General Cue Description-

At the time of Art Cantando’s recent death, there were five unfinished cues. These two cues were two of those last five unfinished cues. Long time friend and colleague Barry Szamboti stepped in and offered to complete the cues, which needed shafts, wraps, and finishes. The rosewood-on-rosewood cue features eight points. The low points are ivory and the high points are rosewood with ivory veneers. There are also eight points below the wrap in the same configuration. 96 inlays of gold, silver, and ivory adorn the cue, along with a brown lizard wrap. The ebony-on-ebony cue also features eight points in both directions, with inlay detail at the tips of each points, which are referenced with similar reversed shapes at the bottom of the points. The cues are in The Robert Feldman Collection.

Here’s what the experts think- they are limited to 500 characters!

	Dick Abbott A pair of very nice cues that complement each other with similar inlay designs but different woods. There are quite a few inlays in each cue but not so many as to go over the top. The decorative rings are tasteful and I like that their motif is used in the other inlays. If I were to choose, the rosewood cue appeals to me more so than the ebony cue. Elegant pair of cues but not monsters.
	Fred Agnir These are fine examples of the excellence from Barry’s late Protégé, Art Cantando. Although these constitute a set, the cues differ enough to make each stand on its own. The cues are balanced with plenty of fine inlay work. The reverse spear points on the Ebony cue are visually superb. For the Rosewood Cue, I would have like to see less ivory to really make a contrasting look compared to its set mate. History will determine whether these cues from his last batch and finished by his mentor will result in monster status. Today, they are beautiful cues with great lineage, but short of monster status for me.
	Deno Andrews These two cues are masterfully designed and created. Elegant inlay work in the right scale, using fine materials and a nice palette, makes for two of the prettier cues I have ever seen. The pair, however, does not work for me. They are too much the same and too different at the same time to match. Finally, my appreciation goes out to Mr. Szamboti for what he did. As a collector, in this instance, I would have preferred them unfinished, like Beethoven’s 10th. Beautiful cues, just not Monsters.
	JimBo These two cues have two of the things I never like in cues, ebony and ivory, up and down points, and if you were to grade them based solely on design they are NOT monsters. But when you grade the cues based on the criteria I do, They are huge Monsters. 2 of the fanciest cues made by a guy who probably hasn’t made 125 cues total, a true artist who passed away while working on them. The value and historic significance makes these cues Monsters. I considered Art a friend and I’ll miss him RIP buddy.
	Jim Stadum Here we go again. This is a gorgeous set of matching cues. The execution appears to be top shelf. The choice of materials is very good and everything matches nicely. The overall cues have a very nice flow. I consider these cues to be very fancy traditional designs and I would love to own them. All of the appropriate documents, and the fact that these were among the last cues that Art made add to the value. The gold inlays are a nice touch and also add to the value. Once again, highly collectible, sought after, and valuable, but no Monster.

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PLEASE NOTE- that the space below in the comment section is reserved for proper critiques of this cue. Any further discussion about anything relating to the cue, the cuemaker, or anything else, should go in the Forum.

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General Cue Description-

Master cue maker Tim Scruggs designed and built this cue in 2008. Faced with the task of creating a cue with classic styling, but with a modern touch, Scruggs used ebony and ivory make up the majority of the palette. Inlaid into ebony are classic shapes and a configuration that reminds the viewer of cue design history. To modernize the design, Scruggs built an eight-point veneered forearm with natural, blue, and natural veneer colors. Classic shapes are also inlaid in both the high and the low points. Other modern touches include ivory bow-tie inlaid ring work, a radial pin joint screw, and joint protectors. An ivory joint, and butt cap frame a textured leather wrap.

Here’s what the experts think- they are limited to 500 characters!

	Dick Abbott Tim Scruggs and Mike Cochran, rest his soul, have created many fine examples of traditional billiard instruments. This eye -catching eight prong ebony on ebony cue certainly fills the bill and then some. Classic ivory inlay designs executed to perfection and color combinations of ebony with the blue and natural veneers make for a very appealing cue. The bowtie ring decorative rings are a nice elegant touch. Extremely nice cue but not a monster.
	Fred Agnir Simple and sleek, this cue showcases Tim Scruggs’ cue elegance. I like that he has successfully mixed traditional inlay patterns into a more modern looking cue. The bow-ties look especially challenging for such tiny inlays. The bright blue veneers on the eight points sets this cue apart such that what would be yet another ebony and ivory cue is transformed into a truly unique and gorgeous look. The cue falls well short of monster status for me, but I can’t stress enough how elegant this cue is.
	Deno Andrews Traditional cues typically bore me, but this cue certainly makes it interesting. The veneered points, and the choice of color to split the black-on-black palette was perfect. Precision inlay work elevates a cue’s status in my book. Finishing high-end touches like ivory everywhere, and a nice leather wrap put this cue in the upper categories of style and distinction. Everything is the right size and scale and the cue is just aboslutely beautiful in every way. I believe Scruggs nailed the design perfectly as planned, but that the design itself isn’t quite Monster-sized.
	JimBo This is a classic cue made by a cuemaking legend and class act. Sharp points and sharp inlay work the way it’s supposed to be done. The blue veneers really make the cue pop. The design is simple and elegant and despite the fact that it’s no Monster it’s a cue anyone would be proud to play pool with. This is what a *CUE* should look like.
	Jim Stadum Tim Scruggs cues are known for their traditional designs, excellent playability and perfect execution. This cue appears to be no exception. I really like the choice of veneers, they are very clean looking and not too busy. The rings and Ivory inlays fit the traditional design perfectly. A very nice example of a Tim Scruggs cue that most everyone would be proud to own, however not a Monster IMO. I would also like to add that not only was Mike Cochran one of the nicest people I have ever met but he was a major part of Tim’s cues and he will be missed by everyone.

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PLEASE NOTE- that the space below in the comment section is reserved for proper critiques of this cue. Any further discussion about anything relating to the cue, the cuemaker, or anything else, should go in the Forum.

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General Cue Description-

This cue was created as the first cue in a series of seven – THE PLEIADES SERIES – based on the cluster of stars by the same name – commonly referred to in Greek mythology as the “Seven Sisters.” The name Morning Glory was a loose reference to “Morning becomes Electra” a play written by Eugene O’Neill – Electra being one of the seven sisters but more directly to the “Morning Glory Flowers” that surround the image of Electra on the cue. The design and layout of this cue embraces elements of vintage-era cues . The double spliced forearm features 6 veneered points going up and down with 12 matched solid Opals, set in silver bezels at the midpoint, with classic butterfly elements of Ivory, solid Malachite, and Ebony, in between each of the six points. Typically spliced cues with veneers have four points. The math and execution to build up-and-down-spliced points is impressive. The “inlaid marquetry” image of Electra was executed using a multitude of natural wood veneers (to create her flowing image), ivory, silver, and semi-precious minerals. 16 full-cut precious gem stones (ruby, emerald, sapphire, white, yellow and champagne diamonds) are used to accent the center of each of the Morning Glory flowers. The facial features were hand painted on Ivory by the cue’s maker Paul Drexler. The bottom of the cue pays homage to the classical veneered wedge of mother of pearl cut into a solid Ivory butt cap. This unique one-of-a-kind modern era cue combines the best of the classics while developing a new approach to functional art.

