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Prince Albert of Saxe-Coburg-Gotha (1819-61) when a boy
El boyaması yağlı boya reprodüksiyon fiyatları $181 28 × 35 cm
Prince Albert of Saxe-Coburg-Gotha (1819-61) when a boy (1832), Herbert Smith tarafından yapılmış, Londra şehrindeki Royal Collection koleksiyonunda bulunan en ünlü tablodur. Princess Antoinette of Saxe-Coburg-Saalfeld, later Duchess of Württemberg (1779-1824) (1844) ve Princess Marianne of Saxe-Coburg-Saalfeld (1788-1794) (1844), dünyanın en iyi bildiği sonraki iki eserdir. Katalogumuzdaki Herbert Smith adlı sanatçının 18 eseri arasından, koleksiyonerlerin ve müze ziyaretçilerinin en çok ilgi gösterdiği, yılı, sergilendiği müze ve hikayesiyle birlikte sunulan 18 eser şunlardır:
Her bir eser için yapılan aramalar, ziyaretler ve siparişlerin birleşimiyle oluşturulan popülerlik puanımıza göre sıralanmıştır. Kasım 2026 tarihinde güncellenmiştir. Bu sayfadaki her bir şaheser, seçtiğiniz boyutta müze kalitesinde, el yapımı yağlı boya reprodüksiyon veya sanat baskısı olarak sipariş edilebilir.
Bu sayfadaki tabloların en büyük kısmına ev sahipliği yapan müze.
| Müze | Şehir | Herbert Smith Eserleri | Bu listedeki tablolar |
|---|---|---|---|
 Royal Collection |
Londra | 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, Londra. Ardından Princess Antoinette of Saxe-Coburg-Saalfeld, later Duchess of Württemberg (1779-1824) (1844) ve Princess Marianne of Saxe-Coburg-Saalfeld (1788-1794) (1844) gelir.
21 yaşında: Prince Albert of Saxe-Coburg-Gotha (1819-61) when a boy 1832 yılına aittir ve Herbert Smith 1811 yılında doğmuştur.
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) ve Princess Juliane of Saxe-Coburg-Saalfeld, later Grand Duchess Anna Feodorovna of Russia (1781-1860).. Yukarıdaki sıralama, her birinin yapıldığı yılı ve bulunduğu müzeyi göstermektedir.
Kataloğumuz, Herbert Smith tarafından 1832 ile 1862 tarihleri arasında üretilen 18 eseri listelemektedir.
Çoğu Royal Collection (Londra) bünyesinde bulunmaktadır. Yukarıdaki tablo müzeleri tek tek listelemektedir.
1840s döneminde: Bu sayfadaki 18 eserin 14 tanesi o döneme aittir, bunlar arasında Princess Antoinette of Saxe-Coburg-Saalfeld, later Duchess of Württemberg (1779-1824) bulunmaktadır.
Bu sayfadaki en eski eser Prince Albert of Saxe-Coburg-Gotha (1819-61) when a boy (1832), en yeni eser ise Prince Albert (1819-1861) (1862)'dir.
Prince Albert of Saxe-Coburg-Gotha (1819-61) when a boy, Princess Antoinette of Saxe-Coburg-Saalfeld, later Duchess of Württemberg (1779-1824) ve Princess Marianne of Saxe-Coburg-Saalfeld (1788-1794), Royal Collection, Londra bünyesinde bulunan bu sayfadaki 17 eser arasında yer almaktadır.
Evet. Bu sayfadaki her tablo, tablonun kendi sayfasından seçtiğiniz boyutta, müze kalitesinde, el yapımı bir yağlı boya reprodüksiyon veya bir sanat baskısı olarak sipariş edilebilir.
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.
