Pipe Tobaccos

7/21/2019 Pipe Tobaccos

1/68

$7.95 US

Fall 2013

COVER STORY Olie SylvestersMonstrosities

Chacom, then

and now

Carving contestresults


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La Rocca Cognac

NEWHARDCASTLES 1908Made in England

Cassano Milano

La Rocca Plum

Cassano Vida

NEW DESIGN BERLINPipe of the Year Midway

Crescent

NEWBARLING 1812Made in England


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California oranges on a sea breeze

MMXIIITobacco of the Year

Bright Virginias, black Cavendish and Burley tobaccos, matured under

warmth and high pressure, provide a unique bouquet reminiscent of thearoma and taste of Californian oranges. This is a smoking experience that

will transport you to fragrant orange groves under the California sun.

Made in Germany by Planta Tabak BerlinImported by:

JAMES NORMAN Ltd.218-A South Van Brunt St. / Englewood, NJ 07631

[email protected]

Available in collector tins or in one-pound bulk

California Dream

N E W


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C O N E N S

O N H E C O V E R

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Olie Sylvesters ertile mind gives birthto Monstrosities. ( photo by Chuck Stanion)

$7.95 US

Fall 2013

COVER STORY Olie SylvestersMonstrosities

Chacom, thenand now

Carving contestresults

R E G U L A R F E A U R E S

12

18

18

34

44

50

60

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Cup O JoesWhat started as a simple co eeshop has evolved over the years intoa remarkable tobacconist with animpressive dedication to pipes (andthey still have great co ees).

KC contesthe Greater Kansas City carving

contest once again attracts a plethorao interesting design concepts.

Preserving traditionChacom holds ast to the traditionsand designs it has ollowed or alm200 years.

MonstrositiesArtist Olie Sylvester has investedhis multiple talents in the pipe

related podcasts but some o the mointeresting pipes ever conceived.

Pipe smokers paradise

Associative tampers has o ten been associated with other

activities.

Horace DeJarnettPipemaker Horace DeJarnett haspassed away.

4 EDI ORS DESK6 PIPE LINES

PIPEFULS16 PIPE S UFF56 RIAL BY FIRE62 EVEN S62 ADVER ISING INDEX63 PRIME RE AILERS64 PAR ING SHO S


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E D I T O R S D E S K

4

HEADQUARTERS:Pipes and tobaccos

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Telephone: 919.872.5040Fax: 919.876.6531

Email: [email protected] email:

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Pipes and tobaccos (USPS 015682) is published quarterly bySpecComm International Inc., 3101 Poplarwood Court, Suite 115,Raleigh, NC 27604. Subscriptions: $28 a year domestic; $48 a yearinternational. Periodicals Class postage paid at Raleigh, N.C., andat additional mailing offices. Copyright 2013 by SpecCommInternational Inc. Pipes and tobaccos magazine is a trademark ofSpecComm International Inc. All rights reserved. Reproduction or usein whole or in part of the contents of this magazine without prior writ-ten permission is prohibited. Pipes and tobaccos makes every effort toensure the accuracy of content published. Neither the publisher nor theadvertisers will be held responsible for any errors found herein, and thepublisher accepts no liability for the accuracy of the statements madeby advertisers in advertising and promotional materials. The opinionsexpressed by contributing editors are not necessarily those of thepublisher. The information included and items promoted in thismagazine are intended for an adult audience. For subscription infor-mation: Write to address below or call 919.872.5040. Postmaster: Send Form 3579 with address changes to Pipes andtobaccos, 3101 Poplarwood Court, Suite 115, Raleigh, NC 27604.

Printed in the USA.

A quarterly magazine celebrating pipes of

all kinds and fine tobaccos

EditorialChuck Stanion E Stephen A. Ross A Amy Bissigner C /D Stephanie Banfield C T.S. Donahue C

AdvertisingRich Perkins S Greg Cole S Marrilyn Jackson S

ProductionAntoine Reid P

Dan Kurtz P

MarketingKathryn Kyle M

CirculationHeather Brittingham C

AdministrationPhil Bowling P /E Dayton Matlick CNoel Morris CEO/S Rhonda Combs C Brandie Green S Beatriz Gutierrez S Irene Joiner HR /O

One all afernoon my brother and I were on the porch at our grand athers arm, play-ing Who Can Slap the Others Face Hardest, when a pickup truck pulled into the longdirt driveway and the 10 obys (all o Grandpas dogs were named oby) went tearingacross the yard, baying and barking with big goo y dog grins on their aces. Teir jobwas to make sure no one exited a vehicle on the arm without Grandpas approval. Wedheard about the disappearances o visitors that Grandpa disapproved o , and my brothersuspected the obys o dragging them off through the hedgerows and then disposing othe vehicles in the swamp in the back acreage. I had doubts. Te obys were certainlycapable o driving automatics, but stick shifs seemed ar- etched, and thats mainly what

olks drove in those parts. Te obys most likely pushed extraneous automobiles into thebottomless ravine behind the potato elds.

Te truck halted amidst the dogs and Grandpa appeared on the porch with a shotgun,his ever-present Falcon pipe and two different pouches o tobacco. He had per ected dogcommunication through smell. Granger tobacco meant heel and Hal and Hal meantkill and devour with prejudice. Occasionally, Grandpa would mix the two just to watchthe dogs run in circles. He claimed that the one time he smoked Prince Albert it actuallymotivated them to paint the barn.

Te man in the truck called out, Hey, you wanna call off your dogs?Im thinkin about it, said Grandpa. Te dogs looked at him expectantly while he

lled his pipe and applied a match. It must have been Granger because seconds later theysauntered away rom the truck and lined up on the porch.

Im the game warden around here, said the stranger, walking up the porch stairs.Im investigating some reports o spotlighting.

Whats spotlighting? asked my brother. I slapped him. He slapped me back. Goodone, I said.

Te stranger seemed perplexed but stayed on topic. Tats when people shine bright

lights at night to attract deer and shoot them, he said.Like the spotlight on Grandpas truck? asked my brother, pointing toward the barn.Grandpa glared at us. Whos winning, he growled. I slapped my brother. He slapped

me back. He is, I said.Te game warden raised an eyebrow. Yes, just like the spotlight on that truck over

there between the barn and that gigantic pile o deer antlers and bones.You a smoking man? asked Grandpa, holding out his two pouches o tobacco.Why, yes. Te stranger pulled a pipe rom his shirt pocket and looked at the tobacco

choices. Grandpa seemed disappointed when he chose Granger. So did the obys.Come inside and well talk, said Grandpa. You boys stay here.A ew minutes later they came back out and the obys moved aside to open a path.

Te game warden was carrying a large paper-covered packet rom Grandpas reezer, atin o Granger tobacco and a jug o Grandpas beloved homemade elderberry wine. Itsamazing that your dogs collect deer bones rom all over the county and dump them thereby the barn. alented dogs.

Yep, said Grandpa. I keep meaning to grind those bones and use them in thegarden.

Well, you should get around to it soon, said the game warden, tossing the package o venison onto the passenger seat as he climbed into his truck. Itll help keep pests away.He drove off.

He seemed nice, said my brother. I slapped him. He slapped me back. I slapped himagain and quickly moved away.

Government men, said Grandpa, relighting his pipe. You just gotta know how tocommunicate with em.

Grandpa and the game warden


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P&T Readers RESPONDBriar trade appreciationMany thanks to Ben Rapaport or thegreat article Te briar trade in theSummer 2013 issue. What a super con-tribution to our knowledge o the ori-gins and early days o the hobby that somany o us love.

Ive written several local histories,so I am reasonably amiliar with thedemands and ofen the drudgery odoing research. Rapaport has done awonder ul job in a eld that is rarelyexplored. I hope there is more to come.

Tom Comstock Sacramento, California

Great issueIve been a subscriber or severalyears now, and I think the Summer2013 issue has been the best one Ihave received so ar. here was a littlebit o everything in it.

here was some humor (you thinkNorth Carolina grizzly bears are bad,you ought to encounter Louisianas version, yikes!). here were someinspiring stories as well. Joe Skodaovercoming injuries rom his caraccident to become a great pipemakeris one. Peter Heding ollowing hisheart and trading a promising medi-cal research career or pipemaking

is yet anotherits never too late tochange your li e or the better.

Nathan Kings story about goingrom the world o racing to pipemak

ing was very interestingtalk aboua change o pace! And Ben Rapaporarticle was as entertaining as everyother story he writes.

I always enjoy readingP& butthe last issue was one o my avoritKeep up the great work!

Nick Spencer Denham Springs, Louisiana

R.D. Field Importer of Fine Briar Pipes

Availa ble at f iner pipe shops

www.rdf ield.com

Distributed by

Created by ather and son in Rome, Italy, each Mastro Beraldi pipe is a unique, handmade creation. Even the adornments and extensions are abricated in their workshop,

allowing them to produce singular compositions that are also modestly priced.

Mastro Beraldi Mastro Beraldi


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Five iconic Lane bulk blends, back by popular demand. Be among the rst tore-experience these exquisite tobaccos. To learn more, visit WWW.STGLANEPIPE.COM.

