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Sprucing Up a Meerschaum Teardrop Lattice Billiard


Blog Dal Stanton

I just completed an Aldo Velani from what I’ve called the St. Louis Lot of 26 (See: Refreshing a Saucy Italian Aldo Velani Trio Bent Apple) and the next pipe in queue is also from this Lot.  The Meerschaum just above the giant Champion Churchwarden’s bowl is on the worktable now.  My son, Josiah found this lot in an antique shop in St. Louis where he was studying.  He sent me a text here in Bulgaria about his find with pictures.  We went in together to purchase the lot with the provision that my son’s part of the purchase would be for me to pick a pipe out of the lot as a Christmas present from him.  I chose the giant Champion Churchwarden!  Other pipe men and women have chosen other pipes from this lot of treasures which are posted in the online collection, For “Pipe Dreamers” Only! .This is where Jeremiah, from the state of California, saw the Meerschaum and commissioned him back when my wife and I were enjoying the Black Sea during our summer R&R.  I appreciate Jeremiah’s patience as his pipe worked up the queue!  Here are more pictures taking a closer look at the Meerschaum Teardrop Lattice Billiard. There are no markings on the pipe.  The size of the Billiard shape is Length 5 5/16 inches, Height 1 5/8 inches, Rim width 1 1/8 inches, Chamber width 3/4 inches, Chamber depth 1 3/8 inches. What is unique about this Meerschaum Teardrop Lattice design are the size of the tear drops, or the egg-shaped carvings – they are large.  The fine circular scallop carvings are in comparison, small and tight.  The Meer is set-up with a basic push/pull tenon which appears to have a crack in the mortise insert (pictured above).  The tenon insert is worn and discolored.  The pipe itself appears to be in great shape in need of cleaning.  The chamber has some carbon build up which is not needed or desired in a Meer chamber.  One of the great things about Meerschaums is that they do not need to rest between uses as with briars.  There is a bit of the coveted patina developing around the scalloped shank and climbing toward the back of the bowl.  This is good.  This brief description from Meerschaum.com that I’ve previously cited is helpful to understand the nature of Meerschaum:

Meerschaum is a very rare mineral, a kind of hard white clay. Light and porous structure of the pipe keeps the smoke cool and soft. The pipe itself is a natural filter which absorbs the nicotine. Because of this peculiarity, meerschaum pipes slowly change their colors to different tones of gold and dark brown. This adds an esthetic enjoyment to its great smoking pleasure. The longer a pipe is smoked the more valuable it becomes due to the color change. Today many old and rare meerschaums have found a permanent place in museums and private collections.

I begin the restoration of this Meerschaum by disassembling the component parts.  This helps with the cleaning.  I also plan to replace the push/pull tenon.  With the help of a pair of needle nose pliers, the push/pull components are easily removed.Taking the stummel in hand, the chamber has moderate carbon cake build up which will be removed.I don’t use the reaming kit with Meerschaum because it produces too much indiscriminate torque on the Meer chamber wall.  A more gentle and strategic approach is the use of the Savinelli Fitsall tool.  I’m able to scrape the chamber walls with the tool in a way that removes carbon buildup but is mindful of the Meerschaum.Following the wall scraping, the chamber wall is sanded with 240 grade paper wrapped around a Sharpie Pen.  This does a good job of removing the last vestiges of carbon build up.  A Meerschaum chamber does not need a cake protection like a briar chamber.An inspection of the chamber after cleaning looks good.  The Meer is still colored but it is clean and smooth to the touch.Cleaning the external surface of the Meerschaum starts with the rim which has lava caked on it, especially on the aft quadrant where most of the lighting occurred.  Using undiluted Murphy’s Oil Soap, I begin on the rim to soften and break up the lava without damaging the scalloped rim carvings.  I am patient to allow the solvents to break up the cake on the rim.  I also gently utilize a brass wired brush on the rim but most of the scrubbing is done with a bristled toothbrush.  I use the toothbrush to clean the rim as well as work into all the carvings of the bowl.  I take the bowl to the kitchen sink and continue cleaning with a cotton pad and toothbrush under warm water.  Not pictured is something I tried for the first time.  I have a Soft-Scrub product here in Bulgaria called CIT which has a gentle bleach and abrasion composition.  I put a small amount on a cotton pad and continue to work on the rim’s darkened condition.  After a thorough rinsing with warm water, the stummel returns to the worktable.I’m very pleased with the cleaning results. The stummel will lighten more because it’s still damp from the cleaning. The rim cleaned up very nicely.  One blackened area remains on the extreme edge of the aft rim quadrant.  Later, I may be able to clean this with very strategic sanding. The patina gathering at the bowl/shank crook remains through the cleaning. Moving now to cleaning the internals, I use cotton buds and pipe cleaners dipped in isopropyl 95%.  I also employ a small dental spoon to scrape the internal walls of old oils and tars.  The more excavated, the faster the cotton buds can clean.  In time the buds emerge in a lightened state and the job is completed.It took no time to dispatch the internal cleaning of the acrylic stem.Focusing now on the stem repairs, I like the brown tone acrylic.  It will clean up well.  The stem bit has significant biting damage to both upper and lower bit that will require patches from the start.  The button is damaged as well.  It appears this stem was the victim of mauling, not just biting.  There is also what appears to be a burn on the side of the stem – that’s the only thing I can think it would be. It is rough to the touch so sanding should help this blemish later.I use regular CA glue to fill the compressions on one side first.  An accelerator is also used to hold the glue in place and to quicken the curing process.After the CA glue cures, I use the flat needle file to remove the excess patch material and to shape and refresh the button lips – both upper and lower.  The first two pictures are the upper.Next the lower.Next, with the filing completed, I continue to sand with 240 grade paper on the upper and lower bit.From the bit, I also sand the entire stem and focus on the burn or blemish on the side of the stem.As I look at the mark on the side of the stem, I believe now it’s simply a blemish in the acrylic.  It is not just surface but seems to go deeper.  I can only sand it out as much as possible.After sanding with 240 paper, I transition to wet sanding the entire stem with 600 grade paper then the 000 grade steel wool fine tunes the acrylic stem – it’s looking great.Transitioning now to the full regimen of micromesh pads, I wet sand with pads 1500 to 2400 and follow with dry sanding with pads 3200 to 4000 and 6000 to 12000.  Between each set of 3 pads Obsidian Oil is applied.  I like the fire in this acrylic stem. I want to strategically sand the burn spot on the extreme back of the inner rim edge.  I use a very light 240 grade paper and follow with a dry 1500 micromesh pad.I think it looks good.  The darkness is not erased but it is reduced.  To enrich and encourage the coveted patina in the Meerschaum, the age-old approach is a beeswax treatment.  Using a hot air gun, the beeswax in the Mason jar is heated until it liquefies.  I also heat the Meer bowl with the gun and then apply the liquefied beeswax to the stummel – painting thoroughly all the nooks and crannies of the sculpting.  During the painting process, I have the hot air gun propped in such a way as to continue to blow hot air on the stummel as I’m painting it.  This helps to keep the wax thin and it is more easily absorbed into the porous Meerschaum.After the stummel is thoroughly coated in beeswax, I put it aside for the stummel to cool.After cooling, I buff the stummel with a microfiber cloth to remove excess wax and to raise the shine.  The Meerschaum literally drank in the beeswax!I decided earlier to replace the old push/pull tenon system with a new set.  The shank acrylic fitment and the stem tenon both screwed in with no problem. When I tried inserting the tenon into the shank receptor, the fit was very tight – too tight to fit without me being nervous about cracking something.  To remedy this, I hand turn a drill bit just a bit larger than the hole and it bores out a slightly more comfortable fit.  This works like a charm. With the stem and stummel reunited, after mounting a cotton cloth buffing wheel to the Dremel and set the speed at 40% full power and Blue Diamond compound is applied only to the acrylic stem.  Following the compound, after wiping the stem with a felt cloth to clean it of compound dust, the same procedure is followed with another cotton cloth buffing wheel and carnauba wax is applied to the acrylic stem.  After this, the entire Meerschaum Teardrop Lattice Billiard is hand buffed to raise the shine.

The design of this Meerschaum is a classic carvers’ template in this genre of pipe.  The patina on the Meerschaum has a good start with the honey honed hues which complement beautifully the fire waves of the acrylic stem.  Jeremiah wanted to add a Meerschaum to his growing collection, and he will have the first opportunity to add this Teardrop Lattice Billiard from The Pipe Steward Store benefiting the Daughters of Bulgaria – women and girls who have been trafficked and sexually exploited.  Thanks for joining me!

Fresh Life for a Bari Matador Freehand


Blog by Steve Laug

The next pipe on the work table is a pipe that came to me from Joe in Georgia. He was selling an estate for a family and sent me a list that had a Bari Matador pipe listed. I had him send me some photos of the pipe so I could see what it looked like. I was initially interested in the pipe and once I saw it we struck a deal and the pipe was on its way to Jeff. Often when I buy pipes from the US I have the sellers send them to Jeff and he cleans them for me before sending them up to me for the rest of the restoration work. It was an intriguing pipe with a combination of sandblast and smooth finishes. The left side of the bowl is sandblasted and the rest of the bowl is smooth. The rim top of the bowl is a plateau finish. The stem was a fancy turned stem with a paneled taper.This Freehand shaped Bari is interesting in that it borders on being a panel. The front and sides are flat making the pipe rectangular while the shank is round. The panel idea follows through to the stem after the fancy turning. The blade of the stem is square. It is stamped on the left side of the shank and reads Bari over Matador in a football shape. On the right side it reads Handmade In Denmark. The finish is smooth on three sides of the pipe (right, front and back) and is sandblasted on the left side of the bowl. It has some great grain around the smooth sides of the bowl and shank. The blast is deep and rugged with some great grain as well. The rim top is plateau and is craggy. The pipe was dirty and the finish flat. There were some dings and scratches in the briar but otherwise it was in good condition. The bowl was lightly caked and the inner edge of the rim looked to be in good condition. The fancy saddle stem was vulcanite and had tooth marks and chatter on both sides near the button. It was oxidized and had some calcification on the end. Jeff took some photos of the pipe to show the general condition of the pipe before he started his clean up. Jeff took some close-up photos of the rim top and bowl to show the overall condition. There is some light lava in some of the grooves but overall it is just dusty. The edges look very good.Jeff took some photos of the sides and heel of the bowl to show the condition of the finish on the pipe. The photos show the beautiful grain around the bowl. Under the dust and grime it was a nice looking bowl. I think it will be a beautiful Freehand pipe once it is restored. He took a photo of the stamping on the left side of the shank. On the shank it was stamped Bari over Matador in the football shape as noted above. In my examination of the pipe when it arrived I could see that it was also stamped on the right side Handmade in Denmark but it was very faint.The next two photos show the top and underside of the stem. It is dirty and has calcification on both sides at the button. There is also some tooth chatter and some light tooth marks with some damage to the button edge. The third photo shows the fancy turning on the shank end of the stem.Paresh has restored a similar Bari Matador and written about it on a blog. It is an informative piece so I have included the link to it here (https://rebornpipes.com/2019/05/15/a-simple-refurbishing-of-a-bari-matador/).

