Gorham Silver

Gorham Silver: Designing Brilliance 1850–1970, May 3, 2019‐December 1, 2019
When Jabez Gorham founded a small workshop a few blocks from here in 1831, handcrafted silver
spoons were a principal product of his business. When the RISD Museum acquired a Gorham spoon
in 1909, it marked the beginning of a collection of works by the Gorham Manufacturing Company
that today comprises nearly 5,000 objects and design drawings. This exhibition—assembled from the
museum’s collection with important loans from other institutions and private collections—
illuminates the heights of Gorham’s industry, ambition, artistry, technology, and innovation.
The Gorham Manufacturing Company was an inimitable force in the city of Providence and around
the globe, boldly growing into the largest silver company in the world. Gorham created some of the
most exceptional works ever made in silver, forever changing the landscape of American decorative
arts. The company also profoundly changed Rhode Island by training and employing generations of
highly skilled workers and, like many local industries, leaving behind a complicated legacy. Visit the
Gorham Workbench in this gallery and access the Soundwalk tour (information at right) to learn
about the company’s impact on the community, labor practices, and the environment.
Spanning 120 years, the objects on view here testify to the undiminished brilliance of Gorham’s
workers as they collaboratively translated ideas into gleaming new realities, the restless innovation
of the company’s leaders, and a dazzling array of aesthetic styles.
Elizabeth A. Williams
David and Peggy Rockefeller Curator of Decorative Arts and Design
RISD Museum
CHECKLIST OF THE EXHIBITION
Gorham Manufacturing Company, American, 1831‐

Charles T. Brandreth, American, 1908‐ca. 2000
Monumental Coffeepot in the Puritan Pattern, ca. 1950
Silver with ivory
Gift of Lenox, Incorporated 2005.118.43
Gorham created these larger‐than‐life designs for promotional use.

Precisely made to scale, the coffeepot was originally one of a pair.
Weighing an impressive 25 pounds, it was produced in Gorham’s
Puritan pattern, which was first introduced in the 1930s.
Monumental Spoon in the Melrose Pattern, ca. 1950
Silver
Gorham created these larger‐than‐life designs for promotional use.

The 15‐pound sterling‐silver spoon is one of several made, each
representing one of the company’s most popular flatware patterns.
The spoon’s pattern, Melrose, made its debut in 1948. This
example—nearly eight times the size of a typical teaspoon—has a
bowl big enough to hold a gallon of liquid.
Gorham Silver and American Industrialism

To Handle Silver As Though It Were Putty
Between 1831 and the 1850s, Gorham grew significantly, expanding from a small workshop to several
multistory buildings and from 14 to nearly 200 employees. These changes can be credited to John
Gorham, who joined his father’s business in 1841 and soon initiated seismic shifts in the traditions and
scale of New England silver production. He realized the need for machinery and equipment with, in his
words, “sufficient size and power for us to handle silver as though it were putty.”
John Gorham installed steam power in the manufactory in 1847. He then traveled to England in 1852 to
order a steam‐powered drop press designed to make silver wares—the first of its kind. In addition to
making flatware utensils for eating and serving, the company began creating elaborate hollowware
vessels such as tea services, with bodies formed by steam‐powered spinning machines.
The company’s advancements in modern mechanization were complemented by the employment of

experienced silversmiths well versed in a range of techniques and the establishment of a large library of
design references that emphasized ancient Greek, Roman, and Egyptian influences and naturalistic
studies of plants and animals from around the world.
Tea and Coffee Service, ca. 1860
Coin silver with gilding
The Gorham Collection. Gift of Textron Inc. 1991.126.215
Composed of five pieces—coffeepot, teapot, cream pitcher, sugar

bowl, and waste bowl—this tea service is characteristic of the
elaborate examples Gorham began making in the 1850s. In 1861,
after Abraham Lincoln was inaugurated as president, First Lady Mary
Todd Lincoln chose an eight‐piece service in this pattern for use in the
White House.
Tea Services
Silver tea services are more than finished objects designed to serve family, friends, and guests on
various occasions. A closer look at their forms reveals different styles, ornaments, and shapes,
encouraging consideration as to how Gorham silversmiths made them. Forms from three different
services have been aligned here for direct comparison, illustrating the similarities and differences
between the vessels.

Pattern 850 Tea and Coffee Service, 1871
Silver with gilding and ivory
Gift of Miss Mary Ann Lippitt 2001.74
Works in silver were often commissioned for important events. This

service celebrates the 25th wedding anniversary of Henry F. and Mary
Ann Lippitt, who were married in 1845. Each piece bears the date and
the engraved monogram M.A.L. In 1865 the Lippitts built a
Renaissance Revival house—which is still standing on Hope Street in
Providence—and this same style is found in the tea service’s arched
and scrolled borders. From 1875 to 1877, Henry Lippitt served as the
governor of Rhode Island.

Pattern 500 Tea and Coffee Service, 1871
Silver with ivory
Gift of Elizabeth Mayer Buchanek 2001.86
The consumption of tea and the social practices surrounding it

prompted Gorham to produce a plethora of silver vessels, services,
and utensils for the formal late‐afternoon event known as tea, which
was based on British customs. The American predilection for coffee in
the morning and after dinner added even more vessels to services.
Pattern 170 Tea Service, ca. 1860
Coin silver with ivory
Museum Acquisition Fund 2001.37
Made from about a dozen parts, this teapot was fabricated using
approximately the same number of processes. The body was shaped
by blunt tools that pressed a sheet of silver against a wooden chuck
as it spun on a lathe. The spout and circular handles were cast as two
halves and soldered together. The handles on vessels meant to hold
hot liquids required ivory insulators, so these were cut, inserted, and
pinned. The butterfly on the lid was cast as a single piece and
attached with tiny amounts of solder. The vessel’s body was fit
together from two parts, then the seam was covered by a border
created by passing the metal between small patterned rollers. An
engraver applied the garlanded medallion and monogram, and the
bands of geometric patterning were achieved by engine‐turned
engraving
Ancient Influences

George Wilkinson, English, 1819‐1894
Isis Ice Serving Spoon, ca. 1871
Silver with gilding
Museum purchase: gift of the Friends of the Decorative Arts
Department 1992.009
Conceived in 1870 by lead designer George Wilkinson, Gorham’s Isis

pattern is an example of Egyptian Revival style, popular in America
beginning in the late 1860s. The pattern is named after Isis, the
Egyptian goddess of magic and ideal womanhood. The gilded bowl of
this spoon, designed to serve ice, is formed by intertwined papyrus
and lotus plants that rise beneath the vulture wings and cobra—both
pairs of symbols representing the goddess’s unification of Upper and
Lower Egypt, respectively.
Shreve, Stanwood & Company, American, active 1860 ‐ 1869
Sugar Bowl, ca. 1867
Coin silver
Gift of The Wunsch Americana Foundation 1986.076.2

Shreve, Stanwood & Company, American, active 1860 ‐ 1869
Creamer, ca. 1867
Coin silver
Gift of the Wunsch Americana Foundation, Inc. 1986.170
After Napoleon’s military campaign in Egypt first influenced European

design in the early 1800s, Egyptian Revival style resurfaced in America
in the late 1860s, as the country looked beyond the Civil War to
current events that included the 1869 opening of the Suez Canal in
Egypt. Ancient Egypt is referenced in the geometric key and stylized
lotus‐blossom borders at the top of this sugar and creamer set, which
rests on feet formed as small sphinxes with wings.

Shreve & Company, American, 1852 ‐
Wine Decanter Set, ca. 1865
Coin silver and glass
Gift of Kathy Field Malavasic 2017.69.3
This decanter set features satyrs, ancient Greek mythological forest

creatures that are fond of pleasure. Satyrs are associated with
Dionysus, the god of wine, and here they may hint at the effects of
drinking alcohol. Mounted with characteristic horns, seven satyrs
hold oval rings in their mouths as four hairy legs ending in clawed
toes descend from the center sphere. The three cut‐crystal decanters
are held in place by circular silver frames interspersed with smaller
rings designed to hold the bottles’ stoppers.
Medallion Pitcher, 1864
Coin silver
Gorham’s design library, filled with volumes and objects from across
cultures and eras, provided references and inspiration for the
company’s designers. Ornamented with three female portrait
medallions, this pitcher reflects stylistic interest in ancient Greek and
Roman ornament. An 1862 inventory of Gorham manufactory lists a
set of classical plaster portrait medallions in the rooms of George
Wilkinson, the company’s lead designer, who excelled in creating
classical and Renaissance‐inspired forms and decorations.
Rococo Revival Repoussé
Gorham & Thurber, American, 1850 ‐ 1852

Tea Service, 1850
Coin silver
The Art Institute of Chicago, Mary Swissler Oldberg Fund, 2015.606.1‐
5; The Art Institute of Chicago, Bequest of Mrs. Frederick H. Wickett,
1952.1107 TL74.2019
The earliest example of hollowware on view is this silver service,

which served in the social ritual of tea and celebrated the marriage of
Emily Mandeville Cummings and Benjamin Rathbone Almy, who lived
in Rhode Island. Each of the service’s six vessels is decorated with
motifs suggesting its contents, such as the cream pot’s cow and
milkmaid.
The service was made during the brief time the company was known
as Gorham and Thurber, at the beginning of a pivotal period in which
the small‐scale manufactory ascended to ultimately become the
largest producer of silver in the world.
Cup, 1855
Coin silver
Gift of Mr. and Mrs. Abraham Percelay in honor of Maureen Percelay
Zusy 75.014
Middle‐class and upper‐class Americans purchased Gorham silver to

commemorate births, marriages, and other celebratory events.
Engraved with names, dates, and inscriptions, cups and goblets were
popular presentation forms.
The bulbous cup adorned with acorns was awarded to Henry C.

Johnson of the First Light Infantry Company, a Rhode Island militia
company formed in 1818 as more of a social club than a military
regiment, although many members went on to serve in the Civil War.
Decorated with chased roses and morning glories, the straight‐sided
cup with engraving presumably marks the 1854 birth of a girl named
Ida by her Uncle Benjamin. The goblet was purchased by parents who
inscribed it “For our little daughter Maria Dimond Norris December
25, 1862.”

