rarely has occasion to question. In La Grange, where workshops run leaner and material waste carries sharper consequences, the distinction between Black Limba and White Limba is not academic—it is the difference between a commission fulfilled and a commission compromised. The grey-to-black veining that earns the wood its darker name must appear with enough consistency across sequential leaves that a cabinetmaker can plan around its movement, and Rosebud's flitch-matched sourcing ensures that the dramatic figuring arriving in La Grange carries the same tonal authority it held at the mill. That authority, once established in a midwestern shop where golden-brown heartwood darkens predictably with age and finishing, becomes the kind of reputation that travels—carrying the conversation further, toward La Jolla, where coastal light and client expectation will test these same sheets under