I also have worked on quite a few Bari’s in the past and did the work on the brand information so rather than rework all of that I am including the information I found while working on a Bari De Luxe Freehand. I quoted a section from Pipedia on Bari pipes (https://pipedia.org/wiki/Bari). I am including the material that I found previously on the brand. It is good to be reminded of the fact that Viggo Nielsen was the pipe maker. I quote:

Pipedia states that Bari Piber was founded by Viggo Nielsen in Kolding, Denmark around the turn of 1950/51. His sons Kai and Jørgen both grew into their father’s business from a very young age and worked there till 1975. Both have become successful pipe makers.

Bari successfully adapted the new Danish design that had been started mainly by Stanwell for its own models. Bari was sold in 1978 to Van Eicken Tobaccos in Hamburg, Germany though the pipes were still made in Denmark. From 1978 to 1993 Åge Bogelund and Helmer Thomsen headed Bari’s pipe production.

Helmer Thomson bought the company in 1993 re-naming it to “Bari Piber Helmer Thomsen”. The workshop moved to more convenient buildings in Vejen. Bogelund, who created very respectable freehands of his own during the time at Bari got lost somehow after 1993. Bari’s basic conception fundamentally stayed the same for decades: series pipes pre-worked by machines and carefully finished by hand – thus no spectacular highgrades but solid, reliable every day’s companions were what they turned out. The most famous series are the smooth “Classic Diamond” and the blasted “Wiking”.

Now that I was reminded about the Viggo Nielsen connection it was time to work on the pipe on my end. When I received it Jeff had once again done an amazing job cleaning the pipe. He reamed it with a PipNet pipe reamer and got rid of the cake. He cleaned up the reaming with a Savinelli Fitsall Pipe Knife so that we could see the walls of the bowl and assess for damage. He cleaned the internals of the shank and stem with alcohol, pipe cleaners and alcohol. He scrubbed the exterior with undiluted Murphy’s Oil Soap and a tooth brush. He rinsed the pipe under warm water. He dried it off with a cloth and then let it air dry. The stem was scrubbed with Soft Scrub and soaked in Before & After Deoxidizer. It came out looking very good. The finish on the bowl and the rim top cleaned up nicely. I took pictures of the pipe to show how it looked when I unpacked it. I took a close up photo of the plateau rim top to show how clean it was. The inner edge of the rim and the ridges and valleys of the plateau looked good. The stem looked good just some light tooth chatter and several deeper tooth marks on the button.The pipe was in decent condition so I started with the bowl. I polished the smooth portions of the briar with micromesh sanding pads – wet sanding with 1500-12000 grit pads and wiping down the briar after each sanding pad with a damp cloth. The briar began to shine. I worked some Before & After Restoration Balm into the smooth briar with my fingertips and the plateau and sandblasted side with a horsehair shoe brush. The product is a great addition to the restoration work. It enlivens, enriches and protects the briar while giving it a deep glow. I appreciate Mark Hoover’s work in developing this product. I buffed the pipe with a micro fiber cloth to raise the shine and took photos of it at this point it the process. It is a beautiful looking pipe. I set the bowl aside and turned my attention to the stem. I “painted” the tooth marks with the flame of a Bic lighter to try and raise them a bit. Remember vulcanite has “memory” and if the marks are not sharp edge the heat well raise them. In this case while they came up some on the blade so that none remained. The damage on the button edge came up a little but it would need to be repaired.I filled in the remaining tooth marks on the button edge with clear CA glue and set the stem aside to dry.Once the repairs cured I used a needle file to flatten them out and recut the sharp edge of the button.I sanded the surface of the stem with 220 grit sandpaper to further blend in the repairs. I started the polishing process with 400 grit wet dry sandpaper.I polished the stem with Denicare Mouthpiece Polish from a tin of it I have in the drawer here. It is a gritty red paste (similar in grit to red Tripoli) that I rub on with my finger tips and work it into the surface of the stem and button and buff it off with a cotton pad. It gives me a bit of a head start on the polishing work.I polished the stem with micromesh sanding pads – wet sanding with 1500-12000 grit sanding pads. I wiped it down after each sanding pad with Obsidian Oil. I polished it with Before & After Pipe Stem Polish – both Fine and Extra Fine. I buffed the stem with a soft cloth to raise the shine. I wiped the stem down with Briarville’s No Oxy Oil to preserve and protect the stem surface. I am on the homestretch with this Bari Matador! As always I am excited to finish a pipe that I am working on. I put the pipe back together and buffed it with Blue Diamond on the buffing wheel. I used a gentle touch on the sandblast portion of the bowl. I gave the bowl and the stem multiple coats of carnauba wax. I buffed the pipe with a clean buffing pad and hand buffed it to raise the shine. It is fun to see what the polished bowl looks like along with the polished vulcanite stem. This Bari Matador is a nice looking pipe. It is quite comfortable in hand and should be so when smoking. It is quite light and well balanced. Have a look at it with the photos below. The dimensions are Length: 6 inches, Height: 2 inches, Outside diameter of the bowl: 2×2 1/2 inches, Chamber diameter: ¾ of an inch. It is another beautiful pipe and one that will be on the rebornpipes store soon. You can find it in the section of Pipes by Danish Pipe Makers. If you are interested in adding it to your collection let me know. Thanks for walking through the restoration with me as I worked over this pipe. Thanks to each of you who are reading this blog.

More work than I expected – an Astleys 109 Jermyn Street London Scoop


Blog by Steve Laug

The next pipe on the work table is a bit of a strange one to me. It is almost an egg shape on its side with a stem that should have been bent a bit more to fit the angles of the pipe. It has an oval shank and an oval saddle stem. It is stamped on the underside of the shank and reads Astleys over 109 Jermyn St over London. There is no other shape numbers on the pipe. The finish is smooth and has some great grain around the sides, top and bottom of the bowl and shank. It was quite dirty and the rim top had an overflow of lava on the beveled inner rim top. The bowl was thickly caked and the inner edge of the rim had some darkening. The saddle stem was vulcanite and had tooth marks and chatter on both sides near the button. The stem was oxidized and had some calcification on the end. Jeff took some photos of the pipe to show the general condition of the pipe before he started his clean up. He took some photos of the rim top and bowl from various angles to give me a clear picture of the condition of the rim top and bowl. You can see the cake in the bowl and the darkening around the inner edge of the rim. Jeff took some photos of the sides and heel of the bowl to show the condition of the finish on the pipe. The photos show the beautiful grain around the bowl. Under the oils and grime it was a nice looking bowl. I think it will be a really nice looking pipe once it is restored. He took a photo of the stamping on the underside of the shank. On the shank it was stamped Astley’s over 109 Jermyn St over London. As noted there was not a shape number.The next two photos show the top and underside of the stem. It is dirty and has calcification on both sides at the button. There is also some tooth chatter and some light tooth marks. The third photo shows the condition of the slot while the final photo shows the curve of the full stem. Jeff once again did an amazing job cleaning the pipe. He reamed it with a PipNet pipe reamer and got rid of the cake. He cleaned up the reaming with a Savinelli Fitsall Pipe Knife so that we could see the walls of the bowl and assess for damage. He cleaned the internals of the shank and stem with alcohol, pipe cleaners and alcohol. He scrubbed the exterior with undiluted Murphy’s Oil Soap and a tooth brush. He rinsed the pipe under warm water. He dried it off with a cloth and then let it air dry. The stem was scrubbed with Soft Scrub and it came out looking very good. The finish on the bowl and the rim top cleaned up nicely. I took pictures of the pipe to show how it looked when I unpacked it. I took a close up photo of the rim top to show how clean it was. There was some damage and darkening on the inner edge of the rim. It was slightly out of round from the damage. You can also see the crack on the top of the shank (Jeff had mentioned this to me in our conversations today). I have circled it in red in the photo below. The stem looked good just some light tooth chatter and several deeper tooth marks near the button.I decided to address the hairline crack in the top of the shank. It was not a deep crack and it did not go all the way around the shank. It was only on the top of the shank. You can see the totality of it in the first photo below. I used a microdrill bit on my Dremel to drill a small hole at each end of the crack to stop it from spreading further. I located the end of the crack with lens and marked it. I drilled a hole at each end (photos 2 and 3). The fourth photo shows both ends of the crack with the pilot holes. I wiped down the surface of the crack. I cleaned it out with a dental pick to open it slightly. I filled in the crack and the pilot holes with clear super glue. I used a dental spatula to spread briar dust over the pilot holes and the crack.Once the repair had cured I sanded the surface of the shank around and over the crack with a folded piece of 220 grit sandpaper and smoothed the repair out and blended it into the surface of the surrounding briar. I was able to blend it in fairly well. While it is still visible in the photo below it is solid and repaired.When I examined the end of the shank, the angled drilling of the airway into the bowl left a thin area at the bottom of the mortise opening. I put a few drops of super glue in the airway and put some briar dust on top of the glue to build up the mortise in that area. Once it was cured I sanded it smooth with a small sanding stick.I decided to address the damage to the inner edge of the rim. I used a folded piece of 220 grit sandpaper to smooth out the rim edge and give it a bevel to minimize the damage to the edge.. I was able to remove the damage and bring the bowl back into round.I polished the briar with micromesh sanding pads – wet sanding with 1500-12000 grit pads and wiping down the briar after each sanding pad with a damp cloth. The briar began to shine. I touched up the stain around the sanded area of the repair with a Cherry stain pen and blended the repair into the surrounding briar. The result looks very good.I worked some Before & After Restoration Balm into the briar with my fingertips. The product is a great addition to the restoration work. It enlivens, enriches and protects the briar while giving it a deep glow. I appreciate Mark Hoover’s work in developing this product. I set the bowl aside and turned my attention to the stem. I “painted” the tooth marks with the flame of a Bic lighter to try and raise them a bit. Remember vulcanite has “memory” and if the marks are not sharp edge the heat well raise them. In this case while they came up some there was still significant damage.I filled in the remaining tooth marks with clear CA glue and set the stem aside to dry.Once the repairs cured I used a needle file to flatten them out and recut the sharp edge of the button.I sanded the surface of the stem with 220 grit sandpaper to further blend in the repairs. I started the polishing process with 400 grit wet dry sandpaper.I polished the stem with Denicare Mouthpiece Polish from a tin of it I have in the drawer here. It is a gritty red paste that I rub on with my finger tips and work it into the surface of the stem and button and buff it off with a cotton pad. It gives me a bit of a head start on the polishing work.I polished the stem with micromesh sanding pads – wet sanding with 1500-12000 grit sanding pads. I wiped it down after each sanding pad with Obsidian Oil. I polished it with Before & After Pipe Stem Polish – both Fine and Extra Fine. I buffed the stem with a soft cloth to raise the shine. I wiped the stem down with Briarville’s No Oxy Oil to preserve and protect the stem surface. As always I am excited to finish a pipe that I am working on. I put the Astley’s pipe back together and buffed it with Blue Diamond on the buffing wheel. I gave the bowl and the stem multiple coats of carnauba wax. I buffed the pipe with a clean buffing pad and hand buffed it to raise the shine. It is fun to see what the polished bowl looks like along with the polished vulcanite stem. This is nice looking pipe and I am sure that it will be comfortable in hand when smoking as it is light and well balanced. Have a look at it with the photos below. The dimensions are Length: 5 ½ inches, Height: 1 ¾ inches, Outside diameter of the bowl: 1 ½ inches, Chamber diameter: 7/8 of an inch. It is another beautiful pipe and one that will be on the rebornpipes store soon. You can find it in the section of Pipes by English Pipe Makers. If you are interested in adding it to your collection let me know. Thanks for walking through the restoration with me as I worked over this pipe. Thanks to each of you who are reading this blog.