Visit us at NACS booth #2101

DJ BLEND

Announcin g the returof 5 legendary

WARNING: THIS PRODUCT CONTAINS/PRODUCES CHEMICALS KNOWN TO THE STATE

OF CALIFORNIA TO CAUSE CANCER, AND BIRTH DEFECTS, OR OTHER REPRODUCTIVE HARM

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8

Sorry or having missed the last issueo P& , but I decided to write onthings best not written about, andconsequently, by mutual agreementand in the interests o all, we movedbriskly on to this issue with anothertopic. Our esteemed editor in chierequested or me that you, dear read-ers, make nominations to the Dead

obacco Society, or at least mentionones that are not the same as theyonce were.

I received only a ew responses, soclearly this was not a hot topic in pipetobacco discussions, and one wasanother note o encouragement romDave Chappell, who nominated ablend very much aliveMcClellands

Royal Cajun Black. He wanted tomention it out o the thousandso blends available as his current

avorite, and I would concur as toits excellence. Someone introducedme last year to the Blakeneys Bestseries rom McClelland, and I canalso attest to their excellence. heyhave certain gustatory similarities toCajun. But I digress.An email rom Alberto Cabal-lero o New Jersey nominated BriggsPipe Mixture, hoping that it was stillalive. He irst smoked it in his nativePuerto Rico at age 19, and he is nowpast his 80th birthday. An early intro-duction to Briggs seems to have salu-tary e ects. I regret to in orm you,

Sr. Caballero, that it has passed onwith the House o Windsor. Mr.Caballeros last tin was obtained atthe estate sale o his good rienthe esteemed om Dunn. House oWindsor recipes, I understand, arenow owned by a cigar company, andone can never tell, but they may resur-

ace some day. However, there armany companies making their own versions o these old-time blendsamong them Cornell & Diehl. In theSutli Private Stock series, BRG their version o Briggs. I have to sathat, having tried many copies o thHouse o Windsor blends, the copiebear little resemblance to the origi-nals, some o which migrated rom


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9

their origins over time under Houseo Windsor tutelage themselves. Imust add that a ew are actually bet-ter as blends on their own ratherthan accurate copies.

his brings up a point on departedblends: Can they ever be broughtback the same? Well, i one consid-ers the many actors that go into theblend, then clearly the answer is no.

his is even true o blends currentlyin production but punted around todi erent manu acturers. Please notethat I am going to write quite a ewheretical things, and i you wantto move on through this section tothe next to avoid possible agitationo your liver, please do. I dont geta lot o mail rom this column, butthe point o it was an exchange oideas with the digni ied readershipo P& , and I would rather not haveit turn into a orum proposing tobring back the rack on me. So, buy-ing the same lea , or instance, is di -

icult enough rom season to seasonat the auctions. When one considersthat the relationships with growersdissolve with mergers and acquisi-tions, in many cases, it becomes even

more complicated. As well, back inthe day, Virginias were pretty much

rom Virginia, but now there aresome ine ones rom Brazil and somelike straw rom A rica, though I indthat Samuel Gawith has held up quitewell. Burley rom A rica has been

airly good in my experience, thoughperhaps not like the U.S. Burley belt,and the worst Burley I have had was

rom Mexico. Is there a pattern here?I think just in knowing what to buyand accepting nothing less. he dap-pled red Virginia o old, the avoriteo the British buyers, had a weightand richness to it that was unparal-leled. o make up or that, a smidgeo Burley is now sometimes added toold blends. I have mentioned Bur-ley showing up in some o the cur-rently eutonic Rattrays blends. hismakes them di erent, but not badby a long stretch. wo o my all-time

avorites are Red Rapparee and BlackMallory, constantly in productionover the years, and I still enjoy them very much and always have them onhand. Are they the same as when I

irst picked up a pipe? No. hen thereare the di erences in processing, in

lavoring, in tinning or bulk, and thelist can go on.

I also eel the need to talk a biabout what one might call resur-rected blends. Escudo went away andcame back, and has quite a ollowinIt is a very ine blend, and still comein the unique orm it always did, sothe machinery, i not the same, is

aith ully reproduced. Does it tastthe same to me? Not at all. Is it goodYes. However, I can vividly recall m

irst tin o Escudo. It was a late spriday, and I was out on a walk rom m job in Center City Philadelphia olunch, having stopped by Holts andpicked up a tin o Escudo. I rubbedout a couple o coins, stu ed a bpipe and ired it up. A ter the charring light, the next light brought suchan overwhelming wave o delicatecomplex, rich and unique lavor thaI stopped in my tracks. I just stoodthere immobile or a ew minutethen sat on the nearest brownstonesteps and inished the bowl. I neveeven had lunch that day and didntcare. In act, all I was thinking abouwas how I had managed to missEscudo until that moment, having

Call 1-800-251-3016 to nd a White Spot retailer near you.

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tried tins o just about everything.he current version o Escudo, while

very ine, is not capable o stoppingme in my tracks. It is quite possiblethat I am more jaded, or my tastes areblunted by age, but I still rememberthe irreproducible experience.

Recently, hree Nuns and yellowand blue label Capstan have beenreintroduced. he hree Nuns Iremember had Perique, and that waschanged way back when, so the cur-rent version does not mention anyPerique. My hat is o to Mac Baren,who is manu acturing it today, ormaking it just about exactly as Iremember it. he post-Perique ver-sion was not a avorite then, and it isthe same today, but a very nice blendit is. What was more startling to mewas popping the blue tin o Capstan,which I did rather like, and gettingexactly, and I mean exactly, the sametin aroma rom decades ago iggyand grassy pleasantness. I recalledthat I pre erred one color over theother o Capstan, though not which,and so it is today, blue over yellow.It is a remarkably aith ul, well, Icant say reproduction, because it is

the thing itsel . And coming romMac Baren, it will always be exactlythe same as they excel in idelity,even overcoming crop variations toan outstanding degree. Interestingly,their recent Old Dark Fired surpasses

hree Nuns and the yellow Capstan(to me), so they have made a newlove or an old pu er without delvinginto the blending past.

I received a letter rom MarkStewart, a ellow Philadelphian, andhe nominated Punch Bowl romArnolds on Broadway in New YorkCity (which might be Bowle, but itwas a long time ago or me) and Bur-lington Arcade rom Harry intson South Broad Street. I requented

ints, and am more than amiliarwith Burlington Arcade. Holts obac-conist (now Cigars) bought out int,and the blend was available there,though they no longer have it listedon their website. he last productionwas actually rom House o Windsor(there is a strange theme here), andI understood there was a disagree-ment as to who owned the blend atone point. As it happened, I havetwo ull containers o it behind the

indigo label, a rich Burley base, uLatakia and Virginia lea to sweeten

his is one o my all-time avoriteand Mr. Stewart has prompted meto visit Holts to see i there are an vestigial containers around. herewere also the other int blends, and Ibelieve 105 was the classic, urkishrich, English blend I was so ond oin the mid- to late 1970s. I second hisnominations.

My list is, perhaps, a bit strangerMy tastes over the years have dri te

rom aromatics to English and Balkan blends to lakes, both Burleand Virginia. With the more recentwonder ul Cornell & Diehl Burle

lakes, and the astounding variety oine Virginia lakes rom McClellan

along with the classics rom SamueGawith and Rattray, I do not dressin black and pass my time in smoke-abstemious mourning. I am satis iedBut there were a ew blends whospassing I regret and eel shouldbe remembered, i in name onlyand no longer taste. Do any o youremember these?

My absolute avorite blend is JohCotton Smyrna. It was the most


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magni icent and complex English Ican recall. I still have a small amountthat I am saving or a truly dread ulday when the burdens o li e exceedmy strength and a page is regret-

ully turned to a new chapter. herewas an aromatic (o all things) romAmphora called Cesare Borgia thatcame in a beauti ul tin. It was theusual Amphora description o Burley,Virginia and Orientals (telling onenothing much), and it was lavoredwith vanilla, chocolate and raspber-ries. It actually tasted like tobaccobut had an exceptional room note. Imay be the only person who misses it.

here was the blend Yaka Ova, avail-able in bulk rom the now-de unctPhiladelphia obacco Shop. It wasthe richest, even heaviest blend I haveever trieda true Balkan. I recalllighting up a ter a dinner when onecould smoke in restaurants, and whilewalking out I glanced back to seeglassy-eyed people and a ew keeledover along my way. Sumptuous. AndI smoked Ben Wades back then, too.

hink o the cloud. I would nomi-nate two o my own blends, made byCornell & Diehl no longer because o

the absence o Syrian Latakia: Baalbek(my best shot at the per ect English)and the original Longevity (a dualLatakia Balkan), each o which I have,but I ear are no longer themselvesas Syrian Latakia tends to ade awayover time. hen there is Edgeworth,both the lake and the ready-rubbed.I have a couple o tins o the lake,dense and chocolaty goodness. Andthe kindhearted Joshua Keirn oundan unopened tin o the ready-rubbedas resh as the day it was sealed,which we split. It was quite a ind, sit-ting unappreciated on a tobacconistsshel . Perhaps still available in theEU but no longer here, Orliks DarkStrong Kentucky was another avoriteo mine. It was a lake, but in a prepa-ration I have never seen be ore ora ter. here were strata in the lakes,which were quite short, so that verydark layers sandwiched a pale layerin the middle. It was somewhat sweetin a dark, molasses way, but a deepblend without high notes. De initelya contemplative ormulation, its con-stellation occupied a unique placein my tobacco irmament. And rightup there with John Cotton Smyrna

is Gallahers Rich Dark Honeydewlake. Exceedingly dark, but no

black, this was cool, strong and ananytime smoke. I have no idea whatthe room note was but dont care.

here are other Gallahers, but notlike this. here are other honeydewscertainly unlike this (no consensusexisting on what a honeydew is). Itwas unique.

