Gorham Egyptian Revival Inkstand

This is an exceptional example of Gorham’s Egyptian Revival silverplate, a style that reached its zenith in the United States following the opening of the Suez Canal in 1869 and the subsequent arrival of Egyptian obelisks in London and New York.

Detailed Description

This double inkstand (Model #4905) is a masterwork of  “archaeological” design, combining utility with the exoticism of the 19th-century “Egyptomania” movement.

• The Tray: The heavy rectangular base features a lobed, quatrefoil-inspired shape with rounded corners. The perimeter is decorated with a precision-engraved geometric zigzag or “Greek key” border, which was a standard neoclassical motif often paired with Egyptian designs to ground the piece.
• The Central Stamp Box: Rising from the center is a rectangular compartment used for holding postage stamps or nibs.
  • The Sphinx: The lid is surmounted by a finely cast Sphinx finial, serving as both a decorative handle and a symbol of ancient mystery. The Sphinx is depicted in a traditional recumbent pose with a detailed nemes headcloth.
  • The Winged Sun Disc: The front of the box features a large, beautifully engraved Winged Sun Disc (Behdety). While often misidentified in antique listings as a “phoenix,” this is a classic Egyptian symbol of royalty and protection, characterized by a central sun disc flanked by sprawling wings and two uraei (sacred cobras).
• The Feet: The stand is supported by four architectural feet, each featuring the bust of a Pharaoh wearing the pschent (double crown) or nemes headcloth, transitioning into winged or scrolled supports.
• The Inkwells: The piece retains its two original cobalt blue glass inserts.

Dating and Markings

• Model #4905: This is Gorham’s production or design number. In Gorham’s silverplate system (unlike their sterling), these numbers were assigned sequentially to designs. Records for #4905 place the design firmly in the circa 1870–1875 period.
• The Number “6”: This impressed number (seen inside the stamp compartment) is likely a size mark or a workman’s tally mark. In Gorham’s holloware, a single digit often indicated the capacity or the specific size of a piece within a tiered set (e.g., if this stand were available in different widths).

Advertising and Contemporary Context

In the 1870s, Gorham did not typically “name” their silverplate patterns as they did with flatware (like Chantilly). Instead, pieces like this were marketed in trade catalogs as “Fancy Goods” or “Library Ware.” Contemporary descriptions in Gorham’s 1870s price lists would have emphasized the “oxidized silver” finish, which was intentionally darkened in the recesses of the engraving to highlight the intricate Egyptian motifs. These were sold as high-end luxury goods for the Victorian gentleman’s library or a lady’s writing desk. Similar inkstands were described in 19th-century journals as:

“Richly chased library ornaments in the Egyptian taste, combining the gravity of the Pharaohs with the elegance of modern plate.”

About Gorham Manufacturing Co.

Founded in 1831 by Jabez Gorham in Providence, Rhode Island, the company rose to international prominence under his son, John Gorham, who traveled to Europe to observe the latest mechanized production techniques.

• Design Leadership: By the 1870s, Gorham was the largest and most prestigious silver manufacturer in America. They were famous for their ability to quickly adapt to trends, moving from the Rococo Revival to the Egyptian Revival and later the Aesthetic Movement.
• Historical Significance: Gorham was the chosen silversmith for the White House during several presidencies (including the Lincolns and the Grants) and was known for producing “museum-quality” figural silverplate that was virtually indistinguishable from solid sterling to the naked eye.