Goblet, 1862
Coin silver
Rebekah at the Well Pitcher, 1852
Silver
Cincinnati Art Museum, Gift of Angeline Russell Faran, 1978.267
TL58.2019.1
Another early example of Gorham hollowware, this pitcher

represents the company’s foray into producing complicated works in
the Rococo Revival style, for which they received critical acclaim in
the 1850s. The elaborately wrought repoussé and chased scenes from
the Biblical story of the marriage of Isaac and Rebekah are well suited
to this work, which was purchased by a father to commemorate the
marriage of his daughter in 1854. Valued by Gorham as an exemplary
achievement of their advancing silversmithing skills, the pitcher was
depicted front and center in an 1852 print advertisement,
representing the company’s “rich stock of the finest quality of silver.”
Bounty of the Land

M. W. Galt Bro. & Co., American, 1801 ‐ 2001
Ice Bowl and Spoon, 1871 ‐ 1874
Silver
Dallas Museum of Art, The Eugene and Margaret McDermott
ArtFund, Inc., 1989.5.1.McD TL50.2019.2.ab
As Anglo‐American explorers made tracks within and beyond the

boundaries of the United States, artists followed, and new images
made their way into contemporary design. Silver icebergs populated
with polar bears form this ice bowl, one of several versions Gorham
created beginning in the 1860s. Its iconography relates not only to
northern expeditions, but to the expansion of America’s borders with
the 1867 purchase of Alaska from Russia. Back home, Bostonian
Frederic Tudor, known as the Ice King, had already perfected the
process of harvesting New England ice and shipping it worldwide. This
bowl, adorned with bears and hanging icicles, accompanied by a
spoon with a rope‐entwined bear, provided an impressive
presentation.
Presentation Water Pitcher, ca. 1867
Silver
Jabez Gorham (1792–1869) founded his company in 1831 as a small

shop where a dozen employees made spoons and other smallwares
by hand. By 1867—the year this pitcher was given to him “in
appreciation of past favors”—the Gorham Manufacturing Company
had grown to nearly 400 employees. The pitcher celebrated Jabez’s
achievements and recognized his familial legacy, and Jabez
specifically named it in his will, bequeathing it to his youngest
grandson. Designed with an insulated interior, it kept its contents
cool, as noted by the polar bear on the small iceberg on its lid.
Gorham Silver & Social Aspirations

Exceedingly Splendid
“The appearance of a dinner table set with silver for a large party,” noted one 1868 magazine, “is so
exceedingly splendid that we can hardly wonder that fashion has adopted this metal for her own.”
Business magnate Henry Jewett Furber and his wife, Elvira Irwin Furber, set their table with an 816‐piece
silver service purchased from Gorham between 1866 and 1880. Designed to serve 24 people, the Furber
service represents one of Gorham’s largest commissions and is shown in this exhibition’s pavilion in its
near entirety. With one exception, the 129 hollowware vessels and 687 pieces of flatware are each
engraved with Elvira’s monogram.
The plethora of forms seen on the formal Victorian dining table was in keeping with the era’s
enthusiasm for extravagant expositions. Beginning in the 1850s, manufacturers across the globe
showcased new technologies and products to international audiences at world’s fairs. Pavilions similar
to this one were stocked with a wide range of products, assembling spectacles of style, innovation,
creativity, and ingenuity. Gorham made its first appearance at a world’s fair at the 1876 Centennial
International Exhibition in Philadelphia—celebrating the founding of America—where they presented
several pieces from the Furber service, including the epergne, Cellini Vase, Cellini Tray, and pitcher.
Storing the Furber Service
This custom‐built oak trunk labeled #16—one of 20 made for the Furber service—now displays nearly
350 pieces of flatware and servingware in the Angelo pattern from the service. Although seemingly
secondary to the silver wares, cases and trunks became an important part of Gorham’s business
beginning in the 1860s. An 1871 account describes velvet‐lined cases destined for the “most distant
cities in the Union.”
Salad Set, 1873
Silver with gilding
The Gorham Collection. Gift of Textron Inc. 1991.126.45.16

Cheese Scoop, 1873
Silver
Mustard Ladle, 1873
Sterling silver with gilding

Salt Spoons, 1869
Silver with gilding

Meat Server, 1873
Sterling silver with steel
Fish Knife, 1873
Silver

Cake Knife, 1873
Silver
Large Scoop, 1869
Silver

Fish Knives (part of a set of 12), 1869
Silver

Salad Servers, 1873
Silver
Carving Fork, 1873
Silver with steel
The Gorham Collection. Gift of Textron Inc. 1991.126.45.1.2

Pickle Fork, 1869
Silver

Dessert Knives (part of a set of 12), 1869
Silver
Luncheon Tablespoons (part of a set of 24), 1869
Silver

Fish Knives, 1869
Silver

Teaspoons (part of a set of 36), 1869
Silver

Dinner Knives (part of a set of 24), 1869
Silver

Coffee Spoons (part of a set of 24), 1869
Silver
Nutpicks (part of a set of 24), 1869
Silver

Dinner Forks (part of a set of 23), 1869
Silver

Dessert Forks (part of a set of 24), 1869
Silver

Fish Forks (part of a set of 24), 1869
Silver

Luncheon Forks (part of a set of 24), 1869
Silver

Dinner Tablespoons (part of a set of 24), 1869
Silver
Game Knife, 1873
Silver and steel

Ladle, 1873
Silver with gilding
Basting Spoon, 1873
Silver with gilding

Gravy Ladle, 1873
Silver with gilding
Ladle, 1873
Silver with gilding

Gravy Ladle, 1873
Silver with gilding
Pickle Fork, 1873
Silver

Syrup Ladle, 1873
Silver with gilding
Angelo Macaroni Serving Spoon, ca.1870
Silver

Luncheon Knives (part of a set of 36), 1869
Silver

Gravy Ladle, 1873
Silver with gilding
Ladle, 1869
Silver with gilding

Carving Steel, 1873
Silver and steel
Butter or Cheese Knife, 1869
Silver

Pastry Server, 1873
Silver
Sugar Spoon, 1869
Silver with gilding

Basting Spoon, 1873
Silver
Classical Design as Source Material
Reflecting a stylistic interest in ancient Greek and Roman design, the Furber service includes classical
decoration and motifs. Gorham’s designers used design books, plaster casts, and other objects for
reference and inspiration. This candelabra and its mate rest on plateaus decorated with a cavalcade of
horses, chariots, and riders taken from the Parthenon, a temple in Athens, Greece.
The design source for the plateaus’ Parthenon frieze decoration was a set of plaster casts made by the
Scottish sculptor John Henning I. Henning carved a mirror image of the frieze at a 1:20 ratio in slate,
from which plaster casts were made and sold in sets. Henning’s casts and the plateau friezes share the
same figural spacing, with breaks between the plaster casts faithfully replicated in the silver.
Candelabra, 1879
Silver with gilding
Thomas Pairpoint, American, 1838‐1902

Plateau, 1876
Silver with gilding and glass
A Cast of Many
The many serving vessels in this case reflect changing American dining customs in the 1800s. Formal
multi‐course dinners were traditionally served à la française, with diners helping themselves from full
serving dishes placed directly on the table all at once. Dining à la russe was adopted in the United States
in the 1870s, with as many as 15 courses served one at a time by waiters. New styles called for new
types of vessels to fill the Victorian dining room with splendor.
A work that appears to be a single piece of silver was often assembled from many parts. Handles, finials,
spouts, and decorative components were cast by pouring molten silver into a mold. The triangular
handles, handles on the lids, and the decorative winged figure on the many tureens and other serving
vessels in this case were cast and soldered to the vessels’ bodies. The bronze master casting patterns of
these parts can be seen in the Gorham Workbench display.

Sauceboat, 1873
Silver
Fruit Stand, 1873
Silver with gilding

Sauceboat, 1873
Silver

Sauce Tureen, 1873
Silver
The Gorham Collection. Gift of Textron Inc. 1991.126.6ab

Sauce Tureen, 1873
Silver

Ice Cream Stand, 1873
Silver with gilding

Vegetable Dish, 1873
Silver
Celery Vase, 1875
Silver

Silver

Covered Butter Dish, 1873
Silver with gilding
The Gorham Collection. Gift of Textron Inc. 1991.126.13abc

Oyster Tureen, 1873
Silver

Salt, 1873
Silver with gilding
Salt, 1873
Silver with gilding

Pickle Dish, 1873
Silver with gilding

Pickle Dish, 1873
Silver with gilding

Silver

Silver

Salad Dish, 1873
Silver
Soup Tureen, 1873
Silver

Cellini Tray, 1874
Presenting Gorham to the World
The epergne is the grandest and most complex piece in the Furber service. Gorham received permission
from the Furbers to prominently display this work in the company’s pavilion window at the 1876
Centennial International Exhibition in Philadelphia. A personification of the United States, Columbia is
dressed in a silver gown embedded with gilded stars. She stands on a globe while holding a gilded
garland aloft, assisted by two putti. Adorned with golden hummingbirds, the shell‐shaped bowls were
designed to hold flowers. The oblong bowls, mounted with sterling repoussé plaques featuring
allegorical representations of Love and Contentment, were to be filled with fruit.

Epergne, 1872
Silver with gilding

Plateau, 1876
Something for Everything
In the late 1800s, the European formal dining style known as à la russe was adopted in the United
States, moving serving vessels from the table to the sideboard. Without a large display of food, the
dining table became a stage for the lavish display of flowers and large ornamental objects such as
centerpieces, epergnes, and candelabra. As the 19th century progressed, more complex dinners
evolved. The number of specialized eating and serving implements expanded as well, as seen in the
nutcrackers, individual asparagus tongs, sardine tongs, and grape shears in this case.

Cellini Vase, 1875
Silver with gilding

Cellini Stand, 1874
Silver with gilding

Fruit Stand, 1879
Silver with gilding
Nutcracker, 1879
Silver with gilding

Nutcracker, 1879
Silver with gilding
Nutcracker, 1879
Silver with gilding

Nutcracker, 1879
Silver with gilding
Nutcracker, 1879
Silver with gilding

Nutcracker, 1879
Silver with gilding
Grape Shears, 1879
Silver with gilding

Grape Shears, 1879
Silver with gilding

Flask, 1879
Silver with gilding
Sardine Tongs, 1879
Silver with gilding

Sugar Tongs, ca. 1879
Silver with gilding

Asparagus Tongs (part of a set of 24), 1879
Silver with gilding
Design Inspirations and Influences
In 1879, the Furbers commissioned a number of pieces that signaled a major shift in the aesthetics of
both the Furber service and the Gorham Manufacturing Company. Japan’s display at the 1876
Philadelphia Centennial International Exhibition had ignited the American Aesthetic movement,
transforming silver design. The Furbers embraced this new style by ordering 260 Japanesque pieces,
including the 24 peppers, salts, butter plates, fruit plates, and ice cream plates in this case, as well as
sets of flatware, each decorated differently. Japanese books in Gorham’s design library, such as
Katsushika Hokusai’s Manga, inspired many of these motifs.

Ice Cream Plates (part of a set of 24), 1879
Silver with gilding
Fruit Plates (part of a set of 24), 1879
Silver with gilding

Water Pitcher, 1878
Silver with gilding

Tray, 1878
Silver with gilding

Pair of Cups, 1878
Silver with gilding

Compote, 1879
Silver with gilding
Compote, 1879
Silver with gilding

Butter Plates (set of 24), 1879
Silver with gilding

Salts (set of 24), 1879
Silver with gilding

Pepper Shakers (set of 24), 1879
Silver with gilding
Melon Forks (part of a set of 24), 1879
Silver with gilding

Ice Cream Spoons (part of a set of 24), 1879
Silver with gilding

Fruit Knives (part of a set of 24), 1879
Silver with gilding

Berry Spoons (part of a set of 24), 1879
Silver with gilding

Fruit Knives (part of a set of 12), 1879
Silver with gilding
Fish Forks (part of a set of 24), 1879
Silver with gilding
A Splendid Assortment
By the second half of the 1800s, American women assumed a greater role in selecting objects to
decorate the domestic realm. Their purchases coincided with a rapidly expanding world of
manufactured goods for home use. Gorham enlarged the market for silver by offering an assortment of
forms and designs to suit every desire. By 1874, the company was producing nearly 1,000 objects for
consumers to consider, from silver wine goblets to crumb scrapers.
Gorham began photographing their products by 1856. Whether bound in large albums or sent to
showrooms and retailers across the country, the photographs enabled quick dissemination of the latest
in silver wares.

