I grabbed this Ingo Garbe Liverpool today from SP.
The accompanying ad copy is interesting - I never realized that Ingo Garbe only makes smooth pipes:
Let's be perfectly honest, 'back in the day' most pipes that were sandblasted were subjected to the process because they contained flaws. Smooth pipes bring more money. But like Impressionism or skipping records, it's just a mistake that everyone just got around to liking. Even though Ingo Garbe is funneling down his potential for customers and markets, he must feel that sandblasting is sort of dishonest, because he just doesn't do it. In saying that, there's simply nothing to hide on this pipe, because the birdseye is, in a word, stupendous, and the cross grain, almost dead center.
Now onto to the shape. It's one of the best Liverpools I've ever seen. But don't take just my word for it. Eric (who's seen far, far more of the shape than I), can attest: "It's one of the best Liverpools I've ever seen; the best that kept the thicker shank of classic forms, as opposed to the slimmed-down, delicate approach used to improve the shape by, say Asteriou." We both agree that, on the whole, Ingo has made a truly beautiful shape here. A conservative design, this piece shows its beauty through a precise proportioning of the bowl and shank, minutely tilting the rear face up to avoid a static composition. You see, working within the design of the classic canonical shapes can yield something just as inventive as a Danish Freehand, but with results more subtle, constantly unfolding their beauty in a slow-burn.
-Seth Ellison-
The accompanying ad copy is interesting - I never realized that Ingo Garbe only makes smooth pipes:
Let's be perfectly honest, 'back in the day' most pipes that were sandblasted were subjected to the process because they contained flaws. Smooth pipes bring more money. But like Impressionism or skipping records, it's just a mistake that everyone just got around to liking. Even though Ingo Garbe is funneling down his potential for customers and markets, he must feel that sandblasting is sort of dishonest, because he just doesn't do it. In saying that, there's simply nothing to hide on this pipe, because the birdseye is, in a word, stupendous, and the cross grain, almost dead center.
Now onto to the shape. It's one of the best Liverpools I've ever seen. But don't take just my word for it. Eric (who's seen far, far more of the shape than I), can attest: "It's one of the best Liverpools I've ever seen; the best that kept the thicker shank of classic forms, as opposed to the slimmed-down, delicate approach used to improve the shape by, say Asteriou." We both agree that, on the whole, Ingo has made a truly beautiful shape here. A conservative design, this piece shows its beauty through a precise proportioning of the bowl and shank, minutely tilting the rear face up to avoid a static composition. You see, working within the design of the classic canonical shapes can yield something just as inventive as a Danish Freehand, but with results more subtle, constantly unfolding their beauty in a slow-burn.
-Seth Ellison-
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