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Coffee Table by Paul Evans PE 400 Series for Directional

About

Paul Evans for Directional, PE-400 series, circa 1968 Chrome and burl walnut plates, glass The base is 30" x 30" and 15.25" tall. Consisting of ten sections. Glass is either 39 x 39 inches or 48" diameter round glass (optional). This item is located in our subsidiary location in Auckland, New Zealand and is available for purchase by clients located in NZ, Australia and the United States. For those in the United States seeking purchase, please contact us for an adjusted shipping price dependent on location. Produced by Paul Evans Studio for Directional, circa late 1960s. Signed "Paul Evans" and in outstanding condition. This coffee table comes with either a 3/4" 48" diameter round glass sheet with polished edge or a 3/4" square glass sheet (39" x 39") with bevelled edge. Please specify, both are in excellent condition with no chips. Both glass sheets are from Directional and original vintage. Please specify which sheet is desired. This table is in outstanding condition and will impress. Almost no marks to any of the plates, with the chrome vibrant and the Burl Walnut rich and near flawless with all original foot glides present. The perfect cocktail/coffee table and an excellent example of Evan's Cityscape series.  

Details

  • Condition
    Excellent. Almost like new condition..
  • Dimensions

    H 16 in. x Dm 48 in.

    H 40.64 cm x Dm 121.92 cm

  • Diameter
    48 in. (121.92 cm)
  • Seller location
    South Charleston, WV
  • Seller reference number
    Paul Evans
  • Reference number
    LU161628246353

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About Paul Evans (Designer)

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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