Lot Essay
One possible explanation could be that Rooke was under orders not to damage, let alone hazard, his flagship by exposing her to enemy fire such was her status as the symbolic flagship of the entire Navy and, in effect, a national icon. There is no documentary evidence to support such a theory yet it remains a mystifying fact that she never participated in any of the great sea-fights of her era despite several periods as flagship to successive commanding admirals. For unspecified reasons, she was effectively rebuilt by Master Shipwright J. Rosewell at Chatham between 1723 and 1729, even though details of her later career are equally sparse. Reclassed as a 90-gun 2nd Rate in 1756, three years later she was made Guardship in the Downs, a position of some significance, especially in time of war, as was the case from 1756-63. Further reduced to an 80-gun ship in 1763, perhaps as a result of the restoration of peace, she was broken up at Chatham a few years later, probably in 1766 although some sources state 1768. This lack of clarity concerning the precise year of her demise somehow reflects the whole of her sixty-year career which started with such promise yet achieved so little.
This attractive work is derived from one of the Van de Velde portraits of this great ship which inspired a number of artists. For another very similar composition, see Frank Cockett's Peter Monamy, 1681-1749, and His Circle, published 2000, front dust jacket and p. 72, pl. 40.
Peter Monamy was born in London in 1681, the youngest son of a Guernseyman. Throughout his career he was heavily influenced by the works of Willem van de Velde, the Younger, as evident in the work illustrated above, and other North European, Dutch and French masters. Monamy was himself a collector of van de Velde's drawings and these clearly influenced his development as a maritime painter resulting in numerous commissions from mercantile and naval patrons, including the famous Channel Island's naval families, the Durrels and the Saumarezs. In 1726, he was elected a Liveryman of the Company of Painter-Stainers, to which he presented a very large painting of the 'Royal Sovereign at anchor' which still remains in their collection. Although his paintings usually depict actual ships, they rarely record specific events as, up until 1739, his career coincided with a long period of peace. From the 1730s until his death, Monamy was at the centre of London's artistic life and was a friend and companion of Hogarth, sometimes collaborating with the celebrated younger artist. Despite his many commissions however, he was never particularly prosperous and also painted decorative pictures specifically for commercial galleries and dealers.
Monamy was survived by his wife, and two daughters. It is interesting to note, that his eldest daughter, Mary, married the marine painter Francis Swaine.