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American Decorative Arts
Maker: Bartholomew Le Roux, American, ca. 1665–1713

Brandywine Bowl

ca. 1690–1700


5 1/2 × 12 1/8 in. (14 × 30.8 cm)
other (bowl): 8 15/16 in. (22.7 cm)
base: 5 5/8 in. (14.3 cm)
Mabel Brady Garvan Collection
Brandywine bowls (brandewijnkommen) were used in Dutch households for serving a mixture of brandy and raisins at ceremonial occasions such as weddings and births. The lobed panels and cast handles with caryatids on this impressively-scaled bowl derive from Netherlandish examples and show the survival of Dutch artistic traditions in the New York area. It was made by the Huguenot silversmith Bartholomew Le Roux, who arrived in New York from London by 1690 and quickly established himself as one of the colony’s leading silversmiths. The bowl features the initials of Joseph and Sarah Wardel, who were married in 1696 in Shrewsbury, New Jersey. The bowl was likely made to commemorate their wedding. Later inscriptions chart its descent through the female line of the Wardel family into the early twentieth century.
Made in New York, New York
On view
17th century
Containers - Metals

Originally owned by Joseph and Sarah Wardel, Monmouth County, N.J.; their daughter, Sarah Wardel, Eatonton Monmouth, N.J.; her daughter, Sarah Eaton, Monmouth County, N.J.; her daughter, Sarah Lowrey, Pittsburgh; her daughter, Sarah North Collins, Pittsburgh; her daughter, Sarah Collins McClure, Pittsburgh; her daughter, Sarah Lowrey McCalmont Lewisson, Boston; her daughter, Sarah McCalmont Lewisson, Boston; Walter Updike Lewisson, Boston; Francis P. Garvan, New York, to 1930; Yale University Art Gallery, New Haven, Conn.


Exhibition of Early American Paintings, Miniatures, and Silver, assembled by Washington Loan Exhibition Committee, exh. cat. (Washington, D.C.: National Gallery of Art, 1925), 16, no. 104, ill.

Clara Louise Avery, Early American Silver (New York: The Century Co., 1930), 137, 162.

Clara Louise Avery, An Exhibition of Early New York Silver, exh. cat. (New York: The Metropolitan Museum of Art, 1931), fig. 38.

V. Isabelle Miller, Silver by New York Makers, Late 17th Century to 1900, exh. cat. (New York: Museum of the City of New York, 1937), 18, 57, no. 169, ill.

John Marshall Phillips, “Masterpieces in American Silver; Part I, Seventeenth-Century Traditions,” Antiques vol. 54, no. 6 (December 1948): 415, ill.

John Marshall Phillips, American Silver (New York: Chanticleer Press, 1949), 43.

E. P. Richardson, The French in America, 1520–1880, exh. cat. (Detroit: Detroit Institute of Arts, 1951), 137, 139, no. 340, ill.

Kathryn C. Buhler, French, English, and American Silver, exh. cat. (Minneapolis: Minneapolis Institute of Arts, 1956), 75, no. 248.

John N. Pearce, “New York’s Two-Handled Paneled Silver Bowls,” Antiques 80, no. 4 (October 1961): 341–45, no. 9, ill.

New York Silversmiths of the Seventeenth Century, exh. cat. (New York: Museum of the City of New York, 1962), no. 52.

Kathryn C. Buhler and Graham Hood, American Silver in the Yale University Art Gallery, 2 vols. (New Haven, Conn.: Yale University Art Gallery, 1970), vol. 2, p. 17, no. 564, ill.

Graham Hood, American Silver: A History of Style, 1650–1900 (New York: Praeger, 1971), 53–54, fig. 43.

Barbara M. Ward and Gerald W. R. Ward, eds., Silver in American Life: Selections from the Mabel Brady Garvan and Other Collections at Yale University, exh. cat. (New Haven, Conn.: Yale University Art Gallery, 1979), 36–37, 40, 136, no. 142, ill.

Handbook of the Collections, exh. cat. (New Haven, Conn.: Yale University Art Gallery, 1992), 100, ill.

Note: This electronic record was created from historic documentation that does not necessarily reflect the Yale University Art Gallery’s complete or current knowledge about the object. Review and updating of such records is ongoing.