George Romney's mest berømte maleri er Lady Hamilton as Circe (1782) i Tate Gallery, London. Sammen med Portrait of Emma Hart [later Lady Hamilton] as Miranda (1785) og Portrait of John Wesley (1789) udgør de de tre værker, som alle kender. Vores katalog indeholder 1,201 værker af George Romney; de 100 nedenfor er dem, som verden ser mest på, hver med årstal, det museum der opbevarer det, og hvorfor det er betydningsfuldt.
Rangordnet efter vores popularitetsscore, som kombinerer søgninger, besøg og ordrer for hvert værk. Opdateret oktober 2026. Hvert mesterværk på denne side kan bestilles som en håndmalet oliereproduktion i museumskvalitet eller som et kunsttryk i den størrelse, du vælger.
George Romney's “Lady Hamilton as Circe,” painted in 1782, transcends mere portraiture; it embodies the spirit of Neoclassical art—a movement dedicated to reviving classical ideals of beauty and rationality. Housed within the Tate Gallery’s collection in London, this canvas offers a glimpse into a pivotal moment in British artistic history and illuminates the captivating allure of Emma Hamilton, Lord Nelson's mistress.
![Portrait of Emma Hart [later Lady Hamilton] as Miranda (1785) af George Romney](/media/artworks/images-full/68/3a/683a29e4f83e98338fc73936e4787728.jpg)
A single upward glance defines this oil sketch. The subject, Emma Hart, turns her face toward a light source from above, her eyes wide with a sense of longing or awe. Her dark, voluminous hair spills around her shoulders in thick, gestural strokes of deep brown and ochre. The skin of her forehead and chin catches the light, rendered in fleshy pinks and creams that emerge from a shadowed, textured…
The face of John Wesley emerges from a deep, atmospheric darkness. Light falls from the upper left, striking the high ridge of a brow and the soft texture of white hair. This illumination catches the crisp edge of a clerical collar, a bright white anchor against the heavy, earthy tones of his clothing. The eyes look directly forward, meeting the viewer with a steady, quiet gaze. Wrinkles trace paths across…
The air feels heavy with the scent of salt and the lingering sulfur of gunpowder. Vice-Admiral Sir Hyde Parker stands in the center of this unfolding drama, his presence a steady anchor against the chaos of the sea. He is dressed in his undress uniform, the dark fabric of his coat absorbing the light, contrasted sharply by the crisp white of his trim. His right hand rests upon an unbuckled…
In this oil on canvas from around 1782, we encounter Emma Hart transformed into the mythological figure Circe. The scene is set within a rugged, rocky landscape that recedes into deep shadows, creating an atmosphere of profound mystery. At the center of the composition, the figure dominates the foreground, her form illuminated by a strong light source from the upper left. This lighting casts heavy shadows across the terrain, emphasizing…
George Romney captures a moment of profound, quiet intellect in this portrait of Ralph Willett. The sitter is positioned in a thoughtful pose, resting his chin upon his hand—a gesture traditionally associated with wisdom and the pursuit of reason. This posture, combined with his steady, inward gaze, reflects the intellectual currents of the late 18th century. The composition is asymmetrical, with the subject seated on the right, looking toward the…
George Romney’s “Portrait of Mrs. Verelst,” painted in 1773, is more than merely a likeness; it’s a meticulously crafted window into the social and aesthetic sensibilities of Georgian England. Executed with remarkable sensitivity and technical skill, this portrait captures not just the physical appearance of its subject but also an underlying sense of quiet dignity and restrained elegance – hallmarks of Romney's distinctive style. The painting depicts Mrs. Verelst, a…
In the grand tapestry of eighteenth-century British portraiture, few images capture the delicate intersection of classical myth and human vulnerability as exquisitely as George Romney’s Emma Hart (1765–18 8), as Miranda. This captivating oil on canvas serves as a profound testament to the artist's ability to breathe life into both subject and story, presenting a woman of striking presence whose gaze seems to bridge the gap between the painted world…
A man sits anchored in an armchair, his presence defined by the heavy drape of a crimson coat. The fabric catches the light, revealing the subtle textures of fine wool and the structured lines of a gentleman's station. He wears a white wig, its pale curls framing a face marked by a mustache and a steady, direct gaze. There is a stillness in his posture, a quiet composure that suggests…
George Romney’s “Lady Hamilton as Circe,” painted in 1792, is more than just a portrait; it's an exquisitely crafted tableau vivant—a frozen moment brimming with narrative and psychological depth. This captivating work, now housed within the collections of the Frick Collection, offers a glimpse into the life of Emma Hart, later Lady Hamilton, a woman whose beauty, ambition, and scandalous affair with Lord Nelson captivated Regency England. Romney’s masterful handling…
In the soft, luminous glow of George Romney’s 1791 masterpiece, Emma, Lady Hamilton, we encounter more than just a portrait; we enter a profound psychological landscape. This captivating…
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In the hallowed halls of the National Portrait Gallery in London, there exists a window into the soul of the British Enlightenment, captured through the masterful brush of…
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George Romney’s “Lady Hamilton as Nature,” painted in 1782, is more than simply a portrait; it’s an exquisitely rendered meditation on beauty, companionship, and the burgeoning Romantic sensibility…
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This 1779 oil portrait presents a bust-length view of John Robinson of Denston Hall, Suffolk. The subject is positioned in a three-quarter view, turned slightly away from the…
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The canvas holds a quiet moment from 1786, a pause in the life of Mary Rutledge Smith. She sits with her infant son, Edward, cradled against her. The…
