Tag: Vulcanite pipe stem

A Smokes Stogies Snuff & Stuff Panel Billiard

October 17th, 2024
Photographed and written by

John M. Young

Geometry, design and art are not things that I have ever been trained in. Sure, I took an art history class in college and loved it but that could have been just for the nude women. I was 19 years old after all and in 1985 the internet was not a source of said nudies. Back to the aesthetics of pipes; panel shapes with their flats and curves draw me to them. I cannot explain why, perhaps it is like they are providing some order to the chaos of fire and smoke or, maybe they just look cool. Whatever the case may be, this panel caught my eye and the stamped name on the shank made me laugh. SMOKES STOGIES SNUFF AND STUFF. I made several assumptions here; the stamp referred to a tobacconist shop, the “SMOKES” referred to cigarettes, the “STOGIES” to cigars, “SNUFF” the nasal variety not the films and “STUFF” the catchall category. I definitely wanted to visit that shop as I am a snuff taker/pipe smoker who has not seen snuff in a brick and mortar establishment in more years than I can remember. I am not sure where this pipe came from. It was most likely part of an estate lot. My record keeping is poor at best and the secretary continues to not come to work. This is probably due to the fact that I’ve never hired one. The below photos are of the Smokes Stogies Snuff and Stuff pipe prior to working on it.

So many issues. The glaring ones are; the cloudy clear coat, oxidized stem, hole in stem and the tobacco still in the bowl. Well one of those will be easy to fix.

Whew, that’s a relief.

Background

I think it is safe to say that Smokes Stogies Snuff and Stuff is not the original maker of this pipe. A quick internet search did not produce the tobacco shop that I had imagined. I envisioned a castle-like structure with old world charm nestled in the historic section of an old New England town. Then I found this matchbook. Anchorage Alaska! That completely edited imagined scene. Now I envisioned rustic sea-side tobacconist along a wharf with a fleet of fishing boats moored. Instead of a wooden cigar-store Indian statue there was a haggard sea captain with a pipe, wooden leg and a harpoon in hand. Oh, the vivid mental images were running wild.

Alas there matey, little could be found of this tobacco shop. Fortunately there were the names of the proprietors on the mathbook – Mike Plipton and Wades Osborne. There was also the address. Hmm, Penney’s Mall didn’t sound like it fit my wharf scene and a search 412 W. 6th Avenue, Penney’s Mall Anchorage Alaska 99501 completely ruined my imagined scene. The below photo is of the Anchorage JCPenney. Not a fishing boat to be seen.

(https://www.google.com/url?sa=i&url=https%3A%2F%2Fen.wikipedia.org%2Fwiki%2FJ._C._Penney_Store_%2528Anchorage%2C_Alaska%2529&psig=AOvVaw3QYrR-aXjqHAL4GFNYJT12&ust=1727882791568000&source=images&cd=vfe&opi=89978449&ved=0CBQQjRxqFwoTCJjl5JS_7YgDFQAAAAAdAAAAABAE)

The search continued. Next I tried the proprietor’s names. Mike Plimpton’s name led me to the following obituary:

(Michael Charles Plimpton (1945-2003) – Find a Grave Memorial)

I could find nothing on Wade Osborne.

I then searched out Anchorage tobacco shops currently in business, hoping to find someone who knew of or about Smokes Stogies Snuff & Stuff or the proprietors. One of the shops that I contacted, via their website, was G&P Fine Tobaccos Limited (https://gptobacco.com/). I received the following email reply:

“Our shop started in the late 60’s and we know of this shop.

It was a small shop in the JC Penney’s mall in the mid 80’s and was very short lived according to our shop oracle (who starting working our group of shops in the early 80’s).

They were in business for about 2 years and abruptly closed

Ill let you know if he remembers more. Ill be meeting with him again soon

Best regards,” (personal communication, email)

A second avenue of research led me to the Alaska Pipe Club Facebook page. I posted an inquiry and a few photos of this pipe and asked if any group members had additional information. I received a few replies from kind and knowledgeable Alaskans.

One of the most helpful replies was:

“DS Hogan

From G&P / Tobacco Cache this morning: Our retired guys chimed in this morning with some history. It was a shop that formed in the mid 80’s in the penny’s mall. They recall it being in business for a couple years aprox 2- years then it abruptly closed. Hurriedly for some reason that no one recalls. No records exist on it aside from advertisements such as the match covers. Nice find. Always cool to discover shop stamped pipes. We have collected a few from the earliest Tobacco Cache and Pipe and Pouch FAIRBANKS, but haven’t seen much other. Happy collecting.” (Facebook, Alaska Pipe Club group chat)

Well, the approximate date of the pipe seemed quite certain now who made it was inquisition. Unfortunately, there was no shape number stamped on the pipe. I had restored a Telford’s Canadian pipe earlier this year. Telford’s is a tobacco shop outside of San Francisco, California. In talking to the Owner, he told me that the pipe I was restoring was made by Comoy’s and stamped by them for sale in his shop. I started looking at Comoy’s shapes for a panel billiard with a square stem. According to pipedia.org Comoy’s did produce such a pipe but there was no photograph or image to confirm the exact shape or the number of panels.

(Comoy’s Shape Number Chart – Pipedia)

Next I searched GBD. The GBD 9486 was a nearly exact match to the Smokes Stogies Snuff & Stuff pipe.

(GBD Shapes/Numbers – Pipedia)

I posted my proposed manufacturer in the Alaska Pipe Club group and received the comment that Kaywoodie also made a very similar panel shape. The reply is below:

DS Hogan

John M. Young it certainly looks like a GBD. I collect GBD’s and love them. Panels are super rare to fine. Also note that Kaywoodie made panels like that (identical shape) as well as GBD

I searched the Kaywoodie shapes and found a match from their 1968-69 catalog. Kaywoodie No. 44 Octagon Apple did appear to have the correct shape but it lacked the saddle stem and did not list the square shank.

Based on my limited searching I think it is a fairly safe assumption that the Smokes Stogies Snuff & Stuff pipe was produced by GBD in the mid 1980s.

The Restoration

As usual the pipe received a clean denim piece as a work surface.

I cleaned out the stem which surprisingly, was quite clean. 95% ethyl alcohol and bristle pipe cleaners were used and the stem was lightly sanded to remove the surface oxidation.

Next, a pipe cleaner was inserted into the tenon to act as a hanger for the stem as it was submerged into Before and After Extra Strength Deoxidizer.

The stem in the solution for 3 hours.

I hoped that the clear coat on the stummel was a shellac which would be easily removed with 95% ethyl alcohol. I tested this with alcohol on a make-up pad. It was not. This was not surprising since the pipe was of a more recent make. Though being lazy, I had hoped.

The reaming tools were assembled: Kleen-Reem, Smokingpipes Low Country reaming knife, General triangular scraper and a wood dowel wrapped with 220 sandpaper.

The Kleen-Reem did the majority of the work in removing the cake from the tobacco chamber. Minimal scraping was needed. I then sanded the interior to bare briar and saw no sign of any damage from heat to the chamber.

The stummel was scrubbed with undiluted Murphy Oil Soap and a medium stiff toothbrush. The soap was rinsed with warm water and the stummel dried with a cotton dish towel.

Since the clear coat was not soluble with alcohol I opted to soak the whole stummel in acetone to remove the finish.

The stummel wanted to float higher in the acetone than I like so an empty brass pistol cartridge (brass band doner) was used to weigh it down.

30 minutes later the stummel was removed and wiped with a make-up pad wetted with acetone. The finish had been removed but so had a good deal of the Smokes Stogies Snuff & Stuff stamp. I have found that some manufacturers will stamp on top of the clear coat rather than stamping the briar then applying the clear coat. This is more often done on lesser quality pipes. In these cases removal of the finish will also remove the stamping.

While the yuck, also known as smoking residue, was still soft from the acetone bath, I worked on removing it from the shank. This was done with a nylon shank brush, cotton swabs, bristle pipe cleaners and 95% ethyl alcohol.

The stem was removed from the Deoxidizer (deox) and allowed to drip the excess solution back into the jar. The not yet patented Deoxidizer Drip-O-Matic consists of the pipe cleaner hanger wedged into the lid of a taller bottle.

After dripping, the stem was vigorously rubbed with a coarse shop rage to absorb the remaining solution and to abbrade some of the loosened oxidation.

Below you can see the oxidation that was removed with the shop rag.

The stem was looking much better though slightly pitted by losing the oxidized rubber.

I then used several make-up pads with Soft Scrub cleanser to further rid the stem of oxidized rubber.

The stem was reattached to the stummel to preserve the joint where the two pieces meet. I then lightly sanded with a 400 and 600 grit sanding sponge. This prepared the stem for the rebuilding of material lost to tooth/biting damage.

I roughened the area that was to be rebuilt with 80 grit sandpaper.

A piece of a plastic lid was cut to act as a dam to stop the black cyanoacrylate (CA, super glue) from building up in the airway. The plastic dam was wrapped in several coats of cheap Scotch tape to add to its thickness. The good 3M tape does not work as well as the cheap stuff at resisting the CA and the CA drying accelerator used to speed the curing of the CA.

With the dam inserted into the mouthpiece, black CA was layered onto the button area. This CA was then spritzed with a drying accelerator. Several thin coats are preferred over one thick coating as the accelerator does not penetrate into a thick layer.

Below, you can see how the deeper dents were filled before the area was covered.

The new CA patch was then filed, smoothing the surface. Sanding sponges further smooth and remove the lines from filing.

The shiny spots on the photo below indicate places where additional CA needed to be applied and material built up.

This process was repeated until the damage was no longer obvious.

I wanted to give the stummel a little bit of a contrast stain to bring out the briar grain.

The stummel was pre-heated with a heat gun to open the pores of the briar. A duct-tape wrapped fishing bobber was inserted into the tobacco chamber to keep dye from entering. Most folks use a wine bottle cork for this but I’ve found that not drinking severely limits the availability of wine bottle corks.

The black Fiebing’s Leather Dye was applied with a folded pipe cleaner and flamed with a lighter.

The stummel was then wiped with a paper towel to remove excess dye.

I then took the stummel to the buffer where the new black dye was buffed from the surface of the pipe with rouge compound. Below you can see one panel buffed. The dye penetrates the softer grained briar more than the harder grains. When buffed off this contrast accentuates the grain.

The stem and stummel were then sanded with a series of sanding sponges from 400-3500. Between each sponge the stummel was wiped with a make-up pad dipped in alcohol. The Stem was rubbed with mineral oil and wiped with a paper towel.

The pipe was then worked with micro-mesh pads 4000-12000. Between pads the stummel was wiped with a make-up pad dipped in alcohol. The Stem was rubbed with Obsidian Oil and wiped with a paper towel.

The stummel was given a coating of Before and After Restoration Balm and allowed to sit for 20 minutes.

The Restoration Balm was wiped from the stummel using an inside out athletic sock.

The pipe was then taken to the buffer where it was given several coats of carnauba wax. The final step was hand buffin the pipe with a microfiber polishing cloth to further raise the level of shine.

I would like to thank the folks at G&P Fine Tobacco Limited (https://gptobacco.com/) and the Alaska Pipe Club for assisting with the research for this restoration. If you are ever in Anchorage please pay G&P Fine Tobacco Limited a visit. I think this piece of tobacciana known as, Smokes Stogies Snuff & Stuff paneled, square shank, saddle stem billiard turned out quite well. I was sad to see the stamp not make it through the finish removal completely intact. It is still legible but not with ease. The stem reconstruction turned out well and the contrast dye looks very nice and accentuates the briar grain. The dimensions of this Smokes Stogies Snuff & Stuff paneled, square shank, saddle stem billiard are:
- Length: 5.53 in./ 140,46 mm.
- Weight: 1.53 oz./ 43.70g.
- Bowl Height: 2.09 in./ 53.09 mm.
- Chamber Depth: 1.60 in./ 40.64 mm.
- Chamber Diameter: 0.73 in./ 18.54 mm.
- Outside Diameter: 1.41 in./ 35.81 mm.
I do hope that you have found something here useful to your own pipe care, maintenance or restorations. If you like this sort of thing, please click the like and subscribe buttons. Thank you for reading the ramblings of an old pipe lover.

Loading…

Type your email…

Below are some photos of the finished Smokes Stogies Snuff & Stuff paneled, square shank, saddle stem billiard.
A Commissioned Peterson System 2 Restoration

October 10th, 2024

Photographed and written by

John M. Young

Being asked to restore a family heirloom is a flattering and frightening request. Flattered because the owner of the piece thinks highly of your ability to restore the item yet frightening because ethos is a one of a kind item that carries significant personal meaning. In this case personal and historical family meaning as well.

Background

Earlier this month I was contacted via email by a gentleman who had seen a link to my blog on Mark Irwin’s Peterson Pipe Notes. Below is an excerpt from an early email:

“I’m wondering if you do restoration work for others as well as for yourself?

I have an old Peterson System pipe that had belonged to my father’s Uncle, Richard McNamara. He would have bought the pipe while stationed in Northern Ireland as a technician with Lockheed Aircraft. He died unexpectedly in 1943 while still in Northern Ireland.

I intend to pass the pipe along to my nephew. I had sent it to Peterson’s for their assessment to date it and to clean it up a bit. I received a nice note from Glen Whelan, who set the pipe in the 1930’s/1940’s.

So, if you do restorations of this sort, I be happy to have you restore this pipe.”

I asked if it was possible to see some photos of the pipe in question to assess what I would recommend for the restoration. The following five photos were sent by the owner.

The pipe looked to be in very good condition. I replied,

“That is a beauty. I am assuming the Peterson boys told you that the pipe was probably from 1937-1945ish. That would be my guess anyway. Here is what I see that you may want to have restored:

The stem – Looks great. There are some very small scratches around the ferrule. Micro-meshing and a white diamond buff should make it like new.

The Cap – I saw a couple of small dents. The cap can be removed and the dents pressed/tapped out. Then polished and reglued into the original position.

The Stummel – The dings from contact with a rough surface can be 1) filled with cyanoacrylate and briar dust. This will smooth them but will also make for dark spots where each dent is. Or, 2) The dents can be steamed to see if the briar can rebound back. This may lessen the dent but probably not remove it.

The Internals – a general cleaning and yuck removal. “Yuck” is a highly technical restoration term referring to smoking residue. When in abundance, it can be called “yucky”.”

The owner replied,

“Thanks, it is a nice pipe with a special heritage.

All I got from Peterson’s was that it was from the 1930/40’s. But from further investigation I have learned that the 1937-1945 span is correct. Now, I’m assuming that my Uncle bought the pipe new as he was in Northern Ireland from about 1939 to 1943. I have photos of his travels to Dublin, so I’ll further my assumption that he bought it from Peterson’s.

Anyway, i agree with your suggestions about the stem and cap. I saw some crud around the button and the dents on the cap. As for the Stummel, I think I’d just as soon leave the dents as they are. After all, as far as I am aware, only my uncle Richard and I have used the pipe in it’s 80ish years, so, in my mind, it adds a touch of being authentic with continuity. The internals will need a cleaning. I don’t have the pipe in front of me now, it’s packed away in my pipe bin in our RV basement. I’ll pull it out in a day or two and check the bowl etc., but I don’t think it’s too bad.”