Well, I could go on with my lostloves. I will again ask you to share

ew with the rest o us. It is cathatic. As well, in considering the topicother streams o thought occurredto me or uture columns. he nexwill be on the perennial topic: Whatdo you smoke when you cant decidewhat to smoke? I know some alwaysmoke the same thing, but I dont,and I am aced with having to makan excellent choice to ill a specimoment when the usuals dont seemright. What do you do? A relatedtopic: What are your regulars andwhy? Please write to the magazine tomy attention or email me atwserad@ pipesandtobaccosmagazine.com. Yourthoughts, eedback and topics or dicussion are always welcomed.P&T

With 20 years o pipe-making

experience, including an

apprenticeship with Tom Eltang,

Kjeld Sorensen integrates his

knowledge o the Japanese aesthetic

with his mastery o the home-grown

Danish style, creating a resh andlively look and eel to his high

quality hand crafed Red Hat briars.

R.D. Field Importer of Fine Briar Pipes

Availa ble at f iner pipe shops

www.rdf ield.com

Distributed by

A NE WG RE AT D A NE K j e l d S o r e n s e n


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Cup O Joes

wenty years ago, Kathleen Kelly was having a tough time ndwork. Shed just moved to Lake George, N.Y. Her love or the areaalmost geneticher parents had honeymooned in Lake George, ait was a avorite destination or amily vacations when she was a Now, Kelly was back and needed a job, but work was scarce.

Since she couldnt nd work, and because shes not the sortperson who is content to let circumstances decide things or her, sdetermined to make a job o her own. I loved coffee, she says, there was no coffee place in Lake George, so I decided to take a chaand open a coffee shop.

She had never run a business be ore and she discovered there wa steep learning curve, but she ound support rom other businesI made riends with a lot o other store owners in Lake George,they were very help ul. Te business evolved pretty quickly, thoughdidnt take long or her to branch out rom coffee and cappuccino to premium tobacco. Tat was during the cigar boom in the early 1990A good riend was a cigar smoker, and he used to visit and try to places to buy cigars. Its a big tourist area, and people would ofen awhere they could nd cigars. So, afer being asked so ofen, we decidto bring cigars in. We had a cabinet humidor. It was amously diffi

or shops to maintain high-demand cigars during that boomdemaar exceeded supply. So around the second year, to provide more choor tobacco enthusiasts, Kelly began stocking pipes. It was just Stanw

at rst, but she soon expanded into other lines, including Dunhill, which the shop would later become amous.

When pipes became part o the business, the workload increasexponentially and staff was added to accommodate online demanEBay was the beginning o the shops online presence, but soodedicated website was built. Cupojoes.com has become a standardthe industry. It branched rom eBay, says Kelly, and our ocusalways been pipes and tobacco accessories. Te site promotes somcigars, but pipes are the highlight o the shops Web presence.

Buying a pipe online ofen presents the buyer with a dilemma: hoto judge a pipe without holding it and seeing it in person. Tat, inturn, generates challenges or the sites owner. Some people wanhold a pipe and even look in a mirror with it to see what it looks liksays Kelly. We encourage people to call us and let us know what pthey may be interested in. What we do is obviously permit returnsanyone is unhappy with a purchase, but we also provide additionphotos rom different angles when theyre requested. We do the pcleaner test over the phone to reassure the client. We get to know ocustomers. We have one customer who is concerned with the weigo a pipe, so we weigh pipes or him. We encourage questions.key is dedicated customer service, which promotes com ort and trand repeat business. A large inventory and ast, same-day or next-shipping also helps keep the website busy.

Spec t ac ular ambianc e is just part of t his shop s succ ess


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14

In the early days we would close midOctober and open again in April, sayKelly. Tats one o the reasons it was greto have the website, to continue to do busi-ness off-season. Ten we opened Queens-bury Cigar and Pipe, which was locateabout 10 minutes rom here. So we haCup O Joes in the summer months, or thtourist trade, and Queensbury year round.About eight years ago they moved Cup OJoes out o Lake George and into a shopping plaza just a minute down the road

rom its current location on State Route 9Now, though, the two are combined in anew location, while the old store will b

transitioned into a hookah lounge.Queensbury Cigar and Pipe, eaturing the Cup O Joes coffee lounge, is in

reestanding building with an Adirondack atmosphere. High ceilings and win-dows on all sides give it an open eelin

ew other shops can boast. Te smok-ing lounge area is 1,100 square eet wia eldstone replace. Across rom th

replace is the coffee bar, eaturing one-piece, 18- oot-long, L-shaped blacconcrete bar top.

Down the center o the store runs asemi-enclosed hallway sided by internally lit pipe displays holding hundreds opipes. On the other side o that is the mai

At top, builder Brian Donovan and own-er Kathleen Kelly discuss the tribulationsof bringing the shops design to real-ity. Top right: The Dunhill Retailer of theYear awards on display. Bottom: Kellyand assistant manager Melissa Roberts.On opposite page: The launch partyattendees pose for a photo opportunity.

(photo by Becki Morrison)


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15

showroom, along with the 400-square-oot walk-in humidor. Wood covers every

wall and giant beams traverse the spacesoverhead. A spacious deck opens the out-side to com ortable use in warm weather.

Te incredibly opulent and com ort-able shop was completed just last springby builder Brian Donovan, who workedclosely with Kelly to remodel the building

into something smokers would hate toleave. It was a collaboration, says Kelly.We kept modi ying the original ideasand problem-solving issues that came up.Te project took six months, includingdemolition and building, and Donovanused no subcontractors, completing theentire project with his own team. Teelectrical and nish work were the tough-est parts, says Donovan, though gettingthat bar in here and properly supportedwas interesting, too.

Te grand opening was last May andwas covered by radio and tourist maga-zines. O course there was ood, music,wine, coffee and ne tobacco in abundance.

Such a large space invites specialevents. Since it is among the ew estab-lishments that can permit smoking, itspopular with anyone who wants a unc-tion where those who enjoy tobacco cando so. Birthday and bachelor parties,wine tastings, Scotch tastings and variousclub meetings have been held there, butmost events are speci c to tobacco. TeAdirondack Pipe Club meets there on the

rst Tursday o every month. Specialevents are also welcome. Luigi Viprati hasbeen there with his pipes; Arron Sissom oMusic City Marketing visited with a largeinventory o Dunhill pipes; Marco Para-scenzo, U.S. distributor or Castello pipes,has presented his wares to the clientele;Peder Jeppesen, maker o Neerup pipes,has visited; and the list continues to grow.

Especially important to the shop areDunhill pipes, which represent a sort ospecialization. wice, in both 2005 and2006, having sold more Dunhill pipes andaccessories than any other U.S. retailer,Cup O Joes was awarded the Dunhill PipeRetailer o the Year award.

Te awards themselves are spectacu-lar presentations: gold-plated Dunhillpipes on briar bases, currently on displayin the showroom.

Cup O Joes/Queensbury Cigar andPipe truly has everything to help any pipsmoker achieve contentment: mascu-line, com ortable surroundings; riendlattentive, knowledgeable staff; comprehensive inventory; rich, resh roastecoffees; and an open invitation to relaxsmoke and enjoy the company o interesting people. Tis new incarnation o along-established, pro essional tobacconiis well worth visiting.P&T

Contact in ormation:Cup O Joes959 State Route 9Queensbury, NY 12804888.689.6876www.cupojoes.com


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P I P E s t u f f

16

Vauen pipesEstablished in 1848, Vauen pipes havebeen known or quality and crafsman-ship or more than 160 years. Each pipemade at Vauens actory in Nuremburg,Germany, is the result o nearly twocenturies o pipemaking excellence andundergoes 60 processes be ore receivingits nal approval.

Vauen pipes are available at ne pipeand tobacco retailers nationwide. olocate your nearest Vauen dealer, con-tact its North American distributor, F&KCigar Co. at 314.423.1968; email: gezvan@ fcigar.com ; website:www.fcigar.com .

Dokha and Medwakh tobaccoDokha is a traditional Arabic tobacco that has been smoked inthe Middle East or more than 500 years. Some Dokha blends,especially those rom urkey and Iran, are mixed with leavesand bark and are available in a variety o strengths and avors.

Unlike hookah tobacco, Dokha is not cured with molasses orhoney, and it contains very high nicotine levels.

Nirvana and the Medwakh.com Premium Dokha kits con-

tain a 15-gram bottle o Dokha tobacco, one premium Medwakhpipe and a pack o pipe lters. Just dip the pipe into the bowl andpack it ull. amp it and light up to enjoy the strength and avoro Dokha tobacco.

o nd the closest Dokha tobacco dealer, contact Gaia radingCo. at 512.443.1270; email:in [email protected].

