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Paul Evans "Cityscape" Burl and Chrome Dining Table, circa 1970s

About

Grand-scale dining table from Paul Evans’ blockbuster "Cityscape" series for Directional Furniture, 1977 production. This is our favourite "Cityscape" design; without leaves, the substantial tessellated-chrome base appears to pierce the patchwork burl-elm top. A 4-1/4"-high skirt gives the top a substantial presence, and leaves 25-1/4" of height underneath to accommodate armchairs. It is clad in a beautiful patchwork burled elm in original finish and well preserved. The top sits on a curved-cornered rectangular base, 20" D x 41" W, in patchwork polished chrome tiles. The top centre panel is in the same chrome material. The table seats eight without leaves (78" W x 48" D x 29-1/4” H), and 12 with the two perfectly matching 15" leaves inserted, which extends the length to 108.5". Signed "Paul Evans" on the base. Beautiful vintage condition. Includes a set of five custom felt and vinyl interlocking table pads. See this item in our Brooklyn showroom, 61 Greenpoint Ave., Suite 312, Brooklyn, 11 a.m. to 5 p.m. Tuesday through Friday and by appointment.

Details

  • Period
  • Materials and techniques
  • Condition
    Excellent. Some superficial scratching to chrome, heavier toward base of the table; a few minor dings to the base; some minor oxidation to edges of chrome panels; burl is in excellent condition and has been touched up; minor crackling to areas of burl finish.
  • Wear
    Wear consistent with age and use.
  • Dimensions

    H 29.25 in. x W 108.5 in. x D 48 in.

    H 74.3 cm x W 275.59 cm x D 121.92 cm

  • Seller location
    Brooklyn, NY
  • Reference number
    LU102368139423

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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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