptions of the pipes (Mark’s description of Pipe #1 is included in italics below and the description of Pipe #2 is in italics in Part 2 of this article) before I actually had the pipes in hand.

Pipe #1 –A Reproduction 1910 straight Bulldog (from the Antique Collection) that looks like it has either been left out in the sun or someone has attempted to remove the original stain. In addition, it has been poorly reamed, with what looks like a pocket knife. Stem and ferrule oxidation, no real dental damage to button.

When the pipes arrived I was excited to open the box and see them in person. It is my habit to spend time looking over a pipe very carefully before I start working on them. In this case I wanted to see the issues that Mark noted firsthand and to note others as well. I decided to work on the two pipes separately. I began with the little Reproduction 1910 Straight Bulldog.  I recorded my observations to give a clear idea of the work that needed to be done. They were as follows:

Photo 1 Bottom side of the pipe and stem

Pipe #1. The pipe is stamped on the left side of the shank Peterson’s over Dublin. On the right side it is stamped Made in Ireland. The stamp has classic Pre-Republic era stampings (the forked tail on the P and “Made in Ireland”). The silver ferrule/end cap is stamped K&P over three hallmarks, the last is a cursive capital “J” which dates the pipe as having been made in 1995. These are stamped above Peterson’s of Dublin on the left side and on the right side of the cap it is stamped 1910 which indicates the year this Bulldog shape first appeared in Peterson’s offer. A first pass over the pipe showed that the finish was as Mark had noted – very faded. The stain was virtually gone and the briar was a dull grey brown in colour. The silver was dented and tarnished; so much so that it was hard to read the hallmarks. The double ring around the bowl was packed with grit and grime as well as some older stain that had bunched up in balls in the grooves. Moving to the rim I could see what Mark had noted regarding the poor reaming. It was very roughly reamed and the nicks from the knife blade were many. This left the bowl out of round. The cake was hard and the surface of the rim had a build up on it that was also quite thick. Removing the stem I could see that the upper right edge of the mortise had a large crack/gap in it where a chunk of briar was missing. The mortise was tarry and dark. The chamber/sump region in the mortise was also quite full of tarry build up and grit. The stem itself was good at the insert end. There were no cracks or missing pieces, which I expected after the chip in the shank. The top side and underside of the stem were dented with tooth marks that had been worked on. The surface had deep scratches and pits in it from the previous work. It looked like the stem had been treated with bleach to deal with the oxidation which leaves the surface pitted. The top 90 degree edge of the button had a divot taken out of it. The hole in the top also was out of round with several small divots removed from the surface. On the underside of the button the ridge/shelf that goes across the bottom of the P-lip had a divot missing as well – a tooth dent that was very evident. The portion of the tenon that sat in the shank was dark and black while the rest of the stem was oxidized and had slight brown tints. The five photos below highlight the areas of concern that would need to be addressed in a restoration/refurbishment.

Photo 1 Bottom side of the pipe and stem

Photo 2 Right side view

Photo 3 Top view

Photo 4 Looking into the shank

Photo 5 Top view of the bowl and shank

After completing my observation of the pipe, I decided to begin the work by cleaning up the inside before dealing with the externals. I reamed the bowl with a PipNet reamer – a T handle with four different sized cutting heads (Photo 6). I started with the smallest head and worked up to the size that fit the internals of the bowl (Photos 8 – 10). My objective was to take the cake out completely bringing the bowl back to briar so that I could reshape the inner edge of the rim and clean up the mess left by the knife reaming job.

Photo 6 PipNet Reamer set

Photo 7 Reaming with the second cutting head

Photo 8 Second Cutting head

Photo 9 Reaming with the third cutting head

Photo 10 Third cutting head

The finished bowl, after reaming with the various cutting heads, is shown in Photo 11 below. Once the cake was gone from the inside of the bowl I could clearly see what needed to be done to bring the bowl back into round and repair the damage to the inner rim. It was at this point I decided to top the bowl. Photo 12 below shows the process of setting up a piece of sandpaper on a hard, flat surface and sanding the bowl top by pressing it into the sandpaper and rotating it to slowly remove damaged briar from the top of the bowl. For this particular bowl I used 220 grit sandpaper. I did not want to leave deep scratches in the rim, but I wanted to smooth out the surface and remove the damaged material. Photo 13 shows the finished bowl top. I removed enough of the surface to get rid of the knife cut angles on the inner edge. Photos14 – 16 show how I sanded the inside edge of the rim using a folded piece of medium grit emery paper. The idea was to work on the inner edge and slowly and carefully bring it back to round and remove the remaining damage left by the knife. After the cleanup I used a fine grit sanding sponge to remove the remaining scratch marks left in the surface of the rim (Photo 17).

