Thirty seven centimetres from the top of the wooden neck to the base of the stone, and only 12 across at the widest point. The neck narrows, the stone swells out below it and then closes back in, so the whole thing reads as a single drawn shape rather than a shade on a wire.
Length is the point. This is the piece for rooms where the ceiling is too high for anything ordinary to look right, and where a short pendant on a long cable looks like an afterthought. Here the fitting itself does the falling.
Where it earns its place
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Stairwells and double height spaces. Seen from three floors and from underneath, and it holds its proportion from all of them.
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Over a dining table in a tall Victorian room. Fills the vertical gap that a 12 cm drum leaves open.
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Single, never in a row. A shape this long repeats badly. One of these is a decision; three is a fence.
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Against a plain wall. There is enough going on in the silhouette that it needs nothing behind it.
Real stone, so no two are the same
A 37 cm piece is turned from a tall block, which means you are looking at a long vertical section of the bedding. Every one carries a different sequence of bands and pits running down its length, and on the black stone those pits catch light as pale flecks. The wooden neck is solid and has its own grain.
Hanging it
Two hundred centimetres of cable, cut on the day. Measure to the bottom of the stone and remember the fitting itself takes 37 cm, so the cable does less work than you expect. In a stairwell, sight the base from the landing rather than measuring from the floor below. Over a table, 70 cm from the tabletop to the base. The 12 cm wooden ceiling plate covers a standard rose. Warm white E27 LED bulb included. Not dimmable, and it wants a qualified electrician.
