The broad tankard has slightly tapering sides, with a large stepped molding applied to the base and a proportionately smaller molding, with two narrow scored bands, at lip. The broad lid has a scored edge and a crenate edge opposite the handle and to each side of the hingeplate. The flat-top lid...
The broad tankard has slightly tapering sides, with a large stepped molding applied to the base and a proportionately smaller molding, with two narrow scored bands, at lip. The broad lid has a scored edge and a crenate edge opposite the handle and to each side of the hingeplate. The flat-top lid is lightly scored with several concentric circles and has a narrow and wider step that rises from the flange. The cast thumbpiece is scrolled on the side facing the lid. A five-part hinge leads to a baluster-shaped decoration on the raised, seamed, scroll handle, which ends in a plain oval terminus, with a round air vent below. The handle is attached to the body at the top with a short, wide rattail that has a circular air vent at tip. A small round disk attaches the lower handle section to body, above baseband.
"C * F" on handle below baluster decoration. Scratch weight of "36 / oz" incised on base, above which appears "88691" as later engraved notation.
Below lip, to right and left of handle, is marked "E P" in roman letters within a rectangle.
The tankard was probably made for Charity Floyd (1739/40 – 1785) about the time of her 1765 marriage to the Hon. Ezra L’Hommedieu (1734 – 1811), whose portrait by Ralph Earl is in the Museum’s collection.3 The tankard passed to his daughter by his second marriage to Mary Catherine Havens, Mary Catherine L’Hommedieu (1806 – 1838), m. Samuel Smith Gardiner (1789 – 1859) of Shelter Island, New York, in 1823. By descent to their daughter Frances Eliza Gardiner (1832 – 1876) and George Martin Lane (1824 – 1897), professor of Latin at Harvard College, m. 1857.4 The tankard passed to their son Gardiner Martin Lane (1859 – 1914), president of the Museum of Fine Arts, Boston, from 1907 until his death in 1914, and Emma Louise Gildersleeve (1872 – 1954), m. 1898; thence to their daughter, the animalier Katharine Lane Weems (Mrs. F. Carrington Weems) (1899 – 1989), whose many sculptures are in the Museum’s collection.
Bequest of Katharine Lane Weems