Lane bulk blends available againFive popular Lane bulk blends are available or the rst time in

ve years: Hazelnut, Black Raspberry, HG-2000, LL7 and HGL.Te blends have been brought back due to repeated requests

rom wholesalers, tobacconists and consumers. All ve blendsare ormer best-sellers and are manu actured at S G Lanes acil-ity in ucker, Ga.

One o the blends, HGL, stands or Herman G. Lane,Lane Ltd.s ounder. According to company lore, Hermanspersonal everyday smoke at the old actory in Manhattan was anextremely strong Latakia blend, the aroma o which would over-power anyone in his offi ce. Herman created HGL so he couldhave the Latakia he desired but still provide a pleasant room note

or those around him.Lanes pipe tobaccos are available nationwide. Find your clos-

est Lane dealer by contacting Scandinavian obacco Group Laneat 800.241.2038; website:www.stglanepipe.com.


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17

Captain Black DarkS G Lane has introduced Captain Black Dark pipe tobacco, the rst new CaptainBlack blend in more than a decade. Te blend is 100 percent pure black Cavendish,created using Lane ounder Herman G. Lanes proprietary steaming process.

Visually, the blend lives up to its namean extremely dark Cavendish in a ribboncut. In used with hints o vanilla, the blend maintains the legacy o Captain Black

amous room note. Captain Black Dark is available in 1.5 oz. pouches and is avail-

able nationwide. o nd your closest Captain Black Dark seller, contact S G Lane at800.241.2038; website:www.stglanepipe.com.

2014 Smokin Girls of BurlesqueCalendar: Pipe EditionA calendar that eatures Minneapolis-based bur-lesque per ormers posing with some wonder ul pipesis now available. Many o the pipes are rom Minne-apolis pipe collectors and have a history and charmall their own. A pipe collector teamed up with a pro-

essional photographer that specializes in pin-up andburlesque models to produce the 12-inch by 12-inch2014 calendar. Each shot tells a story all its own,and the calendar eatures in ormation about eachper ormer, a write-up o each pipe and importantdates in history or both burlesque and pipe history.Te calendars are available or purchase online atwww.smokingirlso urlesque.com. Te price is $24.95,which includes shipping and handling.

Amorelli pipesTe Pen o St. Michael design is based on a Sicilian leg-end in which St. Michael pursues Luci er over heavenand earth until Luci er jumps into Mt. Etna and cre-ates hell. Te carving on the Pen o St. Michael bowlexterior is per ormed by laser. Fertility pipes eaturehand-carved agricultural moti s on the bowl.

Te name or each nish or grade on an Amorellipipe is inspired by something special pertaining toSicily. Every Amorelli pipe is also stamped with a tri-angle, the ancient symbol o Sicily. Te three points onthe triangle represent the islands three capes.

All smooth Amorelli pipes are unstained and donot have an interior bowl coating, and each Amorellipipe is tted with a Delrin tenon, making it impossibleto break the tenon.

o order Amorelli pipes, contact R.D. Field at 4400Organ Mesa Loop, Las Cruces, NM 88011; phone:575.526.6132; website:www.rd eld.com.


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18

KC contestTe annual North American Pipe-carvingContest, held at the Kansas City pipe showeach year, has proven to be popular andgroundbreaking. Dozens o carvers enterevery year and seven pipes are chosen

or the nal winning set, which is alwaysbeauti ully presented in its own specialdisplay case designed by Anthony Harris.Te set is raffled and the proceeds go tothe carvers.

What everyone looks orward to is the variety o design. A basic shape is choseneach year, and pipemakers showcase theirinterpretive and technical creativity to pro-duce stunning pipes within the basic shaperequirements. As you can see rom thephotos o all the entries, North Americanpipemakers are pushing the boundaries ocreative interpretation to produce some othe most beauti ul pipes anywhere.

Tis years winning carvers were MattBrannon, Premal Chheda, Jerry Craw ord,Micah Cryder, Adam Davidson, DavidHuber and Maigurs Knets, with honor-able mentions going to Wayne eipen andTomas Richards.

Te judges were again this year Gregory

Pease, a collector o pipes or many yearsand the man behind the amously popu-lar G.L. Pease Ltd. pipe tobacco blends;

ad Gage, known toP& readers as aninsight ul reviewer o tobaccos but alsowell-known or decades in the hobby as apremier collector o Barling pipes, amongothers; and George Dibos, legendary inhis knowledge o pipes and a pipe repairero extraordinary skill, seeing what goeswrong with thousands o pipes through hisbusiness, Precision Smoking Pipe Rejuve-nation & Repair in Kansas City.

As always, the judges spent hours dis-cussing the pipes, examining the nuanceso design and the technical acumen withwhich they were constructed. Its a pains-taking and detail-oriented process. Te judges have kindly submitted their owncomments regarding this years pipes:

Gregory Pease: Once again, it was anhonor and a privilege to join with Georgeand ad in judging the ourth-annualcontest. Te theme, the Dublin amily,opened the door or creative interpretationand improvisation on a traditional shape

class, and there were certainly some very

creative variants presented. Overall, thquality o the pipes was quite high, and the most part, they exhibited adherence tothe theme, which provided a big sandbox

or play ul exploration.I was a bit surprised by how ew

expressed the de nitive catalog Dublin, one o the oldest shapes in the historo the briar, but equally delighted by thcreativity brought to bear in riffing on thbasic orm, the variations ofen being mor

ascinating than the theme itsel . Some the makers showed great uidity in theithinking about the abstraction o Dublinas a shape concept, rather than as a concrete, ormal de nition, and, especially the winners, I say, Well done!

Had there been more classic examplesthe judging would have been a much di

erent and probably more difficult tasPresented with a dozen excellent exampleo a traditional shape, how do you judge thbest ones, other than by evaluating the carand creativity exhibited in their executionOne thing these contests have exhibited i just how much skill and creativity there i

amongst the new generation o pipemaker

he Greater Kansas C ity car v ing contest onc e aga in a ttr ac ts phenomenal desi gns

George Dibos Gregory Pease Tad Gage


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19

Te open orum o the Internet has provided a convenient channel or discussiono tools and techniques, o aesthetics andmechanics, o what makes a superior pipe,and a lot o new makers are clearly pay-ing attention, ast-tracking a journey that,without this medium o wide-reachingand instant visual and verbal exchange,once took many more years. Some o thesenew makers are challenging the veteranshead-on, raising the standards by whichquality is judged. Tat, ultimately, is good

or the entire hobby.Pipemaking is something o a cottage

industry, and the doors are still wide openor those with the passion, artistry and drive

to develop the skills necessary to expresstheir vision. Its an exciting time to be a pipesmoker. Ive been invited back to participatein next years judging as well, and Im verymuch looking orward to it. Id love to seemore o the more established makers riseto the challenge, doing their best to showthe upstarts what theyve got and helpingto make uture contests even more exciting.

ad Gage: It was once again a privilege,and a challenge, to judge the Americanpipemakers contest. It was exciting tosee many rst-time entrants, with manystrong submissions. As judges, we worked very hard to avoid any effort to identi y themaker, ocusing on the entries designs,appearance and quality o construction.

Tere were some extraordinary inter-

pretations o the Dublin shape this year,and we identi ed a ew orms we elt weretruly unique in our experience. Its the kindo outside the box thinking that has ledto new standards such as the ballerina,elephants oot, blow sh and volcanoshapes commonly recognized today but virtually unknown a couple o decades ago.We also saw some classic Dublin shapes,

and all interpretations received equal

consideration and appreciation. Whilewe agreed all pipes entered quali ed aDublins, in many examples our decisionpivoted on aesthetics. Tat is, we couldsee the direction a pipemaker was taking concept, and we needed to determine howsuccess ully the proportions or balance oother actors achieved that purpose.

For many pipes that made the grade

aesthetically, the ultimate criteria, as in pas

The seven winning pipes


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Jerry Crawford Crawford Pipeswww.crawfordpipes.com

David Huber DSH Pipeswww.dshpipes.com

Premal ChhedaSmokers Havenwww.smokershaven.com


23/68

Maigurs KnetsMaigurs Knets Pipeswww.maigursknetspipes.com

Matt BrannonMcGimpsey Pipes

www.mcgimpseypipes.com

Mic ah Cryder Yeti Pipe yetipipe.tumblr.com

Adam Davidson Adam Davidson-Designadamdavidson-design.com


24/68

contests, hinged on execution. o chooseonly seven rom so many pipes, we werechallenged to be minutely discriminatingabout construction. In several instances,we shared our disappointment that a well-conceived and beauti ully designed pipeun ortunately demonstrated execution

aws. Generally, the engineering o draf

holes (perpendicular to the bowl, drilledclose to the bottom o the tobacco chamberand allowing easy pass-through o a pipecleaner) and overall bowl drilling werespot on. Some o the contestants may havebeen amateurs or part-timers, but thesepipes were no hobbyists dabblingtheywere enormously impressive. Some veryattractive pipes, however, had aws likeoff-center or angled shanks. Other aws,such as an unevenly turned bit or a less-than-seamless bit-shank t, could havebeen xed had the pipemaker investedmore time. Its a reminder that although anaesthetically pleasing pipe is critical, execu-tion and engineering are equally impor-tant. Te act that the aws we ound wererelatively minor and required determinedinvestigation to identi y highlights oneo the downsides o buying pipes basedon photos only. Te scrutiny given pipesat this level o competition is intense. We

ound it extremely important that pipe-makers ensure their creations engineeringreceives the same attention as the designand nishing. So, as you peruse the contest

submissions and wonder why a particularly pleasing design didnt make the seven-day set or win an honorable mention, itspossibly due to an engineering issue visibleonly through care ul personal inspection othe pipe.