Pitcher, 1874
Silver with gilding
Pair of Wine Goblets, 1875
Silver with gilding

Candelabra, 1871
Silver with gilding

Bread Plate, 1871
Silver with gilding

Bread Knife, 1869
Silver with gilding and steel
Crumb Scraper, 1873
Silver

Crumber, 1873
Silver
Crumb Tray, 1869
Silver
Social Settings
Silver played a central role in many social customs and cultural rituals. Silver vessels and services made
by Gorham responded to and influenced the formal late‐afternoon event known as tea, as well as the
American predilection for consuming coffee. Coffee was served at breakfast, and following European
customs, black coffee was served after dinner. Services typically included a teapot, coffeepot, sugar and
cream set, and a waste bowl. More elaborate services added a hot‐water kettle on a stand and a hot‐
milk pitcher and tray. The Furber service also includes a toast rack, coffee urn, syrup pitcher, and spoon
holder.

Cake Basket, 1874
Silver with gilding

Toast Rack, 1875
Silver

Card Tray, 1874
Silver with gilding
Pair of Wine Coolers, 1874
Silver with gilding

Table Bell, 1874
Silver with gilding

Syrup Pitcher, 1875
Silver with gilding

Spoon Holder, 1875
Silver with gilding
Teapot, 1875
Silver with gilding

Hot Water Kettle and Stand, 1874
Silver with gilding

Coffee Urn, 1874
Silver with gilding

Coffeepot, 1874
Silver with gilding
Waiter, 1873
Silver with gilding

Waste Bowl, 1874
Silver with gilding

Cream Pitcher, 1874
Silver with gilding

Covered Sugar Bowl, 1874
Silver with gilding
A World of Styles in Providence
Inspired by Greek, Roman, Italian, Egyptian, English, French, American, Russian, and Japanese design,
the Furber service reflected 19th‐century American interest in and absorption of international cultures.
The wine decanter presents Egyptian Revival style with gilded appliqués of the deities Isis, shown as a
pair of winged female figures, and Horus, shown as a falcon in the center. An intricate pair of fruit
stands, decorated with foxes and grapes referencing Aesop’s fables, resembles ancient Russian drinking
vessels known as kovsh, typically produced in pairs, one silver and one gold.
Shown with rope‐entwined tongs and populated with caribou and polar bears, the ice bowl alludes to
American explorers bringing vivid imagery home for inspiration. Although the Furber service is
stylistically diverse, its consistent combination of matte and polished silver with gilding unifies the
individual works.
Caster Set, 1873

Wine Decanter Set, 1873

Oil and Vinegar Cruet, 1875

Fruit Stand, 1871
Silver with gilding
Fruit Stand, 1871
Silver with gilding

Fruit Stand, 1872
Silver with gilding

Ice Tongs, 1869
Silver

Ice Bowl, 1866
Silver and gilding

Pitcher, 1876
Silver
Egg Spoons (part of a set of 24), 1879
Silver with gilding

Oyster Forks (part of a set of 24), 1879
Silver with gilding

Knife Rests (set of 4), 1879
Silver with gilding

Salad Forks (part of a set of 24), 1879
Silver with gilding

Tray, 1879
Silver with gilding

Napkin Rings (set of 12), 1869
Silver with gilding
Gorham's Design Library
Recalling ancient Greco‐Roman and Renaissance classical ornament, this candelabra and its mate reflect
the wealth of stylistic references made by Gorham designers and reveal the importance of the
company’s design library. The library held hundreds of illustrated books; albums of drawings, prints, and
photographs; plaster casts of medallions, ancient gems, and classical and Renaissance sculptures; bronze
sculptures and objects; and electrotypes. In 2005, nearly 1,800 volumes from Gorham’s design library
were given to the RISD Fleet Library, where they can now be viewed in Special Collections.

Candelabra, 1879
Silver with gilding

Plateau, 1876
Smallwares
Gorham made more than just tea sets, trophies, and flatware. In fact, many of the earliest items the
company produced were small personal objects including thimbles, combs, and jewelry. The objects
displayed here represent the types of smallwares made throughout Gorham’s history.
Gorham’s development of the steam‐powered drop press not only aided the making of flatware, but
positioned the company to break into the lucrative market of souvenir‐spoon production. Souvenir
spoons were functional, affordable mementos that commemorated places and events. The steam‐
powered drop press was also employed to produce the objects in this dressing set, which include a
hairbrush, clothes brush, whisk brush, buttonhook, nail file, comb, and hand mirror. A die used to make
a similar mirror can be seen in the Workbench section of the exhibition.
Silver “trimmings,” as Gorham called them, were produced for a number of goods, such as this purse.
While the copper smoking set encouraged the leisure of smoking at home, pocket‐sized match safes
afforded elegance and convenience anywhere. Some items were purely for play, like the yo‐yo and
combination rattle and whistle. Other smallwares were business oriented, such as the miniature letter
scale and elegant check cutter.

New Bedford, Whaling City, Souvenir Teaspoon, 1891
Silver
Bequest of Mrs. Hope Brown Russell 09.733

Miniature Shell Dish, 1890
Silver with gilding

Miniature Shell Dish, 1890
Silver with gilding
Letter Scale, 1890
Silver

Matchbox, 1885
Silver
Gift of Barton St. Armand in honor of the late Mary Landis Hampson
1996.8.3ab

Match Safe, ca. 1903
Silver
Gift of the Estate of Richard Harrington 1990.061.17

Silver
Silver

Traveling desk set, 1890
Silver and glass
Gift from the M. F. Collection 2013.120.1

Match Vase, 1890
Copper with silver

Silver
Silver

Tray, 1883
Copper with silver

Silver

Box, 1880
Silver with copper and gilding
Gift from the M. F. Collection 2018.50
Match Safe, 1881
Silver with copper

1893 World's Fair Ring, 1892
Silver
Gift of Kathryn S. Smyth 2016.34

Charlotte Hornet's Nest Coffee Spoon, 1893
Silver

Match Safe, ca.1910
Silver
Match Safe, 1895
Silver

Roger Williams Spoon, 1891
Silver

Pin, ca. 1870‐1880
Silver
Museum Purchase: Bequest of Eliza Taft, by exchange 2003.82

William Christmas Codman, English, 1839‐1921
George W. Sauthof, German, 1852‐1927
Martelé Check Cutter, Martele1903
Silver
Gift of Mr. and Mrs. Alfred T. Morris, Jr. 2006.114
Cigar lighter, ca. 1900
Copper with mixed metals
Gift of Deborah L. Maxwell, in memory of her father, Norman W.
Baker, RISD Class of '57 2009.107

Grape Shears, ca. 1880
Silver
Gift of Kathy Field Malavasic in memory of her mother Doris Coles
Field 2016.68.6

Cincinnati Art Museum Souvenir Spoon, 1891
Silver

Miniature Shell Spoon, 1890
Silver with gilding
Yo‐Yo, ca. 1972
Silver, steel, and fabric
Gift of Alfred T. Morris, Jr. 1991.011

Rattle, 1884
Silver and glass
Field 2016.123.2

Dressing Set, ca. 1890
Silver

Purse, 1903
Snakeskin and silver
Gift of Mrs. Jane Williamson 1986.001
Designing Gorham Silver
The Restless Laboratory
By the early 1870s, Gorham silversmiths shifted away from classical sources and revival styles and
increasingly adapted Japanese aesthetics and techniques. Japan’s presence at the 1876 Centennial
International Exhibition in Philadelphia fueled the mania in the United States for Japanese design, which
played a significant part in the development of the American Aesthetic movement. Japanese mixed‐
metal wares were especially impactful; for 19th‐century Western audiences, the combination of silver
and gold with base metals such as copper, iron, bronze, and steel was innovative. Critics and consumers
praised “the prevalence of Japanese style in the novelties pouring forth from the restless laboratories of
Gorham.”
Gorham’s designers also began drawing on their local surroundings. Rhode Island’s many miles of
coastline provided access to a watery world populated with myriad marine specimens. The depiction of
underwater scenes and creatures—both natural and imagined—propelled the company’s designers and
silversmiths from the 1870s through the 1890s.
Glass/Enamel/Ceramic

Count Gyula de Festetics, Hungarian, 1846 ‐ 1922
Jewelry Box, ca. 1890
Silver and enamel
Gift from the M. F. Collection 2013.120.2
Enameled silver wares were very popular at the 1893 Columbian

Exposition in Chicago, where the Gorham Manufacturing Company
was awarded seven awards for their enamel work. Many pieces were
designed in a Renaissance Revival style, such as this jewelry box
featuring an outdoor feast. Gorham hired Hungarian artist Gyula de
Festetics to create designs that were executed by a team of
enamelers, most of whom were American women.

Bonbon Spoon, ca. 1893
Silver with gilding and plique‐à‐jour enamel
Anonymous gift 54.184
An example of Gorham’s interest in combining silver with other

materials, this spoon made for serving bonbons, or candy, features
plique‐à‐jour enamel, a process in which translucent enamels are
melted one color at a time inside a filigree framework of twisted
wires. French for “open or against the light,” plique‐à‐jour enamels
were first developed in the 1300s and revived in the 1890s, becoming
very fashionable despite their fragile nature and high cost. Gorham
was one of only two American makers producing this type of
enamelware in the late 19th century.
Decanter, 1913
Silver and glass
The Gorham Collection. Gift of Textron Inc. 1991.126.491.1ab

Whiskey Decanter, 1892
Silver and glass
Helen M. Danforth Acquisition Fund 1988.065

Cologne Bottle with Stopper, ca. 1900
Silver and glass
Gorham’s electrodeposition of silver on glass was a novel technology

that, as described in an 1894 company publication, employed “the
genius of Electricity obediently doing and undoing according to the
will of his new‐found master, Man!” It was, however, women
workers—not men—who carried out the steps to produce these
fashionable wares, coating the glass surface with a metal‐based flux
that attracted the silver in an electroplating bath. The design was
painted onto the silver‐coated vessel using a resist varnish, then the
work was placed in a bath that drew away the unvarnished silver,
revealing the final decoration.
Rookwood Pottery, American, 1880 ‐ Present
Constance Amelia Baker, active 1892 ‐ 1904
Pitcher, 1893
Earthenware with glaze and silver
Museum of Fine Arts, Boston, Edwin E. Jack Fund, 1989.200
TL70.2019.5

Kitaro Shirayamadani, Japanese, 1865 ‐ 1948
Pitts Harrison Burt, American, 1837 ‐ 1907
Rookwood Pottery, American, 1880 ‐ Present
Ewer, 1890
Earthenware with glaze and silver
Cincinnati Art Museum, William W. Taylor Endowment, 1973.104
By 1892, Gorham forged a relationship with the Rookwood Pottery,

applying silver overlays to their glazed earthenware vessels using the
same electrodeposition process used on the glass wares in this case.
Founded in Cincinnati, Ohio, by Maria Longworth Nichols Storer,

Rookwood produced highly prized ceramics that were typically
decorated by American women such as Constance Amelia Baker, who
created the pitcher’s fruit designs in colored slip, or liquid clay. The
ewer with dragons was decorated by Kitaro Shirayamadani, a
Japanese artist Storer hired in 1887.
Japanesque

Teapot and Stand, 1871
Silver
Mary B. Jackson Fund 80.155ad

Black Coffeepot, 1881
Silver with rattan
Field 2016.68.1ab
Japan’s showing at the 1876 Centennial International Exhibition in

Philadelphia generated a great interest in Japanese aesthetics, which
were adapted by American and European artists in the development
of the Aesthetic movement.
The teapot on stand is one of the first American pieces of Japanesque

silver hollowware. The Japanese iron pot it was based on featured a
basketry handle, which Gorham fashioned from silver in its version.
Popular after dinner, black coffee was often served in elegant vessels
like this example with a braided rattan‐covered handle.

