An oval bust-length of Augustus Keppel (1725–1786) in profile to right, wearing flag officers’ full dress uniform, 1767–87. The portrait is surrounded by a thick oval frame, which is lettered with the sitter’s name, ‘The Honble. Admiral Keppel.’ The print is also lettered beneath the image with the title, production details and publication line: ‘Lord Keppel &c. / First Lord Commisr. Of the Admiralty. / Modelled from the Life by Tassie. / Engraved by J. Caldwall. / Publish’d as the Act directs April 13 1782 by J. Caldwall Angel Court Windmill Street Hay-Market.’ This portrait was engraved and published by James Caldwall in 1782 after James Tassie’s medallion of 1779 (see OBJ0574). Augustus Keppel had a long naval career. He was the second son of the Earl of Albemarle and one of a powerful Whig family who came to England with William III in 1688. At the age of fifteen in 1740, Keppel sailed with Commodore George Anson on his four-year voyage around the world. He then served as a captain in the Western Squadron before being made commodore and sent on diplomatic mission to the Mediterranean in 1749. Keppel subsequently led a small expedition to capture the island fortress of Gorée on the West African coast in 1758 and commanded the ‘Torbay’, 74 guns, at the Battle of Quiberon Bay in 1759. In August 1762, he was second-in-command to Sir George Pocock at the capture of Havana, gaining promotion to rear-admiral a few months later. In the late 1760s and the 1770s, he pursued a political career on shore. Romney’s portrait was painted during this period in Keppel’s life and depicts the admiral in civilian clothing, rather than naval uniform, in order to emphasise his political career instead of his seafaring exploits. However, Keppel subsequently returned to sea in 1778. In July 1778, he commanded the British fleet at the Battle of Ushant. The result of this battle was inconclusive, giving rise to a bitter dispute between Keppel and his second-in-command Hugh Palliser over what had gone wrong. The whole affair was politically charged, for Keppel had the support of the opposition Whigs whereas Palliser was backed by the Tory government. The dispute culminated in Keppel being court-martialled. His trial generated massive public support for the opposition and his acquittal in February 1779 was greeted with widespread popular celebrations. This print (and the medallion upon which it was based) were produced in response to the public demand for Keppel’s image that developed at this time. (Updated May 2019.)