Provenance

Copley Amory, Jr.

American, 1890 - 1964

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A group of three adults and four children are gathered on and around a couch in an interior space that opens out to a distant hilly landscape in this horizontal portrait painting. All seven people have pale skin and are clustered across the middle of the composition. To our left, an older man wearing a white wig, white cravat, and black jacket sits facing us as he holds a squirming baby on his lap. The man’s slightly tanned face is turned to gaze to our right with pale blue eyes under thick brown eyebrows. Jowls line his jaw around pursed lips. The child in his lap twists to look up at him. She holds up her pudgy arms, grasping a gold-colored rattle with bells in her left hand. She has blond hair, smooth skin, and rose-red lips, and she wears a long white gown with a petal-pink sash around the waist. Behind this pair a younger man stands with his body angled to our right in profile as he turns his face to look at us from the corners of his eyes, with a faint smile on his closed pink lips. He also wears a white cravat and black jacket, but his hair is dove gray. His forearms rest on a low, olive-green stone column in front of him, his hands crossed at the wrist as he holds papers in his right hand. To our right and at the center of the group, a young girl stands facing us with her arms crossed at her waist. A lacy, ivory cap frames tawny brown bangs that sweep across her forehead. Her petite nose, brown eyes, and rose-red lips are set within her round face. She wears an ivory-white gown belted with a sash that shimmers from pink to copper as it cascades down her right side, to our left. On her other side, the final trio includes a woman sitting with her arms entwined around two more small children. They sit on a cranberry-red, brocaded sofa. Her sapphire-blue gown has a voluminous skirt and is trimmed with gold stitching along its square neckline. The fabric gleams softly, suggesting silk. Her dark brown hair is piled high on her head, topped by a sheer white veil. Her body is angled toward us, but her head is turned in profile to our left, bowing to almost brush noses with the young child standing alongside her. Shoulder-length brown hair falls to the child’s shoulders as the head is tipped back to gaze at the woman with a wide smile. One arm reaches up and embraces the woman’s neck and the other rests on her knee. The child wears a butter-yellow gown with a white sash around the waist. The fourth and final child lies belly down across the red and copper bolster cushion of the couch so her elbows are propped on her mother’s lap. The child turns her head back to look at us with dark eyes and slight smile on her pale pink lips. Her blond hair falls down the back of her white gown, which is belted with a gold sash. A child’s doll and hat with a rounded crown, a narrow brim, and an indigo-blue feather rests in folds of the curtain on the floral-patterned carpet near the lower left corner of the painting. The scene is framed by rust-red drapery edged in gold hanging from the upper left. In the landscape seen through an opening behind the family, hills fade from sage green to slate blue, and they become more faint as they recede to the horizon, which comes about three-quarters of the way up this composition. The opening is framed with a flowering vine climbing the wall behind the woman.
John Singleton Copley, The Copley Family, 1776/1777, oil on canvas, Andrew W. Mellon Fund, 1961.7.1

The Copley Family

John Singleton Copley · 1776/1777 · oil on canvas ·  Accession ID  1961.7.1

Robert Thew, The Copley Family, c. 1789, stipple engraving, Gift of Mr. Copley Amory, Jr., 1961.11.1

The Copley Family

Robert Thew · c. 1789 · stipple engraving ·  Accession ID  1961.11.1

A pale-skinned, clean-shaven man with a heavily lined, paunchy face sits against a green and red wall in this vertical portrait painting. The man sits in a wooden chair painted forest green and rests both hands on the closer arm. His body and knees are angled to our left, and he turns his wide, square face to look at with heavy-lidded eyes. One brow seems slightly cocked, and he has a large nose. His lips are pulled up on one side over a round double chin. He wears a white, shoulder-length wig and a sable-brown suit. The cuffs of a white shirt are visible at his wrists where his hands are stacked on the arm of the chair. The knee-length breeches are buckled at the knee over black stockings. His legs are crossed away from us, and his feet extend off the bottom edge of the composition. The bottom half of the wall behind him is painted burgundy red up to and including a chair rail, and the wall above is moss green. The wall is lined with a gold scallop pattern along the top of the chair rail and a sliver of brown on across the bottom of the composition suggests a wood floor. The artist signed and dated the painting as if he had inscribed the red wall near the man’s knees, “John Singleton Copley pinx 1772. Boston.”
John Singleton Copley, Eleazer Tyng, 1772, oil on canvas, Gift of the Avalon Foundation, 1965.6.1

Eleazer Tyng

John Singleton Copley · 1772 · oil on canvas ·  Accession ID  1965.6.1

Bibliography

1917

  • Linzee, John William. The Linzee Family of Great Britain and the United States of America. 2 vols. Boston, 1917: 2:795.