Portrait.

Proof. Four three-quarter-length portraits engraved in the nineteenth century by Samuel William Reynolds after paintings by Joshua Reynolds. Lettered at the bottom of the print, ‘Sir Joshua Reynolds Pinxt. / S. W. Reynolds sculpt. / Proof.’ TOP LEFT: a three-quarter-length portrait of Samuel Hood (1724–1816) in admiral’s undress uniform, 1767–87, holding a letter in his right hand and leaning on a rock with a naval engagement in the background representing the French flagship, the ‘Ville de Paris’, 110 guns, striking to Hood’s flagship, the ‘Barfleur’, 89 guns, at the Battle of the Saints on 12 April 1782. Lettered beneath the image, ‘Lord Hood.’ This portrait was engraved after Joshua Reynolds’s oil painting of 1783, now in the collection of Manchester City Art Galleries. TOP RIGHT: A three-quarter-length portrait of George Anson (1697–1762) in flag officer’s full-dress uniform, 1748–1767, with his hat under his arm. Anson rests his left hand on the fluke of an anchor and stands in front of a rocky cliffy, partly overgrown with foliage, with a ship in distance. Lettered beneath the image, ‘George Lord Anson’. This portrait was engraved after Joshua Reynolds’s oil painting of 1753–5, a version of which is now at Shugborough. BOTTOM LEFT: a three-quarter-length portrait of Augustus Keppel (1725–1786) in captain’s undress uniform, 1748–1767, with his hat under his left arm and holding a cane in his right hand. There is an ivy-covered cliff on the right and the sea on the left. Lettered beneath the image, ‘Honble. Augustus Keppel’. This portrait was engraved after Joshua Reynolds’s oil painting of 1759, which is currently in the collection of Lord Falmouth. BOTTOM RIGHT: a three-quarter-length portrait of George Bridges Rodney (bap. 1718, d. 1792) in flag officer’s undress uniform, 1748–1767, leaning his right hand on the fluke of an anchor in front of an overhanging cliff and a view of the sea. Lettered beneath the image, ‘Sir Geo. Bridges Rodney Bart.’ This portrait was engraved after Joshua Reynolds’s oil painting of 1756–9, now at Petworth. (Updated May 2019.)