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The CPF Arcadia: A Pipe Out of Time

Blog by Robert M. Boughton
Copyright © Reborn Pipes and the Author except as cited
https://www.roadrunnerpipes2k.com/
https://www.facebook.com/roadrunnerpipes/
Member, North American Society of Pipe Collectors

Be careful what you wish for, you may get it.
— Anonymous, quoted in “The Monkey’s Paw,” W.W. Jacobs, from The Lady of the Barge, 1902

INTRODUCTION
Whatever inspiration led Cliff Edwards to write the lyrics to the song that became Disney’s theme, “When You Wish upon a Star” – in which one’s heart need only be in the dream for no request to be too extreme, and fate will be kind – must have been, to be gentle to all of the Mouseketeers out there, in an alternate reality to mine. I’ve long had two rules: be careful what you ask for, lest you get it, and above all, never ask for what you deserve, because everyone has done things that should have had stiffer consequences. I’m not being cynical. From my experience, it’s just the way whatever Higher Power we call by various names helps us humans avoid being selfish and greedy, at least those who ask for guidance now and then if not more.

Of course, I’m not perfect, in fact, far from it. I found myself during the past two months or so becoming more and more fixated on acquiring not just any new pipe, but one made by the Colossus Pipe Factory. Then I began my hunt in earnest, with eBay searches and general Googling, but to no avail. At last I got a hit with a pair of pipes titled, in a somewhat jumbled way, “Vintage Smoking Pipe Tobacco Lot of 2 Arcadia CPF London England Briar.” From that description alone I thought maybe I was going to see something made by an Arcadia brand and a rare English CPF. There were enough photos, however, and they were good, to determine without doubt that a big, smooth poker stamped on the right MADE IN/LONDON ENGLAND was one mixed-up part of the seller’s heading, and CPF Arcadia was the other. The disarray of the title and the low price I paid – about $45 – told me the seller didn’t know what he had and the other bidders were not sure enough that the CPF was real to risk going higher.

Before bidding anything and after studying the pics of the alleged CPF – and I mean I really poured over every detail of them – I was certain it had to be a fake, except for the band on the shank.

From the photos that I snapped when it arrived in the mail with the poker I believe is a Ben Wade reject, the only authentic-looking parts of a CPF are the band, bone tenon and stem. Otherwise, honestly, I could see where the basic chunk of wood could have been fashioned into a stummel long ago before some Flower Child got ahold of it and turned the bowl into a psychedelic pin cushion, but I could not imagine anyone alive more than a century ago, especially the Old World masters employed by CPF, fashioning such a monstrosity, as I saw the pipe before its comic beauty grew on me. I even used the “m” word in an email I sent to Steve, with a link to the eBay sale, in which I more or less implored him to tell me it wasn’t real, meaning a genuine CPF.

Needless to say, I was shocked when Steve not only replied that the Arcadia was real and “very old,” an age distinction he had never before made to me, but that he had worked on a meerschaum like it a couple of years ago. Here are some before and after shots of Steve’s meerschaum, which indeed bear a scary resemblance to my old briar.

A.F. & Co./BBB Spotted Meerschaum photos courtesy Steve Laug.

The severe chicken pox-like similarities are undeniable, and I scrutinized every word and photo of Steve’s blog in hopes of connecting the dots (I’m so sorry, that just popped out) of the definitely funky tobacco pipe specimens. Struck by a gung-ho fit to research the abbreviation “AF&C0” in Steve’s third photo above, I interrupted my reading to find the answer before continuing and learning Steve already had done so: Adolph Frankau & Co. of England. Steve’s work restoring the meerschaum that he also dated to 1905, thanks to great detective work tracing the unique hallmarks on the sterling silver band, was phenomenal, in particular the addition of a Bakelite stem that he not only fitted to the shank but made look as old as the original stummel.

Now, in case anyone thinks my choice of details a mere glut of disconnected trivia, I’ll make my point. Steve took one look at the weird pipe for sale on eBay, flashed on the A.F. & Co./BBB meerschaum he gave new life and instinctively sensed a connection. I have to say, I had doubts despite the almost genetic resemblance. After all, there was no indication my CPF Arcadia was a Frankau import. By the time Steve and I connected on the phone to discuss the two pipes and other matters, I had restored the Arcadia and warmed to its charms. Although lacking any proof of the pipe’s date of manufacture such as Steve dug up for the meerschaum, certain minute observations and research led me to conclude it was created in the latter part of the 19th century. Steve concurred.

In particular, I finally figured out that the stem was not Vulcanite but black horn, and the metal band boasted that it was “Nickel Plated.” What kind of pipe brags about having a nickel plated band? Nowadays, that’s the bottom of the barrel. So I looked up nickel plating history online and learned that in 1837 the first crude electrochemical nickel plating of platinum was accomplished. Really? Someone thought to cover up the most precious metal with nickel? You bet he did, and in 1869 a better process that became the industry standard for 70 years was discovered. The purpose of nickel plating certain other metals, of course, remains nickel’s resistance to tarnishing and corrosion. The only logical explanation for the proud “NICKEL PLATED” stamp on the band of my CPF, therefore, is that the process was still relatively new. Given that point and the use of black horn stems being much less common in the late 19th and early 20th centuries, when amber and Bakelite predominated, I am satisfied the pipe was created in the waning years of the Victorian Era.

Returning to Steve and his inspired flash that the “knobby meer,” as he called it, and the CPF Arcadia are related, Steve told me he now questions whether the meerschaum is a real BBB, owing to certain unstated problems with the band. Steve is the expert, but this time I have to disagree and urge him to stick with his instincts. The notion of the meerschaum, knobs and all, being a bona fide BBB is no wilder than my briar, with its gaudy plastic bulbs and brass studs, being a genuine CPF, and I do not mean to suggest in a roundabout way that neither is the truth. Granted the extremity of different materials used to make the pipes, and the necessity of alternate methods for achieving the knobby looks, and still further suspending disbelief because of the admitted implausibility of the idea, I nevertheless can’t help thinking that the connection is the actual crafter of the two pipes. To be blunt, I think the same person made both of them. Of course, I will never be able to prove the theory. Well, isn’t that convenient, as the Church Lady used to say.

With a little more research, I was pleased to settle with much more certainty a question that nagged Steve in his blog of the unusual meerschaum: was there a connection between it and BBB? As several of the sources below show, the link is clear. Frankau, who started business in 1847, died in 1856. At that time, his widow was persuaded to continue operation of A.F. & Co. under the control of Frankau’s very young assistant, Louis Blumfeld, who was then only 18. Blumfeld started BBB (for Blumfeld’s Best Briar, later Britain’s Best Briar), the famous triangular symbol for which he trademarked in 1905 – again, the year Steve’s meerschaum was made – under the A.F. & Co. banner. BBB seems to be the first pipe maker with a trademark. And so the connection, if I haven’t made it obvious, is that A.F. & Co. owned BBB.

Arcadia, part of the modern-day Peloponnese, a peninsular region of southern Greece (capital, Tripoli), is also a reference to Greek mythology. The mythological Arcadia was named for Arcas, a hunter who became king of the utopic wilderness and is best remembered for teaching the skills of baking bread and weaving. In Arcadian myth, Pan, the god of shepherds, hunters and the wilds, is said to have roamed the region with dryads, nymphs and other spirits. The name, therefore, is an odd one for this pipe, unless it’s a reference to the Calydonian Boar killed by the king’s daughter, Atlanta.

CPF had an ephemeral but brilliant run from 1851 to c. 1915, producing with the unparalleled skill of its Old World craftsmen some of the most astounding pipes, meerschaum and briar, ever created. That’s all I need tell of CPF’s history, as Steve’s account in the sources below is the definitive authority. Another link to a few of the CPF beauties in Steve’s Wonderland collection shows examples that are far closer to what I had in mind when I was wishing for a pipe of that great brand to find its way to me.

But that’s what can happen to someone who wishes for something.

RESTORATION
A few close-ups show the peculiarities and problems I found. The first, featuring the front of the bowl, makes the little, round, plastic bulbs – which I did not yet know the means of connection to the bowl – appear red instead of their actual light brown. Scratches all over the uneven surface that is spotted with the bulbs and brass studs presented awkwardness to remove. The second shot, of the rim and chamber, has the correct color of the bulbs and at a glance seems the hardest part of the pipe’s repair but in fact was the easiest. The third pic made me happy the band was already spinning on the shank so I could leave it out of an early alcohol soak. The grime and stains would come off, but I knew I could not fill in the missing patches of nickel. Then there was the stem, top and bottom, with moderate tooth damage that would typically be no hassle to eliminate if it were Vulcanite.Before I continue, take a close look at the bowl and count the bulbs and brass studs. There are seven bulbs and four studs, and the arrangement may seem random. But look again, and you’ll see a very odd order: on the left side, the bulbs start on the top left to right and then down to the bottom right; the studs move diagonally from the lower left to the middle. On the right side, the opposite is true: the bulbs go from top left down to bottom left and then bottom right, and the studs are diagonal from top right to middle. On the front, three bulbs form a diagonal, tic-tac-toe line from top right to bottom left, or vice versa if you prefer. Finally, the back shows all four corners with bulbs. The person who crafted this pipe had a very playful sense of order.

Thinking the Arcadia stem was Vulcanite but knowing it would do no harm anyway, I tossed it and the one from the Ben Wade reject candidate in an OxiClean bath. The usual old dirt and tobacco residue came off both. The first pictures after the bath show the stem not yet fully dried, and the next three dry. This was when I snapped that perhaps the stem material was not Vulcanite and Googled black horn, although if I had ever heard of such a variety of that organic material, it was dredged up from my subconscious. I emailed Steve somewhat stupidly without photos. He replied that horn has striations that are visible under a magnifier, so I shot him back the above photos and asked if the last showed the kind of marks he meant. His brief response was, “Definitely horn.” In the meantime, I had followed up with 220-grit sanding and wet and dry micro meshing from 1500-12000.While the stem had been taking a bath, I soaked the stummel in Isopropyl alcohol. I was worried about the possible effects of the alcohol on the bulbs, but somewhat less catastrophic in the potential result than the Trinity Tests of the atom bomb south of Albuquerque nearing the end of World War II, I took a gamble.I started the next longer part by sanding the rim with 400- and 1000-grit papers, then the rest with 1000. Smoothing the chamber with 60- and 320-grit papers, I followed up with a full micro mesh of the rim and rest of the outer stummel.I thought Fiebing’s Dark Brown leather stain would be good for the stain.I performed the retort and decided to add a coat of Fiebing’s Burgundy. I was satisfied with the color result, but in the process of flaming and micro meshing after the latter stain, a couple of the bulbs went M.I.A. Faced with the not altogether unanticipated contingency of somehow having to replace a bulb or two, as I still considered them, I had already considered using small push pins, the kind for wall maps, and had found a couple of places online that carried close to the same shade of brown in case it became necessary. Hoping to avoid the time waiting for them to arrive by mail, however, I scoured this wannabe big city that is lacking in so many of the amenities found in the real thing. The best I could find was the following box of 200 map pins in every color but brown (any shade of it!). The good news was that they only cost $2.99 minus tax at a hobby store. I concluded it would be necessary to replace all seven of the bulbs for the sake of consistency and suppose I might have opted for a conservative dark blue or even black, but as Tom Cruise’s high school character in Risky Business put it, “Sometimes you just have to say what the @#$*!” Besides, Christmas is coming up. The smaller brown pin below was an original I twisted out.The one prospect I didn’t even consider until I examined the holes left by the missing “bulbs” was that some antique version of map pins might have been used when the pipe was adorned in such an unconventional way by its maker. But when the time came to remove the bulbs that were still intact, I found out they were indeed nothing more than map pins from more than a century ago. All I had to do was snip off the longer metal ends of the new ones and Super Glue them into the slots. I still don’t know how the brass studs are attached because I didn’t want to mess with them. I’m curious by nature, but I have limits. My dad always said, if it works, don’t fix it.

