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Restoring and Replacing a Broken Tenon on a Scandia 263 Danish Freehand


Blog by Steve Laug

I am currently not taking on anymore restoration work from the internet or groups that I am part of on Facebook because of the large amount of estate pipes that I am working on to sell. But I have my name in at a local pipe shop here in Vancouver, British Columbia to do repair work for the shop as it comes in. there are no other pipe repairers in Western Canada that I am aware of so I feel a bit of an obligation to take care of these folks as they come. Fortunately there are not a lot of referrals but periodically they get pipemen or women stopping by with work – that is where I come in. They give them my number and email and then the repair work is between us. On Wednesday this week I received an email from one of their customers, Ron in Victoria, B.C. about a pipe that had been dropped and had a broken tenon. He described the broken stem and that left me with some questions. I had him send me photos of the broken pipe so I would be sure to have a clear picture of the issues. He said that the shank was not cracked and really the only issue was the tenon. He send the photos below so I could see what he was speaking of. Not too big an issue really – a cleanup and tenon replacement and the pipe would be good to go.After our emails back and forth he put it in the mail to me. It arrived on Friday and I took it out of the box to see what I was going to be dealing with on this pipe. Descriptions and photos are one thing but I like to have the pipe in hand to examine for myself. This is what I saw. The pipe was dirty and dull looking. There was some faint stamping on both sides of the shank. It was stamped Scandia over Made in Denmark on the left side and had the shape number 263 on the right side. There was a very uneven cake in the bowl that was crumbling. The tenon had snapped off almost smooth against face of the stem. The stem had some tooth marks and was oxidized. There was a faint SC on the left side of the saddle. It appeared that someone had tried to glue the tenon back on the stem – unsuccessfully. There was a lot of sloppy glue on the end of the stem and tenon. I took some photos of the pipe as it looked when it arrived. He had taped the broken tenon on the underside of the stem. The bowl itself was dirty with a crumbling cake about half way up the bowl from the bottom. The plateau rim top had tars and some darkening on the right top and edges. There was a large sandpit on the left side of the bowl near the rim and one on the underside of the shank that would need to be dealt with.  I removed the taped on broken tenon from the stem. I used a Dremel and sanding drum to take down the sharp edges of the old tenon remaining on the face of the stem. I wiped the face down with acetone on a cotton swab to remove the old glue. It was a sticky mess but came off quite easily with the acetone. When it was clean I used a series of drill bits to drill out the airway to accommodate the new threaded tenon. I usually start with a drill bit slightly larger than the airway and work my way up to the one that fits the tenon end. I used my cordless drill and the airway as the guide for each successive drill bit. This keeps things lined up.Once I have the airway drilled to accommodate the end of the tenon. I use a tap to thread new airway. The tenon replacements I use have a hip around the middle that I need to take down. I use a Dremel and sanding drum to smooth things out. I also rough up the threads to reduce the diameter to make room for the glue that I use to set the tenon in the stem.I used a needle file to smooth out the slight ridge at the end of the tenon. I sanded the tenon smooth to clean up the fit. I would further polish it once it was in place in the stem. I dribbled some Krazy glue on the threads and quickly turned it into the stem making sure that the alignment was correct.I took photos of the new tenon before I polished and finished it. The tenon is solid and the alignment in the shank is perfect. I set it aside to cure and turned my attention to the bowl.With the stem repaired I remembered that Ron had asked me to give him some background information on the brand so I paused at this point to gather the info. I turned to Pipephil’s site (http://www.pipephil.eu/logos/en/logo-s4.html) to get a quick overview. As expected the Scandia brand is a Stanwell second line. In this case the sandpits make it clear why it has this designation. I have included a screen capture of the pertinent section from the site.I turned then to the section on Pipedia that dealt with the Stanwell Sub-brands the Scandia pipe listed there (https://pipedia.org/wiki/Stanwell#Sub-brands_.2F_Seconds). I followed several other links listed on the article to check who designed this particular shape for Stanwell (https://pipedia.org/wiki/Stanwell_Shape_Numbers_and_Designers). Bas Stevens, a dear friend who know longer is living compiled a list of the shape numbers and their designer. The 263 was not listed there however, I remembered that the shape was actually a Stanwell shape 63. That shape was a Freehand with a plateau top and a saddle mouthpiece and was designed by Sixten Ivarsson.

To verify that my memory was correct I did a quick Google search for images of the shape 63 for comparison purposes. I include the photo below with thanks to http://www.Bollitopipe.it for the image (https://www.bollitopipe.it/en/hand-made-polished-royal-guard/18983-stanwell-royal-guard-63-bark-top.html). You can see that the shape is identical so that it is clear that the 263 and the 63 are the same shapes.With the background information gathered and summarized I turned my attention to the cleanup of the bowl. I reamed the crumbling and uneven cake out of the bowl. I left a very thin cake on the walls of the bowl. I cleaned up the small bits toward the bottom of the bowl with a Savinelli Fitsall Pipe knife. I finished by smoothing out the slight cake on the walls with a piece of 220 grit sandpaper wrapped around some doweling. I a soft bristle brass brush to clean off the debris in the plateau finish on the rim top. I was able to remove most of the darkening at the same time. While not flawless it looks significantly better.To clean the surface of the briar and remove the oils and dirt I scrubbed the briar with a tooth brush and undiluted Murphy’s Oil Soap. I rinsed off the bowl under warm water and dried it off with a soft cotton cloth. The finish looks much better with stunning grain. The sandpits are quite visible now that the pipe is clean. I repaired the sandpits with a few drops of Krazy Glue. I slightly overfill the pit with the glue as it shrinks as it cures. Once the repairs cured I sanded them with 220 grit sandpaper to blend them into the rest of the bowl. I polished the entire bowl with 400 grit wet dry sandpaper in preparation for the micromesh polishing. I polished the briar with micromesh sanding pads – wet sanding with 1500-12000 grit pads. After each pad I wiped the bowl down with a damp cloth to remove the sanding dust. The photos tell the story. I used a black Sharpie pen to darken in the deep grooves on the plateau as it would help to mask the darkening on the right and left side of the rim top and it would highlight and give depth to the finish. I rubbed the bowl down with Before & After Restoration Balm. I worked it into the surface of the plateau rim top and the rest of the briar with my fingertips and a horsehair shoe brush to clean, enliven and protect it. I let the balm sit for a little while and then buffed with a cotton cloth to raise the shine. I really like watching the Balm do its magic and bring the briar alive. With the bowl finished I turned my attention to polishing the stem. I sanded the surface of the stem with 220 grit sandpaper and 400 grit wet dry sandpaper to remove the remaining oxidation in the vulcanite and the last of the light tooth chatter.  I polished the stem with micromesh sanding pads – wet sanding with 1500-12000 grit pads. I wiped the stem down after each sanding pad with Obsidian Oil. I used some liquid paper to touch up the “SC” on the left side of the stem. I applied it and let it dry and cure. Once it had cured I scraped the excess off with a tooth pick. The “SC” looks very good.  I polished it with Before & After Pipe Stem Polish – both Fine and Extra Fine. Once I had finished the polishing I gave it a coat of a new product I am experimenting with from Briarville Pipe Repair. It is called “No Oxy Oil” and it is made to protect the stem from oxidizing. I set it aside to dry.I am happy with how this pipe looks compared to what it looked like when it arrived in pieces. It definitely has that Stanwell look to it – very Danish Freehand looking. I am excited to be on the homestretch with it and took it to the buffing wheel and polished it on the wheel with Blue Diamond to polish out the scratches in the briar and the vulcanite. I gave the bowl and the stem multiple coats of carnauba wax. I buffed the pipe with a clean buffing pad to raise the shine. I hand buffed it with a microfiber cloth to deepen the shine. The pipe polished up pretty nicely. The grain really pops with the wax and polish. The shiny black vulcanite stem is a beautiful contrast to the blacks and browns of the bowl and shank. This Scandia Made in Denmark Freehand was fun to bring back to life. It really is stunning piece of briar whose shape follows the flow of the grain. The pipe is comfortable pipe to hold in the hand. The finished pipe is shown in the photos below. The dimensions of the pipe are Length: 5 ½ inches, Height: 2 inches, Outside diameter of the bowl: 1 ¾ inches, Chamber diameter: ¾ of an inch. This beautiful pipe will be going back to Ron tomorrow. If the mail is as fast as it was bringing it to me he should have it in hand by the first part of the week. I hope that he enjoys this beauty and that it serves him well. Thanks for reading this blog and my reflections on the pipe while I worked on it. This is an interesting one to bring back to life.

A Project  Close to My Heart;  Restoring a Dunhill from Farida’s Dad’s Collection


Blog by Paresh Deshpande

The next pipe that I have selected as my new project is a very special pipe for the following reasons:-

(a) Firstly, this pipe was in the trust of an adventurer who has been on expeditions to Antarctica, the Arctic and loved Dunhill pipes (and I happen to carry forward that trust with one of his Dunhill pipes).

(b) Secondly, is the reason why and how this pipe came to me. During one of the many Face Time chats with Steve more than a year ago, I remarked that in spite of the huge collection of British, American and Danish pipes that I had inherited, there was not a single Dunhill pipe in it and that how expensive it was to own one. Steve had then only recently acquired an estate lot that contained, amongst other pipes, seven Dunhills. We discussed each of the Dunhill and I zeroed in on one. A few days later, I received a parcel from Steve that contained the Dunhill pipe that I had selected and along with it came another Dunhill in classic Billiard shape. A call to Steve confirmed that the second pipe was not an error, but a surprise for me. He conveyed that should I decide to and thereafter be able to restore it; I could keep it!!

(c) Thirdly and most importantly, I treat this restoration as a tribute to the daughter who loves her father and desired to share that love and those memories with other pipers who wished to carry forward her father’s trust.

Well, with this as a background, the pipe on my work table once belonged to Late Mr. John Barber. His daughter, Farida had requested Steve to restore her Dad’s pipe and pass them on to others for her. Here is the link to the pipe that I had selected for carrying forward the trust of John Barber:-

https://rebornpipes.com/2018/07/07/faridas-dads-pipes-5-restoring-a-dunhill-root-briar-56-bent-billiard/

The above blog makes for a very interesting read to know the personality of Late Mr. John Barber and his adventures as conveyed by his daughter, Farida. The below picture has been picked from the above blog which Steve had done and the pipe that I had selected from Farida’s Dad collection (indicated with a yellow arrow) and the one now on my work table has been marked in blue circle.As with few other pipes from John Barber’s collection, this pipe too has very worn out and faint stampings. Under magnifying glass and bright light one is able to make out the very faint stamping on the left of the shank as “# 197” followed by “DUNHILL” over “BRUYERE”. On the right side the very faint stamping that is visible is “ENGLAND” and a circled “4” followed by the letter “A”. The high quality vulcanite stem bears the trademark Dunhill white dot.To be very honest, I am not very keen to ascertain the vintage of this pipe and lack of stampings don’t help either, since I know that all the pipes that belonged to Farida’s father are from 1950s to 1970s. Having worked on eight Dunhill pipes from my Mumbai Bonanza and researched each one, I roughly know that a Dunhill Billiard with long tapered bit with shape code # 197, similar to what I have on my work table, is from the period 1950 and 1969. This corresponds with other pipes that Steve had worked on from this collection.

