Product Highlights Material: Natural Solid Wood throughout, thick in section and left honest — knots, colour shifts and mineral streaks are kept rather than filled. Top: A wide plank slab, rectangular overall, its long front edge left gently irregular so the line rises and falls the way the tree grew. Top build: Made up of full-thickness boards joined edge to edge, with the joint lines and the colour change between neighbouring boards left plainly visible. Supports: Two thick upright panels of wood, standing separately, one under each end of the slab. Left panel: Pierced by a single tall oval opening cut clean through, with the inside of the cut carved smooth and polished all round. Right panel: Solid, with no opening, and cut with a stepped shoulder down its inner side so its outline is deliberately different from its partner. Stance: Each panel bears on its own flat sole. Two footprints, both flush to the floor. Overhang: The slab runs on past both panels, leaving the far ends of the top unsupported. Structure: Nothing opens — no drawers, no doors, no lower shelf and no metal on show. Surface: Sanded fine and finished to a soft sheen that lets raking sunlight travel right across the plank. Sizes: Made in five widths — 42"W × 12"D x 30"H, 47"W × 12"D x 30"H, 54"W × 14"D x 30"H, 60"W × 14"D x 30"H and 65"W × 14"D x 30"H. A Statement of Nature Here is a console that does not pretend to be one continuous gesture. It is a plank on two uprights, and it says so. What lifts it out of the ordinary is that the two uprights refuse to match: one is opened up with a long oval window, the other is left whole and given a stepped shoulder, so the piece has a different character seen from each end. The top is equally unapologetic. You can see where one board meets the next, and you can see that the boards were not colour-matched into uniformity. That is the wabi-sabi position — a made thing should carry the record of how it was made — and it is why this console suits a bright, lived-in room far better than a showroom. Put it under a window and watch it earn its keep. Low sun rakes along the plank, catches every ripple in the front edge and throws the oval opening as a bright ellipse onto the floor. Natural Materials & Craftsmanship The stock is chosen thick. Panels this size have to be, because each one is asked to stand unbraced and carry half a loaded slab without any rail or apron behind it to steady it. Choosing boards with the grain running vertically through the panel is what makes that possible, and it is a decision taken at the bench long before any shaping starts. The oval in the left panel is cut through and then worked from both faces until the two openings agree and the wall between them is a single even curve. Because that wall is seen from across a room, it gets the same abrasive sequence and the same finish as the outer faces — a shortcut there would show up as a dull band every time the light moved. On the top, the front edge is dressed only as far as it needs to be. Splinters and roughness go; the waver stays. Boards are jointed tight, then the whole surface is levelled and brought up through fine grits, leaving joint lines you can see but not feel. Colour is described as a tone finish rather than a species. Brown Tone Finish, Walnut Tone Finish, Oak Tone Finish and Black Tone Finish all name a colour applied to the surface of Natural Solid Wood. Sculptural Design Three components and nothing else in the piece. The slab: a flat rectangular top, level across its whole length, squared through the thickness, corners softened, front edge left with its natural rise and fall. The pierced panel: a thick vertical support with a single tall oval cut through it, positioned high in the panel so the opening sits at eye level from a seated position. The solid panel: a thick vertical support of matching height with no opening, its inner edge cut back in one clean step partway down. Ground contact: two flat soles, one beneath each panel, resting directly on the floor. Nothing is raised and nothing tapers to a point. Storage: none at all. The oval is a window through the support, not a compartment, and there is no shelf between the two panels. Setting the supports inboard rather than at the extreme ends is what makes this practical in a real room. The floor between the two panels stays entirely clear, which is where a basket of firewood, a row of boots or a folded throw ends up living; and the overhanging ends give you somewhere to stand close to the surface without knocking a shin. The open span also means the console can straddle a floor vent or a low radiator that a cabinet would block. Versatile Placement Long, shallow and sturdy, so it takes daily use rather than merely being looked at. Entryway: a working drop zone for post, gloves and a lamp, with room underneath for shoes. Hallway: steady enough to lean on, narrow enough to keep the passage clear. Living room: along a window wall as a display ledge, where the oval opening catches the light. Behind a sofa: at the right height for lamps and books, with the open span keeping the room visually continuous. Dining room: as a serving ledge for platters and glassware, with baskets stored on the floor beneath. Customization Sizes outside the standard run can often be built to order — give us the wall length and where the piece will sit and we will let you know. The standard sizes are: 42"W × 12"D x 30"H 47"W × 12"D x 30"H 54"W × 14"D x 30"H 60"W × 14"D x 30"H 65"W × 14"D x 30"H Four tone finish options are available: Brown Tone Finish, Walnut Tone Finish, Oak Tone Finish and Black Tone Finish. These are all surface tone finishes, not species of timber — the console is Natural Solid Wood in every case. The photographs happen to show the piece in more than one of them, which is worth studying: the warm and pale tone finishes keep every board line and knot in full view, while the Black Tone Finish quietens the boards almost completely and leaves the oval opening and the stepped shoulder doing all the work. Natural grain and tonal variation make every piece one of a kind, so the board pattern across your top and the figure inside your oval will be particular to your table. Production photos or a short video can be supplied on request before dispatch. Minor dimensional variation may occur due to the handcrafted process. Care & Maintenance Dust along the length of the boards with a soft dry cloth; a dry brush lifts dust out of the joint lines. Wipe the inside of the oval with a folded cloth pushed through the opening, working right around the curve. Blot spills at once and dry the plank thoroughly, paying attention to the joint lines where liquid can sit. Use coasters and felt pads under vases, baskets, lamps and anything with a rough or metal base. Keep it out of prolonged direct sun and away from radiators and vents, which dry the boards unevenly. Never use bleach, solvent cleaners or scouring pads; a mild soap on a barely damp cloth is sufficient. Wax or condition the top once or twice a year, and give the front edge a little extra since it is handled most. Lift, never drag — each sole is flat and broad and will mark a soft floor if pushed across it. Important Once our products are finished, we disassemble them into several pieces before shipping. This isn't a shortcut — it's actually to protect your order! Our pieces can be large and bulky, so breaking them down makes them much easier to package securely and move safely, which means your item arrives without any dents, cracks, or damage from bumps during transit. No worries about assembly, though — our craftsmen carefully design every joint and connection to fit together snugly and precisely once you put it together. Plus, we include detailed assembly instructions with every order, so you can set everything up with confidence. Note Each piece is handcrafted from Natural Solid Wood with unique grain and tonal variation. Listing includes the console table only, in the size and finish selected. Decorative items shown in the photographs — the pale textured ceramic bud vase with its dried branches, the round woven basket vessel with the small loop handle, the shallow woven basket bowl, the pale driftwood sculpture on the windowsill behind, and the grey sofa and woven rug in the room — are not included. The two supports are of deliberately different design: one carries the oval opening, the other is solid with a stepped shoulder. This is intentional and not a fault. Visible joint lines and colour differences between neighbouring boards on the top are a feature of solid plank construction. The oval opening passes right through its panel and offers no storage; there is no drawer, cabinet or shelf on this design. Tone finishes can appear different on screen from how they read in daylight.
Related
Related
Related
Related