Lot 114: Sir James Thornhill , 1675-1734 A design for a decorative wall scheme pen and brown ink with blue and grey wash on laid paper

inscribed in a later hand l.l.: J. Thornhill / 1676 , further inscribed l.c and l.r.: Collection Reynolds Sir James Thornhill ; stamped with the collectors mark l.l.: E.C., further stamped with Sir Joshua Reynolds' collectors mark verso pen and brown ink with blue and grey wash on laid paper

38 by 29.3 cm.; 15 by 11 1/2 in.

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

PROPERTY OF A EUROPEAN PRIVATE COLLECTION
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.