And so, without further ado, here is the finished CPF Arcadia. CONCLUSION
I’ve come to love this pipe out of time that should have been made in the Art Deco period, which didn’t really get rolling until 1925 and hit its peak in the 1930s art scenes of Europe and the U.S. – or even the hippie (or psychedelic, counterculture and what-have-you) movement of the 1960s into the ’70s). If this restoration taught me anything, it’s that sometimes wishing for something vague can lead to a happy ending. I’ve come to love this pipe and will happily keep it if it doesn’t sell. And it is for sale, for the right price on my site, or a good trade.

SOURCES
https://rebornpipes.com/2017/07/30/enlivening-a-mysterious-old-knobby-oval-shank-meerschaum-bowl/
https://rebornpipes.com/2019/02/22/reflecting-on-a-few-of-my-cpf-pipes-colossus-pipe-factory-pipes/
https://rebornpipes.com/2013/04/14/some-reflection-on-the-historical-background-on-cpf-pipes/
https://www.thomasnet.com/articles/metals-metal-products/nickel-plating-history/
https://www.google.com/search?q=when+you+wish+upon+a+star+lyrics&rlz=1C1CHBF_enUS857US857&oq=when+you+wish+upom+&aqs=chrome.2.69i57j0l5.7556j0j4&sourceid=chrome&ie=UTF-8
https://www.gracesguide.co.uk/Adolph_Frankau_and_Co
https://adolphs.weebly.com/blog/adolph-frankau-tobacco-pipes
https://pipedia.org/wiki/BBB
https://trademark.trademarkia.com/bbb-71008248.html

Rejuvenating a Fancy French Butz Choquin Camargue 1683 Prince

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Blog by Dal Stanton

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

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

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

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

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

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

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

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

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

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

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

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Blog by Steve Laug

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

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

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

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

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

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

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

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

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

Recommissioning a Mysterious Harvey London Paris New York Meerschaum Lined Rusticated Dublin

2 Replies

Blog by Dal Stanton

Where I acquired this Harvey rusticated Dublin is not a mystery. The Bulgarian coastal city of Burgas, on the main walking street near the beach, I found the Dublin in the ‘wild’ along with 4 other pipes I acquired. One of my favorite things to do is to go ‘pipe picking’ wherever in the world my path takes me. My wife and I were on the Black Sea Coast for our annual summer R&R and one day, we peeled ourselves away from the beach and strolled the favorite center-city walking street where a second-hand shop of antiques became the venue of this pipe picking expedition.

The pipes were easily found waiting for me in a copper pot. After it was all done, negotiations were favorable and along with the Harvey Dublin, I brought home with me an Oldo Bruyere Billiard, Butz Choquin Supermate 1596 Panel, Lincoln London Made Real Sandblasted Billiard and a Lindbergh Select 324 Poker. The BC and Lindbergh Poker have both been recommissioned and have benefited our work here in Bulgaria with the Daughters of Bulgaria – women and girls who have been trafficked and sexually exploited. The Oldo and Lincoln are still waiting in the online, ‘For “Pipe Dreamers” ONLY!’ collection for a steward to see them and commission them!Alex, a pipe man from Bulgaria’s neighbor to the north, Russia, saw and commissioned the Harvey along with a fancy French Butz Choquin Camargue 1683 Prince pictured below.On the worktable first is the Harvey. Here are pictures giving a closer look. Located on the underside of the shank a smooth briar relief holds the nomenclature. Stamped is, HARVEY [over] LONDON PARIS NEW YORK [over] GARANTIERT BRUYERE [over] MEERSCHAUM-MASSA. The provenance of this pipe is a mystery. The nomenclature’s use of language would clearly lean European CONTINENT of origin. It’s an interesting mixture of languages with the German, GARANTIERT BRUYERE (Genuine Briar) which is not a precise help to mark its COM as Germany as this marking of pipes is used generally in several European countries that produce pipes. Also interesting is the ‘MASSA’ connected with Meerschaum (German for ‘Sea Foam’), is rendered from Google Translate as ‘Pulp’ having a Swedish designation by Google. None of these language ‘clues’ is a conclusive indicator of the COM, but what I believe can be concluded is a European origin – but where in Europe?My research showed some potential indicators, but again, nothing conclusive. A quick look in my treasured copy of Herb Wilczak and Tom Colwell’s ‘Who Made That Pipe?’ had entries that skipped Harvey’s hoped for place of entry – Harvard…Harvic. The normal first stops for research for me are Pipephil.eu (showing no listing for ‘Harvey’) and Pipedia. Pipedia dangled clues but nothing gained traction. First, John Harvey is listed as, “John Redman’s owner and manager, Philip Redman employed a pipe-maker named John Harvey. John was in charge of production at Whitecross Street up into the late 1980s. This could be a brand or line of pipes that he produced.” John Redman is synonymous with John Redman Ltd. and British Empire Pipe Co. a London based pipe manufacturer with many lines: Other lines include Aristocrat, Buckingham, Buckingham Palace, Canberra, Captain Fortune, Dr John, Golden Square, Redonian, Richmond (not Sasieni), Twin Bore. Could the possible line of pipes have been produced with John Harvey’s family name on it? I go back to Pipephil.eu and repeat a search adding ‘John’ to Harvey and the result is the same – nothing. Possible? Perhaps.

Pipedia also unearthed an ‘Italian connection’ with the ‘Harvey’ name. In the extensive article on the History of Italian Caminetto pipes, Harvey is mentioned two times in passing amidst the iterations of Guiseppe Ascorti, Carlo Scotti of Ascorti, started in 1959 and came apart in the 70s and 80s. Harvey is mentioned as a resource in understanding the various lines of a series called ‘Prestige’. In the same article, it is stated of the possibility that a ‘Harvey Greif’ stamped his own Caminetto’s as a property claim. Nothing else is mentioned in this article about the Harvey connection or of a Harvey Greif.

The next clue came from rebornpipes.com and Steve’s work on a couple of Italian marked pipes with the name, ‘Harvey’. Steve’s research ran down the same dry riverbed as mine. His restoration of an Italian Harvey, New Life for an Italian Made Harvey Futura Billiard, produced this theory after nothing conclusive was found regarding the Harvey name. Steve wrote:

I have a theory that the brand was made by Rossi because I knew that the factory made many pipes for various sellers around the world. I have no proof of it of course but it is a good possibility. I have no idea of the connection between Rossi and Harvey pipes, but I sense that there is one.

The Harvey pipes Steve worked on were clearly marked with the COM as Italy. The Harvey I’m looking at is nebulous. There could be an Italian connection but to me it is stretched because of the lack of specific marking as the Italian Harvey’s had consistently.

In my emailing Steve back and forth about the Harvey on my worktable, he made another interesting observation which I believe is probably pointing in the right direction. Steve wrote after my doubt of an Italian ‘Harvey’ connection:

Sure… the Italy was on the underside of the shank at the stem/shank union. I am wondering if there was a Harvey pipe shop or tobacco shop… then it would be a shop stamp… The above pipe looks a lot like a finish done by Sasieni.

Steve’s deep experience working with many pipes has definitely given him a ‘6^th sense’ with the styles and characteristics of pipe families. This ‘6^th sense’ helped me to identify an elusive pipe, which was written up with the title: Ria_io Selection Italy Full Bent Billiard. The pipe was an Italian Lorenzo Rialto – a very nice pipe!

The Sasieni source he theorizes is interesting and while ‘Harvey’ is not mentioned in the considerable list of Sasieni seconds (see: Pipedia’s article) I think it is plausible that the Harvey before me is a ‘shop pipe’ or from a larger retail store of years past when selling pipe smoking materials in a ‘regular’ store was still the norm in the men’s sections. I discovered one such ‘treasure’ in the restoration of a Robinson (Restoring a Surprising Silver Treasure: a Robinson 8494 Quarter Bent Paneled Tomato). The Robinson was available in Robinsons & Co, a British owned retail chain based in Malaysia.

When my research was running dry, I posted pictures of the Harvey and its nomenclature on several Facebook groups asking for help. I secured a picture of another Harvey – London Paris New York, from Dom on the FB group, Tobacco Pipe Restorers. He had received this pipe as a gift. So, I knew there was at least a few more of these pipes out there along with a long-expired eBay listing I found. The eBay listing is interesting in that it is the same shape, but a smooth briar. Also, in sync is the Meer-lining.But the suggestion of origin that came from Trevor on ‘Pipe Lifestyle’ I think joins the plausible path suggested by Steve and my thoughts of it being a ‘store’ pipe. Trevor wrote:

Just thinking out loud Dal, but could the Harvey be a reference to the Harvey-Nichols department store in London? I don’t know if they ever expanded to Paris or New York, but it may be a house branded pipe.

I did a quick search of the ‘Harvey-Nichols’ department store and found a Wikipedia link that opened up to information that seemed promising at first – familiar hallmarks to the Robinson story: Founded in London in 1831, and over the years opened in 16 different locations, mainly in UK, but with many stores in the Middle East as well. My first thought was to email ‘Harvey-Nichols’ to find out if there might be some clues to this pipe, but my hopes were dashed when I read that the company had been purchased and acquired at least 5 times in the recent history recorded. Finding historical information through that labyrinth was not something I wanted to be doing. The other factor was that there were no locations of the Harvey Nichols stores mentioned being in either New York or Paris – again, possible but not likely.

I do believe the most plausible theory as to the origins of this pipe is that it is a ‘shop’ or ‘store’ pipe that was produced by a pipe manufacturer and stamped. The English source of manufacturing is plausible with Steve’s Sasieni connection observation. My guess is that the pipe is a commemorative of some sort with the ‘London Paris New York’ as the banner. For what commemoration, will remain shrouded in mystery – at least for now.