I now move ahead with my initial visual inspection as it helps me chalk out a rough path or sequence that I would follow during restoration and also the processes that I would have to employ at each stage of restoration.

INITIAL VISUAL INSPECTION
This is indeed one pipe which I would have not have selected and worked on in the first place, even though it is a Dunhill, but for the provenance of this pipe and for the reasons mentioned above. The stummel is covered in dirt and grime of decades of uncared for use and storage. The stummel is very sticky to the touch and appears to be smothered in some kind of lard, could it be whale fat or fish oils from the Arctic or Antarctic expeditions that it had accompanied the previous owner? I would not know, but it is all prevalent over the stummel surface. Underneath all this lard, dirt and grime, the highest quality of the briar and solid feel in hand for which Dunhill pipes are renowned, can be seen and be felt. Beautiful cross grains along the shank bottom, front and back of the stummel await to be revealed in all their glory. Similarly, lovely bird’s eye grains on both the sides of the stummel should show up nicely when the surface is cleaned. A distinct patch on the left and right side of the stummel is prominently seen which could have been caused due melting of the lard (?) from the warmth and holding of the stummel while smoking. There is a prominent crack on either sides of the stummel extending downwards from the rim outer edge towards the heel for a few millimeters and is marked in red circle. The front and foot of the stummel is peppered with dents and dings. These should be addressed to a great extent when I sand the stummel surface to get rid of all the sticky substance and grime. Coming on to the assessment of the rim top surface and the chamber, it is immediately apparent that this is where the maximum damage lies!!!! There is an even layer of thick cake and appears to have been partially reamed before being stowed away. The rim top surface also appears to have been topped to address the severe charring to the inner edge of the rim at 6 o’clock and 12 o’clock direction (marked in red circle) and at the outer edge towards the front and back end of the stummel (marked in green semi circle). The inner edge is completely out of round and is at its thinnest in the 6 o’clock direction and along the left side of the chamber. A crack (marked with yellow arrow) is clearly visible on the left side atop the rim top surface in 9 o’clock direction which extend in to the chamber as well as to the outside as described in stummel condition above. The topped rim surface is considerably darkened and appears to have absorbed copious amounts of oils and tars. I plan to extract these oils through a salt and alcohol soaking of the chamber. The condition of the inner walls of the chamber will be ascertained only after the cake has been taken down to the bare briar. However, I envisage heat lines and fissures all over the inner walls what with the pipe being subjected to some serious use! And the smell of St. Bruno tobacco, Farida’s Dad’s favorite tobacco, is all pervading and super strong. The shank and mortise is completely clogged with accumulated oils, tars and grime and air flow is laborious to say the least. The edges of the shank end are out of round resulting in shouldering effect once the stem is seated in to the shank. The seating of the stem also appears to be a bit skewed towards the right side by a minuscule margin though not easily noticeable.The vulcanite stem has calcium depositions on either sides about an inch and a half from the button edge towards the tenon end. There are deeper bite marks on the upper and lower stem surface near the buttons in the bite zone. However, the buttons on either surface is undamaged. The tenon and horizontal slot show heavy deposition of dirt, oils and tars, adversely affecting the air flow.THE PROCESS
The restoration process started with sanding the bite zone of the stem with a folded piece of 220 grit sand paper to remove the calcium deposition and followed by internal cleaning of the tenon, stem air way and the slot with pipe cleaners and isopropyl alcohol. This was followed by cleaning the stem surface of all the oxidation by immersing the stem in “Before and After Stem Deoxidizer” bath overnight. This solution developed by Mark, pulls all the oxidation to the surface and makes the subsequent cleaning a breeze.The next morning, Abha my wife, took the stem out and cleaned all the thick sticky solution from the surface under running warm water. She blew out the solution that had clogged the airway and scrubbed out the raised oxidation with cotton pads and a piece of 0000 grade steel wool. She applied a little quantity of Extra Virgin Olive oil in to the stem to hydrate the vulcanite and set it aside. The initial sanding with a folded piece of 220 grit sand paper had evened out the minor tooth chatter and now that the stem is free of the heavy oxidation, I have a clear understanding of the damage that needs to be addressed, which by the way, is very minimal. I am pleased with the stem appearance at this stage.To raise the deeper bite marks from the upper and lower surface of the stem, I flamed the surface with a lighter flame. I went ahead and sand the raised bite mark with a 220 grit sand paper and sharpened the button edges. With a cotton swab and isopropyl alcohol, I wiped the stem surface to clean it of all the dust. I mixed superglue and activated charcoal powder and filled the bite marks and set it aside to cure. While the stem fill was set aside to cure, I worked the stummel and reamed the chamber with size 3 blade head of PipNet pipe reamer. Using my smaller sized fabricated knife, I removed all the cake from the areas which could not be reached by the reamer head. Very carefully, I removed all the charred briar from the outer and inner edges till I reached solid briar wood. With a folded piece of 220 grit sand paper, I sand the chamber walls to remove the last remaining traces of cake and wiped it with a cotton swab dipped in isopropyl alcohol. I am not very enthusiastic about the way the chamber appears at this stage. The inner edge at the rear has been pushed back significantly thinning the rim top surface. Also, the walls are peppered with numerous minor heat fissures/ lines making a web pattern. The crack, it is now clear, extends in to the chamber over the rim surface and on to the outer stummel surface. Another crack is now evident on the right side of the rim surface, but it’s superficial and not deep. Here is how the chamber appears at this stage, though not very encouraging, I say. Continuing with internal cleaning, I cleaned out the mortise, first by scrapping out the entire dried accumulated gunk with a dental tool. I further cleaned the shank internals with hard and regular pipe cleaners dipped in alcohol. Even after removing the cake from the chamber and cleaning the shank internals, the smells in the chamber are still very strong; in fact, my entire room smells of it!!Before I moved to the next stage in the process, I wanted to access the extent of charring over the outer rim edge. I gently scraped the charred briar from the outer rim edge with a sharp knife. Again not a very encouraging sight as the gaping saddle that was formed at the front and back of the stummel was anything that could be addressed by simply creating a bevel over the outer rim edge. Sad!! I have the option of addressing this issue either by topping the rim top surface or by the way of rebuilding the outer rim edge. I shall decide on the best course of action when I reach that stage.Next I decided to address the copious amounts of oils and tars that have been absorbed by the stummel giving it a considerably darkened appearance and a sticky feel in the hand. I stretched a cotton ball into a thick wick, wound it around a folded pipe cleaner and inserted it in to the shank and pushed it till it came out of the draught hole and packed the chamber, just below the rim, with Kosher salt. I topped the bowl with isopropyl alcohol using a syringe. I topped the bowl with alcohol again after 20 minutes when the alcohol level had gone down and set it aside overnight for the salt and alcohol to do its intended job. The next morning, the salt had turned a dirty and smelly brown and so was the wick and pipe cleaner in the shank. The ghost smells, the rim top dark coloration and the stickiness in the surface were still strong and hence I decided to give it a second salt and alcohol bath. This time around I used cotton balls in place of Kosher salt what with Kosher salt being more expensive and not readily available. I repeated the entire process described above and set the bowl aside overnight. By the next afternoon, the alcohol had drawn out maximum of the remaining oils and tars from the stummel surface and trapped it in the cotton balls. I am satisfied with the condition of the bowl internals with this cleaning.With the internals of the pipe cleaned and sorted, it was time to move to the external cleaning of the stummel. Using a hard bristled tooth brush dipped in undiluted Murphy’s oil soap, I very deliberately scrubbed the stummel, cleaning the surface thoroughly. I was very deliberate on the surface areas which were covered in fat-like sticky substance over which dirt and grime had accumulated over the years. I also cleaned the mortise with a shank brush and dish washing soap. I scrubbed the surface with a pad of Scotch-Brite to rid the surface of the slime. I was surprised to observe the stummel turning greasy white. This would need resorting to some heavy duty and abrasive methods to get rid of this grease from the stummel surface. Here is how the stummel appeared at this stage. I am happy that the salt and alcohol treatment had drawn out all the oils from the pores of the briar as can be seen from the cleaned up rim top surface. Next, I decided to stabilize the cracks that were observed prominently on either sides of the stummel extending downwards from the rim outer edge for a few millimeters. Under a magnifying glass, I marked the end point of the cracks and using a 1 mm drill bit, I drilled a counter hole at the base of the crack taking care that I did not drill a through hole. This ensures that the crack is stabilized and does not spread any further. With a heat gun, I warm the stummel and this expands the crack minutely. I fill this crack with clear CA superglue and firmly press the sides together. Once the superglue had sufficiently hardened, I apply a little superglue along the entire crack (rim top and side of the stummel) and press briar dust over it. This further stabilizes, strengthens and masks the fill in the cracks. I had reached that point in restoration where I had to decide on the way ahead for rim repairs. I could either top the bowl till I had a perfectly even round rim top, compromising on the shape and size or I could go for a complete rebuild. I decided on the latter as topping would significantly reduce the bowl size. Using a worn out piece of 150 grit sand paper, I completely remove the charred briar from the outer and inner rim edges in preparation for rebuilding the rim top. Using the layering technique (layer of glue followed by briar dust pressed on to this layer and repeating till the fill is over and above the intact rim surface), I completely rebuild the rim top and set the stummel aside for the fills to harden. While the rim top rebuild was curing, I decided to address the stem repairs. The stem fills had cured nicely and using a flat head needle file, I sand the fill to achieve a rough match with the surrounding stem surface. I further sand the stem surface with a folded piece of 220 and 320 grit sand papers to further blend in the repairs. However, a minor air pocket was revealed on the lower surface of the stem and I spot filled it with clear superglue and set it aside to cure and turned my attention to the stummel repairs again.The rim rebuilt surface had cured nicely. I could now proceed with reshaping the rim top and the inner rim edge to an even round. I mount a coarse 150 grit sanding drum on to my hand held rotary tool and setting a speed at half, I carefully sand off the excess fill from the rim top surface and the rim inner edge till I had achieved a rough match with the intact portion of the rim top and inner edge. I further top the rim on a 220 grit sand paper to achieve a seamless rim top surface. With a folded piece of 220 grit sand paper, I worked the inner rim to a crisp and perfectly rounded edge. I am very pleased with the rim surface rebuild at this stage in restoration. Staying with the stummel, I next decide to address the greasy white coating of whale fat or blubber or whatever fats that covered the stummel surface (remember all the Arctic and Antarctic expeditions on which this pipe must have accompanied Late Mr. John Barber!!). I sand the entire stummel surface with a piece of 180 grit sand paper. I frequently wiped the stummel with a cloth wetted in hot water to get rid of the loosened fat coating. A lot of elbow grease and few grueling hours later, beautiful bird’s eye grains and swirls began to make an appearance over the stummel surface. With renewed vigor, I completely remove the greasy white coat of fat from the stummel. I was careful not to sand the sides of the shank, but only wiping with hot water in an attempt to preserve the worn out stampings on this pipe. Though the surface has been cleaned up nicely, it appears dry and lackluster. I rub a small quantity of Extra Virgin Olive oil in to stummel to hydrate the briar and set it aside for the oil to be absorbed by the briar. The grains in the stummel now pop out and appear resplendent in their beauty. All the hard work up to this stage was well worth the effort and much more. The following pictures speak for themselves! To further smooth out the rim top, I topped the rim surface over piece of 320 grit followed by 420, 600 and 800 grit sand papers. Even though the cracks have now been exposed as a result of this topping, I am not overly worried as I am confident that the cracks have been solidly filled and stabilized.At this point I decided to work on the inner walls of the chamber. There are heat lines seen on the walls of the chamber and add to that the rebuilt inner edge using superglue and briar dust. To protect the walls and prevent the superglue and briar dust from coming in to direct contact with the burning tobacco, I plan to first coat the rebuilt part and the heat lined surface of the chamber walls with J B Weld followed by a second coat of activated charcoal and yogurt to the entire chamber which would assist in faster cake formation. J B Weld is a two-part epoxy Cold Weld that consists of two parts; hardener and steel which are mixed in two equal parts (ratio of 1:1) with hardening time of 5-6 minutes and complete curing time of 6-8 hours. I poured the contents of the two tubes and mixed it well. With a flat bamboo frond, I applied this mix, as evenly as possible, over the intended areas. I worked fast to ensure an even coat over the chamber walls before the weld could harden. I set the stummel aside for the application to harden and cure overnight. By next afternoon when I got back to working on this pipe, the J B Weld coat had completely cured and hardened considerably. With a folded piece of 150 grit sandpaper, I sand the weld coating to a smooth surface and continued till I had as thin a coat as was essential to protect and insulate the walls from the direct heat of the burning tobacco. Here are pictures of the process and the progress at this stage. Wanting a change, I decided to now tackle the stem fill which had been left curing for the last couple of days. Little did I know at this point that I was still some days away from completing the stem repairs!! I followed the golden rule of pipe restoration; “Less is more” and move ahead with sanding the fill with a piece of 220 grit sand paper without first using a flat head needle file. I followed it up with sanding the entire stem surface with 400, 600 and 800 grit sand papers. I finished the sanding regime with a 0000 grade steel wool. It was at this stage that I noticed the same dreaded air pocket and the fill was peeling out. With a dental pick, I completely removed the old fill and refilled it with a fresh mix of activated charcoal and superglue. I set the stem aside to cure overnight, third fill for the same spot!! With time still on my side before I hit the bed for the night, I decided to work on the stummel which had been set aside to absorb the olive oil. I thoroughly wiped the bowl with an absorbent paper towel to remove all the excess oils from the bowl surface. I polished the stummel, including the newly rebuilt rim top surface, wet sanding with 1500 to 12000 grit micromesh pads. I wiped the surface with a moist cloth to remove all the sanding dust left behind by the pads. I was very careful with the stamping as I desired to preserve as much of the worn out stampings as was possible. Though the rebuilt rim surface and outer rim edges stand out as sore thumb at this stage, I intend to mask the same with a dark stain. The stummel surface appears promising and I am absolutely in love the bird’s eye grains on this pipe. Next, I rub a small quantity of “Before and After Restoration Balm” in to the briar with my finger tips and let it rest for a few minutes. The balm almost immediately works its magic and the briar now has a nice vibrant appearance with the beautiful darkened grain patterns on full display. I further buff it with a horse hair shoe brush. While the stummel was set aside for the balm to be absorbed, I worked the stem fill which had cured over 24 hours. I sand the fill with a used and worn piece of 180 grits sandpaper and followed it with wet sanding the entire stem with 1500 to 12000 grade micromesh pads. I wiped the stem with a moist cloth to remove the dust and monitor the progress being made after every three grit pads. The stem polished up nicely and has a rich deep black shine to it. I applied a little Extra Virgin Olive oil to rehydrate the vulcanite and set the stem aside.Though the stummel had cleaned up nicely with a deep color to the briar, it was nowhere near the deep reddish brown coloration associated with the Bruyere line of Dunhill pipes; in fact it was much lighter. While restoring a Dunhill Bruyere from my Mumbai Bonanza (https://rebornpipes.com/2019/03/13/reconstructing-a-broken-stem-on-dunhill-bruyere-51671/), I had stained the stummel in cherry red stain and though the end results were great, it was not the original color associated with a Bruyere. The comments and suggestions received from esteemed readers of the write up pointed me in the direction of achieving this color!!! I decided to first apply a coat of DB followed by a final coat of red stain. However, when I went through my stains, I realized that I did not have Dark brown stain; the Feibing’s stain bottle had mysteriously dried out!!!!! The next best option available was the Cordovan. I consulted Steve and though he was not sure about the color, he encouraged me to go ahead and that is exactly what I did. I heated the stummel surface with my heat gun to open up the pores on the stummel so that the stain is well set while being careful that I do not overheat the fill, a lesson learned while restoring Steve’s Alexander Zavvos pipe. I dipped a folded pipe cleaner in Feibing’s Cordovan leather dye and liberally applied it over the heated surface of the stummel, flaming it with a lighter as I progressed. This helps in the setting of the stain in the grain of the briar. I set the stummel aside overnight for the stain to set. The next afternoon, I mounted a felt cloth buffing wheel on to my hand held rotary tool and proceed, as my dear friend Dal Stanton likes to say “unwrap the coat of stain to reveal the grains” on the stummel surface. Alas, there was no revelation of any sorts!! All that I saw was a dark stummel. You must understand my disappointment at this stage. I realized that the stain coat was too thick. I needed to lighten it up a bit and hence, with a cotton swab wetted in isopropyl alcohol, I wiped the entire stummel surface. Though the stain has lightened a bit, it was not the result that I desired. Here is how the stummel appeared at this stage. To further lighten the stain and “reveal” the stummel grains, I dry sand the entire stummel with 1500 to 12000 grit micromesh pads. The grains are now clearly visible. However, the trademark color of Bruyere line is still an illusion……it was browner than the reddish brown stain that I was looking for. I decided on giving the stummel a stain wash with a Cherry Red stain as suggested by Steve. I diluted the Cherry Red stain powder in 99.9% isopropyl alcohol in approx ratio of 1:4. With a cotton swab, I dabbed the diluted stain over the stummel surface, letting it set for a few moments and thereafter wiping it off with a dry clean cotton swab. I repeated the process till I had achieved the desired coloration. I am pleased with the color of the stummel which is as close as I could achieve, to the original Bruyere color. This time around, even the fills had absorbed the stain and blended in nicely with the rest of the stummel. To complete the restoration, I reattach the stem with the stummel. I mount a cotton cloth buffing wheel on to my hand held rotary tool and applied several coats of carnauba wax. I finished the restoration by giving the entire pipe a rigorous hand buffing using a microfiber cloth to raise the shine further. This dude has definitely come a long way from the condition it was in at the start.Now that the cosmetic aspects of this pipe have dealt with, all that remained was the functional aspect that needs to be taken care of. The minor heat lines and the J B Weld coated surface needs to be protected from the direct heat of the burning tobacco and for this; I coat the complete chamber walls with a mix of activated charcoal and yogurt and set it aside to harden naturally.I shared a few pictures of the pipe with my mentor, Steve, expecting some hearty praises on this restoration!! However, his keen eyes noticed an issue which had missed mine. He very gently pointed that a sterling silver band at the shank end would mask the shouldering that was inadvertently created!! This remark of his left me shocked!! Not at the remark as such, but at the fact that I had shouldered the shank end during the restoration process. Still smarting at being chided by my teacher, I revisited all the pictures and true enough, this issue already existed and I had missed out mentioning it in my initial inspection in the write up and hence missed it out during the entire process. I made necessary amendments to the post and had to keep the pipe aside till I reached back home during my leave where my local silversmith would fabricate one such ring for me.