Photo 11 After reaming

Photo 12 Topping the bowl

Photo 13 Topped bowl

Photo 14 Smoothing the inner edge

Photo 15 Inner edge after smoothing

Photo 16 Close up of the inner edge

Photo 17 Sanding with a fine sanding sponge

With the bowl back in shape and the rim cleaned and sanded it was time to remove the remnants of the finish on the bowl. I wiped the bowl down with acetone on a soft cotton makeup removal pad (Photos 18 – 20). For the acetone I use fingernail polish remover. I have found that it removes the grit and oils that have ground into the bowl as well as the finish. I wiped the bowl down until I was satisfied that I had removed the finish. The best way to tell this is when the pads come back clean and fresh after wiping the bowl down.

Photo 18 Acetone and cotton pads

Photo 19 Acetone and cotton pads

Photo 20 The bowl and cotton pads after being wiped down

In Photo 21 below, the bowl is dry and clean. The finish is gone. At this point I used the drill bit in the handle of the KleenReem tool to clean out the airway in the shank and bowl. I find that this tool quickly removes the buildup in the airway and is the best way to minimize the number of pipe cleaners used to clean out the shank. I carefully twist the bit into the airway making sure not to twist it through the airway and into the other side of the bowl bottom (Photos 22 – 23).

Photo 21 Clean bowl with KleenReem Pipe Cleaner

Photo 22 Drill bit from the handle

Photo 23 Drill bit inserted into the airway

I cleaned out the double rings around the bowl using a dental pick. I wiped the bowl down with Everclear as I ran the dental pick in the grooves on the bowl. The amount of dried stain and grit that comes out of the rings makes me always take this step when I am cleaning a bulldog or Rhodesian shaped bowl (Photos 24 – 25).

Photo 24 Cleaning the rings

Photo 25 Rings cleaned

Now it was time to turn my attention to the internals of the shank – both the airway and the condensation chamber in the Peterson pipes. In the bents this is the area I call the sump. It collects a lot of tar and oils from the smoke that is drawn through it. It takes detailed work to remove all of the grime. In this case I used many pipe cleaners – both bristle and fluffy as well as cotton swabs to clean out the area. I folded the pipe cleaners in half to give me the area needed to clean out the walls of the shank. Photos 26 – 28 show the work and the resultant pile of cleaners. I cleaned out the area until the pipe cleaners came out clean and the pipe smelled clean.

Photo 26 Time to clean the shank

Photo 27 Folded and inserted

Photo 28 Many pipe cleaners later

For the silver ferrule/cap on the shank I used a jeweler’s cloth that I purchased at a local jewelry shop. It is impregnated with a cleaning solution that effectively removes the level of tarnish found on this cap. I wiped down the cap with the cloth repeatedly until the tarnish was gone and the silver gleamed. Photos 29 – 31 show the polished cap and the cleaned bowl.

Photo 29 Polished cap

Photo 30 Polished cap

Photo 31 Polished cap

With the bowl ready to restain, it was time to turn my attention to the stem. As mentioned above there were some dents and divots in the stem and button area. These would take some work. There are several different procedures that I used in addressing the issues in this stem. I always begin by sanding the area around the dents with 220 grit sandpaper to better assess the damaged areas. If the dents are merely dents then heat will lift them and the stem will return to its smooth surface. If however the dents have edges that are cut then no amount of heat will lift the areas and other methods will need to be employed. In this case the dents were indeed just dents and heat would lift those (Photos 32 – 33). The divots out of the top side of the button and the underside ridge were another matter. To reshape the 90 degree angle on the top side of the button I used a square needle file. I cleaned up the edge of the button and the place it met the surface of the stem (Photos 34 – 35). I used the same file on the bottom side of the button ridge/shelf as well. Again the idea was to clean up the edges and sharpen them the angles (Photo 36). These areas needed to be redefined in order to have the sharp and distinct edges that were originally there.

Photo 32 Topside after sanding

Photo 33 Bottom side after sanding

Photo 34 Reshaping the angles on the button topside

Photo 35 Angles reshaped with files

Photo 36 Reshaping the angles on the button bottom side

I used a Bic lighter to heat the stem surface. The key to this is to quickly move the flame across the surface of the dented areas. Do not leave it in one place too long as it will burn the vulcanite. Quickly passing it over the surface repeatedly and checking often I was able to lift the dents from both the topside and underside of the stem (Photos 37 – 39).

