Paul Evans Cityscape Cubist Dining Chairs Mid-Century Modern Boucle Fabric 1970s

Barbara Barry intends for her furniture designs to connect people to the splendor of the natural world around them. Her lounge chairs, tables and other pieces reflect the influence of the Hollywood Regency style as well as Barry’s admiration for organic materials and the subdued color palettes of the great outdoors. Simple and calming, her furniture is quietly elegant and has garnered Barry renown worldwide as a leader in interior design.

A native of California, Barry was surrounded by artists from the moment she was born and credits her mother with instilling a strong sense of confidence in her. Barry’s mother, a painter, encouraged her to nurture her creative impulses. The designer initially pursued a degree in art — she is an active painter today — but quickly eschewed the norms of formal education, leaving school to travel through Europe.

While traveling, Barry fell in love with the wines and cheeses of the cities she visited, inspiring her to open her own cheese shop in Mendocino upon her return to California. Her predilection for interior design quickly began to show itself as she went about setting up and running her store, and Barry began drawing designs for her own furniture. She moved to Los Angeles and established her own design firm in 1985.

Working with small local businesses to get her pieces made, she became more passionate about expressing herself through her furniture and quickly amassed a following for her work. Today, for its thoughtful merge of clean lines, 1940s Hollywood glamour and the soft palettes of the sea, sky and foliage of her state, her understated furniture is an international success.

Barry is expressly opposed to the use of patterns, opting instead for solid neutrals that pair well with warm brass or vintage bronze lighting fixtures and allow for the colors in a painting on the living room wall to pop. She is focused on bringing harmony and order into a space, and her minimalist designs — acid-washed mahogany side tables, armchairs with dark stained rattan backrests — are sought after by A-list celebrities, politicians and leading manufacturers alike. Barry has created exclusive furniture collections and home decor for legendary brands including Baker Furniture, McGuire Furniture Company and others.

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A designer and sculptor, Paul Evans was a wild card of late 20th century modernism. A leading light of the American Studio Furniture movement, Evans’s sideboards, credenzas, coffee tables and other work manifests a singular aesthetic sense, as well as a seemingly contradictory appreciation for both folk art forms and for new materials and technologies.

Evans’s primary material was metal, not wood, which was favored by his fellow studio designers, and Bucks County, Pennsylvania, neighbors George Nakashima and Phillip Lloyd Powell. He trained in metallurgy and studied at the Cranbrook Academy of Art, the famed crucible of modern design and art in suburban Detroit. For a time early in his career, Evans also worked at Sturbridge Village, a historical “living museum” in Massachusetts, where he gave demonstrations as a costumed silversmith.

Evans’s earliest work unites these influences. The pieces that made his reputation are known as “sculpted-front” cabinets: wood cases faced with box-like high-relief patinated steel mounts laid out in a grid pattern. Each mount contains a metal emblem, or glyph, and the effect is that of a brawny quilt.

Evans’s later work falls into three distinct style groups. His sculpted-bronze pieces, begun in the mid-1960s, show Evans at his most expressive. He employed a technique in which resin is hand-shaped, and later sprayed with a metal coating, allowing for artistic nuance in the making of chairs, tables and case pieces. Later in the decade and into the 1970s, Evans produced his Argente series for celebrated manufacturer Directional (​​a brand known to vintage mid-century modern furniture collectors everywhere): consoles and other furniture forms that feature aluminum and pigment-infused metal surfaces welded into abstract organic forms and patterns.

Last, Evans's Cityscape design series — a milestone in the history of brutalist design — meshed perfectly with the sleek, “high tech” sensibility of the later ’70s. Evans constructed boxy forms and faced them with irregular mosaic patterns that mixed rectangular plaques of chromed steel, bronze or burlwood veneer. These, like all of Paul Evans’s designs, are both useful and eye-catching. But their appeal has another, more visceral quality: these pieces have clearly been touched by an artist’s hand.

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