 

Bringing Life Back to a Heritage Antique 86 Blasted Apple  


Blog by Dal Stanton

A few years ago I landed a large lot of pipes on the eBay auction block from a seller in Georgetown, Texas.  The seller was actually a charitable organization called the Georgetown Caring Place operating some thrift stores mainly manned by volunteers – elderly.  I liked it from the start!  The description on the ‘Lot of 66’ said it all:

Huge Lot Of 66 Smoking Pipes, Pre-Owned, Loved, Pre-Smoked, Many different makers styles and Brands, We will not be able to list specifics on these pipes, We are not pipe people, You are buying one person’s collection

Undoubtedly, an estate collection of a pipe man’s collection that the family donated to benefit the Caring Place. My bid won the Lot of 66 and helped a good cause.  It also placed the former steward’s pipes in my charge, and it has been a joy for me to discover many treasures in the Lot of 66 and to enable these pipes to continue to serve many new stewards for years to come.  Here’s the Lot of 66 that I saw on eBay.Pipe man Todd, who has commissioned and received several pipes from The Pipe Steward before, all benefiting the Daughters of Bulgaria, saw one of the Lot of 66 waiting, an unassuming ‘Heritage Blasted Apple’ listed in my online inventory called For “Pipe Dreamers” Only! and he commissioned it along with 2 others (See: Borge Mortensen of Denmark and Ehrlich Special Chimney of Boston). Todd has a knack for seeing good pipes with ‘Pipe Dreamer’ eyes!  Here are the pictures he saw that got his attention despite the cardboard presentation background! The nomenclature, what there is, is/would be located on the bottom panel.  My initial pictures held little promise of identifying any markings.  In this picture, ‘86’ is discernible – a shape number. The next picture, which is a picture I recently took to get a better look, ‘ANTIQUE’ is discernible on the lower part of the panel.  When I first looked at these pictures, I wanted to see lettering all over the panel, but most would be phantom suggestions.  Yet, above ‘ANTIQUE’ I want to see more lettering on a diagonal, but nothing is discernible without question.The stem provides the first strong clue of identifying this mystery ‘Antique’ Blasted Apple.  A quick trip to Pipephil.eu identifies the double diamond inlay as a ‘Heritage’.  The panel information identified a ‘Heritage Pipe Inc.’ which had closed in 1971 as a submark of the S.M. Frank pipe conglomeration.  The double diamond stem inlay was a match.The next stop at Pipedia brought more clarity to the Heritage name and origins.  In the ‘Collector’s Guide to Kaywoodie Pipes’ (LINK) there was a section devoted to “Other” Kaywoodie Pipes which provides great information.  I include the introductory paragraph and then the information related directly to the ‘Heritage’ brand.

NOTES ON “OTHER” KAYWOODIE PIPES

Kaywoodie Stembiter and Chinrester, courtesy ChrisKeene.com

The previous sections of this Chapter summarize information taken from eight Kaywoodie Catalogs from the period 1936 to 1969. Because of the gaps in the catalogs, it is highly likely that many “holes” exist in the material presented in this monograph. This section presents a brief overview of some Kaywoodie Pipes that did not appear in any of the catalogs consulted in this research. The information on these pipes was provided by W.R. “Bill” Lowndes (a well-known Kaywoodie Collector from California).

Heritage. Lowndes suggests that the Heritage pipes were introduced in the 1960’s to compete with Dunhill. No fitments. Smooth finish called “Heirloom”, sandblast called “Antique”. Lowndes notes that there was a carved Heritage similar to Barling Quaints. Pipes were not marked “Kaywoodie”, and logo on bit is a double diamond. Lowndes notes that the Heritage pipes in his collection are small to medium-­size pipes and have Kaywoodie shape numbers. Lowndes suggests there may have been a special Heritage catalog.

I love it when research begins to back up the forensics of the pipe on your worktable!  “Antique”, which I could barely make out on the lower panel is the sandblasted line of Heritage pipes, a line introduced by Frank to compete with Dunhill.  Not a bad aspiration!

The article provided by Pipedia on the S. M. Frank & Co. adds more information:

The history of S. M. Frank & Co. spans nearly a century and half of pipe making, supporting its claim as the “oldest pipe house in America.” S. M. Frank, as it exists today, is a combination of some of the biggest names in pipe making from the early part of the 20th. century. The pipe names KaywoodieYello-BoleReiss-PremierWilliam Demuth CompanyMedico, Heritage (Heritage Pipes Inc.), and Frank are familiar to generations of pipe smokers.

In May of 1960, S. M. Frank started a subsidiary company called Heritage Pipes. The Heritage pipes were an upscale line of push bit pipes meant to compliment the Kaywoodie line. Although not hugely successful, Heritage produced some fine pipes that are still in the collections of many pipe smokers. This company was dissolved on December 31, 1971.

The article references an article about Heritage Pipes Inc. does not add new information but has examples of Heritage pipes which give a clue to the nomenclature and the marking design of the Blasted Apple on my table.  The picture on the top shows the way ‘Antique’ was below the fancy script ‘Heritage’ above it and diagonal – as I was trying to make out on the panel of the Blasted Apple.  The shape number to the left, beneath the bowl proper, is the design which I’m seeing – or, barely seeing.  The upscale Heritage pipe subsidiary of Frank was started in May of 1960 and the company closed its doors in December of 1971.  The look and feel of the pipe on my table I would guess ranges toward the early of these years.  The look and wear it has endured, with much dignity, gives it an older cast to me.

As if frosting were needed on the Heritage Antique cake, the reference to ChrisKeene.com.  In the introductory paragraph to the “Collectors Guide to Kaywoodie Pipe” was a reference to Chris Keen’s Pipe Pages.  This site has been down for some time and I miss the information that was on this site.  Here’s the paragraph:

This is an ongoing effort to adapt information from the Collector’s Guide to Kaywoodie Pipes into Pipedia articles. The Guide was first compiled by Chris Keene for his pipe pages at ChrisKeene.com. Chris used source material from Robert W. Stokes, Ph.D and additional support materials from Bill Feuerbach III, of the S.M. Frank Co.. Many thanks to these dedicated pipemen for their work in compiling this material.

Without expecting too much, I followed the ChrisKeene.com link to see what I might find.  What I found appears to be links to ALL the information that was formerly compiled in the now defunk Pipe Pages site.  Oh my!  There are 100s of links to catalogues and brochures listed.  They are not categorized but the links gives some identifying information.  I went down the long list of links and pulled out four pictures that had ‘Heritage’ referenced.  A brochure of ‘Heritage – Briar Pipes of Rarest Beauty’ emerged with great information about this line of pipes – included is the ‘Antique’ line and the shape number of 86 – a large Apple.  I enjoyed the motto given for the ‘Double-Diamond’: “Symbol of FINEST, RAREST PIPES of IMPORTED BRIAR”.