Photo 37 Using a Bic Lighter to lift the dents on the underside of the stem

Photo 39 Underside of the stem after heating

Photo 38 Using a Bic Lighter to lift the dents on the top side of the stem

I sanded the newly smoothed surface with a medium grit sanding sponge. When I finish heating a stem, whether I use a Bic lighter or a heat gun, I sand it to ensure that I have finished lifting the dents. It is easy to be fooled when removing it from the heat. If it needs a bit more heat after the sanding it is a simple task and best done before progressing to the next steps of sanding the stems (Photos 40-41).

Photo 40 Top side sanded with a sanding sponge

Photo 41 Underside sanded with a sanding sponge

To repair the missing chunk of briar from the inside of the shank I used some Weldbond wood glue and briar dust. It is water soluble until it dries and then is hard and impermeable. I cleaned the surface area of the shank and then put the glue in place. I moved it around the area, pressed briar dust into the glue and cleaned up the surrounding area with a dental pick (Photo 42). I set it aside to dry while I returned to the stem cleanup.

Photo 42 Shank repair

For several years now I have been using black superglue (cyanoacrylate) to repair divots from the button and stem areas. It is glue that has been used medically in the field by medics to repair tears in the skin so I believe it is safe. It dries very hard and shiny black and does not disintegrate with cleaning once it is cured. Once the stem is buffed and polished the repair is virtually invisible. On this pipe I needed to build up the divots on the edge of the button on the topside and the ridge on the underside. I purchased the black superglue from Stewart Macdonald, a supplier of repair products for musical instruments (http://www.stewmac.com/). It is slow drying so you may want to consider purchasing an accelerator product from them as well. I apply the glue to the areas I am repairing and set it aside overnight (Photos 43 – 45). It dries hard in about 6-8 hours and cures in just over twelve hours. I find that once it is dry to touch I can sand the surface and blend it into the stem.

Photo 43 Black Superglue on the ridge of the button

Photo 44 Black Superglue on the topside divot on the button

Photo 46 Superglue dried on the underside ridge

Photo 47 Glue dried on the topside

The next series of photos show the progressive sanding of the stem with 1500-12,000 grit micromesh sanding pads (Photos 48 – 59). These are also available through Steward Macdonald as well as other fine woodworking stores or can be ordered online.

Photo 48 Sanding the topside with 1500 grit micromesh

Photo 49 Sanding the underside with 1500 grit micromesh

Photo 50 Sanding the topside with 1800 grit micromesh

Photo 51 sanding the underside with 1800 grit micromesh

Photo 52 Sanding the topside with 2400 grit micromesh

Photo 53 Sanding the underside with 2400 grit micromesh

Photo 54 Sanding the topside with 3200 and 3600 grit micromesh

Photo 55 Sanding the underside with 3200 and 3600 grit micromesh

Photo 56 Sanding the topside with 4000 and 6000 grit micromesh

Photo 57 Sanding the underside with 4000 and 6000 grit micromesh

Photo 58 Sanding the topside with 8000 and 12,000 grit micromesh

Photo 59 Sanding the underside with 8000 and 12,000 grit micromesh

By this time the shank repair was dry. Photos 60 and 61 show the dried and finished repair. I used a small piece of folded 220 grit sandpaper to smooth out the repaired area.

Photo 60 Finished shank repair

Photo 61 Finished shank repair

I wanted to match the stain on the pipe to the original stain on this line of pipes so I researched the line on the internet and found the picture below (Photo 62) that gave me a good idea of what the stain colour should be. In studying the photo I could see both brown and red stains were used to bring out this colouration. For me this would be a two step staining process.

Photo 62 Correct stain colour

I started with a dark brown aniline stain. I have used Feibing’s Leather Dye for years as it is an aniline based stain and works very well. I thinned it 2:1 with Isopropyl alcohol to get the brown I wanted in the undercoat (2 parts stain to 1 part alcohol). I remove the stem for the staining and insert a dental pick in the shank for a handle to hold while I turn the bowl in my hands during the staining. I applied it to the bowl with a folded pipe cleaner. Once the bowl was covered with stain and while it is wet I light it on fire with a lighter. This is called flaming. It burns off the alcohol and sets the stain more deeply into the grain of the briar. Generally I start by staining the bottom of the pipe first as the stain runs toward the top naturally and then follow up with the side, back and front of the bowl. I stain the rim last and am careful to not get stain inside the bowl. I repeat the process of staining and flaming the bowl until I am happy with the coverage. Photos 63 – 66 show the bowl after it has been stained, flamed, and stained and flamed again.