We agreed on the work to be done and arranged for shipping. A few days later the pipe arrived and was photographed prior to any work.

Though there was no sign of a shape number stamp, I think this is a 307 shape.

“The 307 is an original Patent bent billiard-shape, shown in the 1896 catalog as shape 9. It has retained its original shape number in the De Luxe version, but was issued in the 1937 catalog as the 307 (2nd quality) / 357 (3rd quality). Since then, it has also appeared as the 9S and 9B (De Luxe), Dunmore System 78 (1978-1983), and the Classic Range 9BC (1940s-1950s) / XL90 (1980s-Present). The 9B dating from the 1940s-1960s (the De Luxe System with a tapered rather than saddle bit) is rarely seen on the estate market. There have been changes in the shape since the 1960s, all toward less “cheeking,” making earlier versions, when available, preferable to those wishing to get back to the first, classic iteration of the shape.” (https://petersonpipenotes.org/146-a-guide-to-system-shapes-1896-2019-part-1-the-300-shape-group/). The 1937 issue of the SYSTEM 2 coincides precisely with the provenance of the pipe.

When I first received the pipe I thought that something had gone wrong like the wrong pipe was shipped. There were no dents on the left side of the stummel. Adding further to my confusion, which is pretty easy to do by the way, was the stem. A Peterson System 2 should have a bone tenon extension or “chimney”, as the Peterson factory folks call them. This tenon was smooth, without threads, and looked to be about 9mm. A closer examination of the pipe and comparison to the photos indicated that it was the same pipe pipe from the initial photos based on briar grain patterns. I could make out well done fills where the dents were supposed to be and there were slight bumps in a newly acquired finish. The finish looked like a lacquer and stain combo which had been sprayed on or maybe a lacquer sprayed onto a still damp stain. It also looked like the stem had received some of the lacquer then had been buffed with carnauba wax.

I emailed the owner with my questions. While awaiting a response I began working on the pipe.

The Restoration

As usual the pipe was taken to the workbench where it was placed on a relatively clean denim piece.

Next the tobacco chamber was reamed using the PipNet and #2 blades. The General triangular scraper and Smokingpipes Low Country Reamers also saw limited action. The chamber was then sanded with 220 sandpaper wrapped around a wood dowel. The sanding resulted in seeing the condition of the briar within the chamber which showed no signs of any damage from excessive heating or charring.

The stummel was then taken to the sink for a scrubbing with Murphy Oil Soap with a nylon scrub brush. The soap was rinsed with warm water and the stummel dried with a cotton hand towel.

Back at the workbench the stummel was wiped with a make-up pad dipped in 95% ethyl alcohol. This removed a good deal of color. Apparently the pipe had received a clear coat of some kind and a recent dye or stain. I could not believe that this was the original stain from the 1930’s or early 1940.

The stem was cleaned out with bristle pipe cleaners and ethyl alcohol and showed that the pipe was being well cared for and cleaned after use.

Oxidation, however, does not care how well a pipe is cared for and attacks at every chance it gets. This stem showed signs of oxidation though not very severe. I decided to remove the oxidation with Before and After Extra Strength Deoxidizer. The stem had a pipe cleaner inserted into the mouthpiece to act as a hanger and entered the deoxidizer solution.

During the reaming, I noticed an off smell from the removed cake. It was not a foul smell, just a slightly sour hint. I decided to give the stummel an alcohol treatment to remove any traces of old smoking and tobacco residue. I packed the tobacco chamber and shank with cotton and filled the respective volumes with 95% ethyl alcohol. The stummel was propped up to allow the alcohol levels to remain level while filled.

The below photo is after two hours of the alcohol treatment. The shank was discoloring far more than the tobacco chamber.

During this waiting time I was able to check emails. Yeah I know, a phone can be used to check emails but I’m old and stubborn. Phones are for calling, texting and photos. Typing is done on a computer. Anyway, the owner had gotten back to me regarding my questions about the condition of the pipe. He had said that he had sent the pipe to Peterson in Dublin.

“Perhaps the boys at Peterson’s did more than I realized. Good on them.”

“I just checked the box in which the pipe was returned from Peterson’s and the extra stem they sent does not match the curvature of the stem in my pictures. So, the stem you have is likely the original.

As for the 9mm part, perhaps that allowed for a bone extension rather a filter, but it’s just a guess.”

The timeline was making sense to my old brain now:

1) Original photos were taken.

2) The pipe was sent to Peterson’s in Dublin. While there the stummel fills were done and a new finish was applied.

3)The pipe was sent to me.

The tenon still was giving me confusion. There were no threads for a bone extension. I knew that Peterson did have a line of Filter pipes which were described in the 1947 catalog but this pipe pre-dated that by several years. I emailed the owner that I’d like to reachout to Mark Irwin for his thoughts. The owner agreed.

Below is the correspondence between me and Mark Irwin:

Subject: Hate to bother you

Hi Mark,

You know those four words in the subject line are going to be followed by “but…” right?

I got a commission to restore an old Pete for a gentleman whose granduncle picked it up while stationed in northern Ireland around 1940, just prior to his unexpected passing in 1943. I figured the pipe was from 1937-1945. My question is why in the world does it have what appears to be a 9mm (though it is smaller than 9mm) filter type stem? There are no threads for a bone tenon. Any idea or just rack it up to “it’s probably a replacement stem”.

“Hey John,

My best guess is that this pipe was drilled for a “Good Health” K&P 6mm filter. You can see a photo of the filter box in the identification guide at the back of the big Pete book, as these still sometimes appear on eBay. Try measuring it with your micrometer and seeing if you think a 6mm would fit!” (Mark Irwin, personal email)

Another potential piece of the puzzle – The stem appeared to have been drilled for one of the early GOOD HEALTH stems. Since it was already a Peterson System 2, today’s equivalent of a “Deluxe”, it was also not stamped as a GOOD HEALTH though it did receive a GOOD HEALTH stem. I notified the owner and he was pleased with the new information.

Time to get back to work. After 3 hours the stem was removed from deox. That is my term for the Before and After Extra Strength Deoxidizing solution. Kind of a play on the idea of detoxification or detox used for drug and alcohol abuse patients in rehab. The stem was hung by its pipe cleaner on a tall bottle and allowed to drip excess solution back into the jar.

After dripping, I hand buffed the stem with a coarse shop rag. The coarse material both absorbs the excess solution and helps abbrade some of the oxidized rubber from the stem.

The next step was to scrub the stem with Soft Scrub applied to make-up pads. This mild abrasive cleanser further removes oxidized surface material from the stem.

After the Soft Scrub scrub, that’s just fun to say, the stem was worked with a series of sanding sponges from 400-3500 grits. Between each sponge I rubbed the stem with mineral oils and wiped it with a clean dry paper towel.

The sanding was followed by micro-meshing with pads 4000-12000. Between each of the pads the stem was rubbed with Obsidian Oil and wiped with a paper towel.

At this point the stummel was still having the yuck removed the the ethyl alcohol as it slowly evaporated pulling the yuck from the briar and depositing it in the cotton. That continued overnight. In the morning I removed the cotton. It had done a fine job at removing any trace of smell from the tobacco chamber, reservoir and shank.

The stummel was then worked with micro-mesh pads from 2400-12000. The 2400 pad removed the finish which can be seen wiped onto the denim and on the two alcohol dampened make-up pads in the photo below. Between each pad the stummel was wiped with a make-up pad for removing debris from the micro-meshing.

After the micro-meshing the stummel received a coat of Before and After Restoration Balm and was allowed to sit for 20 minutes.

After 20 minutes the balm was wiped from the stummel using an inside out athletic sock.

The briar of the shank was covered with painters tape to protect the wood and the silver ferrule was lightly polished with the micro-mesh pads. After the peds I polished the silver with Before and After Fine and Extra Fine Polish. I failed to photograph the earlier steps of this process but did capture the final step.

The stem and stummel were taken to the buffer where they were buffed with Blue Diamond Polishing compound on a flannel wheel. Reunited with the stummel, both then received several coats of carnauba wax. The pipe was finally hand buffed with a microfiber polishing cloth to further raise the shine.

I can’t say what my favorite part of this restoration was. The pipe was a beautiful example of Irish craftsmanship by Peterson. The family history and the story of the great uncle were the things that I always wish I could know about these old pipes. The mysterious details of the pipe stem and the path that the pipe took, both geographically and through time, to get to me were a fun exploration. The happiness and gratitude of the owner upon receiving the restored piped was also fulfilling. Being honored and trusted to work on a family heirloom is daunting but exciting. All of these were part of this restoration and all of them were unique and unforgettable. The pipe turned out beautifully. I don’t mean to speak disparagingly about the clean-up that the Peterson crew did. Their fills were impressive but a custom hand polishing and finish is something that a manufacturing shop cannot take the time to do. I failed to mention in the above blog that I could not remove the silver ferrule. I tried seeping both ethyl alcohol and acetone into the glue to loosen it. I tried heating with a heat gun and even speaking softly and gently but I could not get the silver to budge. In the end I emailed the owner and admitted failure. He was understanding and we both agreed that the dents added to the history of the pipe.

I do hope that you have found something here useful to your own pipe care, maintenance or restorations. If you like this sort of thing, please click the like and subscribe buttons. Thank you for reading the ramblings of an old pipe lover.

Below are some photos of the finished Peterson System 2.
A Kaywoodie Matched Grain 10 Bent Billiard Restoration

October 8th, 2024
Photographed and written by

John M. Young

Oh to have both of the pipes in this matched pair. I don’t mean to complain as this was part of an estate lot where I was targeting a single pipe. The target was a Peterson meerschaum Dublin 120. This pipe was just an innocent bystander caught up in the crazed Peterson Pipe Acquisition Disorder (PPAD) that wreaks havoc on my life occasionally. If you are curious regarding the meerschaum pipe here is the link to that restoration. Below is a screenshot from the original eBay listing back on August 4 of 2024. There was a second Kaywoodie but a White Briar is no Matched Grain.

The lot came from Rockmart, Georgia and did have several interesting pipes. Below are some photos of the Matched Grain prior to working on it.

“Free tobacco with the purchase of one chomped on Kaywoodie.” I don’t think that advertising campaign will catch on.

The stummel needed almost nothing except the general lava cleaning, reaming and cleaning, the stem on the other hand… You may have noticed that the stem immediately behind the button had been filed. I did that before I took the above photos. I was thinking about how to reinforce the button for its reconstruction. So in full transparency, there was a little bit of work done to the pipe prior to the above photos.

Background

I am using pipedia.org’s Collector’s Guide to Kaywoodie Pipes to tell the history of the company and the Matched Grain lines as they are far better at it than this lazy writer. “According to Hacker (1), the firm of Kaufmann Bros. & Bondy (KB&B) began producing the Kaywoodie (2) Pipe in 1915. Hacker notes that:

“The company was originally started in 1851 in New York by two brothers named Kaufmann, who sold meerschaums and clays that a third :brother sent them from Vienna. Business thrived and in 1854 the Kaufmanns took in a partner named Bondy. … The three partners retired :in 1898, but their relatives continued on with the firm, which had begun to manufacture their own briar pipes under the KB&B trademark. :In 1915 the Kaywoodie brand was created as a marketing umbrella for a new briar pipe which the KB&B company introduced. …”‘

The “marketing umbrella” mentioned by Hacker included lower grade Kaywoodies that were later marketed under the “Yello-Bole” name. (According to a 1948 Yello-Bole catalog, “Yello-Boles have been on the market since 1933. About 25 millions of these pipes have been sold”). Hacker concludes his history of Kaywoodie Pipes by noting that:

“The KB&B briar pipe brand existed from 1900 until just after World War I (with some overlapping with the Kaywoodie from 1915 — 1917), :and collectors refer to the KB&B as a Kaywoodie transition pipe. During the early years of the 20th century a number of filter systems :were designed by the KB&B firm and incorporated into their Kaywoodie Pipes under the names of Synchro-Stem and Kaywoodie Drinkless3 :filters. During the late 1920’s and throughout the 30’s the Kaywoodie became a highly respected pipe in spite of its filter system (which :was popular among many smokers of the era) primarily due to the fine quality of the straight grain and the flame grain models. :Unfortunately, the hard-to-get-briar years of World War II marked the decline of the Kaywoodie Pipe, a plummet from which it has never :recovered as far as collectors are concerned….”

The pre-Kaywoodie KB&B pipes were marked on the shank with a cloverleaf around KB&B. Some early Kaywoodies had this same marking on the shank, but the practice was dropped some time prior to 1936. Yello-Boles also had KBB in the leaf on the shanks, but did not have the ampersand found on Kaywoodies.

Early (pre-1936) Kaywoodies had an “elongated” white cloverleaf on the bit, a large fitment, and four-digit shape numbers. The 1936 catalog shows a larger, “fuller” leaf, but lists two-digit shape numbers. Sometime between 1936 and 1947, the better pipes were marked on the bits with a black cloverleaf in a white circle. The white cloverleaf continued on the lesser pipes. However, this was not a consistent convention, as pipes of the same grade could have either type of leaf.

The S.M. Frank Co. now owns the Kaywoodie name, but no longer makes pipes. However, Italian made “drugstore” grade Kaywoodies are still being marketed in this country. These Italian-made Kaywoodies have a “whiteoutline” cloverleaf logo.

