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Paul Evans Deep Relief Cabinet Designed in Metal



An exceptional Paul Evans signed and dated 1972 handcrafted “Deep Relief” Brutalist sideboard/cabinet made of brushed polychrome steel, slate, and wood. This a truly unique and modern angular form piece of furniture. Paul Evans is well known for his unique and beautifully finished pieces of furniture, for which he spent countless hours perfecting himself. This piece is no exception, the doors are decorated in hues of green, red, blue, gold, bronze, and yellow polychrome colors on a slate and metal base. The top of the piece consists of slate inlayed pieces nailed to the top with rivets in a gorgeous finish. The interior is finished in a red lacquer with red and black striations and multiple levels of shelving. The doors are a true masterpiece and no detail was skimped on them, because of the high quality materials used to make this piece, it should be mounted to a wall due to the weight of the metal doors. United States, circa 1972.


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    Ships From: New York, NY
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About Paul Evans (Artist)

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 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 Philip 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 cabinets. Later in the decade and into the 1970s, Evans produced his Argente series: 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 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.

About the Seller
4 / 5
Located in New York, NY
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