Turning now to the pipe itself, the rusticated surface of this classic Dublin shape stands out – it is very tightly crafted and reminds one of a reptilian hide. Very nicely done. The stummel surface needs cleaning and the rim is scuffed up and needs attention. Most problematic is the chamber. The pipe has a Meerschaum-lining – from the Massa or pulp, description, the Meer may not be block but the compound sort – not sure. Either way, with a Meer-lining the opportunity for damage to the lining increases exponentially with the build up of carbon cake creating pressure. Meerschaum needs nor wants a protective cake lining as do briars. So, the lesson that this pipe is teaching is, Meerschaum needs to be cleaned off!! What I do after each use of either a Meer lined or Meerschaum block pipe is to use a bent over pipe cleaner to scrape off the chamber wall. You want NO carbon build-up on Meerschaum. I take another closeup below that tells the story. The cake is thick and appears hard, and the lava overflow is crusted over the top of the Meer-lining and on rim surface.The stem has moderate oxidation but almost no tooth chatter or damage at all. That is welcomed. For some reason, I only managed one picture of the stem. The stem came mounted with a sword stinger which I removed and put aside until the end. I’ll let the future steward decide if he wants to utilize the stinger. I begin the restoration of the Harvey rusticated Dublin by adding its stem in a soak with other pipe’s in the queue. I first clean the stem airway using pipe cleaners wetted in isopropyl 95%. With the airway clean, I then place the stem in a soak of Before & after Deoxidizer. I leave the stem in the soak for a few hours. After a few hours, I fish the stem out of the soak and wipe off the oxidation and excess fluid using a cotton pad. I also run another pipe cleaner wetted with isopropyl 95% through the airway to clean out the Deoxidizer. Very little oxidation is raised and removed.To rejuvenate the vulcanite stem, I wipe on paraffin oil and then put the stem aside to absorb the oil. Now, with my attention focused on the stummel, I gently and patiently remove the carbon cake buildup on the Meerschaum lining. This process is like a dance because I’m not sure about the Meer lining’s integrity at this point and I don’t want to bring additional burden to the Meerschaum through the removal process. I start with the Savinelli Fitsall tool to remove carbon by scraping the walls by hand with this custom tool.I take a picture of the upper chamber. The texture of the partially excavated cake is not easily seen in the picture – but it’s pretty nasty. But these pictures show the progress. After I’ve removed the thick cake and defined the Meer lining wall, I then, very gently, use the two smallest blade heads of the Pipnet Reaming Kit. I apply almost no downward torque on the blade heads satisfied to allow the blades simply to scrape additional carbon with its own momentum.Next, I sand the chamber walls starting with a coarse 120 grade and then 240 grade sanding paper – both wrapped around a Sharpie Pen.I’m not concerned that the lower Meerschaum chamber remains darker. It’s darker but it’s free of carbon. After sanding, I wipe the chamber with a cotton pad wetted with isopropyl 95% to remove the carbon dust. The picture does not show what I can feel with my finger as I probe. The Meerschaum lining looks and feels great! I move on.Turning now to the external surface, I use undiluted Murphy’s Oil Soap with a cotton pad to scrub the rusticated surface. The rim is exceptionally entombed in a brick hard lava overflow crust. I also deploy a bristled toothbrush to work on the rough surface and a brass wired brush to work on the rim. I take some ‘action’ shots pictures to show the cleaning process.I very gently employ the edge of my Winchester pocketknife to scrape the top of the Meerschaum lining. I don’t believe the internal chamber or rim has ever been cleaned before this. The rim lava is hard and does not give easily.I take the stummel to the sink and rinse the soap off thoroughly. The cleaning goes well, but on the aft side of the Meerschaum rim, the lava caked on it will not give. I’ve scraped it with the knife edge, and I’m concerned that I may damage the Meerschaum if I force the issue with scraping. I don’t believe I’ve seen lava ‘welded’ on so firmly as this.It takes some delicate effort, but using the knife edge, Savinelli Fitsall tool and sanding with 240 grade paper, the hard gunk is removed. The downside is that the intensive focus on this portion of the rim and Meerschaum resulted in a thinning area in the circumference of the Meer lining. I’ll address this later.I haven’t forgotten that I have yet to clean the internals of the stummel. Using cotton buds and pipe cleaners wetted in isopropyl 95%, I go to work. The gunk seems to be relentless. I also employ the use of a dental spoon to scrape the mortise wall excavating a good deal of tar and oils. After a good bit of effort, the buds and pipe cleaners begin emerging lighter and I finally call the internals clean. I move on. The arrows point out the top of the Meer lining where it thins because of the removal of the hardened lava. The pictures also show the rough condition of the rim and the rim edge. I take a side picture to show this from another angle. The second picture also shows the very expressive rusticated surface – nice! To freshen the rim and to address the worn, rough rim edge, I take the stummel to the topping board. By taking a little off the top, it will also help to mask and blend the thinning of the Meer rim. One added benefit of freshening the rim is to create that classy contrast between the rusticated surface and a grained smooth surface. After placing 240 paper on a chopping board, I give the inverted stummel a few rotations and check the progress. I return to the board several times and check progress often. The pictures show the progress of revealing the smooth briar grain beneath. When I come to a point where the topping is universal, I switch to 600 grade paper and give the stummel several more rotations. In the picture below, the Meerschaum area at 2 o’clock is rough and thin. The topping helped to bring some balance to the rim, but it will remain thinner in this area. To smooth the Meerschaum lining around the rim, I again use 600 grade paper and sand. The Meer sands nicely. The area continues to have some discoloration, but the blending looks good.Looking now to the stummel surface, I take some pictures showing the thin areas of the finish. The rusticated surface is a straightforward black finish. Using a Black dye stick, I darken the entire surface paying special attention to applying dye to the rim edge to sharpen it. I’m liking what I’m seeing! After putting the stummel aside to allow the dye to rest, I turn now to the stem. The bit has almost no tooth chatter but there are a few indentations. I take a starting picture of the upper and lower bits.Using 240 sanding paper to address the minor imperfections, I use a plastic disc on the tenon side of the stem to guard against shouldering.I then wet sand with 600 grade paper followed by an application of 000 steel wool.On a roll with the stem, I now apply the full regimen of micromesh pads. Starting with pads 1500 to 2400, I wet sand. Following this, I dry sand using pads 3200 to 4000 and pads 6000 to 12000. Between each set of three pads, I apply Obsidian Oil to the stem to continue the revitalization of the vulcanite. The rim looks much better. To darken the rim and to bring out the grain, I use the full regimen of micromesh pads to sand. I ‘damp’ sand with pads 1500 to 2400 and then dry sand with pads 3200 to 12000. The pictures show the progress. I also use the later pads, 3200 to 12000 on the smooth briar underside of the stummel.Whether or not the next steward uses the stinger, it will join the chorus as well of getting a new restored look. Using steel wool, I polish the stinger to bring out the shine.With the smooth briar surfaces on the rim and the underside of the stummel, I apply Before & After Restoration Balm to bring out the natural briar hues. After applying, I set the stummel aside for a few minutes for the Balm to absorb (pictured below) then I use a micromesh cloth to wipe off the excess Balm and to buff. As hoped, the honey colored rim surface is a beautiful contrast to the dark, rusticated surface.Now in the home stretch, I mount a cotton buffing wheel to the Dremel and after setting the speed to about 40% full power, I apply Blue Diamond compound only to the smooth briar surfaces and to the stem. I do not apply compound to the dense, rusticated surface. The compound would only cake up and I would have to clean it by hand! Not what I want to be doing. After applying the compound, using a felt cloth, I follow by buffing off the excess compound on the smooth briar and stem. This cleans the surface in preparation for application of the wax.After application of Blue Diamond compound, I mount another cotton cloth buffing wheel dedicated to the application of carnauba wax. With the speed remaining at 40%, I apply a few coats to the smooth briar surfaces and to the stem. I decide to test applying wax to the rustication. I use almost a ‘dry’ buffing wheel – that is, I apply a very light bit of carnauba. I increase the speed of the Dremel to about 60% full power. I do this to increase the RPMs of the wheel, thus increasing the friction and the resulting heat which aids the wax in dissolving in the rougher terrain. This is successful and I’m able to apply a light wax to the rusticated surface – nice!I complete the restoration by hand buffing the entire pipe with a microfiber cloth to remove excess wax and to raise the shine.

There is some mystery surrounding name and origins of this striking Harvey Rusticated Dublin. I do believe the most plausible theory as to the origins of this pipe is that it is a ‘shop’ or ‘store’ pipe – stamped for store distribution my a manufacturer. The English source of manufacturing is plausible with a possible Sasieni connection. My guess is that it is a commemorative production of some sort with the ‘London Paris New York’ as the banner. For what commemoration, will remain shrouded in mystery. Yet, not shrouded in mystery is the striking, tightly woven black rusticated finish. The contrasting honey colored smooth briar of the rim, hugging the Meerschaum on the inside and blanketed by the black rusticated texturing on the outside is, well, I can’t take my eyes off this pipe! Frosting on the cake is the contrast of the smooth underside panel holding the mysteries of the nomenclature – if pipes could only speak our language…! The Dublin bowl adds a bit of attitude to the ensemble! A very nice pipe that Alex has commissioned. As the ‘pipe commissioner’, he will have the first opportunity to acquire the Harvey from The Pipe Steward Store benefiting the Daughters of Bulgaria. Thanks for joining me!

Working on a GBD Standard 323 Smooth Apple from Bob Kerr’s Estate

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Blog by Steve Laug

I am continuing to work through Bob Kerr’s estate. The next pipe on the table is a GBD Standard Apple, smooth bowl and shank a beveled rim top. It is an Standard with a black vulcanite stem. I am continuing to cleanup Bob’s estate for his family and moving them out into the hands of pipemen and women who will carry on the trust that began with Bob and in some pipes was carried on by Bob. In the collection there were a total of 125 pipes along with a box of parts. This is the largest estate that I have had the opportunity to work on. I put together a spread sheet of the pipes and stampings to create an invoice. I was taking on what would take me a fair amount of time to clean up. I could not pass up the opportunity to work on these pipes though. They were just too tempting.