Pipedia Editor’s Note: Thankfully, Kaywoodies are again being made in the U.S. ”

(https://pipedia.org/wiki/Collector%27s_Guide_to_Kaywoodie_Pipes#A_Partial_Chronology_of_Kaywoodie_Grades,_Shapes_and_Prices_(1936_-_1969))

The following discusses the logos seen on this Matched Grain Kaywoodie:

“Some of the pre-1936 Kaywoodies were stamped (on the shank) with a cloverleaf around KBB. Sometime between 1936 and 1947, the better pipes were marked with a black cloverleaf inside a white dot. However, because many of the pipes in the 1968-69 catalog still show this type of logo, the black-in-white logo merely indicates a “post 1936” vintage.” (https://pipedia.org/wiki/Collector%27s_Guide_to_Kaywoodie_Pipes#A_Partial_Chronology_of_Kaywoodie_Grades,_Shapes_and_Prices_(1936_-_1969))

The Kaywoodie shape 10 has remained very consistent in catalogs since if first appeared in the 1936 catalog as appears from the Collector’s Guide yo Kaywoodie Pipes:

“1936 Kaywoodie Shape Numbers and Descriptions

Shape Number and Description
- 10 — Curved Medium Billiard”
“1947 Kaywoodie Shape Numbers and Descriptions
- 10 — Medium Billiard, Full Bent”
“1955 Kaywoodie Shape Numbers and Descriptions
- 10 — Medium Billiard, Full Bent”
“1968-69 Kaywoodie Shape Numbers and Descriptions
- 10 — Small Full Bent Billiard”
(https://pipedia.org/wiki/Collector%27s_Guide_to_Kaywoodie_Pipes#A_Partial_Chronology_of_Kaywoodie_Grades,_Shapes_and_Prices_(1936_-_1969))

The below Kaywoodie Lines and their dates are clipped from the Guide and are a compilation:

“THE 1947 KAYWOODIE LINE OF PIPES

The Matched Grain first appears in the 1947 catalog. According to the Collector’s Guide or Kaywoodie Pipes: “In addition to these individual pipes, the 1947 catalog shows two- and seven-pipe matched grain sets(5).
- Two-Pipe Matched Grain Setb: $25.00
- Seven-Pipe Matched Grain Setc: $125.00”
“THE 1955 KAYWOODIE LINE OF PIPES

The line-up of pipes in the 1955 catalog (Table 3) was more extensive than in previous years. The catalog presented an expanded line of meerschaum pipes and introduced a 4-pipe set of Matched Grain Pipes, as well as several pipes with “special features”.”
- Matched Grain Set (4-Pipes): $50.00
- Matched Grain Set (7-Pipes): $125.00”
“THE 1968-69 KAYWOODIE LINE OF PIPES

In addition to the two-, five-, and seven-pipe Matched Grain pipe sets listed in Table 4, the 1968-69 catalog introduced the Presentation Pipe. The catalog states that in “Every 8 or 10 thousand briar blocks, we come across a single piece that is as near to perfection as briar can get. This rare find is set aside and turned over to a master pipe craftsman. He lovingly sees this precious briar through each step, until it takes shape as one of the rarest pipes in the century.” The Presentation Pipe was packaged in a walnut grain, velvet lined, leather case. (See Section 3.5 for description of other Kaywoodie Presentation Pipes).”
- Matched Grain Sets:
  - 2 Pipesa: $75.00
  - 5 Pipes: $175.00
  - 7 Pipesa: $250.00”
“Presentation Collection. “The most illustrious collection of pipes ever assembled – the Kaywoodie Presentation Collection. It presents a set of 28 Kaywoodie Matched Grain Pipes . . . pipes as perfectly, flawlessly, magnificently matched as a string of rare Oriental pearls. Over 500,000 blocks of pristine briar must be sorted to find just one such matched collection; hence no more than 12 sets can be produced in any one year. Hand fashioned from tapered bit to burnished bowl, every pipe in this Collection becomes a prized possession. A Carved Headbriar [see note concerning “carved heads” in the discussion of Heirloom pipes, Section 3.4], a Calabash and a Meerschaum complete this Collection of 31 pipes. This precious ensemble is housed in a custom-designed walnut cabinet of distinguished elegance. It contains a tobacco humidor and a handy compartment for pipe smoking utensils. A brass plate, engraved with the recipient’s name, personalizes the presentation” (Price: $2500). The Presentation Collection did not appear in the 1955 catalog, but was apparently introduced shortly thereafter. A “brief” article in the September 17, 1956 issue of Newsweek supports this contention. The article, entitled “Pipe Dream”, contains a photo of the Presentation Collection, which is described as the “costliest pipe set ever marketed in the U.S.” (Lowndes notes that a small (undated) WWII era catalog showed the Presentation Collection in a smaller cabinet with legs that sold for $1000.)”

(https://pipedia.org/wiki/Collector%27s_Guide_to_Kaywoodie_Pipes#A_Partial_Chronology_of_Kaywoodie_Grades,_Shapes_and_Prices_(1936_-_1969))

From all of the above we can be assured that this pipe was indeed part of a set. Most likely it was one of a pair of pipes made between 1947 and 1969. Its companion piece or pieces are lost to time thus reducing the value and importance but not the beauty of the selected briar and the craftsmanship that went into this pipe.

The Restoration

In the beginning there was clean denim. Kind of a Genesis vibe to the resurrection of this lovely pipe.

I started with the stem. It was lightly sanded with a 600 grit sanding sponge to remove the hardened oxidation and surface grime.

Next, the stem had a pipe cleaner inserted into the tenon to act as a hanger and it was submerged into the jar of Before and After Extra Strength Deoxidizer. Here it sat for 4 hours.

The stummel was exorcized of the remnant tobacco.

The ream team was gathered and included the PiNet, Smokingpipes Low Country reaming knife, General triangular scraper and wood dowel wrapped in 220 sandpaper.

The reaming was quickly completed and the bowl sanded to bare briar. This revealed no damage to the interior of the tobacco chamber.

The rim was moistened with saliva and gently scraped with a sharp pocket knife.

The scraped rim looked mostly free of any charring.

I tried a scrub with 95% ethyl alcohol on a make-up pad to assess the finish on the briar. The pad turned a yellow brown indicating that the finish was susceptible to ethyl alcohol.

I took the stummel to the sink for a scrub with undiluted Murphy Oil Soap and a nylon scrub brush. The soap lather turned a yellow brown color with scrubbing. This was rinsed with warm water and the stummel dried with a cotton dish towel.

Back at the workbench the stummel was wiped with a make-up pad with 95% ethyl alcohol and more of the finish was removed. The result was a finish-free stummel with lovely grain.

Next came the shank cleaning. This was done with folded bristle pipe cleaners and cotton swabs both dipped in the ethyl alcohol.

I lightly topped the rim to remove the dottle knocking scars and the light charring on the rim. 220 and 400 grit sandpaper were used.

Below you can see the rim after the topping.

I was anxious to see the briar grain and applied a coat of Before and After Restoration Balm before I sanded or micro-meshed the briar. I know patience is a virtue but I couldn’t wait.

The stem was removed from the Deoxidizer solution after four hours. It was allowed to drip a good deal of the excess solution back into the jar.

My normal coarse shop rags were both in the laundry so an old bathroom face towel was used to buff away the remaining Deoxidizer solution. I’ll see if the oxidized vulcanite is effective at staining white cotton face towels. The stem on the other hand was looking much better.

The stem was cleaned with bristle pipe cleaners and 95% ethyl alcohol.

Make-up pads with Soft Scrub cleanser were used to further remove any remaining surface oxidation.

The below photo shows a clean black stem with quite a bit of pitting from the deoxidizing of the vulcanite. The stem had been oiled with mineral oil to prevent further oxidation.

For the moment you’ve all been waiting for: “How the heck is that stem going to be salvaged?” My imagined plan was to file immediately behind the button and glue two brass pins across the gap. These pins would provide a scaffold for the building up of cyanoacrylate (CA, super glue) and black JB Weld Epoxy. The pins would be completely encased in CA and Epoxy and not be seen while providing rigidity for any future chomping. The thickened rebuilt zone would be the “new button” The old button end would be filed off, shortening the stem by a couple of millimeters. This plan worked brilliantly in my damaged brain but how would it fare in reality? I wasn’t sure but I knew that I’d have a heck of a hard time finding a perfect replacement stem so, this seemed like the best remedy.

Two brass pins were measured and cut to span the gap. The first pin was glued into place using black CA. I allowed the CA to cure on its own and did not use a CA drying accelerator.

I wanted to work on the stem, one side at a time and be able to access the airway to sand and smooth the airway if needed. I made a dam from a piece of plastic lid and thickened the plastic with several layers of Scotch tape. This would be inserted into the airway to prevent the CA and Epoxy from entering where I did not want it.

With the dam inserted I was ready to start layering reinforcements of black CA.

The black CA was applied using a fly tying bodkin. Unfortunately the black CA was slightly transparent. This is why I thought that I would also have to use the JB Weld epoxy. Imagine the brass pin inside the new button and the old button, that you see below, as being filed off.

Below the CA was allowed to cure and the dam removed. Everything was going according to the plan.

After the CA had cured I cut an emery board nail file to fit into the airway. I used this to smooth the interior of the airway. Below is an early photo of the smoothing. You can see that the brass pin is completely encased in CA.

The process was then repeated for the opposite side with the placement of the second pin.

Black CA was used to fill around and encapsulate the brass pin.

To build up material around the new button I used black JB Weld with the addition of very finely ground carbon powder. I wanted to make sure that the epoxy was not even slightly transparent. I emptied a capsule of carbon into the mortar and used the pestle to grind it into a very fine powder.

The two part epoxy was mixed and a small amount of ground carbon powder was added. To keep the epoxy from fouling the airway another plastic dam was used. This time I coated the surface of the dam with Vaseline petroleum jelly to keep the epoxy from adhering to the dam.

The JB Weld label says the product sets up in 15 minutes. I think they meant to say 15 hours. It does set up to the point that it stops flowing in 15 minutes but I usually give the epoxy at least 24 hours before I try to file or sand it.

The next day, I mixed a second batch of epoxy as with the first batch. This was applied to the bottom side of the stem. I propped up the pipe as shown in the photo below.

The below photo shows how the first application of the epoxy looked after 24 hours.

Here is the second application cured for 24 hours.

This photo shows the two applications in profile.

The button was filed to reshape it. Below is the top view of the reshaping.

The bottom view of the reshaping.

Profile of the reshaping.

I taped the shank off to protect it, with masking tape, then sanded the stem with a series of sanding sponges in grits 320-3500. Between each sponge I rubbed the stem with mineral oil and wiped it with a paper towel.

The stem was then micro-meshed with 4000-12000 pads. Between each pad I rubbed the stem with Obsidian Oil and wiped it with a paper towel.

The stummel was worked with micro-mesh pads 3200-12000. Between each pad I wiped the stummel with a make=up pad dipped in 95% ethyl alcohol.

The pipe was taken to the buffer for several coats of carnauba wax. The final step was to hand buff the Matched Grain with a microfiber polishing cloth.

This beautiful Matched Grain Kaywoodie will unfortunately and most likely never again see it’s mate. It’s beauty will have to be appreciated on it’s merits alone. I think the pipe turned out very nicely. The briar is exceptional with outstanding grain and free of any pits or flaws. The stem reconstruction actually went as I imagined it would. That comes as a welcome shock to me. More times than not my imagined plans are dealt a rude awakening by reality. The dimensions of this Matched Grain 10 Bent Billiard are:
- Length: 4.90 in./ 124.46 mm.
- Weight: 1.28 oz./ 36.30g.
- Bowl Height: 1.72 in./ 43.69 mm.
- Chamber Depth: 1.47 in./ 37.39 mm.
- Chamber Diameter: 0.72 in./ 18.03 mm.
- Outside Diameter: 1.39 in./ 35.31 mm.
I do hope that you have found something here useful to your own pipe care, maintenance or restorations. If you like this sort of thing, please click the like and subscribe buttons. Thank you for reading the ramblings of an old pipe lover.

Loading…

Type your email…

Below are some photos of the finished Matched Grain 10 Bent Billiard.
A Sea Dog Calabash Restoration

October 8th, 2024
Photographed and written by

John M. Young

The stereotypic pipe that most people think of when envisioning Sherlock Holmes would most likely be a calabash. The above bent beauty would likely fit that image, with its flowing curves and old fashioned mouthpiece. Once again reality interferes with our perception, according to https://www.visitportsmouth.co.uk/conan-doyle/sherlock-holmes, who states “Our aim is to publicise the Conan Doyle Collection locally and internationally. To do this, we attend and create local events and work with other partners on projects to promote access and to the Collection.”, “It’s common to see Sherlock Holmes with a Calabash Pipe (similar to the one at the bottom), but that was a choice made for the stage. In the books Sherlock Holmes smoked briar, clay and cherrywood pipes but none were specifically explained so it is unclear exactly what he smoked.” (https://www.visitportsmouth.co.uk/conan-doyle/you-dont-know-sherlock-holmes-yet/cabinet-of-curiosities/three-pipes#:~:text=In%20the%20books%20Sherlock%20Holmes,unclear%20exactly%20what%20he%20smoked..). Nevertheless, in the minds of the public Holmes smoked a calabash.

This lovely Holmes stereotype was purchased from a seller in Racine, Wisconsin who was kind enough to accept my offered payment. The pipe bears the following stamps, all on the left shank: SEA-DOG in a flowing arched script over REG^D over MADE IN FRANCE. The Sea-Dog sports an unmarked stem with an orific button. Below are some photos of the pipe as it appeared prior to having any work done.

For its age, the pipe was in great condition. The bowl had moderate cake and the rim had considerable lava deposits. The condition of the rim remained concealed underneath the lava. There were a few fills, dents and dings. The stem looked remarkably free from oxidation. This indicated that the pipe had been stored away from any light. I was expecting a nice break from a rather difficult previous restoration.

Background

I will differ from the description of a Calabash shape to the experts at St. Claude,

“The Calabash pipe shape is one of the most sophisticated and refined shape that exists. Most of the time associated with the image of the detective Sherlock Holmes, the Calabash pipe distinguishes itself by its really pronounced bent silhouette and its imposing bowl. At the beginning, the real “gourd calabash” pipe (also called “Calebasse”), was made from an African squash, with a removable bowl made out of meerschaum (positioned against a cork joint) and an amber stem. Smokers greatly appreciate this kind of conception because the tasting experience is, according to some people, unbeatable. Indeed, the smoke arrives in mouth cooled down and dry thanks to the large settling chamber on the inside of the bowl of the pipe. This empty space allows the smoke to cool down (and therefore to get smoother) before being aspirated by the smoker. Nowadays, pipe makers create Calebass pipes from more traditional materials (like briar for the main part and acrylic for the stem). Therefore, we can find pipes essentially made with briar that copy the iconic calabash silhouette (it is the case for a lot of brands like Peterson, Ser Jacopo, Stanwell, Butz-Choquin…). More rarely, it is possible to find pipes called “reverse Calabash”. On the same principle, a huge cooling chamber will disrupt the smoke on the inside of the pipe to return it to you smooth and cooled!” (https://www.pipeshop-saintclaude.com/calabash-262)

The term “sea-dog” obviously hails from maritime regions far from my local landlocked home of Nebraska.

“sea-dog (n.)

1590s, “harbor seal,” from sea + dog (n.). Also “pirate” (1650s). Meaning “old seaman, sailor who has been long afloat” is attested by 1823. In Middle English sea-hound was used of the walrus and the beaver.” (https://www.etymonline.com/word/sea-dog#:~:text=1590s%2C%20%22harbor%20seal%2C%22,the%20walrus%20and%20the%20beaver.) Beavers on the other hand are a very familiar critter in these parts. Now pertaining to this pipe pipe I am pretty sure that the sea-dog anime refers to the “old seaman or sailor” though I have seen rustications that reminded me of the gnawing habits of beavers.

