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Burr and Chrome Paul Evans Cityscape Extendable Dining Table, 1970s


A Paul Evans (1931-1987) designed Burr and Chrome Extendable Dining Table produced for Directional 1970s Part of his Chrome 200 series most commonly known as the Cityscape Collection, a series that ran from 1971 to 1981, this table is a fine example of the combination of classic chrome plated steel against the rich burr veneer panels. The table can comfortably seat 10 people but this can be increased to approximately 14 people. The full breakdown of the tables dimensions are listed beneath: Width: 300.5cm (118.3 in) [Width not extended 244.5cm (96.26 in)] Interior width when not extended 112cm (44 in)- increases to 168cm (66.14 in) Height: 75.0cm (29.5 in) [Height to underside of table top 65cm (25.6 in)] Depth: 112.0cm (44.1 in) Paul Evans was born in Pennsylvania in 1931. He studied sculpture, metal work and silver and gold smithing. In the 1950s Evans began his career making copper chests and sculpted steel-front cabinets. In 1964 Evans became the designer for furniture manufacturer Directional Furniture. With them he introduced several series of furniture lines; such as the Argente series of one off studio pieces, Sculpted Bronze series and the popular Cityscape series. His relationship with them set a very high standard for creative manufacturing, insisting that every piece is made and finished by hand under his strict supervision. In 1979 Evans opened a showroom in New York. Here he created full lines of furniture as well as the exclusive museum like pieces that he produced for Directional. His pieces were almost always signed and all of the custom items have a signature and a date. Paul Evans' combination of handcraft and technology anticipated the limited edition art furniture of today. His designs are easily identifiable and highly collectable.


  • Condition
  • Wear
    Wear consistent with age and use.
  • Dimensions

    H 29.53 in. x W 118.31 in. x D 44.1 in.

    H 75 cm x W 300.5 cm x D 112 cm

  • Seller location
    London, GB
  • Seller reference number
  • Reference number

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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.

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