I revisited the small, dingy and unsophisticated shop with rudimentary tools where the craftsman had built me a Sterling Silver ring for an Alfred Massin Meerschaum cutty that I had restored two months ago (https://rebornpipes.com/2019/10/09/complicating-a-simple-restoration-of-a-cutty-meerschaum/). The craftsman at the shop made me a perfect ring for the Dunhill shank end. This ring not only masks the shouldering, it also adds a touch of class while breaking the monotony of the pipe. I refreshed the bowl coating with activated charcoal yogurt mix and completed this project with a vigorous hand buffing with a microfiber cloth. How I wish I had carried my hand held rotary tool and some carnauba wax for a final polish while on leave!!! Nevertheless, the finished pipe has received a fresh lease on life and is now all set to stay with me for the rest of my time on this earth as part of my Dunhill rotation. The repairs are solid and blended in well with the surrounding surfaces. All that now remains is to load a nice English blend and enjoy a quite peaceful smoke… P.S. This perhaps would be the longest write up that I ever have posted on rebornpipes.com!! Apart from the Alfred Massin Meerschaum pipe that I have mentioned above, this project extended over a period of two months, just for the want of sterling silver band. Nonetheless, it was one project that I enjoyed working on and hope that my Guru and mentor Steve gives me passing marks on this test project (remember that it was a sort of test put forth by Steve for me!).

The most important aspect of this restoration was being able to live up to the belief and faith that Farida had entrusted in Steve and through him, in me, to carry forth the trust of her Father. It is while working on this project that I fully comprehend and understand what and why Dal Stanton calls himself Pipe Steward!! A perfect term coined by this well read gentleman, I say.

Farida, if at all you read this write up, I wish to let you know that it has been a privilege to have been afforded an opportunity to carry forward the trust of your father. As I puffed on this Dunhill, I could conjure up images of your father and his dogs amidst all the snow and loneliness…. A MAN, HIS FAITHFUL PIPE AND HIS BELOVED DOGS!! Thank you Steve and Farida…… and the pipe has a new friend!!

