Aktualizováno listopad 2026 · seřazeno podle našeho skóre popularity (vyhledávání, návštěvy a objednávky u každého díla) · 321 děl umělce George Reid v našem katalogu
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The Avenue at Old Montrose (1865) je obraz autora George Reid, který přitahuje nejvíce pohledů. Poté se zrak přesouvá k Sir Henry Cockburn Macandrew (1832–1898) (1892) a Sir William Henderson (1826–1904), Lord Provost of Aberdeen (1886–1889) (1899). Z 321 děl umělce George Reid v našem katalogu je těchto 100 těch nejznámějších; každé z nich je unikátním originálem s uvedením roku vzniku, muzea a důvodu jeho nesmrtelnosti.
A peaceful country road stretches through a landscape defined by dense, leafy trees that line both sides of the path. The scene is devoid of human or vehicular presence, leaving only the stillness of the rural setting. Scattered throughout the composition, several cows graze or rest, some positioned in the immediate foreground while others recede into the distance. A solitary bench sits near the center of the frame, offering a…
The man sits in a quiet, dark space, his presence defined by the sharp contrast of a white collar against a black suit. He is a figure of weight and stillness. His beard is thick, a silvered landscape of hair that frames a face etched with the gravity of a life spent in law and civic duty. Light falls across his forehead and the bridge of his nose, pulling his…
The painting depicts a man positioned centrally, standing beside a dark chair. He is dressed in a formal suit paired with a red cape that drapes over his shoulders. A white shirt is visible beneath the jacket, and he wears black trousers. His head is covered by a wig, and he holds a book in his hand. To the left of the main figure, another person is partially visible, while…
Subject and Setting The portrait of Frederick R. Spark, JP, invites us into a quiet moment of dignified repose. In George Reid’s hands, the older gentleman sits in an armchair that frames him with understated grace, his upper body slightly off‑center to the right, as if he were turning toward an unseen confidant. The background dissolves into a soft, dark blur, ensuring that every line and shadow on Spark’s face…
In the quiet, commanding presence of Mrs Alexander Hay Moncur, George Agnew Reid invites us into a world of refined grace and social distinction. Painted in 1887, this exquisite oil on canvas serves as more than a mere likeness; it is a profound window into the Victorian era's aesthetic values. The subject sits with a serene composure, her gaze direct yet tranquil, embodying an essence of character that balances inner…
This portrait depicts a man seated at a table, appearing to look down at papers spread before him. The scene is populated with several books scattered across the table, with some positioned near the man and others further away. A chair is visible next to the table, and a clock is mounted on the wall above. The composition captures the subject in a moment of focused activity amidst his scholarly…
In the painting In the Garden at Auchlunies, Aberdeenshire by George Agnew Reid, the composition is centered around two figures seated on a weathered wooden bench. An elderly woman and a young boy occupy the middle ground, positioned beneath the heavy branches of a dense, overgrown fruit tree. The woman is dressed in a white dress accented with black trim. Beside her, the boy wears a dark suit consisting of…
The canvas presents a wide panoramic view of a snow-covered landscape under a heavy, overcast sky. A military procession forms a winding line that recedes into the distance, cutting through the terrain of Glencoe. The figures of the army move across a terrain dominated by white and grey, creating a sense of scale against the vastness of the mountains. To the right, a frozen pool or small lake sits motionless,…
George Agnew Reid produced this portrait, titled James Lumsden, in 1874. The subject is identified as Richard James Lumsden, a man presented with a sense of dignity and formal composure. The work functions as a study of character, capturing a figure of significant social or professional standing.
