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Paul Evans Rare and Important "Wavy Front" Dining/Console Table 1970s (signed)



Important "Wavy Front" dining table in bronzed resin with glass top by Paul Evans, American 1970 (signed "PE 70”). With a smaller glass top this could be used as a console table. This series is very rare and this particular table exemplifies that unique art that is Paul Evans. This table has not been shown in the market before. This piece was created from a mixture of epoxy resin and sand applied to a plywood base and sculpted into various swirls, drips and other patterns. Once hardened, the piece was sandblasted, sprayed with an atomized bronze finish, varnished, blown with a torch to provide a smoky look, polished, and then varnished again. The resulting work has a metallic sheen but is lightweight compared with something made of cast bronze. Provenance: Private Collection, New Jersey, since purchase from the artist’s studio. Reference: Paul Evans, Crossing Boundaries and Crafting Modernism by Constance Kimmerle, published by Arnoldsche Art Publishers in 2014, a welded “Wavy Front” Cabinet is shown on pages 164-165. Photos showcase this design though the materials are different. Dimensions: Base: W: 62 inches D: 32 inches H: 28 inches Glass Top: W: 96 inches D: 48 inches H: .5 inch This table base can accommodate a much larger glass top if desired.


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About the Artist

Paul Evans

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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