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A young man meets the gaze of the observer with a quiet, steady confidence. He is positioned slightly off-center, his body turned toward the right while his eyes…
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The Portrait of Colin Dunlop of Garmyle is a significant oil on canvas by the British artist George Romney. Painted in 1754, this work captures a man of…
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In the masterful hands of George Romney, Sir William Hamilton emerges not merely as a portrait of a man, but as a profound window into the refined elegance…
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A man leans against a tree trunk, his silhouette defined by a deep blue frock coat and a crisp white waistcoat. He occupies the center of a landscape…
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The light enters from the upper left, a soft, directional glow that carves the subject out of a dark, indistinct void. Madame de Genlis is rendered in a…
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A Study in Youthful Form Three children are arranged in a stable triangular composition against a dark, atmospheric woodland. A boy stands to the left, his presence anchored…
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George Romney’s 1765 portrait, often referred to as “Unknown Man,” is far more than a simple likeness. It’s a carefully constructed tableau of Georgian society, brimming with subtle…
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A three-quarter view bust portrait captures a man positioned slightly off-center, his gaze averted toward the right of the frame. The subject is rendered with a quiet confidence,…
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To stand before this portrait is to step directly into the refined drawing rooms of late eighteenth-century England. George Romney, master chronicler of his age, has captured not…
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The Composition and Subject A young man occupies the center of this oil painting, positioned in a three-quarter profile view. He faces toward the left edge of the…
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To gaze upon George Romney's depiction of Emma Hart as The Spinstress is to step into an exquisitely rendered moment of 18th-century domestic life. This portrait transcends a…
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To stand before George Romney’s portrait of Shute Barrington, Bishop of Durham, is to step directly into the refined drawing rooms of late eighteenth-century British high society. This…
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The face of a young girl rests within a pool of light, caught between the edges of an uncertain day. She sits with a quiet poise, her features…
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The gentleman sits before us, caught in a moment of quiet poise that feels as though he might speak at any second. He is positioned in a three-quarter…
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In this oil on canvas portrait, a woman is positioned in a three-quarter length view, facing toward the right while her gaze meets the viewer directly. She occupies…
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This work is Portrait of a Gentleman by George Romney. It is a half-length portrait that captures a gentleman in a moment of quiet composure. The subject is…
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In the quiet splendor of George Romney’s 1785 masterpiece, Lady in a Brown Robe, we encounter more than a mere portrait; we step into the refined atmosphere of…
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George Romney painted this portrait of Major-General Sir Archibald Campbell between 1790 and 1792. The sitter, the son of the chamberlain to the Duke of Argyll, is presented…
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The Composition and Subject of James Romney James Romney is an oil portrait from 1760, presented in an oval vignette format. The subject is a young man shown…
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A heavy, white clerical robe dominates the frame, its folds catching a sharp, singular light. This brightness presses against a dark, atmospheric background where deep browns and blacks…
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In the quiet, commanding presence of George Romney’s “James Clitherow” (1780), we find more than just a mere likeness; we encounter the very soul of eighteenth-century British high…
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In this 1784 oil portrait, we encounter a young man seated with a composure that speaks of his social standing and the era's expectations of poise. He is…
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Step closer and observe the quiet intensity within this room. We find ourselves in an intimate indoor setting, where the air seems heavy with the concentration of men…
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In this bust-length portrait, we encounter Bartholomew Ruspini, a man whose quiet dignity suggests a life of both professional precision and philanthropic purpose. He is presented with a…
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George Romney's "Princess Anne Lady de la Pole," painted in 1786, isn’t merely a portrait; it’s a carefully constructed tableau of aristocratic grace and subtle political maneuvering. The…
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The canvas before you presents more than just a likeness; it’s a carefully constructed tableau of the late 18th century, capturing the essence of a celebrated poet and…
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The artwork is titled Portrait of a woman and is attributed to the artist George Romney. This oil on canvas depicts a young woman. The piece is dated…
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The portrait titled Elizabeth, Duchess-Countess of Sutherland captures a moment of quiet poise from 1782. George Romney, the artist, rendered the subject with a focus on the dignity…
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George Romney captures a young woman in 1782. This portrait, titled Miss Clavering, presents the sitter in a three-quarter length composition. She sits against a naturalistic landscape, a…
