American Decorative Arts
Maker: Antoine Oneille, American, born Canada, 1764–1820




11 1/2 × 8 9/16 × 4 5/8 in. (29.2 × 21.7 × 11.7 cm), 34 oz. (1058 gm)
Josephine Setze Fund for the John Marshall Phillips Collection
This pitcher was made between 1810 and 1815 in the town of Sainte Genevieve in what was then called the Illinois Country, an area that corresponds to present-day Missouri and Illinois. The Illinois Country was settled in the eighteenth century by immigrants from France and French Canada, and even after the region was sold to the United States as part of the Louisiana Purchase in 1803, French-Canadian and Creole culture remained dominant. The silversmith Antoine Oneille was born in Quebec and had a peripatetic career in Canada, Indiana, Detroit, and Sainte Genevieve supplying silver for the fur trade as well as for those who profited from it. This pitcher, his most ambitious surviving piece of hollowware, was made for Constance Roy and Ferdinand Rozier, probably around the time of their marriage in 1812 or 1813. Rozier had immigrated to the United States from France in 1806 with his business partner, John James Audubon. The pitcher’s delicate engraving, cast foliate handle, and round belly perched on a narrow foot all derive from high-style French silver and demonstrate the cultural heritage of both its maker and owners.
Made in Sainte Genevieve, Missouri, United States
Not on view
19th century
Containers - Metals

“Acquisitions, 1999,” Yale University Art Gallery Bulletin (2000): 163.

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), 48–49, no. 15, ill.

Art for Yale: Collecting for a New Century, exh. cat. (New Haven, Conn.: Yale University Art Gallery, 2007), 41, pl. 12.

Amy Torbert and M. Melissa Wolfe, Art Along the Rivers: A Bicentennial Celebration, exh. cat. (St. Louis: Saint Louis Art Museum, 2021), 127, no. 81.

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.