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| Charles Spencelayh My Pet 1890 oil on canvas Guildhall Museum, Rochester, Kent |
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| Charles Spencelayh Sunset ca. 1895 oil on canvas Guildhall Museum, Rochester, Kent |
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| Charles Spencelayh Dog's Head 1897 oil on canvas Guildhall Museum, Rochester, Kent |
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| Charles Spencelayh The White Rat 1899 oil on canvas Manchester Art Gallery |
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| Charles Spencelayh Vernon Spencelayh, the artist's son 1917 oil on canvas Guildhall Museum, Rochester, Kent |
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| Charles Spencelayh Polly Not Forgotten ca. 1920 oil on canvas Guildhall Museum, Rochester, Kent |
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| Charles Spencelayh Alderman Price, Mayor of Rochester 1922 oil on canvas Guildhall Museum, Rochester, Kent |
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| Charles Spencelayh Mrs. Price, Wife of Alderman Price, Mayor of Rochester 1922 oil on canvas Guildhall Museum, Rochester, Kent |
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| Charles Spencelayh Sure to Catch 1932 oil on canvas Newport Museum and Art Gallery, Shropshire |
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| Charles Spencelayh No Watermark 1933 oil on canvas Tate Britain |
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| Charles Spencelayh Dig for Victory 1941 oil on canvas Birmingham Museums, West Midlands |
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| Charles Spencelayh Self Portrait at age 79 1944 oil on canvas Guildhall Museum, Rochester, Kent |
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| Charles Spencelayh His Daily Ration 1946 oil on canvas Nottingham City Museums and Galleries, East Midlands |
"I shan't be in London till July. I shall certainly study the Spencelayhs. Last year it seemed to me his invention was flagging a little though his great talents were unimpaired." – from a letter dated 2 June 1946
"The Spencelayhs. Ed and I went to examine them. All are sold or in our after luncheon mood we would have celebrated the great inflation by buying you one. All three exquisite. One just junk called Grandfather's Treasures. The other two of the old man who features so often in his later work, with the familiar red bandana handkerchief. One, The Passing of Time, with a photograph album, grandfather clock in background, apples ripening on top of door-case. The masterpiece of nomenclature and symbolism is the old man seated with hands folded on calf bound Bible, look of earnest faith in his eyes, an oleograph of Christ behind his head, an empty bird cage. The title, Not Alone. I would dearly have liked to have that." – from a letter of mid-June 1946
"Three Spencelayhs at the Academy – up to standard but not remarkable. The best, The Empty Chair – not Dickens's. The Bread Ration, an elderly artisan looking quizzically at his loaf, 'Give us this day our daily bread' on the chimney piece. Rather a poor The Telegram. Impossible to tell whether it is good or bad news – one assumes bad on general grounds, but the face is downcast and the line of moustache hides the line of the mouth. It could hardly be a son killed in the war. It might be a football-pool success. He has changed his address from Manchester and now lives in a village in Northamptonshire – St Mildred, Bozeat, Wellingborough." – from a letter dated 10 May 1947
"Three Spencelayhs in the Academy. Compositions as beautiful as always and many familiar details – the red and white spotted handkerchief, the guinea, the fiddle but his old eyes are dim and his old fingers numb and there is not the fine finish of 25 years ago. None sold either." – from a letter dated 2 May 1954
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| Charles Spencelayh A Cure for Everything ca. 1947 oil on canvas Laing Art Gallery, Newcastle-upon-Tyne |
"Three Spencelayhs at the Academy – up to standard but not remarkable. The best, The Empty Chair – not Dickens's. The Bread Ration, an elderly artisan looking quizzically at his loaf, 'Give us this day our daily bread' on the chimney piece. Rather a poor The Telegram. Impossible to tell whether it is good or bad news – one assumes bad on general grounds, but the face is downcast and the line of moustache hides the line of the mouth. It could hardly be a son killed in the war. It might be a football-pool success. He has changed his address from Manchester and now lives in a village in Northamptonshire – St Mildred, Bozeat, Wellingborough." – from a letter dated 10 May 1947
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| Charles Spencelayh Key to Eternity 1950 oil on canvas Swanspool House, Wellingborough, Northamptonshire |
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| Charles Spencelayh Fingerprints 1953 oil on canvas Russell Cotes Art Gallery & Museum, Bournemouth, Dorset |
"Three Spencelayhs in the Academy. Compositions as beautiful as always and many familiar details – the red and white spotted handkerchief, the guinea, the fiddle but his old eyes are dim and his old fingers numb and there is not the fine finish of 25 years ago. None sold either." – from a letter dated 2 May 1954
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| Charles Spencelayh The Scent before 1958 oil on canvas Blackburn Museum and Art Gallery, Lancashire |
[from newspaper clipping enclosed in a letter] – "Nearby hangs a picture by a 91-year-old painter, Charles Spencelayh, who is going blind. The name of his work: My First Painting and My Last. It shows the interior of a room with his first painting on an easel. A guttering candle stands on a table." – 2 May 1957
– texts from letters of Evelyn Waugh to Diana Cooper (mutual fans of Spencelayh), as published in Mr. Wu & Mrs. Stitch: The Letters of Evelyn Waugh & Diana Cooper, edited by Artemis Cooper (London: Hodder & Stoughton, 1991)