The man sits within a quiet, dark space, a figure carved from light and deep pigment. He is Sir Alexander Anderson of Blelack, Provost of Aberdeen, captured in a moment of stillness. His gaze is directed slightly to the left, away from the viewer, lost in a thought that carries the weight of his office. The background is a void of deep blues and blacks, a darkness that pushes his…
William Alexander (1826–1894), LLD1877
12
Holy Island Castle, Northumberland1880
13
George Thomson of Pitmedden, Lord Provost of Aberdeen1880
14
Savonarola's Last Sleep1882
15
Charles S. Keene (1823–1891)1881
16
Sir John Ogilvy of Inverquharity (1803–1890), Bt1885
17
Reverend William Milligan (1821–1893), DD1892
18
Lady Geddes1891
19
George Grubb (d.1892), LLD1891
20
Sir William Tennant Gairdner (1824–1907), Professor of the Practice of Medicine at the University of Glasgow1892 · The Hunterian Museum and Art Gallery
21
Sir William McOnie (d.1894), Lord Provost of Glasgow (1883–1886)1887
22
William Carnie (1825–1898)1897
23
Professor John Stuart Blackie (1809–1895), Scholar and Poet1893 · Scottish National Portrait Gallery
24
John Smith (1829–1910), Factor of Seafield Estate1896
25
Professor William Robertson Smith (1846–1894), Theologist and Semitic Scholar1894 · Scottish National Portrait Gallery
26
Lord Ardwall1908
27
Dr Joseph Ogilvie (1874–1907), Rector, Aberdeen Church of Scotland Training College1908
28
Armistice Day, Toronto1919 · Canadian War Museum
29
Women Operators. Nose Boring and Cutting off 9.2 Shells - Russell Motor Works, Toronto1919 · Canadian War Museum
30
James Lumsden1874 · University of Aberdeen
31
Dr Joseph Ogilvie, Rector, Aberdeen Church of Scotland Training College1908 · University of Aberdeen
32
Study of 'Portrait of Dr John Brown (1810–1882), RCPE'Royal College of Physicians of Edinburgh
33
George MacDonald1868 · National Portrait Gallery
34
John Cleland (1835–1925), LRCSEd (1856)1900 · The Royal College of Surgeons of Edinburgh
35
John Ritchie Findlay of Aberlour (1824–1898), Proprietor of the Scotsman, Founder of the Scottish National Portrait Gallery1899 · Scottish National Portrait Gallery
36
William Alexander (1802–1885), Provost of Peterhead (1860–1885)1879 · Mintlaw Discovery Centre
37
Dr John Peile1902 · University of Cambridge Museums
38
John William Strutt (1842–1919), 3rd Baron Rayleigh1903 · Králská společnost
39
Sir John Usher of Norton and Wells (1828–1904)
40
Sir William Turner, FRCSEd (1861), PRCSEd (1898–1900)1895 · The Royal College of Surgeons of Edinburgh
41
Thomas Keith (1827–1895), FRCSEd (1854)1871 · The Royal College of Surgeons of Edinburgh
42
Frederick Fuller1884 · University of Aberdeen
43
Frederick R. Spark (1831–1919), JP1907 · Leeds Art Gallery
44
George Washington Wilson (1823–1893), Commercial Photographer1879 · Scottish National Portrait Gallery
45
Dr John Peile (1838–1910), Master (1887–1910), Philologist, Vice Chancellor of the University (1891–1893), President of Newnham College1902 · Christ's College
46
James Syme1860 · Royal College of Surgeons of Edinburgh
47
Cawdor Castle, Moray1863
48
John Bulloch, Junior1862
49
On the Coast near Bervie, Aberdeenshire1862
50
John Bulloch, Junior1862
51
The Wreck of the 'Prince Consort'1863
52
A Buchanhaven Fisherman1868 · Mintlaw Discovery Centre
53
Sir Arthur Mitchell (1826–1909), Writer on Insanity, and Antiquary1896 · Scottish National Portrait Gallery
54
Strathtummel, Perthshire1864
55
Spynie Castle and Loch, Moray1866
56
Dunolly Castle, Argyl1865
57
Rest by the Wayside1864
58
Breezy Day in September1865
59
Mrs A. D. Reid1865
60
Old Farmyard near Stirling1868