Tureen on Stand, 1881
Silver with copper
Collection of Kathy Field Malavasic
Tray, 1881
Silver
Dallas Museum of Art, Decorative Arts Acquisition Fund, 1993.10
For reference and inspiration, Gorham silversmiths accessed the

company’s library of design books, which spanned many eras and
cultures. This tray’s design of a ferocious tiger derives from an
illustration of a Japanese ceramic plate in The Keramic Art of Japan, a
book in the Gorham library. The Japanesque copper appliqués on the
striking tureen on stand were inspired by the thousands of
woodblock designs found in Katsushika Hokusai’s Manga. Gorham
owned at least 7 volumes of the 15‐volume set.

Ice Cream Hatchet, ca. 1880
Silver
Field 2016.68.3
Hizen Cake Saw
Silver
Collection of Kathy Field Malavasic TL47.2019.5

Hizen Pastry Server
Silver
Gorham produced flatware and serving utensils inspired by Japanese

forms and aesthetics. The ice cream hatchet takes its shape from
Japanese axes with spears (ono su yari), a type of ceremonial samurai
weapon. The company’s Hizen pattern, introduced around 1880,
was named for a former Japanese province located in what is now the
Saga and Nagasaki prefectures. The pastry server is populated with
sinuous scaled dragons, and the saw’s handle features koi fish and
cranes—symbols of good fortune and long life.
Elephant

Elephant Fruit Stand, 1881
Silver with gilding
Manoogian Collection, courtesy the Detroit Institute of Arts
TL59.2019
Inspired by silver Russian trompe l’oeil vessels imitating draped

textiles, Gorham became the leading producer of these types of
fantastic works. This monumental stand—perhaps the company’s
highest achievement in the style—suggests intricately woven, and
patterned fabric with fringe of the finest silver threads, draped to
form a litter carried by four richly adorned elephants.
The Use of Ivory
For thousands of years, artisans across the globe have made objects from African and Asian elephant‐
tusk ivory, but the beauty of those works typically has come at the cost of killing elephants. Ivory was a
much sought‐after material in the 1800s, and many elephants were slaughtered as a result. The objects
museums hold reflect the actions and thinking of their times, and these works are historical examples of
an inhumane practice.
The RISD Museum abides by rules banning trade in ivory as set forth by international governmental
entities, in particular CITES (Convention on International Trade in Endangered Species of Wild Fauna and
Flora), an international agreement put into force in 1975 between governments to ensure that
international trade in specimens of wild animals and plants does not threaten the survival of those
species.

Trophy Cup, 1883
Ivory with silver and glass
Gift of Kathy Field Malavasic 2017.69.4
African and Asian elephants currently are endangered species and

there is a related trade ban on ivory—realities that can challenge our
ability to appreciate objects made from elephant tusks during earlier
eras. Ivory has been considered a precious material for thousands of
years, widely traded and used to create religious and secular works of
art, often for the purpose of celebrating an achievement, person, or
event.
Skill in carving, mounting, and employing the natural shape of the

tusk is evident in the cup given to a tournament champion, the
utensils made to serve family and guests, and the pitcher’s intricately
enameled mounts and silver handle, which references its source.
Salad Fork and Spoon, ca. 1875
Ivory and silver

Martelé Pitcher, 1898
Ivory with silver, enamel, and gilding
Collection of Suzanne and Joel Sugg TL49.2019.5
Oriental East Indian

Coffee and Tea Service, 1886
Silver with gilding and wood
Elizabeth T. and Dorothy N. Casey Fund 2014.25
This elaborate service blends Indian, Japanese, Chinese, Islamic, and

Greco‐Roman references. Its pattern, Oriental East Indian, was so
named because it favored “oriental” styles (from the Latin orientalis,
for eastern) over “occidental” ones (from the Latin occidentālis, for
western). Each of the six pieces is individualized in its ornament, yet
all come together harmoniously.
This service represents the highest levels of silversmithing technique,

with relief decorations that required hundreds of hours of hand‐
worked chasing. Gorham’s chasers were among the most skilled
silversmiths in the field, commanding the company’s highest pay for
their many years of training and experience. One 1892 newspaper
noted nearly 100 chasers sitting at workbenches “where the full light
from long windows fell upon their work.”

Coffeepot, ca. 1890
Copper with silver and ivory
Mary B. Jackson Fund 84.161
In 1881, Gorham introduced a line of copper‐bodied wares that

featured mixed‐metal appliqués, decorative borders, and, often, a
deep reddish‐brown glossy finish. An 1882 article in the Jewelers’
Circular and Horological Review noted that “copper predominates”
this line, whose “colors are dark warm reds of finest polish,
mellowing into yellowish browns . . . [with] the highest polish.” This
hammered‐copper coffeepot follows a Persian form, while its applied
silver designs recall Katsushika Hokusai’s Manga, a collection of the
artist’s sketches of Japanese flora, fauna, and figures that was part of
Gorham’s design library.
Trompe L’oeil

Tea Caddy, 1880
Silver with gilding
Museum collection S44.26
This silver tea caddy with a cloth cover seemingly secured with a
piece of string tied in a bow is a playful example of Gorham’s trompe
l’oeil works. Meaning “trick of the eye” in French, trompe l’oeil is the
attempt to make a thing look like something it is not. Here silver has
been made to resemble woven and twisted textile fibers.

Fruit Plate, 1881
Silver with gilding and copper
Dallas Museum of Art, The Eugene and Margaret McDermott Art
Fund, Inc., 1989.6.McD TL50.2019.9
Pitcher, 1879
Silver with copper
The Museum of Fine Arts, Houston, Gift of Eleanor Freed in memory
of her parents, Esther and David W. Kemper, 82.529 TL51.2019
An important example of Gorham’s trompe l’oeil work, this fruit plate

characterizes the company’s skill not only in fashioning realistic
depictions of nature, but also in using copper as a sculptural material.
The plate portrays the season of summer with ripe cherries and
leaves bearing the evidence of hungry insects.
The pitcher’s four intricately chased panels feature women engaged

in seasonal activities, such as binding sheaves of wheat and
harvesting fruit from trees, enhancing the natural elements of the
design and illustrating the four‐seasons motif popular in America in
the late 1800s.
Turtles/Snakes

Terrapin Ensemble, 1890
Silver with gilding
Private Collection, courtesy of the Indianapolis Museum of Art at Newfields TL57.2019
This ensemble—produced to serve and consume terrapin, or turtle, soup—represents not only
Gorham’s realistic interpretations of marine creatures but also the company’s response to and
influence on popular culinary trends. Often served as a first course, turtle soup became a symbol
of refined American dining in the 1800s. The form here indicates the intended contents,
illustrating an important theory of design.
Snake Pitcher, 1885
Silver
Museum of Fine Arts, Boston. Edwin E. Jack Fund. TL70.2019.2
Incredibly inventive and dynamic, this trompe l’oeil pitcher appears

to be composed of two snakes. Coiled to form the vessel’s body and
handle, they appear capable of slithering away or delivering a fatal
bite to anyone within striking distance.
Gorham excelled in creating realistically rendered creatures. Here the

deep relief of the snakes’ bodies and scales exemplifies the advanced
repoussé and chasing skills of the company’s silversmiths.
Creatures

Pitcher, 1887
Silver
An important group of vessels made in the mid‐1880s exemplifies

how Gorham’s chasers used age‐old skills to create original,
innovative works. On this pitcher’s front, an otherworldly marine
creature’s face emerges from a ground of scales and seaweed. The
handle is studded with circular bumps that suggest the suckers on
octopus tentacles.

Punch Bowl and Ladle, 1885
Silver with gilding
Museum of Fine Arts, Boston. Edwin E. Jack Fund, 1890.383‐.384
TL70.2019.3
Pitcher, 1882
Silver
Lent by the Metropolitan Museum of Art, Purchase, William Cullen
Bryant Fellows Gifts, 2013 (2013.26) TL54.2019.2
Instilling a marine theme with otherworldly creatures, realistic pike

and carp swim in waves that crest at the neck of the pitcher at far
right, where a dragon forms the handle. The punch bowl’s watery
scene seemingly swells and sloshes, as would its liquid contents when
served from the matching ladle with a shell‐shaped gilded bowl. On
one side of the punch bowl, a golden‐eyed carp splays its fins. On the
other, a dragon with gold eyes and tongue rides waves beneath the
undulating rim populated with crabs, fish, and shells.
Marine

Oyster Tureen and Stand, 1884 ‐ 1885
Silver
Dallas Museum of Art, Discretionary Decorative Arts Fund and gift of
David T. Owsley via the Alvin and Lucy Owsley Foundation, 2005.9.A‐C
TL50.2019.3.a‐c

Tureen, 1884
Silver
Gift of Mrs. Pierre Brunschwig 81.072ab
These tureens appear to gyrate with strong swirls of waves, from

which high‐relief fish leap and dive. The design was first hammered
out from the interior, then the exterior was decorated by hammering
various chasing tools against the outer surface of the silver. Mounted
with crabs, the handles were most likely cast knobby branches of
coral. The sea urchin and lobster finials on the lids are characteristic
of Gorham’s ability to render extreme realism in silver.
Narragansett Salad Set, ca.1885
Silver with gilding
Museum purchase: Bequest of Ida Littlefield 84.060

Salad Servers, ca. 1880
Silver
Known as the Ocean State, Rhode Island provided important source

material for Gorham’s aesthetic. Marine specimens often were cast
as silver elements that were applied as ornaments or soldered
together to form the objects themselves. In 1884, Gorham launched
the Narragansett line, its name originating in the Native American
tribe whose homelands comprise much of Rhode Island and its coast.
The shell‐shaped bowls of these servers look as if they were plucked
from the ocean.
Mixed Metal

Vase, 1880
Silver with copper and brass
Elizabeth T. and Dorothy N. Casey Fund 2015.43
Tray, 1883
Silver and copper

Tray, 1883
Silver and copper
Inspired by Japanese metalsmiths’ use of different metals and alloys,

Gorham workers created silver, copper, and brass appliqués of
Japanesque and classical designs to decorate both hollowware and
flatware. These appliqués began as handmade wax models that were
used to make master bronze casting patterns, from which molds were
made that could create any number of metal casts. Appliqués made
from these casting patterns were then soldered onto an object’s
surface, including the textured surfaces of the trays and vase seen
here. The vase is decorated with cast‐copper appliqués of a fork‐
plumed bird flying over a grassy mound. Two cast circular medallions
were expertly “let in” to the vessel’s surface, a process that involved
cutting circles the same size as the medallions and precisely fitting
and soldering these pieces into the holes.

