(Updated May 2022) A theatrical interpretation of the Battle of Gravelines, an historical episode that had taken place over 200 years earlier. The artist's painterly response depicts the dramatic nature of the event, together with a vivid use of light and colour to enhance the intensity of the image and the sense of violent struggle. The narrative shows the morning after the English fireship attack on the Armada in Calais Roads, which found the Spaniards in a north-westerly gale off Dunkirk. A shift in the wind direction prevented many of their ships from being wrecked on the surrounding shoals. Saved from this disaster, they fought all day with the English and Dutch until they turned northwards, defeated, on their retreat around Scotland.

In the left foreground, a boat-load of English sailors are fighting their way into the beak of a Spanish ship which is silhouetted against the flame and smoke. The Duke of Medina Sidonia's flagship, the 'San Martin', flying the Papal standard at the main above a religious banner and the Spanish ensign on her stern, is immediately beyond to the right. The central Spanish ship beyond the 'San Martin' flies the flag of Leon and Castile at the main and the ragged saltire cross of Burgundy on a striped ground as an ensign. Immediately in front of her is a much smaller English galleon, while further Spanish ships lie to the left. In the foreground centre and to the left, several more small boats contain men fighting at close quarters, some in full armour with swords and some preparing to fight with only oars. In the small dismasted Spanish pinnace which is being overwhelmed in the immediate foreground, a monk stands with his arms spread wide, perhaps in desperate benediction over his comrades. The English fleet is attacking from the right, with the 'Ark Royal' half into the canvas in the right foreground. The royal arms of Elizabeth I are visible on the foresail with the Royal Standard and St George's flag flying from the main- and foremasts respectively. 'Ark Royal' was the flagship of the English fleet during the Spanish Armada campaign of 1588, under the Lord Admiral, Charles Howard (Lord Howard of Effingham).

Born in Strasbourg, son of a miniaturist, de Loutherbourg was already a well-established member of the French Academy and painter to Louis XIV when he actor David Garrick persuaded him to settle in London as scenic director at the Theatre Royal, Drury Lane, 1773-83, at the huge salary of £500 a year. It is worth noting that in 1779 he designed a staging of the Armada battle as a spectacular scene in Sheridan's comedy 'The Critic, or a Tragedy Rehearsed' at Drury Lane. While this painting was done much later it is the only image which may suggest the general style of this scene. De Loutherbourg was a highly successful and influential designer for the theatre and, primarily as a Romantic landscape painter, was elected to the Royal Academy in 1781. He exhibited there in most years from 1772 to his death in 1812. The work is inscribed 'P I Loutherbourg RA 1796'.

In 1823, when Edward Hawke Locker as Secretary of Greenwich Hospital revived his father, William Locker's, 1795 proposal (when Lieutenant- Governor) to convert the Painted Hall at Greenwich to a 'National Gallery of Naval Art', he specifically mentioned the suitability of work by de Loutherbourg to hang in it. This would certainly have been an example he had in mind and he obtained it for the Gallery at Christie's on 18 June 1825 on behalf of Sir Charles Long, as funder of the purchase, for its immediate presentation. Its gift and acceptance was minuted by the Hospital Directors - of which Long was one - on 22 June. Officially, Long was Paymaster General to the Forces until 1826, when he became Lord Farnborough and retired to Bromley. Unofficially, he was also an influential art advisor to George IV and the channel through which the King had launched the Naval Gallery as its leading donor in 1824 by presentation of 35 naval portraits from the Royal Collection (Lely's 'Flagmen of Lowestoft' and others by Kneller and Dahl). He was also a central figure in the foundation of the National Gallery, which opened (as the Angerstein Collection in Pall Mall) on 10 May 1824, three weeks after the Naval Gallery. Farnborough and Locker were close associates and Locker was his legal executor, for which Farnborough (d. 1838) left him £1000.