Photo 63 Stained bowl topside view

Photo 64 Stained bowl right side

Photo 65 Stained bowl left side

Photo 66 Stained bowl underside

I hand buffed the newly stained pipe with a soft cotton terry cloth (old piece of bath towel) until the finish had a shine. I do this to check the coverage of the undercoat. I want to make sure that the coverage is even and that there are no heavy spots or weak spots before I give the pipe the next coat of stain (Photos 67-68).

Photo 67 Right side after hand buffing

Photo 68 Left side after hand buffing

I applied the second stain to the bowl. For this I used an oxblood coloured aniline paste stain. I don’t worry about getting it on the stem as it is thicker and does not run when applied. I start at the bottom of the bowl out of habit with this stain. I work my way around the bowl, making sure to get an even coverage of stain and finish the process by carefully staining the rim (Photos 69 – 70). Once it is applied I let it dry for about 3 minutes and then wipe it off with a soft cloth and cotton pads. I want the colour to stay in the briar but not be wet on the surface (Photos 71 – 73). Again I check for coverage to make sure I have an even colour over the entire bowl. I reapply stain to weak spots to blend them into the colour. I want an even stain coat on the entire bowl. I hand buffed the bowl a second time to check on the colour and compare it against the photograph that I had found online (Photos 74 – 77).

Photo 69 Oxblood stain applied

Photo 70 Oxblood stain applied

Photo 71 Right side after being wiped down

Photo 72 Leftside after being wiped down

Photo 73 Top side after being wiped down.

Photo 74 Right side after hand buffing

Photo 75 Leftside after hand buffing

Photo 76 Top side after hand buffing

Photo 77 Underside after hand buffing

While I liked the colour of the bowl I found that it was too dark to really match the photo colour. I wet a cotton pad with acetone and wiped the bowl down to reduce the opacity of the stain and lighten it slightly. I only wiped it down once and carefully covered the whole bowl in one detailed wipe down to keep the coverage even. The new colour look lighter and almost appears to be too light but I have learned that after I buff it and give it several coats of wax it will be a match.

Photo 78 Right side after being wiped down with acetone

Photo 79 Leftside after being wiped down with acetone

Photo 80 Underside after being wiped down with acetone

Photo 81 Topside after being wiped down with acetone

I took the bowl to the buffer and gave it a quick buff with White Diamond on the buffing wheel. It gave the bowl a good shine. I brought it back to my work table and applied a coat of Conservator’s Wax which is a microcrystalline wax and cleaner. I have found that this gives the bowl a deeper polish and shine. After that I generally take it to the buffing wheel and give it multiple coats of carnauba wax (Photos 82 – 83).

Photo 82 After buffing and waxing

Photo 83 After buffing and waxing

At this point in the process of refurbishing the work is just about finished. The cleanup and restoration work is done and all that remains is to apply the final coats of carnauba wax to polish and protect the “new” look of your pipe.

The final photos show the finished pipe. It has had several coats of carnauba wax and was buffed with a clean flannel buffing pad on the buffer. The shine is deep and rich. The stem looks new and the rich dark shine reflects light well.The tooth marks are gone and there is no sign of their earlier presence. The bowl is back in round and ready to load up and smoke.

Photo 84 Right side view of the finished pipe.

Photo 85 Left side view of the finished pipe

Photo 86 Bottom side view of the finished pipe

Photo 87 Top view of the finished pipe

Photo 88 Top view of the finished pipe

Restoring a 1919 AGE EXTRA Bulldog

Blog by Steve Laug

Before I left for my work trip to Nepal and India I received an email from a reader of the blog regarding an old 1919 pipe that had come into his possession. I include the first email here for the information that he included.

I realize that you must get hundreds of requests to work on peoples pipes, and that your back log is most likely prohibitive in my case, but I do have a request for your work.

I’ve been following your site for some time now and have become a fan of your work. Many of your tips and photos have helped me on my path of repairing pipes. This pipe that I’ve recently purchased is too precious and too well made for my skill level.

