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Paul Evans Important "Sculpture Front Cabinet", 1979

$550,000

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"Sculpture Front Cabinet” in welded and patinated steel, color pigments, 24-karat gold leaf, painted wood with granite top by Paul Evans, American 1979. This piece comes with the original invoice from The Paul Evans Studio showing a drawing of this piece. It was designed for a client who wanted a custom top. On the invoice it states: "No slate. Oxidation to emphasize coloration of granite sample." This piece was designed to hang on the wall; however we fabricated a wood base for it. We are happy to fabricate a new wood base for the buyer to customize the height. This is a rare important iconic work by Paul Evans. Reference: Constance Kimmerle, Paul Evans, Crossing Boundaries and Crafting Modernism, published by Arnoldsche Art Publishers in 2014, a similar example is shown on pages 162 & 163, Cabinet (Forged-Front), 1964. Adam Lindemann, Collecting Design, Cologne, 2010, pp. 172-173 (for a related sideboard from the “Sculpture Front” series) Jeffrey Head, Paul Evans: Designer & Sculptor, Atglen, PA, 2012, pp. 40-41 (for a related cabinet from the series) Sothebys Important Design Sale, May 23 2019, a “Sculpture Front Sidebaord” sold for $536,000.

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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
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Located in New York, NY
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