I have been collecting and restoring GBD pipes for as long as I have worked on pipes. This one also has a beautiful mix of grain under the grime on the finish. It is quite beautiful! The pipe is stamped GBD in an oval over Standard on the left side of the shank. On the right side it is stamped London, England and the shape number 323. It had a rich brown stain that does not look too bad. There was a thick cake in the bowl with remnants of tobacco stuck on the walls. There was a lava overflow on the rim. The inner edge of the rim and top are dirty and had a thick lava coat. The edges appear to have a bit of burn damage on the front inner edge and the front outer edge has a bit of wear damage. It was a beautiful pipe that was dirty and tired looking. The stem was oxidized and calcified toward the end. Again, surprisingly did not have the tooth marks that I have come to expect from Bob’s pipes. Jeff took photos of the pipe before he started his cleanup work on it. Jeff took photos of the bowl and rim top to show the cake in the bowl and the lava build up on the edges of the bowl. It was thick and hard but hopefully it had protected the rim and edges from damage. There appears to be a little damage on the left front inner and outer edges of the bowl. Otherwise it looks pretty good. Jeff took photos of the sides and heel of the bowl to show the condition of the finish. You can see the beautiful grain through the debris – both birdseye and cross grain. The finish was very dirty. There is a small putty fill on the lower right side of the bowl. Jeff took photos of the stamping on the sides of the shank. The stamping was readable as you can see from the photos. On the left side it read GBD in an oval over Standard. On the right is reads London, England over the shape number 323. On the left side of the saddle stem was an inlaid brass GBD rondel. Jeff took photos of the top and underside of the stem showing the tooth chatter, scratching and oxidation on the stem surface and wear on the edges of the button. The edges of the button looked very good with slight wear on the edges. I already cleaned up and restore another Standard from Bob’s estate and did the research on the brand while working on that one (https://rebornpipes.com/2019/08/10/back-to-bob-kerrs-estate-working-on-a-gbd-standard-9136-bent-billiard/). In that blog I referenced an article on Pipedia. The article gives a lot in terms of the history of the brand (https://pipedia.org/wiki/GBD). I quote the section where I found the reference to the Standard.

I also turned to the reference page on the site for GBD shapes and numbers and could not find any information on that shape number (https://pipedia.org/wiki/GBD_Shapes/Numbers). There was nothing there with the 323 number though there were other apple shaped pipes in the 335-345 numbers. So once again there is a mystery on this one.

With that information in hand I knew what I was dealing with in terms of the stamping and the age of this pipe. I knew from the information from the section quoted that the Standard originally came out in the 20s. In the late 1930s the New Standard was introduced after the war. So this is another one of Bob’s older pipes – late 1920s to early 30s. Now it was time to work on the pipe.

With over 125 pipes to clean from Bob’s estate I am really appreciating Jeff’s help cleaning them up. Jeff cleaned the pipe with his usual penchant for thoroughness that I really appreciate. This one was a real mess and I did not know what to expect when I unwrapped it from his box. He reamed it with a PipNet pipe reamer and cleaned up the reaming with a Savinelli Fitsall Pipe Knife. He scrubbed out the internals with alcohol, pipe cleaners and cotton swabs until the pipe was clean. He scrubbed the exterior of the bowl with Murphy’s Oil Soap and a tooth brush to remove the grime and grit on the briar and the lava on the rim top. The finish looks very good with good looking grain around the bowl and shank. Jeff soaked the stem in Before & After Deoxidizer to remove the oxidation on the rubber. When the pipe arrived here in Vancouver for the second stop of its restoration tour it looked good. The stem still sported some deep oxidation but otherwise it was clean. I took photos before I started my part of the work. I took some close up photos of the rim top and also of the stem surface. The rim top looks pretty good. There is some darkening on the top edge and a burn marks on the inner and outer edge. There is also some damage on the outer rim on the rim. The photos show a few small dents on the surface of the stem and the nick out of the top of the button on the topside. You can also see the remaining oxidation on the stem surface. I am going to keep posting the next paragraph because of the importance of protecting the stamping/nomenclature.

One of the things I appreciate about Jeff’s cleanup is that he works to protect and preserve the nomenclature on the shank of the pipes that he works on. The stamping on this one was very faint to start with so I was worried that it would disappear altogether with the cleanup. He was not only able to preserve it but it is clearer than shown in the earlier photos. I took some photos to show the clarity of the stamping. I have noticed that many restorers are not careful to protect the stamping in their cleaning process and often by the end of the restoration the nomenclature is almost destroyed. I would like to encourage all of us to be careful in our work to preserve this as it is a critical piece of pipe restoration! Since this is another pipe Bob’s estate I am sure that some of you have read at least some of the other restoration work that has been done on the previous pipes. You have also read what I have included about Bob Kerr, the pipeman who held these pipes in trust before I came to work on them (see photo to the left). Also, if you have followed the blog for long you will already know that I like to include background information on the pipeman whose pipes I am restoring. For me, when I am working on an estate I really like to have a sense of the person who held the pipes in trust before I worked on them. It gives me another dimension of the restoration work. I asked Brian if he or his wife would like to write a brief biographical tribute to her father, Bob. His daughter worked on it and I received the following short write up on him and some pictures to go along with the words including one of Bob’s carvings. Once again I thank you Brian and tell your wife thank you as well.

Now, on to the rest of the restoration on this GBD Standard 323 Tapered stem Billiard. Since Jeff had done such an amazing clean up job on the bowl it was going to be a very easy job for me. There was some darkening and damage on the rim top, the inner and outer edges of the rim that needed to be addressed. I sanded it with a folded piece of 220 grit sandpaper to remove and minimize the damage to the top and the edges. I continued by starting to polish it with 400 grit wet dry sandpaper. I wiped the rim edge down with a damp cloth to remove the sanding dust on the briar. The first photo below shows the rim top when I started and the second one below shows it after the work. The finished rim top looked much better than when I started. I was able to minimize the damage on the front inner edge of the rim. It is still damaged but it looks considerably better. Once I clean it and stain it the rim edge will look better. I polished the rim top and sides of the bowl with micromesh sanding pads – wet sanding with 1500-12000 grit pads. I wiped the bowl and rim down with damp cloth after each sanding pad. The more I polished the rim top the more the rim blended in with the rest of the finish. I would not need to stain it. I rubbed the bowl down with Before & After Restoration Balm. I worked it into the surface of the briar with my fingertips to clean, enliven and protect it. I let the balm sit for a little while and then buffed with a cotton cloth and shoe brush to raise the shine. I set the bowl aside and turned my attention to the stem. I sanded the stem with 220 grit sandpaper to break up the oxidation. I started the polishing with 400 grit wet dry sandpaper to remove the scratching. It is starting to look good. I have one more tin of Denicare Mouthpiece Polish left from a few that I have picked up over the years. It is a coarse red pasted that serves to help remove oxidation. I polished the stem with that to further smooth out the surface of the vulcanite (and to be honest – to use it up). I polished the stem with micromesh sanding pads – wet sanding with 1500-12000 grit pads. I wiped the stem down after each sanding pad with Obsidian Oil. I polished it with Before & After Pipe Stem Polish – both Fine and Extra Fine. Once I had finished the polishing I gave it final coat of oil and set it aside to dry. I can’t tell you how great it feels to be moving through these 125 pipes – about 39 done so far! It is an overwhelming task that can only be achieved one pipe at a time. So each time I finish one of the pipes from Bob Kerr’s Estate I look forward to what it will look like when it is put back together, polished and waxed. I put the bowl and stem back together. I polished the bowl and stem with Blue Diamond to polish out the scratches in the briar and the vulcanite. I gave the bowl and 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 rich medium brown smooth finish really popped with buffing showing the grain on the pipe. The polished thin black vulcanite taper stem went really well with the colours of the bowl. This old GBD Standard 323 Apple was another fun pipe to work on thanks to Jeff’s cleanup work. It really has the classic GBD Apple shape that is very recognizable. The medium brown stain really makes the pipe look attractive. It is another comfortable pipe to hold in the hand. The finished pipe is shown in the photos below. The dimensions of the pipe are Length: 5 ½ inches, Height: 1 ½ inches, Outside diameter of the bowl: 1 ¼ inches, Chamber diameter: ¾ of an inch. If you are interested in carrying on Bob’s legacy with this pipe send me a message or an email. I have a lot more to work on of various brands. Perhaps one of those will catch your attention. Thanks for reading this blog and my reflections on the pipe while I worked on it. This is an interesting estate to bring back to life.

Working on a GBD Original 91327 Smooth Billiard from Bob Kerr’s Estate

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Blog by Steve Laug

I am continuing to work through Bob Kerr’s estate. The next pipe on the table is a GBD Original Billiard, smooth bowl and shank a beveled rim top. It is an Original with a black vulcanite stem. I am continuing to cleanup Bob’s estate for his family and moving them out into the hands of pipemen and women who will carry on the trust that began with Bob and in some pipes was carried on by Bob. In the collection there were a total of 125 pipes along with a box of parts. This is the largest estate that I have had the opportunity to work on. I put together a spread sheet of the pipes and stampings to create an invoice. I was taking on what would take me a fair amount of time to clean up. I could not pass up the opportunity to work on these pipes though. They were just too tempting.

I have been collecting and restoring GBD pipes for as long as I have worked on pipes. This one also has a beautiful mix of grain under the grime on the finish. It is quite beautiful! The pipe is stamped GBD in an oval over Original on the left side of the shank. On the right side it is stamped London, England and the shape number 91327. It had a rich brown stain that does not look too bad. There was a thick cake in the bowl with remnants of tobacco stuck on the walls. There was a lava overflow on the rim. The inner edge of the rim and top are dirty and had a thick lava coat. The edges appear to have a bit of burn damage on the front inner edge and the front outer edge has a bit of wear damage. It was a beautiful pipe that was dirty and tired looking. The stem was oxidized and calcified toward the end. There seemed to be a chip or nick in the middle of the button on the top edge. Again, surprisingly did not have the tooth marks that I have come to expect from Bob’s pipes. Jeff took photos of the pipe before he started his cleanup work on it. Jeff took photos of the bowl and rim top to show the cake in the bowl and the lava build up on the edges of the bowl. It was thick and hard but hopefully it had protected the rim and edges from damage. There appears to be a little damage on the left front inner and outer edges of the bowl. Otherwise it looks pretty good. Jeff took photos of the sides and heel of the bowl to show the condition of the finish. You can see the beautiful grain through the debris – both birdseye and cross grain. The finish was very dirty. There is a large putty fill on the right side of the shank near the bowl. Jeff took photos of the stamping on the sides of the shank. The stamping was readable as you can see from the photos. On the left side it read GBD in an oval over Original. On the right side it was stamped London, England over the shape number 91327. On the left side of the saddle stem was an inlaid brass GBD rondel.Jeff took photos of the top and underside of the stem showing the tooth chatter, scratching and oxidation on the stem surface and wear on the edges of the button. There is a deep nick in the topside of the button.I turned to Pipedia’s article on GBD to see if I could find any information on the Historic line. I have heard of Original pipes but I have never seen one stamped with the five digit shape number like this 91327. The Pipedia article identifies the line as a French made pipe however, this one is stamped London, England thus contradicting the article that specifically says that the pipes were not made in England (https://pipedia.org/wiki/GBD_Model_Information).

I also turned to the reference page on the site for GBD shapes and numbers and could not find any information on that shape number (https://pipedia.org/wiki/GBD_Shapes/Numbers). There was nothing there with a five digit number so I checked the listing of the last 3 digits, 327 and did not find one. So once again there is a mystery on this one.

All of my research did not really help pin anything down. The shape number was a dead end and the line description was also a contradiction. I was dealing with a bit of anomaly – a French made saddle Billiard stamped London, England with a saddle stem. In terms of dating the pipe I can only guess that it fits in with the late 50s to late 60s of Bob’s other pipes but I cannot know for sure. Now it was time to work on the pipe.

