Sir James Thornhill

Sir Joshua Reynolds (L. 2363);
E. Calando (L. 837)

The medium has remained fresh and strong. The paper has changed colour very slightly, but considering its age, in general the condition is very good. There are three areas, located at the top and bottom of the middle of the sheet, where the paper has been torn. The entire sheet has been laid down onto another piece of paper and therefore these small tears can only be seen on close inspection. Overall the work has been very well preserved.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The inclusion of William III's coat of arms, in this fascinating drawing, within the upper section of the composition suggests a date of 1702 or earlier, prior to the King's death. Born in 1675 Thornhill therefore would not have been older than 27 years old when he worked on this sketch. Thornhill served an apprenticeship with Thomas Highmore (1660-1720), a member of the Painter-Stainers' Company, from 1689 to 1696. Between 1696 and 1699 he is thought to have worked as an assistant to the decorative painter Louis Laguerre (1663-1721), while some scholars suggest that he painted in the studio of Antonio Verrio (1639-1707) when the latter was working for the Royal family at Hampton Court between 1700 and 1702 (see Edward Croft-Murray, Decorative Painting in England 1537-1837, 1963, vol. 1, p. 69-70).

Although the present drawing does not appear to relate to any known finished works by Thornhill or Verrio, King William's arms do indicate a connection to his employment, under Antonio Verrio, at Hampton Court.

The single directional format of the composition and the lack of architectural motif perhaps reveal that Thornhill was planning, not a ceiling design, but an image intended to be painted onto an upright wall. Along with William III's arms, Thornhill has depicted, resting on billowing clouds, representations of the four Continents: Europe, Asia, Africa and America. In the lower quarter of the composition, the winged figure of Fame blows her trumpet. While below her two chained and naked slaves lie slumped surrounded by swords and cannon balls. In the centre, within the roundel, a triumphal procession is in full tilt. Although the identity of the classical, heroic figure being drawn by the chariot is not revealed, it is possible, given the inclusion of the coat of arms, that he represents King William III. If this is the case, it may be possible to argue that Thornhill's ultimate theme within this design is the glorification of William III and his reign, as found on the magnificent ceiling decoration at Greenwich Hospital.