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Mid-Georgian Portraits Catalogue

Henry Seymour Conway (1719-1795), Field Marshal

c.1742
Painting attributed to J-B. Van Loo, standing three-quarter length in armour, gesturing towards a distant battle. Ragley Hall (illus. Guide Book 1982, p 16).

c.1744
Miniature by Christian Zincke, bust-length oval, wearing a blue coat over breastplate. Wallace Collection (M314; illus. Cat. of Miniatures, 1980, p 83). Closely related to, and possibly the basis for, the 1746 portrait by Eccardt (who also copied Walpole’s portrait from Zincke).

1746
Painting by J. G. Eccardt, half-length oval, wearing breast plate beneath dark coat. Christie’s, 10 February 1900, lot 34, from Strawberry Hill. Engraved W. Greatbach 1857 (illus. Wal. Corr., XXXVII, f.p.234). Apropos this portrait, Conway observed to Horace Walpole that it was ‘a pretty indifferent thing to posterity whether my eyebrow is more or less arched or the hollow over my eye more or less conspicuous’ (Wal. Corr., XXX, p 371).

c.1750
Painting by Bartholomew Dandridge, standing three-quarter length. Houghton Hall (illus. Wal. Corr., XXXVII, f.p.12); listed in Horace Walpole’s will (Wal. Corr., XXX, p 371).

c.1754
Painting by J. G. Eccardt, whole length in Van Dyck costume with his wife Lady Ailesbury and daughter Anne (b. 1749). Private collection (illus. Rococo, Victoria and Albert Museum, 1984, p 257). Hanging in the Blue Bedchamber at Strawberry Hill by May 1754 (Wal. Corr., XXXV, p 174), the composition taken from Watteau’s La Cascade. See Orford NPG 988.

1760
Wax by Isaac Gossett, see NPG 1757.

1765-67
Unattributed painting, three-quarter length standing, wearing breastplate, his right hand on a copy of the Free Port Bill. Commissioned for the Faneuil Hall, Boston, Mass., in 1765 (with a portrait of Isaac Barré) and delivered in 1767. Engraved C. Heath 1798 (bust-length oval, without painter’s name). A copy attributed to G. Berwick (but possibly Ranelagh Barrett?) is in the Lewis Walpole Library, Farmington (W. S. Lewis, Horace Walpole, 1960, pp XVII-XVIII, illus. p 33), exhibited Royal House of Guelph, New Gallery, London, 1891, no.335 as a copy by G. Berwick of a portrait by Reynolds painted ‘at the request of the citizens of New York’.

1780
Painting by Thomas Gainsborough, whole length in General’s uniform. Inverary Castle. Exhibited RA 1780 (14). Engraved G. Dupont 1780; half-length plates by Angus 1782, and anon. 1782 (London Mag.). Version, possibly a replica, with Jersey Museums Service; engraved R. Josey 1874 (from ‘the original Picture belonging to the States of Jersey’).

Doubtful Portraits
Paintings: by Joshua Reynolds c.1762, Ragley Hall (D. Mannings, Sir Joshua Reynolds, I, 2000, no.408; engraved C. A. Tomkins 1768); another sold Anderson, New York, 16 November 1933, lot 5 (D. Mannings, Sir Joshua Reynolds, I, 2000, no.409); attributed to Thomas Gainsborough, exhibited Second special exhibition of National Portraits (William and Mary to MDCCC), South Kensington, 1867 (462) lent by the Duke of Argyll.

Miniature by Richard Cosway (Victoria and Albert Museum; D.99), and a drawing by John Smart, sold Christie’s, 15 February 1937, lot 39.



This extended catalogue entry is from the out-of-print National Portrait Gallery collection catalogue: John Ingamells, National Portrait Gallery: Mid-Georgian Portraits 1760-1790, National Portrait Gallery, 2004, and is as published then. For the most up-to-date details on individual Collection works, we recommend reading the information provided in the Search the Collection results on this website in parallel with this text.