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In this portrait from 1789, we encounter a young woman captured in a moment of quiet composure. She is presented in a three-quarter view, her gaze directed toward…
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In this 1767 oil on canvas, we encounter Mary Hyde, née Foxcroft, presented in a bust-length portrait that emphasizes a quiet, poised elegance. The composition is framed within…
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George Romney’s “Lady Altamont,” painted in 1788, is more than just a likeness; it's a meticulously crafted distillation of Georgian elegance and social standing. This captivating portrait offers…
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I den stille intimitet af George Romneys “Lady Hamilton som en Vestalinde” møder vi mere end blot et portræt; vi træder ind i et øjeblik af dyb, hviskende…
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The 1777 oil painting on canvas, titled Portrait of Colin MacKenzie, presents a bust-length view of a young man positioned slightly off-center. He faces toward the right side…
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The air in the room feels heavy and still, as if the subject has just paused mid-breath to meet our gaze. She emerges from a dark, atmospheric background,…
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George Romney painted Portrait of Mrs. Tickell in 1792. This oil on canvas work belongs to the Philadelphia Museum of Art collection. It represents a significant example of…
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Sir John Reade, 6th Baronet, appears in this 1788 oil on canvas seated within a soft-focus landscape. He is positioned in a three-quarter length pose, leaning slightly against…
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In this intimate portrait study, we find a woman caught in a moment of profound emotional turbulence. The composition is tightly focused, a tondo-style arrangement within a square…
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George Romney captures a moment of heavy stillness in Niobid. This work exists as a study, a preliminary observation of form and emotion intended for a larger composition.…
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In the quiet depths of George Romney’s 1784 masterpiece, Mrs Siddons, one encounters more than a mere likeness; one meets a soul captured in a moment of profound…
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In this oil on canvas painting from 1783, three children are positioned in a tight, vertical arrangement against a dark, atmospheric background. A boy occupies the left side…
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In this 1780 oil on canvas, Sarah Phipps, formerly known as Mrs. Thomas Phipps, is presented in a bust-length portrait. She is positioned slightly off-center, facing toward the…
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The Willett Children is a monumental oil on canvas by George Romney. Created between 1789 and 1791, this portrait captures three siblings within a quiet, natural setting. The…
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George Romney's “Portrait of a Lady (probably Mrs. James Collingwood)” is more than just a painted likeness; it’s a meticulously crafted window into the refined world of 18th-century…
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This oil portrait, titled Sir John Orde, was executed by the British artist George Romney. The work dates to 1785. The subject of the painting is likely Sir…
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The Portrait of Sir John Papillon Twisden, 7th Baronet by George Romney captures a man of significant standing during the height of the Georgian era. Painted in 1782,…
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The Neue Pinakothek in Munich, Germany, proudly houses a captivating portrait of Catherine Clemens, masterfully rendered by the esteemed English artist George Romney in 1788. This artwork exemplifies…
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In the quiet, commanding presence of George Romney’s 1783 portrait, William Pitt the Younger, one finds more than a mere historical record; one encounters the very soul of…
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The oil on canvas work titled Portrait of Maria and Catherine, the Daughters of Edward Thurlow, 1st Baron Thurlow was executed by the artist George Romney in 1783.…
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George Romney captures the likeness of David Scott, Esq., of Dunniald in this 1794 oil on canvas. The subject is presented in the formal attire of the late…
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This oil on canvas portrait presents a woman from the waist up, positioned in a three-quarter length view against a dark, muted background. The subject is centered, with…
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George Romney's "Thomas Paine" isn’t merely a portrait; it’s a distillation of the Enlightenment, a visual embodiment of revolutionary fervor captured with remarkable precision and emotional depth. Completed…
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In the grand tapestry of eighteenth-century British portraiture, few works capture the delicate intersection of social prestige and quiet introspection as beautifully as George Romney’s 1786 masterpiece, Esther…
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George Romney's “Mrs. Musters,” painted in 1780, is more than just a portrait; it’s a meticulously crafted window into the elegance and social intricacies of Georgian England. This…
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In this 1776 oil on canvas, George Romney presents two figures positioned centrally against an indistinct, dark background. The composition is vertical and captures a three-quarter length view…
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George Romney’s “Henrietta, Countess of Warwick, and Her Children,” painted in 1787, offers a captivating glimpse into the refined world of late 18th-century British society. This exquisite portrait…
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De fire motiver, der optræder hyppigst blandt disse mesterværker, med det fineste eksempel på hvert enkelt.