My pipe is a 1919 AGE Extra Bulldog, hallmarked London. Naturally there is the added significance that this year is its 100th birthday. I would like to request a full restore (as much as could be done) to ensure it makes it to see its 200th birthday, although I won’t be around to see it. The idea of this humble pipe, in my care, making it well past my time here on the planet is breathtaking in its scope.

I appreciate the time you’ve given to my request and I hope to hear back from you.

Kind Regards, Kerry

He included the pictures that follow as part of the temptation to do the restoration on this old timer. It is a good thing he did because I am not currently taking on any more work. I have a backlog of pipes to work on that will take me at least the rest of the next year of more to complete. However, there was something interesting and even compelling about this old pipe. The age and condition interested me as did the brand. I am unfamiliar with the AGE brand but the brand spoke to me. A few emails went back and forth and I decided to have him send it to me to have a look at the pipe and decide what I wanted to do. It arrived shortly before I left for Nepal. I looked it over and made a decision to take it on as a project and see what I could do with it. It was an intriguing looking pipe that is for sure. The bowl had a lot of nicks and dings in the finish. The exterior of the pipe was dirty with grime and grit rubbed into the surface of the finish. The silver band was tarnished and dirty but the stamping and hallmarks were quite readable. The rim top was badly damaged. The inner edge of the bowl was damaged and the bowl was slightly out of round. The exterior was also damaged. The stamping on the left side of the shank was readable. It read AGE in an oval over EXTRA. The silver band also read AGE in an oval over EXTRA. There were also hallmarks as shown above. There was also a diamond with a banner and a R.J. stamp on it. The stem would not sit correctly in the shank. The stem had some tooth marks in front of the button on both sides of the stem and some tooth chatter on both surfaces. There was an inlaid silver O on the left side of the saddle stem. I took close up photos of the bowl and rim as well as the stem to show the condition of the pipe when it arrived. You can see the damage to the rim top and inner edge of the bowl. The oxidation on the silver band and the tooth chatter and damage to the stem and button edges on both sides of the stem. I also took a photo of the shank and the band to show the stamping in the silver. I took a photo of the stem removed from the shank to show the inner tube and the condition of the tenon and tube. The build up on the tenon was part of the reason for the stem not seating in the shank.The maker of the brand was a bit of a mystery to me. Checking my usual sources I found absolutely no information on the AGE brand. There was no info on the Pipedia website or on the Pipephil site on the brand. I also checked on Who Made That Pipe by Wilczak and Colwell. There I found two possible makers fro the brand. They are shown in the screen capture below.The two options were La Bruyere 1918 a French made briar and also Salmon & Gluckstein an English made briar. The hallmarks on the band seemed to point to an English connection so I did some more looking online to identify the company who made the pipe.

I turned first to a website on English silver marks. I was specifically looking for information on the R.J. stamp on the silver to help identify the silversmith. I did a screen capture of the section on the R.J. stamp matching the one on the silver band on the pipe in question. Here is the link to the website: http://www.silvercollection.it/englishsilvermarksXRDUE.html. It identifies the R.J. in a rectangle and a lozenge as the mark of Reuben Jordan. They were active in London. The page also gave a link to a Makers, Pipe Mounters Marks page.I followed the link on that page to the section on Tobacconists, etc. On that page I could see that the Reuben Jordan – London silversmith did bands for Imperial Tobacco Co. in London. That brought this part of the investigation to a close in terms of the pipe maker in question taken from the silver hallmarks. http://www.silvercollection.it/DICTIONARYTOBACCONISTR.html Now I turned to do some work on the information given by Who Made That Pipe. Their identification of the brand as having made by Salmon & Gluckstein brand name was what I wanted to work on at this point. It was clearly an English made pipe as determined from the above information I had found thus far with the hallmarks and silver makers marks. I turned to Pipephil’s site to see what he had on the brand (http://www.pipephil.eu/logos/en/logo-s2.html). I did a screen capture of the listing on the brand and have included it below.From the information found about the brand on that page I learned that it was a long time brand in London and that it had been bought out by Imperial Tobacco Co. in 1902. Since that was prior to the purported date of this pipe it made sense that it was made by Imperil Tobacco Co. The brand continued under their manufacture until 1955 when the brand was dropped. The pipe fit within the time frame of the stamping on the silver band.

I then turned to Pipedia (https://pipedia.org/wiki/Salmon_%26_Gluckstein) to further read about the brand. The article on Pipeia quote from Pipes, Artisans and Trademarks, by José Manuel Lopes. It read in full as follows:

Salmon & Gluckstein was an early 20th century English distribution chain, with its own pipe catalog, probably made by La Bruyère. It had over 100 shops in England, which after being purchased by Imperial Tobacco Co., changed their name to Bewlay.

