The Angel appearing to the shepherds, the visitation, and the annunciation: a sheet of notes for a proposed decorative scheme with 3 sketches of paintings for overdoors, Sir James Thornhill

Seen

Not described yet.

Of

No subject recorded yet.

Means

No reading yet.

Rights

Credit
Yale Center for British Art, Paul Mellon Collection
Licence
PDM-1.0
Evidence
manifests.collections.yale.edu: Copyright Statement=Public Domain on ycba object 43b31217-d62a-49d6-afb0-797b9f2241b1 (https://manifests.collections.yale.edu/v2/ycba/obj/12825); Image Use Rights=No Copyright: You can copy, modify, distribute and perform the work, even for commercial purposes, all without asking permission. (CC0 1.0) (read 2026-09-16)
Record
https://collections.britishart.yale.edu/catalog/tms:12825
IIIF
manifest
The Angel appearing to the shepherds, the visitation, and the annunciation: a sheet of notes for a proposed decorative scheme with 3 sketches of paintings for overdoors, Sir James Thornhill
The Angel appearing to the shepherds, the visitation, and the annunciation: a sheet of notes for a proposed decorative scheme with 3 sketches of paintings for overdoors — Sir James Thornhillundated

Also by Sir James Thornhill

1
Sketch for 'The Last Supper,' St. Mary's, Weymouth, Sir James Thornhill
Sketch for 'The Last Supper,' St. Mary's, WeymouthSir James Thornhillbetween 1719 and 1720Yale Center for British Art

Within fifty years of undated

1243
Herman Doomer (ca. 1595–1650), Rembrandt (Rembrandt van Rijn)
Herman Doomer (ca. 1595–1650)Rembrandt (Rembrandt van Rijn)1640Metropolitan Museum of Art, New York, NY
Two Monks in a Landscape, Italian
Two Monks in a LandscapeItalianc. 1645The Art Institute of Chicago
Purse, Unknown
PurseUnknown1640–1700Cooper Hewitt, Smithsonian Design Museum
The Immaculate Conception, Jusepe de Ribera, Spanish, active Italy, 1591 – 1652
The Immaculate ConceptionJusepe de Ribera, Spanish, active Italy, 1591 – 1652ca. 1640Cooper Hewitt, Smithsonian Design Museum
Drawing, Leonardo Scaglia, French, active Italy, 1640 – 1650
DrawingLeonardo Scaglia, French, active Italy, 1640 – 1650About 1640Cooper Hewitt, Smithsonian Design Museum
Fortitude (?), Giovanni Battista Beinaschi
Fortitude (?)Giovanni Battista Beinaschica. 1640–88Cooper Hewitt, Smithsonian Design Museum
Mount, Unknown
MountUnknownca. 1640Cooper Hewitt, Smithsonian Design Museum
Beauty Holding a Flower, Mughal
Beauty Holding a FlowerMughalMid–17th centuryThe Art Institute of Chicago

Also at Yale Center for British Art

31
The Last Supper, Francesco Bartolozzi
The Last SupperFrancesco BartolozziundatedYale Center for British Art
Samson Overcome by the Philistines, Johan Joseph Zoffany
Samson Overcome by the PhilistinesJohan Joseph Zoffanyca. 1758Yale Center for British Art
Samson Overpowered, George Romney
Samson OverpoweredGeorge Romney1760sYale Center for British Art
The Adoration of the Shepherds, Francesco Bartolozzi
The Adoration of the ShepherdsFrancesco Bartolozzi1765Yale Center for British Art
The Adoration of the Shepherds, Francesco Bartolozzi
The Adoration of the ShepherdsFrancesco Bartolozzi1765Yale Center for British Art
The Artist and His Family, Benjamin West
The Artist and His FamilyBenjamin Westca. 1772Yale Center for British Art
Figure Composition; possibly Samson and Delilah, George Romney
Figure Composition; possibly Samson and DelilahGeorge Romney1770sYale Center for British Art
The Adoration of the Magi, a Design for Bas Relief, John Flaxman
The Adoration of the Magi, a Design for Bas ReliefJohn FlaxmanundatedYale Center for British Art

Similar picturesFound by visual likeness

8 pictures

Visual resemblances suggested by the model. A match does not establish a shared subject or historical connection.

Design for Palazzo Conti, Felice Giani, Italian, 1758–1823
Design for Palazzo ContiFelice Giani, Italian, 1758–1823Cooper Hewitt, Smithsonian Design Museum
0.87
Drawing, Felice Giani, Italian, 1758–1823
DrawingFelice Giani, Italian, 1758–1823Cooper Hewitt, Smithsonian Design Museum
0.86
Drawing, Felice Giani, Italian, 1758–1823
DrawingFelice Giani, Italian, 1758–18231780-1790Cooper Hewitt, Smithsonian Design Museum
0.86
Drawing, Felice Giani, Italian, 1758–1823
DrawingFelice Giani, Italian, 1758–18231780-1790Cooper Hewitt, Smithsonian Design Museum
0.86
Drawing, Felice Giani, Italian, 1758–1823
DrawingFelice Giani, Italian, 1758–18231795-1800Cooper Hewitt, Smithsonian Design Museum
0.85
Ceres is told of the Rape of Proserpina, Felice Giani, Italian, 1758–1823
Ceres is told of the Rape of ProserpinaFelice Giani, Italian, 1758–18231812Cooper Hewitt, Smithsonian Design Museum
0.85
Drawing, Felice Giani, Italian, 1758–1823
DrawingFelice Giani, Italian, 1758–18231800-1810Cooper Hewitt, Smithsonian Design Museum
0.85
Print, Unknown
PrintUnknownCooper Hewitt, Smithsonian Design Museum
0.85

In the stacks

Not yet checked1

Passages in the library’s own holdings that name this maker. The model ranked them; nobody has checked that the name means this person.

  1. The Crown of Wild Olive · John Ruskin

    "The Cherry Woman," exhibited in 1850, may be named as an example of the first kind; the "Burchell and Sophia" of the second (the character of Sir William Thornhill being utterly missed); the "Seven Ages" of the third; for this subject cannot be painted. In the written passage, the thoughts are progressive and connected; in the picture they must be co-existent, and yet separate; nor can all the characters of the ages be rendered in painting at all. One may represent the soldier at the cannon's mouth, but one cannot
    0.68

Next

Made in the seventeenth century, like The Angel appearing to the shepherds, the visitation, and the annunciation: a sheet of notes for a proposed decorative scheme with 3 sketches of paintings for overdoors.

0:00–0:00