A conversational picture, it shows Captain Lord George Graham, of the Royal Navy, in the cabin of his ship with several people.

The painting is probably set aboard this new command, the 60-gun HMS Nottingham, and shows Graham relaxing in the great cabin before a meal, smoking a pipe.

His family kept the portrait in their collections until 1932, when it was sold to Sir James Caird, who subsequently donated it to the National Maritime Museum, where it remains.

[1][2] He served with some distinction during the wars of the early eighteenth century, and also entered politics, sitting as member of parliament through his father's interest.

[4] For his success in the engagement, Graham was commended to the First Lord of the Admiralty, John Russell, 4th Duke of Bedford, and was given command of a larger ship, the 60-gun HMS Nottingham.

[2][4] He probably commissioned a portrait from Hogarth at about this time, and the resulting painting is believed to be set aboard Graham's new command, which in late 1745 was on the Downs station.

Standing to Graham's right, his lower half obscured by the table cloth, a man holds a sheet of music and is in the act of singing.

[7] The music the men are listening or singing along to is provided by a black manservant, standing on the right of the painting and playing a pipe and tabor.

Trump, his tongue lolling out and wearing Graham's wig, holds a scroll and appears to read from his own sheet of music, balanced against a wine glass in front of him.

[6][8] The grey coat he wears with a white neckerchief is opened at the chest, revealing a gold-brocade waistcoat, his lower half is clothed in breeches, stockings and slippers.

The black servant's dress is richer, a white cap and pink neckerchief, and a green buttoned velvet coat with a yellow waistcoat.

The scene is probably the great cabin of Graham's latest command, and the sails of ships are visible through the line of windows on the left of the painting.

[12] He also notes that the lively music the instruments would have produced would be unlikely to complement a sentimental ballad that the clerk appears to be singing, and instead suggests the painting combines and conflates a number of typical activities in the cabin into one scene.

[5][11] The steward stands at the left of the painting under a hanging crown compass, and carelessly drips gravy down the chaplain's neck, adding a final element of farce to the setting.

In the relaxed and informal setting of the cabin, adding touches of humour and foolishness, Hogarth provides a contrast with the dangers of the pitched battle that the painting commemorates.

Nazari produced a similar cabin scene showing Lord Boyne and his companions during a voyage to Lisbon from Venice.