We could make it any size, technically, but we designed the Olenna Table to work best at scale. The top is a full 2” thick of salvaged barn wood, and is secured to the leg assembly by an oversize, and handsome, cradle structure. It’s a trestle style table, so named for the heavy-duty horizontal beam supported by the also heavy-duty curved leg at each end.
The beam slots right-through a hole cut in the leg, and is secured on the other side by a wedge shaped peg. The beam is thicker on the inside of the leg, and steps down where it passes through, creating a collar that locks the leg against the wedge on the other side.
The peg may back off occasionally, as the timber responds to seasonal variations in humidity. It’s satisfying to hammer it back into place with a mallet (or regular hammer and a scrap of wood), thus pulling the joints tight and returning the table to dance-on-it level stability.
Available in two sizes:
• 7' long x 38" wide x 30" tall
• 8' long x 40" wide x 30" tall
The 8’ version fits three average size chairs between the legs, and the 7’ version fits two large chairs. Visually speaking, with a chair at each end, the table looks best, day-to-day with eight or six chairs, respectively.
In terms of seating, the 7’ will accommodate eight people, ten if you really, really push it – that’s only 16.5” per person on each side (a bench would be good), not including the ends. And the 8’ table will accommodate 10 nicely. Because it’s not a four leg table, and with the curved legs considerably narrower then the top, it’s not bad to end up seated on the leg.
The finish, as shown, is clear lacquer only. No stain, no colour added. The colour of the table is the colour of the material. The old pine is milled only slightly, just enough to remove the years old accumulation of dirt, but not so much to remove the rich patina. Ample texture remains. Major damage is blended, and in places, filled with black epoxy.
Finally, the meticulously inlaid top. It’s a mortice-and-tenon frame, with exposed joinery on the ends, and with three inlaid sections. The inlay and the frame are slightly beveled where they meet – with no gaps – for a shadow line, and to impose some order on the otherwise free flow, organic appearance. A plywood substrate below keeps the inlay stable, and locked in place.
This level of production value is seldom associated with so rustic a table. It’s unexpected, and it sets up a bit of a tension – rustic and refined.