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Prince Albert of Saxe-Coburg-Gotha (1819-61) when a boy
Käsitööna maalatud õlireproduction alates $181 28 × 35 cm
Prince Albert of Saxe-Coburg-Gotha (1819-61) when a boy (1832) on Herbert Smith kuulsaim teos, mis kuulub London Royal Collection kogumikus. Princess Antoinette of Saxe-Coburg-Saalfeld, later Duchess of Württemberg (1779-1824) (1844) ja Princess Marianne of Saxe-Coburg-Saalfeld (1788-1794) (1844) on järgmised kaks maailmas kõige tuntumat teost. Herbert Smith 18 teoseaga meie kataloogist on siin 18 kõige vaadeldavamat teost, mida sammlerid ja muuseumi külastajad on jälginevad, koos aasta, museumi ja iga teose ajaloolise luguga.
Reiting põhineb meie populaarsusindeksil, mis koondab iga teose otsingud, külastused ja tellimused. Uuendatud november 2026. Iga selle lehekülje meistriteos on tellitav muuseumikvaliteedse käsitsi maalatuna õlireproduktsiona või fine art trükkina vastavalt valitud suurusele.
Muuseum, milles on kõige rohkem sellel lehel esitatud maaleid.
| Muuseumid | Linn | Herbert Smith teosid | Selle nimekirja maalid |
|---|---|---|---|
 Royal Collection |
London | 17 | Prince Albert of Saxe-Coburg-Gotha (1819-61) when a boy, Princess Antoinette of Saxe-Coburg-Saalfeld, later Duchess of Württemberg (1779-1824), Princess Marianne of Saxe-Coburg-Saalfeld (1788-1794) |
Prince Albert of Saxe-Coburg-Gotha (1819-61) when a boy (1832), Royal Collection, London. Järgnevad Princess Antoinette of Saxe-Coburg-Saalfeld, later Duchess of Württemberg (1779-1824) (1844) ja Princess Marianne of Saxe-Coburg-Saalfeld (1788-1794) (1844).
21 aastat vanus: teos Prince Albert of Saxe-Coburg-Gotha (1819-61) when a boy on aastatest 1832 ja kunstnik Herbert Smith on sündinud aastal 1811.
Prince Albert of Saxe-Coburg-Gotha (1819-61) when a boy, Princess Antoinette of Saxe-Coburg-Saalfeld, later Duchess of Württemberg (1779-1824), Princess Marianne of Saxe-Coburg-Saalfeld (1788-1794), Princess Victoria of Saxe-Coburg-Saalfeld, later Duchess of Kent (1786-1861), Ernest I, Duke of Saxe-Coburg-Saalfeld, later Duke of Saxe-Coburg & Gotha (1784-1844), Prince Ferdinand of Saxe-Coburg-Saalfeld (1785-1851), Princess Sophia of Saxe-Coburg-Saalfeld, later Countess von Mensdorff-Pouilly (1778-1835), Prince Leopold of Saxe-Coburg-Saalfeld, later Leopold I, King of the Belgians (1790-1865), Augusta, Duchess of Saxe-Coburg-Saalfeld (1757-1831) ja Princess Juliane of Saxe-Coburg-Saalfeld, later Grand Duchess Anna Feodorovna of Russia (1781-1860).. Ülemine reiting näitab iga teose puhul aastat ja muuseumi.
Meie kataloogis on 18 teost kunstnikult Herbert Smith, aastatest 1832 kuni 1862.
Enamik neist asub Royal Collection (London). Ülemal olev tabel on loetelnud muuseumid üks-eiralt.
Ajalisel perioodil 1840s: 14 18 sellel lehel olevat teost on sellest ajast, მათhulgas Princess Antoinette of Saxe-Coburg-Saalfeld, later Duchess of Württemberg (1779-1824).
Sellel lehel on kõige vanem teos Prince Albert of Saxe-Coburg-Gotha (1819-61) when a boy (1832) ja kõige uuem Prince Albert (1819-1861) (1862).
Prince Albert of Saxe-Coburg-Gotha (1819-61) when a boy, Princess Antoinette of Saxe-Coburg-Saalfeld, later Duchess of Württemberg (1779-1824) ja Princess Marianne of Saxe-Coburg-Saalfeld (1788-1794) on üks 17 teosest sellel lehel, mida hoiab Royal Collection, London.
Jah. Iga maali sellel lehel on võimalik tellida muuseumikvaliteedilisena käsitööna valminud õlimaalina või fine art trükkina vastavalt valitud måõduna otse maali oma lehekülalt.
Born in London, Herbert Luther Smith entered the world as the son of the painter Anker Smith. His path was carved early through the halls of the Royal Academy schools, where he arrived in 1826. He did not merely study there; he excelled, securing medals in 1828 and 1830. This early success signaled a talent for the precise and the formal, a skill that would eventually bring him into the intimate orbit of the British monarchy. He was a man of steady hand and disciplined vision, finding his place among the most respected circles of his era.
His reputation grew through a series of exhibitions held between 1830 and 1854. He presented his work to the public through the Royal Academy, the British Institute, and the Society of British Artists at Suffolk Street. These years were marked by a steady presence in the London art scene, as he moved from a promising student to a professional painter of significant standing. His ability to capture the likeness of those in power led to a prestigious appointment: he was employed by Queen Victoria to copy state portraits. This duty required a profound understanding of character and a devotion to the nuances of the sitter's presence.
While his service to the Crown brought him proximity to royalty, Smith’s interests extended far beyond the courtly sphere. He was a painter of portraits, but he also turned his gaze toward historical and biblical subjects. His work often sought to bridge the gap between the contemporary world and the weight of history. In his hands, a figure from the past could be rendered with the same dignity as a living nobleman. This versatility allowed him to move between the intimate scale of a portrait and the grander narratives of scripture.
His legacy is preserved in several notable collections, ensuring his likenesses remain part of the historical record. His hand can be found in the works held by the Royal Collection, including a portrait of the Duchess of Kent, the mother of Queen Victoria, painted in 1840. He also left behind a posthumous portrait of Prince Albert, completed in 1862. Other works, such as his depiction of Sir Walter Raleigh, reside in Oriel College, Oxford, while his presence is also felt in the British Museum in London. Through these varied subjects, he captured the faces of an age, from the sovereign's family to the legendary figures of history.
