Updated November 2026 · ranked by our popularity score (searches, visits and orders for each work) · 77 works by Robert Smirke in our catalogue
In short
The Cession Of Matavai is the Robert Smirke painting that draws the most eyes. After it, the eye goes to The wreck of the 'Grosvenor' (1792) and The Earl of Sandwich Refusing to Abandon His Ship During the Battle of Solebay (1793). Among the 77 works of Robert Smirke in our catalog, these 77 are the most famous, each a unique original presented with its year, its museum and the reason it endures.
In The Cession Of Matavai, Robert Smirke presents a complex historical scene centered on the era of European colonization in the Pacific. The work captures a moment of profound cultural encounter, focusing on the tension between two distinct worlds. Smirke, an artist known for his ability to translate narrative depth into visual form, uses this setting to explore themes of power and the shifting dynamics of dominance and vulnerability.
In The wreck of the 'Grosvenor' by Robert Smirke, the chaos of a maritime disaster unfolds before the eyes. This scene captures the harrowing moment an East Indiaman meets its end. The vessel, a three-masted ship of 729 tons, struggles against the fury of the sea. It is a moment frozen in time, reflecting the tragedy that occurred on 4 August 1782. The water churns with a violent energy that…
The oil painting titled The Earl of Sandwich Refusing to Abandon His Ship During the Battle of Solebay was executed by the artist Robert Smirke. This work dates to about 1793. The canvas depicts a specific moment of naval combat, focusing on the central figure of the Earl of Sandwich. The subject matter centers on themes of courage, duty, and leadership during the Battle of Solebay.
The artwork titled Falstaff rebuked was painted by the English painter and illustrator Robert Smirke. This specific work dates to 1795. The piece is an oil on canvas that captures a scene of confrontation between a youthful, regal figure and an older, disheveled man.
The composition centers on a single female figure positioned within a dramatic setting. She is depicted in the role of Lady Macbeth, captured in a moment of intense psychological tension. The subject's posture and facial expression convey a sense of internal turmoil. Her gaze is directed away from the viewer, focused on an unseen point of distress. The lighting emphasizes the contours of her face and the heavy folds of…
The Awakening of King Lear by Robert Smirke centers on a dramatic moment of human interaction. An elderly man with a white beard sits in a large chair, serving as the focal point of the composition. Kneeling before him is a woman in white and light blue drapery, her posture suggesting a gesture of supplication or comfort. This central pairing is framed by two other men who observe the scene…
To gaze upon this depiction of the Port of Zakynthos is to be instantly transported across the azure expanse of the Aegean Sea, far from the clamor of modern life. This work captures not merely a harbor scene, but a moment suspended in time—a vibrant tableau vivant rendered with the delicate precision characteristic of early nineteenth-century topographical studies. The composition itself sings of industry and repose; boats, some moored peacefully…
A Scene From 'the Busybody' From By Mrs Centlivre is a painting by the artist Robert Smirke. This work depicts a specific moment taken from the play written by Mrs Centlivre. The composition captures a dramatic instance from the theatrical text, focusing on the interactions between the characters within a domestic setting.
