Gorham Manufacturing Company

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.

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 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.

Elizabeth A. Williams, curator of decorative arts: Commanding as much attention now as when they debuted at the 1904 World’s Fair, this writing table and chair were conceived as showstoppers in a crowd of stunning objects made by Gorham’s competitors. 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, 18th-century French Rococo forms, and traditional Hispano-Moresque designs. Intricately wrought symbolism-seen 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-attest to the complexity of Gorham’s design, which brought them the Grand Prize in silversmithing.

Burr Sebring, designer and silversmith: This writing table and chair represent a golden age for Gorham. In 1899 the company moved into a new plant, and with the new design direction from William Christmas Codman, Gorham enjoyed a perfect matrix of leadership and artistry. Codman turned over his rather cursory sketches for the silversmiths, chasers, modelers, inlayers, leather carvers, and cabinetmakers to interpret and execute in three dimensions. Remarkable skill and collaboration is particularly evident in the leaves on the desk's surface, where the ebony and rosewood, which are very challenging woods, were carved away to allow the inlay of silver.

As the director of design at Gorham from 1973 to 1983, I always felt that we were working in the shadow of this moment, which was characterized by outstanding dedication to craftsmanship, hard work, and the time required to create what had never been made before.