De 8 museer, der rummer flest af malerierne på denne side.
| Museum | By | Værker af George Romney | Malerier fra denne liste |
|---|---|---|---|
 Philadelphia Museum of Art |
Philadelphia | 12 | Portrait of Emma Hart [later Lady Hamilton] as Miranda, Portrait of John Wesley, Portrait of the Willett Children |
 Yale Center for British Art |
New Haven | 11 | Portrait of a Man, James Romney, John Flaxman Modeling the Bust of William Hayley |
 Tate Gallery |
London | 17 | Lady Hamilton as Circe, Lady in a Brown Robe, Lady Altamont |
 The Frick Collection |
New York City | 5 | Lady Hamilton as, Lady Hamilton as Nature, Henrietta, Countess of Warwick, and Her Children |
 National Portrait Gallery |
London | 18 | Charles Lennox, 3rd Duke of Richmond and Lennox, Peter Romney, Thomas Paine |
 Museum of Fine Arts |
Boston | 7 | Princess Anne Lady de la Pole, William Chafyn Grove (1731–1793), Portrait of Emma Hart, later Lady Hamilton |
 English Heritage |
London | 6 | Emma Hart as The Spinstress, Lady Hamilton som en vestalinde, Mrs Musters |
 Fine Arts Museums of San Francisco |
San Francisco | 4 | William Sotheron, The Younger, of Darrington, Madame de Genlis, David Scott, Esq., of Dunniald |
The Portrait of Colin Dunlop of Garmyle is a significant oil on canvas by the British artist George Romney. Painted in 1754, this work captures a man of…
The Composition and Subject of James Romney James Romney is an oil portrait from 1760, presented in an oval vignette format. The subject is a young man shown…
George Romney’s “Portrait of Mrs. Verelst,” painted in 1773, is more than merely a likeness; it’s a meticulously crafted window into the social and aesthetic sensibilities of Georgian…
George Romney's “Lady Hamilton as Circe,” painted in 1782, transcends mere portraiture; it embodies the spirit of Neoclassical art—a movement dedicated to reviving classical ideals of beauty and…
In the soft, luminous glow of George Romney’s 1791 masterpiece, Emma, Lady Hamilton, we encounter more than just a portrait; we enter a profound psychological landscape. This captivating…
George Romney captures a moment of profound, quiet intellect in this portrait of Ralph Willett. The sitter is positioned in a thoughtful pose, resting his chin upon his…
Lady Hamilton as Circe (1782), Tate Gallery, London. Derefter følger Portrait of Emma Hart [later Lady Hamilton] as Miranda (1785) og Portrait of John Wesley (1789).
48 år gammel: Lady Hamilton as Circe er fra 1782, og George Romney blev født i 1734.
Lady Hamilton as Circe, Portrait of Emma Hart [later Lady Hamilton] as Miranda, Portrait of John Wesley, Portrait of Vice-Admiral Sir Hyde Parker, 5th Baronet, Emma Hart (c.1765–1815), Lady Hamilton, as Circe, Portrait of Ralph Willett, Portrait of Mrs. Verelst, Emma Hart (1765–1815), as Miranda, Sir Thomas Rumbold (1736–1791), Bt og Lady Hamilton as. Ranglisten ovenfor angiver årstallet og museet for hver af dem.
Vores katalog indeholder 1,201 værker af George Romney, dateret fra 1750 til 1800.
