(Updated, November 2018) The main vessel in this carefully observed and atmospheric work is a naval two-decker of 70 guns, with a cutter astern of her. Figures can be seen aloft. Although this ship has not been identified, it is probably one of the 'Dublin' class, which came into operation at the end of the artist's life, so this is a late work. On the left is a ketch-rigged Royal Naval sloop. Though seen at a foreshortened angle from astern, it is probably a bomb-vessel. These were very solidly built with a long hold forward of the mainmast which, in wartime, held two large mortars for firing high-trajectory explosive shells (bombs) detonated by burning time fuses. The usual targets were enemy coastal fortifications or squadrons sheltering in secure anchorages otherwise difficult to assault. In peacetime, with the mortars removed, ' bombs' as the vessels were themselves frequently called, were often used as auxiliary yachts for the royal family or other important travellers, since they could carry accompanying staff, lesser family members, and a great deal of baggage in the forward hold. In the middle distance is another Royal Naval two-decker with other vessels beyond including a string of four probably naval cutters advancing from centre mid-ground to right foreground behind the principal warship on the right. The implication may be that the artist is looking out to sea from near a major naval harbour or other anchorage, with the bomb-vessel sailing out and nearly everything else coming in, other than the ship of which the sails are illuminated by sunlight on the distant horizon. The waves and condition of the sails indicate a light breeze, and the artist's treatment of these elements, together with his approach to both the sky and light, combine to create an elegant composition in an unusually exact square format. The alternations of light and shade, from foreground to background, and the diminishing scale and carefully plotted positions and courses of the various vessels shown, make it a masterpiece of artistic recession without any use of atmospheric perspective (deliberate 'fogging' at distance). Allowing for the diminishing scale, the details on the horizon are as clear as in the foreground. Brooking's signature, but no date, is on the floating piece of timber, lower left.

Most of Brooking's extant paintings date from the last six years of his career and are principally marine subject-matter. His reputation as a marine artist was well established by 1755, and although his stylistic range shows the influence of Simon de Vlieger and Willem van de Velde the Younger, his approach was uncompromisngly individualistic. His careful attention to detail evinces an informed knowledge of maritime practice and naval architecture. Brooking is generally regarded as the finest native English marine painter of the early 18th century, with this being one of his best works.