Rejuvenating a Fancy French Butz Choquin Camargue 1683 Prince


Blog by Dal Stanton

The Butz Choquin Camargue came to me via an antique store in St. Louis, Missouri.  Last December, my son Josiah, who was studying there, and now currently works there, came upon this lot for sale in an antique store.  He did the right thing – he called…, rather, he texted his father in Bulgaria with pictures asking the question, ‘What do you think, Dad?’  We didn’t think too long about the purchase and split the cost for the St. Louis Lot of 26.  Why did we split?  The jumbo French Champion Church Warden in the center of the picture below was to be my Christmas gift from Josiah and so he paid that part of this very nice trove of pipes he found!  Many of the pipes of the St. Louis Lot of 26 are still available in ‘For “Pipe Dreamer” Only!’ online collection.  Pipe men and women can peruse the online ‘Help Me!’ baskets and commission an unrestored vintage pipe.  Of course, this benefits our work here with the Daughters of Bulgaria – women and girls who have been trafficked and sexually exploited. One pipe man, Alex, who is from our neighbor to the north, Russia, saw and commissioned the BC as well as a Harvey Rusticated Dublin, which was first in line to be restored (See: Recommissioning a Mysterious Harvey London Paris New York Meerschaum Lined Rusticated Dublin).Next, the Butz Choquin Camargue is on the worktable. I take some additional pictures. Stamped on the left shank flank is the fancy lettering, ‘Butz-Choquin’ [over] ‘Camargue’.  The acrylic shank extension houses an inlaid rondel, with ‘BC’ in silver lettering.  The right side is stamped, ‘St. Claude’(arched) [over] FRANCE [over] 1683, which I assume is the shape number.  I’ve worked on several Butz Choquin pipes which is based in the French pipe center of St. Claude.  Here is a brief overview of the BC history from Pipephil.eu:

The origin of the brand reaches back to 1858 when Jean-Baptiste Choquin in collaboration with his son-in-law Gustave Butz created their first pipe in Metz (France). Since 1951 Butz-Choquin Site officiel Butz Choquin, pipes de Saint-Claude Jura. BC pipe de bruyere luxe is a brand of the Berrod-Regad group (Saint-Claude, France).

Jean Paul Berrod managed the company from 1969 to 2002 when he retired and sold the corporate to Mr Fabien Gichon. Denis Blanc, allready owner of EWA, took over the S.A. Berrod-Regad in 2006.

The BC line, ‘Camargue’ is not an old line as a simple search on the internet turns up several examples of classic pipe shapes with the ‘Camargue’ stamp, but unique to each is the acrylic shank extension and the military mounted stem.  This example is a Dublin shape from Smokingpipes.com:I saw no other examples of what I’m calling a ‘Fancy Prince’ on my worktable – the BC shape number 1683.  The name of the line, ‘Camargue,’ I discovered is a treasured nature reserve on the southern coast of France between Montpellier and Marseille – two beautiful venues which I’ve had the opportunity to visit. A Wiki article was very helpful in describing the area that this BC line is commemorating (Pictures are from the same article):

With an area of over 930 km2 (360 sq mi), the Camargue is western Europe’s largest river delta. It is a vast plain comprising large brine lagoons or étangs, cut off from the sea by sandbars and encircled by reed-covered marshes. These are in turn surrounded by a large cultivated area.

Approximately a third of the Camargue is either lakes or marshland. The central area around the shoreline of the Étang de Vaccarès has been protected as a regional park since 1927, in recognition of its great importance as a haven for wild birds. In 2008, it was incorporated into the larger Parc naturel régional de Camargue.

The Camargue is home to more than 400 species of birds and has been identified as an Important Bird Area (IBA) by BirdLife International.[8] Its brine ponds provide one of the few European habitats for the greater flamingo. The marshes are also a prime habitat for many species of insects, notably (and notoriously) some of the most ferocious mosquitos to be found anywhere in France. Camargue horses (Camarguais) roam the extensive marshlands, along with Camargue cattle (see below).

The native flora of the Camargue have adapted to the saline conditions. Sea lavender and glasswort flourish, along with tamarisks and reeds.

Without doubt, a place my wife would love to visit!With a better understanding of the pipe on my worktable, I take a closer look at the obstacles of restoring this Fancy BC Camargue of St. Claude.  The chamber has some thick carbon cake which needs to be removed for the briar to have a fresh start.  The rim has thick lava flow which also will be addressed.  The Prince stummel surface is dirty from normal wear and the smooth briar surface has small fills that need to be checked out as well as some rough places.  The acrylic shank extension is nice and will shine up very well.  The Fish Tail Military Mount stem shows significant oxidation as well as tooth chatter and bites, especially on the lower bit.

To begin the recommissioning of the BC Camargue, I first clean the stem with a pipe cleaner wetted by isopropyl 95% and then add it to a soak of Before & After Deoxidizer along with other pipes and stems in the queue. After a few hours in the soak, I remove and drain the BC stem of the Deoxidizer fluid and then wipe it down with a cotton pad wetted with isopropyl 95% to remove the raised oxidation, which is a lot!  I also run another pipe cleaner dipped in alcohol through the airway of the stem to clear it of B&A Deoxidizer.To begin the revitalization of the vulcanite stem, I give it a coat of paraffin oil with a cotton pad and put it aside to absorb.Turning now to the stummel, after putting paper towel down to ease the cleanup, I use the Pipnet Reaming Kit to begin the process of removing carbon cake from the chamber to give the briar a fresh start and to inspect the chamber wall for heating damage. I take a picture of the chamber to mark the start. I use three of the four blade heads in the Pipnet Reaming Kit – this chamber is broader than I expected.  Next, I transition to scraping the chamber using the Savinelli Fitsall tool and find that the lava flow on the rim is flaking off with the tool.  I finish by sanding the chamber with 240 grade paper wrapped around a Sharpie Pen to give leverage. After cleaning the chamber with a cotton pad wetted with isopropyl 95%, I inspect the chamber and there are no indications of heating problems. It looks great. I move on.Transitioning now to the external surface, I use undiluted Murphy’s Oil Soap and cotton pads to clean.  After scrubbing with Murphy’s, I transition the stummel to the sink to continue scrubbing the internals using anti-oil dish washing liquid and shank brushes to scrub with warm to hot water.  After scrubbing, the bowl is rinsed thoroughly and returns to the worktable. The internal cleaning continues using cotton buds and pipe cleaners wetted with isopropyl 95%. A small dental spatula is used to scrape tars and oils off the mortise walls.  Excavating the gunk saves a lot of time by bringing out large amounts at a time.  In time, the buds and pipe cleaners start emerging lighter and the cleaning is done for now.  Later, a kosher salt and alcohol soak will continue the internal cleaning and refreshing.With the internals cleaning completed until later, a closer look at the BC Camargue Prince stummel is next.  The grain of the bowl is very expressive – very nice bird’s eye as well, but there are also some issues.The rim cleaned up well and it sports a sharp internal bevel which needs refreshing.  Darker briar on the aft of the rim remains after the cleaning – the section where the former steward lit his favorite blend.The right side of the bowl is pitted with old fills which have lightened and stand out and have shrunk so that the surface is not smooth.One fill, somewhat larger, is on the face of the bowl – situated very nicely between the converging flows of grain which was probably the reason for the pit in the briar bole.  I’m impressed with the grain – it will spruce up very nicely.The right side of the bowl has some rough, skin marks – probably from a hard surface. The night is growing late, and I would like to do two things before turning out the lights: renew the fills in the briar surface and a kosher salt and alcohol soak.  I begin the first project by using a sharp dental probe carefully to remove the old fill from the pits. What is handy about using ‘real’ dental probes is that they are not just sharp on the ends, but they also have very small spurs that allow a simple twist of the instrument to grab and pull material out of the pits.  I clean the large set of pits on the side of the bowl as well as the one on the front. Using briar dust putty to replace the old fills, I first prepare the working pallet.  I use a plastic disk that came off a cosmetics cream container belonging to my wife.  I put scotch tape down on this surface only to quicken the cleanup after making the putty.After cleaning the pitted areas of the bowl with a cotton pad wetted with alcohol to clean the area, a small pile of briar dust is placed on the taped pallet. Then a small amount of BSI Maxi-Cure Extra Thick CA glue is placed next to the mound of briar dust.Using a toothpick as a mixer and a trowel, briar dust is pulled into the CA glue and is mixed.  As the dust is pulled into the mixture, it starts thickening.  The picture below shows the mixture in the early stages – still too thin, giving me time to take the picture.  If it takes too long to apply the putty it will harden in an instant. Or, if too much briar dust is introduced into the CA glue and thickens too quickly, it will harden immediately.  This has happened to me a few times – when it hardens, the chemical reaction sends up smoke! When the putty begins to reach the viscosity of molasses, the putty is troweled onto the pits with the toothpick.  With the pits being so small and close, I cover all of them with two larger globs which when cured will be sanded down. The front pit is also filled with briar dust putty. After a quick clean up, the putty has had enough time to set up (I’ll let the patches cure through the night) and I am able to handle the stummel with no problems.  Next, I transition to the second project before lights out – a kosher salt and alcohol soak to continue the internal cleaning and refreshing.  A ‘mortise wick’ is fashioned by stretching and twisting a cotton ball. The wick helps to draw the oils out of the internal briar cavity.  Then, using a stiff wire (a piece of wire from a clothes hanger) I guide and push the wick through the mortise close to the draft hole. The bowl is then filled with kosher salt. Kosher salt is used because it doesn’t leave an aftertaste and freshens the internals for the new steward.  The stummel is placed in an egg carton for stability and to situate the stummel so that the top of the bowl and the end of the shank are roughly level.  This allows the alcohol fully to saturate the wick. Then, using a large eyedropper, isopropyl 95% is added to the chamber until alcohol fills and surfaces over the salt.  After a few minutes, the liquid is absorbed, and a little more alcohol is added to top it off.  The stummel is set aside to soak through the night.  Both projects completed – lights out!The next morning, the salt and wick show the signs of soiling as tars and oils are absorbed.  After dumping the expended salt in the waste and wiping the bowl with a paper towel to remove salt crystals, I also blow forcefully through the mortise to clear any remaining crystals. To make sure all is clean, a few cotton buds and pipe cleaners dipped in isopropyl 95% are expended to clean up any residual oils.  All looks good.The briar dust patches on the stummel surface have cured and I use a flat needle file to file each down close to the briar surface.  I stay on top of the patches with the file as much as possible to avoid collateral impact on the briar. After filing, 240 sanding paper is employed to bring the patches down to briar level. Following the 240 grade paper, dry sanding with 600 grade paper serves to smooth the patch area out more by removing the scratches of the 240 sanding. Next, the rim.  The rim is darkened from lighting practices but is not damaged.  There are also minuscule nicks on the outer rim edge. I use 240 grade paper to clean up the internal bevel of the rim.Next, the stummel visits the topping board with 240 grade paper on top. The topping will refresh the lines of the rim and help restore a crisp bevel transition.  The topping is for cosmetic purposes but will also help to remove the nicks on the edges.  I invert the stummel and give it a few rotations on the board.  Not much is needed.After the sanding paper is transitioned to 600 grade paper, I give the stummel several more rotations as well as hand sand the bevel.  The results are good.  The lines have been restored and the cross-cut briar grain is coming through nicely.From working on the rim, sanding sponges are used to address the nicks and cuts on the briar surface.  Sponge sanding is not as invasive as regular sanding paper and it will help blend the sanded patch areas.  I start with a coarse sponge, then medium and finish with a light grade sponge.  The sponges are also used on the acrylic shank extension which helps to shine it up quite nicely!After the sanding sponges, to again refresh the lines of the rim, I take the stummel back to the topping board for a few rotations on 600 grade paper.  Nice.After the topping board, a small imperfection on the rim gets my attention.  It is not major but enough for a small detour.To address the problem, I spot drop clear CA glue on the small pit.  It does not take long for the CA glue to set up and I carefully sand the excess patch with 240 grade paper.  Then another trip for the stummel to the topping board with 600 grade paper to finish the repair. On a roll, and anxious to coax the grain out on the BC Prince stummel, the full regimen of micromesh pads is used.  As with the sanding sponges, micromesh pads are used on the acrylic shank extension. Using pads 1500 to 2400, I wet sand followed by dry sanding with pads 3200 to 4000 and 6000 to 12000.  I’m liking what I’m seeing. Wow – I love the pop on this bowl with the acrylic extension contrasted.  To improve on what is already a good situation, to bring out the subtle hues of the grain more, Before & After Restoration Balm is applied to the stummel. Placing a small amount on my finger, the Balm is worked into the briar surface.  It starts off with a crème-like texture but then thickens as it is applied to the briar.  I set the stummel aside while the Balm does its thing.  In about 20 minutes, the excess Balm is wiped off and I also buff up the surface.  The pictures show the 20-minute absorbing period and after buffing. With stummel to the side, I now turn to the waiting stem.  The upper bit has a few minor bite marks but the lower is more significant. I first apply the heating method with the use of a Bic lighter.  With the lighter, I paint the bit with flame thus heating and expanding the rubber compound, vulcanite.  The physics involved encourages the rubber to reclaim it’s original disposition or at least lessen the damage.  After painting with the Bic lighter, the upper bit looks good and can be finished with simple sanding, but the lower bit needs additional help.  Before and after pictures show the results. I use Black Medium-Thick CA glue to repair the tooth compressions on the lower bit.  After cleaning the area with a cotton pad wetted with alcohol, I spot drop the CA on the needed area and utilize an accelerator to quicken the curing process. The cured patch has collapsed which is normal.  I believe the fill is sufficiently covered.First, using the flat needle file, excess patch material is removed and the button is freshened.Following the file, I use 240 grade paper on the lower bit repair and expand the sanding to remove residual oxidation and nicks to the entire upper and lower fishtail stem surface. Following the 240 sanding, using 600 grade paper I wet sand the entire stem and follow this using 000 grade steel wool.A close up of the lower bit repair shows the results of the work.  The patch is barely visible if you know its there, but for the most part, it will be invisible.Moving straight on to the micromesh phase, I wet sand using pads 1500 to 2400 and dry sand with pads 3200 to 4000 and 6000 to 12000.  Between each set of three pads I give the fishtail stem an application of Obsidian Oil to continue the rejuvenation of the vulcanite.  I love the pop of newly sanded vulcanite! On the home stretch – after rejoining stem and stummel and mounting a cotton cloth buffing wheel to the Dremel setting the speed at 40% full power, Blue Diamond compound is applied to the entire pipe. Compound is also applied to the acrylic shank extension and it really pops!After using a felt cloth to wipe off residual compound dust, I change the Dremel’s cotton cloth buffing wheel to one dedicated to applying carnauba wax.  Maintaining the same speed, I apply a few coats of wax to the entire pipe and finish by giving the pipe a rigorous hand buffing to raise the shine.I called this Butz Choquin Camargue a ‘Fancy’ Prince shape and truly he is fancy.  Wow – the grain generally moves in a horizontal fashion around the bowl and tightens as it moves downwardly to the heel.  Large swoops of bird’s eye grain also punctuate the landscape.  Adding to the ‘Fancy’ is the acrylic shank extension with the embedded BC rondel transitioning to the gentle bend of the fishtail stem which splays outwardly.  Alex commissioned this French BC Camargue Fancy Prince of St. Claude and will have the first opportunity to claim him from The Pipe Steward Store benefitting the Daughters of Bulgaria.  Thanks for joining me!