Here’s what the experts think- they are limited to 500 characters!

	Dick Abbott 19th century cue design using 21st century technology combined with Paul Drexler’s artistic ability makes for an exciting cue. A six point splice in lieu of four points is a nice touch and testament to Paul’s thinking outside of the box. The use of fourth axis technology allows the marquetry work to wrap 360° unlike marquetry of old encompassing less than half of the circumference. The inlaid gemstones are a nice touch but the opals are a bit much. I deem it a monster.
	Fred Agnir The image of Electra carries the old-school feeling, yet clearly is light years ahead of its marquetry roots. The 6-point veneered splice with butterflies is magnificent and would carry any cue on its own. The MoP wedge beautifully finishes the “old meets new” premise. I would have liked to have no bumper, but it doesn’t detract from this piece. Finally, that Drexler draws inspiration from other forms of art (e.g. classics, theater, and music) will always be a major plus for me. Monster.
	Deno Andrews Mixing classic and modern styles can be very risky. Morninglory blends the styles perfectly on this cue. Electra is an amazing design in the round and she is adorned with high-end woods, semi-precious and precious gem stones, but in a refined and elegant manner. The spliced points in the forearm are refreshingly different than where they would normally go, and are expertly executed. There is a difference between putting art in or on a cue, and building a singular artistic expression. Morninglory is the latter. It’s one of the nicest cues I have ever seen in person, and an absolute Monster in every sense of the designation.
	JimBo I have very few rules, I thought one was a Monster cue shouldn’t have Malachite in it, this cue makes me rethink the rule. Although I am still not a fan of it’s use I am a huge fan of the way Paul used 4th axis technology to create Electra. It is fantastic to see old school ideas reworked using the modern technology. I love the use of the different gems, this cue is a colorful work of art. I wish I could see her face a little better but I’m sure that is more of a video issue. Monster for sure.
	Jim Stadum Whew…..I am sure glad that week is over!! This is a great example of combining traditional cue making design elements with today’s technology to create a piece of art. I particularly like the double spliced 6 point forearm. The veneered MOP wedge is a nice touch and the use of the many different materials in the marquetry portion of the cue is very impressive as is the different stones. Paul did an excellent job executing this cue despite the many complicated issues he had to deal with. This is a no brainer…..Monster.

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PLEASE NOTE- that the space below in the comment section is reserved for proper critiques of this cue. Any further discussion about anything relating to the cue, the cuemaker, or anything else, should go in the Forum.

General Cue Description-

Barry Szamboti created this gambler-themed cue circa 2000 for his late father’s friend Gus DeStefano. Themed gambler cues typically show imagery such as cards, dice, money, and other things illustrating the gambling lifestyle. Barry crafted this cue using ebony and ivory, and engraved card suits, dice, and dollar signs. In the rotating images, the letter tells the story of this rare step out of the traditional styles of Barry Szamboti. This cue is in the collection of Dick Abbott.

Here’s what the experts think- they are limited to 500 characters!

	Dick Abbott Barry Szamboti is not and does not try to be one of the few fine artists in the world of cue making. Barry continues the traditional cuemaking of his dad and does it very well, for this reason he is one of the most sought after cuemakers today. This cue is a tribute to Gus and his love for casino gambling and carries with it a great story. Compared to many of the contemporary artistic masterpieces being made today, the cue is not close to monster status. But, compared to Barry’s typical cues it is very elaborate and highly collectible. This cue makes for a tough call but I have to consider it a monster.
	Fred Agnir In person, this cue is bright, sexy, and fun. I like the use of the very simplistic money, pool, card and dice designs carried throughout the cue giving highlight to the ivory. Though the propellers are in a straight line, their curves and overall shape give some life and depth to the cue while also offsetting the rigid large ivory boxes. To cap it off, the cue has a great story and is a unique offering from one of history’s top cue makers in Barry Szamboti. This cue is a monster.
	Deno Andrews This cue proves the importance of knowing who made the cue. If it were built by a maker known for building art cues, I would say no way it’s a Monster. However, knowing that Mr. Szamboti had carried on his father’s tradition of making very classic looking cues, this design is an accomplishment for Barry. Additionally, knowing that it’s a Szamboti, I am assured that it is built to the highest standards by one of the greatest cue makers alive. Cue construction heavily influences my vote. Monster.
	JimBo As I’ve said many times I am not a fan of the ebony / ivory combo, one of the reasons is just because it’s been done to death. In that same vein the “Gambler” theme has been done to much as well. I do however think this is one of the best gambler theme cues I’ve ever seen. Barry’s execution looks to be perfect and the entire package looks great. One of the top cues Barry has made thus far. Monster for me.
	Jim Stadum I consider Barry Szamboti my friend and a very respected cuemaker. His cues are very sought after, collectable and valuable because he makes very few cues per year and obviously because of his name, but also because his execution is very clean and this cue is no exception. I am not a big fan of the gambler theme but I realize that many players and collectors are. Barry typically makes traditional cues and this one is probably one of his more elaborate ones, which makes it more collectable and valuable. From a collectors perspective it is a Monster. However, with all due respect, from my perspective it is not.

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General Cue Description-

Giza Celebration, by Prather “…many days and nights the Egyptians celebrated after completion of the great “Pyramids of Giza”, and justly so. Giza Celebration represents the physical and spiritual achievement of these “Wonders of the World”. Cocobolo dancers gaily dance around the Chechen pyramids amidst the Olivewood sand dunes. Brightly colored writings on the African Black Ebony background capture this celebration of our distant ancestors and thier magnificent triumph…” This cue was created for the Cue Art Gallery show of 1997, in New York City. As a result, Giza Celebration was then displayed at the Smithsonian Institute of Art in New York City, New York.

Giza Celebration was crafted in it’s entirety from design concept to finish spray at Prathers by Jeffrey and Daniel Prather, both sons of Dan Prather, Sr., whom founded Prather Cues in the very early 70’s. Giza Celebration is comprised of 4 double relief layers of scrolling cuts. The inner most layer is a dowel halved in two, one side being Ebony (to represent the night time celebration theme), and one side being Birdseye Maple (to represent the day time celebration theme). The next layer, from center out, is a cut of Olivewood portraying rolling sand dunes interlocking, and wrapping entirely around the inner dowel. The third layer reveals two pyramids with finely etched blocks in Chechen. The fourth, and most intricate layer, is composed of Cocobolo with four interlocking Egyptian dancers, each with fine trappings opposite the next. Above the dancers are floating clouds, and sun depicting day time. Rotating the cue 180 degrees is a quarter moon night display, with night clouds. Each individual layer is tapered, and sleeved upon the underlying layer, creating a panorama of lighting effects, and shadow. Throughout the entire length of the cue you will see brightly colored inlays depicting Egyptian hieroglyphics.

Originally, three attempts were made at crafting the butt sleeve, with each attempt revealing yet another series of mathmatical enigmas. Creating the fourth, and final sleeve we solved those enigmas by a clever usage of pin, and taper. Daniel did alot of research into Egyptian history prior to the construction of this cue, mainly to ensure the hieroglyphs were accurate. As it turns out, the forearm hieroglyphs spell “Prather”.

