posted 06-29-2008 01:20 PM            

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The tall cylindrical coffeepot with its free-floating dragonflies represents the Japanese influence on the avaunt-garde art of the 1870s. Edward C. Moore, Tiffany's chief designer, undoubtedly fell under this influence. In fabricating the piece, he employed the Japanese technique mokume, in which brass or silver is mixed in copper to achieve a swirled effect. The mokume waves achieve a cloud like quality, interspersed among the applied dragonflies.

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posted 06-29-2008 01:25 PM            

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Pitcher
During the late 19th century, Tiffany and Company established itself as an innovative producer of jewelry and silverware, including many refined pieces that reflect the ideals of the Aesthetic Movement. This stunning ewer was inspired by both Classical Roman sources--note the head of Bacchus applied beneath the spout and the frieze of dancing cherubs and satyrs--and by natural forms. There are only three known examples of this design, one of which was made for exhibition at the 1893 World's Columbian Exhibition in Chicago.

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Codman was chief designer of Gorham Manufacturing Company from 1891 until his retirement in 1914. In 1896 the company introduced his revolutionary new program to produce a line of handmade silver, called Martele (hand-hammered) in the Arts and Crafts tradition. Codman said that the new work has to be "modern art," and the modern art of 1900 was Art Nouveau. Thus he parted company with most of the other American makers of Arts and Crafts silverware. Pieces signed by Codman are rare, though we know he personally designed the entire Martele line. This voluptuous pitcher, with leaf and undulating lily-of the-valley motifs, is one of the most important manifestations of Art Nouveau in America.

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posted 07-19-2008 07:14 AM            

This is a case where following the link and using the 'zoom' feature at the site provides a much better view than any image that could be displayed here.

Update: Since Scott has kindly displayed an image but also has removed the link to the item at the DIA site, 80.94.1 is the accession number for anyone interested in exploring the whole tea set at a higher resolution.

[This message has been edited by ellabee (edited 07-19-2008).]

"Update: Since Scott has kindly displayed an image but also has removed the link..."

posted 07-19-2008 10:08 AM            

Long ago, bought my Mom a lovely little 1885 Gorham sugar & creamer with a wavy design on it and very similar finial to the above teapot (tiny ruffle underneath rather than leaves). Then a couple of years ago, found a squatty little silverplate individual teapot (maker eludes me) with wonderful swirly ribbed spout and handle - gave it to her with thought that it coordinated nicely with the Gorham set even though they were quite different. The teapot here shows me why I liked them dispayed together.

posted 07-20-2008 01:39 AM            

Cheryl, I had fun while looking at the Gorham teaset considering what pre-1881 Gorham or other flatware pattern would look best for the sugar spoon and/or teaspoons to use with this ensemble.

One option is 'Grecian', to echo the repeating motif in the squared band. Better would be a simple hammered-all-over pattern like 'Hammered Antique' to harmonize with the "shell" of the teapot.

posted 07-22-2008 09:21 AM            

But it would be fun to throw in an Antique Hammered or two among the teaspoons, just to plant the seed of the idea that the spoon's 'skin' might give way at any moment to reveal the Cluny beneath...

1880-85 must have been years of intense artistic experiment at Gorham. While looking up Cluny I came across Cairo, an example of the technique whose name I can't remember right now, in which another metal is added to the silver in much the same way butter is incorporated into puff pastry, by repeated folding and pressing. It produces a spotted or mottled look.

And there's Hamburg, the outer edge of bizarre.

posted 07-22-2008 09:43 AM            

There's an interesting description and some modern examples The Mokume Gane Story (click here). The effect seems to be in demand for wedding rings, where the symbolism is perfect.

posted 07-22-2008 12:28 PM            

Yes, somebody at Gorham was definitely smoking something in the 1880's. But not all of what they were doing just sprang out of their heads. A great deal of it was their take, and their desire to embellish, on earlier weirdness.

posted 07-22-2008 02:08 PM            

I think my idea that the spotted effect of Curio/Cairo is the result of mokume comes from Venable's Century of Splendor, which has an illustration of mokume work that has the same look.

Sadly, I don't own and therefore can't check my memory with the book (though I enjoyed every day of the month I had it on interlibrary loan). Someone who does might want to; can't remember if the illustration was of flatware or hollow ware.

posted 07-22-2008 03:40 PM            

I'd know without looking at the accession numbers that the items discussed in this thread probably weren't acquired during his tenure; he's a terrible snob in general, and about 19th century American silver in particular.

His American Silver: A History of Style, 1650-1900 is instructive. And I don't really disagree with a lot of what he says about the examples he provides of mid-late-19th century pieces -- but his selection is either purposely biased or seriously underinformed, showing the era's excesses rather than its best work.