With over 125 pipes to clean from Bob’s estate I am really appreciating Jeff’s help cleaning them up. Jeff cleaned the pipe with his usual penchant for thoroughness that I really appreciate. This one was a real mess and I did not know what to expect when I unwrapped it from his box. He reamed it with a PipNet pipe reamer and cleaned up the reaming with a Savinelli Fitsall Pipe Knife. He scrubbed out the internals with alcohol, pipe cleaners and cotton swabs until the pipe was clean. He scrubbed the exterior of the bowl with Murphy’s Oil Soap and a tooth brush to remove the grime and grit on the briar and the lava on the rim top. The finish looks very good with good looking grain around the bowl and shank. Jeff soaked the stem in Before & After Deoxidizer to remove the oxidation on the rubber. When the pipe arrived here in Vancouver for the second stop of its restoration tour it looked good. The stem still sported some deep oxidation but otherwise it was clean. I took photos before I started my part of the work. I took some close up photos of the rim top and also of the stem surface. I wanted to show what an amazing job Jeff did in the cleanup of the rim top. The rim top looks pretty good. There is some darkening on the top edge and a burn marks on the inner and outer edge. There is also some damage on the outer rim on the rim. The photos show a few small dents on the surface of the stem and the nick out of the top of the button on the topside. You can also see the remaining oxidation on the stem surface. I am going to keep posting the next paragraph because of the importance of protecting the stamping/nomenclature.

Now, on to the rest of the restoration on this GBD Original 91327 Saddle Stem Billiard. Since Jeff had done such an amazing clean up job on the bowl it was going to be a very easy job for me. There was some darkening and damage on the rim top, the inner and outer edges of the rim that needed to be addressed. I sanded it with a folded piece of 220 grit sandpaper to remove and minimize the damage to the top and the edges. I continued by starting to polish it with 400 grit wet dry sandpaper. I wiped the rim edge down with a damp cloth to remove the sanding dust on the briar. The first photo below shows the rim top when I started and the second one below shows it after the work. The finished rim top looked much better than when I started. I was able to minimize the damage on the front inner edge of the rim. It is still damaged but it looks considerably better. Once I clean it and stain it the rim edge will look better. Some how the fill that was obvious in the first photos that Jeff took seem to have expanded and filled in and with the polishing and sanding it disappeared. I can see it but it was not worth repairing or replacing. I polished the rim top and sides of the bowl with micromesh sanding pads – wet sanding with 1500-12000 grit pads. I wiped the bowl and rim down with damp cloth after each sanding pad. The more I polished the rim top the more the rim blended in with the rest of the finish. I would not need to stain it. I rubbed the bowl down with Before & After Restoration Balm. I worked it into the surface of the briar with my fingertips to clean, enliven and protect it. I let the balm sit for a little while and then buffed with a cotton cloth and shoe brush to raise the shine. I set the bowl aside and turned my attention to the stem. I filled in the divot on the top of the button on the top side and built up the edge on the underside with clear Krazy Glue.I sanded the stem with 220 grit sandpaper to break up the oxidation. I started the polishing with 400 grit wet dry sandpaper to remove the scratching. It is starting to look good. I have one more tin of Denicare Mouthpiece Polish left from a few that I have picked up over the years. It is a coarse red pasted that serves to help remove oxidation. I polished the stem with that to further smooth out the surface of the vulcanite (and to be honest – to use it up). I polished the stem with micromesh sanding pads – wet sanding with 1500-12000 grit pads. I wiped the stem down after each sanding pad with Obsidian Oil. I polished it with Before & After Pipe Stem Polish – both Fine and Extra Fine. Once I had finished the polishing I rubbed it down with “No Oxy Oil”, a product I am trying out from Briarville Pipe Repair. So far it is an impressive product that is very similar to Obsidian Oil. I will continue to experiment with it. I can’t begin to tell you how great it feels to be moving through these 125 pipes – about 38 done so far! It is an overwhelming task that can only be achieved one pipe at a time. So each time I finish one of the pipes from Bob Kerr’s Estate I look forward to what it will look like when it is put back together, polished and waxed. I put the bowl and stem back together. I polished the bowl and stem with Blue Diamond to polish out the scratches in the briar and the vulcanite. I gave the bowl and 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 rich medium brown smooth finish really popped with buffing showing the grain on the pipe. The polished thin black vulcanite saddle stem went really well with the colours of the bowl. This old GBD Original 91327 Billiard was another fun pipe to work on thanks to Jeff’s cleanup work. It really has the classic GBD Billiard shape that is very recognizable. The medium brown stain really makes the pipe look attractive. It is another comfortable pipe to hold in the hand. The finished pipe is shown in the photos below. The dimensions of the pipe are Length: 5 ½ inches, Height: 1 ¾ inches, Outside diameter of the bowl: 1 ¼ inches, Chamber diameter: ¾ of an inch. If you are interested in carrying on Bob’s legacy with this pipe send me a message or an email. I have a lot more to work on of various brands. Perhaps one of those will catch your attention. Thanks for reading this blog and my reflections on the pipe while I worked on it. This is an interesting estate to bring back to life.

Restoring a Pair of Petite Peterson’s of Dublin Pocket Pipes

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Blog by Steve Laug

I did a pipe repair on an old cased Bulldog for a fellow in Australia, Ray Choy. He sent the pipe and I repaired it and sent it back to him. He replied that he had a few pipes that were just too small for his liking anymore and he wanted to clean and ream them and send them to me. His email said that he would clean them up with the reamer and cleaning equipment he had. Once he had them cleaned and reamed he would send them to me for the finishing touches. The box arrived and I set them aside so that I could finish the clean up later. I decided to tackle the two small Peterson’s Pocket pipes that Ray had sent me. The first one is a Peterson’s of Dublin Belgique military mount and the second is a Peterson’s of Dublin Calabash military mount. Both pipes are stamped on the left side of the shank with the words Peterson’s Dublin. On the right side of the shank both are stamped Made in the Republic of Ireland. Neither one has a shape number on them and both have a vulcanite shank extension bearing the Peterson’s “P”. The stems were in good condition with no chatter or tooth marks. Both had some light oxidation.

Ray had done a great job on the reaming and the cleaning of the bowl and shank so I could literally just start with the finishing touches. The rim tops on both pipes had some darkening on the flat tops. The inner edges of both were damaged and slightly out of round. The outer edges were in great condition. There was some light oxidation on the vulcanite shank extensions. I took some photos of the pipe before I started putting the finishing touches on them. I took some photos of the rim top and bowl to show the condition of the pipes when they arrived. The bowls were very clean. Both rims had some darkening and the inner edge of both had some damage to them. The photos of the stems show the condition of both of them. They both are in excellent condition. I took photos of the stamping on both pipes. The first is the Belgique with straight shank and the second is the Calabash with the bent shank. You can see the clear stamping on both pipes. The left side shows the arched Peterson’s Dublin with a forked P and the right side shows Made in the Republic of Ireland. I have a 2010 Peterson Catalogue on rebornpipes that shows the various shapes that Peterson made. There is a page there on Specialty Pipes that shows the pipes that I am working on. The pipes pictured are different from the two that I am working on in that both of these are military mount stem. It states that the Belgique and Calabash are two petite and lightweight Peterson crafted with all the care and know how of century old pipe makers, from finest quality briar in red polish and rustic finishes with Fishtail mouthpieces only. However they are described in the catalogue the two shapes that are extremely lightweight. These two are not red polish but actually a rich matte brown finish. The fishtail mouthpieces are classic military mounts that can easily be removed to fit in the pocket. They represent the best micro-pocket pipe within the Peterson portfolio. I have included the noted page below (https://rebornpipes.com/2015/05/15/).I did a bit more digging on the Peterson Pipe Notes blog. There I found that Mark had included a photo of the various Speciality pipes. Peterson’s first put these four small pipes on the market in 1945 – Tankard & Barrel, Calabash & Belgique seen in the photo below. Here is the link to Mark’s Blog (https://www.petersonpipenotes.org/tag/peterson-valentia-pipe/).I did a bit more digging and found some descriptions of the two shapes that I am working on. The various descriptions of the Belgique come from a variety of sites and the final one is quoted on the Brothers of Briar site.

…The Belgique is yet another extremely lightweight, petit pipe. It can be described as a tulip shape, and is fitted… and fishtail mouthpiece. A rich brown hue adorns the briar and makes for an attractive finish to this pocket companion.

…The Peterson Belgique Pipe is a straight cutty, which is a traditional shape derived from the old clay pipes. It is a small un-filtered pipe made from the finest Briar that Peterson have become renowned for. It has a smooth polished finish with a rich Brown stain to show of the natural grain pattern of the Briar.

…I have a pre rep Belgique love it. As you know the bowl is pretty large for the small pipe measuring 5/8″ ID and 1 1/4″ deep. My pipe is just shy of 6″ long and only weighs 11.7 grams. the bowl is not tapered which makes the capacity rather nice. Depending on what tobacco you load you will get a 30- 45 min smoke. The Belgique has thin walls so you have to sip very slowly and tamp more than usuall. The newer models hava a fishtail stem which i believe makes the newer pipes not as delicate as my military p lip. If you decide to get the Belgique I am sure you will not be disappointed. (http://www.brothersofbriar.com/t16010-anybody-familiar-with-peterson-s-belgique-model).

…The Belgique is one of our favorite shapes in the Peterson line up. Interestingly, while it was a serious mainstay of the brand in decades past, it sort of faded into obscurity for a few years there, before being seriously revived in the past decade. A particularly small shape, and sort of an oddity in Peterson’s shaping lexicon (a bit like Native American loan words in English), it nonetheless fits the timeless, elegant style for which Peterson is known and loved.

I also found this description of the Calabash.

This particular Calabash represents the smallest pipe within the Peterson portfolio making it a perfect pocket pipe for a short smoke. Finished here with a rich brown finish together with a… fishtail mouthpiece.

