Peter Monamy is ranked as one of two leaders (the other being Samuel Scott) in the first generation of English marine painters. Son of a Guernseyman, he was born and brought up in London and spent his early life completing an apprenticeship for a specialised decoration business (the Worshipful Company of Painter-Stainers) at Old London Bridge. From here it is believed he gained much inspiration for marine painting, observing the activities of the world’s busiest waterway. He was later credited with Liveryman of Painter-Stainer’s Company in 1726 to whom he donated the painting ‘Royal Sovereign at anchor’ which remains in their collection today. Similarly to Scott, Monamy was significantly influenced by the Northern European Masters and the Van de Veldes, of whom he had examples in his own collection. He had an established client list of wealthy mercantile and Royal Naval patrons and many of his later commissions came from the famous Channel Island’s naval families. Although he spent much of his time in London, it is known he spent many hours exploring coastlines and observing ports, working directly from nature. His pictures typically depict actual ships rather than specific events as, up until 1739, there was a long period of peace during his career. One of the most significant events of his career was a commission to paint a series of large-scale marines for the supper boxes at the newly built Vauxhall pleasure gardens (a leading attraction of eighteenth-century London). It is thought his contemporary William Hogarth (1697–1764) was instrumental in arranging this. However, despite being well connected and seemingly having plenty of recognition, Monamy was never particularly prosperous and finished his life in financial difficulties.
'Yesterday Evening was buried at St. Margaret's Westminster, Mr.Peter Monamy, greatly eminent for his Skill in Painting Sea Pieces; in which Art, as he was not equall'd by any of his Cotemporaries [sic], neither was he excell'd by many of the Ancients; but his Name and Character are too well known and establish'd among the Curious to need any artful Commendation to set them in greater Light to advance his Merit; neither can the warmest Praise add to his Fame when dead, who, in his Life, was the greatest Enemy to Adulation; and tho' some Notice is due to the Memory of so celebrated an Artist in Painting, yet his own Performances, which are extant in the World, will prove his most lasting Monument'. - London Gazetteer, 9 February 1749