Provenance

Mr. and Mrs. Julian Ganz, Jr.

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John Singleton Copley, Sketch for The Copley Family, 1776, oil on canvas, Gift of Richard T. York, in Honor of the 50th Anniversary of the National Gallery of Art, 1991.141.1

Sketch for The Copley Family

John Singleton Copley · 1776 · oil on canvas ·  Accession ID  1991.141.1

A red jockey’s cap, a riding crop, a horseshoe, a spur, and bits of posters and papers are tacked and pasted against a wooden forest-green door, which fills this vertical painting. At the midline about a third of the way down the composition, the crimson-red cap hangs from a loop on a nail so we look onto the button on the soft top and the rounded brim, below. It overlaps a long, tapered, stick-like riding crop, which angles from the upper right corner to the lower left of the composition. The crop has a shallow knob at its top, and it hangs from a leather strap around another nail driven into the door. Immediately above the red cap is a slightly misshapen horseshoe, the left side of the upside-down U flaring out a little. To the lower right of the cap, the leather straps and metal spur hang from another nail. The cap and crop hang over several pieces of overlapping paper affixed or tacked to the door. The front-most poster has black text printed against a white background. “OAKLEY” appears in all caps across the top like a headline. In smaller letters below it reads, “Race Track” and then “Six Great Races.” Horizontal lines beneath that suggest more text, but it is illegible. The bottom of the poster is ripped, creating an irregular edge. The poster overlaps and mostly obscures a picture of a dark horse against a parchment-brown background. Corners and bits of yellow paper or board, sky-blue fragments, and a peach-colored ticket with the numbers “762” and “112” are affixed around and under the poster. Just beneath and to our right of these overlapping papers, nails pin the four corners of a kelly-green sign that has otherwise been ripped away, the white torn edge showing against the green paper. The black letter “S” is printed in the upper right. The wood door that creates the background for these objects is worn, especially along the vertical edges of the boards. The wood is cracked and split in some areas, and a few bent, rusty nails are partially driven into the wood. Two scrolling hinges to our left are mottled with rust brown and black. Each hinge ends in a three-lobed clover shape. The bottom hinge is broken about two-thirds of the way across the arm, so the end hangs down from the nail in the clover. A keyhole near the right edge of the composition is surrounded by a gold-colored plate. An illegible scrap of a newspaper column is pasted to the door near the top right corner of the composition, and two pieces of paper seem to be tucked into the edge of the painting. A ticket with the numbers “471” printed in large red numerals and again in smaller black numbers, and the letter “H” is tucked into the right edge, near the four corners of the green poster. Finally, the corner of a folded and wrinkled piece of sapphire-blue paper, perhaps an envelope, is tucked in at the bottom center.
John Frederick Peto, For the Track, 1895, oil on canvas, Gift of Jo Ann and Julian Ganz, Jr., in honor of Earl A. Powell III, 1997.131.1

For the Track

John Frederick Peto · 1895 · oil on canvas ·  Accession ID  1997.131.1

John Hill, John Hill, M. Carey & Son, View of the Spot Where General Ross Fell, Near Baltimore, 1820, etching and aquatint with watercolor additions on wove paper, Gift of Jo Ann and Julian Ganz. Jr., 2023.75.2

View of the Spot Where General Ross Fell, Near Baltimore

John Hill, John Hill, M. Carey & Son · 1820 · etching and aquatint with watercolor additions on wove paper ·  Accession ID  2023.75.2

Slightly below us and at a distance, water gently laps at sandy beach that curves alongside massive, craggy outcroppings in this panoramic horizontal landscape painting. Scrubby grass and low-slung trees dot an area of gray rocks in the lower left corner of the painting. A vivid yellow and black insect lands on a nearly horizontal tree trunk close to us, and two women sit and stand on the rocks farther out. One wears a red shirt and holds a narrow yellow parasol, and the other wears a lilac-purple, full-skirted dress and a yellow cap. The outcroppings rise vertically just beyond the women. Dark green plants grow along a ridge to the left. The remains of logs or beams and perhaps cloth is near the breaking surf of the beach, at the bottom center of the painting. The beach curves in a C-shape and then turns back to create a point just beyond the outcroppings. The white sails of a few boats sit on the slate-blue water, which reaches back to the hazy horizon, which is about halfway up the composition. A few spots of bright white or gray clouds dot the otherwise washed out, ivory-white sky above. The artist signed and dated the lower left corner, “A.T. Bricher 1873.”
Alfred Thompson Bricher, A Quiet Day near Manchester, 1873, oil on canvas, Paul Mellon Fund, Avalon Fund, and Gift of Jo Ann and Julian Ganz, Jr., 2008.66.1