This particular pipe is very likely from the following, “Sea Dog was one of many brands owned by the Oppenheimer Pipe group, apparently made in France, likely by Marechal Ruchon & Cie. as evidenced on page 34 of the Circa 1950s Oppenheimer Pipes Catalog”. (Sea-Dog – Pipedia). The date 1950 struck me as far too recent of a date for a mouthpiece like that of the Sea-Dof in hand. I am not familiar with orific buttons occurring after about 1920. Further searching of pipedia.org led e to the next entry concerning Marechal Ruchon & Cie.,

“Marechal Ruchon & Cie. was a company owned by Auguste Marechal and Ferdinand Ruchon (“& Cie” is the french equivalent of “& Co”) which owned the GBD brand from the end of the 19th century until 1902 when they sold Marechal, Ruchon & Cie. to Oppenheimer Pipe, which in turn changed the name of the company to Marechal, Ruchon & Co., Ltd.. Upon the creation of Cadogan, however, the brand was no more, remembered only in the name of the GBD Marcee pipes made until just after the Second World War.” (Marechal Ruchon & Cie. – Pipedia)

So to cloud the history a bit further we have GBD owned by Marechal Ruchon & Cie. who then sold it to Oppenheimer in 1903. Pipephil has a truly brain bending flowchart of the mergers and acquisitions of the Oppenheimer group throughout the early 1900s. There appears to be a great deal of motion and changes in ownership of companies at this time.

(http://www.pipephil.eu/logos/en/infos/connect-en.html)

Again I return to pipedia for a synapses of some of these events,

“Cadogan Investments Limited is a subsidiary of A. Oppenheimer & Co. Limited. It was formed by Oppenheimer Pipe in 1920 as a holding company for its many recent acquisitions, including BBB, Loewe & Co., two pipe factories in Saint-Claude and others. It continued to acquire pipe brands and makers for decades, adding GBD and others to their marquee.

Both companies are currently located at 20 Vanguard Way, Shoeburyness, Essex, SS3 9RA. A storefront operates out of the same location selling pipes and smokers accessories under the name Cadogan Gifts, and also sells a wide variety of other items. Cadogan currently holds, among others, the trademarks for Dr. Plumb’s, Irwin’s, Comoy’s, BBB, GBD, Loewe & Co., Medico, Orlik, and Ropp.” (Cadogan – Pipedia)

That puts this pipe as made in France prior to the demise of Marechal, Ruchon & Co., Ltd. in 1920. This is supported by the button type, orific. I am not familiar with buttons of this type in pipes made after the early 1920s.

The Restoration

I was hoping that the restoration would be far less confusing than the above company lineage.

For some reason I began cleaning out the stem of the Sea-Dog. This was done with 95% ethyl alcohol and bristle pipe cleaners. The stem was remarkably clean inside, a nice surprise.

The reaming gear was gathered.

The PipNet was once again the workhorse of the process. The scrapers were used for the finishing touches then the chamber was sanded with 320 sandpaper wrapped around a wood dowel. No scorching nor heat damage was observed.

The rim was a mess with lave deposits. This was softened with saliva then scraped using a sharp pocket knife. I realize sharp can be a subjective term so, let me explain. My high school dropout father worked his way through college, after a stint in the Army, a GED (general education diploma) and the G.I. Bill, at a packing plant in Waterloo, Iowa. There, he was a ham cutter. Needless to say, every knife in our house was very sharp. I was taught at an early age how to sharpen and maintain a sharp knife and have not been without one in my pocket since I was 5 years old. By the way, dad ended up with a PhD and not in knife sharpening.

How the rim looked after the scraping.

Next was a scrub with undiluted Murphy Oil Soap and a nylon scrub brush. The decades of grime and soap were rinsed away with warm water and stummel dried with a cotton hand towel.

The shank cleaning was carried out next in hopes that water from the rinse would have slightly softened the yuck (the technical term for smoking residue in an airway) within. Apparently a little Peterson Premiere 51 needed to photobomb this shot or it was used to prop up the Sea-Dog and its crazy bendy shape. The shank of this bent beauty proved to be not too dirty, slightly worse than the stem but still surprisingly clean. The curves made the junction with the tobacco chamber a little challenging with very short scrub strokes with pipe cleaners.

The stummel was wiped off with 95% ethyl alcohol on a make-up pad and the fills, of which there were many, were picked clean of their old fill material.

In the photo below you can see a large flake of the old fill material which was picked from the fill on the shank. .

The photo attempts to show the inner rim damage from doddle knocking or cage fighting medieval armored combatants.

Taking a break from the sitting and picking led me to submerge the stem in a bath of Before and After Extra Strength Deoxidizer. The pipe cleaner inserted into the tenon acted as a hanger.

Returning to the workbench the process of filling all of those recently excavated fills resumed using brown cyanoacrylate (CA, super glue) and in most cases CA and briar dust. The fill on the shank proceeded without any briar dust. When the briar dust combines with the CA it makes for a quality fill that can take years of abuse, it also cures very rapidly and allows one to keep working without the need of excessive drying or curing time. Unfortunately, the subsequent fill is very dark and can be conspicuous. I thought that the fill on the shank of the Sea-Dog was too large and would look awkward. Instead, I filled the depression with brown CA and let it cure on its own. I applied two additional coats of brown CA to fill in the voids. Each of these took approximately 20 minutes of curing time when I was not able to do anything with the pipe.

I thought I made the right call. You could still see the briar grain through the CA and it appeared far more natural than a dark scab of a fill.

The rim was kind of a mess. There was one deep gouge, seen at the 2:00 position below, dents and dings around the inside rim and outside rim. To keep the classic Dublin shape with nice sharp edges and a flat top, I had to do a good deal of reconstruction with CA and briar dust. I laid down a bead of CA with the fly tying bodkin and pressed the still wet CA into the tray of briar dust. The dust would quickly cure the CA and for a hard fill. I would then brush the excess dust back into the tray with a brass brush. The new fill was then topped. The whole process was repeated until the surface was filled and smooth.

For the fills on the sides of the stummel a similar procedure was used. Except rather than pressing the wet CA into briar dust the dust was applied and pressed into the wet CA.

Now comes the issue with CA and briar dust fills – they are dark in color. On the sides they can blend in with the briar grain but on the rim they can appear as scorched charred spots and look less than appealing.

To address this I planned to give the stummel a contrast dye using black Fiebing’s Leather Dye. The black dye would be absorbed more into the soft grained briar and less in the harder grains. When the surface is abraded off, either by buffing with rouge compound or sanding, the softer grains retain more black dye making the grain stand out and concealing the CA fills. To avoid sanding the stamps and losing their detail I covered the stamp with an irregular piece of painters tape. This is not meant to protect the stamp from sanding but to keep it from becoming dyed and then requiring buffing or sanding to remove the dye.

Okay, maybe I felt a little bit apprehensive about dying and wanted to think about it moreso, I stalled and retrieved the stem from the deox. Using the high tech patented Drip-Dry-O-Matic the stem was allowed to drip excess solution back into the jar.

After dripping, the stem was hand buffed with a coarse shop rag to absorb the excess solution and to abbrade some of the loosened oxidation.

Below you can see the oxidized rubber which came off with the rubbing.

The tooth chatter was filed with a small flat file.

Filing on both top and bottom was followed with sanding the 320 and 400 grit sanding sponges. The stem was then coated with mineral oil and allied to sit while I dyed the stummel.

My composure and confidence regained, I gathered the dye kit: The black Fiebing’s Leather Dye, a folded pipe cleaner (applicator), a dust tape wrapped fishing bobber (Plug for keeping dye from the tobacco chamber) and a lighter.

The stummel was dyed with the black Fiebing’s and flamed to set the dye and evaporate the alcohol solvent. The stummel rinsed with 99% isopropyl alcohol over the sink and wiped with a paper towel then returned to the workbench. Below, you can see how the tape kept the black dye from the stamp which kept me from having to sand the stamp area, thus preserving the stamp.

The stummel was wiped with a make-up pad dipped in 95% ethyl alcohol to remove any remaining dye. The stummel was then taken to the buffer and buffed with rouge compound and a flannel wheel to remove the outer layer of dyed briar. Below you can see how the softer grained briar absorbed more black dye while the harder briar did not.

I wanted the stummel to have a lighter shade of brown while keeping some of the darker grain so I sanded with a 400 grit sanding sponge. That was the color I was after.

Below you can see how the rim looked after the dye and some of the black removed.

The stem and stummel were reunited with sanding of both pieces done together. The sanding was done with a sequence of sanding sponges from 400-3500 grit. Between sponges the stummel was wiped with a make-up pad moistened with ethyl alcohol while the stem was rubbed with mineral oil and wiped with a paper towel.

The pipe was worked with micro-mesh pads in grits 4000-12000. Again between each pad the stem and stummel were wiped as above except Obsidian Oil was used in place of mineral oil.

The stem was coated with Before and After Restoration Balm and allowed to sit for 20 minutes.

After 20 minutes the balm was wiped and hand buffed using an inside out athletic sock.

I’m not sure why I did this next step, maybe because I bought the stuff and have rarely used it. I used a gun cleaning patch to apply a very light layer of Danish Oil to the stummel.The gun cleaning patch was used because it is a lint free material. I followed the label instructions and allowed the oil to “harden” for 9-12 hours.

It may not have served much purpose but it sure was pretty.

The next morning I returned to the Sea-Dog. I took it to the buffer and applied several coats of carnauba wax with a flannel wheel. The pipe was hand buffed with a microfiber polishing cloth and the final photos can speak for themselves.

It is official, I really like the calabash shape. There is just something about it that says, “I am how pipes should look.” Yeah, I know they don’t talk but you know what I mean. This Sea-Dog is a grand old testament to pipe makers’ generations lost. The sweeping curves and graceful flow beckon me to fill the bowl, slow down, relax and enjoy a moment of contemplation. This is called, “sitting on your butt doing nothing” by some people. The best part of their attitude is that there remains far more tobacco for us to enjoy. I think this Sea-Dog restored very nicely. The numerous fills are not too noticeable with the contrast dye. The stem polished up beautifully and provides an excellent contrast while complimenting the briar grain. The old fashioned orific button can interestingly be directed into one’s mouth with subtle changes to the alignment with the shank. A slight twist can send the smoke into a new direction.

The dimensions of this Sea-Dog Calabash are kind of strange to measure but here they are:
- Length: 5.53 in./ 140,46 mm.
- Weight: 1.53 oz./ 43.70g.
- Bowl Height: 2.09 in./ 53.09 mm.
- Chamber Depth: 1.60 in./ 40.64 mm.
- Chamber Diameter: 0.73 in./ 18.54 mm.
- Outside Diameter: 1.41 in./ 35.81 mm.
I do hope that you have found something here useful to your own pipe care, maintenance or restorations. If you like this sort of thing, please click the like and subscribe buttons. Thank you for reading the ramblings of an old pipe lover.

Loading…

Type your email…

Below are some photos of the finished Sea-Dog Calabash.
A Sasieni SL 52G Hurlington Restoration

October 3rd, 2024
Photographed and written by

John M. Young

The term”big” doesn’t do this pipe justice. Giant, gargantuan, enormous all seem more fitting. I remember opening the package when it arrived in the mail. I’m pretty sure I said, “good Lord, that’s big.” Have I mentioned that “big” doesn’t do this pipe justice? For such a large pipe it felt remarkably good in my hand, then again, I am a fan of the apple shape. This pipe wore the stamps: MADE IN over ENGLAND in an oval to the left, SL over LONDON MADE all on the left shank. The right shank sported the stampings 52G while the stem bore an Old English script S on a shield. Below are some photos of the pipe prior to work being done.

Background

The stem logo on this pipe says, “I’m a Sasieni”. Well at least a Sasieni’s second…

That is where I started, with Sasieni. Joel Sasieni began building the company in London, England in 1919. I will let Stephen P. Smith, in his pipedia.com entry explain,

“In his book, “The Ultimate Pipe Book”, Richard Carleton Hacker writes American pipe collectors “seem to be more preoccupied with ’smokable’ brand names, of which the most collectible are Dunhill, Barling, Sasieni, and Charatan.” Theodore Justin Gage, the former publisher of the much missed “The Compleat Smoker”, called Sasieni pipes a “fascinating collectible, …representing all that is good about classic English pipe making.” And for good reason: the pipes made by the Sasieni company between the years 1919 and 1979 rank among the very best the London pipe industry had to offer. They featured superb wood, flawless bowls, outstanding smoking qualities, and a styling that was uniquely theirs.

Yet for all that, Sasieni’s are among the most underrated pipes on the collectible market, usually selling for far below their real worth. In this, they offer the astute collector a genuine opportunity, whether he or she is looking for a pipe with potential for appreciation, or simply a great pipe at a reasonable price.

However, in order for the collector to capitalize on this, it is vitally important to realize the Sasieni company changed hands on two occasions, and each owner had different priorities and agendas. Not surprisingly, this was reflected in the quality of the pipes made during these different times. All bore the Sasieni name, and yet they were very different pipes.

It is possible to divide the Sasieni history into three eras, similar to Barling. In fact, throughout this article, I will be referring to “Pre-Transition, Transition, and Post-Transition” Sasieni’s. While this may raise a few eyebrows, I believe it will become clear these classifications are actually quite appropriate.

Therefore, it will also become clear a collector must be able to distinguish between Sasieni’s of different eras, as it is mainly the family made pieces made between 1919 and 1979 which are truly desirable to collectors. The dual purposes of this article, then, are to trace the history of the Sasieni pipe, and to enable collectors to judge, with a reasonable degree of certainty, when the Sasieni in question was made.

A Brief History of the Sasieni Company

There is a great deal of mystery surrounding the Sasieni pipe, owing largely to the fact there is such a paucity of written information about them, as is the case with many collectible pipes. Even the name of the founder has been subject to debate. One respected source says the founder was named “Joel” Sasieni. Another equally respected source says with equal certainty the name was “Joseph” Sasieni. (A third, rather less reliable source once told me “Joel” and “Joseph” were brothers, but I think we can safely dismiss that.) An old Sasieni catalog which I came maddeningly identifies the founder as “J. Sasieni”. However, some research at the U. S. Patent Office conclusively shows that his first name was Joel.

Joel Sasieni apprenticed at Charatan, and moved on to Dunhill, where he eventually rose the position of factory manager. Many men would have been perfectly satisfied with such a position, but not Mr. Sasieni. He opened up his own factory in 1919, believing he could improve on some of Dunhill’s methods. Mr. Sasieni was, if nothing else, an optimist.

Things did not go smoothly for the new firm. The factory burned down almost immediately. Apparently undaunted, Mr. Sasieni simply rebuilt the factory and carried on.” (Sasieni – Pipedia)

Steven Smith’s writing goes on and is well done and informative. I highly recommend reading it if you are a burgeoning Sasieni fan or just interested.

As for this pipe, I could find no reference to the SL stamping. I assumed the 52G was a shape number and indeed a Sasieni shape chart from pipedia.org lists the 52 as a “Hurlington” and matches the shape of this pipe beautifully. I am assuming that the 52G is the Hurlington in a giant form.

(File:Sasieni Pipe Shapes.jpg – Pipedia)

Another Sasieni shape chart states that Sasieni has “160 SHAPES”.

(File:SasieniShapes.jpg – Pipedia). 160 is a remarkable number of shapes for a manufacturer to keep track of much less the carvers employed making those shapes. Remember, this was all long before a quick google search to remind oneself of the dimensions of a particular shape.

