The catalogue — portraits, fancy pictures and histories in chronological order, each with a commentary.
714 works by the painter and workshop · 24 copies and works after · 44,380 words of commentary · Part 5 of 21 · 1761–1763
Richard Pennant, 1st Baron Penrhyn (National Trust): a portrait of the Welsh magnate and slave-owner whose fortune built Penrhyn Castle; the sitter's West Indian wealth is part of the picture's history.
Sir Walter Calverley Blackett, 2nd Bt (National Trust): a portrait of the Newcastle magnate and benefactor.
The Hon. Henry Fane with Inigo Jones and Charles Blair (Metropolitan Museum of Art): a conversation-piece of three gentlemen; a rare group in the informal mode, at the Met.
The Marriage of George III (Royal Collection): a small history or conversation-piece of the royal wedding of 1761.
Thomas Fane, 8th Earl of Westmorland (National Trust): a portrait of a peer.
Thomas Willoughby, 4th Baron Middleton (Bristol City Museum): a portrait of a peer.
William Pulteney, 1st Earl of Bath (National Portrait Gallery): a portrait of Walpole's great parliamentary rival.
An Unknown Naval Officer (National Trust): an unidentified naval sitter.
Charles James Fox (Eton College): a portrait of the young Fox at his old school.
General William Keppel Storming the Morro Castle (National Museum of Ancient Art, Lisbon): a military subject of the capture of Havana (1762) by the Keppel brothers; a rare battle-piece.
The Hon. John Damer (Eton College): a portrait of a member of the Milton family; at Eton.
Lady Cecil Rice (The Frick Collection): a female portrait, at the Frick.
Miss Fordyce (Mrs Greenwood) (Waddesdon Manor): a female portrait, at Waddesdon.
Mrs Froude, née Phyllis Hurrell (Minneapolis Institute of Art): a female portrait; the Froudes were a Devon family.
Nathaniel Cholmley of Whitby (private collection): a portrait of a Yorkshire landowner.
Joshua Allen, 5th Viscount Allen (Auckland Art Gallery): a portrait of an Irish peer; in New Zealand.
Portrait of a Young Woman (Kunsthistorisches Museum, Vienna): an unidentified female sitter; a Reynolds in Vienna.
Sketch for a Portrait of Captain Philemon Pownall, RN (Ashmolean Museum): an oil sketch for a naval portrait.
William Markham, Archbishop of York (Christ Church, Oxford): another version of the archbishop's portrait.
William, Lord Bagot (Birmingham Museums): a portrait of a peer.
Called 'Colonel Isaac Gale' (National Trust): an uncertainly identified male sitter of a West Indian family.
Documented work · 3 language editions Q50854712 Wikipedia
Oil on canvas — Royal Museums Greenwich. A portrait of Alexander Hood (1726–1814), the future Admiral Lord Bridport, one of the two Hood brothers who rose to the top of the Georgian navy; a naval portrait of the 1760s in Reynolds's grand manner for sailors, of the kind that filled the sitters' books during and after the Seven Years' War.
Reynolds was the painter of the navy that won the Seven Years' War and fought the American war — Keppel, the Hoods, Rodney, Howe, Heathfield — and his naval portraits are a distinct and important group: the officer in his blue-and-white, often before a sea or a battle, given the dignity of the Grand Manner. Alexander Hood, less famous than his brother Samuel but a fighting admiral of the first rank, is shown here in the confident middle-career manner. The picture belongs to the Greenwich collection that is the navy's own gallery of its commanders.
By descent; Royal Museums Greenwich, among the naval portraits.
The blue-and-white; the confident pose; the face. Then the company at Greenwich — the fleet Reynolds painted.
Alexander Hood and his elder brother Samuel (Viscount Hood) were the two fighting admirals of a Devon family that rose, through the navy, to the peerage — the kind of ascent the Georgian navy made possible and Reynolds recorded. Alexander, as Lord Bridport, commanded the Channel Fleet in the 1790s; the portrait shows him in mid-career, before the peerage, in the confident manner Reynolds gave the sea-officers of the age. The Greenwich collection, the navy's own, holds the fullest gathering of these commanders' portraits, and the Hoods among them.
By descent and to the National Maritime Museum. The naval portraits are a distinct achievement: Reynolds gave the officers of a service that was winning an empire the dignity of the Grand Manner, and the images — Keppel, the Hoods, Rodney, Heathfield — are how the age of Nelson's predecessors looks to us. Reynolds's naval sitters, painted across the Seven Years' War and the American war, are the visual record of the service that was building the empire the sitters' book documents; the Hood is one of many, and it hangs at Greenwich where the whole fleet of them can be seen together.
Alexander Hood rose to command the Channel Fleet and to the peerage as Viscount Bridport, winning the action of the Île de Groix in 1795; the portrait shows him decades before, a captain in mid-career, in the confident blue-and-white manner Reynolds gave the sea-officers. The picture is one of the Greenwich collection's many Reynolds naval portraits, and its value is as a member of that fleet: the visual roll of the commanders who fought Britain's eighteenth-century wars. The picture was engraved and repeated; the Greenwich canvas is the standard image of the admiral, and it hangs among the fleet of Reynolds naval portraits that make the National Maritime Museum the service's own gallery.
Charles Carroll of Carrollton (Yale Center for British Art): a portrait of the Maryland planter who became the only Catholic signer of the American Declaration of Independence and its longest-lived; a rare American sitter.
Edward, Duke of York (Royal Collection): a portrait of George III's brother.
The Children of Edward Holden Cruttenden (São Paulo Museum of Art): a group of three children with an Indian ayah, of an East India Company family — a document of the Company world, in the great Brazilian collection.
Frederick North, 2nd Earl of Guilford (National Trust): a portrait of Lord North, the prime minister who lost America; a great political sitter.
Henry Fox, 1st Baron Holland (Parliamentary Art Collection): a portrait of the politician and father of Charles James Fox.
Isabella Hay, Countess of Erroll (Glasgow Museums): a female portrait of a Scottish countess.
John Fane, 9th Earl of Westmorland, as Lord Burghersh (National Trust): a portrait of a peer.
Lady Sarah Bunbury Sacrificing to the Graces (Art Institute of Chicago): the celebrated Grand-Manner portrait of Lady Sarah Lennox — the beauty George III had wished to marry — as a priestess pouring a libation before the Three Graces; one of Reynolds's fullest 'poetic' portraits and the Art Institute's great Reynolds.
Mrs Elizabeth Riddell (Laing Art Gallery, Newcastle): a female portrait.
Mrs John Hope (National Galleries Scotland): a female portrait.
Mrs Richard Cumberland (Tate): a portrait of the wife of the dramatist Richard Cumberland.
Mrs Richard Hoare holding her Child (Museum of Fine Arts, Boston): a maternal group of the banking Hoare family.
Mr and Mrs Godfrey Wentworth (Yale University Art Gallery): a double portrait.
Portrait of a Lady in White (Smithsonian American Art Museum): an unidentified female sitter.
Richard Robinson, Baron Rokeby, Archbishop of Armagh (Christ Church, Oxford): a portrait of the primate of Ireland.
The Earl and Countess of Mexborough with their Son (Doddington Hall): a family group of the Savile family.
Thomas Veale Lane of Coffleet (National Trust): a Devon gentleman.
Works retrieved from Wikidata (creator P170 = Q194402, with image P18); dates from P571 where present, otherwise supplied from the literature; locations from P195/P276; materials P186; dimensions P2048/P2049. Tier labels reflect how many Wikipedia language editions carry an article on the work. Images from Wikimedia Commons; click to enlarge, arrow keys to step. Fetched 2026-08-21.