Worlidge's most popular plates depicted the installation of John Fane, 7th Earl of Westmorland as chancellor of the university at the Sheldonian Theatre at Oxford in 1761. Worlidge represents himself in the gallery on the right in the act of drawing the scene with his second wife beside him. In the corresponding place on the left-hand side of the plate is a portrait of his brother-in-law, Alexander Grimaldi. Most of the numerous heads and figures are portraits. A plate of the bust of Cicero at Oxford (known as the Pomfret bust) also enjoyed a wide vogue. In April 1754 Worlidge had a large collection of his works to be sold by public auction. The printed catalogue bore the title, ‘A Collection of Pictures painted by Mr. Worlidge of Covent Garden, consisting’ ‘of Histories, Heads, Landscapes, and Dead Game, and also some Drawings.’ The highest price fetched was £51 15s. 6d., which was given for a ‘fine head’ after Rembrandt. More than sixteen hundred prints and more than thirteen hundred drawings by Worlidge were sold by Abraham Langford in March 1767 by order of his widow. Worlidge's last work was his Antique Gems, a series of 182 etchings of gems from the antique (three are in duplicate). The series was published in parts, some of which seem to have been issued as early as 1754; but Worlidge died before the work was completed. It was finished by his pupils William Grimaldi and George Powle, and, printed on satin, was published by his widow in 1768 at the price of eighteen guineas a copy. The frontispiece, dated 1754, shows Worlidge drawing the Pomfret bust of Cicero; behind on an easel is a portrait of his second wife, Mary. No letterpress was included originally in the volume, but between 1768 and 1780 a few copies were issued with letterpress. After 1780 a new edition, but bearing the original date of 1768, appeared with letterpress in two volumes at five guineas each. The title-page omits mention of ‘M. Wicksteed's’ name, but is otherwise a replica of the first. Some of the old copper plates (108 in all) were reproduced in ‘Antique Gems, etched by T. Worlidge on Copper Plates, in the Possession of Sheffield Grace, Esq.,’ London, 1823, (privately printed). Charles William King in his Antique Gems (1872, i. 469) thought Worlidge's plates often inferior to those of Jonathan Spilsbury, and that the descriptions