The Restoration

The Sasieni found its way to the workbench and a cleanish denim piece. The stem was a very tight fit after the photo shoot. I did not force it back into place as that’s where I planned to start with this restoration, anyway.

The calcium deposits on the stem were heavy and combined with the also heavy oxidation made for a rather ugly mess. I started by scraping the surface from the stem with a sharp pocket knife.

Once scraped, I buffed the stem with 0000 steel wool.

The airway was cleared of the tars and yuk which had taken up residence there. A good many bristle pipe cleaners and 95% ethyl alcohol were used to clean the airway.

With the inside and outsides cleaned, it was time for the stem to go into deox. That is my term of endearment for Before and After Extra Strength Deoxidizer. I thought this stem would require at least 4 hours of chemical love.

I turned my attention to the stummel. The reaming tools were assembled with the PipNet’s #2 and #3 blades getting used.

The reaming was done mainly with the PipNet.

The Smokingpipes Low Country reaming knife and the General triangular scraper. When the scraping was done the tobacco chamber was sanded to bare briar with 320 sandpaper wrapped around a wood dowel.

The lava on the rim was moistened with saliva and scraped with a sharp pocket knife.

The stummel was then scrubbed with undiluted Murphy Oil Soap and a nylon scrub brush. You can see the grime in the bristle of the brush, below. The soap was rinsed with warm water and the stummel dried with a cotton hand towel.

The Airway of the shank was equally as dirty as the stem’s. I used the Kleen-Reem shank drill tool to drill out the airway. That seemed to have done a great job at scraping. I still used the dental scraper along with several scrubs with the shank brush, bristle pipe cleaners and cotton swabs but the drill removed a large amount of tar from the airway.

The stamps were covered with painters tape to preserve their detail during the sanding.

The stummel was sanded with a series of sanding sponges from 400-3000 grit. Between each sponge I wiped the stummel with a make-up pad moistened with alcohol.

The final sanding sponge was the 3500 grit. This one was allowed to sand under the tape.

The stummel was then worked with micro-mesh pads 4000-12000 grit. Again between each pad I wiped the stummel with alcohol on a make-up pad.

The stummel received a coat of Before and After Restoration Balm and was allowed to sit for 20 minutes.

After 20 minutes the remaining balm was wiped with an inside out athletic sock.

After two hours I removed the stem and used the patented Deox Drip-Under-Matic Mechanical irrigation and Egress System (DDUMMIES) to drip dry the stem.

The stem was wiped with a coarse shop rag. This allows for the excess solution to be absorbed and abbrades some of the oxidized vulcanite at the same time.

The stem’s color looked much better but the wear of the stem and the removal of oxidation showed a much reduced stem. The button had been smoothed almost to oblivion. This was going to take some time to rebuild.

I first painted the stem with a butane light hoping to have the vulcanite rebound a little bit and reduce the tooth dents. This provided minimal effect. The stem was then painted with a coat of black cyanoacrylate (CA, super glue from the end of the button to about 1 ½ inches or 4 cm.

The CA was spritzed with a CA drying accelerator. This speeds the curing time to nearly immediate but does leave a roughened surface.

The rough surface was filed. The low spots remained more glossy and would require additional applications of black CA.

The second application still had some low spots but they were becoming smaller and fewer.

Finally I was down to only two spots for reapplication on both the top and bottom.

The final CA spots were smoothed with the small file and 400 sanding sponge.

The button received its final shaping and shaping.

Unfortunately the faint stem logo was lost with the exposure to the Before and After Extra Strength Deoxidizer Strength.

The stem was sanded with a series of sanding sponges with grits of 400-3500. Between each sponge the stem was rubbed with mineral oil and wiped with a dry paper towel.

The stem was further polished with 4000-1200o micro-mesh pads. I neglected to photograph this process but can state that between the pads the stem was rubbed with Obsidian Oil and wiped with a dry paper towel. The final polishing was done at the buffer with White diamond buffing compound and a clean flannel wheel. The pipe received several coats of carnauba wax with the buffer. A hand buffing with a microfiber polishing cloth was done to further raise the shine of the briar and vulcanite.

I have to admit that this Sasieni Hurington looks very impressive just by the nature of its size. The pipe feels great in the hand which is good, because there is no way that it is comfortable to clench for more than a few seconds. Its length and mass prove to be a physical feat of power lighting which would test the most capable jaw musculature. The briar looks beautiful with the rusticated spots concealing flaws in the piece while adding character. The stem turned out very nicely with hardly any sign of the reconstruction which was done to repair the aged and worn vulcanite. Overall it is a remarkable pipe which, the term “big” hardly does it justice, in case you had forgotten. The dimensions of this Sasieni SL 52G Hurlington are:
- Length: 7.36 in./ 186.94 mm.
- Weight: 2.48 oz./ 70.30g.
- Bowl Height: 2.21 in./ 56.13 mm.
- Chamber Depth: 1.77 in./ 44.96 mm.
- Chamber Diameter: 0.82 in./ 20,82 mm.
- Outside Diameter: 1.80 in./ 46.37 mm.
I do hope that you have found something here useful to your own pipe care, maintenance or restorations. If you like this sort of thing, please click the like and subscribe buttons. Thank you for reading the ramblings of an old pipe lover.

Loading…

Type your email…

Below are some photos of the finished Sasieni SL 52G Hurlington.
A Jima Restoration

September 19th, 2024
Photographed and written by

John M. Young

The Jima pipe is one of those things that when you see one you just want to have one. They look so cool and 1960 futuristic. I am pretty sure if Captain James T. Kirk smoked a pipe on Star Trek. It would have been a Jima. Even the advertisements had a Bohr model-esque image:

(Jima – Pipedia). But like all things mainly fashioned in one’s imagination reality enters the picture. I recently succumbed to the Juima bug. Searching through the eBay auctions I found what looked to be a good example and a reasonable price, $25, and I decided that I had to have it. The wait for it to arrive from Hudson, Florida was tolerable with me imagining shooting space aliens while puffing happily with my restored Jima between my teeth.

When the Jima arrived, I have to say I was impressed with the look of the pipe and the condition which it was in. It looked as though it had only been smoked a few times. The feel of the pipe was much different than I had imagined. It felt like the whole thing was made of plastic. I had a chat with Steve Laug recently about Jima and his quote struck me as very insightful and funny. He said, “I have done a few Jimas and they always feel like kids bubble pipes” (Laug,Steve, personal communication) That is exactly what this Jima felt like, a toy pipe. I tried disassembling it, thinking that the bowl should unscrew. It didn’t. Or maybe the mouthpiece slip off, nope. I finally visited smokingmetal.co.uk and discovered the following:

“A plated metal frame holding the mouthpiece, an internal metal filter and the outer bowl of various colours of plastic. The bowl appears to be a ceramic material, which I have not managed to remove.

To access the filter, the barrel ( various patterns) of the inner stem is unscrewed on some models, or simply slid back on others

Mouthpiece of plastic and stamped JIMA on top and �Brevete France & Etranger� �Modele Depose Made in France�

Also available as GARLAND with the Brevet France etc stampings

Since acquiring the Garland which has all text in English, realise the bowl is not intended to be removed by the users. However it seems politric to leave it here lest other try to remove their ceramic bowl Overall Length: 144 m/m” (http://www.smokingmetal.co.uk/pipe.php?page=159).

Now I know this introduction has bled over into the “Background” portion of this blog but, I am trying to show the sequence of events as they occurred. I’ll get back on track. Here are some photos of the Jima and it’s condition upon arrival.

This is another of those restorations which really isn’t much of a restoration. Sure, the stem needs a bit of chatter removal and the parts need cleaning but, that is really about all there was to it.

Background

The Alexandria Library of pipes, also known as pipedia.org, has the following to say about Jima:

“An innovative system pipe, the “Jima” (for export also known under the name “Garland” and to a lesser extent in the Netherlands) was a pipe with a silver-plated or gold-plated steel metal frame, connecting a plastic mouthpiece to a plastic outer shell that housed the pipe bowl. This plastic pipe came in a few different colors, black and ivory being the most popular and later various mottled pastel shades showing depressing sales. While the housing was made of hard plastic, the bowl proper was made of a pressed white clay which has been mistaken for meerschaum or sepiolite. The bowl was made detachable by using a screw in fitting which could be loosened or tightened using an Allen key. The fittings on both the bowl and evaporator (stinger) used a plastic compression gasket to keep tar and moisture from seeping out and air from leaking in.

The “Jima” was equipped with an innovative filter design previously unemployed which made it an unforgettable part of the system pipe revolution that began in 1880 with the increasing popularity of new, moist aromatic tobaccos. In the “Jima” was found a filter which was made of spiral wound (sometimes double wound) “electrostatic” metal wire dubbed the “filtres serpentins helicoidaux”. It was said that the electrostatic properties of this filter caused the tars and residues to cling more readily to the filter medium. It is more likely that the extreme turbulence produced by this system caused particles of tar to fall and moisture to condensate as the smoke cooled rapidly. In this instance the evaporator worked to great effect relative to the amount of tar and moisture which accumulated in the stem.

To access the filter, the stem (plastic and in other iterations metal) can be unscrewed, by use of a spring system, or simply slid back, tilted downward and finally pulled off. In nearly every instance the words “Breveté France & Etranger” or “Modèle Deposé Made in France” can be found on the underside of the mouthpiece near the stem.

French brand created in the 1960s by Mayeux, which had a very modern look. This modern look was emphasized by the manufacturer in the promotion material. The slogan speaks of “la pipe de l’an 2000” or “The pipe of the year 2000” . The factory was sold to Chapel Frés, which became part of the Berrod-Regad group in 1987. The Jima pipe is no longer made.”(Jima – Pipedia)(I added the italics)

The above entry also contains numerous photos of Jima pipes in various colors. The one photo that makes me sad is the photo of the “filtres serpentins helicoidaux” or metal filter. This pipe did not come with the original filter. The other thing which I wished that this pipe had is the screw allowing for the disassembly of the bowl from the pipe. That too is not something common to this Jima.

The third site that I checked for background on Jima was pipephil.eu. Here there is a single entry with three links. The left top two links are to other pipe makers associated

with Jima. The “More infos here” link takes you to the smokingmetal.co.uk site for Jima. The final link, “The Chapel Freres & Cie factory” delivers you to a page which shows the building housing the factory. This building now is quite literally housing.

This all leads me to say with some certainty that this Jima was made in France in the 1970s.

The Restoration

The Jima started out with a clean denim piece, like usual.

Since most of the required work on this pipe appeared to be on the stem, that is where I began. I used a wood block to raise the stem slightly to allow a more curved action when filing. I lightly filed the tooth chatter with a small flat file.

The filed surface was then sanded with a 320 grit sanding sponge. You can see on the photo below that the stem stamps were covered with painters tape for protection.

The sanding was done to both the top and bottom sides.

The stem was then sanded with a series of sanding sponges from 320-3500 grits.

The stem was polished with micro-mesh pads 4000-12000.

I failed to photograph the buffing of the plastic stummel with the buffer and white diamond compound. You are not really missing much as there wasn’t much to do.

The Jima’s shank, for lack of a better word, was removed by sliding it towards the mouthpiece then tilting it downward and sliding it off. This tube was cleaned with cotton swabs dipped in 95% ethyl alcohol.

The two short airways were cleaned with bristle pipe cleaners again dipped in ethyl alcohol.

The bowl was cleaned out with cotton swabs and, you guessed it – ethyl alcohol.

The pipe was reassembled and taken to the buffer for a couple of coats of carnauba wax then a hand buffing with a microfiber polishing cloth.

The best part about this restoration is that I can mark it off the list of pipes to restore. I can’t say that I was terribly impressed with the Jima. I mean yeah, they look very cool but the plastic-like feel just did not appeal to me. It is also true that I never smoked the pipe. It may completely redeem itself with a bowl of tobacco. The amber plastic is very pretty and the gold accents it remarkably. The amber looking stem brings the whole pipe together in a very attractive way and I still admit that I love the aesthetics of the pipe. The design and engineering also are of great quality, The o-rings seal beautifully even with their age and the finish of the pipe is good. I do not like the slight gap around the gold rim and the amber plastic of the stummel but I am sure that is there to allow expansion and contraction of the two plastics and the ceramic bowl. I just can’t get over how it feels in my hand. Perhaps this makes me tactile-ist. A new word I am claiming in reference to being snobbish and elitist regarding the feeling of things. The dimensions of this Jima are:
- Length: 5.68 in./ 144.27 mm.
- Weight: 1.35 oz./ 38.30 g.
- Bowl Height: 1.61 in./ 40.89 mm.
- Chamber Depth: 1.31 in./ 33.27 mm.
- Chamber Diameter: 0.70 in./ 17.78 mm.
- Outside Diameter: 1.48 in./ 37.59 mm.
I do hope that you have found something here useful to your own pipe care, maintenance or restorations. If you like this sort of thing, please click the like and subscribe buttons. Thank you for reading the ramblings of an old pipe lover.

Loading…

Type your email…

Below are some photos of the finished Jima.
A Yorkshire Natural Apple Restoration

September 10th, 2024
Photographed and written by

John M. Young

Just when I think I have moved on from my fascination with World War Two pipes I get drawn back in. Though this old pipe is more of a reminiscence of my youth and the semi annual visits to Sears for new school clothes. The candy counter was within the first 20 yards of the entrance and I could usually count on a white paper sack with a dollar’s worth of Swedish fish to help tide me through the horrendous task of trying on new clothes. I do not recall seeing pipes under the glass counter. I do recall that this was the only way I had ever seen Swedish fish though. Why the mention of Sears in this introduction? Well, I guess you will just have to read the “Background” for the answer to that question.

This lovely old Yorkshire Natural appears to live up to it’s name – natural. There seems to be little stain and no finish coating. The stamps on the left shank read; Yorkshire (script style lettering) arched (concave up) over NATURAL over ALGERIAN BRIAR arched (concave down).

This was looking like a straightforward restoration. Yes there were a lot of fills that I wanted to redo but other than that the pipe was in great condition. The stem was not badly oxidized and the bowl was not heavily caked.

Background

OK, you have waited long enough. Here is the reason for my back to school clothes /Swedish fish stroll down memory lane. According to pipedia.org, “Yorkshire Pipes was a brand sold exclusively through Sears Roebuck Catalogs, as seen in this 1941-42 catalog page. They were made in France of Algerian Briar, and some of the model names were: Bond Street, Royal, Aristocrat, Natural and Straight Grain. They were not stained nor finished with laquer, and had a natural honey color.”

Quote and photos fromYorkshire – Pipedia.

Also from the pipedia.org entry is an image of a 1941-42 Sears and Roebuck catalog:

Yorkshire – Pipedia

For a second source confirmation of the heritage of the Yorkshire Natural in hand, I turned to pipephil.eu. Here I found the below images. Again it is confirmed that Sears & Roebuck sold the Yorkshire brand of pipes but here they mention that the pipes were made by Gasparini.

