after other marine painters


Etching by Reinier Nooms, called Zeeman, 1623-1667

This etching is "Fire", one of the four elements etched by Zeeman as a set. Zeeman was one of the most important painters of marine subjects in 17th century Holland. He made 170 etchings, from around 1650. Etchings such as these were much more accessible to Monamy than the paintings of the van de Veldes, and he surely used them as models at least as much as any other source of inspiration. His usage of prints is well evidenced. Below is another example, with some familiar-looking foreground staffage.

Another etching by Zeeman


etching: undated, probably 1701

pen and ink wash based on print, 1766, by canot after backhuysen.
Thomas Rowlandson, 1756-1827


Here is a print, after the London marine painter Richard Paton, 1717-1791. The Dictionary of Sea Painters, 1980, remarks that some of his best paintings "show a strong influence of Samuel Scott, others that of Charles Brooking." The original oil of the print below appears to be influenced entirely by Peter Monamy, so it would not be one of his best paintings. My own highly partisan belief is that Scott's works were almost ignored by other marine painters. None of them seem to have been influenced by him in the slightest, probably because there was hardly anything in his work of sufficient maritime merit to be capable of exerting any influence.

8¼ x 11¼       Peatton (sic) pinxit       P.C.Canot sculpsit

No date is attached to my copy of this print, and it was clearly not published in England, although it might have been sold in London. The print is titled: WEIVE OF THE DOWNS SIEDE LONDON   ¦¦   VUE DES DUNES AUX ENVIRONS DE LONDRES. The writer's French is rather better than his English. At present I would not like to determine its precise country of origin, but assume France, or Holland.

Every passage in this print has its precedent in Monamy, with the possible exception of the vessel centre right, either moored or emerging from a creek or river. This includes especially the yacht, left, and the figures on the shingle, centre foreground, as well as the fanciful tower and archway, right. The central celestial orb suggests moonlight, although it may be that early evening is intended. Depending on the palette of the original, it is extremely probable that this painting, if it still exists, will have passed through a saleroom as Monamy. Nevertheless, the overall impression conveyed by the print would, in my opinion, date it to somewhere in the late 1750s or 1760s. Compare the painting on the back jacket of Cockett's book on Monamy.


7 x 10       C.Lempriere delin       W.H.Toms sculpt
Sold by John Boydell engraver in Cheapside

Undated, but it must have appeared not long after about 1754, which is the year Boydell made the transition from engraver to entrepreneur. The inscription only says that Lempriere delineated it. It seems very probable to me that he adapted his delineation from an unacknowledged oil painting attributed to Monamy. See here.

Other pages are organised as follows:

Prints Index
prints: introduction
ten prints by canot after monamy
canot's eleventh print: shipwrack
four prints in vauxhall gardens
the princesa: print and oils
small print set after monamy & van de velde
two more prints after monamy
mezzotints after monamy
small print set after swaine
monamy pinxt swaine delint
large prints after swaine: monamy manner
other prints after swaine
later prints after swaine
prints after baston
kirkall mezzotints after van de velde
other prints after van de velde
prints after other painters
etchings       drawings 1, 2

artistic range
monamy website index

© Charles Harrison Wallace 2002, 2003
all rights reserved