George Dibos: With the completion othe ourth-annual GKCPC carving contest,

trends are starting to emerge.What is becoming most apparent is thata contest situation brings out a personsdesire to push both personal and industryboundaries in a go big or go home sort oway. Tis isnt a problem with regard to thequality o the winners, but does result inthe shape (or shape group) concept beingsomewhat less o an apples to applescontest than originally intended. Futurecontests will probably see themes that aremore design-related as a result. Cavaliers,

or example. Or sitters. Another possibil-ity could be the required incorporation oa particular material such as bamboo orprecious metal.

In a per ect world, I would love to seea specialty contest or a speci c, well-known, classic shape such as a billiard orprince. Administering such a contest wouldbe diffi cult, though, because it is possible to

nd con icting de nitions or such shapes,and challenges to a winning pipes correct-ness afer the act would send events in anundesired direction.

Another trend is that the contest is start-

ing to be seen by some o North Americabest-known carvers primarily as a provingground or new talent. In general, this is good thing, as winning is de nitely a atrack to recognition or newcomers anless well-known namesand raising thpro le o North American pipemakers the undamental purpose o the contest

but there is an inherent danger to themcompletely surrendering the battle eld. Ahigh standard to measure the newcomersagainst will always be necessary.

As or the 2013 contest itsel , there w44 entries, and the overall quality was highI expected to see more subtle variations othe Dublin theme than was the rule, and aleast a ew master ully executed dead-classics, but thats probably more a combination o me projecting my own pre erencand the generation (or two!) gap betweenme and many o the carvers than anythinelse. (I dont know the average entrants agbut many o them are still in their 20s.) Tatsaid, it is also true that making a contestcompetitive shape chart pipe is technicallun orgiving in the extreme, and is probablavoided by some carvers or that reason.

Te most exciting thing I took awayrom the contest this year was plottin

points on an imaginary graph to see howgood many o these North Americancarvers could someday become, and thupward slope was steep indeed. Next yeashould be amazing.P&T

Wayne TeipenTeipen Handmade Briar Pipeswww.teipenpipes.comHonorable mention


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Ryan Alden Alden Pipeswww.aldenpipes.coms

Nicholas BurnsworthBoulder & Briar www.facebook.com/boulderbriar

Kris Edwin Barber Edwin Pipesedwinpipes.com

Daniel ChleboveGabrieli Pipeswww.gabrielipipes.com

Grant BatsonG. Batson Pipeswww.gbatsonpipes.com

Jared Coles J&J [email protected]

Thomas RichardsThomas James Pipeswww.thomasjamespipes.comHonorable mention


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Russ CookRuss Cook Pipeswww.pipesbyrusscook.com

Bob GilbertBob Gilbert [email protected]

Jesse Jones Jesse Jones Pipes jonespipes.com

Don MarshallD. Marshall Handcrafted Smoking Pipeswww.dmarshallpipes.com

Rad DavisRad Davis Handmade Pipeswww.raddavispipes.com

Eli [email protected]

Nathan KingNate King Pipeswww.natekingpipes.com

Dru MelpolderDead Guy Pipeswww.deadguypipes.com

Tony FillenwarthFillenwarth Pipeswww. llenwarthpipes.com

Anthony Harris Acme Pipeswww.acmepipes.com

Eric [email protected]

Chris MorganMorgan Pipes Inc.www.morganpipes.com


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Dave NeebMkelaw Pipes Pipes by Dave Neebwww.mkelaw-pipes.com

Scottie PierselPiersel Pipesladybriar.com

Victor RimkusRimkus Pipeswww.rimkuspipes.com

Tonni Nielsen

Gunnar Weber PradaTotem Starwww.facebook.com/totemstarpipes

Colin RigsbyColin Rigsby, Shurewood Briar [email protected]

Matt RoussellRoussell [email protected]

Steve NorseVermont [email protected]

Will PurdyWill Purdy Pipeswww.willpurdy.com

Nathan RimkusNWR Pipeswww.nwrpipes.com

Brian RowleyGrowley Pipeswww.growleypipes.com

Dave [email protected]


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Olie SylvesterOomPaul.com

Tim WestTim West Briar Pipe Workshopwww.jhlowe.com

Bill ShaloskySmokers Havenwww.billshalosky.com

Scott ThileS.E. Thile Pipeswww.sethilepipes.com

Joseph SkodaSkoda Pipesskodapipes.com


29/68

PREMIUM TOBACCOS AND PIPESImported and Distributed By Arango Cigar Co. Northbrook, IL 60062


30/68

28

Preserving traditionChacom p reser v es near l y 200 years of hist ory

In 1825, the Comoy amily beganmaking mouthpieces out o mostlyboxwood in Avignon, a small villagelocated in the hills surrounding Saint-Claude, France. It was merely 10 yearsa ter Napoleon Bonapartes crushing

inal de eat at Waterloo and only ouryears a ter the exiled emperors deathon the South Atlantic Ocean island oSt. Helena.

A ter years o war are waged across

Europe during the French Revolutionand Napoleonic wars, a sizeable per-centage o the French male popula-tion were the Grumblers, hardened veterans o the French army who hadsurvived years o turmoil. Many o

them sought to live out their remain-ing years peace ullyo ten smokingpipes and telling tales o their expe-riences. A majority o the customerswho bought pipes with the Comoy

amily mouthpieces were theseormer soldiers.Henri Comoy was born in 1850, just

six years be ore Saint-Claudes pipe-makers started using briar or theirpipe bowls. Henri became a prisoner

o war during the Franco-Prussianwar. Held in captivity in Switzerland,Henri met cousins rom the Chapuis

amily who were also involved in thepipe trade. hey discussed mergingtheir amily companies to better posi-

tion themselves in the burgeoningbriar pipe industry a ter the war.

Nine years later, Henri and sev-eral employees moved to London andestablished H. Comoy & Co. Ltd., th

irst briar pipe actory in Englanhe actory in Saint-Claude provide

the London actory with materialsincluding turned briar bowls.

World War I erupted in 1914 andthe close association between Comoy

and Chapuis was interrupted. Factoryworkers in England and France wentto war, and many actories shi tetheir production capabilities to sup-porting the war e ort.

Once the war ended in 1918, busi-ness resumed and the associationbetween the amilies strengthened. I1922, the actory in Saint-Claude warenamed Chapuis Comoy & Cie. woyears later, Henri died and his sonsPaul and Adrien, assumed manage-ment o the actories, aided by thecousins, Emile and Louis Chapuis.

By 1928, the London actory waable to produce enough o its ownpipes that it no longer needed sup-plies rom the Saint-Claude actorespecially considering the two actories were producing the same shapes

o keep the Saint-Claude actory running, the Comoy and Chapuis amilies established the brand Chacom joining the irst three letters romeach amily name. he Chacombrand would be sold exclusively in


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France, Switzerland and Belgium.During the Great Depression,

Chapuis Comoy & Cie. mergedwith La Bruyere, another large pipe-making company in Saint-Claude.

he Chapuis Comoy & Cie. actoryexpanded to employ more than 450people, making it one o the biggestpipemaking companies in the world.

A ter World War II, ChapuisComoy & Cie. and La Bruyere endedtheir association and the Chacombrand quickly expanded, establishingitsel as the best-selling pipe in Franceand Belgium by 1946. wo years later,it had established prominence in theScandinavian countries and Germanyand established distribution in theUnited States. Chacom was so suc-cess ul that the company purchasedLa Bruyere in 1957.

Chapuis Comoy & Cie. wouldremain linked to Comoys o Lon-don until 1970, when Yves Grenard,an employee at Comoys o London,bought the actory in Saint-Claudeand established its independence.

Yves oversaw the companys growthas the overall pipe industry beganto wane. Under Yves management,Chapuis Comoy & Cie. establishedthe Chacom brand in more countries,including Japan, the ormer East-

ern Bloc and China. Yves saw moreopportunities or growth as otheractories closed down and sold their

stocks o briar and their trademarks.hrough the 1990s, Yves purchased

Saint-Claude brands such as Vuil-lard, Jeantet, Ropp and Jean Lac-roix and brought their productionto Chapuis Comoy & Cie., ormingan umbrella group named S.A. Cuty-Fort. hroughout the 1990s, ChapuisComoy & Cie. employed more than120 people and distribution grew tomore than 50 countries.

Yvess son Antoine assumed man-agement o the company in 2007.Yves enjoyed watching his son guidethe company or ive years be ore hisdeath in 2012.

Growing up, Antoine treated theactory more as a playground than a

production acility. here was all theold machinery to marvel at. here werecountless dusty racks to climb thatcontained an almost endless supplyo briar bowls waiting to be inished

in storerooms scattered throughoutthe actory. And there were the briarsheds on a hill behind the actory thatcould inspire adventures or a curiousyoung mind. Antoine likes to joke thateven be ore he started working at the

actory he made his athers secretarynervous with his boyhood exploits.

