When you place a pipe on your desk, for the purposes of chatting about it with your friends, and that briar is so pleasantly stunning that “Wow!”, or even the ever reliable “Hot Damn!” doesn’t come close to describing the impact, what’s left? I can think of a couple of phrases, but none which wouldn’t place my future employment in question. I guess I’ll leave it at “Wow!” (though I am open to suggestion). This compelling study in elongated, graceful organicism, immediately took my mind to the largest of the traditional Tokutomis: the substantial compositions initially created with the Bo Nordh legacy briar.
Addressing the size, Toku-san’s first BN featured a length of 7.39” and a bowl height of 2.0”. This acuminous Acorn stretches to over 7.75” in length “as the crow flies” (straight line from the fore of the bowl to the end of the bit), and features a towering bowl of 2.5”. To my way of (granted, “pipe geek”) thinking, the true fascination of seeking Tokutomi influence within this Kurusu, is that we have to rely purely on underlying thinking; we can’t compare/contrast Acorn-to-Acorn, because the former (for all practical purposes) doesn’t make one. The overarching shape of the bowl not only celebrates the beauty of nature at its most spontaneous, there is a fine, subtle use of implied space in play within the peaks and troughs of the plateau rim. Following the graceful arc of lithe, impeccably elongated shank on its travels to the bowl, the cant of the latter becomes so intuitive that (personally) I can’t picture a more impressive outcome. As far as the grain goes, with the pictures that are presently on your screen, what commentary could I possible add? Highly recommended.
--R. 'Bear' Graves