Curio Vase, 1879
The Nelson‐Atkins Museum of Art, Kansas City, Missouri (Purchase:
William Rockhill Nelson Trust through exchange of the gifts of Mr.
and Mrs. Frank P. Burnap, Mrs. E. A. Grosvenor Blair, Hilliard Hughes,
Nettie Yanoff Brudner, Miss M. H. Bogie, and Mrs. John B. Stover; the
bequests of Mary B. B. Crouch and Christine Hall Hough; and other
Trust properties (92‐17) TL55.2019.1
One of Gorham’s more experimental lines, Curio was made by

randomly scattering fragments of metals such as copper and brass
onto sheets of silver that were heated to partially fuse the metals.
The sheets were then rolled and shaped into hollowware vessels or
transformed by the drop press into flatware handles.
Mixed‐metal appliqués often decorated Curio wares, such as the

samurai figure on the vase, taken from Hokusai’s Manga. Gorham’s
costing ledgers list more than 30 pieces offered in the Curio pattern,
which also featured engraved decorations on fork tines, knife blades,
and spoon bowls.

Curio Fork, 1879 ‐ 1880
Field 2016.68.2

Curio Pepper Shaker, 1879
Gift of Kathy Field Malavasic 2017.69.2ab
Curio Ice Cream Knife, ca. 1884
Dallas Museum of Art, Gift of Phyllis Tucker in honor of Charles R.
Masling, 1988.66 TL50.2019.6

Toddy Kettle and Stand, 1883
Iron with copper, brass, silver and ebony

Knife, ca. 1880
Silver and bronze with gilding
Georgianna Sayles Aldrich Fund and Walter H. Kimball Fund
1989.007.2
Knife, ca. 1880
1989.007.1

Knife, ca. 1880
1989.007.3
In 1883 Gorham debuted Banko Iron Ware, an experimental line of

iron hollowware with Japanesque silver appliqués. The bodies feature
a deep red‐brown texture that often is accented with granulations of
silver and copper that appear to be sprinkled randomly or clustered
as mounds on which figures stand or trees spring. The kettle was
modeled after a traditional Japanese sake kettle. Its globular form is
accented by a three‐dimensional silver dragon whose body was
painstakingly shaped to hug the kettle’s curves. Gorham also
experimented with flatware handles cast in bronze with designs
accented in mixed metals.
Creating Gorham Silver
The Most Perfect System
Gorham’s success was built upon effective, profitable combinations of systematic processes. This
method applied to their utilization of original artistic talent, their use of handwork and machinery, and
their business strategies. From design drawings to costing ledgers and inventory control to trade
catalogues, interrelated systems enabled the company’s continual expansion of scale, technological
advancements, and diversity of products. In 1871, the Providence Journal praised Gorham’s well‐
managed, inventive approach as “the most perfect system . . . in keeping with an artistic idea, and
artistic purpose.” Gorham’s well‐managed, inventive approach was fully realized in 1890 with the
opening of a state‐of the art plant in nearby Elmwood.
In 1900, Gorham debuted one of their most successful lines, Martelé, which acknowledged Art Nouveau
style through a characteristically distinct and original response. Conceived by head designer William C.
Codman, the line’s sinuous hand‐raised forms with shimmering hammered surfaces systematically
progressed from imagined ideas to design drawings to three‐dimensional wares made by a number of
silversmiths proficient in a variety of processes. The results were coded, inventoried, marketed,
displayed, and sold around the world.
Presentation/Commemoration

Tankard, 1898
Silver and ivory
Lent by The Metropolitan Museum of Art, Purchase, Ambassador and
Mrs. W. L. Lyons Brown Gift, 2014 (2014.70) TL54.2019.1

Herbert C. Lloyd, American, b. England, 1865‐1951
Spaulding & Company, American, 1888 ‐ 1973
Martelé Billings Cup, Martele1899
Silver
Loving Cup, 1902
Silver and boar tusk
Gift of Daphne Farago 1989.079

Sachem Trophy Pitcher, 1887
Silver
Gift of Mr. and Mrs. Houghton P. Metcalf, Jr. 1991.107
Gorham’s trophy cups were often made for stock and sold through
the company’s numerous retail locations, where they could be
custom‐engraved upon purchasing or at a later date. Made in 1899,
the three‐handled loving cup was purchased from the Chicago retailer
Spaulding & Co. and presented in 1913 to the eccentric millionaire
and horse enthusiast C. K. G. Billings at the Vermont State Fair. The
engraving was placed on the underside, so as not to disturb the cup’s
elegantly chased design. The loving cup with boar‐tusk handles may
have been purchased from Gorham’s retail location in Montreal. The
Montreal Hunt Club presented it to the winner of their green
steeplechase, a race in which horses jump fences and ditches.
Other trophies, such as the pitcher, were custom made. Produced in

October 1887, this pitcher commemorates the victory of the Sachem,
a sailboat owned and raced by Jesse Metcalf of Providence. More
than 100 hours of labor went into its making, 30 of which were spent
chasing aquatic motifs and letters in the form of seaweed.

Apostle Spoons, 1894
Silver
Gorham’s Ecclesiastical Department produced objects for the use and

adornment of churches as well as for personal devotion and gift
giving in the Christian tradition. These spoons would have likely been
a present celebrating First Communion, or the first time a Roman
Catholic child receives consecrated bread and wine. Featuring the
names and images of the 12 apostles and Jesus, the spoons may have
been as much an instructional tool as a celebratory gift.
Athenic

Athenic Vase, 1901
Silver with copper and enamel
Lent courtesy of the Chrysler Museum of Art, Norfolk, Va., Gift of
Walter P. Chrysler, Jr., 71.969 TL112.2018
On the heels of Gorham’s acclaimed Martelé line came Athenic,

which embraced the handcrafted tradition and style of the Arts and
Crafts movement while also incorporating elements of Art Nouveau.
Introduced around 1901, Athenic featured works in both silver and
copper with elements of glass, enamel, and ivory, making their
debuts at world’s fairs. This vase was produced for the 1901 Pan‐
American Exposition in Buffalo, New York. On top of the silver body,
copper mounts enhanced with brightly colored enamel form stylized
peacock feathers, a popular Art Nouveau motif.

Athenic Cigar Box, 1901
Copper, silver, and cedar
Abby Rockefeller Mauze Fund 80.099
Copper was a popular material choice for a number of Gorham’s

works related to smoking, such as cigar lighters, ashtrays, and match
vases. This cigar box with Art Nouveau silver decoration is lined with
cedar, a material known for its humidity‐absorbing qualities. An
Athenic cigar box closely resembling this example was displayed by
Gorham at the 1902 Exposition in Turin, Italy.
Martelé

Otto Colmetz, American, b. Australia, 1863‐1950
Herbert C. Lloyd, American, b. England, 1865‐1951
William L. MacMillan, American, 1867‐1928
Martelé Tea and Coffee Service, Martelé1901
Silver with ivory
Gift of Mrs. Kirkland H. Gibson 1992.071
Gorham’s Martelé line was decorated almost entirely by hand. Once

silversmiths raised and shaped the forms, they passed the works to
chasers who interpreted the decoration using drawings made by the
designers. The chasers were recorded by individual numbers noted in
Gorham’s costing records.
Large sets such as this tea and coffee service were often worked on
by multiple chasers. Otto Colmetz, #10, was responsible for chasing
the kettle on stand and coffeepot. Herbert Lloyd, #3, labored on the
teapot and creamer, while William MacMillan, #16, chased the sugar
and waste bowls. The design was by Gorham’s chief designer, William
Christmas Codman, who signed his name on the underside of the
teapot.

David Wilmot, English, 1853 ‐ 1940
Martelé Night Vase, 1899
Silver with gilding
This vase was made as one of a pair that featured day and night
imagery. The subject here is night, with numerous decorations on the
theme. An owl perched on pine branches dominates one side of the
vase, while on the other a bat flies over a sleeping female figure.
Poppies, a symbol of rest, adorn the bottom. Figural decorations, rare
in the Martelé line, were produced by Gorham’s best chasers.
London‐born David Wilmot was hired by Gorham in 1875 and by 1892
had become a leading chaser. He spent almost 50 years working for
the company.

Robert Bain, Scottish, 1866‐1946
Martelé Ewer and Dish, 1900
Silver
Collection of Suzanne and Joel Sugg TL49.2019.3.ab
This set was made by one of Gorham’s most talented chasers, Robert
Bain, who joined the company in 1892. Bain primarily worked on
special projects and completed only a few large pieces each year,
including contributions to the Martelé dressing table and stool on the
platform. This set’s design is Art Nouveau, with swirling waves in the
dish that encircle six female faces in the dish and rise upward on the
ewer to ensconce the legs of a female figure that forms the ewer’s
handle.
William E. Jordan, American, 1861‐1945
Martelé Tankard, 1900
Silver with gilding
Born and raised in Providence and affectionately known as Billy,

William E. Jordan was apprenticed to Gorham in 1878, when he
turned 18. A talented chaser, he rose through the ranks to spend his
career—just shy of 50 years—working for Gorham. Jordan was
charged with decorating a number of significant Martelé works,
including this tankard exhibited at the 1900 Paris Exposition
Universelle, where Gorham debuted their Martelé line. Their
impressive presentation of silver won Gorham the grand prize.
Jefferson Cup

William Clark Noble, American, 1858‐1938
Joseph Jefferson Cup, 1895 ‐ 1896
Silver
New Orleans Museum of Art, Gift of Jolie and Robert Shelton in honor
of John Webster Keefe and E. John Bullard, 2011.3 TL52.2019
This monumental cup was made for the American actor Joseph
Jefferson and presented as a gift from his fellow performers. Figures
of Jefferson from his best‐known productions—Rip Van Winkle, The
Rivals, and The Heir at Law—are staged on three sides of the cup and
an inscription to Jefferson adorns the body. This work was first
modeled in plaster by the sculptor William Clark Noble, who delivered
the model to Gorham to reproduce in silver. The final product took
more than 1,000 hours to make, the majority of which were spent
casting and chasing the elaborate scenes and figures.
Heller Flatware

Florentin Antoine Heller, French, 1839‐1904
Mythologique Flatware Design Samples, 1894
Silver
Throughout the late 1800s, Gorham recruited international designers

who brought outstanding silversmithing and design talent to the
company. One of these designers, Florentin Antoine Heller, was a
sought‐after silversmith and die‐sinker trained in Paris. After working
briefly at Tiffany’s, Heller spent nearly 20 years creating some of
Gorham’s best‐known flatware patterns, including Fontainebleau, Old
Masters, Versailles, and Mythologique.

Mythologique Flatware Pattern Booklet, 1894
Paper, bound with string
Gift of Lenox Incorporated 2005.118.42.30
Throughout the late 1800s, Gorham recruited international designers

who brought outstanding silversmithing and design talent to the
company. One of these designers, Florentin Antoine Heller, was a
sought‐after silversmith and die‐sinker trained in Paris. After working
briefly at Tiffany’s, Heller spent nearly 20 years creating some of
Gorham’s best‐known flatware patterns, including Fontainebleau, Old
Masters, Versailles, and Mythologique.
This sample set presents the 24 Mythologique designs, each depicting

a different figure and scene from classical mythology. Gorham
celebrated the release of Mythologique by publishing an illustrated
booklet explaining the pattern’s name and motifs. The sizes and
shapes of the samples represent the variety of forms of flatware and
servingware that could be ordered. The excess metal that remains
between the fork tines would have been trimmed and smoothed on
finished pieces—important elements of handwork retained in
Gorham’s production processes.
Flatware was initially made with a hand‐hoisted drop press, which

forced sheet silver (blanks) into two halves of a cut‐steel die. Ever the
visionary, John Gorham (1820–1891) commissioned a steam‐powered
version of the machine specifically designed for silverware production
in the early 1850s, making Gorham the first American silver company
to adopt this new and efficient technology. Evidence of the drop
press’s force, the excess metal that remains between the fork tines
was trimmed and smoothed on finished pieces—important elements
of handwork retained in Gorham’s production processes.
Admiral Dewey Cup

Admiral Dewey Cup, 1899
Silver, porcelain, and oak
Chicago History Museum, Gift of George Goodwin Dewey TL56.2019
One of Gorham’s largest presentation pieces, this cup commemorates

Admiral George Dewey (1837–1917), who led the United States to
victory over the Spanish at the Battle of Manila Bay in 1898. The New
York Journal launched a campaign to honor Dewey with a silver
presentation cup, encouraging each American to send in one silver
dime to be used in its production. Within five months, 70,000 dimes
were collected and Gorham was chosen as manufacturer. While most
of the dimes were melted down to create the cup, Codman’s design
kept some intact—note the lid, the border at the base, and the scales
on the sea creatures, for example. The work features Victory flanked
by eagles and holding a portrait of Dewey, as well as scenes from the
admiral’s life.