A Quiet Day near Manchester

Alfred Thompson Bricher · 1873 · oil on canvas ·  Accession ID  2008.66.1

John Hill, John Hill, M. Carey & Son, Oyster Cove, 1820, etching and aquatint with watercolor additions on wove paper, Gift of Jo Ann and Julian Ganz. Jr., 2023.75.3

Oyster Cove

John Hill, John Hill, M. Carey & Son · 1820 · etching and aquatint with watercolor additions on wove paper ·  Accession ID  2023.75.3

This painting depicts a snowy forest scene with a path running through tall, leafless trees. On the path in the center of the painting, two men are pulling a sled loaded with barrels towards the right, while a small child sits on the barrels, holding a wooden bucket. The men wear long pants, vests, and hats in shades of blue, brown, black, red, and tan, while the child wears brown pants and a green jacket with a white scarf and a blue hat. All three people have light skin and brown hair. The forest around them is dense, made up of mostly brown trees and branches with a hint of pale gray sky in the background. Behind the people, in the trees, there also appears to be a small wooden structure with a faint orange fire.
Eastman Johnson, On Their Way to Camp, 1873, oil on board, Paul Mellon Fund and Gift of Jo Ann and Julian Ganz, Jr., 2008.66.2

On Their Way to Camp

Eastman Johnson · 1873 · oil on board ·  Accession ID  2008.66.2

John Hill, John Hill, M. Carey & Son, Spirit Creek; Near Augusta, Georgia, 1820, etching and aquatint with watercolor additions on wove paper, Gift of Jo Ann and Julian Ganz. Jr., 2023.75.4

Spirit Creek; Near Augusta, Georgia

John Hill, John Hill, M. Carey & Son · 1820 · etching and aquatint with watercolor additions on wove paper ·  Accession ID  2023.75.4

John Hill, John Hill, M. Carey & Son, Title Page for the series "Picturesque Views of American Scenery", 1820, etching and aquatint with watercolor additions on wove paper, Gift of Jo Ann and Julian Ganz. Jr., 2023.75.1

Title Page for the series "Picturesque Views of American Scenery"

John Hill, John Hill, M. Carey & Son · 1820 · etching and aquatint with watercolor additions on wove paper ·  Accession ID  2023.75.1

Roxy Paine, Untitled (Study for Graft), 2008, ink over graphite on paper, Gift of Jo Ann and Julian Ganz. Jr., 2023.75.5

Untitled (Study for Graft)

Roxy Paine · 2008 · ink over graphite on paper ·  Accession ID  2023.75.5

A man sits on a sheer, rocky outcropping high above a sunlit expanse of land that stretches to meet a sun-dappled sea in this horizontal painting. The outcropping slopes in to fill the right half of the composition, and is partially carpeted by mustard-yellow, brown, and moss-green growth. Bright sunlight from the upper right glints off some of the craggy, steel-gray rock faces. The man is tiny in scale within the composition, and sits near the top right with his legs stretched out in front of him. He wears a denim-blue shirt, tan pants, and soft hat with a narrow brim. He appears to have red hair and a beard. He holds a white object in front of him, presumably paper or a notebook. Behind him an open box of paints and brushes sits near a camp stool with a closed white parasol planted next to it. A lower hill in the middle distance slopes in from the left side and disappears behind the outcroppingin the center of the composition. The hill is covered with muted and dark greens and yellows, suggesting a forest of pine trees. The hill descends to meet the flat, mauve-tinted land, which is crisscrossed with shallow fissures. In the distance, the area where the narrow band of powder-blue sea meets the sky, about three-quarters of the way up the canvas, is painted with a tan-colored haze. The artist signed the work in the lower right as if he had carved his name and the date into the rock. It reads, “S R Gifford 1865.”
Sanford Robinson Gifford, The Artist Sketching at Mount Desert, Maine, 1864-1865, oil on canvas, Gift of Jo Ann and Julian Ganz, Jr. in honor of John Wilmerding, 2004.99.1

The Artist Sketching at Mount Desert, Maine

Sanford Robinson Gifford · 1864-1865 · oil on canvas ·  Accession ID  2004.99.1