Storm                           Tempeste
P.Monamy pinxt         Publish'd according to Act of Parliament 21 Febry. 1745-6         Canot sculp.
Representing that violent one which drove his Majesty King George I into Rye
Printed for John Bowles (---) at the Black Horse in Cornhill.

circa 12 x 16

STORM representing that Violent one which drove His Majesty King George the First into Rye.
Circa 1760 (?). 6 x 10. Spot the differences.


Sotheby, 20/11/85, lot 10. 14½ x 33¾. The Royal Caroline in a storm. Signed P.Monamy pinx
Cockett, p.52, quotes: "The storm depicted probably occurred in January 1726, when George I was
returning from a visit to Hanover. It continued for three days before the royal party
was able to make a landfall at Rye."

This representation, although presumably painted in about 1726 or 1727, appears to form the initial basis for the John Bowles print published in 1743. The slightly more refined style, and the dimensions of the canvas, seem to conform with other pictures painted by Monamy, or emanating from his studio, around the mid-1720s. The scene was used again by later artists, in a somewhat expanded composition and for subsequent storms, possibly based not on the canvas but on the print. The two canvases shown below, in a cruder, less delicate style, appear to resemble the 1743 print more closely. [See note below: bowsprit perspective]. This composition also appears in a large mezzotint by Kirkall.

Christie New York; 12 Oct 1989; "The Katherine and the Royal Caroline in a choppy sea"; 27½ x 39

appears the same as the painting below

Sotheby, 26/11/1975, lot 117. 30 x 43¼. Sold as Monamy.

The two prints and the second larger painting are juxtaposed below, with senses reversed for easier comparison. The compositions are broadly similar.

the prints, to the right, are not identical

The close relationship between Monamy and Swaine is again underlined by the canvas below, signed and dated by Swaine 1763, fourteen years after Monamy's death, and four years after Scott's virtual retirement from marine painting. Swaine can be categorized as a faithful follower of Monamy, and hardly shows any influence of van de Velde in his many marine paintings. See here. He also painted quite a number of riverside scenes: see also analysis of Getty Provenance Database, here.

The Royal Charlotte bound for Harwich. 18 x 23¾. Sale 26/6/1981, lot 80.
Signed Swaine, dated 1763. Described as a property of the Anson family.

The sale catalogue comments that "On the 8th July 1761 King George III announced his intention of marrying Princess Charlotte of Mecklenburg Strelitz ..... The yacht Royal Caroline was refitted and redecorated, and her name changed to Royal Charlotte in honour of the future Queen ..... Anson sailed from Harwich on 8th August, and on 24th August the Princess embarked for England arriving back at Harwich on the 6th September."

It is clear that Swaine has recycled the Monamy print, or perhaps the original canvas, for this representation, made all the easier since it depicted the same yacht. The violence of the storm of 1726 (or 1727, New Style?) is also cheerfully duplicated.

Attributed to Thomas Allen. 15½ x 23. Unsigned. Bonham.
Princess Charlotte bound for Harwich, 1761. See Cockett, p.109.
Cockett notes that "The yacht Mary was laid on her beam ends." Strange.

Engraving by Canot apparently after the Allen painting. From Country Life, 6 Jan 1984.

Perhaps the engraving is after another, compressed version; or has been compressed to fit the print format.

Inscribed R.Wright Pinx. 35½ x 50½. From Cordingly, Painters of the Sea, 1979

The Bowsprit Angle.
examined on another page, here.

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© Charles Harrison Wallace 2002
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