Restoring an Irish Made Peterson’s K&P Dublin 213 Billiard from Bob Kerr’s Estate


Blog by Steve Laug

I am working on another pipe from Bob Kerr’s estate, another one of his Petersons. It is different than the others as it is stamped “A Petersons Product” Made in Ireland. I have restored two of his pipes that were uniquely made Peterson’s pipes made specifically for import into the Canadian market – one was a Kapruf 54 sandblast bent billiard (https://rebornpipes.com/2019/08/09/back-to-bob-kerrs-estate-another-canadian-import-petersons-kapruf-a-54/) and the other was a Kapruf 9BC 56 (https://rebornpipes.com/2019/08/09/back-to-bob-kerrs-estate-linking-petersons-kapruf-9bc-with-the-56-shape-number/). These were interesting that they had a unique numbering system designed for Petersons pipes that were specifically brought to Canada by the Canadian importer, Genin, Trudeau & Co. of Montreal, Quebec. I have included the links on that company below. (https://rebornpipes.com/2016/09/13/petersons-pipes-brochure-from-genin-trudeau-co-montreal-quebec/). I restored an English Made Peterson’s System ‘0’ 1307 bent billiard a  (https://rebornpipes.com/2019/08/17/an-english-made-petersons-system-0-1307-bent-billiard-from-bob-kerrs-estate/) and a Republic Era Peterson’s Flame Grain Bent billiard with a fishtail stem (https://rebornpipes.com/2019/08/16/a-petersons-flame-grain-x220s-bent-billiard-from-bob-kerrs-estate/).

I have been enjoying working on the Peterson’s in the estate. When I took it out of the box of the pipes that Jeff had cleaned up and sent back to me, I could see that it was stamped K&P over Dublin on the left side of the shank and “A Peterson’s Product” Made in Ireland followed by the shape number 213 on the right shank. It has some stunning grain around the bowl and shank under the thick grime. There was a thick cake in the bowl with remnants of tobacco stuck on the walls. There was a fair lava overflow on the rim. The top and edges of the rim are damaged, beat up and very dirty. I think that there was a beautiful pipe underneath all of the grime and buildup of years of use. The band is stamped Sterling Silver with the K&P in chevrons above that. The stem was oxidized and calcified toward the end with some tooth chatter but surprisingly it did not have the deep tooth marks that I have come to expect from Bob’s pipes but the button edges were worn. Jeff took photos of the pipe before he started his cleanup work on it. Jeff took photos of the bowl and rim top to show the thick, hard cake in the bowl and the lava build up on the top of the rim and the edges of the bowl. The rim top had taken a beating and was chipped and worn down. It looked like Bob or someone had used if for a hammer. The inner and outer edges of the rim also sustained damage.   Jeff took photos of the sides and heel of the bowl to show the condition of the finish. You can see the beautiful mix of swirled, flame and birdseye grain underneath the dirt and debris of the years. The cross grain on the heel was beautiful.    Jeff took photos of the stamping on both sides of the bowl and shank. The stamping on the left side was readable as you can see from the photos. It read K&P Dublin. The stamp on the right side read A “Peterson’s Product” Made in Ireland followed by the shape number 213. You can see crack in the shank under the band on the right side. The third photo shows the crack clearly. Jeff took photos of the top and underside of the stem showing the tooth chatter, scratching and oxidation on the stem surface and wear on the edges of the button. I turned first to Pipephil’s site to reacquaint myself with the brand. Unfortunately there was no information to be found on this specific pipe. I then turned to Pipedia’s article on Peterson pipes to see what I could garner from that information. It is a great read in terms of the history of the brand (https://pipedia.org/wiki/Peterson). I have included a bit of the pertinent history here.

The Irish free state came into being in December 1922. The Free State Era was from 1922 through to 1937.  Peterson followed with a stamp of “Irish Free State” in either one or two lines, either parallel or perpendicular to the shanks axis and extremely close to the stem.

Ireland was a republic in all but name. Eventually the Irish people voted for a new constitution in 1937 and Ireland then formally became Eire (Ireland in Irish).

The Made in Eire era stamps were from 1938 through till 1941. Peterson now stamped their pipes with “Made in Eire” in a circle format with “Made” and “Eire” in a circle with the “in” located in the centre of the circle. This was used during the years of 1938 – 41. Later they stamped their pipes with “Made in Ireland” in a circle format 1945-1947 and still later with “Made in Ireland” in a block format 1947-1949. The “Made in Ireland” block format came in either one line or two lines. The Republic of Ireland was formed on 17 April 1949.

With that information in hand I knew what I was dealing with in terms of the stamping on the pipe. It is a 1915-1949 Pre Republic Period pipe. With that dating it is one of Bob’s earlier pipes. Now it was time to work on the pipe.

With over 125 pipes to clean from Bob’s estate I am very glad for Jeff’s help cleaning them. He cleaned this filthy pipe with his usual penchant for thoroughness that I really appreciate. This one was a real mess and 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 looks very good with great looking grain around the bowl and shank. Jeff soaked the stem in Before & After Deoxidizer to remove the oxidation on the rubber. When the pipe arrived here in Vancouver for the second stop of its restoration tour I was amazed it looked so good. I took photos before I started my part of the work. 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. I also wanted to show that the damage to the rim top was as extensive as I had originally thought. The rim top was burned and darkened with nicks and notches around the top and inner edge. There was some darkening on the back portion of the rim top and inner edge on the front. The rim top was a nightmare of issues. The outer edge of the bowl was also damaged. I also took close up photos of the stem to show the lack of tooth marks and chatter on the stem surface. You can also see the wear to the button.   One of the things I appreciate about Jeff’s cleanup is that he works to protect and preserve the nomenclature on the shank of the pipes that he works on. The stamping on this one was very faint to start with so I was worried that it would disappear altogether with the cleanup. He was not only able to preserve it but it is clearer than shown in the earlier photos. I took some photos to show the clarity of the stamping. I have noticed that many restorers are not careful to protect the stamping in their cleaning process and often by the end of the restoration the nomenclature is almost destroyed. I would like to encourage all of us to be careful in our work to preserve this as it is a critical piece of pipe restoration!   Since this is another pipe Bob’s estate I am sure that some of you have read at least some of the other restoration work that has been done on the previous pipes. You have also read what I have included about Bob Kerr, the pipeman who held these pipes in trust before I came to work on them (see photo to the left). Also, if you have followed the blog for long you will already know that I like to include background information on the pipeman whose pipes I am restoring. For me, when I am working on an estate I really like to have a sense of the person who held the pipes in trust before I worked on them. It gives me another dimension of the restoration work. I asked Brian if he or his wife would like to write a brief biographical tribute to her father, Bob. His daughter worked on it and I received the following short write up on him and some pictures to go along with the words including one of Bob’s carvings. Once again I thank you Brian and tell your wife thank you as well.