61
Professor John Stuart Blackie (1809–1895)1870
62
Mrs A. D. Reid1865
63
James Stuart1905 · University of St Andrews
64
Dunnotar Castle, Aberdeenshire1864
65
Coast Sketch, Buchanhaven, 14 August 18681868
66
William Duguid1868
67
John Bulloch, Senior1864
68
John Bulloch, Senior1864
69
George MacDonald, MA, LLD1868 · University of Aberdeen
70
Mrs Elizabeth Duguid (posthumous portrait)1870
71
Samuel Smiles1870 · National Portrait Gallery
72
Jedburgh Abbey, Scottish Borders1876
73
John MacRobin, MD1877
74
Autumn1876
75
John Angus, Town Clerk1875
76
Evening1873 · McManus: Dundee's Art Galleries And Museums
77
Sir William Duguid Geddes (1828–1900)1874
78
Esther Emily Ayling1872
79
Lewis Smith1878
80
Milking Time1878
81
Evening1873
82
Esther Emily Ayling1872
83
George Hope, Agriculturist1874
84
Reverend William Pirie Smith, DD1877
85
Charles Robertson1875
86
Dornoch1877 · Royal Scottish Academy of Art - Architecture
87
George Paul Chalmers (1833–1878), RSA1872
88
Rubislaw Quarry, Aberdeenshire1878
89
Milking Time1878
90
Sir Robert Christison (1797–1882), Bt, FRSE1875 · The Royal Society of Edinburgh
91
William Cosmo Gordon of Fyvie1878 · The National Trust For Scotland
92
San Giorgio Maggiore, Venice1880
93
Mrs Alexander Macdonald1882
94
James Saint1883
95
Francis Edmond of Kingswells, MA, LLD1889 · University of Aberdeen
96
Roses1884
97
Reverend Alexander Gerard, LLD1879
98
Philip H. Calderon (1833–1898), RA1881
99
John Ure, Lord Provost of Glasgow1885
100
Charles Henry Gordon Lennox (1818–1903)1884
#2 Sir Henry Cockburn Macandrew (1832–1898)
#3 Sir William Henderson (1826–1904), Lord Provost of Aberdeen (1886–1889)
#4 Frederick R. Spark, JP
#5 Mrs Alexander Hay Moncur
#6 William Robertson Smith (1846–1894), Fellow, University Librarian (1886–1889), Adams Professor of Arabic (1889–1894), Editor of 'Encyclopaedia Britannica'
Čtyři témata, která se v těchto originálech nejčastěji objevují, z nichž každé má svůj nejlepší příklad.
8 muzea, v nichž je umístěno nejvíce obrazů z této stránky.
| Muzeum | Město | Díla autora George Reid | Obrazy z tohoto seznamu |
|---|---|---|---|
 Scottish National Portrait Gallery |
Edinburgh | 16 | Professor John Stuart Blackie (1809–1895), Scholar and Poet, Professor William Robertson Smith (1846–1894), Theologist and Semitic Scholar, John Ritchie Findlay of Aberlour (1824–1898), Proprietor of the Scotsman, Founder of the Scottish National Portrait Gallery |
 University of Aberdeen |
Amsterdam | 8 | James Lumsden, Dr Joseph Ogilvie, Rector, Aberdeen Church of Scotland Training College, Frederick Fuller |
 The Royal College of Surgeons of Edinburgh |
Edinburgh | 7 | John Cleland (1835–1925), LRCSEd (1856), Sir William Turner, FRCSEd (1861), PRCSEd (1898–1900), Thomas Keith (1827–1895), FRCSEd (1854) |
 National Portrait Gallery |
Londýn | 5 | George MacDonald, Samuel Smiles |
 Canadian War Museum |
Ottawa | 4 | Armistice Day, Toronto, Women Operators. Nose Boring and Cutting off 9.2 Shells - Russell Motor Works, Toronto |
 Leeds Art Gallery |
Leeds | 2 | Frederick R. Spark, JP, Frederick R. Spark (1831–1919), JP |
 McManus: Dundee's Art Galleries And Museums |
Dundee | 2 | Mrs Alexander Hay Moncur, Evening |
 Christ's College |
Cambridge | 2 | William Robertson Smith (1846–1894), Fellow, University Librarian (1886–1889), Adams Professor of Arabic (1889–1894), Editor of 'Encyclopaedia Britannica', Dr John Peile (1838–1910), Master (1887–1910), Philologist, Vice Chancellor of the University (1891–1893), President of Newnham College |
Vyberte si dekádu a prohlédněte si originál, který ji definuje.