I started working on the pipes by cleaning up the rim top and the inner edge on the bowl of both of them. I used a folded piece of 220 grit sandpaper to clean off the rim darkening. I used the folded edge to clean up the inner edge. I was able to bring the bowl back into round. I polished it with 400 grit wet dry sandpaper to take out the scratches. The rim tops were looking really good. I polished exterior of the bowl and the vulcanite shank extensions with micromesh sanding pads – wet sanding with 1500-12000 grit pads. I wiped it down with Obsidian Oil after each sanding pad to wipe of the dust and polish it. I rubbed the bowls down with Before & After Restoration Balm. I worked it into the briar and into the vulcanite shank extension to preserve, protect and enliven it. I let it sit on the surface of the bowls for about 10 minutes and then buffed the pipe with a cotton cloth. The photos tell the story. These pipes had some stunning grain on the bowls. I polished the vulcanite shank extensions 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 plus I have a tin to use up! I touched up the “P” stamp on the shank extensions with PaperMate liquid paper. I filled in the stamping with the liquid applying it with a dauber and a tooth pick. Once it dried I rubbed it off with a cotton cloth. The second photo shows the stem before the polishing on the buffing wheel.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 plus I have a tin to use up!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 and buffed it off with a final coat of Obsidian Oil. This pair of Peterson’s Speciality Pipes is a great addition. The Belgique and the Calabash shapes are classic in every way. They are petite, lightweight and comfortable in the hand. They will be a short smoke. The briar is beautifully grained and the black vulcanite military/stick Fishtail stems go well with the briar and the vulcanite shank extension. I polished stems and the bowls with Blue Diamond polish on the buffing wheel. I gave the bowls multiple coats of stems multiple coats of carnauba wax. I buffed the pipes with a clean buffing pad to raise the shine. I hand buffed them with a microfiber cloth to deepen the shine. The pipes polished up pretty nicely. The rich stained briar on both bowls took on life with the buffing. The rich brown colour of the briar bowls work well with the polished vulcanite stems. The finished pipes have a rich look that is quite catching. Have a look at it with the photos below. The shape, finish and flow of the pipe and stem are very well done.

The dimensions of the Belgique are Length: 6 inches, Height: 1 ½ inches, Outside diameter of the bowl: 1 inches, Chamber diameter: 9/16 of an inch. The dimensions of the Calabash are Length: 5 ½ inches, Height: 1 ¾ inches, Outside diameter of the bowl: 1 1/16 inches, Chamber diameter: 9/16 of an inch. I am pleased with how the pipes turned out. They look very good and show some signs of age. I am uncertain of the dates on either of them but am pretty sure they hold some age. I send my appreciation to Ray for these pipes. I think that these two will stay with me for a while and I will have to at least give them a smoke. We shall see what the future holds for them. Thanks for reading the blog.

New Life for a Stunning Malaga Bent Billiard from Kathy’s Dad’s Pipes

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Blog by Steve Laug

This is another of the Malaga pipes from George Koch’s estate that Alex added to the box of pipes I had set aside for him. There are quite a few of them to work on so I go back to them quite regularly to work on one of them. The next Malaga is a shape I would define as a bent billiard. It has some great cross and birdseye grain and a tapered vulcanite stem. The grain around the bowl and shank combined with the stem make it a stunning pipe. It is one of the many Malaga pipes that came to my brother and me in several shipments of pipes from George’s daughter Kathy. When Jeff got each box the pipes were well wrapped and packed. Jeff unwrapped them and took the following photo to give an idea of the volume of the pipes that we purchased. This Malaga came in mixed in a box of pipes much like the one below.In each of the previous blogs that I have written on the restoration of George’s pipes I have told his story. If you have followed the restorations you will have read the information and the background piece that Kathy did on her father. Here is a link to one of the previous blogs on his Malaga pipes where I included her tribute in full (https://rebornpipes.com/2019/01/26/back-to-kathys-dads-pipes-restoring-a-%c2%bc-bent-malaga-author/). You can also read the bio on her Dad, George Koch. It is an interesting read and one that shows just how far our pipe collecting passion can go when we find a brand of pipes that we enjoy. I am going to only include the portion on the Malagas at this point. If you wish to read the rest follow the link above.

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

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

The next “Malaga” Bent Billiard on the table is another classic bent shape. The carver did a great job of shaping the pipe to follow the grain on the briar. The bowl, round shank and bent tapered vulcanite stem look very good. The bowl had a thick cake that overflowed with lava onto the rim and there was significant burn damage on the top front inner of the bowl. The sides of the bowl and shank are very dirty with grime and oils from prolonged use. The stamping on the left side of the shank read “MALAGA” and on the right side it read Imported Briar. The vulcanite stem had tooth dents and chatter on the top and the underside of the stem. The button was worn almost smooth Jeff took these photos before he started the cleanup work on the pipe. Jeff took a close up photo of the bowl and rim to capture the condition of the pipe before he started his cleanup work. The rim top had some lava overflow and darkening on the back of the bowl and some serious burn damage to the inner edge on the bowl front. The burn marks appeared to be quite deep on the inner edge on the right front side of the grimy pipe.He also took photos of the sides and bottom of the bowl and shank to show the beautiful grain around the bowl. The photos show the general condition of the bowl and wear on the finish. It is very dirty but this is another beautiful pipe.Jeff took a photo to capture the stamping on the shank. The photos show the stamping “MALAGA” on the left side of the shank and Imported Briar on the right side. The stamping is very readable.The next photos show the stem surface. There is oxidation and calcification on the stem. There are tooth marks and chatter on both sides near the button and wear on the button surface and edges. The button surfaces and edges are worn and almost smooth.I am also including the link to a blog that I wrote that gives some of the history of the Malaga brand and the Malaga Pipe Shop in Royal Oak, Michigan in the USA. I have written an earlier blog to give a little history of the Malaga Brand and the pipemaker, George Khoubesser. Here is the link – https://rebornpipes.com/tag/malaga-pipes/.That blog also includes links to a catalogue and the history of the pipemaker George Khoubesser. Follow the link to get a feel for the brand and the pipemaker.

Jeff reamed the bowl with a PipNet pipe reamer and followed up with a Savinelli Fitsall pipe knife to remove the cake. He scrubbed out the mortise and the airway in the shank and the stem with alcohol, cotton swabs and pipe cleaners. He scrubbed the exterior of the bowl, rim, shank and stem with a tooth brush and Murphy’s Oil Soap to remove the oils and tars on the rim and the grime on the finish of the bowl. He rinsed it under running water. He dried it off with a soft cloth. He was able to remove the lava build up on the rim top and the flat surface of the rim looked very good. The inner edge of the rim has some serious burn damage on the front right side. The outer edge looked very good. He soaked the stem in Before & After Deoxidizer and rinsed it with hot water. I took photos of the pipe to show its condition before I started my work on it. I took close up photos of the bowl and rim top as well as the stem. You can see the condition of the rim top and bowl in the first photo. Jeff was able to remove all of the tar and oils but you can now see the damage on the inside rim edge. The edge is out of round. There is a burn mark that extends across the front and the back edge of the rim top at that point. The vulcanite stem had tooth chatter on both sides near and on the button surface there was also a large deep bite mark on the underside of the stem.I took a photo of the stamping on the shank to show how good the condition is. It shows the “MALAGA” stamp on the left side and Imported Briar on the right side. The stamping is very legible.I decided to address the rim top first. I topped the bowl on a topping board with 220 grit sandpaper. I wanted to remove the damage on the top front edge and remove the darkening all the way around the inner edge of the bowl. I took a close up photo the rim top before I started to give a clear picture of the condition of the pipe. I used a folded piece of 220 grit sandpaper to clean up the damage on the right rear inner edge of the bowl. I gave the inner edge a slight bevel to repair the damage. I polished the edge with 400 grit wet dry sandpaper. The rim top and edges really looked better.I polished the rim top and the briar with micromesh sanding pads. I wet sanded the bowl with 1500-12000 grit sanding pads. I wiped the bowl down after each pad with a damp cloth to remove the sanding dust. I restained the rim top and edges with an Oak Stain Pen. I was able to blend it into the rest of the bowl. I scrubbed the briar with Murphy’s Oil Soap and a tooth brush. I rubbed it into the surface of the briar with my finger tips and let it sit for a few minutes then scrubbed it off with a tooth brush and running water. I dried it off with a soft cloth. I worked some Before & After Restoration Balm into the surface of the briar with my fingertips to clean, enliven and protect it. I let the balm sit for a little while and then buffed with a cotton cloth to raise the shine. The following photos show the bowl at this point in the restoration process. I am very happy with the results. I turned to the stem to address the issues on the surface of both sides at the button. I used a needle file to recut the edges of the button. They had been chewed to the point of no edge remaining so I used the file to cut it and sharpen the edges. I smoothed out the top and bottom surfaces of the button on both sides.Once I had the button edge reshaped I decided to address the tooth marks and dents in the button and just ahead of the button. I “painted” the surface of the stem with the flame of a lighter to lift the tooth chatter and marks. The light marks on the top side disappeared quickly and the larger indentation on the underside lifted until the remaining small marks could be dealt with by sanding the stem.I sanded both sides smooth with 220 grit sandpaper to remove the deep oxidation on the surfaces. I finished this initial polishing with 400 grit sandpaper to smooth out the scratches in the stem surface. As I sanded and reshaped the button and stem surface the stem began to look very good. 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 plus I have a tin to use up!I polished the stem with micromesh sanding pads – wet sanding with 1500-12000 grit sanding pads. I wiped it down after each sanding pad Obsidian Oil. I finished by polishing it with Before & After Pipe Stem Polish both fine and extra Fine and then wiped it down with a final coat of Obsidian Oil. This is another, slightly larger Malaga Bent Billiard with a vulcanite tapered stem. It has a great grain around the bowl and the carver really maximized that with the shape of the pipe. Everything about the pipe – the shape of the bowl, the beveled rim top and the cut of the briar work well to highlight the grain around the bowl sides. I polished stem and the bowl with Blue Diamond polish on the buffing wheel and the grain just popped and came alive. I gave the bowl and the stem multiple coats of carnauba wax. I buffed the pipe with a clean buffing pad to raise the shine. I hand buffed it with a microfiber cloth to deepen the shine. The pipe polished up pretty nicely. The grain took on life with the buffing. The rich oil cured colour works well with the polished vulcanite stem. The finished pipe has a rich look that is quite catching. Have a look at it with the photos below. The shape, finish and flow of the pipe and stem are very well done. The dimensions are Length: 6 inches, Height: 2 inches, Outside diameter of the bowl: 1 ¼ inches, Chamber diameter: ¾ of an inch. I will be adding the pipe to the finished Malaga pipes that I have set aside for Alex. I am glad that he is carrying on the trust for George Koch. Thanks for walking through the restoration with me as I worked over another one of Kathy’s Dad’s Pipes.

Restoring a Stunning Malaga Bent Billiard from Kathy’s Dad’s Pipes

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Blog by Steve Laug

Not long ago Alex came by and went through the Malaga pipes from George Koch’s estate. Alex added the newly chosen pipes to the box of pipes I set aside for him. There are quite a few of them to work on so I decided to go back to work on one of them. The next Malaga is a shape I would define as a bent billiard. It has some great cross and birdseye grain and a saddle vulcanite stem. The grain around the bowl and shank combined with the stem make it a stunning pipe. It is one of the many Malaga pipes that came to my brother and me in several shipments of pipes from George’s daughter Kathy. When Jeff got each box the pipes were well wrapped and packed. Jeff unwrapped them and took the following photo to give an idea of the volume of the pipes that we purchased. This Malaga came in mixed in a box of pipes much like the one below.In each of the previous blogs that I have written on the restoration of George’s pipes I have told his story. If you have followed the restorations you will have read the information and the background piece that Kathy did on her father. Here is a link to one of the previous blogs on his Malaga pipes where I included her tribute in full (https://rebornpipes.com/2019/01/26/back-to-kathys-dads-pipes-restoring-a-%c2%bc-bent-malaga-author/). You can also read the bio on her Dad, George Koch. It is an interesting read and one that shows just how far our pipe collecting passion can go when we find a brand of pipes that we enjoy. I am going to only include the portion on the Malagas at this point. If you wish to read the rest follow the link above.

