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Prince Albert of Saxe-Coburg-Gotha (1819-61) when a boy
Ručno oslikana uljana reprodukcija od $181 28 × 35 cm
Prince Albert of Saxe-Coburg-Gotha (1819-61) when a boy (1832) najpoznatije je djelo umjetnika Herbert Smith, koje se nalazi u muzeju Royal Collection u gradu London. Princess Antoinette of Saxe-Coburg-Saalfeld, later Duchess of Württemberg (1779-1824) (1844) i Princess Marianne of Saxe-Coburg-Saalfeld (1788-1794) (1844) su sljedeća dva djela koja svijet najbolje poznaje. Od 18 djela umjetnika Herbert Smith u našem katalogu, izdvajamo ovih 18 koja su najtraženija među kolekcionarima i posjetiteljima muzeja, uz godinu nastanka, naziv muzeja i priču o svakom od njih.
Rangirano prema našoj ocjeni popularnosti, koja objedinjuje broj pretraživanja, posjeta i narudžbi za svako djelo. Ažurirano Studeni 2026. Svako remek-dielo na ovoj stranici može se naručiti kao ručno oslikana uljana reprodukcija muzejske kvalitete ili kao umjetnička štampa, u dimenzijama koje odaberete.
1 muzeja u kojima se nalazi najviše djela s ove stranice.
| Muzej | Grad | Djela autora Herbert Smith | Slike iz ovog popisa |
|---|---|---|---|
 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. Sljedeći su Princess Antoinette of Saxe-Coburg-Saalfeld, later Duchess of Württemberg (1779-1824) (1844) i Princess Marianne of Saxe-Coburg-Saalfeld (1788-1794) (1844).
21 godina: Prince Albert of Saxe-Coburg-Gotha (1819-61) when a boy datira iz 1832, a Herbert Smith je rođen/a 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) i Princess Juliane of Saxe-Coburg-Saalfeld, later Grand Duchess Anna Feodorovna of Russia (1781-1860).. Gornji popis prikazuje godinu i muzej za svako od njih.
Naš katalog sadrži 18 djela umjetnika Herbert Smith, datiranih od 1832 do 1862.
Većina njih se nalazi u Royal Collection (London). Gornja tablica navodi muzeje jedan po jedan.
U razdoblju 1840s: 14 od ukupno 18 djela na ovoj stranici datira iz tog vremena, među kojima je i Princess Antoinette of Saxe-Coburg-Saalfeld, later Duchess of Württemberg (1779-1824).
Najstarije djelo na ovoj stranici je iz Prince Albert of Saxe-Coburg-Gotha (1819-61) when a boy (1832), a najnovije iz 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) i Princess Marianne of Saxe-Coburg-Saalfeld (1788-1794) su među 17 djela na ovoj stranici koja se nalaze u muzeju Royal Collection, London.
Da. Svako djelo na ovoj stranici možete naručiti kao ručno oslikano ulje na platnu muzejske kvalitete ili kao umjetničku tisku, u odabranoj veličini, izravno sa stranice samog djela.
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.
