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American Decorative Arts
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Maker: Peter Van Dyck, American, 1684–1751

Tankard

ca. 1705–15

Silver

7 3/16 × 5 7/16 in. (18.3 × 13.8 cm, 1094 g)
other (Lip): 4 7/8 in. (12.4 cm)
Mabel Brady Garvan Collection
1930.1067
The combination of cast, chased, and engraved decoration make this one of the most elaborate of all American tankards. No other New York tankard of the late seventeenth or early eighteenth century approaches its monumental aspect. Silversmiths tended to employ gadrooned or engraved ornament on tankard lids, but here Peter Van Dyck uses both processes to render geometric and foliate details in both two and three dimensions. The front of the tankard is engraved with a complex cartouche containing the arms of the Wendell family. The initials on the handle—”HAW“—stand for Harmanus (1678–1731) and Anna (Glen) Wendell (1677–1756), who were married in 1699. Harmanus was the Commissioner of Indian Affairs in Albany from 1728 to 1731.
Geography: 
Made in New York, New York
Status: 
Not on view
Culture: 
American
Period: 
18th century
Classification: 
Containers - Metals
Provenance: 

Made for Harmanus Wendell (1678–1731) and Anna (Glen) Wendell (1677–1756), Albany, NY; descended in the Wendell family; purchased by R.T. Haines Halsey (1865–1942), New York, NY, before 1911–29; purchased by Francis P. Garvan (1875–1937), New York, NY, 1929–30; gift to Yale University Art Gallery, New Haven, Conn., 1930

Bibliography: 

R. T. Haines Halsey, Catalogue of an Exhibition of Silver in New York, New Jersey, and the South, exh. cat. (New York: The Metropolitan Museum of Art, 1911), 59, no. 126, ill.

Clara Louise Avery, Early American Silver (New York: The Century Co., 1930), 141, 155, 264, fig. 20.

Clara Louise Avery, An Exhibition of Early New York Silver, exh. cat. (New York: The Metropolitan Museum of Art, 1931), fig. 85, 98.

R. T. Haines Halsey and Elizabeth Tower, The Homes of Our Ancestors as Shown in the American Wing of the Metropolitan Museum of Art (Garden City, N.Y.: Doubleday, Page and Company, 1935), 258–59, fig. 209.

Katherine B. Hastings, “Peter Van Dyck of New York, Goldsmith part I,” Antiques 31 (May 1937): 237, fig. 5.

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), 34, 69, no. 337.

John Marshall Phillips, “Outstanding Examples from the Mabel Brady Garvan Collections,” Bulletin of the Associates in Fine Arts at Yale University 8, no. 2 (February 1938): 39, ill.

John Marshall Phillips, American Silver (New York: Chanticleer Press, 1949), 52, pl. 2, ill.

John Marshall Phillips, “Masterpieces in American Silver in Public Collections: Part II, 1700–1750,” Antiques 55, no. 2 (February 1949): 116, ill.

Kathryn C. Buhler, Colonial Silversmiths, Masters and Apprentices, exh. cat. (Boston: Museum of Fine Arts, Boston, 1956), 87, no. 259.

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. 1, pp. 40–41, no. 187, ill.

Martha Gandy Fales, Early American Silver for the Cautious Collector (New York: Funk & Wagnalls, 1970), 14-15, fig. 13.

Graham Hood, American Silver: A History of Style, 1650–1900 (New York: Praeger, 1971), 72, 74–75, fig. 60, 61.

Handbook of the Collections, exh. cat. (New Haven, Conn.: Yale University Art Gallery, 1992), 102, ill.

Natalie Zemon Davis, Marybeth De Filippis, and Joyce D. Goodfriend, Dutch New York Between East and West: The World of Margrieta van Varick, exh. cat. (New York: Bard Graduate Center, 2009), 315–16, no. 161, fig. 161a, 161b, 161c.

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.