I love historic brochures and catalogs!  With a better understanding of the Heritage Antique name and history, I take a closer look at the Blasted Apple on my worktable.  The chamber has moderately heavy cake build up which needs to be removed to give the briar a fresh start.  The rim has grime as you would expect, but most notable are the divots out of the internal rim lip.  The damage to the rim is significant.  The left-aft quadrant of the rim is in especially poor shape where it appears that lighting practices caused the chamber wall to deteriorate so that it’s now thinner at this point.The blasted briar surface is dirty and has grime build-up, but the blasted surface has a look of quality about it. The stem has oxidation and the bit has biting.  There are compressions on the upper and lower bit, but the button appears to be in good shape.  Interestingly, the left side of the stem has a cut where a wedge of vulcanite has been removed.I start the restoration of this Heritage Antique Blasted Apple by cleaning the stem’s airway using a pipe cleaner wetted with alcohol. To address the oxidation, I use a soak of Before & After Deoxidizer along with the Ehrlich stem.  I leave the stems in the soak for a few hours.After fishing out the Heritage stem, I squeegee the liquid off with my fingers and run a pipe cleaner wetted with alcohol through the airway to clean it of the Deoxidizer.  I use cotton pads wetted with isopropyl 95% to wipe off the raised oxidation.  The Deoxidizer did a good job dealing with the oxidation.To help rejuvenate the vulcanite stem, paraffin oil is applied with a cloth for that purpose.Turning now to the stummel, to ream the chamber I use the Pipnet Reaming Kit.  After putting paper towel down for easier cleanup, I use the two smaller blade heads of the four available.  I follow the reaming by scraping the chamber wall with the Savinelli Fitsall Tool and then sanding by wrapping 240 grade paper around a Sharpie Pen.  Finally, after wiping the bowl with a cotton pad wetted with alcohol, an inspection reveals a healthy chamber.Continuing with cleaning, using undiluted Murphy’s Oil Soap, the external blasted surface is cleaned using a cotton pad and bristled toothbrush.  For the rim, I employ the brass wire brush to clean it of minor lava flow.Next, taking the stummel to the kitchen sink, I use shank brushes to clean the mortise with anti-oil dish soap.  After rinsing well, I return to the worktable.Continuing with the internal cleaning, I find that it is clean and pipe cleaner and cotton bud wetted with isopropyl 95% are not soiled indicating that the internals are clean.After the cleaning is completed, I look at the stummel.  The old finish has been removed during the cleaning process.  I’ll need to give some consideration to how to proceed down the path regarding re-staining the blasted surface.  With the original coloring emulating the Dunhill look – S. M. Frank’s marketing strategy, I hope to oblige.  I decide to send my fellow restorer and good friend in India, Paresh, an email asking for advice.  I know that in his past restorations of Dunhills, he has worked on techniques in restoring the Dunhill hue.  With an email written including pictures, I’ll await Paresh’s advice. Turning now to the rim, it’s in bad shape.  There are some significant divots out of the internal rim edge.  In the picture below with 12 o’clock being up, a small divot is at 12 o’clock, and larger divots at 3:30, 4:30 and 5:30.  The 2 o’clock region suffers from some burning degradation with a slight compression in the rim plane because of it.  The questions in my mind focus on restoring this Heritage close to its original design – a challenge to Dunhill!  The coloring is an issue and the remnants of blasting on the rim are evident especially at the 4 o’clock region.  I have not done much in the way of rustication processes to emulate the blasting and to repair the rim will undoubtedly mean topping it and therefore, removing the blasting on the rim as a result.  The question would then be how to restore it?  With this question in my mind, I send an email off to Steve with the full weight of rebornpipes.com experience behind him, to see what light he could shed on an approach.As I await responses from my fellow restorers, I move forward with the structural issues of the rim that must be addressed either way.  As I look at it, there is no way around having to top the bowl to provide a new rim foundation from which to work.  Starting with 240 grade paper on the chopping board, I give only a few rotations.  The picture below reveals the contouring in the rim with the flat surface of the topping board not touching the areas that are compressed.  The upper (in the picture) area that I referenced above is compressed.  The divots are more distinctly defined as well. After several more rotations on 240 grade paper, the compression is minimized.  The divots from 3:30 to 5:30 are also growing less distinct.I come to the terminal point in using 240 grade paper.  I only take off what is needful because we can’t replace briar!  My goal was to erase the degraded area at the 1 to 2 o’clock area.  That has been done.  In the process, the major divots no longer appear as divots but areas of the rim that are thinner.After replacing the 240 paper with 600 grade paper, the stummel is rotated several more times to smooth and erase the scratching of the 240 papers. With the topping completed, the small divot at the top should be dispatched with sanding.  On the lower quadrant, from 3:30 to 7 o’clock, the rim is noticeably thinner.  To see the lower quadrant from different angles to demonstrate what I can see, I take a few more pictures looking from the left, then the right.  As I see it, I have two options of approach.  First, to even out the entire circumference of the rim internal edge and to blend the thinning on the lower quadrant in the pictures, I can sand the entire circumference of the internal rim to smooth to even out the different rim depths.  Or, secondly, I can build up the lower quadrant with briar dust putty and sand it down to blend with more balance with the entire rim.I decide to do the latter – seek to build up the thinning area with briar dust putty.  Since the application will be only on the very upper part of the chamber, I’m not concerned about issues of heating.  I use the plastic disk that serves as a mixing pallet and cover a portion with scotch tape to ease the cleanup.  I scoop a small mound of briar dust on the pallet. Following this, I place next to the briar dust a small puddle of Extra Thick CA glue and with a toothpick, I pull briar dust into the glue.As briar dust is pulled into the glue, it is mixed with the developing putty.  I aim for the thickness of molasses – not runny and if it gets too thick, it will set up and harden spontaneously – with a little smoke for excitement!  The putty needs to be pliable enough to adhere to the chamber/rim edge.  When it’s thick enough, I trowel the putty onto the target area.I set the bowl aside to allow the briar dust putty to cure thoroughly.  It looks good.  In the picture below you can see how it adheres to the contours of the damaged area.After a few hours, the briar dust putty is ready to go.  The process of removing the excess patch material and shaping starts with a half circle needle file focusing on the center of the patch to shape out the curved pitch of the rim. After a few minutes of filing, I remember that I have a Dremel and attach a sanding drum!  With the speed set to low, the Dremel quickens the job of removing the excess and shaping the curve.  I do go slowly and patiently not to take off too much too quickly.After the sanding drum does its job, I switch back to filing to fine tune the removal of excess patch and shaping. When the needle file brings the patch down near to flush to the briar chamber, I switch and use 240 grade paper wrapped around a Sharpie Pen.  This works well to continue a nice curve and to give more leverage to removing excess patch material.  My goal is to feel no transition from the patch to the chamber wall.This is achieved after the sanding.  I like what I see.Transitioning now to the rim surface, using a flat needle file the patch excess is removed and smoothed to blend with the rim surface.After using the file, I use 240 then 600 grade paper to fine tune.  I also sand around the full circumference of the rim to remove other smaller nicks.I’m pleased with the progress of the rim’s restoration.  The rim rebuild with briar dust putty will be invisible after the rim is dyed and I figure out an approach to introduce an emulated blasted surface on the rim!Well, I received Steve’s response regarding his thoughts about how to approach the rim.  His counsel was not to top the stummel and to blend repairs and blemishes using burrs from the Dremel.  His counsel arrived a bit late but using burrs to emulate a ‘blasted’ rim surface is the direction I’ll take.  Since I’ve not had a lot of experience with the use of burrs and what effects they produce, I practice on a discarded stummel destined for the briar dust container.After testing different burrs and saw what they do, I chose an approach and apply it to the Heritage’s rim.  I start with a cylindrical burr and finish with a sharper, cone-like burr to get the effect that I practiced. Still not sure if I will stain or leave the stummel as it is, I decide to hydrate the stummel as well as get a sneak peek at what the stummel would look like more in a finished state.  I apply paraffin oil to the stummel, not the rim.  The stummel darkens nicely, but the finish is uneven – patches of lighter on the lower side which darkens going up.  Still thinking….With the stummel darkened, I need to darken the raw rim briar to match where the stummel is.  I use two dye sticks to do the job.  The under coat is with a walnut stain, then over that, a mahogany.  Then, in order to give the new fresh rim surface a more weathered look, I use three mid-range micromesh pads and lightly sand the rim.I heard back from my good friend, Paresh in India, about his approach to achieving a Dunhill color tone.  His basic approach is to apply a dark brown undercoat in the normal way – flamed and then ‘unwrap’ after several hours.  Then, the key part of the process is when Paresh stain washes with a cherry red dye, applying with cotton pad and immediately wiping until the hue that is wanted is reached.  He also sent a link to his great write up on rebornpipes describing the process: A Project Close to My Hear: Restoring a Dunhill From Farida’s Dad’s Collection.  With Paresh’s encouragement, I decide to give Paresh’s approach a try with this Dunhill minded Heritage Antique Blasted Apple.  Not long ago, thankfully, I acquired some red concentrated dye solution that I’ll be able to employ for the first time.  To start, I assemble my desktop staining ensemble.  After wiping the bowl with a cotton pad wetted with alcohol to clean, I warm the stummel using a hot air gun.  This has the effect of expanding the briar and helping it to be more receptive to the dye. Using a fashioned cork as a handle, I then apply Fiebing’s Dark Brown Leather Dye, per Paresh’s directions.  I use a folded over pipe cleaner to do this.  After ‘painting’ a section, I immediately ‘flame’ the alcohol-based dye with a lit candle.  The combustion burns off the alcohol leaving behind the embedded hue absorbed into the briar. After completing this process with a thorough painting and flaming of the entire stummel, I put it aside for several hours for the new dye to rest.  This helps to solidify the new dye.With the newly dyed stummel resting, I turn my attention to the stem.  Taking a closer look, the compressions on the upper bit and lower bit are significant.  There is also a divot of vulcanite sliced off the left side of the stem.  I’m not sure how something like this would happen – perhaps a lit match?  I’ll work on blending this in by sanding.  First, using the heating method, I paint the compressions with the flame of a Bic lighter.  This heats and expands the rubber helping it to regain its original disposition – or closer to it.  The goal is to raise the compressions sufficiently enough so that simple sanding will then be all that is needed to erase them – hopefully avoiding patching.   Before and after pictures of upper and then lower show the results.  First, the upper: And the lower:I believe that the lower bit may now be sanded out.  I’m not so sure about the upper bit – the compression next to the button is still significantly deep.  Before sanding, I fill this compression with black CA glue to be on the safe side and fill up against the button.  When the patch cures, this will make sure that the compression is addressed in conjunction with the button lip edge.After the patch cures, a flat needle file goes to work on bringing the excess CA glue down to the stem’s surface level on both the upper and lower sides.  The change in the background is explained by me moving out onto my 10th floor balcony ‘Man Cave’ to enjoy the warmth of the day!As I was filing the lower side, it became apparent that the compression was too pronounced for filing and sanding to remove.  It would require too much to dig that deep.  Switching gears, I decide to detour a bit and fill the compression with black CA glue.After cleaning it with alcohol, I place a drop of black CA glue on the lower side compression.What I missed taking a picture of was that during the detour, I also decided to apply some black CA glue to the wedge on the left side of the stem.  I used an accelerator to hold the glue in place and to quicken the curing time.After both of the ‘tour patches’ cure, I used the flat needle file on both to remove excess and to bring the patches down to stem level.After filing, the sanding continues with 240 grade paper on the upper and lower.Sanding is continued after the 240 grade paper with wet sanding using 600 grade paper on the entire stem along with applying 000 grade steel wool.Continuing to the micromesh process, I wet sand with pad 1500 to 2400 and dry sand with pads 3200 to 4000 and 6000 to 12000.  Between each set of three pads Obsidian Oil is applied to freshen as well as to protect the vulcanite against oxidation.  I’m pleased with the repairs.  The large fill on the upper side is solid but still visible.  We still live in an imperfect world! Turning back to the newly stained stummel, it has been resting now for several hours and it’s time to ‘unwrap’ the flame crusted surface.  To remove the crusted surface, a felt buffing wheel is mounted onto the Dremel with the speed set almost to the slowest to avoid excess heating with the friction created by the felt on the briar surface.  With the felt wheel, the coarser Tripoli compound is applied to the blasted briar surface.  With my wife’s help taking some pictures while my hands are full, it shows the ‘unwrapping’ process.  The second close-up shows the line between the crusted part and the unwrapped part.The stummel has been unwrapped revealing the dark brown undercoat.  Next, the stain wash with a red dye applied until the desired hue is reached – hopefully!The red dye concentrate I acquired not long ago prescribes a ratio of 1 fluid ounce per quart of either water or alcohol.  For my smaller purposes of application, I pour some isopropyl 95% in a small jar – about 1/3 filled and add several drops of the red tint concentrate until it looks good. Then, using a folded pipe cleaner, I wash the stummel with the red dye and wipe it with a cotton pad.  Since I haven’t done this before, I’m going by the ‘seat of my pants’ to see how the briar takes the wash and what the effect will be.Satisfied at this point, not sure whether I’m achieving the ‘Dunhill’ look, I set the stummel aside to rest for several hours through the night.The next morning, the red dye wash has had time to settle.  The next step to unwrap the stummel a second time.  For this, I mount the Dremel with a softer cotton cloth buffing wheel, set at the normal 40% speed, and apply the lesser abrasive compound, Blue Diamond.  Again, my wife assists with a picture of this process.DISASTER AVOIDED!  When I reached for the stem to rejoin it to the stummel to apply Blue Diamond to it, I noticed that the double diamond inlay was missing!  Oh my!  Miracle of miracles, I looked down and amazingly saw the diamonds.  To remedy this near disaster, using a toothpick, I dab a bit of CA glue in the diamond cavities on the stem and with tweezers replace the double diamond inlay.  The process was not as easy as it sounds as small as the double diamonds are and not getting excess CA glue on the finished stem surface…. With Double Diamonds reattached, and the stem and stummel reunited, I continue the application of Blue Diamond compound to the stem.  I do change buffing wheels because of the dye unwrapping.Before applying wax, I do a ‘heat’ buffing.  To help minimize dye leaching off on the hands of the new steward, I use the heat gun to warm the stummel, emulating the heating of a pipe in service, and use a cotton cloth to wipe it during the heated state.  This helps to stabilize the new dyed briar surface.After reuniting stem and stummel, I mount another cotton cloth buffing wheel to the Dremel, set at 40% full power, and apply carnauba wax to the pipe.  When completed, a microfiber cloth provides a rigorous hand buffing to raise the shine.