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	Dick Abbott The abstract design and execution of the butt sleeve makes this cue stand out from the crowd. The detail and intricacy of its four layer design and wood combinations create an effect that is something to behold. The transition from the butt sleeve to the forearm loses something in the overall flow, but the detail of the ‘liquid’ inlay hieroglyphs is exacting and eye-catching. There is nothing subtle about this cue as I’m sure the Prathers meant it to be this way. All things considered the cue is a monster.
	Fred Agnir I like the innovation and the theme of the cue. The Prathers put a good amount of study into the piece. However, there is a lot amiss overall. I see clashing artistic styles as well as an unbalanced color palette. What looks to be a great start as a relief-inspired cue sculpture finishes with simplistic-looking albeit technical execution in the forearm. The wrap color combination and loud rings do nothing to help. This cue had a lot of potential, especially if the sculpting premise was carried throughout the cue. Instead, it is a contrast of unmatched ideas. For me, it’s not a monster.
	Deno Andrews I am amazed at the engineering and execution of this cue; some techniques used on this cue were and are still revolutionary. The relief work and layering of materials are particularly unique. While the forearm is interesting, it just doesn’t quite fit in with the butt section artistically or even in terms of construction technique. The overall design could have been refined. However, the concept and superb execution make up for it and just barely push this cue into Monster status.
	JimBo I can remember seeing this cue at a show in the late 90’s, the multi layered relief carving in the butt was unreal and revolutionary in the cue world. I can’t believe that more work like this didn’t pop up, and I must assume that it’s because it must be hard to pull off at this level. When I consider the time period in which this cue was created I am tempted to vote Monster but the rest of the cue falls a bit short for me, just way to many vibrant colors clashing. The Prathers are true artist!
	Jim Stadum This cue blew me away the first time I saw it in 97 and it still does today. This is a perfect example of “pushing the envelope” and it proves that cue making is an art form. The multi layers of relief cuts in the butt sleeve were way ahead of its time. The amount of work in this cue was immense and the execution is top shelf. Whether or not one likes the Egyptian theme is irrelevant to me, this cue tells a story and is a real piece of art. The Prathers are very creative cuemakers and should be proud of this Monster cue. I would also like to congratulate the Prathers for being named Cue Maker Of The Year by the ACA.

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General Cue Description-

Cue #150 from Ron Haley is a 6 point cue with 3 long purpleheart points and 3 short ivory points with 3 veneers and 4 of Ron’s signature paper veneers into an ebony forearm and a purpleheart butt with 3 mitered boxes with ivory centers. The cue is a true hoppe butt with an ivory butt plug in place of a bumper. This cue is a rare collaboration cue where Ron worked hand in hand with HOF cuemaker Bill Schick, Ron built the cue and Bill did all the scrim work in all the ivory right down to the skull head on the butt plug. this is the first and only time that Bill has ever done work on another cuemakers cue. The cue also features 6 barbells made with ivory spearheads, an Ivory joint and a black leather wrap.

Here’s what the experts think- they are limited to 500 characters!

	Dick Abbott Ron Haley is an up and coming cuemaker who has made a name for himself with excellent execution and attention to detail. This cue is eye catching with its vibrant colored veneers over purpleheart and ivory prongs into ebony. The veneer work on the prongs and around the windows appears perfectly executed. The silver décor rings are understated and tasteful and the ‘Hoppe’ butt plate with the scrimshawed ivory butt plug is very cool. The scrimshaw theme is not to my liking and the barbells in the forearm and butt sleeve seem to be an afterthought to fill space. Not a monster.
	Fred Agnir Every cue Ron Haley makes borders on perfection. The collaboration with HOFer Schick makes this cue possibly his best cue to date. The Purple Heart twist on the Flame Cue, especially with purposefully short points as “little flames” on which Schick is able to continue the scrimshaw in the forearm works for me. The theme is nicely carried and balanced from the bumper-less butt cap to joint protectors. The double spear point barbells however look a bit like an add-in. I’m not ready to call this a monster because there is no doubt that Haley will build cues that will greatly overshadow this one.
	Deno Andrews Haley’s execution and Schick’s collaboration make this a really valuable and collectible cue. I love the mitered boxes and the unique scrim work. However, many cue makers don’t get the aesthetic awkwardness of framing short points with the same thickness as the long points. Basically, it’s completely wrong and looks bad. Short points inside long points should almost always have thinner framing. This mistake disqualifies the cue in my opinion. Not a monster.
	JimBo Ron Haley’s execution is flawless and it’s great to see inlays into purpleheart rather then hidden in ebony as we see so many times. His veneer work and boxes are exceptional. The joint protectors and ivory plug are fantastic. I feel this cue falls a little short in it’s design. The fact that a HOF (Bill Schick) cuemaker did the scrim work adds to it for me where as I normally deduct points when someone else does that work on a cue. For me that collaboration alone makes this a Monster.
	Jim Stadum Ron Haley’s work is impeccable as usual. I am not sure I like the color scheme in the overall cue and Bill’s scrimshaw is on the morbid side, but considering that this cue was ordered by Jimbo I think he nailed the assignment. In a strange way I am really starting to like this cue. The Ivory butt plug is very unique and adds a new twist. I like the idea of two cuemakers collaborating on a cue especially when one of them is a member of the HOF. This cue is a perfect fit for Jimbo and if I were him I would consider it a Monster. For me it is very close but just shy of Monster status.

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General Cue Description-

Late in 1939 Brunswick started to market the Titlist cue, which was a one-piece, full-splice, four-point cue with veneers. Brunswick offered this cue as the company’s best house cue for commercial and home use. The cues were generally produced as high-quality cues, using Ebony, Purple Heart, Brazilian Rosewood, and other exotic hardwoods. Billiard rooms and retailers across the United States and abroad quickly purchased Titlists. Concurrently, the trend towards having a personal custom-made cue stick was on the rise thanks to such cue makers like Herman Rambow and his contemporaries. The introduction of the one-piece Titlist cue stick paved the way for cue makers to purchase the cues (blanks), cut them in half, insert a joint, wrap, butt plate, and deliver them as their own creations. For example, nearly all Rambow cues after 1940 were produced using the Titlist blank. From the 1940s through the 1960s, almost every top cue maker produced some cues using the Brunswick Titlist as a blank, including Rambow, Paradise, Balabushka, Ginacue, Palmer, Doc Fry, and Gus Szamboti. Just like any other product, the Titlist Cue had a product lifespan. As the cue progressed throughout its four-decade life, the quality began to diminish. As a result, cue makers like Spain and Szamboti began producing their own high quality blanks, which they sold to other cue makers and also used for their own cues. In 1964, Brunswick outsourced their cue production. By the early 1970s the product was virtually dead. In the history of cue making, no other cue or blank has enjoyed more influence and widespread use than the Brunswick Titlist. Although there were pointed and veneered cues before the Titlist, many argue that the Titlist is the true starting point for the four-point, four-veneer “look” that is still being used by a majority of top cue makers today. In fact, there are still cue makers today who use the antique Titlists as blanks! This week at CueZilla.com is unlike any other week because we are analyzing the Titlist Cue as a whole, or a concept, rather than a single example of a cue. To celebrate the 70th anniversary of the Titlist Cue, the panel is challenged with looking at the Titlist cue in terms of history, quality, influence, design, and what it meant and continues to mean to the industry of cue making.