The Pipedia link actually put the two brands from Who Made That Pipe both the Salmon & Gluckstein connection and the La Bruyere come together with the purchase of the company by Imperial Tobacco Co. Interestingly it also ties the brands to a brand I am very familiar with- Bewlay. Given that information it appears that the pipe was a brand of the Imperial Tobacco Co. and linked to the Salmon & Gluckstein brand.

Now it was time to try to figure out the date of the pipe from the hallmarks on the band. I examined them with a lens and found the following information. The first hallmark was a lower case “d”  in a shield. This was the date letter on the pipe. The second hallmark was a lion passant in a shield. The emblem connects the pipe to London assay offices. It also identifies the band as being silver. The third hallmark was a leopard’s head uncrowned which identifies the pipe as English made between 1821 and the present.

I knew now that the pipe was London Made with a silver hallmark identifying a London silversmith identified by the R.J. stamp noted above as Reuben Jordan. The only thing left to fully learn about the pipe from the stamp was the date to be determined from the “d” stamp.

I turned to a website that I regularly use to identify the dates on English made hallmarks. The link is: http://www.silvercollection.it/englishsilverhallmarks.html. The screen capture of the chart on the left shows the dates and letter marks from 1916-1935.

Kerry had correctly identified the date of the pipe as being made in 1919. I always love when the pieces all come together and I can arrive at both a manufacturer and a date for the pipe.

Armed with this information I turned to work on the pipe. I started by cleaning up the silver with silver polish to remove the tarnish from the band. I rubbed the material on the band and polished it with a cotton pad to remove both the tarnish and polish the pipe.

I reamed out the bowl with a PipNet pipe reamer using the first three cutting heads to remove the cake. The bowl needed some work at the rim as it was out of round and I needed to see what I was dealing with so I took it back to bare briar. I cleaned up the remnants of cake with a Savinelli Fitsall knife and then sanded the bowl insides with sandpaper on a dowel. Afterwards I examined the bowl and could see that the walls were solid and that with a little work I could bring the bowl close to round. I cleaned the internals of the pipe with pipe cleaners, cotton swabs and alcohol to remove the debris inside the mortise and the airway into the bowl and the stem. I scraped the mortise walls with a dental spatula to remove the tars that had hardened on the walls. To deal with the damaged rim top I topped it lightly on a topping board with 220 grit sandpaper to smooth out the damage and remove the roughness of the rim. It did not take too much work to remove the damage and give me a flat surface to work with in the restoration.I polished the rim top with micromesh sanding pads – wetsanding with 1500-12000 grit pads as suggested by Paresh on my recent trip to Pune, India. I have to say that is working very well. I wanted to polish out the scratches so that I could work on matching the stain on the rest of the pipe and finish that portion of the restoration. I steamed out the dents around the bowl sides and cap with a wet cloth and a hot butter knife. I was able to reduce many of them. As is usual when steaming out the dents with a knife and stem there was some discolouration on the bowl sides that would generally disappear with polishing. I scrubbed the exterior of the bowl with undiluted Murphy’s Oil Soap and a tooth brush. I rinsed the bowl off with warm water under the tap and dried it with soft cloth. I used a dark brown (Walnut) and black stain pen to blend a stain to match the colour of the rest of the bowl. I rubbed it into the surface of the polished rim top and blended it with an alcohol dampened cotton pad. I was able to get a perfect match to the bowl colour.I polished the silver on the band with a jeweler’s polishing cloth. I worked it over the surface trying to get the tarnish from the stamping. I rubbed the bowl down with Before & After Restoration Balm, working it into the grain of the briar. The balm enlivens, refreshes and protects the briar. In this case it brought life back into the old piece of briar. While some of the dents and scratches were gone others remained. I left the remaining dents in the briar as ongoing testimony to the journey of this pipe. I only wish that it could tell its story. I let the balm sit on the briar and then buffed it out with a soft cotton cloth to raise the shine. I set the bowl aside and turned my attention to the stem. It had deep tooth marks on the top and underside of the stem near the button. I painted the stem surface with the flame of a lighter to lift the dents in the vulcanite. I sanded the stem with 220 grit sandpaper to smooth out the tooth chatter in the surface and cleanup around the dents in preparation for the repairs. I cleaned out the dents with a cotton swab and alcohol. I filled them in with clear superglue and set the stem aside to cure. Once the repairs cured I used a needle file to redefine the button edge and also smooth out the repairs to the dent. I sanded the stem with 220 grit sand paper and 400 grit wet dry sandpaper to smooth out the sanding marks in the vulcanite. I polished the vulcanite stem with micromesh sanding pads – wet sanding with 1500-12000 grit pads. I have been trying wet sanding with all of the pads after discussions with Paresh while we were in Pune, India. It does seem to give the stem a good shine and reduce the scratching. I finished the polishing with Before & After Pipe Polish – both fine and extra fine polishes. I put the stem back on the bowl and buffed the pipe with Blue Diamond polish on the buffing wheel. I gave the bowl and stem multiple coats of carnauba wax and buffed it with a clean buffing wheel to raise the shine. I polished the band with a jeweler’s cloth once more, then hand buffed the entire pipe with a microfiber cloth to deepen the shine. This 100 year old AGE EXTRA Bulldog is a beautiful pipe. The grain really stands out with a combination of birdseye, cross grain and swirls surrounding the bowl give it a rich look. The rich contrasting brown and black stains makes the grain stand out while hiding the dents that remain. I left the remaining dents in the briar to leave the story of the pipe’s travels intact. It is a proportionally well carved pipe. The polished black vulcanite stem had a rich glow. The finished pipe is a beautiful straight Bulldog that feels good in the hand and the mouth. Have a look at it with the photos below. The dimensions are Length: 5 inches, Height: 1 3/4 inches, Outside diameter of the bowl: 1 1/4 inches, Chamber diameter: ¾ of an inch. This pipe will be going back to Kerry next week. I am excited to hear what he thinks of this beauty. Thanks for walking through the restoration with me as it was a pleasure to work on.