Wow!  With Paresh’s help, I think I nailed it!  The depth and richness of this blasted finish has that ‘Dunhill’ look to it I believe.  Thanks, Paresh!  The blasted landscape of this Heritage Antique Blasted Apple jumps out with the 3-dimensional contours of the briar grain contours.  I can’t get over the red notes in the finish – it gives it a depth and richness that is something to enjoy.  The technical challenges with the rim repairs and stem patches turned out great.  I’m pleased with this restoration and Todd, who commissioned it, will have the first opportunity in The Pipe Steward Store to acquire the Heritage Antique benefiting the Daughters of Bulgaria – women and girls who have been trafficked and sexually exploited.  Thanks for joining me!

Ehrlich – Another Iconic Boston Tobacconist (1868-1968): An Ehrlich Special Chimney


Blog by Dal Stanton

I saw this pipe on eBay from a seller in the New England state of Connecticut.  What drew my attention was the tall bowl – a Chimney shape.  There’s something about ‘Chimneys’ that I like.  They have the basic Billiard workhorse air about them, but with the tall Chimney – it’s like a challenge: pack it high and tight!  My bid held firm and the Ehrlich, which I assumed had a German COM, was added to the online collection, For “Pipe Dreamers” Only! for a pipe man or women to see, ‘dream’ of the possibilities, and commission to benefit the Daughters of Bulgaria – women and girls who have been trafficked and sexually exploited.  Todd saw this Ehrlich and commissioned him along with two other pipes – a Borge Mortensen Handmade of Denmark (see: Link for the restoration) and a Heritage Blasted Apple still in the queue – up next.  Here are the pictures of the Ehrlich Special Chimney that got Todd’s attention. The bowl is stamped with the nomenclature, EHRLICH, on the left shank.  On the upper right-hand side of the shank is stamped, SPECIAL [over] ALGERIAN BRIAR, which is dropped lower on the shank.  The stem is stamped with ‘E’ I had assumed that ‘Ehrlich’ was a German name and I had assumed, wrongly, that the Country of Manufacturing was Germany as well.  I was fully surprised to discover in my initial research that Ehrlich was a tobacconist located in one of my favorite cities, Boston.  This was a pleasant surprise because I have long appreciated the story of the US’s second oldest Tobacconist shop also located in Boston – the L. J. Peretti Co., still in operation and one of the few establishments remaining that mix blends while you test blends as you wait.   My son used to live in Boston and the city has had an attraction to me for its history, its character and yes, its sports team – Boston Red Sox and Bruins – sorry, as a long-time Miami Dolphins fan, I cannot stomach New England’s version of NFL!  My discovery of L. J. Peretti shop pipes, most of which were manufactured in NYC and some in London, started for me a fun advocation of collecting them.  I had never heard of Ehrlich of Boston until finding the article in Pipedia on the Ehrlich name.  I include it here because I enjoy adding to the opus of information, of especially Boston tobacconist shops.

The David P. Ehrlich story

Pipemakers and Tobacconists for a Hundred Years, 1868-1968.

The David P. Ehrlich Company has remained solely in the hands of one family during its century of business, yet it has had several firm names and locations. David P. Ehrlich went to work in 1881 at the age of twenty for Ferdinand Abraham, who dealt in cigars and tobacco and who had begun business in 1868 at 1188 Washington Street in the South End, but in 1880 moved to the center of the city, where the firm has been ever since. David Ehrlich married the boss’s daughter. In 1916 the name became the David P. Ehrlich Company and Mr. Ehrlich devoted the rest of his life to this business. Since David’s death in 1912 it has been owned by – his nieces and nephews including Richard A. and William Ehrlich.

Ehrlich shop has since 1880 had a predilection for historic sites. 25 Court Street was close to the spot where from 1721-1726 James Franklin had, with the assistance of his brother Benjamin, published The New-England Courant. In 1908 the firm moved a few doors up Court Street to number 37, on the opposite corner of the alley that is grandiloquently named Franklin Avenue. This new locution was on the site of the one-time printing office of Edes and Gill, publishers of the Boston Gazette, in whose back room some of the “Indians” of the Boston Tea Party assumed their disguises. Soon after the end of World War II at which time the store was located at 33 Court Street a move around the corner to 207 Washington Street brought the shop diagonally across from the Old State House and onto the site occupied from 1610-1808 by the First Church of Boston. The demolition of 207 Washington Street in 1967 caused still another move to 32 Tremont Street, adjoining King’s Chapel burying Ground, which is the oldest cemetery in Boston.

The David P. Ehrlich Co. has not just occupied sites intimately associated with Boston history and institutions; it has in the past century become a Boston institution in its own right. It has specialized in fine cigars, pipes, and pipe tobacco. In addition to the retail business, the firm has long specialized in the manufacture of pipes, both from Algerian briar root and from meerschaum, a beautiful white fossilized substance, mined from the earth in Turkish Asia Minor. Meerschaum lends itself to carving, and in the nineteenth century there developed in Austria a fashion for carving pipes from it with formidably intricate decoration.

