Josiah Wedgwood I (V&A Wedgwood Collection): a portrait of the great potter (1730–1795), the pioneer of the ceramic industry and a figure of the age's enterprise; at the Wedgwood collection.

King Lear (Royal Shakespeare Theatre): a Shakespearean fancy or history subject, of the kind Reynolds and his circle painted for Boydell's Shakespeare Gallery and the like.

Lady Anne Bonfoy, née Eliot (Port Eliot): a portrait of a daughter of the Eliot family, at Port Eliot.

Lady Fitzpatrick as 'Sylvia' (Brighton Museum): a fancy portrait of a lady in a pastoral role, in the mode of the poetic portrait.

Lieutenant General George Augustus Eliott, later Lord Heathfield (Government Art Collection): a portrait of the defender of Gibraltar (see the National Gallery Lord Heathfield); a version in the government collection.

Margaret, Lady Beaumont (Dove Cottage, Wordsworth Trust): the wife of Sir George Beaumont, the collector and patron of Wordsworth and Constable; her portrait descends in the Wordsworthian collection.

Mary, Countess of Lauderdale (Thirlestane Castle): a portrait of the Maitland family, at the Lauderdales' Scottish seat; compare the Sydney Earl of Lauderdale.

Mary Palmer, née Reynolds (The Box, Plymouth): a portrait of the painter's sister Mary, who married the Devon banker John Palmer; a family picture at Plymouth.

Mary, Countess Harcourt (Princeton University Art Museum): the wife of the 2nd Earl Harcourt, ambassador and courtier; a female portrait of the grand manner, now at Princeton.

Miss Morris (Princeton University Art Museum): a young woman, perhaps the actress and singer of the name who died young; see also the Port Eliot Hope Nursing Love, for which a Miss Morris sat as Hope.

Mrs Abington as the Comic Muse (Waddesdon Manor): the comic actress Frances Abington (c. 1737–1815), Reynolds's friend and frequent sitter, here as the Muse of Comedy — the counterpart to Siddons as the Tragic Muse.

Mrs Bower of Plymouth (?) (Walker Art Gallery, Liverpool): an uncertainly identified female sitter, perhaps from Reynolds's Devon connections; a portrait of the middle career.

Mrs Hartley and Child (Sudley House, Liverpool): the actress Elizabeth Hartley with a child, in a maternal group; a theatrical sitter of the 1770s.

Mrs Robinson ('Perdita') (Laing Art Gallery, Newcastle): Mary Robinson (1758–1800), the actress, poet and mistress of the Prince of Wales, whose liaison with Tarleton framed the Academy of 1782; a version of Reynolds's portrait of her.

Mrs Peter Beckford (Lady Lever Art Gallery, Port Sunlight): Louisa Beckford, of the sugar-fortune family, in the female grand manner; one of the twelve Reynoldses in Lord Leverhulme's collection.

Mrs Robinson (Mary Darby Robinson) (Museum of Fine Arts, Boston): a version of Reynolds's portrait of 'Perdita', the actress and mistress of the Prince of Wales.

Old Man Reading (Auckland Art Gallery): a fancy head or study of an old man reading, of the kind Reynolds made from models like George White; the furthest-flung of the collections here.

Portrait of a Woman, said to be Mrs Barnard (private collection): an uncertainly identified female sitter, a characteristic three-quarter-length of the studio's ordinary output.

Captain George Edgcumbe, later 1st Earl of Mount Edgcumbe (National Gallery of Ireland): a naval portrait of Reynolds's early Devon patron; see the Greenwich versions.

Edward Pauncefort (private collection): a male portrait of a gentleman sitter; the identification is traditional.

Lady Mary Leslie (private collection): a portrait of a daughter of the Earl of Rothes, in the female manner of the middle career; one of the many Scottish-peerage sitters in the books.

Portrait of a Child (Lady Lever Art Gallery): a child portrait or fancy head, at Port Sunlight.

Portrait of a Gentleman (possibly George Bridges Brudenell) (Weston Park): an uncertainly identified male sitter, at the Bradford family's seat.

Portrait of a Lady (Tate/National Gallery): an unidentified female sitter in the national collections.

Portrait of a Lady (Bowes Museum): an unidentified female sitter, in the female manner.

Portrait of a Lady (Glasgow Museums): an unidentified female sitter.

Portrait of a Lady (Glasgow Museums): another unidentified female sitter.

Portrait of a Lady (said to be Miss Reynolds) (Victoria and Albert Museum): a female portrait, perhaps of the painter's sister Frances; the identification is traditional.

Portrait of a Lady, possibly Mrs Pigott of Chetwynd (Nationalmuseum, Stockholm): a female portrait, the companion perhaps to the Stockholm 'Mr Pigott' (in the article entries).

Portrait of a Man (said to be Lord Anson) (Museum of Fine Arts, Boston): an uncertainly identified male sitter, perhaps the circumnavigator and admiral Lord Anson.

Portrait of a Woman (Museum of Fine Arts, Boston): an unidentified female sitter.

Portrait of a Woman (said to be Lady Scott) (Museum of Fine Arts, Boston): an uncertainly identified female sitter.

Portrait of an Old Gentleman (Dover Collections): an unidentified male sitter of the middle or later career.

Sir Richard Worsley, 7th Bt (private collection): a portrait of the husband of the Lady Worsley (in the article entries), the antiquary and cuckold of the 1782 scandal.

Queen Charlotte (Parliamentary Art Collection): a version of Reynolds's portrait of the Queen, in the Parliamentary collection.

Queen Charlotte (The Box, Plymouth): a version of the Queen's portrait.

Queen Charlotte (Windsor Guildhall): the pendant portrait of the Queen; Reynolds painted the royal couple without the warmth he gave his chosen sitters, and the versions supplied institutions.

The Reverend Samuel Reynolds (The Box, Plymouth): a portrait of the painter's father, the master of Plympton grammar school who set his son on the path with Richardson's Theory of Painting; a family picture at Plymouth.

Richard Brinsley Sheridan (Parliamentary Art Collection): the playwright of The School for Scandal and Whig MP (1751–1816), a member of the Club and Reynolds's friend; a portrait of the age's great wit and orator.

Richard Hopkins (Queens' College, Cambridge): a portrait of a college benefactor or member; an academic portrait.