1.  In addition to our own research and findings from independent resources, this authentication is submitted, using our own physical examination and the submission of our own images and information gathered from the original.

2.  The Subject Artwork is an oil painting on canvas, executed in the typical style and fashion of the artist, Georges William Thornley. This evaluation of the Subject Artwork is made primarily from comparisons made to similar works sold through the public venues, most notably by major auction houses of the United States and Europe, and private galleries. In addition, substantiation of our conclusions is supported through various professional texts and documents, written by authorities on the artist’s work. 

3.  The signature on the Subject Artwork compares favorably with the typical signature on the work of Georges William Thornley. For further discussion on this point, see Para 4 below.
4.  Our conclusions are supported by the following factors and characteristics that can typically be found in the work of Thornley: 

a. Depiction of figures, usually in groups, that appear regularly in the artist's work
b. The somewhat rounded backs and torsos, a characteristic well know about the artist
c.  Strong color, usually in earth tones, bringing emphasis to the central subject matter
d. Irregular and natural ocean wave patterns (as opposed to stylized or regular waves)
e. Depiction of a land form, jetty or pier extending from one side of the picture space
f. The tendency toward more dramatic scenes and lighting, such as an approaching storm, windy seas, sunset/sunrise or intermittent lighting under cloudy conditions
g. Clouds that arise from the same direction as figure groups and landforms
h. The tendency to produce small paintings

5. The Subject Artwork was compared with other works by Thornley found through various auction and art gallery facilities (See Appendix “A” below). 

6.  Examination of the Subject Artwork reveals very specific artistic devices found in those used as comparisons in this report and listed in Para 5 above. Other common characteristics are less easily defined, such as the overall feel of the painting or tenor of the scene itself. 

7.  History and Discovery Notes: The artist is generally known as William Thornley, but is also cataloged under the name Charles Thornely, RBA (1858-1898). Furthermore, in a rather mysterious and playful manner, he used a number of names to identify his work. He signed his paintings variously as Georges William, William A. Thornbery, W. A. Thornbery, Thornberry, Thornbury, and Thornery. In addition, There are authenticated examples of his work signed W. Lawrence and the name William during a period when he was consistently using the name Charles. As if that is not enough, some writers referred to him as Hubert Thornley, a name he is not known to have used, presumably taken from the artist's tricky use of the T and H monogram that he also used to sign his work, aside from his use if the T and W monogram. 

The discovery of the two monograms “TH” and “TW”, used uniquely, have only added to the researcher's burden, as speculations to the artist's identity have been many over the decades.
This confusing array of mischievous interplay of names and letters has only added an extra burden to the searchers of authorship of Thornley's work, making it difficult to track and accurately catalog the artist's paintings. Nontheless, Denys Brook-Hart did exactly that in his comprehensive book, "British 19th Century Marine Painting" (Baron Publishing, Woodbridge, Suffolk, England, 1974). Brook-Hart meticulously sought work by British artists and set out the task of compiling an authoritative volume to end such confusion. 

However, another author of a discussion on the artist's work succumbed to the confusion... stating "William Thornley was a painter of coastal scenes whose work is very similar to Hubert and Charles Thornley, who may have been members of the same family" (Haynes Fine Art of Broadway, Worcestershire, United Kingdom). 

He was believed to have first exhibited marine paintings at the Royal Academy in 1859 from an address in Paddington, London and also at the British Institution from 1861 until it closed in 1867. He continued to exhibit at the Royal Academy until 1898. 

Thornley also exhibited at the Paris Salon and the Salon of French Artists, receiving an honourable mention in 1881 and a third place medal in 1888.

8.  Valuation of the Subject Artwork is based on the current market as of the date of this writing. It should be noted that the year 2006 was the year of the strongest sales for the artist's work, when auction prices topped out above $45,000 USD. Due to economic factors, the market was in a sharp decline from 2007 until the last two years (2013-2015). Since that time, the markets have shown mildly renewed vigor and the prices for the artist's work have increased, but not to the levels seen in 2006. Recovery to that or higher levels will only be determined over time and availabiity of the artist's work (See Appendix “A” below).

9.  The value of the Subject Artwork is determined for true market value and comparable replacement, if necessary. Replacement of the painting in the event of loss must by necessity include addition expenditures, such as travel, agent or gallery commissions and various factors, such as works that may or may not be comparable in size, quality or condition to the Subject Artwork. We have also submitted the market value separately, as an estimate of the actual cash value for the Subject Artwork from a sale to a private party, and does not include such expenditures.

10.  Factors against value for the Subject Artwork include the fact that the artist did many different genres of work (landscape, still lifes & etc). Such diversity usually plays against a high evaluatuation.

11.  Factors for a significant value include the fact that sea coast scenes are the most sought by the artist.

12.  It is a major factor that the artist tended to create small paintings. This means that size is not a hindering factor to value.

NOTE: The value of the frame or other additions is not considered in this evaluation, unless particularly noteworthy of attention and significant value.