This creates a bit of confusion in my old damaged brain. The pipedia.org entry states a French manufacturer and the pipephil.eu entry states Gasparini. Last time I checked, Gasparini was and is an Italian maker. In examining the stamps the Yorkshire Natural that I have has stamps identical to the image from pipedia.org on the far right. So, I’ll say that this old girl is a French made apple from the 1940’s-1950’s. I know, not very specific with either part of the provenance. That might be the reason this blog is free – lazy Gen-X slacker of an author…

This next part is a little thought that I had and found entertaining. The location of the Sears of my youth was Omaha (yeah, that’s where I grew up). Sears was at a mall called Crossroads Mall. It was opened in 1960. The below photo shows the Sears entrance in 1961 with a crowd of people waiting to get in. I actually remember sitting there like that once.

(https://omaha.com/photos-crossroads-mall-through-the-years/collection_086b8140-a744-5e25-a662-8e2aaba4858b.html#40)

The second photo below, is an image of Sears from 2019 taken from the same side of the building.

(https://omaha.com/photos-crossroads-mall-through-the-years/collection_086b8140-a744-5e25-a662-8e2aaba4858b.html#40). The entire mall lasted a mere 59 years, three generations of people. Now I find the fact that the entire mall was built, utilized and destroyed in about ½ the time that this single little pipe from the same company has been around, amazing. Businesses and buildings come and go but the pursuit of a relaxing smoke and the contemplation that it brings is a human pursuit which has survived for centuries. Enough of me blathering on let’s get to the restoration.

The Restoration

Here is our star taking up position on a clean piece of denim on the workbench.

The reaming crew was gathered; PipNet with #2 and #3 blades, Smokingpipes Low Country reaming knife, General triangular scraper (with the tip ground off) and 220 sandpaper wrapped around a wood dowel all atop a plastic coated shipping envelope.

The PipNet with the #2 blades did the lion’s share of the work, again. The #3 blades were too tight of a fit so the Kleen Reem pipe tool was used. It actually was a touch too small when fully extended but I pressed sideways with it around the bowl. The scrapers were used to finish the scraping.

The reamed bowl showed no signs of any damage from excessive heat. The chamber was sanded with 220 sandpaper on the wood dowel and 320 sandpaper with my finger.

The shank was far dirtier than I figured it would be. The initial wetting of the airway with 95% ethyl alcohol on cotton swabs produced a heavily blackened cotton. I then poured 3-4 ml of the alcohol into the bowl and scrubbed with a nylon shank brush. I then poured the alcohol into a medicine cup. This airwar would require a lot of scraping with the dental pick to clear as much of the accumulated tar as possible before further scrubbing.

Several scrapings later, the scrubbing with the nylon shank brush and the cotton swabs started to work their way through the accumulated smoking residue and eventually the airway was cleaned.

The stem proved much easier to clean than the shank. Apparently the previous steward was not averse to using a pipe cleaner on occasion. The airway was cleaned with bristle pipe cleaners dipped in 95% ethyl alcohol.

I then took the stummel to the sink for a scrubbing with undiluted Murphy Oil Soap and a nylon scrub brush. The soap was rinsed with warm water and dried with a cotton hand towel.

Back at the workbench the stummel was wiped with a make-up pad dipped in 95% ethyl alcohol. Very little color came off the briar indicating that surface was bare wood. Most of the color on the pad below was from the rim.

I began picking the old fill from the pits on the surface of the stummel. I counted 14 as I went along. The fills were generally solid and required a bit of force with the fly tying bodkin to get them out. ?Why take them out, then?”, you ask. Because I didn’t like the color.

To refill all 14 of the newly excavated pits, I used brown cyanoacrylate (CA, super glue) and briar dust. I dipped the fly tying bodkin into the CA then applied a small amount to the pit and worked it into the hole. I then used the dental scraper to scoop up a tiny scoop of briar dust and piled that onto the wet CA. The dust was then pressed into the pit with the heel of the scraper. Excess dust was brushed off with a brass brush. I only did about 2-4 holes at a time to avoid the CA curing before I had pressed the briar dust into the pit.

With all 14 pits refilled, I used a small flat file to file the CA/briar dust bump off. Then sanded the area with a 400 grit sanding sponge. After all of the pits had received one application and were sanded, I reapplied CA and additional briar dust. The process was repeated until the pits were smooth and flush with the surrounding briar. The stummel was then sanded with a 600 grit sanding sponge and wiped with a make-up pad dipped in ethyl alcohol.

I lightly topped the rim using 320 and 400 sandpaper laid flat on the countertop.

The stummel was stamped NATURAL. I wanted to keep this color finish true to the stamping. My first reaction to a stummel with this number of pits would normally be to give it a contrast dye of black. That would certainly conceal many of the fills but would also violate my sensibilities of maintaining the natural color of the stummel. To lighten the aged briar I decided to treat the wood with an application of oxalic acid. This “bleaches” the surface of the briar and can significantly lighten stained briar. If you are interested in a more heavily stained project see the W.O. Larsen restoration. The oxalic acid was applied with a cotton swab. I wetted the entire exterior 2-3 times and let it sit for 30 minutes before rinsing with copious amounts of was while scrubbing with a toothbrush.

Once dried the stummel looked a bit lighter and more vibrant than it did prior to the oxalic acid.

The stummel then had painters tape placed over the stamp and was sanded with a series of sanding sponges 1000-3500. Between each sponge I wiped the stummel with an alcohol dampened make-up pad.

The stummel was then micro-meshed with 4000-12000 pads. Between the pads I wiped the stummel with make-up pads wetted with ethyl alcohol.

The stummel was then given a coating of Before and After Restoration Balm and allowed to sit for 30 minutes.

After 30 minutes the Restoration Balm was wiped from the stummel using an inside out cotton athletic sock. The grain looked wonderful.

Unfortunately the stem did not look as wonderful. I used a small flat file to smooth the bite zone of the stem. The tooth dents were too deep to file them away without significantly thinning the stem. Filling the depressions with black CA was the chosen repair. I applied a coating of black CA from the button back 1 cm on the top and bottom of the stem. Both sides were then spritzed with a CA drying accelerator. I then shaped the button and smoothed the stem with the flat file. I then started smoothing and blending the patch with 320-600 grit sanding sponges. Between the sanding I rubbed mineral oil onto the stem with my fingertip and wiped away the excess with a dry paper towel.

The shank was taped with painters tape to protect it from the stem sanding. I needed them together to keep from rounding the joint where the stem meets the shank and to provide a handle for the stem.

The stem was sanded with a series of sanding sponges from 600-3500. Between sponges I rubbed the stem with mineral oil and wiped the excess with a dry paper towel.

I then polished the stem with micro-mesh pads 4000-12000. Between each pad I rubbed the stem with Obsidian Oil and wiped the excess with a paper towel.

At this stage I looked at the stem under the bright lights at the photography station. There was still a faint brown visible. I reapplied the painters tape to the shank and took the stem to the buffer. There I buffed the stem with white diamond buffing compound. After wiping the stem with a make-up pad moistened with ethyl alcohol I returned to the bright lights and the brown was gone. I returned to the bench and used Before and After Fine Polish of a soft cotton cloth.

The Before and After Extra Fine Polished was used after the Fine Polish with the same cotton cloth.

The pipe was returned to the buffer where I applied several coats of carnauba wax to both the stem and stummel. The final step was hand buffing the pipe with a microfiber polishing cloth to raise the shine before the final photography session.

I am very pleased with how this Yorkshire Natural Apple turned out. The grain of the briar is beautiful. Yes all the fill detract from the finish but it was an everyman’s mail order pipe from Sears and Roebuck. The stem polished up well and provides a sharp contrast with the light natural briar. Both stem and stummel sport a high gloss finish that complements the other. The shape of the robust apple bowl feels great which is good because the length and mass of the pipe are a bit much for a comfortable clencher. Perhaps one of those rubber cushions would help.. The dimensions of this Yorkshire Natural Apple are:
- Length: 5.61 in./ 142.94 mm.
- Weight: 1.48 oz./ 42.10 g.
- Bowl Height: 1.78 in./ 45.21 mm.
- Chamber Depth: 1.32 in./ 33.53 mm.
- Chamber Diameter: 0.80 in./ 20.32 mm.
- Outside Diameter: 1.59 in./ 40.39 mm.
I do hope that you have found something here useful to your own pipe care, maintenance or restorations. If you like this sort of thing, please click the like and subscribe buttons. Thank you for reading the ramblings of an old pipe lover.

Loading…

Type your email…

Below are some photos of the finished Yorkshire Natural Apple.
A Peterson 306 Oom Paul Restoration

August 29th, 2024
Photographed and written by

John M. Young

Yep, it’s another Peterson. What do you expect from a guy that is also known as NebraksaPeteGeek? This pipe only had to cross the Missouri River to get here. The seller was from just east of Council Bluffs Iowa. I didn’t notice until the tracking said I could expect the pipe to arrive in two days. That’s when I looked at the seller’s location. I felt kind of dumb. Well maybe, dumber. I could have picked the pipe up on the way to visit my sister, east of Council Bluffs and finagle a free dinner out of the trip. Oh well, postal workers need posts just like dogs need head pats and I need more pipes to restore. Everybody is a winner.

The 306 was actually a shape which I did not own. The final 300 shape of the series void is no longer a void. The best part is that the pipe is a sitter and doesn’t really require a slot in a pipe rack. It can just sit in the cabinet next to the rack and look majestic and self-sufficient. This 306 bore the following stamps all immediately below the nickel collar on the left shank: Peterson (arched in the traditional script) over OF DUBLIN (also arched) over SYSTEM over STANDARD 306. The nickel ferrule dome was stamped with the expected K&P over PETERSON. Since this is a standard there were no hallmarks. Below are some photos of the 306 prior to it being worked on.

The briar was in great shape. A little bit of cake in the bowl and a smidge of lava overflowed onto the rim. The stem had seen some chomping and wore the scars. Looking at the indentations it appeared the chomper clenched on his right. Either way, those would need repairs. The whole restoration looked like it would be a relaxing endeavor.

Background

If you have been following this blog for a length of time you know I have done a few Peterson restorations in the past. If you are new here, welcome and I’ve done a few Peterson restorations in the past. I’m not going to go on and on about the history of the oldest continually operating pipe manufacturer in the world and arguably the best. I will however lead you to The Peterson Pipe book. Mark Irwin and Gary Marlburg’s book is a must read for a Pete Geek.

(Available at https://www.smokingpipes.com/accessories/books/moreinfo.cfm?product_id=471478) I am also including a couple of free sites as the book is a bit pricey,

The first site is pipedia.org’s History of Peterson by Jim Lilley (Peterson – Pipedia)

The second is the pipephil.eu site for all things logo: Peterson: historical pipes — Pipes: Logos & Markings (pipephil.eu) They also have a few other links to things like the Peterson timeline and P-lip information.

As a summary of the 306,, I am quoting the Peterson.ie site below. I figured that since this pipe is currently in production why not let the makers speak for themselves.

“About the Shape

Combining the sturdy stability of a Poker with convenient jaw-hanging balance, our flat-bottomed Oom Paul is a versatile design, able to sit stably on a desk or be easily clenched in the teeth. Its bold, muscular proportions resonate with our iconic House Style.”

“About the Series

Our flagship line, the System Standard stamp first appeared in 1945, but the entry-level design has been a staple in our catalogues since Charles Peterson secured his final patent in 1898. Designed to provide a cooler, drier smoke, each pipe features a deep reservoir within the shank to collect excess moisture; a graduated bore mouthpiece that funnels the smoke and allows moisture to collect within the reservoir; a sturdy nickel military mount, which allows the pipe to be broken down and cleaned without damage or warping; and our patented P-Lip bit, which draws the smoke upward, thus reducing tongue bite. While the P-Lip bit is the traditional choice, we also offer System Standard pipes with fishtail stems. Available here in the traditional walnut stain of the Smooth finish.”

“About the Range

In 1890, after 15 years of handling and repairing pipes while working for the Kapps, Charles Peterson secured a patent in his own name, titled “A certain new and useful improvement in Tobacco-Pipes,” which introduced a unique system comprised of a higher draft hole and a moisture reservoir bored into the shank and transition of a briar pipe. Over the next eight years, Charles continued to refine his System, applying for and securing patents for a graduated bore mouthpiece (1891), and a unique button design known today as the P-Lip (1894-1898). Designed to wick moisture away from the smoke, reduce tongue bite, and increase the longevity of the pipe, Peterson’s complete System patent sparked a tradition of innovation, one we continue to uphold to this day. The System Pipe is the invisible source behind our unique House Style: our pipes’ muscular shanks and transitions, tubular profile, and generous bends. Our overall shaping style has a distinctly antique form because it has remained largely unchanged for over 120 years.

In our System range, you’ll find a variety of shapes in myriad finishes, each featuring Charles Peterson’s groundbreaking improvements in the realm of tobacco pipes. Whether you’re looking for your first pipe or to enhance a robust collection, here you’ll find numerous options to suit any taste, all backed by our legacy of craftsmanship.”

(https://www.peterson.ie/pipes/system//system-standard-smooth//moreinfo.cfm/moreinfo.cfm?pd_product_Id=174)

Now, I would never think to tell Peterson how to do their business nor how to engage in marketing but the above blurb “About The Shape” is lacking a certain bit which I find necessary. According to Irwin and Marlberg, “System shapes 304/20FB De Luxe and 306/11FB created by Paddy Larrigan and introduced in 1992” (Irwin, Mark and Malmberg, Gary (2018). The Peterson Pipe The Story of Kapp & Peterson, First edition, second printing 2021. Briar Books Press, Canada. p215). Paddy Larrigan was a third generation Peterson factory worker who was also responsible for the Dunmore line of pipes. His footprint in the history of Peterson should be glossed over. For more information on the Peterson Dunmore line check out my last Dunmore blog: https://wordpress.com/post/scimansays1787.com/6410. That means that this pipe’s origin story could have begun as early as 1992. The Standard line of pipes are difficult to date as they do not have any defining characteristics like hallmarks of silver mounted pipes. I did check the current stampings to see if they offered any notable changes and they appear the same today as this pipe’s stamps.

(https://www.peterson.ie/pipes/system//system-standard-smooth//moreinfo.cfm/moreinfo.cfm?pd_product_Id=174). The only notable difference is that the current production pipes come with an acrylic stem and this 306 has a vulcanite stem. The acrylic stem is a very recent change which occurred in the past year or two.

The Restoration

In typical “me” fashion I began with a laundered denim piece. I cannot use the term clean as the stains from previous restorations are taking a toll on that term.

The reaming crew was called forth.

The PipNet with the #2 blades did most of the work clearing the cake from the tobacco chamber. Further scraping was done with both the Smokingpipes Low Country reaming knife and the General triangular scraper. The interior of the chamber was then sanded with 220 sandpaper wrapped around a wood dowel.

The interior of the tobacco chamber had some charring and heat damage. This was scraped and sanded as smooth as possible without drastically changing the interior shape. The damage was not severe nor very deep. I thought the best remediation would be a bowl coating and the end of the restoration.

The stem was next on the schedule. I place it into a fresh solution of Oxiclean and water. And allowed it to soak for 2 hours.

