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Prince Albert of Saxe-Coburg-Gotha (1819-61) when a boy
Reprodução em óleo pintada à mão de $181 28 × 35 cm
Prince Albert of Saxe-Coburg-Gotha (1819-61) when a boy (1832) é a pintura mais famosa de Herbert Smith, guardada pelo Royal Collection em Londres. Princess Antoinette of Saxe-Coburg-Saalfeld, later Duchess of Württemberg (1779-1824) (1844) e Princess Marianne of Saxe-Coburg-Saalfeld (1788-1794) (1844) são as próximas duas obras que o mundo melhor conhece. Dos 18 trabalhos de Herbert Smith em nosso catálogo, aqui estão os 18 que colecionadores e visitantes de museus mais observam, com o ano, o museu e a história de cada um.
Classificado de acordo com o nosso índice de popularidade, que combina buscas, visitas e pedidos de cada obra. Atualizado em Novembro 2026. Cada obra-prima nesta página pode ser encomendada como uma reprodução em óleo pintada à mão, com qualidade de museu, ou como uma impressão de fine art, no tamanho de sua escolha.
O museu que detém a maioria das pinturas desta página.
| Museus | Cidade | Obras de Herbert Smith | Pinturas desta lista |
|---|---|---|---|
 Royal Collection |
Londres | 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, Londres. Seguem-se Princess Antoinette of Saxe-Coburg-Saalfeld, later Duchess of Württemberg (1779-1824) (1844) e Princess Marianne of Saxe-Coburg-Saalfeld (1788-1794) (1844).
21 anos: Prince Albert of Saxe-Coburg-Gotha (1819-61) when a boy data de 1832 e Herbert Smith nasceu em 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) e Princess Juliane of Saxe-Coburg-Saalfeld, later Grand Duchess Anna Feodorovna of Russia (1781-1860).. O ranking acima apresenta o ano e o museu de cada uma.
Nosso catálogo lista 18 obras de Herbert Smith, datadas de 1832 a 1862.
A maioria deles está em Royal Collection (Londres). A tabela acima lista os museus um a um.
Em 1840s: 14 das 18 obras nesta página datam dessa época, entre elas Princess Antoinette of Saxe-Coburg-Saalfeld, later Duchess of Württemberg (1779-1824).
A obra mais antiga nesta página é de Prince Albert of Saxe-Coburg-Gotha (1819-61) when a boy (1832), e a mais recente é de 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) e Princess Marianne of Saxe-Coburg-Saalfeld (1788-1794) estão entre as 17 obras nesta página pertencentes ao Royal Collection, Londres.
Sim. Todas as pinturas desta página podem ser encomendadas como uma reprodução em óleo pintada à mão com qualidade de museu ou como uma impressão de fine art, no tamanho de sua escolha, a partir da própria página da pintura.
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.