De fleste af dem findes i Philadelphia Museum of Art (Philadelphia), Yale Center for British Art (New Haven) og Tate Gallery (London). Tabellen ovenfor lister museerne enkeltvis.
I 1780s: 52 af de 100 værker på denne side stammer fra denne periode, herunder Lady Hamilton as Circe.
Det tidligste på denne side er Millicent Watson (1750), det seneste Portrait of Ralph Willett (1800).
Portraiture (24), Man (21) og Portrait (19), blandt de 100 værker på denne side.
Oil On Canvas: 63 ud af de 100 værker på denne side.
Neoklassicisme, som malerierne på denne side viser.
Portrait of Emma Hart [later Lady Hamilton] as Miranda, Portrait of John Wesley og Portrait of the Willett Children er blandt de 8 værker på denne side, som er i Philadelphia Museum of Art, Philadelphia's samling.
Ja. Hvert maleri på denne side kan bestilles som en håndmalet oliereproduktion i museums kvalitet eller som et kunstprint i den størrelse, du ønsker, direkte fra maleriets egen side.
George Romney blev født den 26. december 1734 i Beckside, Dalton-in-Furness, Lancashire, og trådte ind i en verden præget af praktisk håndværk. Som det tredje af elleve børn født af møbelsnedkeren John Romney og Anne Simpson, blev hans tidlige år formet af de hjemlige rytmer i en stor familie i det nordvestlige England. Selvom han gik i skole i det nærliggende Dendron, var hans formelle uddannelse kortvarig; allerede i en alder af elleve år blev han taget ud af skolen for at påbegynde en læreplads i sin fars møbelværksted.
Den præcision, som faderens fag krævede, har sandsynligvis lagt grunden til den detaljegrad, der senere skulle kendetegne hans kunst, men hans sande hang til det illustrative var allerede ved at spire. En lokal urmager vækkede en tidlig interesse for tegning, hvilket skabte en subtil omdirigering væk fra husholdningens træbearbejdningsværktøjer. Dette spirende talent førte ham i sidste ende væk fra møbelværkstedet og mod studiet af portrætkunsten. Han opsøgte Christopher Steele, en omrejsende portrætmaler baseret i Kendal, for at forfine sine færdigheder. Under Steeles vejledning begyndte Romney sin transformation fra at være en håndværkslærling til at blive en studerende af den menneskelige form.
Omkring 1762 havde Romney forladt det nordlige Lancashire for at kaste sig ud i det konkurrenceprægede miljø i London. Han ankom til hovedstaden med en søgen efter både lykke og anerkendelse, drevet af en ambition, der rakte langt ud over hans tidlige læretid. Byen var en barsk smeltedigel for en nyankommen, men han navigerede gennem dens sociale kompleksiteter med en naturlig lethed. Han etablerede hurtigt sig som en dygtig portrætmaler og fandt sin plads i de højere sociale kredse, som dikterede tidens æstetiske smag.
Hans opstigen var præget af en direkte konkurrence med de mest fremtrædende skikkelser i samtiden, herunder Thomas Gainsborough og Joshua Reynolds. Selvom disse samtidige kunstnere besad en betydelig indflydelse, formåede Romney at skabe sit helt eget, særprægede rum. Han blev en af de mest populære britiske portrætmalere i det sene 18. århundrede, hvor han henvendte sig til både en voksende købmandsklasse og den etablerede adel. Hans evne til at navigere i den georgianske æras skiftende sociale hierarkier sikrede ham en fast plads i tidens mest fashionable saloner.
Romneys tilgang til lærredet var defineret ved en delikat balance mellem minutiøse detaljer og et ekspressivt penselstrøg. Han foretrak en raffineret teknik, der undgik den tyngde og det grove udtryk, som prægede nogle af hans samtidige, og valgte i stedet bløde penselstrøg, der fremkaldte en følelse af mild realisme. Denne metode gjorde det muligt for ham at gengive stoffets og hudens subtile teksturer med en stille sofistikering. Hans farvepalette lænede sig ofte op ad dæmpede nuancer, hvilket bidrog til en atmosfære af ro og beherskelse i hans kompositioner. Snarere end at forlade sig på dramatisk kunstighed søgte han at indfange sitters sande essens gennem en skarp forståelse for menneskelig psykologi – en kvalitet, der tydeligt reflekteres i de nuancerede ansigtsudtryk, han formåede at skabe.
