Sculpted Metal Dining Table (no. PE21) For Sale
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Sculpted Metal Dining Table (no. PE21)

About

A Massive Sculptural Studio Dining Table by Paul Evans, USA, 1967 The base in welded steel with braised bronze decoration is comprised of one oversized double pyramid flanked by two supporting pyramids, each turned on their sides giving this sculptural base great mass with remarkable grace. Each side of the pyramid is decorated uniquely by the artist. This table is catalogued as PE 21 done by Paul Evans Studio for Directional at the outset of their representation. It was marketed as the “Double Bow-tie.” Large studio sculptural tables of this genre are quite rare. This base at nearly six feet long can support a very large glass top of up to 10 ft long to seat 12. Signed and dated: PE67

Details

  • Dimensions
    H 29.5 in. x W 95.5 in. x D 47.5 in.H 74.93 cm x W 242.57 cm x D 120.65 cm
  • Seller Location
    New York, NY
  • Reference Number
    LU800810463711
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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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Associations: 20th Century Specialists
1stdibs seller since 2004
Located in New York, NY
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