As Antoine became a teenager, hebegan to work at the actory, spendingall o his holidays rom school learn-ing pipemaking and getting lessons onhow to run the company rom Yves. Hetraveled with his ather to Germanyand even attended the R DA showin Chicago when he was 14. Antoinerecalls being shocked at attendingthose shows and seeing so many pipe-makers because he had thought that

the only pipemakers in the world wererom Saint-Claude.He le t Saint-Claude in the late

1990s to study mechanical engineer-ing and obtained a degree rom adesign school be ore moving to Paris

Coming rom a small town oapproximately 12,000 people in aremote part o the Jura MountainsAntoine had di iculty adjusting tParis. It was just too big and li e watoo ast-paced. he cost o living walso exorbitant, especially or a younman just out o school.

Leaving Paris, Antoine looked odesign work in Saint-Claude, Lyonand Geneva, about a 90-minute drive

rom his home, but ound nothingbut graphic design opportunities,

Antoine Grenard


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which he didnt want. He moved toDublin and lived there or 18 monthand learned English be ore his atheasked him to return to ChapuisComoy & Cie. hinking it would be achallenge and, ready to return home,Antoine accepted.

Upon his return to the amilycompany, Antoine didnt expect spe-cial treatmentthere was simply toomuch work that needed to be done.He set out to design a website othe company, and a new sales catalogneeded to be created as well. herewere stacks o papers and old photographs to sort through and cobbletogether into a rough outline o thecompanys history. hen there was thetask o re- amiliarizing himsel wthe pipemaking process.

When I came to the actory I wa28 years old, and nearly everyone wa30 years older, he jokes. I they tome something, I did it.

Always accompanied by his dogBaya, Antoine manages a companythat employs 25 people who cranearly 60,000 pipes a year. Its a ar c

rom Chapuis Comoy & Cie.s peaproduction years o the 1930s, but itindicative o trends in the global pipmarket that the company remains oneo the largest pipe actories by volum

It also symbolizes how Saint-Claudewhere the briar pipe was bornhaslargely lost ground to other countries.

Saint-Claude has a big de icit nowAntoine explains. he pipemakershere thought they were the best in theworld, and maybe they were right. Wehave Italy, who is in good competitionwith us. here are the Danes, and theydeveloped the reehand pipes thabecame amous in the 1970s. hewere all working together on the sametarget. he French didnt think theyhad big opposition in the pipes, andthey ignored it.

he problem wasnt that theFrench didnt make good pipes.Instead, it was that so many o thdozens o pipe companies that madeSaint-Claude their home made pipes

or other companies, too.Maybe 50 percent o those ol

pipe companies were working on Eng-lish brands purchased only by Englishpeople, Antoine says. Saint-Claudepipemakers were more suppliers than

Grenard estimates that the historic photos were taken around 1930.

Tom Eltang designed Chacoms Oscar pipe.


33/68

sellers o our own brands. hat wasenough work or them that they didntdevelop their own brands becausethey were supplying too many pipes

or other brands. When it became tooexpensive to buy pipes rom Saint-Claude manu acturers, the customerswent somewhere else and most o thepipe actories closed. Even now, wehave to watch that because, still today,we supply a lot o brands.

Without revealing the names othe companies that have pipes madeat the Chapuis Comoy & Cie. actory,Antoine says that they make pipes or12 brands. rying to avoid the ate oso many Saint-Claude pipemakers,hed rather ocus on Chacom.

When I came back to the companyin 2005, our image was not that good,Antoine comments. We used to make very ancy pipes, but they were toocheap. We had to change some lines.I made some very special pipes just toshow what we can do with briar; theywere things that were very unusualand they werent or sale. We experi-mented with translucent mouth-pieces and di erent lacquer inishes.We made a di erent shape each year

rom 2005 to 2009 our shapesbutthey were good or our marketing.Some people were very interested and

asked us to create a pipe line based onthose models. It was very special andit helped us speak about Chacom, andthey made it easier to sell our classicpipes. hose special pipes broughtChacom back into the conversation.

he Chapuis Comoy & Cie. actoryis housed in a very large our-storybuilding that Antoine guesses wasbuilt in 1904. Constructed nearly 110years ago, the building has a aade omainly large-pane glass windows to letin ample natural light. Between two othe stories on the ront o the build-ing, part o the stucco wall is paintedwith a white background, on which, in very aded black lettering, is paintedthe name o the company. Behindthe actory and up a steep slope, anopen-air shed contains thousands obriar blocks drying out in the Frenchmountain air.

Inside, the actory is part manu ac-turing acility, part o ice complex andpart history museum. he o ices andwarehouse occupy the irst loor, with

most o the production taking placeon the second loor. he top loors areused to store old equipment and bowlsthat had been turned years ago but,

or whatever reason, have never beenmade into pipes. Antoine grabs a boxo bowls and looks at a slip o paperthat contains in ormation regardingwhen the bowls were made1954,Antoine reveals. And there are count-less boxes o those old pipe bowls,turned in the 1950s, 1960s, 1970s and1980s, arranged on shelves through-out the actory. Antoine estimatesthere are nearly 10,000 o them on just two shelves alone. And there are

a lot o shelves in the Chapuis Como& Cie. actory. Factor in bowls storeaway in old actories that the companbought in the 1990s, and the iguresoars. here are thousands o un in-ished bowls, many o them turned

rom the prized Algerian briar somany old-time pipe smokers pine or

Antoine says most o them are stocmade by companies that ChapuisComoy & Cie. purchased. Others havbeen uncovered in private residenceswhere amily members discover horde o pipe bowls while cleaning out a deceased relatives home

or example.


34/68

he rule Ive ollowed since started running the company is isome quantity o turned bowls orcompleted pipes [is] uncovered, I wiltry to buy it, Antoine explains. Oldpipes are nice, and I am planning oncleaning them up and putting them onthe market.

With so many old turned bowlslying around, Chapuis Comoy & Ciecould inish them and maintain itscurrent production number o 60,000

or at least a decade, but thats not inhis plans. Chapuis Comoy & Cie. wilcontinue to produce modern pipes ina classic style.

When you buy a Chacom pipe,you get a deep and special knowledgo pipes, Antoine argues. We mainlproduce pipes in the English stylebut we also have unique and speciashapesthey are very classic but alsdi erent. For a long time, Chacom htaken care o the shapes details. hecan be extremely special or instancwith a straight billiard, Chacom alwaytilts the bowl orward a little bit morthan the usual orward cant in a classic billiard. here are small detailsthat have developed throughout theyears that we keep. We have shapecharts rom many years ago, and walways turn the bowls the same. We

havent changed the pipemaking pro-cess or more than 70 yearswev just changed some materials. hat isa regular characteristic or ChacomWe are known or very traditionastyle. We are traditional because weknow how to make classic shapes per

ectly, and then we are doing moremodern stu using di erent coloand designs. he pipe market willalways be traditional, and we wilthere ore ocus on the basicsclassshapes, classic inishes. I want tbring back the real value that Chacomshould be. raditional. Our slogan is raditionally modern.

Antoine estimates that there are300 di erent variations o Chacoshapes available in more than 50 lines

here are the special pipes, such as thePipe o the Year, or the Oscar, whichwas designed by Danish pipemakinglegend om Eltang. here are 9 mmpipes, such as Maya and Wedze, othe German market. hen there arethe Exquise, Champs-lyses, Saint

Monza is a line that Antoine Grenard designed himself.

A Chacom Pipe of the Year


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Claude, Bercy and Galile lines thatrepresent more standard shapes and

inishes. Carbone, Opera, Punch,Baya, Atlas and Monza are the linesthat eature traditional shapes butwith nontraditional inishes.

I dont design too many pipes,but the Monza line is one I created,Antoine says. When you t a pipe witha mouthpiece, sometimes the tting istoo tight and you break the shank. Wehad so many pipes with broken shanks,we threw them away. Te bowls were very good, with nice ame grains, so Ithought about how to save them. Whynot make a nice-looking extensionto replace the shank? At the begin-ning, it was just to use the broken pipes,but when you have a series, you musthave a standard number o shapes avail-able, so it changed to a regular series.Tey are very classic pipes with a nicemetal extension.

Retail prices or the smaller pipesstart at a little more than $65 and rangeto nearly $700 or the specialty pipes.

he briar is secured rom two sup-pliers in Italy and one Greek briar cut-ter. he ebauchon and plateaux blocksare dried or at least one year in theshed behind the actory. When theycome inside the actory, the blocksare sorted by quality and size. A ter

the bowls are turned, they are sentto a woman in a neighboring villagewho per orms the irst polishing. hebowls are then returned to the actorywhere they are examined. Bowls thathave too many laws or are damagedin some other way are thrown out; therest are sorted into eight grades.

Looking at a batch o 833 bowls,Antoine sees that 50 o them willbe destroyed.

We throw away too much woodwhen looking at the bowls or mis-takes, he comments. But that is howwe protect Chacoms image or beinga company that makes quality pipes.

Chapuis Comoy & Cie. makes vul-canite mouthpieces molded in Italy,which are used on approximately40 percent o its production. For itsbest pipes, such as the Pipe o theYear, Grand Cru and Straight-Grainlines, the company buys vulcanite andCumberland rod stock rom Germanyand hand cuts mouthpieces.