In this 1868 portrait, we find ourselves in a quiet, somber space alongside George MacDonald. The composition is intimate, pulling the viewer into a tight focus on the man’s face and upper torso. There is a palpable sense of melancholy in his gaze, a hint of an untold story that invites a moment of contemplation. Through a masterful use of light and shadow, the artist creates a psychological landscape where…
This portrait depicts a man seated at a table, appearing to look down at papers spread before him. The scene is populated with several books scattered across the table, with some positioned near the man and others further away. A chair is visible next to the table, and a clock is mounted on the wall above. The composition captures the subject in a moment of focused activity amidst his scholarly…
In the quiet, commanding presence of Mrs Alexander Hay Moncur, George Agnew Reid invites us into a world of refined grace and social distinction. Painted in 1887, this exquisite oil on canvas serves as more than a mere likeness; it is a profound window into the Victorian era's aesthetic values. The subject sits with a serene composure, her gaze direct yet tranquil, embodying an essence of character that balances inner…
The man sits in a quiet, dark space, his presence defined by the sharp contrast of a white collar against a black suit. He is a figure of weight and stillness. His beard is thick, a silvered landscape of hair that frames a face etched with the gravity of a life spent in law and civic duty. Light falls across his forehead and the bridge of his nose, pulling his…
Subject and Setting The portrait of Frederick R. Spark, JP, invites us into a quiet moment of dignified repose. In George Reid’s hands, the older gentleman sits in an armchair that frames him with understated grace, his upper body slightly off‑center to the right, as if he were turning toward an unseen confidant. The background dissolves into a soft, dark blur, ensuring that every line and shadow on Spark’s face…
Armistice Day, Toronto is an oil painting by the Canadian artist George Agnew Reid. Created in 1919, the work captures a specific historical and commemorative moment. The scene depicts a large-scale gathering within the urban environment of Toronto, focusing on the collective emotion of victory and remembrance following the end of the war.
The Avenue at Old Montrose (1865). Následují Sir Henry Cockburn Macandrew (1832–1898) (1892) a Sir William Henderson (1826–1904), Lord Provost of Aberdeen (1886–1889) (1899).
The Avenue at Old Montrose, Sir Henry Cockburn Macandrew (1832–1898), Sir William Henderson (1826–1904), Lord Provost of Aberdeen (1886–1889), Frederick R. Spark, JP, Mrs Alexander Hay Moncur, William Robertson Smith (1846–1894), Fellow, University Librarian (1886–1889), Adams Professor of Arabic (1889–1894), Editor of 'Encyclopaedia Britannica', In the Garden at Auchlunies, Aberdeenshire, The Passage of Montrose's Army through Glencoe (The Legend of Montrose), James Lumsden a Sir Alexander Anderson of Blelack, Provost of Aberdeen (1859–1865). Hodnocení výše uvádí rok a muzeum pro každé z nich.
Náš katalog obsahuje 321 děl umělce George Reid z let 1868 až 1919.
Většinou v Scottish National Portrait Gallery (Edinburgh), University of Aberdeen (Amsterdam) a The Royal College of Surgeons of Edinburgh (Edinburgh). V tabulce muzeí výše jsou vypsány všechny.
V období 1870s: 34 z celkem 100 děl na této stránce vzniklo právě tehdy, z toho William Robertson Smith (1846–1894), Fellow, University Librarian (1886–1889), Adams Professor of Arabic (1889–1894), Editor of 'Encyclopaedia Britannica' z nich.
Na této stránce je nejstarší dílo z George MacDonald (1868) a nejnovější z Armistice Day, Toronto (1919).
Portraiture (19), Victorian era (17) a Portrait (15) napříč 100 díly na této stránce.
Oil On Canvas, u 41 z 100 děl na této stránce.
Professor John Stuart Blackie (1809–1895), Scholar and Poet, Professor William Robertson Smith (1846–1894), Theologist and Semitic Scholar a John Ritchie Findlay of Aberlour (1824–1898), Proprietor of the Scotsman, Founder of the Scottish National Portrait Gallery: muzeum Scottish National Portrait Gallery, Edinburgh má v obsluze 5 děl z této stránky.