I returned attention to the stummel and took it to the sink for a scrubbing with undiluted Murphy Oil Soap and a nylon scrub brush. The soap was rinsed with warm water and the stummel was dried with a cotton hand towel.

Back at the workbench the stummel looked more clean but there remained some areas with more “shine” than others. I wiped the stummel with a make-up pad dipped in 95% ethyl alcohol. This worked at removing the shine and left the stummel looking more like flat unfinished briar.

The stamps were covered with painters tape to protect them from the upcoming sanding.

The shank and reservoir were then cleaned out with many cotton swabs, folded bristle pipe cleaners, a shank british and scrapings with a dental scraper. The Peterson System does work very well but when neglected it is far from an easy thing to clean.

The stummel was then sanded with a series of sanding sponges with grits of 320-3500. Between each sponge the stummel was wiped with a make-up pad wetted with 95% ethyl alcohol.

The stem was removed from the Oxiclean solution and scrubbed with a couple of Soft Scrub cleanser treated make-up pads. A good deal of oxidized material came off but not as much as I was expecting.

The airway was cleaned with cotton swabs and bristle pipe cleaners dipped in ethyl alcohol. I could still see brown oxidized vulcanite on the stem and decided to give it a dip in the Before and After Extra Strength Deoxidizer. I inserted a pipe cleaner into the P-lip to act as a hanger in the Deoxidizer.

Below, the stem entered the Deoxidizer and was left overnight.

The following morning I removed the stem and allowed it to drip excess solution back into the jar.

The stummel had been sanded. Now it was time for the micro-mesh pads. I micro-meshed the stummel with the 4000-12000 pads. Again between each pad I wiped the stummel with a make-up moistened with ethyl alcohol.

The stummel then received a coating of Before and After Restoration Balm and was allowed to sit for as long as it took for the stem repair, sanding and micro-meshing.

Back to the drip dried stem. I used a coarse shop rag to wipe/scrub the remaining Deoxidizer from the stem. The air way had 2 pipe cleaners run through it to remove the solution.

At last the stem was looking brilliantly black. A bit pitted but the pits were black too.

I again used Soft Scrub cleanser on make-up pads on the stem. Much less oxidized rubber came off. The inside of the tenon and airway were again cleaned making sure that any remaining Deoxidizer was removed.

I sanded the Chomped areas with a 600 grit sanding sponge to ensure fresh vulcanite to work with. By “work with”, I mean to fill with black cyanoacrylate (CA, super glue). Below you can see the button top and bottom areas to repair.

The CA I was using has carbon and rubber in the formula making the fills more vulcanite-like. In other words, rubberizing the CA rather than the more hard and brittle black CA I used last winter. Small dabs of CA were placed onto the indentations.

The wet CA was then spritzed with a CA drying accelerator. This cures the CA in seconds as the accelerator evaporates.

The cured CA was then filed level with the surrounding vulcanite. The dark spots in the photo below indicate areas where additional CA needs to accumulate. I use several small applications rather than one large one.

The same for the bottom side of the stem.

Eventually with additional applications and filings the stem was sanded smooth.

With the fills completed the whole stem was sanded with the series of sanding sponges 400-3500. Between each sponge I applied a fingertip of mineral oil to the stem, rubbed it in and wiped the stem with a dry paper towel.

After the sanding the stem was micro-meshed with the 4000-12000 pads. Between each pad I applied a small drop of Obsidian Oil to the stem, rubbed it in and wiped with a paper towel.

The stem was polished using Before and After Fine Polish rubbed with a soft cotton cloth.

The Fine Polish was followed by the Before and After Extra Fine Polish with the same cloth.

The stummel was wiped of the Restoration Balm with an inside out athletic sock.

The pipe was then taken to the buffer for several coats of carnauba wax. This is where my forgetfulness comes to light. I photographed the “finished” pipe at this time. Upon completing the photo shoot, I realized that I still needed to coat the bowl. Darn old people… I was out of pure maple syrup but I did have a jar of German organic honey, a gift from a Europe traveling niece. I lightly coated the inside of the bowl with honey. I then plugged the draft hole with a pipe cleaner. I used half a capsule of carbon powder poured into the bowl, covered the rim with my hand and shook the stummel for several seconds. I ended up with a very nice circle of carbon powder on the thick part of my thumb and a well coated tobacco chamber. That is the last photo in the “finished” section below.

That is it, the relaxing restoration of a Peterson System Standard 306. I am very pleased with how well this Pete looks. At least on the outside. As with any damaged interior I will have to smoke it and monitor it closely. I can say that the inaugural smoke was with a lightly packed Five Brothers shag cut Burley. I didn’t want to scrape any of the coating off so a very soft cut tobacco was used. Everything went as planned, the honey baked in nicely with the carbon powder and it appears to be on its way to a solid carbon coating. Back to the restoration. The vulcanite was rid of the oxidation and it looks great. The briar with its bird’s eyes on the left and flame grain on the right are beautiful. I am sure this pipe will continue to be used many times while contemplating my next restoration. The dimensions of this Peterson System Standard 306 are:
- Length: 6.63 in./ 168.28 mm.
- Weight: 2.08 oz./ 59.20 g.
- Bowl Height: 1.91 in./ 48.51 mm.
- Chamber Depth: 1.61 in./ 40.89 mm.
- Chamber Diameter: 0.77 in./ 19.56 mm.
- Outside Diameter: 1.46 in./ 37.08 mm.
I do hope that you have found something here useful to your own pipe care, maintenance or restorations. If you like this sort of thing, please click the like and subscribe buttons. Thank you for reading the ramblings of an old pipe lover.

Below are some photos of the finished Peterson System Standard 306.
A Peterson Meerschaum 120 Dublin Restoration

August 27th, 2024
Photographed and written by

John M. Young

Back in the 1990s I worked with a fellow teacher and Nebraska Air Guard F4 pilot who often said, “Better lucky than good, any day.” That phrase has stuck with me over the years and applies to so very many daily occurrences. The acquisition of this pipe for instance. It was part of a lot of 12 pipes. The other 12 were nothing to be too excited about; Yello-Boles, Dr Grabows, a split seam leather Longchamp, etc… and what appeared to be a Peterson Meerschaum hiding in the background ashamed at it’s lot in life. The photos of the lot were as usual, less than perfect yet, I knew what I thought I was seeing. I was sure that someone else would see the same thing and the lot would sell quickly. It didn’t. The auction closed with no sale and was relisted. I cannot remember how many times this relisting occurred. I finally couldn’t take the thought of a Peterson meerschaum going unloved and messaged the seller with an offer. The auction was not set as a “Make Best Offer” but I figured it was worth a shot. The seller messaged me back saying that he reduced the price to my offer. Well, that was easy.

Needless to say, after a few days of waiting the package arrived here in the wilds of southeast Nebraska. The anticipation was palpable as I tore through the packaging. I eventually unwrapped a P-lip stem with the unmistakable P stamped clearly. I knew it! Next the stummel emerged from it’s protective tissue paper. The seller knew how to package and ship pipes and not just for dramatic effect. The stem and stummel were reunited and I saw my latest prize. As typical, the only stamp was the Peterson stem logo but the shape was unmistakable a 120 Dublin. Below are some photos of the pipe prior to doing any work on it.

Background

Earlier this year I restored a Peterson meerschaum 406 Prince. I will use a good deal of the “Background” from that blog here again:

I included a few links concerning the history of Peterson pipes. I will include those here also. “For a great history Mark Irwin and Gary Marlburg’s book is a must read for a Pete Geek.

(Available at https://www.smokingpipes.com/accessories/books/moreinfo.cfm?product_id=471478) Given the price is a bit high but worth every penny for a Peterson aficionado.

Irwin, Mark and Malmberg, Gary (2018). The Peterson Pipe The Story of Kapp & Peterson, First edition, second printing 2021. Briar Books Press, Canada.

The next site is pipedia.org’s History of Peterson by Jim Lilley (Peterson – Pipedia)

Lastly the pipephil.eu site for all things logo: Peterson: historical pipes — Pipes: Logos & Markings (pipephil.eu) They also have a few other links to things like the Peterson timeline and P-lip information.”

For the history of Peterson Meerschaums I will mainly be citing Irwin and Marlberg’s The Peterson Pipe book. Peterson has a long history of meerschaum pipe making dating back to the 1870s (Irwin, 2018 p. 15). At the time when Charles Peterson began working for the Kapp brothers in Dublin, meerschaum was the old traditional material while briar was a new innovation destined to become more popular in the next century. It was with briar that Charles Peterson created his original patents for the reservoir in 1890 and for the graduated-bore mouthpiece with what we call the “Patent-Lip” (P-Lip) today, in 1894. 1893 was the year that Charles Peterson and Henry Kapp bought out the shares of Christian Kapp of the Family business, which the brothers had run together. “Christian was evidently not happy with this arrangement and disliked Dublin. He trained to become a doctor, and on 12 June 1893 he sold his share of the business to his brother and Charles Peterson” (Irwin, 2018 p. 48). The Kapp & Peterson company was born and the Peterson System has continued for over 130 years.

Now obviously the lovely Peterson meerschaum pipe in hand is not something made at the turn of the century. According to Irwin and Malmberg, “ In 1968, Peterson returned to making block-meerschaum pipes after forty years. They had made block meerschaums in all Patent Systems and many Classic Range shapes from 1896 until about 1929. The scarcity and rising cost of amber, fragility of meerschaum and popularity of briar all contributed to the end of meerschaum production.” (Irwin, 2018 p. 158). The authors go on to state that, “These Republic-era meerschaums were first made in partnership with Manxman Pipes, Ltd., on the Isle of Man, a company Peterson bought outright in the early 1970’s (Irwin, 2018 p. 158).

I am not quite sure how the purchase of Manxman pipes worked. Manxman was an apparent subsidiary of Laxey Pipes Ltd. According to pipedia.org:

“Laxey Pipes Ltd. resided in a historical 19th century four-storey Man stone building at The Quay, Old Laxey, Isle of Man, which thankfully has been preserved.

The company specialised in the production of meerschaum pipes using the Meerschaum mined by the Tanganyika Meerschaum Corporation in the Amboseli basin in Tanganyika (since 1964 part of the United Republic of Tanzania).

Please note: you may often find names like “Manx Pipes Ltd.”, “Man Pipe Co.” and others more, but there is no indication of another Isle of Man pipe producer other than Laxey Pipe Ltd. at any time!

Laxey Pipes Ltd. marketed own brands like “Manxpipe”, “Manxman”, “Manxland” e.c. Names like “John Bull”, “White Knight” (unwaxed), “Domino” (black, or lined) indicated some shapes / colours of Laxey’s own series. The stems either showed the astronomical sign for “male” or “man” (circle + arrow), or the crest of the Isle of Man, the 3-legged X in a circle. Manxpipes and Laxey’s other brands were available through pipe retailers in general, but also were sold (mainly) to tourists through their own shop in Laxey.

Furthermore Laxey Pipes Ltd. manufactured the meer bowls for Peterson, Barling, Nørding and others from the later 1960’s until 2001. Man Pipe e.g. was a brand distibuted by Comoy’s. The bowls usually showed no nomenclature indicating the orderer. “Genuine Block Meerschaum” was engraved frequently. Often, just the stems were different, while bowls were the same.

Supply of meerschaum from East Africa run out (Kenya / Tanzania exhausted, Somalia inaccessible), and thus the last Laxey meers were supplied to trade in May, 2001. Laxey Pipes Ltd. tried to survive continuing with briar pipes – mainly in the Danish style -, but to no success. It closed down business in July, 2002.”

(Laxey Pipes Ltd. – Pipedia)

As for the age of this 120 Dublin, the first documented 120 shape I found in The Peterson Pipe book was on the 1947 shape chart (Irwin, 2018 pp. 156-157). During the Free State Era ( 1922-1937 the Dublin looking shape had an R413 number. The Patent Pipes from 1890-1921 had a Dublin-esque shape named the “Kaffir” and did not have shape numbers (Irwin, 2018 p. 122, 124).

In the “A New Leaf” meerschaum brochure from 1968 there appear photos of the Peterson meerschaums offered (Irwin, 2018 p. 105). The 120 shape is represented however the stem/shank joint is very flush and smooth with a continuous taper. This 120 has a rounded shank end at the stem shank joint. The 1975 catalog photos show meerschaum pipes with stem/shank joints like this pipe (Irwin, 2018 p. 164, 166). This leads me to believe that this Peterson Meerschaum was made in the mid1970s-early 1980s.

The Restoration

Like I usually do, I began with a clean denim piece to work on.

My old Oxiclean solution was getting discolored and was not smelling very good so a new solution was made. 1 ½ tablespoons of Oxiclean powder in about 500 ml of tap water.

The stem of the Peterson was placed in the solution for a soak in the oxy.

Reaming with a reaming tool like the PipNet is not recommended for meerschaum due to it’s brittle nature and the torque generated with a tool like the PipNet would probably not be a good thing. Instead I used the Smokingpipes Low Country reaming knife and the General triangular scraper. The tip of the General had been ground from the original sharp point to a more rounded tip with a grinding wheel. A wood dowel wrapped in 220 sandpaper joined in.

The scraping did not produce a great deal of removed cake but it did clear the tobacco chamber.

When cleaning the rim I noticed what appeared to be filled cracks. I saw no evidence that these cracks joined together and actually represented a large piece of the pipe that had been broken off and later repaired. Though looking at the outer stummel surface the finish is smoothed (without rustication) between the two cracks. The area between the crack also looked thinner than the rest of the stummel. I think this was evidence of a repair by a previous owner or an attempt by the factory to salvage a flawed stummel. Either way the stummel looked and felt structurally sound.

Scraping the tobacco chamber was difficult as the cake was very hard and held firmly to the walls of the chamber. Sanding was slow and exposed fresh meerschaum at the rim of the chamber.

After the chamber was sanded I scrubbed the stummel with warm water and a medium toothbrush. The traditional Murphy Oil Soap was not used, only warm water. The water and toothbrush did appear to remove some of the accumulated grime making the stummel look a bit more clean than previously.

To unify the staining of the pipe’s rim, I used furniture touch-up stain markers.

I started with black around the rim.

I then used the mahogany immediately below the black. Sorry about the blurriness of the photo.

After the stain had dried a few minutes I used a make-up pad wetted with 95% ethyl alcohol to blend the two lines of stain together. Below you can see the results of my blending.

The stem was removed from the oxi bath after 2 hours and was wiped vigorously with a dry cotton make-up pad. A good deal of oxidized vulcanite was removed.

I cleaned the shank airway with folded over bristle pipe cleaners, a nylon shank brush and cotton swabs dipped in 95% ethyl alcohol.

The stem was then scrubbed with Soft Scrub cleanser applied to make-up pads. After scrubbing I applied a layer of mineral oil to the stem.

The airway of the stem was cleaned with bristle pipe cleaners dipped in 95% ethyl alcohol.