Restoring a French Made Butz Choquin Camargue 1310 Bent Billiard

Blog by Steve Laug

The next pipe on the table Jeff picked up at an antique shop near his home in Idaho. It is a Butz Choquin Made in France pipe. On one side is written Butz Choquin over Camargue. On the other side St. Claude is arched over France with the shape number 1310 under that. On the horn coloured Lucite shank extension are the initials BC in a clear acrylic insert. The military bit stem is vulcanite and has a slight bend in it. It is lightly oxidized and there are deep tooth marks on both sides of the stem near the button and wear on the button on the underside. There are also some dents on the top and underside near the bend. The smooth finish is very dirty and dusty. The rim top has a thin coat of lava near the back side. The bowl has a thick cake that flows onto the back of the bowl rim. It is hard to know if the inner edge of the rim is in good condition because of the lava and cake. The outer edge looks very good. Jeff took the following photos before he started his clean up. Jeff took a photo of the rim top and bowl. You can see the lava on the back side of the rim that obscures the condition of the rim edge. You can see the condition of the bowl as well in the photo.He took photos of the heel and the sides of the bowl to give a clear picture of the remarkable grain on this beautiful pipe.The next photo is a bit of a mystery to me… there is clearly a crack shown in the photo of the somewhere on the bowl. The problem is that it is not clear where it is on the bowl in the photo. Is it the heel or a side or…? I will have to go over the bowl with a light and a lens to hunt for it as I restore the pipe. It should be easy to repair once I find it!The next two photos capture the stamping on the left and right side of the shank. The third photo shows the BC logo on the horn coloured Lucite shank extension. The stamping on the left side reads Butz Choquin at an angle up the shank toward the shank end and underneath it is stamped Camargue. The other side is stamped with the St. Claude, France stamp and the shape number 1310. The last two before photos show the condition of the stem. You can see the tooth marks on both sides of the stem along the length of the stem. You can also see the calcification and oxidation on the stem. It is dirty but very repairable.When the pipe arrived it was my turn to do my part of the restoration work. Jeff had reamed the bowl with a PipNet pipe reamer and followed up with a Savinelli Fitsall pipe knife to remove the cake. He scrubbed out the mortise and the airway in the shank and the stem with alcohol, cotton swabs and pipe cleaners. He scrubbed the exterior of the bowl, rim, shank and stem with a tooth brush and Murphy’s Oil Soap to remove the oils and tars on the rim and the grime on the finish of the bowl. He rinsed it under running water. He dried it off with a soft cloth. He was able to remove lava build up on the rim top and you could see the great condition of the bowl top and edges of the rim. There was still some darkening to the rim top toward the back of the bowl. He soaked the stem in Before & After Deoxidizer to remove the oxidation. I took photos of the pipe before I started my work on it. I took a close up photo of the rim top to show the condition of the bowl and rim after Jeff had cleaned up the grime and lava. Both the inner edge of the rim look good. There was some damage on the front outer edge. The stem photos show that the oxidation is gone. The light tooth chatter is hard to see but I should be able to sand it out quite easily. The tooth marks on the top and underside and the scratching and gouges will take a little more work to remove. The damage to the button top on the underside is also going to take some work.I also took a photo of the stamping on the left side of the shank showing how the stamping was laid out. The Camargue stamp is quite faint. To clean up the rim top damage and minimize the roughness on the front outer edge I lightly topped the bowl with 220 grit sandpaper on a topping board. I did not have to do too much topping as the damage was not too extreme.I polished the bowl and