SPECIAL ADVISORY: In accordance with Yale University’s revised COVID-19 protocols, the Yale University Art Gallery is closed to the public until further notice. Learn More

American Decorative Arts
Maker: Simeon Soumaine, American, born England, ca. 1660 or ca. 1685–1750

Sugar Bowl



4 3/16 × 4 11/16 in. (10.64 × 11.9 cm)
other (Lip): 4 11/16 in. (11.9 cm)
base: 2 in. (5.1 cm)
Mabel Brady Garvan Collection
Tea drinking in the eighteenth-century demanded elaborate equipment, including sugar bowls like this one with its distinctive cover modeled after a Chinese porcelain covered rice bowl. The work of Huguenot silversmith Simeon Soumain, this Queen Anne–style vessel indicates a wealthy owner who spent large sums on luxury objects for the tea table. The bowl relies primarily on its perfectly round form for its aesthetic impact. The engraved cipher is for Elizabeth Harris (died 1760), who married Henry Cruger in Legnaum, Jamaica, in 1736. According to Cruger’s diary, he and his family arrived in New York from Jamaica on May 31, 1738.
Made in New York, New York
On view
18th century
Containers - Metals

Originally owned by Elizabeth (Harris) Cruger (d. 1760); Luke V. Lockwood, Greenwich, Conn.; Francis P. Garvan, New York, NY (1929).


Dennis Andrew Carr, “Asian Encounters: The Flowering of Globalism in the Arts of the Colonial Americas at the MFA, Boston,” The Magazine Antiques 182, no. 5 (September/October 2015).

R. T. Haines Halsey, Catalogue of an Exhibition of Silver Used in New York, New Jersey, and the South, exh. cat. (New York: The Metropolitan Museum of Art, 1911), 49–50, no. 104.

Exhibition of Early American Paintings, Miniatures, and Silver, assembled by Washington Loan Exhibition Committee, exh. cat. (Washington, D.C.: National Gallery of Art, 1925), 91, no. 176.

Clara Louise Avery, Early American Silver (New York: The Century Co., 1930), 216, 329, pl. 58, ill.

Clara Louise Avery, An Exhibition of Early New York Silver, exh. cat. (New York: The Metropolitan Museum of Art, 1931), fig. 67.

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), 29, no. 284.

Stephen G. C. Ensko, American Silversmiths and Their Marks, 1 (New York: Ensko, Inc., 1948), pl. 9, ill.

John Marshall Phillips, American Silver (New York: Chanticleer Press, 1949), 77, pl. 20, ill.

John Marshall Phillips, “Masterpieces in American Silver in Public Collections: Part II, 1700–1750,” Antiques 55, no. 2 (February 1949): 120, ill.

John Marshall Phillips, “The Mabel Brady Garvan Collection of Silver at Yale University,” Connoisseur Year Book (1953): 73, pl. 13, ill.

Kathryn C. Buhler, French, English, and American Silver, exh. cat. (Minneapolis: Minneapolis Institute of Arts, 1956), 78, no. 283.

John Marshall Phillips, Early American Silver Selected from the Mabel Garvan Collection, Yale University (New Haven, Conn.: Yale University Art Gallery, 1960), no. 17, ill.

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. 56, no. 603, ill.

Martha Gandy Fales, Early American Silver for the Cautious Collector (New York: Funk & Wagnalls, 1970), 19, fig. 18.

Graham Hood, American Silver: A History of Style, 1650–1900 (New York: Praeger, 1971), 103–5, fig. 93.

Charles F. Montgomery and Patricia E. Kane, eds., American Art: 1750–1800 Towards Independence, exh. cat. (Boston: New York Graphic Society, 1976), 186, fig. 139.

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), 41, 147, no. 154, ill.

Harold Newman, An Illustrated Dictionary of Silverware (New York: Thames and Hudson, 1987), 307, ill.

Handbook of the Collections, exh. cat. (New Haven, Conn.: Yale University Art Gallery, 1992), 103, ill.

David L. Barquist, Myer Myers: Jewish Silversmith in Colonial New York, exh. cat. (New Haven, Conn.: Yale University Art Gallery, 2001), 4, fig. 2.

Timothy Barringer, Gillian Forrester, and Barbaro Martinez-Ruiz, Art and Emancipation in Jamaica: Isaac Mendes Belisario and His Worlds, exh. cat. (New Haven, Conn.: Yale Center for British Art, 2007), 274, fig. 8.

Tessa Murdoch, ed., Beyond the Border Huguenot Goldsmiths in Northern Europe and North America (Eastbourne, England and Portland, Ore.: Sussex Academic Press, 2008), 63–64„ pl. 35, ill.

Helen A. Cooper et al., Life, Liberty, and the Pursuit of Happiness: American Art from the Yale University Art Gallery, exh. cat. (New Haven, Conn.: Yale University Art Gallery, 2008), 34, no. 6, ill.

Dean F. Failey, Deborah Dependahl Waters, and David L. Barquist, Elias Pelletreau: Long Island Silversmith and Entrepreneur 1726–1810, ed. Jennifer L. Anderson, exh. cat. (Cold Spring Harbor, N.Y.: Preservation Long Island, 2018), 17, 135, 140, fig. 5-3.

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.