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	Dick Abbott ‘Titlist’ is without a doubt the single most known word in the world of collectible cues. It would be easier to compile a list of cuemakers who haven’t converted a Titlist than a list of those who have. George Balabushka and Gus Szamboti both started their legendary careers using the Titlist as the foundation for their earliest masterpieces. I am a ‘Titlist connoisseur’ having owned in excess of 200, from unfinished original one piece cues to conversions by most notable cuemakers who have converted them. In its purest form, the Titlist is not a monster but many have become monsters in the hands of monster cuemakers.
	Fred Agnir I look at the Titlist as the Balabushka of spliced cues: the foundation all others copy. That today’s cue makers covet them for collections and conversions is a testament to their construction and design. Considering the era they were built makes them even more outstanding. Though there are fancier cues in that timeframe, I consider the Titlist the monster of its era.
	Deno Andrews Titlists certainly qualify as one of the single most important items in the history of cue making. Considering their widespread use by so many famous cue makers, and the numerous champions who played with cues made from Titlists, Monster status is almost a no-brainer. However, it was the cue makers listed in the description who really made the Titlist cue as famous as it is, by what they made out of the blanks. Titlists alone are Mortals, but many of them were (and still are) turned into Monsters.
	JimBo I am not sure if the titlist was something thrown together on a whim or if much thought went into it’s design. Was there a meeting to discus colors or amount of veneers? I don’t know the history or how to find out the behind the scenes engineering, what I do know is that they nailed it, 4 veneers, not 5 or 3. It’s been the canvas on which many legends displayed their art, yet in itself it’s not a Monster.
	Jim Stadum I believe Herman Rambow was responsible for the development of the Titlist blank while he worked at Brunswick. Almost all of the HOF cuemakers used these blanks at one time or another and many modern day cuemakers still do. The Titlist cue defiantly set the stage for the 4 point 4 veneer “look” that has now evolved into 6, 8, and 10 point cues with veneers. The Titlist Cue is clearly a Monster design because it has touched every cuemaker in some way since its conception and continues to do so 70 years later. I think the creation of the Titlist cue is as important to cue making as the leather tip, even though the original design came from France.

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General Cue Description-

Chris Nitti is known for his traditional cues and his flawless execution. This departure from his regular offering shows a depth of talent by this veteran cuemaker. This beautiful ivory-handled Tuxedo Cue built for the 2008 ICCS features bowtie inlays in the butt sleeve and the forearm. The cue also has silver-accented ivory “buttons” set into the ebony sleeve and forearm as well as silver-accented ebony buttons set into the ivory rings. The ebony forearm also includes ebony and ivory points. The ebony points are veneered with holly as a coattails motif. Matching ebony joint protectors complete this true tuxedo cue. This cue submitted courtesy of William Grassley.

Here’s what the experts think- they are limited to 500 characters!

	Dick Abbott Chris Nitti’s execution is always exceptional and this cue is a fine example of his precision workmanship. I like the bowtie inlays. They appear almost three dimensional and add class but the framework surrounding them in the butt sleeve is distracting. The cue is overdone with ivory and the abundance of dots detracts from the overall design elements of the cue. Nice cue, clean workmanship but not a monster.
	Fred Agnir This cue really showcases Nitti’s often under-rated talent. At first glance, it looks like just another ebony and ivory offering. However, it is a Tuxedo Cue with a unique twist using tuxedo motifs. The bowties are simple and stylish while execution of the silver-lined ebony and ivory dots as buttons adds to the elegance. The outline pattern in the butt sleeve is a little overpowering, but the holly outline in the ebony points does a decent job balancing it out. I’m close, but I can’t call this a monster due to other ebony and ivory cues with more wow factor, but this is still a spectacular cue.
	Deno Andrews I am truly impressed by the crafstmanship of this cue. I also appreciate the use of fine materials throughout and the daring blend of old-school with new-school. However, when I look at this cue I see competing artistic styles. The bowties scream art-deco, an elegant style, but are overshadowed by the angular framing and ubiquitous dots. The cue is striking and executed flawlessly, but needs some refinement (mitered boxing, fewer dots, etc.) in its design to be a Monster.
	JimBo Chris Nitti is one of the great Florida guys who has brought his game up a lot over the past few years, his execution is near flawless. Having held this cue I can tell you it’s no exception. As previously stated I am not a fan of the EI (Ebony & Ivory)combo, and although the cue is very elegant I feel the design is un balanced and a bit lacking up front. Not a Monster but very clean and classy with some great silver work.
	Jim Stadum Nice clean execution that everyone has come to expect from Chris. I know Chris likes to stick to the traditional look, but I think there are too many “buttons” or dots in this cue. I like the Bowtie inlay but it is too large in the points. The Ivory border work around the bowtie inlays in the butt sleeve is too thick and a bit clunky looking. Maybe if it were thinner and mitered at the corners instead of covered with the Ivory/Silver circles it would flow better. All in all a nice traditional looking cue with lots of Ivory and Silver, making it valuable and collectable, but not a Monster.

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General Cue Description-

Circa 1980- This ornate cue was deisnged and built by Bob Meucci for the legendary Minnesota Fats. Meucci cues are typically regarded as production cues, but many are also made by Bob himself. The cue is decorated with opals, rubies and silver filigree, which required hours of hand-work to inlay. The points appear to be Micarta or a similar material. The design is one-of-a-kind and one of the more inspired Meucci originals. Fats used the cue in various exhibitions for about a year and a half during the early 1980s. The cue has sold for $16,000, making it one of the most expensive Meucci’s ever built. Hall of Fame cuemaker made for a Hall of Fame player.

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	Dick Abbott Bob Meucci is one of the early innovators of cue construction and design that carries on into the 21st century. This thirty year old one of a kind custom made cue, for the legendary Ralph “Minnesota Fats” Wanderone, typifies both Mr. Meucci‘s talent and Fatty’s flamboyance. The result is a perfect match. The handmade silver filigree, accented with rubies and opals, is ahead of its time in cue artisanship. Hall of Fame cuemaker’s cue for a Hall of Fame player, I deem it a great collectible but not quite a monster.
	Fred Agnir It’s nice to see some of the fancier work created by Bob Meucci’s own hands. Even in his production cues, Meucci has been ground-breaking yet is often under-rated design-wise. He is probably the most innovative mass production cue maker in the world. On this cue, the filigree work and ruby inlays were pioneering, while the Fats provenance increases the cues overall status. However, artistically, the cue isn’t balanced as there seems to be no connection from the butt sleeve to the handle. Although there are a few Meucci cues that possibly deserve monster status, this one isn’t for me.
	Deno Andrews Wrapping filigree work adorned with precious and semi-precious stones demonstrates an ‘ability’ to execute a unique design. Disqualifying this cue from M-status include mixing high-end materials with low-end materials, a random and non-cohesive color palette, and point designs that do not connect to the design on the butt. Not checking spelling of Minnesota makes me wonder what else was rushed on the cue. It’s the details that give us insight into the construction of the cue. Monster? not even close.
	JimBo IMO Bob Meucci along with Richard Black are the top 2 guys when you talk about coming up with innovative designs and sheer volume of unique designs. This for me is not one of Bob’s best yet it is different and elaborate for the time period. This cue is a great piece of pool history and I can relate to Bob’s spelling issues. I don’t believe Fats is a big enough name to pull this one over the top. For me it’s Not a Monster.
	Jim Stadum Bob Meucci is in the ICA HOF and deservingly so. I give him a lot of credit for many things he has accomplished in his lengthy career. I can’t help wondering why he didn’t use Ivory especially when making a cue for the legendary Minnesota Fats. The silver filigree that is set in liquid polyurethane looks like it was very time consuming and a real pain to build. Obviously collectable and worth a fair amount of $$, however, with the word Minnesota incorrectly spelled, (I realize there was no spell check in 1980, but there were dictionaries and Rand McNally maps) hardly a monster IMO. In a word….Yawn.