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

Now, on to the rest of the restoration of this beautifully grained “A Peterson Product” Made in Ireland 213 Billiard. It was great that I did not need to clean the pipe. I decided to start the process by addressing the damage to rim top and the inner edge. I removed the loose band from the shank before I started. From the extent of damage to the inner edge of the rim and the top of the bowl I decided to begin by filling in the damage in the deep chips on the rim top and edge with super glue. Once it cured I topped the bowl on a topping board using 220 grit sandpaper to remove as much of the damage as possible. I took photos to show the slow process of repairing that damage. The photos show the topping process and the rim top after I had topped it to an acceptable point where the condition of the top and edges was good.  I used a folded piece of 220 grit sandpaper to clean up the inner edge and give it a light bevel to take care of the damage. I polished it with 400 grit sandpaper.With the top finished I moved on to address the crack in the shank. In my examination I could see that the crack been repaired somewhere along the way. The crack itself had been filled in with glue. I topped up the filling with clear Krazy Glue to insure that the repair did not shift.     I painted the surface of the shank with Weldbond all-purpose glue and made sure that the crack was covered. I pressed the silver band on the shank and aligned the stamping on the band with the stamping on the left side of the shank. I took photos of the rebanded shank. The repair looks really good. I polished the briar with micromesh sanding pads – wet sanding it with 1500-12000 grit pads and I wiped the bowl down after each sanding pad with a damp cloth. The bowl began to take on a finished shine. I stained the rim top and edges with a Cherry and Walnut Stain pen to match the colour of the stain on the bowl. Once it was polished with the Before & After Balm and buffed with a microfiber cloth the stain would blend perfectly.After the stain had cured, I rubbed the bowl and rim down with Before & After Restoration Balm. I worked it into the surface of the briar with my fingertips to clean, enliven and protect it. I let the balm sit for a little while and then buffed with a cotton cloth to raise the shine. I really like watching the Balm do its magic and bring the briar alive.  I polished the stem with micromesh sanding pads – wet sanding with 1500-12000 grit pads. I wiped the stem down after each sanding pad with Obsidian Oil. I polished it with Before & After Pipe Stem Polish – both Fine and Extra Fine. Once I had finished the polishing I gave it a coat of a new product I am experimenting with from Briarville Pipe Repair. It is called “No Oxy Oil” and it is made to protect the stem from oxidizing. I set it aside to dry.   As usual at this point in the restoration process I am excited to be on the homestretch. I look forward to the final look when it is put back together, polished and waxed. I put the bowl and stem back together. I polished the bowl and stem with Blue Diamond to polish out the scratches in the briar and the vulcanite. I gave the bowl and the stem multiple coats of carnauba wax. I buffed the pipe with a clean buffing pad to raise the shine. I hand buffed it with a microfiber cloth to deepen the shine. The pipe polished up pretty nicely. The grain really pops with the wax and polish. The shiny black vulcanite stem is a beautiful contrast to the browns of the bowl. This Peterson’s K&P Dublin 213 Billiard was another fun pipe to work on thanks to Jeff’s cleanup work. The repair to the rim top and edges came out well. The original Sterling Silver Band covers the shank repair well and binds it all together. It really is a quite stunning piece of briar whose shape follows the flow of the briar. The pipe is comfortable pipe to hold in the hand. The finished pipe is shown in the photos below. The dimensions of the pipe are Length: 5 ¾ inches, Height: 1 ½ inches, Outside diameter of the bowl: 1 ¼ inches, Chamber diameter: ¾ of an inch. This beautiful pipe will be going on the rebornpipes store if you would like to add it to your collection and carry on Bob’s legacy. If not, I have a lot more of Bob’s estate to work on of various brands. Perhaps one of those will catch your attention. Thanks for reading this blog and my reflections on the pipe while I worked on it. This is an interesting estate to bring back to life.

Restoring a Faceted “Malaga” Poker from Kathy’s Dad’s Pipes


Blog by Steve Laug

This morning I was looking through the bag of pipes that Alex chose from George Koch’s estate. This one is the first of two interestingly shaped Poker Sitters. The rim was well knocked about and the acrylic stem had some tooth dents and deep gouges in the surface of the variegated silver. The inner and outer edges of the rim top were damaged from knocking the pipe out against a hard surface. The carver had done a great job matching the mixed grain to the flow of the shape of the bowl and shank. Remember that all of these Malaga pipes came to my brother and me in several shipments of pipes from George’s daughter Kathy. Jeff unwrapped the pipes when they came to him and took the following photo to give an idea of the volume of the pipes that we purchased. The carver did a great job of shaping the pipe to follow the grain on the briar. The large bowl, round shank and tapered variegated silver acrylic stem look very good. The bowl had a thick cake that overflowed with lava onto the rim. The inner and outer edges of the rim were in rough shape as was the rim top. The sides of the bowl and shank are very dirty with grime and oils from prolonged use. The stamping on the left side of the shank read “MALAGA”. The right side read Imported Briar. The acrylic stem had tooth dents and chatter on the top and the underside. Jeff took these photos before he started the cleanup work on the pipe. Jeff took close up photos of the bowl and rim to capture the condition of the pipe before he started his cleanup work. The rim top had some lava overflow and darkening and wear under the lava on the rim at the back of the bowl. There appeared to be deep nicks in the outer edge at the front of the grimy pipe. He also took photos of the sides and bottom of the bowl and shank to show the beautiful grain and unique carvings around the bowl. The photos show the general condition of the bowl and wear on the finish. It is very dirty but this is another beautiful pipe. Jeff took a photo to capture the stamping on the top side of the shank. The photos show the stamping “MALAGA” on the left side of the shank. The stamping is very readable. The next photos show the stem surface. There are tooth marks and chatter on both sides near the button and wear on the button surface and edges.In each of the previous blogs that I have written on the restoration of George’s pipes I have told his story. If you have followed the restorations you will have read the information and the background piece that Kathy did on her father. Here is a link to one of the previous blogs on his Malaga pipes where I included her tribute in full (https://rebornpipes.com/2019/01/26/back-to-kathys-dads-pipes-restoring-a-%c2%bc-bent-malaga-author/). You can also read the bio on her Dad, George Koch. It is an interesting read and one that shows just how far our pipe collecting passion can go when we find a brand of pipes that we enjoy. I am going to only include the portion on the Malagas at this point. If you wish to read the rest follow the link above.

Kathy writes…We lived in Livonia, and that’s where his love for Malaga pipes began. After a few years he returned to Allis Chalmers and we moved back to Springfield. I remember that when we went back to Michigan to visit friends, Dad had to go to the Malaga store and acquire a few new pipes. Many a year I wrote to Malaga and they picked out a pipe for me to purchase that I could give Dad for a Christmas or birthday present. He was always pleased. His favorites were the straight stemmed medium sized bowl pipes, but he liked them all. 

He had some other pipes, but the Malagas were his favorites. I remember him smoking them sitting in his easy chair after work, with feet up on the ledge by the fire burning in the fireplace.  Growing up it was my job to clean them and he liked the inner bowl and stem coated with Watkins vanilla, leaving a little of that liquid in the bowl to soak in when I put them back on the rack…I’m very happy they are being restored by you and your brother and hope they find homes who enjoy them as much as Dad did. Thank-you for your care and interest. — Kathy, the oldest daughter

Jeff 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. Even after the cleanup it is another on that is in rough condition. But even in its damaged condition you can see the great grain on the bowl. The photos show the damaged rim top. The interesting shape, round shank and chewed acrylic stem give a clear picture of what the pipe must have looked like when George bought it at the shop. The rim top had been knocked hard against rough surfaces to knock out the dottle and left damage. The stamping on the left side of the shank read “MALAGA” and on the right side it read Imported Briar. The acrylic stem had been chewed but could be easily repaired. I took photos of the pipe before I started my work. I took a photo of the  rim top and bowl to show the condition of the pipe. You can see why I said it was used as a hammer. The surface of the rim is very rough and you can see the damage on both the inner and outer edge of the rim. There is some darkening on the back edge and surface of the rim top. I took photos of the stem to show the chewed condition it was in. Remember this is hard acrylic so it took some real gnawing to do this to it!I took photos of the shank to capture the stamping on both sides. The first photo shows the stamping “MALAGA” on the left and the second shows Imported Briar on the right. Both are clear and readable.I am also including the link to a blog that I wrote that gives some of the history of the Malaga brand and the Malaga Pipe Shop in Royal Oak, Michigan in the USA. I have written an earlier blog to give a little history of the Malaga Brand and the pipemaker, George Khoubesser. Here is the link – https://rebornpipes.com/tag/malaga-pipes/.That blog also includes links to a catalogue and the history of the pipemaker George Khoubesser. Follow the link to get a feel for the brand and the pipemaker.

I decided to start the restoration of the pipe by dealing with the rim top. I topped it on a topping board with 220 grit sandpaper and cleaned up the inner edge with a piece of folded 220 grit sandpaper. I used some clear Krazy Glue to fill in the rim damage on the front edge. It was nicked and worn so I filled it in to smooth it out. I sanded the repair after the glue cured. I smoothed out surface of the front edge and rim top until it blended into the surface. I polished the bowl and rim top with micromesh sanding pads to smooth out the rim edge repairs and top. I wet sanded with 1500-12000 grit pads and wiped the bowl down with a damp cloth after each pad. The photos show the progress. I scrubbed the briar with Murphy’s Oil Soap and a tooth brush. I rubbed it into the surface of the briar with my finger tips and let it sit for about 10 minutes then rinsed it off with running water. I dried it off with a soft cloth. I used an Oak Stain Pen to stain the rim top to blend topping and darkening into the bowl colour. I buffed it with a clean buffing pad. You can see from the photo below it blends well.I worked some Before & After Restoration Balm into the surface of the briar with my fingertips to clean, enliven and protect it. I let the balm sit for a little while and then buffed with a cotton cloth to raise the shine. The following photos show the bowl at this point in the restoration process. I am very happy with the results. I turned to the stem and filled in the deep tooth marks on both sides of the stem with clear Krazy Glue. I set it aside to let the repairs cure.I used a needle file to reshape the button edge on both sides. I sanded the surface of the stem with 220 grit sandpaper and 400 grit sandpaper to clean up the stem.I polished the stem with micromesh sanding pads – wet sanding with 1500-12000 grit sanding pads. I wiped it down after each sanding pad with a damp cloth. I finished by polishing it with Before & After Pipe Stem Polish both Fine and Extra Fine and then wiped it down a final time with a damp cloth. This restored “Malaga” Poker with a taper acrylic stem is a beauty. The unique shape of the bowl, the reshaped and repaired rim top and the cut of the briar work well to highlight the grain around the bowl sides. I polished acrylic silver variegated stem and the bowl 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 pipe polished up pretty nicely. The grain took on life with the buffing. The rich oil cured colour works well with the polished acrylic stem. The finished pipe has a rich look that is quite catching. Have a look at it with the photos below. The shape, finish and flow of the pipe and stem are very well done. The dimensions are Length: 6 inches, Height: 1 ¾ inches, Outside diameter of the bowl: 1 ¼ inches, Chamber diameter: ¾ of an inch. I will be adding the pipe to the box of finished Malaga pipes that I have completed for Alex. I am looking forward to hearing what he thinks of this beauty and once he fires it up and carries on the trust for George Koch. Thanks for walking through the restoration with me as I worked over another one of Kathy’s Dad’s Pipes.

