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Paul Evans Sculpted Bronze Dining Table

About

A rare dining table in the sculpted bronze series by Paul Evans for Directional. Studio crafted in New Hope, PA, circa 1970s. Paul Evans was known for crafting fine furniture by using welding techniques and different types of metal for construction and ornamentation. This table was very cubism in style and features three interlinked steel cubes. Their surface was decorated with his iconic geometrical lines and pattern and was applied with polychrome enamels and crushed bronze to give them an eye catching texture. A rare model from the repertoire of the one of the most innovative American designers of the 20th century. The base itself measures 29.25h by 20 d by 60 w. It is currently supporting a glass top of 44 by 82, but it can support a much larger glass top if desired. Alternatively, it can also be used as a bespoken base for a console table, a desk or a center table.

Details

  • Condition
    Excellent. Excellent to very fine vintage condition, minor wear, rust and patina on the metal commensurate with age and expected in Paul Evans work..
  • Wear
    Wear consistent with age and use.
  • Dimensions

    H 30 in. x W 82 in. x D 44 in.

    H 76.2 cm x W 208.28 cm x D 111.76 cm

  • Seller location
    North Miami, FL
  • Reference number
    LU90451111472

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About Paul Evans (Maker)

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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