Group portrait of six British naval officers, all three-quarter-length. Five of the figures are copied in reverse from different contemporary mezzotints. From left to right, these officers and their mezzotint sources are: Charles Knowles in a powdered wig and cuirass, from John Faber the Younger after Thomas Hudson (see PAD4619); Augustus Keppel in naval uniform leaning on a walking cane, from Edward Fisher after Joshua Reynolds (see PAF3462); Edward, Duke of York and Albany, in naval uniform with his lapels turned back and the Star of the Order of the Garter on his left breast, from a mezzotint published by John Bowles (there is a copy of this print in the collection of the British Museum); William Rowley in a powdered wig, from John Brooks (see PAD4639); George Anson in naval uniform and a powdered wig resting his right hand on an anchor, from James Macardell after Joshua Reynolds (see PAG6363). No printed source has been identified for the head on the far right, which may be intended to represent Commodore Richard Howe as his name appears beneath this figure in the print’s inscription. The print is lettered beneath the image with the title (‘Admirals’), the publication line and a list of names, which reads as follows: ‘Duke of York, Keppel, Knowles, Sanders, Rowley, How[e] co[mmo]dore’. Most of these names refer to officers whose portraits are included in the print but the order of the names does not correspond to the arrangement of the figures and ‘Sanders’ – presumably meaning Charles Saunders, who is not depicted here – is listed, whilst Anson – whose portrait does feature in the print – is omitted. The print was engraved by George Bickham and sold in May’s Buildings, Covent Garden, London, for 2s. In the context of mid-eighteenth-century print culture, it is a highly unusual example of a composite group portrait created through the combination of pre-existing images. The engraver, George Bickham the Younger, was principally known as a pioneering producer of obscene satirical prints and political caricatures but his varied oeuvre also encompassed garden views, drawing books, theatrical prints and Rembrandt copies. His father, also George Bickham, was an engraver and writing-master. Innovation and entrepreneurship characterised the younger Bickham’s practice and he often experimented with new creative and commercial possibilities. He retired to the country in April 1767 and his death was announced in January 1772. (Updated April 2019.)