I think it is better or the expert

pipe smokers to have vulcanite orCumberland mouthpieces, Antoineexplains. We de initely use more vul-canite mouthpieces, and 70 percento those are Italian hand-cut mouth-pieces that we buy.

With so many different brands madeat the actory, Antoine says its difficultto say exactly how many Chacom pipesare made in a year without poring overproduction ledgers. Chacom pipes canbe easily identi ed by the traditionalrounded lips on their mouthpieces.Tey also have a silver CC badge ontheir mouthpieces. Te shanks havestamps that include the shape number,Chacom and the series name, such asGrand Cru or Baya.

While the company is once againproducing pipes that are worthy o

carrying the Chacom name, Antoinerecognizes that there is plenty oroom or improvementnot only atChapuis Comoy & Cie., but or threputation o Saint-Claude pipemaking in general.

I want to work on improvingpipemakings image, he explainsSaint-Claude is very important inthe history o pipemaking, and thetown should be recognized more othat. hen I want to show peoplehow pipes are made. People come inthe summertime to buy pipes romthe shops. I would love to organizetours o the actory so people can sehow pipes are made and perhaps puta small shop inside to sell pipes. Iwould be nice to bring something toSaint-Claude.P&T

Carbone (top) and Volute (bottom)


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34

When a classically trained artist pos-sesses an innate love or pipes, itsinevitable that the two interests willcollide in interesting ways. However,not even Nostrodamus could havepredicted Olie Sylvesters Monstros-ity pipes. Only Edgar Allen Poe orH.P. Lovecra t in their most everednight terrors could have glimpsedpipes like these.

Sylvester is a so t-spoken and cap-

tivating gentleman with a melodi-ous, hypnotizing voice that doesnt

entirely camou lage the consistentsparkle o mirth in its undertones. Hemoves with the con idence o a mansupremely com ortable in his ownskin and keenly observes the worldaround him rom a slight distance,as i imperceptibly out o phase withthis dimension o existence. At pipeshows, he watches people pass, atten-tively gauging their responses to theMonstrosities on his table. He will-

ingly engages anyone with the curios-ity to inquire and becomes animated

when talking about the concept. Somepeople dont understand them anddont care to, walking past with nomore than a raised eyebrow. Othersshrug and move on. But, occasionallysomeone will see these pipes rom moderate distance and become curi-ous, then enthusiastic. You can seethe process re lected in their expressions as they approach the pipes andbecome more excited. Oh, my God!

they say. hese are amazing! hatwhat Sylvester waits or.When people see my pipes o

the irst time at a pipe show, he saythey either get really excited or theyshake their head and keep walk-ing. Its the two basic dichotomiesWhen you look at something thatson the ringe and youve never seeit be ore, sometimes its really hard taccept it. I understand that and thatstotally ine and I get it. It is really di

icult to enjoy abstract art sometimesdepending on who you are and whatyour background is.

Personally I think whatever it isI do, whether its painting or pipes, Iwould like or everyone to be able tcome to the table and enjoy that easwithout having to know anythingelse. You just look at it, enjoy it, hav

un with it; its a pleasurable experence. And there are a lot o olks wh just cant do that, and thats OK itheyre not interested. Whats impor-tant is that they do ind what they lik

T ese are not y our g r and fat her s pi pes

Monstrosities


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and what theyre interested in. Whatsimpressive to me, though, is that thepipe community has graciously ounda spot or me and allowed me to havea cozy little corner. I somebodycracks a smile, my work is done. Itsnot a problem that my strange guysdont it into an easy category. Whatsreally awesome is that theyre allowedin the door. My ugly dudes, they hangout and have un, theyre just happyto exist and to exude the humanitythat they are.

Sylvesters wi e, Venessa, was theprime mover behind these pipes.She saw her husbands interest andsuggested he start doing podcasts,interviewing people in the pipe worldand making those interviews avail-able online. She just didnt know atthe time that it would lead to such anunusual genre o pipemaking.I had never listened to podcastsand didnt know what they were,says Sylvester, but she kept bringingit up. So I thought about an upcom-ing Atlanta pipe club meeting thatBjarne Nielsen was attending. Hebrought some beauti ul pipes withhim. I asked i I could record himtalking about whatever he wantedto talk about. So at that meeting,in early 2008, I recorded him, and

its ull o really interesting history.I told my wi e it was a good idea;theres no way I would have gottenthat kind o in ormation just chat-ting one-on-one with him. But iyou tell someone, hey, this is goingout to the world, its di erentandyoure allowed to ask a lot more ques-tions. Its been great or me; Ive metso many people and Ive been ableto record some wonder ul chunks opipe history that would never havebeen recorded otherwise. Un ortu-nately, Bjarne Nielsen died just a ewweeks a ter that interview went live,and that urther emphasized that Ineeded to keep doing this.

Currently, 49 podcasts reside onOomPaul.com. hey provide unique,detailed insights into the backgroundsand philosophies o many o the mostinteresting people in the pipe world.When the podcasts irst started, Ididnt expect a big ollowing. I justcouldnt imagine people all over theworld being that interested. But its


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grown to be pretty huge. Every timea new podcast comes out, new lis-teners tune in. he new listeners arestepping into a library and will goback and listen to previous podcasts.Its very popular. housands o lis-teners visit every time a new podcastgoes out. Still, Sylvester considers it aservice to the hobby and doesnt tryto make the site pay. Its not a mon-etized site. I have a couple o sponsors,but it doesnt make money. Its reallythere just to be a library that peoplecan access and enjoy.

Sylvester started producing pipesin 2008 as companions to the pod-casts. hose who supported the pod-casts with a $100 donation wouldreceive a Monstrosity pipe. hey

were basically butchered kit pipes,says Sylvester. I didnt know howto make pipes at that point, but Iwanted something to give people, soI thought, what would I want? Well,I would want a pipe, but I cant makepipes, so how do I bridge that gapand still put something interestingand creative (because Im an artist)into peoples hands? I thought aboutwhat kind o pipe I would want, andId want something artistic but some-thing masculine, something that goesbeyond masculine and into someother realm. So that was the begin-ning o the Monstrositiespipesthat were something I wanted to seein the world and didnt, and at thesame time something I could o er to

contributors even though I wasnt apipemaker. I wanted something toughand rugged and crazy, something thatlooked like it had been to hell andback and was there to take you withit, kicking and screaming.

Monstrosity pipes have two cate-gories, or streams, as Sylvester calthem. One is the Zombie stream,which is sort o creature- rom-theblack-lagoon mixed with something very tough and rugged. And then Ihave the other stream, which is moreartistic, with hand-cut stems, a littlemore expensive. his second streamis simply re erred to as part o thMonstrosity line, and the pipes areundi erentiated rom the Zombies

ar as nomenclature goes, unless theare part o a unique, limited serieswhich occurs requently. Fundamentally, you know them when you seethem. he Zombie line is basicallyme taking pipes that were at one pointsupposed to get into the market anddidnt make it. So these poor soulshad languished somewhere in someimporters remainders box or whoknows how long because o a pit or broken tenon or a cracked shank, andthey couldnt be sold, so I adoptedthe poor, sorry souls and gave themli e, hence the name Zombie. I ixe

whatever was wrong but at the sametime I accentuated the pits or scars orcracksI dont hide them, Im allowing them to come back to li e as weas show o their badges o honotheir rough ride back rom wherethey were. I take the nomenclature obecause once theyre reborn theyrein no way any part o their ormebrand; theyre their own beast now.

Modi ying lawed or broken pipeor kits was ine at irst, but Sylvestknew that the inevitable was comingHe needed to learn how to make pipes

rom scratch. In 2008, he attended thpipemakers seminar at the Chicagoshow and made a medium-sized pot.It had a horrible little pit in it, hesays. I got some advice rom AnnJulie and a couple o other great pipemakers. Shes a huge in luence me; she and Luigi Radice are amazing artists. What they do with pipesis just stunning. Bruce Weaver hasbeen a great help to me over the yearsas well, and Jon Rinaldi took care o

Olie Sylvesters rst pipe features two very different sides and foreshadows thecarvers affection for accepting and accentuating natural aws.


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the bowl coatings and stamping earlyon. Anyway, I dug at this pit and itmade a horrible gash on one side andwe decided to carry that gash up theside o the bowl. Its a Jekyll and Hydekind o thing, because on one side its very nice, then you turn it over andoh, my God, what happened there.

hat was very appealing to me. It wasmy irst pipe and even then it was abit o a monstrosity.

Next, he contacted pipemakerodd Johnson and asked about some

sort o apprenticeship. In 2010, andagain in 2011, he visited Johnsonsworkshop and learned more o theintricacies o true pipemaking. Solidengineering is where you have tostart, says Sylvester, because i youdont understand why engineering isimportant, youll never end up with agood pipe, youll never end up witha good smoker, youll be completelylost. So even though Im coming atthis rom a di erent angle, it wasincredibly important to me to igureout and learn rom somebody whoknew very, very well what they weretalking about. It was important orme to get that hands-on experience

rom someone like odd so that Iwould have those undamentals andunderstand why you do this and not

this; how come traditional pipemak-ing is done this way and not that; whyI need to be concerned with how bigthis is and how small that is and whatwould happen i those dimensionswere changed. It was a antastic pro-cess and Im still learning stu everyday. Ill orever be a student. But the

undamentals are absolutely essential.When I began with the Mon-

strosities, I knew I couldnt makea pipeI knew that was ar beyondmy abilities. heres engineeringyou absolutely have to take care o iyou want to have a good, solid pipe,so I let the guys who knew how todo that take care o it or me until Iwas ready to take care o it mysel .Many o the pipes came rom Mark

insky, who would drill the blockscorrectly, it the stems and then shipthem o to Sylvester. And I wouldbutcher them.