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General Cue Description-

Inspired by and built from materials which come from the other end of the world. During a circumnavigation of the globe, a close friend of Richard’s accumulated an unusual collection of rare hardwoods from the South Pacific, New Zealand, Indonesia, Madagascar and South Africa. Hall of Fame cue maker Richard Black painstakingly used those species to create one of his most unusual and exotic designs to date. Creating patterns inspired by the motifs on a carved bamboo vase from the island of Lombok, sixteen different hardwoods were blended into this cue. Earth tones and primitive designs, the exclusive use of wood, with Cape Buffalo horn in the joints and ferrules, and the absence of other materials as embellishments, gives a primitive air to this elegant cue. Over 600 separate inlays were used in the intricate patterning of the cue. The natural beauties of the stinkwood, rewa rewa, ironwood and tamboeti are enhanced by the matte surface texture, created by the hand-rubbed oil finish.

Here’s what the experts think- they are limited to 500 characters!

	Dick Abbott Richard Black is one of the very few true artists in the world of cuemaking. “Antipodes” reflects this artistic talent in a way that may be seen by some as substandard in today’s cues but it is truly a work of art. The cue is subtle in some ways and striking in others. The use of 16 different exotic woods blended into asymmetrical designs, created from 600+ inlays, each hand cut and different, makes for a cue that is very atypical of what we are used to seeing. The hand rubbed oil finish adds to the subtleness. A high gloss finish would have been distracting on this cue. Cue art that equates to monster.
	Fred Agnir It’s this type of envelope pushing that sets apart the greats from the run-of-the-mill. Black took a risk by keeping with subdued earth tones. Highlights and brightness may be more desirable. In choosing inlay patterns that could be symmetrical but instead making them asymmetrical, some could mistakenly view this as a detractor. The idea is bold, daring, and magnificent. His unbelievable inlay technique on the floral patterns gives the cue astonishing life. The overall inlay design speaks to the tribal and island theme, consistent with the wood origins. For me, this cue is a monster.
	Deno Andrews Primitive styling, hand-finished inlay, asymmetry, detailed floral elements, and a hand-rubbed oil finish mean that Richard Black took a giant risk in creating “Antipodes.” Black’s inspiration, color palette, theme, amazing rings, and execution pays homage to primitive artisans, their designs, and their techniques. Building this cue during the era of CNC-inlays and automotive finishes on cues took courage and his risk certainly paid off. “Antipodes” isn’t just a great design on a cue- it is a completely original work of high-end art that happens to also be a cue. Monster!
	JimBo I can’t quite put my finger on why, but I just don’t like this cue. I think the idea of the rare woods from a trip is a cool idea, I believe Mike Bender has done a cue like this in the past as well. I don’t like the drab look of the woods and how they play off each other and I am not a big fan of the design. I believe Richard is one of the top guys when it comes to unique one of a kind designs and when you take as many chances as Richard does they can’t all be spectacular. For me no Monster.
	Jim Stadum Art is not perfect…It is not supposed to be perfect. That is what makes it art. Richard Black is a true artist and this cue proves it. When he sets out with a theme or concept he follows it through, despite the many risks that he may encounter along the way. The amount of work in this cue is immense. It is a very asymmetrical cue, with very few parts the same. I particularly like the uneven shapes of the flowers, that are obviously hand cut and inlaid, as well as the unique ring work. The use of natural materials including the oil finish give this cue a warm, almost “antique like” feeling. I am going with Monster on this 1998 beauty.

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General Cue Description-

Little is known about this cue or its maker. The cue is likely made in the mid-to-late 1800s, in Europe, and features an elaborate artistic design. There are two veneered points, which transform into reverse butterflies as the veneers go down the cue. The subject of the artistic design is a girl jumping rope, framed by a floral vine design. From the tips of the butterflies to the butt cap are two strips of purfling, featuring veneers of the cue’s color palette. Two wedges at the cue’s butt, one of ivory and one of wood, along with a leather strip on the bottom of the cue, help to date the cue. In the late 1800s, players could strike the ball with the tip, or push the ball with the butt side of the cue; the wedge would slide along the cloth. Typically, better players and men would use the tip side, while the ladies and beginners would use the butt side of the cue. This served a duel purpose of saving the expensive cloth from rips and allowing the ladies to not have to bend over to shoot, something that was very unacceptable during that period. There is an ivory joint and a wood screw.

Here’s what the experts think- they are limited to 500 characters!

	Dick Abbott Marquetry cues are fascinating works of art from the 19th century. This example utilizes two points with four veneers transforming into butterflies at their bottom and multi-colored purfling strips continuing down to the ivory butt plate. The zaftig young lady skipping rope surrounded by a floral pattern makes for an interesting marquetry concept. The ivory butt plate is cut away on one side and has a leather pad allowing the player to reverse the cue and push the cue ball in lieu of striking it with the tip. A very nice piece of billiard cue history but not a monster.
	Fred Agnir This particular cue is a nice representation of the era it was built in terms of both theme and craftsmanship as this style of marquetry was often seen in embellished furniture in France during that period. The challenge to inlay a figure onto a conical shaft is tough enough with today’s equipment let alone with equipment from over a hundred years ago. That being said, although this cue is a great piece of history, it doesn’t really have any monster qualities.
	Deno Andrews Marquetry on a billiards cue of this age always makes the cue stand out as a rare and special collectible. However, the points and butterflies are very roughly constructed compared to other makers in this era. The marquetry is also a bit sloppy when compared to other European works of late 19th-century. The scene of the girl jumping rope is mundane and likely made to match the design of the owner’s table or home decor. Rare, expensive, and desirable, but not a monster.
	JimBo The fact that this cue is on the site and still around today is a testament to how well it was constructed. The elaborate inlay work is awesome and a sign of the lavish life styles of the super rich from the time period, I bet this cue has some stories to tell. I’m not a fan of the theme (girls jumping rope) but love the work in this cue. I’m not sure this was a monster back then, and because of that it falls just slightly short for me now. Awesome piece of history though.
	Jim Stadum This cue is a perfect example of a cue made in the mid to late 19th century by a table manufacturer in France or Belgium, most likely made to match a table. Basically they were glorified house cues. Considering the era and equipment they had to work with, I give the maker(s) a great deal of credit. This cue was probably converted into a two piece cue somewhere along the line. After reviewing other marquetry work from this time period I believe this is not top shelf work. This cue is valuable and collectible due to it’s antiquity and the fact that it hasn’t popped apart over the last 100 + years. Sorry, No Monster for me.