Sprucing Up an Attractive Butz Choquin Supermate 1596 Panel


Blog by Dal Stanton

Without doubt, one of my favorite pastimes is go pipe picking!  My wife and I were on the Black Sea coast in the Bulgarian city of Burgas returning to an antique shop I had visited before on the main walking street very near the Black Sea coast.  I was not disappointed when I spied the copper pot full of pipes waiting for someone like me to come along.  The Butz Choquin Supermate now on my worktable was in the bunch that I pulled out to get a closer look.  To the left of the BC (pictured below) were a Oldo Billiard and Lincoln London Made with the Lindburgh Select Poker to the right.  Not pictured below that also came home with me is a Harvey Meer Lined Rusticated Dublin Rustified LONDON PARIS NEW YORK.  A very nice haul!

Jim saw the BC Supermate in the online ‘For “Pipe Dreamers” ONLY!’ collection along with a ‘Nightmare’ Canadian that was not needing a restoration but a resurrection!  In my communications with Jim, I discovered that he was from Pennsylvania and an engineer who has several hobbies that where he works with his hands and expressed appreciation for the restorations that he had seen posted from my worktable.  It was for that reason he looked at ThePipeSteward website and found two pipes that called his name and he commissioned them.  He also expressed appreciation for our work with the Daughters of Bulgaria – women and girls who have been trafficked and sexually exploited.  All the pipes commissioned by potential stewards benefit this cause. Here are pictures of this nice Paneled Butz Choquin 1596 now on my worktable.  The nomenclature on the left side of the shank is the BC fancy script ‘Butz-Choquin’ [over] ‘SUPERMATE’.  To the right, the stem is stamped with the traditional ‘BC’.  On the right shank side is the COM and shape number: ‘STCLAUDE – FRANCE’ [over] 1596.   I have heard on FB group postings that the long-time French pipe manufacturer is closing its doors.  I went to the main website of Butz Choquin and it was active, and I saw no notifications.  I’ll continue to investigate.  One of my first research projects with a French pipe, Jeantet, connected me with the history of St. Claude, France, the place that most say represent the birthplace of modern pipe manufacturing.  The BC name is among the earliest residents of St. Claude.  Pipedia provides this information about the origins of Butz Choquin:

Jean-Baptiste Choquin of Metz started out as a tobacconist. This enterprise was prosperous; he had several employees. Among those, there was a certain Gustave Butz who was its first workman and who became his son-in-law by marrying Choquin’s daughter Marie in 1858.  In 1858 Jean-Baptiste Choquin created, in collaboration with Gustave Butz, the Choquin pipe. This bent pipe with a flat-bottomed bowl was finished with an albatross-bone mouthpiece, fixed with silver rings.  In 1858, still in Metz, Gustave Butz built an establishment for the manufacture of the Choquin pipe which took the name of [Butz-Chochin]. In 1951, the Berrod-Regad company bought the trademark, continuing manufacture until 2002. Departing from Metz, the workshop was relocated to Saint-Claude, then also called ‘the world capital of the briar pipe,’ under the Berrod-Regad group. The Berrod-Regad group would go on to completely rebuild the network of representatives until finally entering the export market in 1960 and has since won several prizes, as well as the Gold Cup of French good taste.

In a few years, the brand’s collection increased from ten to seventy series. 135 years after it was founded, the pipe is still well-known not only in France but throughout the world. In 2002, the Berrod family, wishing to preserve manufacture of pipes in Saint-Claude, handed over the company to Fabien Guichon, a native of the area, who will continue to develop the brand during the 21st century.

I found this great picture of the Butz Choquin Supermate Panel in an ad on TobaccoPipe.com.  The box is classic, and I wish I had the pipe sock to go along!  I found the text along with the picture to be interesting as well in its description of the finish and the collectibility of this 1596 shape.The condition of the pipe on my table is a far cry from the other pipe that Jim commissioned, the Comoy’s The Lumberman!  While the chamber has moderately thick cake and the rim shows lava flow, the pipe generally is in very good shape. Cleaning and working on the stem’s tooth chatter and oxidation do not appear to offer any surprises.  To begin the sprucing of this BC Supermate, the stem is removed and cleaned with a pipe cleaner wetted with isopropyl 95% and added to a soak of Before & After Deoxidizer with other stems in the queue.After several hours of being in the soak, I take out the BC stem and clean the airway with a pipe cleaner dipped in isopropyl 95% to remove the Deoxidizer.  I also wipe off the raised oxidation using cotton pads also wetted with alcohol.To revitalize the stem, paraffin oil is applied with a cotton pad.Next, I tackle the stummel cleaning.  The cake in the chamber is moderately thick.To remove the cake, I use 2 of the 4 blade heads that come in the Pipnet Reaming Kit.  Following this, using the Savinelli Fitsall Tool to scrape the chamber walls, helps to fine tune the removal of carbon cake. Finally, sanding the chamber walls with 240 grade paper wrapped around a Sharpie Pen provides further cleaning of the chamber and I then wipe the carbon dust remaining with a cotton pad wetted with alcohol.Inspection of the chamber afterwards reveals healthy briar.  I move on.The picture above shows the lava buildup on the rim.  I turn now to cleaning the external briar surface using undiluted Murphy’s Oil Soap and a cotton pad. I also utilize my Winchester pocketknife carefully to scrape the rim. I take the stummel to the sink and continue the cleaning the internals with bristled shank brushes and anti-oil dish liquid soap.  After a thorough rinsing, back to the worktable to continue.  The rim cleaned off well and the stummel surface looks good. Next, targeting the internal cleaning further, pipe cleaners and cotton buds wetted with isopropyl 95% are used.  Tar and oils are excavated from the mortise walls by scraping with a small dental spoon.  After much effort, the pipe cleaners and buds start lightening and I decide to save the rest of the cleaning for later by employing a kosher salt and alcohol soak.After inspecting the briar surface, I find one old fill that I dig out with a dental probe and refill using clear CA glue.  I spot drop the glue on the small pit and use an accelerator to quicken the curing time. With 240 then 600 grade papers, I sand off the excess glue.The rim is still discolored with a dark ring around the inner rim edge.  I use a piece of 240 grade paper very lightly to sand the rim as well as the dark ring.After lightly sanding, it is apparent that there was a bevel on the inside edge of the rim which I decide to fresh. Using 240 grade paper with a hard surface pressing behind helps to form the bevel. The bevel looks classy!  I like it.There are minor nicks and cuts on the stummel surface which I use sanding sponges to address.  Beginning with the coarse sponge and following with the medium and light grade sponges the nicks and cuts are cleaned up.  I like sanding sponges as they are not as invasive as sanding papers but clean up minor problems on the surface.Next, I use micromesh pads to clean and smooth the stummel.  Starting with pads 1500 to 2400, I wet sand followed by dry sanding with pads 3200 to 4000 and 6000 to 12000.  I stay clear of the shank panels holding the nomenclatures.  Using Before & After Restoration Balm brings out the natural hues of the briar with a subtlety that I find attractive.  To apply it to the surface, I put some of the Balm on my fingers and work the Balm into the briar.  The consistency of the Balm starts with a cream-like texture and then thickens into a waxy substance.  After the Balm is fully worked in, I put the stummel aside to allow the Balm to do its things.  I take a picture during this stage.After 20 to 30 minutes, I remove the excess Balm with a cloth and then buff it up some with a microfiber cloth dedicated to the post-Balm buffing.  As hoped and expected, the deepening of the natural hues is very attractive – it looks great.  Moving on.The stem repairs are waiting, and I take a closer look at the tooth chatter and compressions on the upper and lower bit.The first step is to use the heating method by painting the damaged areas with the flame of a Bic lighter.  As the vulcanite heats, physics take over and the rubber expands.  The chatter and indentations hopefully will also expand to regain the original condition, or closer to it.  After using the flame, the upper bit’s tooth chatter all but disappeared.  The lower bit compressions lessened but are still evident.Addressing the remaining compressions on the lower bit, I use Starbond Black Medium-Thick CA glue to fill the indentations.  I first wipe the area with a cotton pad wetted with alcohol to clean the area.  Carefully, I spot drop glue on each compression.  I set the stem aside for the CA glue to cure.After the Black CA glue cures, I go to work removing the excess patch material using a flat needle file.  I also work on the button to refresh the lines.Following the filing, 240 grade sanding paper is employed to erase the file marks and to smooth the lower bit. Also using the file to freshen the button lip and 240 grade paper on the upper bit, tooth chatter sands out with no problems.Next, wet sanding with 600 grade paper followed by 000 grade steel wool smooths further – the upper then the lower bit pictured. I’m careful to avoid sanding the BC stem stamping on the left stem panel.  In the second picture, a close look at the shiny reflection reveals the subtle lines of the patch.  It looks great!Even though the ‘BC’ stem stamp is healthy, which is nice for a change(!), I avoid direct sanding over it.  To clean around the stamping and to remove residual oxidation, I use a Mr. Clean Magic Eraser sponge which is less abrasive than sanding paper.  It helps to darken and clean the vulcanite around the stamping.On a roll, I move forward with the full regimen of 9 micromesh pads.  Starting with pads 1500 to 2400, wet sanding is employed.  Following this, using pads 3200 to 4000 and 6000 to 12000, I dry sand.  Between each set of 3 pads, Obsidian Oil is used to revitalize the vulcanite stem.  The pads and Oil do the job – nice! After attempting to rejoin the stem and the stummel to apply compound, as is the case sometimes, the tenon fit is too tight.  With the cleaning process, the briar expands, and this sometimes results in the fit being too tight.  It is best not to force the fit and risk cracking the shank.  I use a half round needle file to lightly file the mortise surface – very lightly.  After another try and discovering that it is still too tight, I use 470 grade paper wrapped around the tenon and rotate the stem while the paper hugs the tenon.  After a few attempts to fit, the tenon finally seats well.With the stem and stummel rejoined, a cotton cloth buffing wheel is mounted to the Dremel with the speed set at 40% full power.  Blue Diamond is then applied methodically to both stem and stummel.  After finishing with applying the compound, a felt cloth buffing helps to remove the residual compound dust in preparation for applying wax.Before applying the wax, one project awaits: the ‘BC’ stem stamp.  To refresh the ‘BC’ stamping on the stem I dab white acrylic paint on the lettering.  Then the excess paint is absorbed using a cotton pad.  It doesn’t take long for the paint to fully dry.  After it dries, I carefully remove the excess paint using the point of a toothpick.  I also use the flat edge of the toothpick to scrape over the top of the stamp to sharpen the lines.  It looks great! After changing the cotton cloth buffing wheel on the Dremel, maintaining the same speed, carnauba wax is applied to the entire stem.  After applying a few rounds of wax to the pipe, I follow by giving the pipe a serious buffing with a microfiber cloth to raise the shine.Earlier, the ad described this pipe shape as ‘esteemed’. This description fits well.  I have a square shank Peretti Billiard that I like a lot.  This Butz Choquin Supermate 1596’s square shank transitioning to a tapered square stem is very attractive – the lines draw the eye in for a closer look.  Added to this, the Panel shape alignment compliments the flow of the shank and stem to give an overall solid or full look.  The light hues of the briar grain also add to this ensemble.  Jim commissioned this BC Supermate and will have the first opportunity to acquire it in The Pipe Steward Store.  This pipe benefits our work here in Bulgaria with the Daughters of Bulgaria – women and girls who have been trafficked and sexually exploited.  Thanks for joining me!