Diana and ActaeonYale Center for British Art
12
Juliet Nurse
13
Lady Jane Grey
14
The Slaughter Of The Suitors Of Penelope
15
Title Not Known - (10)
16
The SoldierYale Center for British Art
17
Title Not Known -
18
The Afflicted Matron, The Countess Trifaldi, From 'don Quixote'
19
'henry Iv', Part I, Act Ii, Scene 1, The Inn Yard With Gadshill And The Carriers
20
King Lear
21
Mary Isabella Somerset
22
The Treachery Of Colonel Kirke
23
Ulysses And Nausicä
24
Children Playing
25
Cromwell suppressing the mutiny in the army
26
Ulysses Discovered By His Nurse
27
Sancho Panza And The Duchess
28
His Majesty Reviewing The Volunteer Corps Assembled In Hyde Park, In Honour Of His Birthday
29
The Deserter Apprehended
30
The Merry Wives Of Windsor
31
The Martyrdom of Archbishop Cranmer
32
The SchoolboyYale Center for British Art
33
Kneeling female figure with a cup
34
Title Not Known -
35
Title Not Known -
36
The LoverYale Center for British Art
37
Title Not Known
38
Title Not Known -
39
The Order Of Knighthood Conferred On Don Quixote By The Inn Keeper
40
Title Not Known - (9)
41
Title Not Known -
42
Casimire And Lady Pentweazel, From Samuel Foote's Taste
43
Title Not Known -
44
The Astronomers' ClubNational Maritime Museum
45
Don Quixote And Sancho Panza
46
The JusticeYale Center for British Art
47
The InfantYale Center for British Art
48
The Rivals
49
Scene From Samuel Richardson's Pamela
50
Mrs Henry Siddons
51
Melinda And Lucy Consult Kite
52
He Seven Ages Of Man The PantaloonYale Center for British Art
53
Title Not Known - (11)
54
Much Ado About Nothing
55
Lady Pentweazle From Samuel Foote's 'taste'Upton House
56
The Rivals from `Tom Jones
57
Title Not Known - (8)
58
The Two Sons Of Tipu Sahib, Sultan Of MysoreYale Center for British Art
59
Measure For Measure
60
Scene From Bickerstaffe's Play 'the Hypocrite'
61
Falstaff Disguised As Herne With Mrs Ford And Mrs Page
62
The Scandal
63
The Duel
64
Second ChildishnessYale Center for British Art
65
Young Man Lifted From A River, Apparently Drowned
66
The Merry Wives Of Windsor -
67
Scipio And The Hermit
68
Don Quixote At Home, After The Termination Of His Second Sally
69
'henry Iv', Part I, Act V, Scene 4, Falstaff And The Dead Body Of Hotspur
70
The Sleeper Awakened
71
Illustration From Francis Beaumont And John Fletcher's 'the Humorous Lieutenant'
72
Title Not Known -
73
Resuscitation By Doctor Hawes Of A Man Believed Drowned
74
A Scene From 'taste' A Play By Samuel Foote
75
Illustration To Le Strange's 'gil Blas'
76
'love For Love' By William Congreve
77
The Rival Waiting-womenHatchlands Park
The four subjects that come back most often in these originals, each with its finest example.
The 4 museums that hold the most of the paintings on this page.
| Museum | City | Works by Robert Smirke | Paintings from this list |
|---|---|---|---|
 Yale Center for British Art |
New Haven | 13 | The Earl of Sandwich Refusing to Abandon His Ship During the Battle of Solebay, Port of Zakynthos, Greece, Woman Sleeping in the Nude in a Wooded Landscape |
 Upton House |
Banbury | 2 | A Scene From 'the Busybody' From By Mrs Centlivre, Lady Pentweazle From Samuel Foote's 'taste' |
 National Maritime Museum |
London | 1 | The Astronomers' Club |
 Hatchlands Park |
Guildford | 1 | The Rival Waiting-women |
15 years separate Robert Smirke's first and last dated originals shown here, 1790 and 1804: each year has its place below.
Pick a year to see its originals.
The composition centers on a single female figure positioned within a dramatic setting. She is depicted in the role of Lady Macbeth, captured in a moment of intense psychological tension. The subject's posture and facial expression convey a sense of internal turmoil. Her gaze is directed away from the viewer, focused on an unseen point of distress. The lighting emphasizes the contours of her face and the heavy folds of…
In The wreck of the 'Grosvenor' by Robert Smirke, the chaos of a maritime disaster unfolds before the eyes. This scene captures the harrowing moment an East Indiaman meets its end. The vessel, a three-masted ship of 729 tons, struggles against the fury of the sea. It is a moment frozen in time, reflecting the tragedy that occurred on 4 August 1782. The water churns with a violent energy that…
More from 1792
The oil painting titled The Earl of Sandwich Refusing to Abandon His Ship During the Battle of Solebay was executed by the artist Robert Smirke. This work dates to about 1793. The canvas depicts a specific moment of naval combat, focusing on the central figure of the Earl of Sandwich. The subject matter centers on themes of courage, duty, and leadership during the Battle of Solebay.
The artwork titled Falstaff rebuked was painted by the English painter and illustrator Robert Smirke. This specific work dates to 1795. The piece is an oil on canvas that captures a scene of confrontation between a youthful, regal figure and an older, disheveled man.