Some may be ooled into looking atthe photos on these pages and think-ing they arent real pipes, but they are

solidly designed, highly unctionalsmoking instruments. he di er-ence is all style. When you examineone o these pipes, its immediatelyrecognizable that human hands havehewn it into its current shape. heyare rough and tough. I you drop a$1,000 artisan pipe and put a dent inthe wood, youve drastically reduced,in most assessments, the value othat pipe, both aesthetically and interms o dollar value. But i you dropa Monstrosity, youve only added tothe artistic process. hey alreadyhave scars and nicks and dings andscratches. Sometimes Ill sand parto them down smooth with some highgrit, says Sylvester, and sometimesI wont, but no matter what, theressome sort o humanity there thatreminds you that some guy decidedto create this thing.

he details o a Monstrosity pipare more deliberate than one might at

irst think. Personally, says Sylveter, Im a clencher, and pipes slip ouo my teeth. So I use this maimed stemtechnique where on a lot o the Zombie stems there are these multi acetebuttons; theyre scraped and chiseledin such a way that they have all theslittle acets on them. I did that to helpclenchers like me. Its a system wherI add these acets and scrapings in speci ic way, so that your teeth actually have an area that holds on reallywell and the pipe doesnt slide aroundIt looks burly and its actually very

unctional. hats how the maimedstem came about; it was actually orm

ollowing unction.Sylvesters artistic vision may b

very di erent rom most pipemakerbut he knows how to make a pipe, he


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knows how to make art, and he knowshow he wants to combine the two.Hes per ectly capable o making tra-ditional pipes, but he chooses to makeMonstrosities.

I love traditional pipes, he says.Im all about traditional shapes. Ilove billiards and want to make bil-liards a lot. But other stu grabs myattention: heres a boars tusk sittinghere that absolutely has to be utilized,or theres a piece o animal ur overhere that absolutely needs to be usedtoday. Or theres a ossilized pieceo dinosaur dung over here that youreally need to work with today. hingslike that grab my attention, and howcouldnt they? But I dont think Imthe guy you want to come to or a

traditional shape. I may be able tomake them, but Ive got a whole buncho other stu going on in my headthat you should take advantage o ; mystrengths lie elsewhere. I wouldnt saythat traditional shapes are a weaknesso mine, just that my strengths aremore solidly rooted in the art that Ivebeen creating my whole li e.

Art is Sylvesters primary interest,though that has luctuated at times.He studied painting and graphicdesign at the Savannah College oArt and Design (SCAD), but he tooka break to study biology at StetsonUniversity or a couple o years be oregoing back. I sort o have this brainthat works a little bit on science anda little bit on art. hose two areas

constantly battle. When I was a paint-ing major at SCAD, I was ortunate tdo lots o things with that. I had gallery shows and group shows and soloshows and juried exhibitionsI waseven paid to lecture about my workand exhibitions. hat all went verywell, but or some reason my braisaid, Yknow what, you really needto study biology or a while, so I hadthis real need to get into scienceprobably much to the chagrin o myparents, who elt I needed to just stasomewhere and do something. Sotwo years into my painting degree, Imoved to go study biology or a whiland then two years into that degree Isat my parents down again and said,You know what, I really need to geback into art. Its a struggle. hererso many wonder ul things in theworld to study that its di icult or mto choose.

I love painting and science, and alo that really comes into play with mpipes because o the type o art thI do, which is called automatismitsomething the early surrealists didback in the 20s and 30s; its a type oart where basically something comesinto your mind and you act upon it.So, the way I work with that in mypainting is to allow things to happen

on that picture plane where Im work-ing on paper or canvas or whatever.With my pipes its very similar; I kindo allow things to happen. heres smuch beauti ul stu that we can pu

rom that just happens out there inour environment. Its my job to kindo leave it alone and allow it to bwhatever it needs to be rather thandictating what I think it needs to beahead o time. When I start dictatingwhat things need to happen and whatthings need to be, its just not nearlyas interesting as what can just hap-pen. As an artist its my duty to allowstu to happen.

hats not as easy as it may soundhis kind o art requires a care u

process o gathering the right materials, inding objects that have thepotential to be use ul later and recognizing their characteristics as artisticelements. I search constantly, andI stumble upon the materials out inthe world, not unlike the artist KurtSchwitters, who used to do amazing


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ound-object art with trash that hedind on the side o the road. It might

be in one o my avorite antiquestores, where I ind weird stu thatspeaks to me. heres a lot o stuthat is out there in the world, whetherits in a gutter or in a shop, it doesntmatter, but every so o ten somethingshines and I know when I see it that Ialready own it. So I bring it home andit ends up out in the lab and eventu-ally it cycles through until one day, itsthe day to use it. Rather than makinga pipe and looking around and say-ing, what can I put on this to makeit interesting, instead I go out to thelab and stu is already out there, andit starts happeningit all starts work-ing together. So it may start with theobject rather than with the pipe itsel .

Sylvester has been an artist sincehe was a kid, and strangely, hes beena pipe collector since he was a kid aswell. I was 11 or 12 and there was anold guy down the street, Mr. Follis; heused to sell stuff at the local ea mar-ket and he would let us neighborhoodkids go through it and buy stuff romhim. We were always over at Mr. Fol-lis house looking through his shed ullo all the crazy stuff hed be taking tothe ea market. One day, he had someused pipes in horrible condition and I

thought they were cool. I had knownabout pipes but no one in my am-ily smoked a pipe. I was immediatelydrawn to these pipes and I started buy-ing pipes rom Mr. Follis and startedmy pipe collection. My parents werepatient about it. Tey allowed me tokeep my pipes under the condition thatI wouldnt try to smoke them.

It wasnt until a ter college thathe started actually smoking pipes.Sylvester and his wi e were walk-ing through the mall and happenedupon a inder Box. hat was all ittookone visit to a tobacconist. So,in 1999, he started collecting pipesagain. But its been a love a air sinceI was a kid, he says. hose pipes tome were very much little works o art.And I knew they were unctional andeven though at a young age I couldntappreciate the unctionality visually,I just loved having them around. Ithink thats what art does: We hang iton a wall or we display the sculptureand its or some weird reason; we get

something out o that. As an artist itsincredibly pleasing when people say,Yknow, I love your work, I have tohave it, I want to own it and look at it.I dont know what that isI love artand I love collecting art and having itin my house. Its like having little bat-tery chargers that are on your walls,constantly recharging whatever it isthat keeps us interested and makes ushuman. For me, it might even be anamazing crystal that my son ound,and thats natural art, or it might be apiece o abstract work or igural workthat my wi e didshes an amazingpainterthat recharges my batteries.When I see art, its upli ting. hatsthe amazing thing about art in gen-eral, and pipes as sculptures certainlydo that. But the thing about pipes

is they not only energize us just assculpture, but they can also help usin a very real way by having us slowdown and relax and enjoy tobacco. Ithink theyre great.P&T

o listen to Sylvesters podcasts,enjoy some o his entertaining writ-ings and peruse available Mon-strosity pipes, visit OomPaul.com.View work in progressInstagram:olieps3; witter: BaronOlie

Monstrosities may be purchased atthe ollowing:www.cupojoes.comwww.pipesandcigars.comrokstarpipes.com


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A g reat s pot t o g r ab a si x-pack, a bott l e of w ine and a f ew tins of t obacco

BY T.S. DONAHUE

A pipe shop should smell a certainway. Its the blending together o allthose di erent sweet tobaccos, creat-ing that tantalizing ol actory expe-rience that can only be ound insidea good tobacconist. For a lot o pipesmokers, its the scent o excitement.Its the irst thing you notice when youstep through the glass ront door o

he Pipe & Pint in Greensboro, N.C.he Pipe & Pint is more a gather-

ing place or its numerous customersthan simply somewhere to purchasetop-notch tobacco products, boutiquecigars and a plethora o quality beer andwine. he Pipe & Pint is a remodeled1925 armhouse with a vast selection

o pipes and tobaccos, 450 brands obeer and wine, more than 1,000 cigar

acings in a nearly 150-square- oothumidor and the arheel States onlyMy Father Cigars (MFC) Lounge.With only one allowed per state, theMFC lounges o er special perks tocustomers such as visits rom the Gar-cia amily and an exclusive cigar.

he Pipe & Pint owner LarryChristopher opened his original shop

in February 1998, just down the roadrom his current location. He says theold store was per orming wonder ully,but a ter nearly 13 years, it was timeto upgrade. hat spot was good tome, says Christopher in his humble,

so t-spoken tone that makes customers eel at home. I always dreamed owning my own building; Im not surewhat held me back so longjust eaI suppose.

Another motivation or the movewas the smoking ban in North Caro-li

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