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A very early portrait of George, along with his elder brother William, occurs in the Joshua Reynolds painting of the curly-headed Brummell children, dating from 1781 and now in the Kenwood House collection.The caricaturist Richard Dighton was later to paint a watercolour of Brummell at the elegant height of his dandyism and use it as the basis for a popular print in 1805. Two centuries on it served again as model for the 2002 statue of Brummell by Irena Sedlecká erected in Jermyn Street. An earlier American work of art bearing Brummell's name is in the grounds of Augusta College, Georgia. Created by Roger Finch, it is an abstract sculpture of black-painted welded steel dating from 1985.
In literature, Brummell left a more extensive mark. Scarcely had he left England than a collection of witticisms ascribed to him and of anecdotes about him appeared under the title "Brummelliana" and was republished many times in the following decades.This began with the notorious story of his enquiring the identity of his companion's 'fat friend'. William Hazlitt borrowed the same title of "Brummelliana" for an unsympathetic essay published in 1828, referring to some of these stories and repeating others uncollected there. Dandyism also came under attack in George Robert Wythen Baxter's satirical essay "Kiddyism", published in humorous journals from 1832 onwards, which culminates in a set of satirical aphorisms purporting to be yet more "Brummelliana".
Further fictitous aphorisms were published in France by Honoré de Balzac in the course of a series of articles published under the title Traité de la vie élégante (1830). These sayings were supposed to have arisen during an interview with Brummell in Bologna, rather than Calais, and epitomise his view of 'the elegant life'. In the following decade two more books were dedicated to confirming Brummell as a cult figure. In England there was Captain Jesse's two volume Life of George Brummell (1844), the first biography devoted to him.In France there was the influential essay of Barbey d’Aurevilly, Du dandysme et de George Brummell (1845), which seeks to define the essence of dandyism through a study of his career and opinions.
In the course of his essay, Barbey d’Aurevilly deprecates English attempts to portray Brummell in fiction. "Within Brummell's lifetime two well-known authors took up their pen – sharpened to exquisite points and dipped in musk-scented Chinese ink – to cast on blue-tinted paper with silver borders a few facile lines where one catches a glimpse of Brummell." He was referring to two liminal examples of the fashionable or silver fork novel of which more than a thousand were to be written over the next two decades. The first such depiction is through the character Trebeck in Thomas Henry Lister’s Granby (1826), who abandons dandyism when he discovers a waistcoat of his devising worn by ‘a natty apprentice’. In Bulwer Lytton's 1828 novel Pelham, the hero of the title portrays a dandy who, at one point, passes through Calais and meets the inspiration of his way of life in the character of Mr. Russelton. The latter is modeled on Brummell and to him are attributed such stories from the Brummell apocrypha as his once needing three tailors to contribute to the making of his gloves and the sartorial insult, "Do you call this a coat.
Brummell was to appear under his own name as a character in Arthur Conan Doyle's 1896 historical novel Rodney Stone. In this, the title character's uncle, Charles Tregellis, is the center of the London fashion world, until Brummell ultimately supplants him. Tregellis's subsequent death from mortification serves as a deus ex machina in that it resolves Rodney Stone's family poverty.
In the United States, Brummell's life was dramatised in an 1890 stage play in four acts by Clyde Fitch with Richard Mansfield as the 'Beau'. This in turn was adapted for the Beau Brummel (1924 film) movie with John Barrymore and Mary Astor. Another play about him, authored by Bertram P Matthews, is only remembered because it had incidental music written for it by Edward Elgar. It was staged at the Theatre Royal, Birmingham in November 1928, with Elgar himself conducting the orchestra on its first night. Only the minuet from this is now performed.Brummell's later years were the setting for Ron Hutchinson's 2001 two-handed play The Beau (originally Beau Brummell), which following a UK national tour played for one month at Theatre Royal Haymarket, starring Peter Bowles as Brummell.
Earlier movies included a 10-minute film by the Vitagraph Company of America (1913), based on a Booth Tarkington story, and the 1913 Beau Brummell and his Bride, a short comedy made by the Edison Company. Brummell's life was also made the subject of a 1931 three-act operetta by Reynaldo Hahn, later broadcast by Radio-Lille (1963). In 1937 there was a radio drama on Lux Radio Theater with Robert Montgomery as Brummell. A further film, Beau Brummell, was made in 1954 with Stewart Granger playing the title role and Elizabeth Taylor as Lady Patricia Belham.[36] There were also two television dramas: the sixty-minute So war Herr Brummell (Süddeutscher Rundfunk, 1967) and the UK Beau Brummell: This Charming Man (2006).
Gillette advertisement (1917)
Georgette Heyer, author of a number of Regency romance novels, included Brummell as a character in her 1935 novel Regency Buck. He is also referred to, or figures as a minor character, in the work of later writers of this genre. More recently, Brummell was made the detective-hero of a series of period mysteries by Californian novelist Rosemary Stevens, starting with Death on a Silver Tray in 2000. These are written as if related by their hero.Yet another American reinterpretation of his character appears in Cecilia Ryan's homoerotic novella The Sartorialist.

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