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There are furniture makers, and then there are those rare individuals who treat wood the way a sculptor treats marbel — coaxing form from the material rather than imposing it. David N. Ebner belongs to the latter category, and this wall-mounted console table is among the most distilled expressions of his lifelong pursuit: furniture as quiet, enduring art.
Crafted from highly figured Australian lacewood — a timber prized for its luminous, lace-like ray figure that seems to shift under changing light — this "demilune-form" console floats from the wall with an architectural confidence. The top is a shallow wedge shape, its angled front edge hand-chamfered to a clean bevel that runs the full width of the piece. Rather than a conventional apron, Ebner routes the structural tension through two dramatically elongated, hand-carved legs that splay and taper to fine points, terminating in small ebonized wood feet. The junction where leg meets top is one of the finest details in the piece: a flowing, organic transition — more grown than built — where the wood seems to exhale from structure into surface.
Exposed joinery at the leg-to-top connections is not an oversight but a deliberate statement. Ebner's work has always honored the intelligence of craft, and here the joinery is presented as its own form of ornament — legible, honest, and precise.
About David N. Ebner
David N. Ebner (American, b. 1945, Buffalo, New York) is a master woodworker and a central figure in the American Studio Craft movement. He studied at the School for American Craftsmen at the Rochester Institute of Technology under the legendary Wendell Castle, then furthered his studies at the London School of Furniture Design. After two years of military service, he established his studio on Long Island's south shore in 1973 — and has been making what he calls "antiques of the future" ever since.
His career received national recognition in 1975 when his Renwick Stool was acquired for the Smithsonian Institution's Renwick Gallery permanent collection. His work is also held by the Art Institute of Chicago, the Museum of Fine Arts, Boston, the High Museum of Art, Atlanta, and the Yale University Art Gallery, among others.
Ebner's design philosophy centers on elegant simplicity — stripping classical forms to their essential geometry while amplifying the inherent expressiveness of natural materials. This console is a perfect embodiment of that ethos: nothing extraneous, everything deliberate.
Provenance:From a private New York collector.
There are furniture makers, and then there are those rare individuals who treat wood the way a sculptor treats marbel — coaxing form from the material rather than imposing it. David N. Ebner belongs to the latter category, and this wall-mounted console table is among the most distilled expressions of his lifelong pursuit: furniture as quiet, enduring art.
Crafted from highly figured Australian lacewood — a timber prized for its luminous, lace-like ray figure that seems to shift under changing light — this "demilune-form" console floats from the wall with an architectural confidence. The top is a shallow wedge shape, its angled front edge hand-chamfered to a clean bevel that runs the full width of the piece. Rather than a conventional apron, Ebner routes the structural tension through two dramatically elongated, hand-carved legs that splay and taper to fine points, terminating in small ebonized wood feet. The junction where leg meets top is one of the finest details in the piece: a flowing, organic transition — more grown than built — where the wood seems to exhale from structure into surface.
Exposed joinery at the leg-to-top connections is not an oversight but a deliberate statement. Ebner's work has always honored the intelligence of craft, and here the joinery is presented as its own form of ornament — legible, honest, and precise.
About David N. Ebner
David N. Ebner (American, b. 1945, Buffalo, New York) is a master woodworker and a central figure in the American Studio Craft movement. He studied at the School for American Craftsmen at the Rochester Institute of Technology under the legendary Wendell Castle, then furthered his studies at the London School of Furniture Design. After two years of military service, he established his studio on Long Island's south shore in 1973 — and has been making what he calls "antiques of the future" ever since.
His career received national recognition in 1975 when his Renwick Stool was acquired for the Smithsonian Institution's Renwick Gallery permanent collection. His work is also held by the Art Institute of Chicago, the Museum of Fine Arts, Boston, the High Museum of Art, Atlanta, and the Yale University Art Gallery, among others.
Ebner's design philosophy centers on elegant simplicity — stripping classical forms to their essential geometry while amplifying the inherent expressiveness of natural materials. This console is a perfect embodiment of that ethos: nothing extraneous, everything deliberate.
Provenance:From a private New York collector.
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Wood Care
Keep the furniture in a cool, dry place
Avoid furniture's direct exposure to rain, sun or wind
Avoid placing hot objects directly on the piece to prevent undesirable marks or permanent circles.
Avoid placing objects that may cause scratches to the surface
Clean using water only in small quantities and apply it with soft, damp cloth
After damp cloth wipe with a soft, dry cloth
You can use other liquids that are especially for cleaning wood furniture. Take into account the type of wood and follow the manufacturer's instructions
Upholstery Care
Do not expose directly to sunlight to provide greater durability colors
Exchange both side pads, the seat and backrest, to obtain uniform wear
Shake the cushions regularly to remove dust and to maintain the stability of the form
Clean regularly with a vacuum cleaner in good condition
Use a textile fabric cleaning substance according to and following the manufacturer's instructions
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