rim top with micromesh sanding pads – wet sanding with 1500-2400 grit pads and dry sanding with 3200-12000 grit pads. I wiped the bowl down with a damp cloth after each sanding pad to remove the sanding dust. It was during this process that I found the crack. It is on the right side of the bowl toward the back. I have circled it in red to highlight it. Now that I had found the crack and checked that it was not deep and not on the inside of the bowl it was time to address it. I drilled the ends of the crack with a microdrill bit to stop the crack from spreading. I filled in the pin holes and the crack surface with clear super glue. I spread some briar dust on the top of the repaired areas and pressed it into the drill holes with a dental spatula. I set it aside to cure. Once the repair cured I sanded it smooth with a piece of 220 grit sandpaper to blend it into the surface of the briar. I started the polishing process with 400 grit sandpaper. I polished the area with 1500-2400 grit micromesh pads and wiped the area down with alcohol.I restained the pipe with a Tan aniline stain to blend the repaired areas into the rest of the finish. Sometimes it pays to stain the entirety of a bowl rather than fuss with trying to match an area this large into the rest of the surrounding briar. I flamed and stained and repeated the process until I was happy with the coverage. I set the bowl aside to dry.I buffed the bowl with red Tripoli on the buffing wheel to remove thick overcoat of stain. I sanded it with a medium and a fine grit sanding sponge to smooth out the stain coat coverage. I followed that by wet sanding it with a 1500 grit micromesh sanding pad to even out the coverage of stain across the bowl sides and over the repaired crack. I have really come to appreciate many of Mark Hoover’s Before & After Products. One of my favourites is his Restoration Balm. I worked some of the Balm into the finish of the briar with my fingertips to clean, enliven and protect it. I let it sit for a short time and buffed it off with a cotton cloth to raise the shine. The Restoration Balm really makes the pipe take on a rich glow. I set the finished bowl aside and turned to address the issues with the stem. I filled in the deep tooth marks and nicks in the stem surface and button with clear super glue. I set it aside to cure. Once the repairs had cured I used a needle file to smooth out the repairs and then a folded piece of 240 grit sandpaper to blend the tooth marks and chatter into the surface of the stem. After the surface was smooth I sanded out the scratch marks and started the polishing of the stem with a folded piece of 400 grit sandpaper. I wiped the stem down with Obsidian Oil. I polished the stem with micromesh sanding pads – wet sanding it with 1500-2400 grit pads and dry sanding it with 3200-12000 grit pads. I wiped the stem down with Obsidian Oil after each pad. I polished it with Before & After Pipe Polish – both Fine and Extra Fine and gave it a final coat and set it aside to dry.  I put the stem and bowl back together and buffed the stem with Blue Diamond on the buffing wheel. I gave the bowl and the stem with multiple coats of Carnauba Wax. I buffed the bowl and stem with a clean buffing pad until there was a rich shine then hand buffed it with a microfiber cloth to deepen the shine. This Butz Choquin Camargue Bent Billiard with a faux horn acrylic shank extension is a beautiful pipe. The grain really stands out with a combination of birdseye, cross grain and swirls surrounding the bowl give it a rich look. The rich contrasting brown stains makes the grain stand out while hiding the repaired cracks. It is a proportionally well carved pipe. The polished black vulcanite stem had a rich glow. The finished pipe is a beautiful bent billiard that feels good in the hand and the mouth. Have a look at it with the photos below. The dimensions are Length: 6 1/2 inches, Height: 2 inches, Outside diameter of the bowl: 1 1/4 inches, Chamber diameter: ¾ of an inch. I will be putting this beauty on the rebornpipes online store soon. If you are interested let me know. Thanks for walking through the restoration with me as it was a pleasure to work on.