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

Jeff reamed the bowl with a PipNet pipe reamer and followed up with a Savinelli Fitsall pipe knife to remove the cake. He scrubbed out the mortise and the airway in the shank and the stem with alcohol, cotton swabs and pipe cleaners. He scrubbed the exterior of the bowl, rim, shank and stem with a tooth brush and Murphy’s Oil Soap to remove the oils and tars on the rim and the grime on the finish of the bowl. He rinsed it under running water. He dried it off with a soft cloth. He was able to remove the lava build up on the rim top and the flat surface of the rim looked very good. The inner edge of the rim has some serious burn damage on the front right side. The outer edge looked very good. I took photos of the pipe to show its condition before I started my work on it. I took close up photos of the bowl and rim top as well as the stem. You can see the condition of the rim top and bowl in the first photo. Jeff was able to remove all of the tar and oils but you can now see the damage on the inside rim edge. The edge is out of round. There is a burn mark that extends across the front and the back edge of the rim top at that point. The vulcanite stem had tooth chatter on both sides near and on the button surface there was also a large deep bite mark on the underside of the stem.I took a photo of the stamping on the shank to show how good the condition is. It shows the “MALAGA” stamp on the left side and Imported Briar on the right side. The stamping is very legible.I decided to address the rim top first. I lightly topped the bowl on a topping board with 220 grit sandpaper. I wanted to minimize the damage on the top, remove the darkening and clean up the damage on the front and rear inner edge of the bowl.I used a folded piece of 220 grit sandpaper to clean up the damage on the right rear inner edge of the bowl. I gave the inner edge a slight bevel to repair the damage. I polished the edge with 400 grit wet dry sandpaper. The rim top and edges really looked better.I polished the rim top and the briar with micromesh sanding pads. I wet sanded the bowl with 1500-12000 grit sanding pads. I wiped the bowl down after each pad with a damp cloth to remove the sanding dust. I scrubbed the briar with Murphy’s Oil Soap and a tooth brush. I rubbed it into the surface of the briar with my finger tips and let it sit for about 10 minutes then rinsed it off with running water. I dried it off with a soft cloth. I restained the rim top and edges with an Oak Stain Pen. I was able to blend it into the rest of the bowl.I worked some Before & After Restoration Balm into the surface of the briar with my fingertips to clean, enliven and protect it. I let the balm sit for a little while and then buffed with a cotton cloth to raise the shine. The following photos show the bowl at this point in the restoration process. I am very happy with the results. I turned to the stem to address the issues on the surface of both sides at the button. I started by “painting” the surface of the stem with the flame of a lighter to lift the tooth chatter and marks. The light marks on the top side disappeared quickly and the larger indentation on the underside lifted until the remaining small marks could be dealt with by sanding the stem.I sanded both sides smooth with 220 grit sandpaper to remove the deep oxidation on the surfaces. I finished this initial polishing with 400 grit sandpaper to smooth out the scratches in the stem surface. As I sanded and reshaped the button and stem surface the stem began to look very good.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 plus I have a tin to use up!I polished the stem with micromesh sanding pads – wet sanding with 1500-12000 grit sanding pads. I wiped it down after each sanding pad Obsidian Oil. I finished by polishing it with Before & After Pipe Stem Polish both fine and extra Fine and then wiped it down with a final coat of Obsidian Oil. This is a Malaga Bent Billiard with a vulcanite saddle stem. It has a great grain around the bowl and the carver really maximized that with the shape of the pipe. Everything about the pipe – the shape of the bowl, the beveled rim top and the cut of the briar work well to highlight the grain around the bowl sides. I polished stem and the bowl with Blue Diamond polish on the buffing wheel and the grain just popped and came alive. I gave the bowl and the stem multiple coats of carnauba wax. I buffed the pipe with a clean buffing pad to raise the shine. I hand buffed it with a microfiber cloth to deepen the shine. The pipe polished up pretty nicely. The grain took on life with the buffing. The rich oil cured colour works well with the polished vulcanite stem. The finished pipe has a rich look that is quite catching. Have a look at it with the photos below. The shape, finish and flow of the pipe and stem are very well done. The dimensions are Length: 5 ¾ inches, Height: 1 7/8 inches, Outside diameter of the bowl: 1 ¼ inches, Chamber diameter: ¾ of an inch. I will be adding the pipe to the finished Malaga pipes that I have set aside for Alex. I am glad that he is carrying on the trust for George Koch. Thanks for walking through the restoration with me as I worked over another one of Kathy’s Dad’s Pipes.

Restoring a 2 Star BBB “Special” # 395

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Blog by Paresh Deshpande

A few weeks ago, Steve had worked on a BBB Own Make 693 Canadian with some really gorgeous grains to boast about. As I was reading the blog, I remembered the BBBs that Abha had cleaned and sent across for further restoration along with 40 other pipes. However, since I was working on a Thorburn Clark pipe from my inheritance, I had postponed work on this BBB. With the Thorburn Clark completed, I rummaged through the pile and separated all the BBBs that she had sent. This is the one that caught my attention. The note in the package, along with the issues observed by Abha while cleaning the pipe, said that it was from my grandfather’s collection!! I had to work on this BBB.

This BBB in bent Apple shape with a saddle stem has stunning grains and it appears that the grain on the block of briar dictated the shape to the carver. The stummel boasts of beautiful tightly packed straight grains to the front, sides, back and along the sides of the shank. The foot of the stummel, bottom and top of the shank has the most beautiful and distinct bird’s eye that you would ever see. The transition from bird’s eye at the foot of the stummel to the straight grain all around is very well defined and seamless. The stummel is stamped on the left shank surface, close to the shank end, in trademark rhombus as “BBB” over two Stars (**) on either side of the lower part of the rhombus over “SPECIAL”. On the left shank surface, it is stamped as “LONDON ENGLAND” over the shape code “395”. The bottom of the shank bears the numeral “0” very close to the shank end. Inlaid BBB brass diamond logo on the saddle adorns the vulcanite stem. If you are interested to know anything about BBB pipes, look no further than rebornpipes.com!! This is Steve’s favorite brand and he has been researching and collecting BBB pipes for decades. I visited rebornpipes and sure enough there was a write up on “History of BBB Pipes”! Here is the link to the blog: https://rebornpipes.com/2012/08/05/history-of-bbb-pipes/

I was more interested in background information of the brand and later in the dating of this pipe. Here is what I found interesting;

Adolph Frankau arrived in London in 1847 and quickly grasped the opportunities which the enlarging tobacco market introduced. He started “Adolph Frankau and Co.” and began importing meerschaum pipes and tobacco supplies. The Company took a young 14 year-old boy, Louis Blumfeld under its wing. The Company quickly thrived and did so until the untimely death of Adolph Frankau in 1856. His widow decided to sell the company.

Thomas Carlyle (1795-1881), author of “Hero and worship of the heroes” came on the scene at this point. He recommended that the widow Frankau not sell, but rather that she should entrust the future of the company into the hands of young Louis Blumfeld, then 18 years old. Carlyle had to have had a very high opinion of the young Louis to make this recommendation, and his trust proved to be justified as Blumfield took care of the company with enthusiasm and bottomless energy. Louis quickly realized, as others had before him, the potential of the newly acknowledged pipes made of briar.

Louis Blumfeld developed important international trade relations from the beginning, and had particular success in Canada, Australia, New Zealand, India, Europe, as well as Switzerland and Denmark. The USA had never been an extraordinary market for the company, but nonetheless a subsidiary was opened in New York. His commercial strategy focused on the countries of British Empire.

In the 1930s, the top pipe of the line was “BBB Best Make” with variants such as “Great Dam” and “Ultonia Thule”. The BBB Carlton, sold retail in 1938, was endowed with a complicated stinger system; the same system was also used on the BBB London Dry. The Blue Peter was not stamped BBB but BBB Ultonia, and BBB Two Star (**) was the stamping on lesser quality pipes.

Shapes of BBB pipe were typical of other companies pipes made in this era: half were billiards, some princes and bullcaps, bulldogs and some bents. It is also in this period that the inlaid metal BBB was put on more upscale pipes, while series of lesser quality had only the stamped BBB on the stem.

During the middle of 1950s and 1960s, BBB lines were comparatively stable. The top pipes of the line were stamped Own Make “Rare Grain”, followed by Own Make “Virgin”, Own Make “Walnut” and finally Own Make “Thorneycroft”.

From the above, it is evident that the BBB on my work table is from the period 1930 to 1950.

INITIAL VISUAL INSPECTION
The chamber had a thick layer of cake, but not as thick as seen in some of his pipes. As expected, the rim top surface is covered with overflow of lava. The beveled inner edge of the rim in 11 ‘O’ clock direction is badly damaged which could probably be caused as a result of hitting against a hard surface to remove the dottle. The outer rim edge too has dents and dings around. The condition of the walls can be commented upon only once the cake has been taken down to the bare briar. This chamber has some pretty strong ghost smells. The stummel surface is pebbled with numerous dents, dings and scratches. However, there is not a single fill in the stummel surface!! Significant damage was seen to the front of the stummel and around the rim. This damage, in all probability, has been caused due to uncared for storage and it having rubbed against some hard object. The briar had taken on a nice aged patina and I shall try to preserve it. However, the kind of damage to the stummel would necessitate a few invasive methods to address these issues which are detrimental to preservation of aged patina. Let’s see how the restoration pans out!! The mortise showed dried accumulated gunk with a blocked draught hole. Air flow was very laborious to say the least.The stem is heavily oxidized with a deep gouge on either side of the saddle of the stem. This and other stummel damage could have been due to uncared for storage for the last 40 odd years. There is no significant damage to the button or in the bite zone, save for a few very minor tooth marks to button edges and tooth chatter in the bite zone. This was surprising as I have observed that the stem was the most damaged part in most of my inherited collection. Maybe my grandfather did not like the smoking character of this pipe or the shape or the hand feel or the clench or could be that he did not like the size of this pipe (most probable cause since he preferred large sized ones!!) The tenon is covered in dried gunk. INITIAL CLEANING BY ABHA…
The initial cleaning on this pipe was done by Abha, my wife (she has cleaned up around 40-50 pipes and these have now reached me for further restoration). She reamed out the complete cake and further smoothed out the chamber walls with a folded piece of 220 grit sand paper. She further cleaned out the internals of the shank with pipe cleaners and alcohol and cotton buds. In the note that she had packed with pipe, she mentioned that getting a pipe cleaner out through the draught hole was not easy. She followed the internal cleaning of the shank with external cleaning of the stummel using Murphy’s Oil soap and hard bristled tooth brush and dried it with paper napkins and cotton cloth.