The Ehrlichs have long had meerschaum carvers, who ply their craft in the shop window to the delight of passersby. For years the bearded Gustave Fischer was a familiar figure in the window at 33 Court Street. A succession of craftsmen have continued the tradition. and still make and repair pipes in the window of the new Tremont Street shop. They still turn their meerschaum pipes by hand on a foot operated wooden lathe made in Austria about 1871. Although briars are today turned on power lathes, meerschaum can only be turned on a foot-operated lathe.

As amber was used for the bits in his better pipes, David P. Ehrlich found himself in the amber business as a side line. For years the firm has been noted for amber jewelry in its many types and forms, often purchasing old examples from estates to maintain its large and varied assortment. And with the meerschaum and die amber as a nucleus, a variety of artifacts dealing with tobacco and smoking, as well as prints of Boston have come to decorate the shop. There is a display case in the Boston Museum of Science donated by David P. Ehrlich Company which outlines the story of amber.

Many of the mahogany display cases that were installed in Court Street early in the century have been transplanted to Washington and then to Tremont Streets, so that the present premises, although new, have a strong family resemblance to those that we knew on our earliest visits to Ehrlich’s. This is good sense in Boston, where people do not welcome needless change for its own sake.

In 1956 when the old Harvard Square firm of Leavitt and Peirce was offered for sale, the Ehrlich brothers, because of their Harvard connections, could not resist acquiring it. Richard A. Ehrlich was a member of the class of 1922; his brother William of 1925. As they had known for years this seventy-year-old establishment, which had done business in the same location in Harvard Square longer than any except the College itself, they took it over, with the idea of keeping it as it was, even to the metal ceiling. In 1958, to celebrate its 75th anniversary, David McCord edited for them an engaging volume entitled 75 Aromatic Years of Leavitt & Peirce in the Recollection of 31 Harvard Men . And as Leavitt & Peirce is to Harvard College, so is the even older David P. Ehrlich Co. to Boston – the purveyor of “a brand of special knowledge” built up over a century of honest dealing.

The January 1968 issue of Antiques Magazine carried a feature by Wendell D. Garrett titled “Paraphernalia of smokers and snuffers” describing in considerable detail the impressive collection of paraphernalia and smokers articles from many countries and centuries on permanent exhibit in their Leavitt & Peirce Cambridge tobacco shop. The Boston Public Library in Copley Square devoted twenty-five display cases during the month of January to the David P. Ehrlich Company Centennial Exhibition of Tobacciana made up of the Leavitt & Peirce antique collection, the David P. Ehrlich collection of carved meerschaum pipes and their two venerable Cigar Store Indians.

There are pipes of every price and size and shape, from good ordinary smoking pipes up to briars of the finest grain and meerschaums band cut, turned and polished front the best Turkish blocks. This is in keeping with a catalogue statement: “we have never ceased to regard smoking as an exquisite pleasure, rather than a mere habit.” Another of the principles of the firm is embodied in the observation: “we are pipe makers – not plumbers. There are no tricky gadgets in Ehrlich pipes.” But when a man drops his pipe, the makers will transform themselves into repairmen in a highly efficient manner. All this has been going on for a century, and we confidently trust that it will outlast our time, and then some.

With the information included above, the Ehrlich Chimney now on my worktable dates to at least the late 60s.  With a greater appreciation for the Ehrlich name and the richness of its story, I begin the restoration first with an assessment of its condition.  This old boy is in rough shape. The chamber has thick cake build up which needs to be removed to expose fresh briar for a new start.  The rim is caked with lava.The rim has notches and divots on the lip aft and forward areas.Generally, the briar surface is scratched and dinged a good bit.  The finish is darkened and needs cleaning to remove the surface dirt that has collected.The original stem with the Ehrlich ‘E’ reveals that this pipe was well loved and driven into the ground!  The calcium build-up on the bit is thick along with the oxidation.  The tooth chatter seems to reveal a lot of possible New England winters with the former steward’s teeth chattering as he clinched the stem.  The lower button has disintegrated from biting.  I’m concerned that it’s too damaged for a normal button rebuild.  I love to salvage original stems but this one presents some challenges.  The lower vulcanite surface looks suspect – that there may be a crack in the vulcanite.To start, using a pipe cleaner wetted with isopropyl 95%, the stem’s airway is cleaned.To address the oxidation, a new batch of Before & After Deoxidizer is ready to go to work.  The other pipe’s stem that Todd commissioned, the Heritage Blasted Apple, joins the Ehrlich for a bath.  The fluid is eerie as it swallows the stems!After a few hours of the soak, I use a stiff wire to snag the stem and to allow the B&A Deoxidizer to drain.  I then squeegee more fluid off with my fingers then wipe with cotton pads wetted with alcohol to remove the raised oxidation.  Another pipe cleaner helps to clear liquid from the airway.The B&A Deoxidizer seemed to do an adequate job.  I add paraffin oil to the vulcanite with a cotton pad to further the rejuvenation of the stem.Turning now to the Ehrlich Chimney bowl, I ream the chamber using the Pipnet Reaming Kit.  I use the 2 smaller of 4 blades available in the Kit to navigate the Chimney chamber.  Following this, the Savinelli Fitsall Tool continues the scraping and finally sanding with 240 paper wrapped around a Sharpie Pen cleans the remaining cake. After wiping the chamber with a cotton pad wetted with alcohol to remove the carbon dust, an inspection of the chamber reveals no problems with heating or cracking.   I also scraped the rim with the Savinelli Fitsall tool to remove the crusting lava flow.Next, the external briar surface is dark and dirty. I use undiluted Murphy’s Oil Soap on a cotton pad to clean the briar surface.  I also use a brass wire brush to clean the rim.  The brass brush does not damage the wood surface.  After scrubbing, I transfer the bowl to the sink and continue cleaning using hot water and shank brushes.  Using anti-oil dish soap, the shank brushes reach into the mortise and after scrubbing and rinsing thoroughly, I bring the bowl back to the worktable.The cleaning does a good job.  The briar is lighter, but the rim is still discolored. It doesn’t happen often but returning to the internal cleaning with pipe cleaners and cotton buds reveals a clean pipe!To clean the rim, I use the topping board covered with 240 grade paper to begin.  The topping board will remove the discoloration with fresh briar, and it will help remove the divot damage on the rim edge.  The next pictures show the progression of the topping. Next, the 240 grade paper is replaced with 600 grade paper and several more rotations follow.  What emerges on the rim are round bird’s eye patterns of grain.I decide to stop the topping not to lose more briar real estate off the rim.  There remain some divots on the edge of the rim.To remedy this, instead of taking off more briar to remove the divots, I mix Thick CA glue with briar dust to form a putty to fill the divots.  After putting a small amount of briar dust on the plastic disc, covered with scotch tape for easier cleanup, a few drops of CA glue are placed next to the dust and then mixed with a toothpick.  Gradually, briar dust is pulled into the CA glue and mixed until it thickens to the consistency of molasses.  Using the toothpick as a trowel, putty is placed on the divots.  When sufficiently covered, I put the stummel aside for the putty to cure.After some time, the briar dust putty has cured.  I first use a flat needle file to remove the excess putty until it is flush with the rim surface.  I also use 240 grade paper to smooth the patch further.I also sand the side of the patch with 240 paper.  Finally, using 240 sanding paper tightly rolled, I cut a small bevel around the circumference of the rim to remove smaller cuts and divots and to blend the rim patch.  After the 240 paper, 600 grade paper is used to further smooth and blend.  The rim looks good.  I move on.To further clean the briar surface of nicks and scratches, I utilize sanding sponges.  Before applying the sanding sponges, I cover the Ehrlich Special nomenclature with masking tape.With the tape protecting the nomenclature, I first apply a coarse sanding sponge followed by a medium grade then a light grade.  Sanding sponges address the minor blemishes on the briar surface well without too much invasion. On a roll, I also apply the full regimen of micromesh pads beginning with wet sanding with pads 1500 to 2400.  Following this I dry sand with pads 3200 to 4000 and 6000 to 12000.  The grain comes out well through the micromesh process. One more step before putting the stummel aside to focus on the stem.  Applying Before & After Restoration Balm teases out the subtle hues of the briar grain.  Whenever possible, the natural briar is my preferred presentation of a pipe.  The Balm does a great job.  After placing some of the Balm on my fingers, I work it into the briar surface.  The Balm starts with a crème-like consistency but thickens to a waxy feel as the Balm is worked.  After applying the Balm, I put the bowl aside for 10 to 15 minutes then wipe off the excess Balm with a cloth and buff up the surface.Turning now to the stem, I take another long, focused look at the condition of especially the underside of the bit and button, but the upper bit has some issues too.  First the upper side. The tooth chatter is profound and there are two compressions that are in the center of the stem.  The one closest to the button is rounded, resembling an eye-tooth compression.  The other one is interesting as it runs parallel with the length of the stem.  The angle makes it difficult to imagine it to be a bite, unless it’s a back molar….  That could be, but the compression appears to run parallel to the airway tunnel directly below.  For the upper bit, I’ll attempt to raise the compressions using the heating method and follow by sanding out the chatter.  Fortunately, the upper button lip is in good shape.When I first examined the stem, before cleaning, I was concerned that there might be a crack running down the stem coming from the button break.  Looking at it now, even under a magnifying glass, thankfully, there is no sign of a crack.  That good news barely tempers the catastrophic break of the bit and lower button.  Interestingly, the lower bit shows evidence of also having parallel compression as the top side.  The area extending to the immediate left (in the picture below) of the break is compressed.  The forensics it seems, point to the former steward clinching the stem between his molars for a hands-free mode.  It worked until the force of the clinching on the underside faulted – the rest is history. To repair, I will first attempt to raise as much of the compression through the heating method, then rebuild the button with a mixture of CA glue and activated charcoal dust.  The new steward will need to treat the button with some TLC because a rebuild is not as strong as an original surface. The heating method is painting the compressions with the flame of a Bic lighter.  With the heating of the vulcanite, a rubber compound, the rubber expands to retake its original condition, or closer to it.  After painting the upper and lower with the flame, the compressions are noticeably less pronounced but still evident.Next, using 240 grade sanding paper, I sand out the residual compressions on the upper and lower bit.  The paper also removes the tooth chatter very nicely.  With the button rebuild now before me, I first clean the area with a cotton pad wetted with alcohol.A piece of index card stock serves well to create a wedge to serve as a form.  The wedge fits into the airway to form the mold that will allow the patch material to fill the cavity yet keep the airway open.After covering the wedge with scotch tape, I place some petroleum jelly on the tape to keep the patch material from bonding onto the wedge – allowing the wedge to be removed without problems.The patch material is a putty created from mixing Extra Thick CA glue with activated charcoal dust. A small mound of the charcoal is placed on the plastic disk which acts as my mixing pallet.  I also put scotch tape down on the disk to help in the cleaning.   Next to the mound of charcoal dust, a small puddle of CA glue is placed.I use a toothpick to gradually pull charcoal into the CA glue mixing as I go.  When the putty forms and reaches the viscosity of molasses, I use the toothpick to trowel the putty onto the wedge, filling the damaged area with patch material.I build a mound of the patch material to be more than is needed.  This allows filing to shape the new button by removing the excess and shaping as I go.The wedge is removed easily with a tug.Next, the filing process begins.  I start from the end of the stem to remove the excess to first form the slot facing.With the slot facing flat and flush with the surviving upper button lip, starting with the upper bit, I use the flat needle file to refresh the surviving upper button lip.Next, flipping over to the lower bit, the flat needle file begins to shape the lower button lip.  The next few pictures show this progress. The process is slow, but patience pays off nicely.  The lower button looks good.  A few air pockets show up in the patch area.  I’ll sand and work on removing these as I go.Using 240 grade paper first on the upper bit, the residual chatter and compressions are fully erased.Next, focusing on sanding the lower bit area, 240 paper does well in smoothing out the scratches left by the needle file.  Shaping the button is coming along well.Next, using 600 grade paper, I wet sand the entire stem upper and lower.  Following this, 000 steel wool is applied to smooth the surface further.  The repair is looking great.Some air pockets remain on the lower bit and button lip repair.  I paint a small amount of acrylic nail polish to fill these microscopic pockets.  Again, I apply the 000-steel wool to the acrylic patch.With the stem repair complete, I move on to the full regimen of micromesh pads.  Using pads 1500 to 2400, I wet sand followed by dry sanding with pads 3200 to 4000 and 6000 to 12000. Between each set of 3 pads, Obsidian Oil is applied to the stem to rejuvenate it and to retard the growth of oxidation. Now on the home stretch.  I rejoin the stem and Ehrlich Chimney stummel after a small amount of sanding on the tenon.  After the cleaning, the fit was a bit tight.  After the sanding, the tenon engaged the mortise nicely.  After mounting a cotton cloth buffing wheel to the Dremel, and setting the speed to about 40% full power, Blue Diamond compound is applied.  After completing the application of the compound, I buff the pipe with a felt cloth to remove the compound dust in preparation for the wax.  Before applying carnauba wax, I have one more project to complete.  The Boston tobacconist Ehrlich ‘E’ needs some attention on the stem.  Using white acrylic paint, I put a small drop of paint over the ‘E’ and then tamp the wet paint with a cotton pad.  This flattens the paint and dries it.  I then gently rub the surface with the side edge of a toothpick which clears away the excess paint leaving the ‘E’ filled.  I repeat this process twice to render the finished product.  It looks great. After mounting another cotton cloth buffing wheel to the Dremel leaving it at the same speed, I apply carnauba wax to the entire pipe.  To finish, a microfiber cloth is used to give the pipe a rigorous hand buffing to raise the shine.