Redeeming a Malaga Canadian – the 1st of 2 pipes that are going home


Blog by Steve Laug

Yesterday afternoon I received and email from a reader of the rebornpipes blog who was on the hunt for a Malaga pipe or two for a colleague of hers. What made it interesting was that the colleague’s grandfather and family were the original owners of Malaga Pipes. Here is her message to me:

Hi There

I work with Lisa Holloway formerly Saraynian and her grandfather and consecutive family were the original owner of Malaga Pipes

Id love to be able to purchase one for her for Christmas this year but since they went out of business in 1999 I have no idea where to get one or how much they are

Would you be able to help me find one and purchase it for her.

Please let me know thanks so much

Diane

I read her email at work and when I got home I went through the Malaga pipes from George Koch’s estate. I picked two of them that I thought might interest her and sent her the pictures of the pipes that I had available. The two I chose needed to be restored before I could send them to her but they showed some promise. The first of them was a long shank Canadian that had some mixed grain and a vulcanite stem. The mix of grain styles around the bowl and shank combined with the stem make it a stunning pipe. It is one of the many Malaga pipes that came to my brother and me in several shipments of pipes from George’s daughter Kathy. When Jeff got each box the pipes were well wrapped and packed. Jeff unwrapped them and took the following photo to give an idea of the volume of the pipes that we purchased. This Malaga came in mixed in a box of pipes much like the one below. In each of the previous blogs that I have written on the restoration of George’s pipes I have told his story. If you have followed the restorations you will have read the information and the background piece that Kathy did on her father. Here is a link to one of the previous blogs on his Malaga pipes where I included her tribute in full (https://rebornpipes.com/2019/01/26/back-to-kathys-dads-pipes-restoring-a-%c2%bc-bent-malaga-author/). You can also read the bio on her Dad, George Koch. It is an interesting read and one that shows just how far our pipe collecting passion can go when we find a brand of pipes that we enjoy. I am going to only include the portion on the Malagas at this point. If you wish to read the rest follow the link above.

Kathy writes…We lived in Livonia, and that’s where his love for Malaga pipes began. After a few years he returned to Allis Chalmers and we moved back to Springfield. I remember that when we went back to Michigan to visit friends, Dad had to go to the Malaga store and acquire a few new pipes. Many a year I wrote to Malaga and they picked out a pipe for me to purchase that I could give Dad for a Christmas or birthday present. He was always pleased. His favorites were the straight stemmed medium sized bowl pipes, but he liked them all. 

He had some other pipes, but the Malagas were his favorites. I remember him smoking them sitting in his easy chair after work, with feet up on the ledge by the fire burning in the fireplace.  Growing up it was my job to clean them and he liked the inner bowl and stem coated with Watkins vanilla, leaving a little of that liquid in the bowl to soak in when I put them back on the rack…I’m very happy they are being restored by you and your brother and hope they find homes who enjoy them as much as Dad did. Thank-you for your care and interest. — Kathy, the oldest daughter

The “Malaga” Long Shank Canadian is next pipe on the table. The carver did a great job of shaping the pipe to follow the grain on the briar. The bowl, oval shank and straight tapered stem look very good. The bowl had a thick cake that overflowed with lava onto the rim so that it was impossible to see if there was damage on the inner edges. The sides of the bowl and shank are very dirty with grime and oils from prolonged use. The stamping on the top of the shank read “MALAGA”. On the underside it is stamped IMPORTED BRIAR. The stem had tooth dents and chatter on the top and the underside of the stem. There was some thick calcification and also some oxidation deep in the vulcanite of the stem surface. Jeff took these photos before he started the cleanup work on the pipe. Jeff took close up photos of the bowl and rim to capture the condition of the pipe before he started his cleanup work. The rim top had some lava overflow and darkening on the back of the bowl. There appeared to be deep gouges in the inner edge of the grimy pipe. The outer edge looked to be in decent condition with perhaps some burn marks on the front.He also took a photo of the side and bottom of the bowl and shank to show the beautiful grain around the bowl. The photos show the general condition of the bowl and dirt and wear on the rich oil finish. It is very dirty but this is another beautiful pipe.Jeff took a photo to capture the stamping on the top side of the shank. The photos show the stamping “MALAGA” on the topside of the shank and IMPORTED BRIAR on the underside. The stamping is very readable. The next photos show the stem surface. There are tooth marks and chatter on both sides near the button and wear on the button surface and edges. You can also see the calcification and the oxidation on the stem.I am also including the link to a blog that I wrote that gives some of the history of the Malaga brand and the Malaga Pipe Shop in Royal Oak, Michigan in the USA. I have written an earlier blog to give a little history of the Malaga Brand and the pipemaker, George Khoubesser. Here is the link – https://rebornpipes.com/tag/malaga-pipes/.That blog also includes links to a catalogue and the history of the pipemaker George Khoubesser. Follow the link to get a feel for the brand and the pipemaker.

Jeff 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 the lava build up on the rim top and the flat surface of the rim top and the inner edge ha some serious burn damage on the front and back side. The outer edge looked very good. I took photos of the pipe to show its condition before I started my work on it. The stem also looked better. I took close up photos of the bowl and rim top as well as the stem. You can see the condition of the rim top and bowl in the first photo. Jeff was able to remove all of the tar and oils but you can now see the damage on the top and inside rim edge. The edge is out of round. There is a burn mark that extends across back and front edge of the rim top at that point. The stem had tooth marks and chatter on both sides near and on the button surface on both sides.I took a photo of the stamping on the shank to show how good the condition is. It shows the “MALAGA”and the IMPORTED BRIAR stamp and they are very legible.I decided to address the rim top first. I topped the bowl on a topping board with 220 grit sandpaper. I wanted to minimize the damage on the top, remove the darkening and clean up the damage on the inner edges of the bowl. I used a folded piece of 220 grit sandpaper to clean up the damage on the right rear inner edge of the bowl. I gave the inner edge a slight bevel to repair the damage. I polished the edge with 400 grit wet dry sandpaper. The rim top and edges really looked better.I polished the bowl and rim with a medium and a fine sanding sponge to begin the process of removing the scratches and blending the restored rim top into the rest of the bowl. The photos tell the story. I polished the rim top and the briar with micromesh sanding pads. I wet sanded the bowl with 1500-12000 grit sanding pads. I wiped the bowl down after each pad with a damp cloth to remove the sanding dust. I scrubbed the briar with Before & After Briar Cleaner and a tooth brush. I rubbed it into the surface of the briar with my finger tips and let it sit for about 10 minutes then rinsed it off with running water. I dried it off with a soft cloth. I worked some Before & After Restoration Balm into the surface of the briar with my fingertips to clean, enliven and protect it. I let the balm sit for a little while and then buffed with a cotton cloth to raise the shine. The following photos show the bowl at this point in the restoration process. I am very happy with the results. I turned to the stem to address the issues on the surface of both sides at the button. I painted the surface of the stem with the flame of a lighter to lift the indentations. Since vulcanite has “memory” it often will return to its original condition when heated. It worked pretty well leaving behind light chatter and one small tooth mark that will need to be repaired.I used a needle file to redefine the sharp edge and the surface of the button. It had been worn down and lost its definition.I filled in the one remaining tooth dent with a drop of clear super glue and set it aside for a few moments to cure.I sanded both sides smooth with 220 grit sandpaper and 400 grit sandpaper to blend the tooth chatter and the repair into the surface of the stem. As I sanded and reshaped the button and stem surface the repaired areas and the tooth chatter disappeared.I used some Denicare Mouthpiece Polish that I have in my kit to start polishing out some of the scratches and remaining oxidation on the stem. I rubbed it in with a cotton pad and my finger tip and buffed it off with a cotton pad.I polished the stem with micromesh sanding pads – wet sanding with 1500-12000 grit sanding pads. I wiped it down after each sanding pad Obsidian Oil. I finished by polishing it with Before & After Pipe Stem Polish both fine and extra Fine and then wiped it down with a final coat of Obsidian Oil. This is a Malaga Long Shank Canadian with a vulcanite tapered stem. It has a great look and feel. The shape of the bowl, the beveled rim top and the cut of the briar work well to highlight the grain around the bowl sides. I polished stem and the bowl 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 pipe polished up pretty nicely. The grain took on life with the buffing. The rich oil cured colour works well with the polished vulcanite stem. The finished pipe has a rich look that is quite catching. Have a look at it with the photos below. The shape, finish and flow of the pipe and stem are very well done. The dimensions are Length: 6 ½ inches, Height: 1 ½ inches, Outside diameter of the bowl: 1 1/8 inches, Chamber diameter: ¾ of an inch. When the second Malaga is finished I will mail it off to Diane. I can’t wait to hear what her colleague thinks when she opens her Christmas present! I am glad that she is carrying on both the trust for George Koch and her family. Thanks for walking through the restoration with me as I worked over another one of Kathy’s Dad’s Pipes.