Design for the Admiral Dewey Cup, 1899
Pencil, watercolor, and gouache on paper
Standing just over six feet tall, this presentation drawing for the
Admiral Dewey Cup is almost as impressive in scale as the cup itself.
While the final form was largely unchanged from the drawing, some
of the ornamentation was scaled back, most noticibly at the top. The
two figures flanking Dewey’s portrait were eliminated in favor of a
single larger figure of Victory holding a laurel wreath in one hand and
Dewey’s portrait in the other.
Marketing Gorham Silver
Placing Silver Before the Public
The creativity and innovation seen in Gorham’s silver wares also pervaded the company’s approaches to
marketing and selling their work domestically and abroad. As an artistic firm established at the dawn of
the Industrial Revolution, Gorham was a pioneer in developing a new and evolving focus on advertising
and market expansion. Gorham’s vast sales force and networks of distributors, retailers, and wholesale
venues were strategically supported by the company’s trade catalogues, printed promotional materials,
multimedia advertising campaigns, in‐store marketing assets, promotional films, and sales manuals.
Gorham established and furthered its position as a leading silver firm in the U.S. and abroad by
participating in regional, national, and international exhibitions and fairs. More than a dozen objects in
this exhibition were shown in world’s fairs and many others in broader varieties of public displays. These
works required significant investments of time, expense, and effort, representing the company on a
world stage and cementing Gorham’s reputation as an industry leader.

Nautilus Centerpiece, 1893
Silver gilt, pearls, turquoise, jade, garnet, tourmaline, amethyst, and
shell
Dallas Museum of Art, gift of the 1990 Silver Supper Participants: Dr.
and Mrs. Kenneth Altshuler, Mr. and Mrs. James P. Barrow, Mr. and
Mrs. Duncan E. Boeckman, Mrs. Charles L. Bybee, Miss Wendy
Garrett, Mrs. Albert G. Hill, Mr. and Mrs. S. Roger Horchow, Mrs.
Barron Kidd, Dr. and Mrs. Mark L. Lemmon, Mr. and Mrs. Stanley
Marcus, Mr.and Mrs. Tom Marsh, Mrs. Eugene McDermott, Mr. and
Mrs. Peter O'Donnell, Jr., Mr. David T. Owsley, Mr. and Mrs. H. Ross
Perot, Mr. and Mrs. C. V. Prothro, and Mrs. Elloine M. Sinclair,
1990.176 TL50.2019.4
Designed by William Christmas Codman soon after he became chief

designer at Gorham, the Nautilus Centerpiece is an outstanding
example of the company’s return in the 1890s to classically inspired
motifs. Chosen by Gorham for display at the 1893 World’s Columbian
Exposition in Chicago, it combines silver, shell, pearls, and
semiprecious stones. Above the base of gilded shells adorned with
the head of Neptune is the figure of his daughter Venus, who holds a
jewel‐encrusted nautilus shell. That shell is crowned by Nike, who
celebrates America’s victorious showing at the exposition. Gorham
earned 55 awards in Chicago, the Nautilus Centerpiece being a major
contributor to those honors.
1893 World’s Fair

Claret Jug, 1893
Silver‐gilt, cut glass, amethysts, garnets, moonstones
Museum of Fine Arts, Boston. Marion E. Davis Fund, 2006.1246ab
TL70.2019.4.ab
Gorham brought an array of their latest achievements to the 1893

World’s Columbian Exposition at Chicago, including this claret jug. A
publication produced for the exposition includes an illustration of the
work and describes the process of “decorating portions of the glass
with fired gilt.” It summarizes the result: “With the addition of the
silver‐gilt frame in highly ornamental repoussé the culmination is
reached, a truly dazzling product of the glass worker’s and metal
worker’s arts.”

Wine Pitcher, 1893
The Nelson‐Atkins Museum of Art, Kansas City, Missouri; Purchase:
The Charlotte and Perry Faeth Fund, 2006.19 TL55.2019.2
Dominated by a satyr mask, this wine pitcher—like the Nautilus

Centerpiece—reflects Gorham’s renewed enthusiasm for classically
inspired motifs. Displayed at the 1893 World’s Columbian Exposition
in Chicago, it represents the company’s production of silver‐mounted
glass, a prized combination of materials and a popular choice for the
fashionable American dining room. The attention Gorham received in
Chicago exposed the company to new international audiences,
including members of the press and officials of foreign governments,
further increasing the firm’s reputation and recognition.
1900 World’s Fair

Edward Zior Jr., American, 1895‐1958
J. Hoare & Company, American, 1853 ‐ 1920
Shreve, Crump and Low, American, 1796‐
Martelé Wine Pitcher, 1900
Silver and engraved lead glass
High Museum of Art, Atlanta; Virginia Carroll Crawford Collection,
1982.306 TL53.2019
Representative of Gorham’s new Martelé line, this pitcher was

displayed at the 1900 Exposition Universelle in Paris, where the
Martelé pattern debuted to critical acclaim, soon becoming highly
successful. Conceived by the company’s chief designer, William
Christmas Codman, the pitcher features sinuous curves in the Art
Nouveau style. Silver elegantly embraces the crystal form, which is
intricately engraved with spiraling floral motifs that echo the
animated metal surrounding it.

J. Hoare & Company, American, 1853 ‐ 1920
Martelé Claret Jug, 1900
Silver and glass
This claret jug’s brilliantly colored body was manufactured in Corning,

New York, the center of American glass production, also known as the
Crystal City. Gorham collaborated with a number of American glass
and ceramic firms, combining silver with materials and brands desired
by their customers.
In 1900—the year that this jug was made—George W. Sauthof was

one of the two highest‐earning chasers at Gorham, where he worked
from 1884 to 1927. Sauthof also made the three‐handled loving cup
in this case.
Martelé Loving Cup, 1900
Silver with enamel
Often given in the 1800s as trophies for hard‐won athletic

competitions, loving cups recall the large communal multi‐handled
drinking vessels traditionally passed from one person to the next at
weddings, banquets, and other celebratory events. A rare example of
Martelé work with enamel, this cup featuring red and yellow
columbine flowers was one of more than 150 Martelé pieces shown
at the 1900 Exposition Universelle in Paris, the site of Gorham’s
official international launch for the line.
1904 World’s Fair Martelé

Martelé Vase and Centerpiece, Martele1904
Silver
This vase and centerpiece were made for the 1904 Louisiana
Purchase Exposition in St. Louis. Gorham costing slips list the
numbers of the chasers responsible for their decoration. The number
identifying the vase’s chaser is indistinguishable, but records show
that craftsperson spent 150 hours carefully hammering the delicate
flowers, leaves, and undulating lines that swirl up the sides of the
piece, creating its sense of movement.
The chaser for the centerpiece was #30, William T. Thompson, who
was born in England and hired by Gorham at the age of 21. Thompson
spent a remarkable 280 hours creating floral designs and swirling
lines to complement the vase. The vase and centerpiece were
completed April 23 and 25, respectively—less than a week before the
April 30 opening of the exposition.
1904 World’s Fair Athenic

Athenic Candelabrum, 1902
Silver
Elizabeth T. and Dorothy N. Casey Fund 2017.28.2

Athenic Candelabrum, 1902
Silver
Elizabeth T. and Dorothy N. Casey Fund 2017.28.1
These candelabra were among the Athenic and Martelé objects

Gorham produced for the 1904 Louisiana Purchase Exposition in St.
Louis. Their naturalistic and stylized floral ornament—and the
movement of the vines, leaves, and flowers wrapped around their
curving forms—are characteristic of the Art Nouveau style.
These objects are marked with a special intertwined SL stamp to

denote their significance to the St. Louis fair. They were also
illustrated in a special catalogue Gorham produced.
Erik Magnussen

Erik Magnussen, Danish, 1884‐1961
Spaulding & Company, American, 1888 ‐ 1973
Candy Dish, 1926
Silver and ivory
Dallas Museum of Art, gift in memory of Ethyl Carradine Kurth,
1990.230ab TL50.2019.8.ab
This is an example of Gorham’s early work in a modern style,

instigated by a silversmith whose brief time with the company
produced iconic objects. Hired by Gorham in 1925, Erik Magnussen
arrived at the company with somewhat of a celebrity status. After
studying sculpture in Copenhagen and silver chasing in Berlin,
Magnussen had opened his own studio in Denmark in 1909.
Characteristic of the first works he designed for Gorham, this candy
dish features a hand‐hammered finish, stylized plant motifs, and
ivory.
Pair of Candlesticks, 1928
Silver with turquoise
Erik Magnussen developed his silversmithing style in the same artistic

circle as Georg Jensen, one of Denmark’s most influential designers.
Magnussen’s early creations for Gorham reflected contemporary
Danish silver design, characterized by simplified shapes with
hammered surfaces and embellishments of curvilinear ornament and
semiprecious stones—as seen in the turquoise spheres and
shimmering silver planes of these candlesticks. Danish silver design
had a great impact on American silver, as the trade publication
Jewelers’ Weekly had noted in 1920: “Like a breeze of fresh air there
comes from far away Denmark some suggestions for silver design in
their own and individual art in silver work.”
Cubic

Cubic Coffee Service drawing, 1927
Gouache, graphite and black ink on beige wove paper
Recently rediscovered, this polychrome drawing provided a vivid

preview of what would become one of the 20th century’s most iconic
works in metal. Its designer, Erik Magnussen, was hired by Gorham to
inject a fresh, modern aesthetic into the company’s silver wares. He
responded with this dynamic contrast of black, silver, and gold that
resonates as strongly in ink and gouache on paper as it does on the
service’s boldly patinated, gilded, and polished silver surfaces. Over
time, the service’s dark patinated‐silver facets had faded
considerably. This design drawing provided incontestable evidence of
Magnussen’s original intent, guiding the conservation treatment of
the Cubic service conducted by the RISD Museum for this exhibition.

Cubic Coffee Service, 1927
Silver with patinated and gilt decoration with ivory
In 1927, Magnussen created his most radical work for Gorham.

Resplendent with a gleaming surface of sterling, gold, and dark‐
patinated silver facets, the Cubic coffee service was a three‐
dimensional manifestation of the everyday objects Cubist artists had
depicted in drawings and paintings. This bold realization positioned
Gorham in the vanguard of Modern American silver design.
Consisting of a coffeepot, creamer, sugar bowl, and tray, the service
was entirely designed, executed, and marked by Magnussen.
The Cubic service became an immediate sensation when Gorham

displayed it in their Fifth Avenue showroom. They described the set
as “based on tall buildings seen from various perspectives and . . . sun
shadows on set‐back skyscrapers” and praised it for reflecting the
“Lights and Shadows of Manhattan.”