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General Cue Description-

Built in 2007, the “Eyes of Picasso” was built by commission from collector and fellow CueZillist Deno J. Andrews. Andrews. Andrews asked that the cue be inspired by the works of Pablo Picasso, his favorite artist. Hercek drew inspiration from the ubiquitous almond-shaped eyes in Picasso’s work. Inlaid points in the forearm feature two eyes that contrast each other with alternating pupil colors of black and white. The almond shape is referenced as the point components traveling up the forearm wrap around the verticle eye. Homage is paid to Picasso’s use of black and white and playful use of contrasting shapes and space. And of course, although the points are inlaid, the forearm is sleeved over a true full-splice blank, which Hercek uses for every cue he makes. The handle section is in three pieces. The middle section is solid ivory. The sections above and below the solid ivory feature alternating long boxes of solid ivory and snakewood. The cue’s otherwise black-and-white palette is challenged by the color and the texture of the Snakewood, which was a design risk because black-and-white cues do not commonly have other colors. In this cue stick though, the color and texture of the Snakewood is subtle enough to act as a compliment, but audacious enough to be in the style of Picasso, and Hercek. Snakewood is also fickle- splitting and cracking are common attributes that make it frustrating to cue makers. The butt section again exhibits contrasting eye elements of alternating color, framed framed inside large geometric shapes. All inlay material is pre-treaty ivory and finished by hand. All inlays are finished so that corners and points come to a razor-sharp edge, a time-consuming detail unobtainable by machines. The butt cap is solid ivory with the name “Hercek” engraved. The joint is also ivory and its configuration is a 5/16″ screw piloted construction. There are two shafts, neither of which were ever chalked.

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	Dick Abbott Another great artistic creation from Joel Hercek based on the work of a famous artist. Fine art and fine cues are two of my pleasures. I like the concept of integrating the two mediums. The razor sharp ivory inlays are a testament to Mr. Hercek’s ability for precision execution. The addition of snakewood to an ebony and ivory cue is an interesting touch that brings in a new perspective although I would have preferred it be something other than simple rectangles. Playing with one of Joel’s cues for the past ten years, I can attest to the fact of their unquestionable playability. Super cue that just misses monster status.
	Fred Agnir I can see this cue as it sees me. The eyes are subtle and eerie at the same time. I’m a big fan of Picasso. If this cue wasn’t titled “Eyes of Picasso,” I would never have made the association. Although the cue is attractive and elegant, the inlaid shapes aren’t wowing me. Additionally, I’m feeling that the snakewood is more a nuisance to the overall color balance to the cue. This cue isn’t a monster for me.
	Deno Andrews I commissioned this cue from Joel with the only guideline being that it be ‘inspired’ by something Picasso. Hercek studied dozens of paintings, prints, and drawings to find his design theme- the almond-shaped eyes. The points are completely unique to any other inlaid point I have ever seen, and I love how he incorporated the alternating eyes. On the butt, the oddly-shaped geometric elements mirror Picasso’s audacity. When I saw the cue and what went into hand-finishing all those ivory pieces, it reinforced my (already high) respect for Joel’s integrity. Monster.
	JimBo The points of this cue are very unique; I love the overall design with the eyes, especially the use of negative space with the black eyes. You certainly get the feel that Pablo would approve of this work of art. I am not sure about the use of snakewood in the handle but somehow it seems to work when looking at the full cue. Of course Joel does all this over his full splice, again showing that the cue’s integrity means more then art alone. I’m not a fan of Picasso, but I am of this cue, Monster.
	Jim Stadum I have had my “eye” on this cue all morning. It is a very unique design that has been executed flawlessly. The overall layout is very symmetrical. Everything matches perfectly, rings, point design and butt sleeve design. That is the problem I am having with this cue and the theme. Everything is too uniform. I think Joel lacked the courage to be more abstract, something that Picasso was known for. I personally really like this cue, however it misses the Monster status for me due to the lack of surprise and impact that one would expect from Picasso.

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General Cue Description-

Hall of Fame Cuemaker Bill Schick built this conversion cue in 2009 and is one of the finest examples of conversion creativity. Born from the fanciest of Brunswick cues, these early 20th-century pieces continue to inspire modern butterfly-splice cue makers. Schick’s conversion features a Brazilian Rosewood forearm with purpleheart points and butt sleeve. Schick used the bottom set of points (the 360 normally has three sets) to create the forearm, while connecting it to the butt sleeve with a smooth leather-wrapped handle. The wedge design in the butt sleeve is carried through from the Brunswick 360 to this conversion with Schick replacing the original mother-of-pearl design with ivory. He finished the cue with an ivory collar and what is now his signature ivory-tipped pin. Alton Takata of Cue Caps provided the spectacular matching joint protectors. This beautiful conversion is in the collection of Chris Grader.

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	Dick Abbott The Brunswick~Balke~Collender models 360 & 36 ½ are the monsters of all production cues. Introduced 120 years ago, and selling for under $20, they were true works of art and continue to stand the test of time. Mr. Schick has created a gorgeous conversion. I would like to see if he spliced the second set of prongs into the shaft, as that would be a great touch in keeping closer to the original design. I assume he wrapped the cue to add length as the butt would be about 24” otherwise. The ivory dots in the joint collars are somewhat distracting. The joint protectors are a nice addition. Super conversion but not a monster.
	Fred Agnir The Brunswick 360 was way ahead of its time. It would be nice to see an original vs. this end result for people to appreciate the full story of this cue. Schick did a masterful job using as much of the original cue to build the forearm, while keeping the same wedge design element in the butt sleeve. He added a lot of elegance to this historic cue using ivory and a smooth leather wrap. It’s hard to even classify this as a conversion cue. I would have liked to have seen the joint protectors match the collar design, but this doesn’t detract from the fact that this conversion is a Monster.
	Deno Andrews Brunswick 360 cues were the wildest thing on the market 100 years ago. I can appreciate Schick’s paying homage to these great cues by converting one. Bill Schick is one of our industry’s treasures and his body of work is vast and impressive. I love this cue and how Schick converted it, meaning that his work and the original cue blend into a cohesive look. In the end though, it is a simple conversion cue, which it should be. Basically what I am saying is that Schick didn’t over-produce this cue, which was the right thing to do, but it also doesn’t register as a Monster to me.
	JimBo When you take the Brunswick 360 arguably the biggest cue from the company that is synonymous with pool for the last 150+ years and have a living legend and Hall Of Fame cuemaker convert it into a modern day player you can’t lose. Toss in a set of caps from Alton and we have ourselves a Monster. This cue is not only a great collectable but a piece of history, the Purple Heart gives it added points in my book. Monster for sure.
	Jim Stadum The Brunswick 360 is one of my favorite designs of all time and Bill did a first class job with the conversion. I would like to see an image of the whole cue including the shafts. The joint caps add a nice touch. Considering that this cue is probably over 100 years old, and was converted by a HOF cuemaker makes this cue highly collectable and quite valuable. I have seen numerous Bill Shick cues that are way over the top in comparison to this one. Very close but “No Monster” for me.