This Ehrlich Special Chimney turned out well.  I appreciated learning about the history of the Ehrlich name as one of Boston’s Tobacconist shops.  The button repair looks good and what a change from the molar damage with which the restoration began.  The vertical fire grain on the left side of the Chimney is nice and the bird’s eye grain on the right completes the ensemble. Without doubt, the pipe fits nicely in the palm.  I enjoyed this restoration and Todd who commissioned the Ehrlich Special Chimney, will also have the first opportunity to secure him from The Pipe Steward Store.  This pipe benefits the Daughters of Bulgaria – women and girls who have been trafficked and sexually exploited.  Thanks for joining me!

 

 

Restoring a Beautiful St. Claude Ben Wade Calabash


Blog by Steve Laug

This St. Claude, France Ben Wade Calabash is quite stunning. The shape and flow of the briar, the rich red stains and the curve of the Lucite stem all combine to create a shape that is elegant and beautiful. Jeff picked this pipe up from a favourite shop in Utah. I have never seen one of these before even though I have worked on a lot of both English and Danish Ben Wade pipes. This one is a French Made Ben Wade. It is stamped on the left side of the curved shank with the words Ben Wade in script over Calabash. The name is also stamped on the left side of the half saddle stem. On the right side it is stamped St. Claude arched over Bruyere Garantie. To the left is a very tight stamp France. On the underside of the shank it is stamped with the letter F. There appears to be remnants of gold leaf in the stamping on both sides of the shank. It can be seen in the photos below. Jeff took some photos of the pipe before he began his cleanup work on it.The pipe was dirty and there were some worn spots on the plateau rim top. The original colour had been black but the dust had turned it almost grey. There was a cake in the bowl and some lava overflow on the plateau. The finish on the bowl was cordovan or oxblood. It was dirty as well with some nicks in the finish. You can see the chipped areas around the rim top and the lava in the plateau in the photos below.Jeff took photos of the bowl from various angles to give a picture of the grain and the condition on the finish of the pipe. It is a beautifully grained and finished pipe. The oxblood stain really works well to highlight and showcase the grain. Jeff also took photos of the stamping on the shank and the stem. The first two photos show the left side of the shank and stem. The third photo shows the stamping on the right side and the fourth shows the stamping on the underside. The acrylic/Lucite stem was dirty and there were tooth marks and chatter on the top and underside. There was one deep tooth mark on the underside up against the button edge. The flat surface of the button had tooth chatter and wear on both sides. Jeff also took a photo of the gentle curve of the half saddle stem and I have included that below. Jeff did his usual extensive cleanup of the pipe. He reamed it with a PipNet pipe reamer removing the cake from the bowl so that we could see what was going on underneath the surface. The interior of the bowl looked very good. He cleaned the internals of the pipe and stem with alcohol, cotton swabs and pipe cleaners until it was very clean. He scrubbed the externals with undiluted Murphy’s Oil Soap and a tooth brush. He worked over the plateau rim and edges with the brush and the soap and rinsed the pipe down with warm water. He cleaned the stem as well so that the externals and internals were clean. He did scrub the stem with Soft Scrub on cotton pads to remove the grime on the surface. It was acrylic so it was not oxidized so it was not necessary to soak it in a deoxidizer. I took photos of the pipe when I unpacked it and brought it to my work table. I took close up photos of the stem and the rim top to show the condition. The cragginess of the plateau is clean and shows the peaks and valleys in their fullness. You can also see some of the worn spots on the rim top where the finish has been removed. The stem looks good. The photo of the underside shows the deep tooth marks next to the button (third photo).I took some photos of the stamping on the sides of the shank to confirm what I mentioned above. The stamping is crisp and readable.I took the stem off the shank and took two photos to give a clear idea of the gentle curves of the pipe and the look of the rugged plateau rim on the delicate bowl. It really is a beauty! The tenon is drilled for a 6mm filter but could easily be smoked without one or with an adapter.Jeff and I were talking on Facetime and he was showing me how well the pipe had cleaned up. We do that often as he is in Idaho and I am in BC Canada. While he was carefully turning the stem into the shank we both heard and audible “POP”. That sound is a pipe restorer’s nightmare. If you have not heard that sound I can guarantee you will one day. Jeff groaned and showed me the crack in the shank. So when it arrived here in Vancouver I had a look. I took a photo of the crack and have included it below. It is on the top left side of the shank and is a good ½ inch long. That would need to be repaired. I also found some small hairline cracks on the top right side near the plateau top. They were not deep or serious but nonetheless they were present.I decided to deal with the cracked shank first. I went through some brass bands that I have that are polished gold in colour and would go well with the gold stamping on the stem and shank. They were quite thin and some have an inward bevel on the shank cover. I chose the band on the right and used my topping board to reduce the depth of the band by half. I wanted to retain as much of the stamping as possible and still bind the cracked shank together.I spread the crack in the shank and pushed some CA Glue into the space. Because of the way the curve in the shank I could not drill and hole at the end of the crack. I clamped it together until the glue cured. I did not glue the band on at this point because I wanted to touch up the gold stamping before I put it in place. Once the repair cured I put the stem on the shank and took a photo to give an idea of what the band looked like with the stem in place.   With that repair complete it was time to deal with the hairline cracks on rim edge. I used a tiny bit to put a hole at the end of each crack and filled them in with a bead of CA glue. The photo below is very blurry but shows the glued are well enough(I apologize for the lousy picture). I also filled in some of the pits in the back side of the bowl.Once the repairs had cured I sanded them smooth with a 1500 grit micromesh pad to blend them into the surface of the surrounding briar.I have found that the Mahogany stain pen I have blends really well with oxblood or cordovan stain. I touched up the sanded areas on the shank top, right side of the bowl at the topo and the back of the bowl with the pen and let it cure. I polished the briar with micromesh sanding pads – 1500-12000 grit pads. I wiped the bowl down with a damp cloth after each sanding pad to remove the debris. The bowl began to look very good. I also really like the look of the polished brass band on the shank end. I rubbed the bowl down with Before & After Restoration Balm. I worked it into the briar with my fingertips and into the plateau with a horsehair shoe brush. I let it sit for about 10 minutes and buffed it off with a soft cotton cloth. The product cleans, protects and preserves the briar and leaves it enriched and beautiful. I set the bowl aside and turned to the stem. I sanded the tooth chatter on both sides of the stem with particular attention to the large tooth mark on the underside of the stem just ahead of the button. I cleaned the tooth mark with alcohol on a cotton swab. I filled it in with a bead of clear CA glue and set it aside to cure. When the repair cured I used a needle file to sharpen the edge and flatten the repair.I sanded the repaired area and the rest of the tooth chatter areas on both sides of the stem with 220 grit sandpaper and followed up with a piece of 400 grit wet dry sandpaper.I polished the stem with Denicare Mouthpiece Polish from a tin of it I have in the drawer here. It is a gritty red paste that I rub on with my finger tips and work into the surface of the stem and button and buff off with a cotton pad. It gives me a bit of a head start on the polishing work.I polished the stem with micromesh sanding pads – wet sanding with 1500-12000 grit sanding pads. I wiped it down after each sanding pad with Obsidian Oil. I polished it with Before & After Pipe Stem Polish – both Fine and Extra Fine. I buffed the stem with a soft cloth to raise the shine. I paused in my polishing of the stem to touch up the gold leaf on the stem side and the sides of the shank. I used Rub’n Buff Antique Gold and pressed it in the stamping with the end of a tooth pick. I let it sit for a few minutes then buffed it off with a soft damp cloth to remove the excess. I went back to polishing the stem with Before & After Pipe Polish – both Fine and Extra Fine and buffed the stem with a clean cotton rag. The stem looks really good at this point.I used a dental spatula to spread some white glue around the shank end. Once the glue was evenly spread I pressed the band in place. I adjusted it so that it fit well. I set it aside to cure for a while as I wanted the band to be permanent. It looks very good now.I am excited to finish this beautiful Ben Wade Calabash from St. Claude France. It is both a rare one in terms of availability but also for me as I have never seen one before. I put the pipe back together and buffed it with Blue Diamond on the buffing wheel. I gave the bowl and the stem multiple coats of carnauba wax. I hand buffed the pipe with a clean buffing pad to raise the shine. It is fun to see what the polished bowl looks like with the grain popping through on the bowls sides and the contrast of the black plateau rim top. The brass band on the shank adds a touch class to the overall look in my opinion. When you add to that the polished black acrylic stem with the shining gold stamping you have a winning combination. The gold stamping also looks great on the shank and stem. This grain on the smooth finish Ben Wade Calabash is nice looking and the pipe feels great in my hand. It is light and well balanced for a large pipe. Have a look at it with the photos below. The dimensions are Length: 6 ¾ inches, Height: 3 inches, Outside diameter of the bowl: 2 inches, Chamber diameter: 7/8 of an inch. It is a beautiful pipe and one that will be on the rebornpipes store soon. If you are interested in adding it to your collection let me know. Thanks for walking through the restoration with me as I worked over this pipe. Thanks to each of you who are reading this blog. Remember we are not pipe owners; we are pipemen and women who hold our pipes in trust until they pass on into the trust of the next pipeman or woman.    