Next she cleaned out the internals of the stem air way. She covered the inlaid brass stem logo with petroleum jelly (helps protect the metal from corrosion due the solution) and immersed it in “Before and After Deoxidizer” solution along with the stem of other pipes in line for restoration. Once the stem had soaked overnight, she cleaned the stem under running warm water and scrubbed the raised oxidation from the stem surface using Scotch Brite pad. She further removed the oxidation by scrubbing the stem with 0000 grade steel wool and applied a little olive oil to rehydrate the stem.

ONCE THE PIPE IS ON MY WORK TABLE…
The initial cleaning by Abha, my wife, is thorough and while saving me time, it also provides a clear picture of all the issues that needs to be addressed during the restoration process. She also makes a note of all the issues that she observed during initial cleaning for me to address and includes this note with each pipe that she packs. It’s a big saving on the time factor and I am really thankful to her for indulging me.

This is how the pipe came to me after Abha had worked her magic. This is definitely a beautiful pipe and would be a challenge for me to do justice and bring the beauty of this pipe to the fore!!

The chamber walls are solid without any signs of damage. The smooth and thin rim top surface is where all the action is on this pipe with an added bonus of an equally damaged beveled inner rim edge. At this point, the damage to the outer rim edge does not appear to be a major issue and should be easy to address. The ghost smells are greatly reduced, but still offending to the olfactory nerves. One major cause of concern is in the heel of the stummel. There is a dip at the bottom that forms a channel from the draught hole to the heel with raised shoulders along the sides (marked in yellow arrows). If this issue is not addressed now, prolonged further use may subsequently lead to a burnout at the foot of the stummel. However, as things stand now, the external surface at the foot appears solid. As observed earlier, there is not a single fill in the entire stummel. The reasoning for giving it a 2 Star, denoting lesser grade, fails me completely!! Abha had nicely cleaned the stummel surface. The surface is solid to the touch but has a number of dents and dings over the stummel, notably to the front, sides and a couple at the foot of the stummel (marked in yellow circles and arrows). Is it a figment of my imagination or a reality, I am not sure, but I think I saw a very slightly darkened spot at the bottom of the foot (circled in green), which was strongly refuted by anyone and everyone I happened to show it to. Just to be sure, I gently tapped it with the back of a screw driver for a shallow sound, but nothing!! I checked the entire stummel for sound and it all sounded the same. The stummel is solid throughout. In the note that Abha had enclosed in the packet containing this pipe, she had mentioned that she could not get a pipe cleaner through the mortise and the draught hole and as such she had left it alone. I would need to check it and further clean the mortise. The stem is free of any major tooth indentations/ bite marks. Minor light tooth chatter, however, is seen on both the stem surfaces in the bite zone. The lip edges needs to be sharpened and evened out. The stem still has signs of deep oxidation. The otherwise good condition of the stem is marred by deep gouges on either sides of the saddle of the stem. THE PROCESS
The first issue that I decided to address was that of the blocked air way in the mortise. With the bent flat dental tool, I scraped the walls of the mortise and removed as much of the dried gunk as I could. Using a round needle file, I tried to pry at the blockage, but to no avail. What I found unusual was that an upward movement of the needle file had a little give, however, when I tried to push it in straight, I hit a hard and solid block. Using shank brush and dish washing soap, I scrubbed the shank internals clean. This helped in getting a better idea of what lurked within the mortise that was preventing the pipe cleaner from coming out of the draught hole.I checked the mortise internals under a torch light and what I saw surprised me no end!! Straight away, I could not see the draught hole straight ahead and all that I saw was a reservoir like the one seen on a Pete System pipe. Closer observation around the mortise revealed the opening for the draught hole that was aligned towards the top side and that too was at a weird angle to the rest of the mortise. Here is how the internal of the mortise looked and will present a clearer picture of what I have been trying to explain.Well, this could very well be a flaw in the drilling of the mortise or could be a design element for a better smoke (HIGHLY IMPROBABLE!!), I really cannot tell. Continuing with the internal cleaning of the bowl, I subject the chamber to salt and alcohol treatment to get rid of the strong ghost smells. I insert a folded pipe cleaner through the mortise and out of the draught hole in to the chamber. Thereafter, I tightly pack cotton balls in the mortise, pushing it deep with a dental tool. Next I tightly pack cotton balls in to the chamber, slightly below the rim edge. Once this set up is ready, I pour 99.9% pure isopropyl alcohol in to the chamber and mortise, using a syringe. I let the alcohol settle down and top it again after about an hour. I set the stummel aside for the night to let the alcohol loosen up the grime, draw out all the entrenched oils and be trapped in the cotton. By next afternoon, the cotton and alcohol had drawn out the old oils and tars from the chamber and mortise. I removed the cotton from the chamber and the mortise. I scraped out the loosened crud from the mortise with my dental tools and further cleaned the mortise using hard bristled and regular pipe cleaners. However, on close scrutiny of the mortise under a torch light, I realized that the mortise was still not clean. While removing the loosened cake from the chamber, I gently scraped the shoulders that had formed at the heel near the draught hole. Lucky me, the shoulder that was formed was nothing but hardened cake and was easily removed due to the softening during the salt and alcohol bath. Using my dental tools, I scraped out all the crud that I could and followed it up with a cleaning using q-tips and alcohol. Though the mortise cleaned up pretty nicely, the smells were still strong. I decided to subject the chamber and the mortise to a second salt and alcohol bath. I followed the procedure for the bath explained above and set the stummel aside for the bath to work its magic. The next day, all the remaining oils and tars were drawn out and trapped in the pipe cleaner and cotton. I cleaned the mortise again using pipe cleaners and dental tools. I am happy with the way the mortise cleaned up this time. The pipe smells clean and fresh. Next, I decided to address the dents and dings on the stummel surface and on the rim outer edge. Using a whitener pen, I marked all the major areas with dents and dings and decided to leave the minor ones as they were. I heated my fabricated knife over the flame of a candle, placed a wet Turkish hand towel over the marked areas and steamed out the dents by placing the heated knife over the towel. Though some dents were still observed, these were greatly reduced when compared to before the steaming. Steaming out the dents and dings from the stummel surface had necessitated that the surface of the stummel be evened out by sanding. Using a folded piece of 220 grit sand paper, I sand the entire stummel surface taking care to preserve the stampings on this pipe. To address the damaged inner beveled edge of the rim as well as the dents and dings and darkening of the thin rim top surface, I topped the rim top on 180 grit sand paper. I took a piece of used and worn 180 grit sand paper, folded it and pinching it between my thumb and forefinger, freshened the inner bevel on the inner edge of the rim. Both the rim top and inner edge look much better than before. Staying with the stummel restoration, I polished the stummel with micromesh pads, dry sanding with 1500 to 12000 pads. I polished the freshly topped rim surface and the newly created inner rim bevel. I wiped the surface with a soft cloth at the end of the micromesh cycle. The stummel looks amazing with a deep shine and beautiful grains popping over the stummel surface. I am surprised that the rim top surface has the same deep brown coloration as the rest of the stummel surface and use of stain pen was not required. Also the supposed dark spot at the foot of the stummel was indeed a figment of my imagination and was nothing but the eye in the bird’s eye grain, whew!! The next step is the application of the “Before and After Restoration Balm”, developed by Mark Hoover and a must have for restorations. This product not only protects and enlivens the briar but also highlights the grains on the surface. I rubbed a small quantity of the balm into the briar surface with my fingers and set it aside for about 20 minutes. The transformation is almost immediate and I polished the surface with a microfiber cloth to bring out a deep shine on the stummel. The bird’s eye and straight grains look awesome. The following pictures speak for themselves. Now with the stummel refurbished, I turned my attention to the stem. I start with addressing the issue of deep gouges to the either sides of the saddle by heating the damaged surface with the flame of a lighter. The heat from the flame expands the vulcanite and raises it to the surface. The results are pretty satisfactory.Next I sand the entire stem surface with a folded piece of worn out 180 grit sand paper followed by a 220 grit sand paper. This addresses two issues; firstly the minor tooth chatter in the bite zone and the raised gouges are evened out and secondly, the residual oxidation is sanded out. I follow it up with sharpening of the lip edges with a flat head needle file. To finish the stem repairs, I wiped out the raised oxidation and dust from the surface with Murphy’s Oil soap and cotton swab.To bring a deep shine to the vulcanite stem, I went through the complete set of micromesh pads, wet sanding with 1500 to 12000 grit pads. I wiped the stem with a moist cloth after each pad. Another Mark Hoover product which I had recently ordered is the “Before and After Extra Fine” stem polish. I applied a small quantity of this polish and rubbed it deep in to the vulcanite stem. This polish, purportedly, is supposed to remove the finer sanding marks left behind by the abrasive grit papers. The pictures of the process and final results are shown below.Only the brass BBB stem logo remains to be polished. Abha, my wife, had suggested that I should try using Colgate toothpowder to bring back the shine on the metal logo. She had tried this on her jewelry with amazing results. I rubbed the brass logo with Colgate toothpowder and the results are truly amazing.To apply the finishing touches, I mount a cotton cloth buffing wheel on to my hand held rotary tool and apply a coat of Blue Diamond to the stummel and the stem to polish out the minor scratches. With a cotton buffing wheel that I use for carnauba wax, I apply a coat of carnauba wax and continue to work on it till the complete coat of wax had been polished out. I mount a clean cotton cloth buffing wheel and give the entire pipe a once over buff. I finished the restoration by giving the entire pipe a rigorous hand buffing using a microfiber cloth to raise the shine further. This is a truly beautiful pipe with a classic bent Apple shape boasting of stunning straight grains all round the stummel and shank and bird’s eye grains at the bottom of the entire stummel. Just to be on the safe side, I decided to protect the chamber walls and the heel of the stummel by giving it a bowl coating of activated charcoal and yogurt. This not only protects the walls from direct contact with the burning tobacco but also helps in speeding up the formation of cake. Now the pipe is completed aesthetically as well as functionally.P.S. The only aspect that was bothering me with this pipe is the alignment of the opening of the draught hole in to the mortise. I shared my concerns and pictures of the skewed alignment with my Guru and mentor, Steve. He suggested that this issue, to be addressed, may necessitate funneling the tenon end. He also suggested that I should first smoke this pipe and if the draw is smooth, even and full, funneling the tenon may not be necessary.

I dry tested the draw and found it to be smooth even and full without any whistling sounds. Thus, I can safely expect that the pipe should be a good smoker. I shall eventually get around to enjoying my first smoke in this beauty, but for now, the confidence that this one will be good smoke has me satisfied.

Truth be told, this project was completed by 16 October 2019, however, thereafter I proceeded on leave for my home and got around to complete the write up only after rejoining from leave.

I earnestly thank all the readers for sparing their valuable time in following this write up and hope to learn from your comments on this post.

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