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General Cue Description-

This pool/billiard cue was made for Cal’s daughter, Linda (a striving women’s professional pool player), for a birthday present and is probably his best and most elaborate work performed on a cue. The forearm is a straight grain maple Brunswick Titlist with four rosewood points and veneers of purple, green, mahogany and maple. The points are inlaid with large mother of pearl notched diamonds and the top of each point is inlaid with a circle of black and pearlized gold. The handle of the cue is rosewood with marquetry inlays. Within the marquetry work is gun-stock checkering of the highest quality, surrounded by triple veneers of maple, ebony, maple. In the center of the checkering are two mother of pearl notched diamonds surrounded by veneers of maple and ebony. Two strips of ornamental furniture banding are inlaid the length of the handle twisting 180 degrees. At the ‘A’ joint are two black rings, two gold pearlized rings, and one white pearlized ring with gold inlays of the initials, “L.H.” in fancy Gothic style lettering. The cue is jointed at the ‘A’ joint, the forearm is cored and a 2 ¾” x 11/16” tenon with a 5/16” x 18 brass screw on the handle is threaded into a metal insert in the cored forearm. The butt sleeve features a clear window with a gold anodized aluminum ring that is inscribed. The window is in between rings of gold pearlized plastic and three black and three white pearlized rings that are comparable to Paradise or Palmer cues. The joint is piloted nickel silver with a 5/16” x 18 brass pin, the billiard shaft is double threaded like an old Viking cue. There are two shafts – one 28 3/4″ 12.5mm with a 1″ ferrule, the diameter remains 12.5mm for 9 ½” and one 28 1/4″ 12.4mm with a 1 1/4″ ferrule, the diameter remains 12.4mm for 14 ½”. Cal was known for long tapered shafts. Both shafts have joint collars of nickel silver with two black rings and one white pearlized ring with four gold pearlized dots. The billiards shaft is inlaid with a total of 36 black dots and diamonds into an 8” piece of curly maple that is attached to the straight grain maple shaft with a ring of cocobolo. The butt of the cue measures 27 3/4″ and weighs 18 ounces, total cue weight is 22.3 ounces.

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	Dick Abbott The Brunswick Titlist was the inspiration and foundation for many cuemakers, living and deceased. Being an avid Titlist connoisseur, and having owned over 200 variations by many cuemakers, I consider this one to be my piece de resistance. The amount of detail is overwhelming, albeit a bit gaudy. This cue was made by a first class machinist. Although he is a hobbyist cuemaker, his concept and execution are over the top. Highlights include gunstock checkering and spiral banding on the handle, cored and detachable forearm (most likely the first of its kind) and an inlaid spliced shaft. Certainly, a Monster!
	Fred Agnir I’m amazed that Cal Hedden isn’t a household name in the same breath as Paradise or Palmer. I love the idea that many of the fabrication techniques and design elements are not common in the cue industry. Hedden’s checkering as well as his joining methods tells us that he was an innovator and had no interest in copying any one else’s ideas. The signature and the use of his daughter’s nickname give a sense of caring and familiarity that is a breath of fresh air in our sport. I love this cue, but I can’t say that it’s a Monster. If he had made a few more and gotten his name out, I could have a change of heart.
	Deno Andrews Wow. Hedden’s example exhibits technical perfection and a level of machining typically not seen on cues of the early 1970s. With that said, it also exhibits a certain lovable ugliness. It’s the perfect example of a great technical machinist who lacks a complete artistic sense. On the other hand, the cue’s attributes include techniques that were cutting-edge for the period: the checkered handle, wrapping marquetry, symmetry & asymmetry together. Hedden chose nice colors, textures, and premium woods. I think it’s the ultimate “look what I can do” cue stick. I am on the fence and reluctantly vote monstrosity…I mean monster!
	JimBo I’ve seen lots of cues in my day and have never held another C. Hedden cue, but I have held this cue in my hands and I can say for a fact it’s not only unique but well built. You can clearly see that Cal was a very good machinist, as well as a creative guy. I love the gun stock style textured wrap area as well as the work on the shaft. I believe what worries me about the maker being known is also what puts the cue over the top. The rarity and era that this cue was made makes it a Monster for me.
	Jim Stadum Considering this cue was made in 1971, Mr. Hedden went way out on a limb. The checkering in the handle is unique, and the marquetry inlay was probably done with some type of rotary jig and seems to have been executed perfectly. The fact that this cue comes apart and appears to be at least partially cored puts it way ahead of its time. This cue blows away most cues of the era including those made by the legendary masters. It’s my understanding that J. Pechauer claims to have pioneered inlaid shafts and wrapless cues 1990s but this cue proves that to be untrue. Regardless this cue is a Major Monster for its time.

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General Cue Description-

The Stiletto Cue was completed in March 2008 and is a one-of-a-kind design. Shown for the first time at the 2008 Billiards Expo, its simple elegance drew much attention. The objective was to create a refined design with the punch of ebony, ivory, and silver. The Stiletto features an 8 point configuration, both up and down the cue. Four points of ebony with silver veneers are cut and inlaid over four points of ivory, which are inlaid into the ebony front and but sleeve. The joint and butt cap are elephant ivory. The major focal point of the cue is the custom engraving done completely in-house by Richard Chudy, the cue maker. Engravings appear on the ebony and ivory points, as well as the wide silver rings which frame the white leather wrap. The cue currently resides in a private collection.

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	Dick Abbott This is a beautiful one of a kind cue that is elegant and tasteful. The inlays and silver engraving complement one another nicely. The white leather wrap adds a perfect finishing touch. Execution appears to be excellent, as one would expect from Mr. Chudy. I would prefer different ring work above the butt plate and at the joint as the geometric pattern does not match the cue’s design. Not quite a monster.
	Fred Agnir Clearly, this is a classy cue. In fact, it’s gorgeous. Richard Chudy is one of my favorite cue artists. He has a keen eye for artistic detail and always strives for visual balance. There is a high level of technical execution with various art techniques, yet the final look is deceptively simple in its elegance. This is one of my favorite cues so far. That being said, there isn’t a jaw-dropping effect that would signify that this is a monster cue. It’s sexy. It’s graceful. But, it’s not a monster.
	Deno Andrews This black, white, and silver cue design is elegant and well proportioned. The silver rings nicely frame the bold white leather wrap, a risk that paid off on this cue. My only criticism is pointed at the engraving patterns. I feel for this cue to be a Monster, there should be a more cohesive connection or purpose to the pattern. Aesthetically, the patterns in the points work together, while the ring engravings are out of scale and character from the rest of the cue. Chudy is a first-class cue maker, but Stiletto misses my cut.
	JimBo I am not a fan of ebony and ivory cues; I’m also not a fan of points that run up and down. That being said this cue has a very elegant look to it and I think it’s the white leather that pulls that off. I love the fact that the silver engraving is done in house, but I find the rings a bit bulky and the design doesn’t fit the cue. What I do love is that pin fits this cue perfectly and adds a nice touch. All in all nice cue, but not a Monster for me.
	Jim Stadum The execution appears to be perfect as we have all come to expect from Rick. The material choices work very well together, including the white leather wrap, which can be rather tricky to install correctly because white tends to show any flaw. I really like the design in the points as well as the design in the large silver rings, although I don’t think they work perfectly together. The silver seems to be too large and draws the eye away from the rest of the cue. I think a smaller version of the silver rings in all five places would have added a lot. All in all a simple, elegant, clean, and beautiful cue, but no Monster.

