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Prince Albert of Saxe-Coburg-Gotha (1819-61) when a boy
Ręcznie malowana reprodukcja olejowa od $181 28 × 35 cm
Prince Albert of Saxe-Coburg-Gotha (1819-61) when a boy (1832) to najsłynniejszy obraz autorstwa Herbert Smith, znajdujący się w Royal Collection w Londyn. Princess Antoinette of Saxe-Coburg-Saalfeld, later Duchess of Württemberg (1779-1824) (1844) i Princess Marianne of Saxe-Coburg-Saalfeld (1788-1794) (1844) to dwa kolejne dzieła, które świat zna najlepiej. Z 18 dzieł Herbert Smith w naszym katalogu, oto 18 najczęściej wybieranych przez kolekcjonerów i zwiedzających muzea, wraz z rokiem powstania, informacją o muzeum oraz historią każdego z nich.
Ranking oparty na naszym wskaźniku popularności, który łączy liczbę wyszukiwań, wizyt oraz zamówień dla każdego dzieła. Aktualizacja: Listopad 2026. Każde arcydzieło na tej stronie można zamówić jako ręcznie malowaną reprodukcję olejną o jakości muzealnej lub jako wysokiej jakości wydruk artystyczny, w wybranym przez Ciebie rozmiarze.
Muzeum, w którym znajduje się najwięcej obrazów prezentowanych na tej stronie.
| Muzea | Miasto | Dzieła artysty Herbert Smith | Obrazy z tej listy |
|---|---|---|---|
 Royal Collection |
Londyn | 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, Londyn. Następnie pojawiają się Princess Antoinette of Saxe-Coburg-Saalfeld, later Duchess of Württemberg (1779-1824) (1844) oraz Princess Marianne of Saxe-Coburg-Saalfeld (1788-1794) (1844).
21 lat: Prince Albert of Saxe-Coburg-Gotha (1819-61) when a boy pochodzi z 1832, a Herbert Smith urodził(a) się w 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).. Powyższy ranking zawiera rok oraz muzeum dla każdego z nich.
Nasz katalog obejmuje 18 dzieł autorstwa Herbert Smith, datowanych od 1832 do 1862.
Większość z nich znajduje się w Royal Collection (Londyn). Powyższa tabela zawiera listę muzeów po kolei.
W okresie 1840s: 14 z 18 dzieł na tej stronie pochodzi z tego czasu, w tym Princess Antoinette of Saxe-Coburg-Saalfeld, later Duchess of Württemberg (1779-1824).
Najwcześniejszy na tej stronie to Prince Albert of Saxe-Coburg-Gotha (1819-61) when a boy (1832), najpóźniejszy 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) to jedne z 17 dzieł na tej stronie znajdujących się w zbiorach Royal Collection, Londyn.
Tak. Każdy obraz na tej stronie można zamówić jako ręcznie malowaną reprodukcję olejną o jakości muzealnej lub jako wysokiej jakości wydruk artystyczny w wybranym przez Ciebie rozmiarze, bezpośrednio ze strony danego dzieła.
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.
