by monamy --- and others
page one         page two         page three

signed: oil on copper, 9¼ x 12¾: see here
koetser gallery exhibition 1966

signed 13½ x 18 provenance sir bruce ingram exhibited the artist & the sea 1953
christie's 1981 26 june lot 90: see here
, or here

signed & dated 1728: see here

signed 35 x 58 see cockett p.68

unsigned 27 x 37 christie 14 may 1998

24½ x 30; signed (?); national maritime museum

Quote, from The Great Age of Sail, Kemp & Ormond, 1986: "Working safely within the traditions established by his Dutch predecessors, Monamy depicts a two-decker coming to anchor (probably at the Nore) and saluting the admiral whose flagship is in the background. The beached vessel is a trading hoy." p.67.

Quote, from The Illustrated London News, 17th Nov 1928: "Peter Monamy", says Mr Keble Chatterton, "is the finest instance of the van de Velde tradition being accepted and perpetuated by an unenquiring mind. He was a native of Jersey ..... Born about 1670 of poor parents, he was sent across to London, where he was apprenticed to a house-painter who had his place on London Bridge ..... His vessels are drawn with knowledge; his technical ability as an artist was high. His colouring is delightful, and he was a careful painter; yet there is sometimes a tameness and lack of vigour, as will be observed from that which is here reproduced in colour. Immediately we recognise the van de Velde-like calm with the sails hanging limp, the pennant straight up and down. With true conventional style the warship is firing a salute, just because the famous Dutch master used to have this in his paintings too. Not much can be said in favour of the cutter at the foreground, and in general this sample shows all Monamy's limitations." See here for Monamy's tameness and lack of vigour.

Does this sample of EKC's prose style show all his limitations as a writer and art critic, or does he have a point? It could be said that in EKC we have one of the finest instances of the Walpole tradition being accepted and perpetuated by an unenquiring mind. True, this is the kind of painting that the ordinary customer usually wants for their drawing-room. Pennants tend to hang straight down when there is no wind. There's not a lot to be said for the cutter, except that it appears to be a trading hoy, and there's nothing wrong with it.

"There are some curious men who form an idea of a master, by the sight of three or four of his pictures; and who, after this, believe they have a sufficient authority to decide what his manner is; without considering what care the Painter took about them, and what age he was of when he drew them. ..... There is none also that had not his beginning, his progress, and his end; that is to say, three manners." De Piles, The Art of Painting, Chap XXVIII, part II.

compare here for parallel composition.
bonhams, 11 Jan, 2001; signed.
and below


leggatt brothers: colour advertisement detail imposed on b/w photographic print
the connoisseur, may 1965 (unsigned?)

van de velde royal sovereign: 1703/4


Calms will be the very last category to be fully investigated on this website.
see these pages for starters:

Bow Views
Stern Views         Port Sterns One
Stern Starboard: One         Stern Starboard: Two         Stern Starboard: Three

royal occasions:     starboard quarters     port quarters
royal sovereign types:     one     two     relatively tall/narrow
royal sovereign types:     a. starboard     b. port     broad
royal occasions:     calm waters     fresh winds
thomas leemans     samuel scott
calms, calms, calms

"Reputed Excellence in Calms"
The Print Evidence
prints & oils

biographical tiles
monamy website index


© Charles Harrison Wallace 2001, 2003
all rights reserved