Another Fun Restore from Bob Kerr’s Estate – A BBB 2 Star Apple 11


Blog by Steve Laug

Even with the COVID-19 warnings rolling in incessantly I am still working on pipes! It keeps my mind busy and focused and not to get carried away with the sense of powerlessness. There is no reason to not enjoy the time alone at the work table bringing these old-timers back to life. After brief foray restoring pipes referred to me by my local pipe shop I am back to Bob Kerr’s estate (his photo is to the left). If you have not “met” the man and would like to read a bit of the history of the pipeman, his daughter has written a great tribute that is worth a read. Because I have included it in over 60 restorations to date I thought that I would leave it out this time. Be sure to check out some of the recent Dunhill restoration blog (https://rebornpipes.com/2020/01/01/restoring-the-last-of-bob-kerrs-dunhills-a-1962-dunhill-bruyere-656-f-t-bent-billiard/).

The next pipe I have chosen from his estate is an interesting looking Apple with a slender stem. It is stamped BBB in a diamond on the left side of the shank with a Star on each side of the diamond. On the right side of the shank it is stamped Made in England over the shape number 11. The slender stem does not bear the BBB brass logo. The tapered stem is oxidized and has tooth marks and chatter on both sides near the button. There is some calcification on the stem with damage to the button. The finish is worn and dirty. There is a thick cake and lava overflow on the rim top. There is some damage on top & edges. There appears to be some chips out of the thin rim top/edge that will need to be addressed in the restoration. Jeff took photos of the pipe to show its general condition before he did his cleanup. The finish on the pipe was very dirty – grime and grit from years of use and sitting fill the crevices in the rustication. The rim top was covered with a coat of thick lava that overflowed the bowl. There was also some darkening and chipping damage on the rim top. The bowl itself had a thick cake with flecks of tobacco stuck in the cake on the sides.Jeff took photos of the sides and the heel of the bowl to give a better feel for the grain around the bowl. He took a photo of the stamping on the sides of the. You can see that the stamping is very clear. On the left side it reads BBB in a diamond with a star on each side of the base. On the right side it reads Made in England over the shape number 11.The stem was dirty and extremely oxidized. Once again the stem appeared to be a replacement as I have learned Bob was a chewer and his stems seemed to have been replaced often. This one at least fit well to the shank and did not yet have the chew marks that were a norm on Bob’s pipes.Before I started my work on the pipe I decided to read a bit of BBB history to remind myself how the two stars fit into the hierarchy of BBB pipes. I turned first to Pipephil’s site (http://www.pipephil.eu/logos/en/logo-bbb.html). I have included a screen capture to show the stamping on the pipe. At this point I still did not know how it fit. Also the pipe I was working on did not have the BBB Diamond or Brass logo on the stem.I turned to Pipedia to see what I could gather there about the hierarchy of the Two Star pipe (https://pipedia.org/wiki/BBB). I read through the page and found some more information. I quote a pertinent section of the article that give the information that I was hoping for and expecting.

…In the Thirties, the top-of-the-range one becomes “BBB Best Make” with alternatives like “Super Stopping” and “Ultonia Thule”. The BBB Carlton, sold with the detail with 8/6 in 1938, is equipped with a system complicated out of metal, system which equipped the BBB London Dry too. Blue Peter was not estampillées BBB but BBB Ultonia, and the BBB Two Star (* *) become the bottom-of-the-range one.

Now I knew about where the Two Star fit – at the bottom of the range. Armed with that information it was time to work on the pipe. Jeff cleaned this filthy pipe with his usual penchant for thoroughness that I really appreciate. This one was a real mess and I was looking forward to seeing what he had done with this one when I took it out of his box. It looked amazing and CLEAN and other than the stem work needing a little effort on my part. He reamed the bowl 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 good with great looking grain around the bowl and shank. The rim top and front of the bowl was severely damaged with burns. The condition of the inner and outer edges was rough. The stem looked a lot better but damage was evident on the button. Jeff soaked the stem in Before & After Deoxidizer to remove the oxidation on the rubber. The pipe was ready for me to carry on the next part of the process. I took some close up photos of the rim top and also of the stem surface. I wanted to show how well it had cleaned up. The rim top was clean and the damage was very evident. There were several chips on the edge of the rim top with the largest being at the back of the bowl.  I also took close up photos of the stem to show how well surface looked on both sides. I took a photo of the stamping on the sides of the shank. You can see that it is stamped as noted above.I decided to start my restoration work on this one by dealing with the damaged rim top. I filled in the damaged areas with a drop of clear Krazy Glue (CA) and then pressed some briar dust into the glued areas with a dental spatula. I set the bowl aside to dry overnight.   I sanded the repaired areas with 220 and 400 grit sandpaper to shape the repaired areas and blend them into the rest of the bowl. I also worked over the edge and top to minimize the darkening to the edges.I polished the briar with micromesh sanding pads – wet sanding it with 1500-12000 grit pads. After each pad I wiped the briar down with a damp cloth. I touched up the rim top colour with a Maple Stain Pen to match the colour of the rest of the bowl. I let it dry and buffed it by hand.I worked some Before & After Restoration Balm into the surface of the briar with my fingertips to clean, enliven and protect the briar. I let the balm sit for a little while and then buffed with a cotton cloth to raise the shine. The photos show the bowl at this point in the restoration process. With that done the bowl was finished other than the final buffing. I set it aside and turned my attention to the stem. I sanded out the remaining tooth marks and chatter with 220 grit sand paper to blend them into the rest of the stem surface. I started to polish it with a folded piece of 400 wet dry sandpaper. Once it was finished it had begun to shine.        I polished the stem with Denicare Mouthpiece Polish from a tin of it I have in the drawer here. It is a gritty red paste that I rub on with my finger tips and work into the surface of the stem and button and buff off with a cotton pad. It gives me a bit of a head start on the polishing work.  I polished the stem with micromesh sanding pads – wet sanding with 1500-12000 grit sanding pads. I wiped it down after each sanding pad with Obsidian Oil. I polished it with Before & After Pipe Stem Polish – both Fine and Extra Fine. I am continuing to experiment with Briarville Pipe Repairs new product, No Oxy Oil so I rubbed the stem down with the oil on the cloth that was provided with it. This BBB Two Star 11 Apple was another interesting pipe to work on. It is a classic shaped Apple. It has a tapered vulcanite stem that I am pretty certain is a replacement stem. The grain on the pipe is very nice and the shape has a great look and feel in the hand. The smooth finish is beautiful and highlights the grain. The repaired rim top looks very good and blends in well. 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 deeply grained briar took on life with the buffing. The rich browns of the briar 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 Apple are very well done even with the replacement stem. The dimensions are Length: 5 ½ inches, Height: 1 ½ inches, Outside diameter of the bowl: 1 ¼ inches, Chamber diameter: ¾ of an inch. It is a beautiful pipe and one that will be on the rebornpipes store soon. If you are interested in adding it to your collection let me know. Thanks for walking through the restoration with me as I worked over this pipe.