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General Cue Description-

Black Boar created this masterpiece in 2009. The butt sleeve displays an intricate inlay pattern using precious materials and precision engineering. The floral pattern and geometric medallions blend shapes, lines, and color in a delicate balance. The points are solid ivory and floral vines wrap from behind them to the front, creating depth perception rarely seen on a cue stick. The floral pattern is replicated in the cue’s ring work which frames an ivory joint. The forearm is Birdseye Maple and the wrap is lizard skin. This Black Boar Cue currently resides in the Tikkler Collection.

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	Dick Abbott Wow! Inlay design, detail and execution that can be summed up in one word – exquisite. The overlay and underlay details with shadow effect above the wrap are magnificent. The combination of inlay materials works perfectly. That said, I do have a couple of points that lend to criticism. The forearm of bird’s eye maple distracts from the overall theme. I think ebony would have been a better aesthetic choice. Secondly, the ivory points cut into the ebony points leave the image of a very thick ebony veneer surrounding ivory points. That visual effect degrades the look. Regardless of my critical comments this cue is a monster.
	Fred Agnir I really love the idea that the cue starts with relatively low complexity near the joint, continues with elegant floating ivory points, brings an awesome fine inlay work at the A-joint on ebony and ivory, and then absolutely explodes with a spectacular display in the butt sleeve. One of my knocks on this type of intricate detailed inlay work is that sometimes the cue maker can go too far making the cue difficult to look at. This cue didn’t go too far. The artistry, discipline and superior technical execution makes this cue a MONSTER.
	Deno Andrews One of the finest designs & execution I have ever seen! The butt sleeve’s four distinct inlay sections combine in the eye to create a singular object (genius). Inlays weaving under and over the points are wonderful. Mistakes IMO: the wrap texture is distracting and lizard is a lower-end exotic skin, the black point frames are too blunt, and I would expect a custom butt cap unique to this cue only. Overall, I would say this is the biggest Monster to date! Simply stunning.
	JimBo My criticism of Black Boar cues has always been that the butt sections often outshine the forearm when it came to the elaborate designs, and the fronts were often plain in comparison. This cue shatters that critique. Tony has successfully tied the butt and front together perfectly on this cue, the inlay work is fantastic and execution perfect as always with a Black Boar. Inlays on top of inlays in and out of ivory, it’s great. The splash of color is just enough to set this design off. MONSTER!!!
	Jim Stadum This is one of the finest Black Boar cues I have seen. The details and the number of inlays are incredible. The design in the butt sleeve flows perfectly around the cue. The inlay work above the wrap ties everything together. The stems wrapping under the points of Ivory is a very nice touch. I would have preferred an Ebony forearm, as I don’t think the BI Maple matches the cue as well, but I respect Tony for sticking to his beliefs on playability, cue construction, and the use of materials. Therefore, I understand why he used Bi Maple. Execution is flawless as usual. Monster for me.

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General Cue Description-

Paul Drexler (PFD Studios) built this cue in 2009 as part of a trilogy of dragon-themed cues. His intent was to create a cue in the style of a traditional Chinese dragon. The handle section is comprised of three sections of solid ivory with the largest featuring a scrimshawed Chinese Dragon by scrimshander Bob Hergert. The hand-done work wraps around the cue’s handle effortlessly. Drexler had guided the scrimshander about exactly what he wanted and the result was an historically correct Chinese Dragon. The short ivory panel above the handle displays scrimshaw illustrating the Great Wall of China, which also wraps around the cue. The ivory panel below the handle shows a traditional Chinese Emporer in full dress alongside Fu Dogs, or Chinese Guard Dogs. Between the handle and the short sections are ivory rings each inscribed with Classical Chinese Characters which quote Bruce Lee’s philosophy of “No way as way” and “no limit as limit.”

The butt and forearm sections feature precision inlay work, from PFD Studios, in the form of Chinese Giant Bamboo plants. Hundreds of pieces of .999 fine silver are used to create the bamboo limbs, which travel both vertically and horizontally on the cue stick. The Bamboo limbs appear to realisitcally ascend the cue and interact as they would in nature. Bamboo petals, also made of .999 fine silver, wrap around the cue- evidence of precision 4th-axis inlay work. While difficult to see on video, the bamboo petals are realistically reproduced featuring areas of jagged edges and assymetry, requiring freehand detail work on each piece. Each silver piece is delicately textured to avoid a harsh mirror-like reflection of light, which would overshadow the ivory elements of the cue. This is the first public showcase of the cue, which was just completed in Novermber of 2009. The cue is valued at $37,000 and ownership details are not provided by the cue maker.

Here’s what the experts think- they are limited to 500 characters!

	Dick Abbott This is by far the most difficult cue to date for me to assess on CueZilla. The scrimshaw is outstanding and I don’t have a problem with two different artists collaborating on an artistic creation. The silver bamboo 4th axis inlays are a testament to Paul’s fine inlay ability. The brushed finish is a good touch to mute the abundance of silver. Tying together the composite is where I have difficulty. The Chinese dragon motif and bamboo are both representative of China and its culture but do not tie together as a theme. If one looks at the scrimshaw as the work of art and the silver/ebony forearm and butt sleeve as the frame it works. Monster.
	Fred Agnir I am a big fan of the execution and artistry of PFD cues. However, this cue was a difficult one to judge for me. The scrimshaw theme and execution is phenomenal. The execution on the bamboo is intricately detailed and equally exquisite. But, the two together aren’t harmonizing for me. My guess is that if I had this cue in my hand, it might be so stunning that I’d have to consider it a monster like many PFD Cues. But I’m not getting that feeling from the photo. Rather, I’m coming away with a feeling of unbalance. It therefore is just short of monster status.
	Deno Andrews This is a good example of a collaboration that strikes the correct balance of scrimshander vs. cuemaker work. Drexler’s 4th-axis silver inlay work is tremendous and watching those silver lines and etched petals wrap around the cue amazes me. The video does this cue no justice. Drexler’s intricate silver work perfectly frames the cue’s center focal point, the handle sections, much the way the perfect frame compliments the art within in. Notice that Drexler textured the silver so as not to detract from the stark white ivory. No brainer- Monster.
	JimBo WOW lots of work in this cue for sure. The handle section of this cue has some of the best scrim work I’ve ever seen, Herbert is without doubt one of the top guys in the world. The forearm and butt section has some nice 4th-axis work and the execution looks to be very good, but without reading the description I am not sure I’d know it was supposed to be bamboo. Monster Scrim, but for me East didn’t meet West on the over all design. No Monster for me.
	Jim Stadum The scrimshaw work in the Ivory handle is outstanding. Probably as good as I’ve seen. The Chinese dragon theme is very well thought out. I assume Paul had some major input regarding the design. The forearm and butt sleeve are also very well done and have an obvious amount of complex inlay work. Overall execution looks very well done. I do not really see what these 2 themes have in common other than geography. I personally would have rather seen a Bamboo theme cue with a leather wrap and a solid Ivory Chinese Dragon theme cue, resulting in 2 Monsters. Together these designs are close, but no Monster.

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Deno

20th-Century Miniature Cue Samples