The pipe sat neglected for a whole day due to the incredibly busy schedule of a retired slacker, I mean teacher. When I returned to work on the stem I wiped the excess mineral oil and lightly sanded with the 320 sanding sponge.

There were a few deep dents in the stem that would require filling with black cyanoacrylate (CA, super glue). Small drops of CA were placed onto each of the dents.

The CA was then spritzed with a CA drying accelerator. This allows the CA to cure almost instantly.

The cured CA was then lightly filed with a small flat file. This removes the top of the CA fill, getting it smooth with the surrounding vulcanite.

The new fill was then sanded with 320 and 400 grit sanding sponges. The logo was covered with a piece of painters tape to protect the logo from further sanding. The stem was then sanded with a series of sanding sponges from 600-3500. Between each sponge the stem was rubbed with a dab of mineral oil by fingertip and wiped with a dry paper towel.

The flaws on the surface of the rim were filled with a different black CA. The product I use for the stem is “rubberized”. I wanted a hader CA fill for the rim so I used a non-rubberized black CA. I placed a drop of the black CA on the bottom of an upside down medicine cup. I dabbed a fly tying bodkin into the drop to get some CA onto the bodkin then applied it to the flaws. This allowed me to have precise placement of the CA limiting the sanding of excess CA fill.

I allowed the CA to cure on its own without any accelerator. This was a slow process with a good deal of waiting between applications. Once cured, I very lightly sanded the rim with a 400 and 600 sanding sponge to remove the excess CA.

Several applications and sandings later I was pleased with the result. You can see that the sanding was very light leaving most of the previously dyed rim black or, mostly so.

The rim was then re-dyed with the black stain touch-up marker. And allowed to dry.

The finished rim has imperfections which I purposely left. I thought that a pristine smooth finish would look out of place with the rustication of the stummel.

Next I cleaned the logo of any Obsidian Oil with a cotton swab dipped in 95% ethyl alcohol.

Using white acrylic model paint and a fine detail paint brush I applied white paint to the logo. This acrylic paint is water based and dries quickly.

The 4000 grit micro-mesh dam was used to remove the excess white paint.

I worked the stem with micro-mesh pads 4000-12000. Between each pad I applied a small drop of Obsidian Oil, rubbed it onto the stem and wiped with a dry paper towel.

Before and After Fine Polish was used with a soft cotton cloth on the stem to increase the level of polish.

The Fine Polish was followed with Before and After Extra Fine Polish applied and hand buffed with the same soft cotton cloth.

To finish the stummel I needed to prepare for a beeswax coating. I gathered the heat gun, canning jar with beeswax & brush, a catch tin for wax drips and a shallow pan with water. The pan and water help to heat/melt the wax and keep it melted while I work.

The canning jar with beeswax was placed into the water in the pad and the stove lit. The boiling water will melt the wax.

WHile I was waiting for the wax to liquify, I waxed the Peterson stem at the buffer with carnauba wax.

The hot water bath melted the wax. I heated the stummel with the heat gut. I have to admit I was a bit worried about heating the mortise and tenon too much.

With the stummel hot and the beeswax melted I started painting the liquid wax onto the stummel. I painted the top 1.3 and the entirety of the shank. As I painted the accumulating wax was cooling making a lumpy looking mess.

The heat gun was again turned on and the stummel was rotated in all directions in the flow of hot air. The wax remelted and flowed over the surface of the stummel. I herded the wax around with the paint brush to make sure that everything was getting it’s fair share of melted wax. The excess wax drips were accumulating in the catch tin.

With every part of the stummel well coated with hot liquid wax I used a paper towel to absorb the remaining excess wax from the stummel.

The pipe was hot to the touch so I laced it onto the workbench to cool.

There you have it, the restoration of a Peterson Meerschaum 120 Dublin. This old girl turned out pretty well. I still wonder what happened to the Dublin Darling from the Isle of Man regarding the cracks in the bowl. I believe that the whole rear of the bowl was chipped out at some time and repaired with a pretty darn good glue job. The crack seems can kind of be made out in the photo below of the back/shank side of the pipe. Whatever happened she should continue being a grand little pipe for many years. The fresh beeswax looks good and the stem polished up very well. The dimensions of this 120 Dublin are:
- Length: 6.00 in./ 152.40 mm.
- Weight: 1.28 oz./ 36.50 g.
- Bowl Height: 1.71 in./ 43.43 mm.
- Chamber Depth: 1.47 in./ 37.34 mm.
- Chamber Diameter: 0.74 in./ 18.80 mm.
- Outside Diameter: 1.33 in./ 33.53 mm.
I do hope that you have found something here useful to your own pipe care, maintenance or restorations. If you like this sort of thing, please click the like and subscribe buttons. Thank you for reading the ramblings of an old pipe lover.

Below are some photos of the finished Peterson Meerschaum 120 Dublin.
A Silverking Synchromatic Billiard Restoration

August 15th, 2024

Photographed and written by

John M. Young

SilverKing a name that everyone has heard of and associates with … Umm, what? Haven’t heard of em, eh? Well neither had I but it is still a darn fine looking piece of briar. And it’s made in France, maybe. Okay, I am reaching for some enthusiasm . This lovely old billiard was one of six pipes that I won from ebay back in June of this year from Hollywood, Florida. The target of my desire was the Peterson meerschaum (2nd from the right) which was hiding amongst these pipes as seen in the photo below. I have restored all but one of the lot. As a matter of fact, the Barclay Rex was sold right after the restoration blog was published. I will add links to the restorations of the others for those who might be interested: Canted Dublin, Barclay Rex, Telford’s Canadian, Peterson meerschaum. The finished pipes look far better than their below photo.

Back to the subject at hand, this lovely Silverking billiard. The pipe was stamped with SILVERKING over SYNCHROMATIC on the left shank and ALGERIAN BRIAR over FRANCE on the right shank. The stem has a crown stamped logo and the silver band is stamped EP within a diamond and three Hallmarks (middle and stem-ward worn to illegible). Below are photos of the Silverking billiard prior to working on it.

This looked to be a straightforward restoration with no glaring difficulties. There were a few deep fills to be made to the briar, a slightly overclocked stem and the missing stinger but other than that a nice relaxing afternoon in the basement avoiding the heat of mid-summer.

Background

I would love to be able to tell a good story about the trials and tribulations of the Silverking pipe factory but alas, there is scant information concerning this maker. If you have any additional information, please feel free to leave it or links in the comments. All I could find is the following from pipephil.eu:

(Si-Siq — Pipes: Logos & Markings (pipephil.eu)). Referring to the “?” at the top right of the screenshot below, I am not sure why there is a question about the country of manufacture (COM) of this pipe as it is clearly stamped MADE IN FRANCE or in the case of my Silverking FRANCE. “Made in France” is also stated in the text above.

I looked at the “Otherline from this factory” links and they are included here:

(Big Ben — Pipes : Logos & Markings (pipephil.eu))

(Go-Gq — Pipes: Logos & Markings (pipephil.eu))

Not much to work with. A quick search on pipdedia.org resulted in the following quote,

“This is probably not a brand but rather the name of a line of an unknown french factory.

Other line from this factory: Big Ben Reputation , Gold King”(Silverking – Pipedia).

It looked like pipedia.org got their information from pipephil.eu as well.

Now we can assume a bit of information about the date of production. Algeria had been a source of briar from the mid to late 1800s and into the early 1900s. During the years of World War Two briar production was severely limited. After the war briar production returned. Algeria was a French colony and like many colonies during the mid 20th Century, experienced a wave of anticolonialism. The French attempted to squelt this anticolonialism leading to the Algerian war of independence from 1954-1962. During this time Briar production from Algeria was greatly reduced. According to the Wikipedia.com article fatalities of the conflict were, “between 400,000 and 1,500,000 Algerians,^[40]^[24]^[22] 25,600 French soldiers,^[15]^: 538 and 6,000 Europeans.” (https://en.wikipedia.org/wiki/Algerian_War).

A more complete story of the military operations is available here: https://www.armyupress.army.mil/Portals/7/military-review/Archives/English/MilitaryReview_20081031_art012.pdf

Well that about sums up all I know about this old pipe. It was made in France of Algerian Briar. Most likely between the second world war and 1954.

The Restoration

As typical this restoration began with a relatively clean denim piece as a work surface.

The reaming tools were gathered and included the Scotte Stainless Steel reamer rather than the traditional PiNet reamer due to the narrow tobacco chamber and the fact that my PiNet #1 blade suffered a catastrophic failure. The Scotte did a fine job and only required a small amount of scraping with the Smokingpipes Low Country Reaming knife and the General triangular scraper.

After the reaming the chamber was sanded with 320 sandpaper wrapped around a wood dowel. No heat damage was observed in the chamber.

The shank cleaning was done with 95% ethyl alcohol, a nylon shank brush, bristle pipe cleaners and cotton swabs.

After the shank was cleaned I turned my attention to the stem. Here the ethyl alcohol and bristle pipe cleaners were used to clean the airway of the stem.

The rim of this old French billiard had definite lava accumulations. This was softened with saliva and scraped with a sharp pocket knife.

The scraped rim looked better but would require a good scrubbing.

Seque to the scrubbing. The stummel was taken to the sink for a scrubbing with undiluted Murphy Oil Soap and a medium toothbrush. The soap was rinsed with warm water and the stummel was dried with a cotton dish towel.

Back at the workbench the stummel appeared to have most of the finish removed during the scrubbing. The briar looked dull and flat except in a few areas where some finish remained.

An 95% ethyl alcohol wetted make-up pad was used to scrub the stummel. A good deal of color came off the stummel. This indicated that wax, finish and stain were being removed.

A second alcohol wipe yielded more color.

To make sure no coatings remained a wipe with a make-up pad with acetone was used. This time only a little bit of stain was present on the pad.

All of the scrubbing and wiping allowed me to see the pits and damage to the stummel. These would require a fill of brown cyanoacrylate (CA, super glue) and briar dust.

The gouges received a small drop of CA applied with a fly tying bodkin. While the CA was still wet I scooped a small amount of briar dust with a dental scraper and placed the dust on the wet CA. This was then pressed into the wet CA in the depressions..

The briar dust causes the CA to cure almost instantly so once the dust is placed, pressing had to occur immediately. The excess dust was brushed off with a brass brush.

The new fill was filed with a flat diamond needle file to remove and smooth the fill then was sanded with a 400 grit sanding sponge.

In deeper fills this process was repeated until the fill was complete. The completed fills appear much darker than the surrounding briar. The light spots seen below are slight depressions with dry briar dust from sanding in them. A final coat of clear thin CA was applied to the dry spots and they were sanded with a dusty 400 grit sanding sponge. The dust was incorporated into the slight depression with the clear thin CA to fill the last of the low spots.

The above procedure was used to fill pits of the shank.

And the heel of the stummel.

To conceal the fills and to add contrast to the briar grain, I decided to contrast dye this stummel. Black Fiebing’s Leather Dye was chosen for this. The duct tape wrapped fishing bobber acts as a plug to keep dye out of the tobacco chamber and as a handle. The folded pipe cleaner is the applicator for the dye while the lighter provides a flame when burning off the alcohol solvent of the dye fixing it to the briar. Notice that I used painters tape to cover the stamps. This is done to keep the dye from penetrating the briar on the stamp. Were that area to become darkly dyed, extra sanding/buffing would have reduced the stamps.

Below is the black dyed stummel, still wet with Fiebing’s Leather Dye.

I wiped off the remaining damp dye with a paper towel. This also removed my painters tape stamp protectors. Here you can see that the stamped area received less dye thus reducing the amount of sanding/buffing that the stamp will be exposed to.

The blackened stummel was taken to the buffer where rouge buffing compound was used to buff away the router black dyed briar. The results looked good but I wanted the stummel to be lighter overall in color.

To further lighten the briar I lightly sanded the stummel with 320 and 400 grit sanding sponges. This removed more of the black dyed briar. When I was happy with the shade, I sanded the stummel with a series of sanding sponges 600-3500 grits and wiped the stummel with an alcohol dampened make-up pad between each sponge..

I turned my attention to the stem. The slightly over-clocked stem could have been adjusted a couple of different ways; by heating the aluminum threads until the rubber softened and then turning the aluminum slightly or to add a bead of black cyanoacrylate to the end of the stem. I chose the later as the overclocking was so slight. Here I sanded the stem from about its middle to the button with 320 and 400 grit sanding sponges.

I then used Soft Scrub cleanser on make-up pads to scrub the entire stem. The pads became very dark with oxidized stem material. I was uncertain as to the material used with this stem. Normally oxidized vulcanite yields a brown color on the make-up pad. This was nearly black. I coated the stem with mineral oil and allowed it to sit for 30 minutes. After the sitting, the stem looked black with no signs of a brown oxidized stem.

The stem was then sanded with a sequence of sanding sponges from 600-3500 grit. I did cover the stem logo with a small piece of painters tape to protect it from the sanding. Between each sponge I rubbed mineral oil onto the stem with my fingertip and wiped the stem with a paper towel.

After the sanding sponges the stem was polished with 4000-12000 micro-mesh pads. Between each pad I applied a drop of Obsidian Oil to the stem, rubbed it in with a fingertip and wiped the stem with a paper towel.

After micro-meshing the stem, I cleaned the logo area with a cotton swab dipped in alcohol to remove any oil.

I then used Silver Leaf Rub’nBuff on the logo. The silver was worked into the stamped logo, allowed to dry for a couple minutes and buffed with a paper towel to remove the excess. I know, the pipephil.eu information said that the Silverking used white on the logo but I thought that silver would look a touch more classy.

The stummel was micro-meshed in a similar fashion except without the Obsidian oil. Here I wiped the stummel with an alcohol dampened make-up pad between pads.

The stummel was given a coat of Before and After Restoration Balm and allowed to sit for 20 minutes. I failed to photo this step. After 20 minutes the Restoration Balm was wiped off with an inside out athletic sock. I failed to photo that as well. The final step was to take the pipe to the buffer for several coats of carnauba wax.

This pipe turned out very well. I really like how the contrast staining brought out the differences in the grain. It made the bird’s eyes stand out much better than I hoped it would. The stem polished up well. I still do not know exactly what the stem material is but it looks good and didn’t turn my lips black when I sampled the draw of the pipe. I do wish the stinger was intact though the draw is very nice without it. I am sure this will be a nice smoking pipe for someone who loves a long billiards. With it’s relatively tall and narrow tobacco chamber I expect it would make a fine Virginia or Virginia Perique blend pipe. The dimensions of this French beauty are:

Length: 6.34 in./ 161.04 mm.

Weight: 1.38 oz./ 39.30 g.

Bowl Height: 1.83 in./ 46.48 mm.

Chamber Depth: 1.53 in./ 38.86 mm.

Chamber Diameter: 0.69 in./ 17.53 mm.

Outside Diameter: 1.46 in./ 37.08 mm.

I do hope that you have found something here useful to your own pipe care, maintenance or restorations. If you like this sort of thing, please click the like and subscribe buttons. Thank you for reading the ramblings of an old pipe lover.

Below are some photos of the finished Silverking Synchromatic billiard.