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Prince Albert of Saxe-Coburg-Gotha (1819-61) when a boy
Käsinmaalattu öljyreprosentio alkaen $181 28 × 35 cm
Prince Albert of Saxe-Coburg-Gotha (1819-61) when a boy (1832) on Herbert Smithin kuuluisin maalaus, jota säilytetään Royal Collection -museossa kaupungissa Lontoo. Princess Antoinette of Saxe-Coburg-Saalfeld, later Duchess of Württemberg (1779-1824) (1844) ja Princess Marianne of Saxe-Coburg-Saalfeld (1788-1794) (1844) ovat seuraavat kaksi maailman tunnetuinta teosta. Tässä ovat Herbert Smith teoksista 18 eniten keräilijöiden ja museokävijöiden katsomia 18 teosta, sisältäen teoksen vuosiluvun, museon sekä tarinan jokaisesta teoksesta.
Sijoitus perustuu suosiotulokseemme, joka yhdistää kunkin teoksen hakuja, vierailuja ja tilauksia. Päivitetty marraskuu 2026. Jokainen tämän sivun mestariteos on tilattavissa museolaatuisena, käsinmaalattuna öljyreproduktiona tai taideprinttinä valitsemassasi koossa.
Museo, jossa on eniten tämän sivun maalauksista.
| Museo | Kaupunki | Herbert Smith teokset | Tämän listan maalaukset |
|---|---|---|---|
 Royal Collection |
Lontoo | 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, Lontoo. Seuraavina ovat Princess Antoinette of Saxe-Coburg-Saalfeld, later Duchess of Württemberg (1779-1824) (1844) ja Princess Marianne of Saxe-Coburg-Saalfeld (1788-1794) (1844).
21 vuotta vanha: Prince Albert of Saxe-Coburg-Gotha (1819-61) when a boy on peräisin vuodelta 1832 ja Herbert Smith on syntynyt vuonna 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).. Yllä oleva sijoitus kertoo kunkin teoksen vuosiluvun ja museon.
Luettelossamme on 18 teosta taiteilijalta Herbert Smith, aikaväliltä 1832–1862.
Suurin osa niistä sijaitsee kohteessa Royal Collection (Lontoo). Yllä oleva taulukko listaa museot yksitellen.
Ajanjaksona 1840s: 14 sivun 18 teoksista on peräisin tuolta ajalta, mukaan lukien Princess Antoinette of Saxe-Coburg-Saalfeld, later Duchess of Württemberg (1779-1824).
Tämän sivun vanhin on Prince Albert of Saxe-Coburg-Gotha (1819-61) when a boy (1832) ja uusin 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) ovat yksi 17 teoksesta tällä sivulla, jotka kuuluvat Royal Collection, Lontoo kokoelmaan.
Kyllä. Jokainen tämän sivun maalauksista voidaan tilata museolaatuisena, käsinmaalattuna öljyreprospektina tai taidepainoksena valitsemassasi koossa suoraan maalauksen omalta sivulta.
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.