Hans tekniske repertoire var vidtrækkende og strakte sig langt ud over det færdige oliemaleri. Han var en flittig tegner, der benyttede sig af skitser, forstudier og endda små miniaturestudier til at udforske sine idéer. Denne disciplinerede praksis gav ham frihed til at eksperimentere med form og lys, før han for alvor kastede sig over de store lærreder. Hans evne til at transformere disse indledende studier til polerede portrætter hjalp ham med at navigere i det konkurrenceprægede sociale landskab i London, hvor han ofte blev indkaldt til at portrættere tidens førende skikkelser med både præcision og ynde.
Retningen for Romneys kreative virke ændrede sig gennemgribende i det øjeblik, han mødte Emma Hart, kvinden der senere ville blive kendt som Lady Hamilton. Hun blev langt mere end blot et hyppigt motiv; hun blev hans mest berømte model og en muse, der udøvede en gennemgribende indflydelse på hans fantasi. Deres forhold var intenst og altfortærende, en forbindelse der satte dybe spor i både kunstnerens personlige liv og hans professionelle fokus. Gennem hende fandt George Romney en vej til at bevæge sig ud over det traditionelle portrættis begrænsninger og ind i et mere fantasifuldt og poetisk territorium.
Under Emmas fortryllelse skabte George Romney en række værker med skildringer fra Shakespeare og andre fantastiske motiver. Disse værker gav ham mulighed for at udforske temaer som fantasi og litterære fortællinger, hvor han udnyttede hendes ekspressive spændvidde til at vække dramatiske karakterer til live. Han malede over 80 portrætter af hende, hvor hvert forsøg indfangede en ny facet af hendes personlighed. Denne periode med intenst samarbejde blev en tid, hvor han eksperimenterede med komposition og symbolik, hvilket førte ham mod de mere visionære og poetiske lærreder, der kom til at definere hans senere år.
Det sidste årti af George Romneys liv var præget af et gradvist tilbagetog fra de sociale cirkler, der engang havde været drivkraften i hans karriere. I 1794 begyndte sygdom at begrænse hans portrætmaleri betydeligt, hvilket bremsede den flittige produktion, der havde defineret hans storhedstid. Dette fald i produktivitet var ikke blot et spørgsmål om svindende interesse, men snarere en fysisk kamp, der kastede en skygge over hans senere år. Manden, der engang havde konkurreret med de mest prominente skikkelser i den georgianske æra, befandt sig i stigende grad i skyggen af sit eget svigtende helbred.
Omkring 1799 blev behovet for hvile uomtvisteligt. Med svigtende helbred vendte George Romney tilbage til Kendal for at være sammen med sin hustru, Molly. Denne periode med rekonvalescens i det nordvestlige England fungerede som en stille coda til et liv tilbragt i de pulserende kunstneriske knudepunkter i London og Paris. Han forblev en kraftfuld tegner, selvom hans evne til at påtage sig store bestillingsværker svandt ind. Han døde i Kendal, Westmorland, England, den 15. november 1802. Hans jordiske rester blev stedt til hvile i Dalton, hvilket førte ham tilbage til det landskab, hvor han blev født.
Fordelingen af de overleverede lærreder fra George Romney afspejler den geografiske bue i hans liv, fra hans nordlige rødder til hans endelige storhedstid i hovedstaden. I London mærkes hans nærvær stærkest i samlingerne på Tate Gallery, som bevarer sytten af hans værker, og på National Portrait Gallery, der rummer ti. Disse institutioner tilbyder et indblik i kunstneren på højdepunktet af hans sociale indflydelse, hvor han indfangede den georgianske æras ansigter med den psykologiske dybde, der kom til at definere hans karriere.
Uden for hovedstaden er hans forbindelse til det nordvestlige England stadig synlig gennem samlingerne på Abbot Hall Art Gallery i Kendal, som opbevarer ni af hans malerier. Denne samling udgør en levende forbindelse til den region, hvor hans liv begyndte, og hvor det til sidst nåede sin stille afslutning. Hans rækkevidde strækker sig desuden over Atlanten, med flere værker i besiddelse af Metropolitan Museum of Art i New York. Blandt disse finder man det stemningsfulde Portrait of Sir Chaloner Ogle, 1st Baronet fra 1782.
![Portrait of Emma Hart [later Lady Hamilton] as Miranda (1785), George Romney](/media/artworks/images-thumb/d9/52/d9529a75a306936d6b7034684957c1e3.jpg)