Cubic Salad Set, 1927
Silver with patinated and gilt decoration and ivory
In addition to the Cubic service, Magnussen designed salad servers, a

bowl, a bonbon dish, a candlestick, and a sandwich tray for the Cubic
line. Gorham’s customers, however, were not yet in step with
Magnussen’s extreme modernism, and Gorham was a commercial
enterprise for which profit was imperative. The firm quickly assured
its clientele that the Cubic line “was merely for exhibition . . . a piece
of Fine art . . . not intended for daily use.”
Modern
Edward Steichen, American, 1879‐1973

Gorham Sterling, New York, 1930 (Juxtapositions), negative 1930,
printed 1984–86
Gelatin silver print
Museum of Fine Arts, Boston. Gift of Janet Singer, 2000.1103
TL70.2019.1
This dynamic composition of flatware represents a new direction that

Gorham took in their advertising in the 1930s. Previous campaigns
featured cheerful newlyweds and elegant dining tables, with all the
flourishes of traditional style. After the 1929 stockmarket crash,
however, the company sought a marketing approach that was more
minimal and modern than old‐world luxury. Gorham hired Edward
Steichen, whose photographic work traversed the boundaries of art,
fashion, and advertising, to create this new brand identity. This
photograph accompanied the tag line “without being extravagant you
can have the finest name in sterling,” emphasizing that affordability
and style were not mutually exclusive. The featured flatware pattern,
Fairfax, underscored a contemporary, yet timeless, aesthetic.
Donald H. Colflesh, American, b. 1932
Circa '70 Coffee and Tea Service, 1960‐1963
Silver, ebony and Formica®
Gift from the M. F. Collection 2017.47
Gorham hoped that Donald H. Colflesh—who was recruited fresh out

of the Pratt Institute’s undergraduate industrial‐design program—
would bring new perspectives to the company. His first design for
Gorham, this coffee and tea service, conjures images of satellites,
sleek rockets, and upward momentum, an ode to the era’s fixation on
space exploration. An aesthetic shift for Gorham, the Circa ’70 series
mixes the traditional materials of silver and ebony with modern,
minimalist design. The set was originally sold with a smaller, simpler
tray. The version seen here was designed in 1963, after Colflesh left
Gorham, and based on his design for the sugar bowl. Colflesh relayed
his approval many years later, upon seeing the tray in person.

Modern Beverage Server and Stirrer, 1959
Silver and plastic
Gift of Sam Hough 2006.113.1
After World War II, the pitcher saw a rise in popularity. Cocktails
could easily be made and served in this Modern beverage server,
mixed with a long‐handled utensil known as a “stir‐up spoon” that
Gorham sold separately. The pitcher’s sleek cylindrical shape
contrasts with its bold, sweeping handle, which visually unites it with
Donald H. Colflesh’s other space‐age designs for Gorham, such as the
Circa ’70 service.

Sheila M. Chandler, American, b. 1943
Ring Basket, 1965
Silverplate and plastic
Dallas Museum of Art, The Jewel Stern American Silver Collection,
Decorative Arts Fund, 2002.29.252 TL50.2019.7
This colorful basket has a somewhat unusual story. Its designer,

Sheila M. Chandler, was a senior at Louisiana State University when
she submitted her protoype—a fruit bowl made of silver rings and
colored‐glass disks—to the 1965 Sterling Today Student Design
Competition, sponsored by the Sterling Silversmiths Guild of America.
Chandler was awarded second place, and her piece and other winning
designs toured to venues around the country, including the RISD
Museum. Gorham representatives must have seen the bowl while it
was on view in Providence in 1965, for they contacted Chandler
asking if she would sell them the rights to her design and she agreed.
To achieve the look of Chandler’s original concept at a more
affordable price, the basket was produced in silverplate, with plastic
disks instead of glass.
RISD/Dallas Martelé

Martelé Dressing Table and Stool, 1899
Silver, glass, fabric, and ivory
Dallas Museum of Art, The Eugene and Margaret McDermott Fund,
Inc., in honor of Dr. Charles L. Venable, 2000.356.A‐B.McD
TL50.2019.1.ab
Born of the Art Nouveau style, the Martelé line was named after the
French verb “marteler” (to hammer), referencing its hand‐hammered
finish. The line’s evidence of handwork and its undulating forms were
enhanced by Gorham’s decision to typically make Martelé from 950
silver or finer, meaning the silver was at least 95% pure. This
combination, or alloy, is softer—or more malleable—than sterling
silver, which contains 92.5% silver and 7.5% copper.
Gorham chose the Paris 1900 Exposition for the line’s official
international launch, and it was met with sweeping success. The
centerpiece of Martelé’s debut was this solid‐silver dressing table and
stool, made from 78 pounds of silver over the course of 2,300 hours
of labor. William Christmas Codman was awarded a silver medal and
a gold medal at the exposition, Gorham president Edward Holbrook
was inducted into the French Legion of Honor, and the Gorham
Manufacturing Company secured the grand prize for metalwork.

Joseph Edward Straker, English, 1843‐1912
Franz Ziegler, German, 1869‐1934
Potter and Company, American, fl. 1878‐1910
Martelé Writing Table and Chair, 1903
Ebony, mahogany, boxwood, redwood, thuya wood, ivory, mother‐of‐
pearl, silver, mirrored glass, and gilded tooled leather
Gift of Mr. and Mrs. Frederick B. Thurber 58.095ab
Debuted at the 1904 world’s fair in St. Louis, this writing table and
chair were designed to be showstoppers in a crowd of stunning
objects. More than 10,000 hours of labor, 75 pounds of silver, and a
panoply of exotic materials make up this unique set, which deftly
melds sinuous European Art Nouveau floral and figural motifs, French
Rococo forms from the 1700s, and traditional Hispano‐Moresque
designs. Intricately wrought symbolism is found in the daytime
poppies and the night owl below the mirror and the decoration of the
legs, each representing one of the four seasons, with female masks
surrounded by lilies, roses, chrysanthemums, and pine cones. The
table and chair won the fair’s grand prize in silversmithing.
Gorham Design Drawings

From Idea to Line to Object
Every silver object begins as an idea. Selected mainly from the RISD Museum’s collection of more than
2,600 Gorham design drawings, these examples reveal the steps between thinking and making. Many of
the drawings are designs for completed objects, or similar examples, on view in the exhibition.
The discussions between Gorham designers and silversmiths can now only be imagined, but a record of
these conversations is provided in these sketchy drafts, overlaid revisions, polished refinements,
exacting dimensions, technical specifications, and production instructions. Tears, smudges, and
corrections indicate that these were working documents laid down on workbenches, pinned to walls,
and held by workers as they determined the best ways to transform intentions into finished, sellable
wares. Dating from the 1870s to the 1960s, these drawings attest to Gorham’s creative impetus, well‐
honed silversmithing skills, and innovative use of technology.
Recently discovered in the Gorham Manufacturing Company Archive at Brown University, the
polychrome drawing of a fruit stand is the only known existing drawing for one of the 816 pieces in the
Furber service. The single silver fox in the drawing became two golden foxes striding along intertwined
gilded grapevines in the completed object.
Depicting a coffeepot with a handle formed as an elephant’s head, the design drawing notes the pattern
number, the final object’s intended weight in silver, and the numbers for the casting patterns used in its
production. The drawing of a pickle dish shows two views: a plan view looking into the dish and an
elevation view from the side.

Design for Furber Service Fruit Stand No. 775, ca. 1871
Graphite, watercolor, and gouache on paper
Brown University Library, Gorham Manufacturing Company Archive
TL28.2019.1
Design for Coffeepot No. 1670, ca. 1935
Graphite on tracing paper
Gift of Lenox, Incorporated 2005.118.45.1739

Design for Pickle Dish No. 400, ca. 1935
Graphite on paper
Drawings in watercolors and gouache supplied important information about color for works that
combined different metals and other materials. Referred to as presentation drawings, these renderings
often represented commissioned works requiring a client’s approval before production. Presentation
drawings also documented important finished works, such as the blue glass pitcher in a gilded filigree
framework shown in Chicago at the 1893 world’s fair. The rendering of the glass ewer with a gilded and
jeweled frame is similar to a claret jug shown in the Chicago fair.
Even for objects made solely of silver, watercolor and gouache renderings dramatically underscored
design elements, such as the deep relief of the punch bowl’s classical ornamentation.

Design for Pitcher No. S1152, ca. 1893
graphite, watercolor, pen and ink, and gouache on paper
TL28.2019.3
Design for a Ewer, ca. 1890
Graphite, watercolor, and gouache on cut paper attached to paper

Design for a Punch Bowl, ca. 1920
graphite, pen and ink, pastel, and gouache on gray paper
One of Gorham’s most successful lines, Martelé features sinuous Art Nouveau style that was challenging
to produce. The translation of the designers’ drawings on paper to shimmering hand‐hammered
surfaces demanded insightful readings by chasers and other silversmiths, an iterative process revealed
in these Martelé designs.
Martelé works frequently began as sketchy likenesses with handwritten notes and progressed to precise
silhouettes with technical specifications before culminating in completed objects. Surrounded by
animated lines that nearly suggest vibration, the drawing of the pitcher shows both a full rendering of
the piece and a silhouetted outline. The drawing of the sugar bowl is very similar to the sugar bowl in
the Martelé tea service on view in the exhibition.

Alfred J. Ottestad, Norwegian, 1878 ‐ 1953
Design for Martelé Teapot MNZ, Martele1907
Graphite and pen and ink on cardboard
Design for Martelé Kettle‐on‐Stand No. 9684, Martele1897
graphite, watercolor, gouache, and crayon on tracing paper

Design for a Martelé Sugar Bowl, Marteleca. 1905
Graphite and pen and ink on paper

William L. Hughes Jr., American, 1857‐1932
William Gray, 1864‐1905
Design for Martelé Pitcher DVK, Martele1902
graphite and pen and ink on paper

Design for Martelé Berry Bowl No. 131, Martele1898
Graphite on paper
Herbert A. Taylor, American, 1892–1942
Design for Martelé Creamer DGL, Martele1903
Graphite and crayon on paper

Design for Martelé Sugar Bowl DGL, Martele1903
Graphite and pen and ink on paper

Design for Martelé Waste Bowl DGL, Martele1903

William J. Mason, American, 1853‐ca. 1931
Charles Thomae, 1871‐1958
Design for Martelé Waste Bowl DGJ, Martele1902
William J. Mason, American, 1853‐ca. 1931
Charles Thomae, 1871‐1958
Design for Martelé Creamer DGJ, Martele1902