To gaze upon this depiction of the Port of Zakynthos is to be instantly transported across the azure expanse of the Aegean Sea, far from the clamor of modern life. This work captures not merely a harbor scene, but a moment suspended in time—a vibrant tableau vivant rendered with the delicate precision characteristic of early nineteenth-century topographical studies. The composition itself sings of industry and repose; boats, some moored peacefully…
The Cession Of Matavai. The wreck of the 'Grosvenor' (1792) and The Earl of Sandwich Refusing to Abandon His Ship During the Battle of Solebay (1793) come next.
The Cession Of Matavai, The wreck of the 'Grosvenor', The Earl of Sandwich Refusing to Abandon His Ship During the Battle of Solebay, Falstaff rebuked, Sarah Siddons as Lady Macbeth, The Awakening of King Lear, Port of Zakynthos, Greece, A Scene From 'the Busybody' From By Mrs Centlivre, Woman Sleeping in the Nude in a Wooded Landscape and Figure Study of a Nude Woman in a Wooded Landscape. The ranking above gives each one's year and museum.
Our catalog holds 77 works by Robert Smirke, dated from 1790 to 1804.
Mostly in Yale Center for British Art (New Haven), Upton House (Banbury) and National Maritime Museum (London). The museum table above lists them all.
In 1792: 2 of the 77 works on this page were made then, The wreck of the 'Grosvenor' among them.
On this page, the earliest is Sarah Siddons as Lady Macbeth (1790) and the latest Port of Zakynthos, Greece (1804).
Women (7), Scenes (4) and Historical scene (3), across the 77 works on this page.
Oil, for 4 of the 77 works on this page.
Romanticism and Neoclassicism, judging by the originals on this page.
The Earl of Sandwich Refusing to Abandon His Ship During the Battle of Solebay, Port of Zakynthos, Greece and Woman Sleeping in the Nude in a Wooded Landscape: the Yale Center for British Art, New Haven holds 13 of the works on this page.
In the grand tapestry of British art history, where many sought glory through sweeping battle scenes or monumental portraits, Robert Smirke carved a delicate and profoundly intimate niche. Born in 1753 in the quiet town of Wigton, near Carlisle, Smirke was a man whose brush was guided more by the rhythm of verse than by the drama of history. As the son of a travelling artist, his childhood was steeped in the very essence of observation, learning to see the world through a lens of movement and light long before he ever held a formal apprenticeship. This early exposure to the itinerant life instilled in him a lifelong reverence for the subtle details of the natural world, a quality that would later define his unique approach to the literary landscape.
Smir andke's artistic journey was one of steady, meticulous refinement. After honing his technical skills under a London heraldic painter, he began to emerge into the professional sphere through the Incorporated Society of Artists in 1775. While his early exhibitions were modest, they revealed a burgeoning talent for capturing the quiet elegance of a scene. He did not merely paint landscapes; he painted stories. His true mastery lay in his ability to translate the written word into visual poetry, specifically focusing on the works of English poets such as James Thomson. By choosing monochrome palettes and intricate compositions, Smirke created a sense of timelessness, allowing the viewer to step directly into the stanzas of classic literature.
The ascent of Robert Smirke within the prestigious halls of the Royal Academy serves as a testament to his technical prowess and his ability to captivate the era's most discerning critics. His election as an Associate Academician in 1791, followed by full academician status in 1793, marked his transition from a promising illustrator to a cornerstone of the British art establishment. It was during this period that his most celebrated works began to resonate with the public imagination. Pieces such as Narcissus and the Lady and Sabrina—subjects drawn from Milton’s Comus—demonstrated a profound sensitivity to the atmospheric qualities of myth and legend.
Smirke's work is characterized by several defining elements that set him apart from his contemporaries:
Even his diploma work, Don Quixote and Sancho, reflected his dedication to character and narrative depth. Though he may not have sought the fame of those who painted the epic scale of empire, Smirke’s historical significance lies in his role as a visual custodian of English literary heritage. He transformed the canvas into a page of a book, ensuring that the romanticism of the 18th-century poets would endure through the enduring power of his imagery. His life, spanning from the late 18th century to 1845, remains a beautiful chapter in the story of British art—a story told not in loud proclamations, but in the soft, evocative whispers of a master storyteller.
