The straight Billiard is by far the most often produced shape in the world; Tokutomi, however, 'never' produces Billiards, straight or otherwise, though he not adverse to interpreting the classic canonical shapes, and if he does they are so stylized as to appear all his own. Now, look at this pipe and notice that, yes, it is a Billiard. Once the shock has subsided, you can yet again be shocked that it bears absolutely none of the aesthetically fluid or organic approach he's known for.
Instead, this pipe is something we would more readily see in his fellow classmate of the school of Ivarsson, master pipemaker Jess Chonowitsch, who uses the same process of paring away from a shape, until it achieves some sort of essential form - also reinforcing the shape by cleanly joining two very similar, tubular facets of the shank and bowl, echoing the form. Tokutomi employs the same 'less is more' approach to pipe making, though without the heavy cheeking in the transition, as Chonowitsch tends to eschew (styles that one might see may see in a Danish S. Bang or Tom Eltang). Though not completely classical - the relatively thick shank not in keeping with something from an English shaping chart - the piece nevertheless feels very established, and completed with a stunning, yet simply shaped, mastodon ivory mount at the end of the shank, paired with a relatively simple straight vulcanite stem.