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Paul Evans Midcentury Burl Wood Floating Display Cabinet

$6,995

About

Paul Evans midcentury burl wood floating display cabinet. Measures: 24.5 wide x 13.75 deep x 48.25 high. Veneer Loss. All pieces of furniture can be had in what we call Restored Vintage Condition. That means the piece is restored upon purchase so it’s free of watermarks, chips or deep scratches with color loss - all of this is done at no additional cost to you, but it will take a bit longer to ship if you choose to have it restored.

Details

  • Creator
    Paul Evans (Manufacturer)
  • Dimensions
    Height: 48.25 in. (122.56 cm)Width: 24.5 in. (62.23 cm)Depth: 13.75 in. (34.93 cm)
  • Style
    Mid-Century Modern (Of the Period)
  • Materials and Techniques
  • Place of Origin
  • Period
  • Date of Manufacture
    circa 1970s
  • Condition
    Wear consistent with age and use.
  • Seller Location
    La Grange, IL
  • Reference Number
    Seller: 2019-118641stDibs: LU5408220960242

Shipping & Returns

  • Shipping
    Rates vary by destination and complexity. We recommend this shipping type based on item size, type and fragility.
    Ships From: La Grange, IL
  • Return Policy

    This item cannot be returned.

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If your item arrives not as described, we’ll work with you and the seller to make it right. Learn more

About Paul Evans (Manufacturer)

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.

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Located in La Grange, IL
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