David H. Glover, American, 1867 ‐ 1929
Alexander MacBeth, 1865‐1943
Henry Heath, 1861‐1933
Design for Martelé Candlestick H/RN, Martele1905
To facilitate the demanding production of the Martelé line, designer William Christmas Codman formed
a special training school for silversmiths at Gorham in 1896. A review by the Jewelers’ Circular
underscores the challenge of transforming design into physical form: “While the designs are generally
from one man, W. C. Codman, . . . the articles themselves were wrought under his direction by different
skilled silver workers, and show to a considerable extent the individuality of the makers.”
These polychrome presentation drawings demonstrate different stages in Gorham’s design process. A
rendering for a silver ewer designates an area for customized engraving, noted by the words “Inscription
to come here.” The drawing for another ewer, which depicts a female figure afloat in blue‐green waves,
remains in a conceptual state, with a handle so sinuous its function is questionable.
Design for a Martelé Ewer, martele1897
Graphite, ink, watercolor, and gouache on gray paper
Collection of Gorham Division of Textron, Inc. EL006.84.77

Design for a Martelé Ewer, Marteleca. 1900
Graphite, watercolor and gouache on paper

Design for a Martelé Soup Tureen, Martele1899
graphite, watercolor, pen and ink, gouache on gray paper mounted
on board
Thomas H. Yates, 1885‐1947
Design for Martelé Pepper RBH, Martele1918
Graphite, watercolor, pen and ink, gouache on cardboard

Samuel R. Woolley, American, late 19th century ‐20th century
William E. Jordan, American, 1861‐1945
Design for Martelé Coffeepot H/BC, Martele1905
Graphite, watercolor, pen and ink, and gouache on paper
An accompaniment to Martelé, Gorham’s Athenic line was introduced around 1901. Athenic works were
fashioned in silver and copper with glass, enamel, and ivory. Stylistically, the line featured elements of
Arts and Crafts design, such as hand‐hammered copper. It also incorporated Art Nouveau style, as seen
in the curvilinear silver decorations and mounts.
In the late 1800s, three‐handled loving cups were popular gifts for contests and commemorations. The
drawing of the Athenic loving cup with three small silver feet notes its status in Gorham’s “special files”
and instructs its return to Dept. G‐2. Its inscription‐ready applied silver plaque suggests its potential for
personalization. The drawing of the Athenic loving cup with a tall stem bears the name of the designer,
William Christmas Codman, as well as several sketched alternatives for the design of its base.
Although the drawing of the three Athenic vases decorated with colorful peacock feathers gives no
indication as to whether all three were produced, the model AY212 was made and shown at the 1901
Pan‐American Exposition in Buffalo, New York.

Design for Athenic Loving Cup AY209, Art Nouveauca. 1900
Graphite, watercolor, pen and ink, and gouache on paper

Design for Athenic Loving Cup A4425, Marteleca. 1900
Graphite, watercolor, and gouache on paper

Design for Athenic Vases, ca. 1901
Graphite, watercolor, and gouache on cardboard
TL28.2019.2
Hired in 1925 to bring a sense of modernism to Gorham’s wares, Danish silversmith Erik Magnussen
designed and made his own works in silver. His maker’s mark—a zigzag E crossed with a zigzag M—and
series of model numbers can be found on his drawings. Magnussen’s renderings reflect the range of his
designs, from fluid lines and curvilinear forms to precise geometrics and linear segments. His drawing of
the dimensioned compote indicates that the stem is to be made of ivory cut with eight parallel lines that
are 1/16‐inch wide—similar to the ivory stem of his candy dish in the exhibition.
Hired by Gorham in 1956, designer Donald H. Colflesh created futuristic forms alluding to the space age
and its use of high‐tech materials. Although the sleek lines of his Circa ’70 tea and coffee service
celebrate the Modern era, they are countered by his use of the decidedly traditional materials silver and
ebony, as indicated on the drawings for the service’s teapot and sugar bowl. The drawings specify how
the pieces were made: the bodies were spun on a lathe and the handles, spouts, and finial bases were
cast.

Design for Compote EM229, 1927‐1929

Design for Compote EM87, 1927
Pen and ink with graphite underdrawing on tracing paper
Design for Candlestick EM33, 1927

J. Teixeira, ca. 1962
Technical Drawing for Circa '70 Teapot (designed in 1958 and first
produced in 1960), 1962
Pen and ink with graphite underdrawing on tracing paper

J. Teixeira, ca. 1962
Technical Drawing for Circa '70 Sugar Bowl (designed in 1958 and first
produced in 1960), 1962
The Gorham Workbench
Ever wonder how silver objects are made? Welcome to the Gorham Workbench.
Making the wares Gorham sold took hundreds of Gorham workers trained in many processes using
dozens of tools and a range of equipment, machines, and technologies. Silversmiths sat at long
workbenches carrying out handwork or stood operating large machines. Natural light from tall windows
flooded the Gorham manufactory in Elmwood, where employees worked in a bustling environment
filled with the roar of machinery and the cadence of hand tools.
This workbench explains several processes Gorham employed to form and decorate silver objects:
raising, spinning, repoussé and chasing, engraving, stamping, and casting. Many of the tools seen here
were made and used by Gorham workers.
For this exhibition, the RISD Museum produced a multi‐screen video. The video features present‐day
metalsmiths engaged in the processes described above. It also incorporates footage from two historical
films: The Master Craftsmen, made by the Gorham Manufacturing Company in 1926, and Silver:
Heirlooms of Tomorrow, made about Gorham by the U.S. Bureau of Mines in 1930.
The RISD Museum thanks those who contributed to the creation of the Gorham Workbench:
Peter and Bonnie DiCristofaro
Joost During and Dianne Reilly, Yoast Silver
Jeffrey Herman, Herman Silver Restoration & Conservation
Valerie James, artist and jeweler (RISD MFA 2019, Jewelry + Metalsmithing)
Bill and Susanne Juaire, New England Copperworks and S. R. Blackington
Hugo Kohl, Hugo Kohl Jewelry
Avery Lucas, metalsmith and educator
Providence Jewelry Museum
RISD Jewelry + Metalsmithing Department
Robin Tagliaferri, granddaughter of Paolo Tagliaferri, Gorham Bronze Division
MJ Tyson, artist and jeweler (RISD BFA 2008 and MFA 2017, Jewelry + Metalsmithing)
Janet Zapata, independent scholar specializing in silver and jewelry
Kai Franz is the 2017–2019 Andrew W. Mellon Faculty Fellow in the Decorative Arts and Design
Department at the RISD Museum. This installation and a related video on view in the Chace Gallery—
contemporary contributions to Gorham Silver: Designing Brilliance 1850–1970—are the results of that
fellowship.
Kai Franz, German, b. 1983

Fetish, 2019
Digital video, no sound
Courtesy of the artist TL79.2019
The term fetish, from the Portuguese word feiticio, suggests an object
possessed of a super(natural) quality. Freud wrote of a young man
who fetishized the shine on the nose of a woman, but this luminous
shine was perceivable only to the young man. It was his own
projection.
What happens to objects as they move in and out of a museum’s

database? Inside these glass vitrines, the silver works are held up to
be consumed by our gaze, yet the objects also freeze, become
inanimate. I am reminded of still‐life paintings from a different time—
they too come with a similarly fixed gaze: an uncanny charge, neither
dead nor alive. Objects not useful, not useless. Objects, more or less
precious, presented as rare commodities.
We follow these Gorham works during behind‐the‐scenes

preparations for this exhibition, witnessing the types of touch, care,
and attention they receive. Watching the conservation efforts, I
notice the shine on the surface of the objects. The attention shifts, as
though it is not the objects that are being polished, but the shine
itself.
–Kai Franz
Kai Franz, German, b. 1983

Anti‐Object (Homage To All Luncheons, In Fur And Without), 2019
3D printed PLA, modified g‐code, Utah Teapot (virtual 3D model)
Courtesy of the artist TL77.2019
A tête‐à‐tête (French for “head‐to‐head”) is a meeting or private

conversation between two people in an intimate setting. This case
sets up a friendly conversation between two Gorham silver tête‐à‐
tête tea sets and a hairy 3D‐printed teapot. Without hair, this would
be a Utah teapot, a 3D test model that has become a standard
reference object and an in‐joke within the computer‐graphics
community.
Let us imagine a conversation like this:
Tête‐à‐Tête, 1889–1890, handmade using traditional silversmithing

techniques, says, “Look at your hair! Fuzzy fellow, you remind me of
Meret Oppenheim’s cup and saucer.”
Anti‐Object, the hairy 3D‐printed version of a Utah teapot, responds,

“My hair is real, but I see where you are coming from. If only I had
eyes, I’d wink at Oppenheim all the time.”
All abuzz, Tête‐à‐Tête, 1881, the electroformed tea set, adds,

“Additive, additive, additive.”
–Kai Franz

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Gorham Silver: Designing Brilliance 1850–1970, May 3, 2019‐December 1, 2019

CHECKLIST OF THE EXHIBITION

Gorham Manufacturing Company, American, 1831‐

Gorham created these larger‐than‐life designs for promotional use.

Gorham created these larger‐than‐life designs for promotional use.

Gorham Silver and American Industrialism

The company’s advancements in modern mechanization were complemented by the employment of

Composed of five pieces—coffeepot, teapot, cream pitcher, sugar

Gorham Manufacturing Company, American, 1831‐

Works in silver were often commissioned for important events. This

Gorham Manufacturing Company, American, 1831‐

The consumption of tea and the social practices surrounding it

Gorham Manufacturing Company, American, 1831‐

Conceived in 1870 by lead designer George Wilkinson, Gorham’s Isis

Gorham Manufacturing Company, American, 1831‐

After Napoleon’s military campaign in Egypt first influenced European

Gorham Manufacturing Company, American, 1831‐

This decanter set features satyrs, ancient Greek mythological forest

Rococo Revival Repoussé

Gorham & Thurber, American, 1850 ‐ 1852

The earliest example of hollowware on view is this silver service,

Middle‐class and upper‐class Americans purchased Gorham silver to

The bulbous cup adorned with acorns was awarded to Henry C.

Gorham Manufacturing Company, American, 1831‐

Another early example of Gorham hollowware, this pitcher

Bounty of the Land

Gorham Manufacturing Company, American, 1831‐

As Anglo‐American explorers made tracks within and beyond the

Jabez Gorham (1792–1869) founded his company in 1831 as a small

Gorham Silver & Social Aspirations

Storing the Furber Service

Gorham Manufacturing Company, American, 1831‐

Gorham Manufacturing Company, American, 1831‐

Gorham Manufacturing Company, American, 1831‐

Gorham Manufacturing Company, American, 1831‐

Gorham Manufacturing Company, American, 1831‐

Gorham Manufacturing Company, American, 1831‐

Gorham Manufacturing Company, American, 1831‐

Gorham Manufacturing Company, American, 1831‐

Gorham Manufacturing Company, American, 1831‐

Gorham Manufacturing Company, American, 1831‐

Gorham Manufacturing Company, American, 1831‐

Gorham Manufacturing Company, American, 1831‐

Gorham Manufacturing Company, American, 1831‐

Gorham Manufacturing Company, American, 1831‐

Gorham Manufacturing Company, American, 1831‐

Gorham Manufacturing Company, American, 1831‐

Gorham Manufacturing Company, American, 1831‐

Gorham Manufacturing Company, American, 1831‐

Gorham Manufacturing Company, American, 1831‐

Gorham Manufacturing Company, American, 1831‐

Gorham Manufacturing Company, American, 1831‐

Gorham Manufacturing Company, American, 1831‐

Gorham Manufacturing Company, American, 1831‐

Gorham Manufacturing Company, American, 1831‐

Gorham Manufacturing Company, American, 1831‐

Gorham Manufacturing Company, American, 1831‐

Classical Design as Source Material

Thomas Pairpoint, American, 1838‐1902