Paul Evans for Directional Large-Scaled Wall-Mounted 'PE 122' Bar Cabinet in Sculpted Bronze

Paul Evans, Paul Evans Studio for Directional, largely sized wall-mounted bar cabinet, model 'PE 122' epoxy bronzed resin over laminate, painted wood, United States, 1968

A very rare example of Paul Evans’ work; this model has appeared only a handful of times on the market over the past two decades. The PE 122 wall-mounted bar cabinet is handmade in his own studio in Plumsteadville in 1968, making this one of the earliest known examples. It exemplifies Evans's meticulous and idiosyncratic approach to experimenting with metals and proportions. Beyond its striking composition, the cabinet is remarkable for its impressive scale, measuring 183.5 cm (72.24 in.) in diameter, which gives it a strong visual presence.

Evans departed from the traditional values of the designer-craftsman, which prioritize respect for materials and functional simplicity. Instead, he showed a keen interest in manipulating materials and creating artificial aging effects. However, he maintained a strong belief in the importance of the craftsman's expertise and ingenuity as the foundation for innovation and replication. The emphasis on surface treatment became the defining characteristic of his furniture designs. As Evans articulates the essence of his oeuvre, handmade product should bear the mark of the hand. Mere good lines are insufficient, as those can be industrially produced. Furniture ought to embody detail and richness. Evans employed the technique of Sculpted Bronze to create the distinctive forms evident in this cabinet. The appearance is reminiscent of stalagmite known for its rugged and jagged texture. This approach to metalworking allowed for the intricate sculpting and shaping of bronze, resulting in the unique aesthetic qualities of Evans' design.

As with other works by Evans, the interior features deliberately exposed brushstrokes. The drawer and one door panel feature the same application as the exterior.

Bronze series

The bronze series was introduced by Evans in 1964 at Directional, with production being a blend of traditional craftsmanship, spontaneous artistry, and experimental technology. To create the pieces, Dorsey Reading fashioned a plywood base shape which was then coated with epoxy and sprayed with bronze using a technique adapted from shipbuilding. In certain instances, Evans and Reading added more bronze mixed with epoxy and sandblasted it onto a frame using sterilized play-box sand. Alternatively, fragments of steel "rock," hammered leftovers from the previous day, were affixed to the epoxy for a sculptural effect. Evans' PE100-200 Bronze series ultimately became Directional's most enduring and best-selling collection.

The piece is signed with "PE 68" to the underside of the cabinet.

Biography

Paul Evans (1931-1987) was among one of the most important American Studio Craft Movement members. Together with artists such as Wharton Esherick and George Nakashima, he helped to make the Philadelphia region a prominent center for the Studio Craft in the late 1960s. Born in Newton, Pennsylvania, Evans studied at a few different institutions such as the Philadelphia Textile Institute, the Rochester Institute of Technology, School for American Craftsman, and the Cranbrook Academy of Art. Eventually, he was drawn to New Hope, Pennsylvania, in 1955 where he collaborated and shared a showroom with Phillip Lloyd Powell until 1966. Powell’s woodwork and Evans' metal craftsmanship combined into a creative partnership. During this period, he started to create furniture with metal and sculpture by which he manipulated materials to achieve expressive surface effects. In 1964, Evans started working for the Directional Furniture company where he pursued a new phase of his career. Directional offered him new opportunities for selling his work throughout the US and he continuously introduced new lines. However, his line proved to be too expensive and by the end of the seventies, he ended his relationship with the company. It was also throughout the seventies that Evans started to replace these crusty, textured surfaced, that were patinated with paint and acid, with dazzling, reflective metal surfaces that were sometimes mixed with woods. Evans’ oeuvre has an impressive size especially when regarding all pieces were handmade. On March 6, 1987, the artist shut down his business and, unfortunately, died the next day due to a heart attack.