Opdateret november 2026 · rangeret efter vores popularitetsscore (søgninger, besøg og ordrer for hvert værk) · 62 værker af Frederick Trevelyan Goodall i vores katalog
Kort sagt
The Blind Beggar (1872) er det maleri af Frederick Trevelyan Goodall, der vækker mest opsigt; originalen findes på Towneley Hall Art Gallery - Museum, Burnley. Derefter falder blikket på A Woman and Child (1878) og Poultry (1842). Blandt de 62 værker af Frederick Trevelyan Goodall i vores katalog er disse 45 de mest berømte, hver især et unikt originalværk præsenteret med sit årstal, sit museum og årsagen til dets tidløse betydning.
In this 1872 oil painting, we find ourselves drawn into a moment of profound human connection. Two men occupy the center of the composition, their presence commanding the viewer's attention amidst a bustling, sun-drenched setting. One man, clearly sightless, rests his hand upon the shoulder of his companion. This gesture is not one of burden, but of a quiet, mutual reliance. The guide moves with purpose, his hand steady, while…
A Woman and Child is an oil painting by Frederick Trevelyan Goodall. The work was created in 1878. This piece measures 47 x 36 cm and is currently held in the collection of the Walker Art Gallery in Liverpool, United Kingdom.
A rooster stands as the central figure, its plumage catching the light against the muted backdrop of a farmyard. Beside it, a chicken rests in the quiet shadow of a shed. The scene is anchored by the heavy presence of a barn, a structure that frames the birds within the geometry of rural life. On the ground, a simple bowl sits near the feet of the poultry, while a bottle…
The Village Holiday (after David Wilkie) is an oil on canvas created by Frederick Trevelyan Goodall. This work, dating from about 1843, captures a moment of communal joy, dancing, and village festivities. It reflects the artist's early engagement with the genre traditions of his time.
The Tired Soldier Resting at a Roadside Well is an oil painting by the English painter Frederick Trevelyan Goodall. Executed about 1842, the work belongs to the artist's early period, preceding his later, more famous depictions of Egyptian life and Bedouin customs.
The painting titled Spanish Peasants Retreating from the French Army by Frederick Trevelyan Goodall captures a moment of heavy movement. Created about 1846, the work measures 15 x 28 cm. It depicts a group of people in traditional clothing moving away from an approaching force. The scene is a study of flight and the weight of sudden displacement.
The oil painting depicts a quiet, rustic interior from the mid-19th century. In the foreground, a woman sits on a wooden bench, her form draped in a long skirt and a blouse. Beside her, a child stands, dressed in a simple garment. The two figures are positioned near one another, with the woman holding a small object, possibly a piece of fruit, in her hands. On the floor, a dog…
In the large oil on canvas titled Merrymaking, Frederick Trevelyan Goodall captures a lively social gathering that feels as though it is unfolding in the very moment we observe it. Painted about 1841, the scene pulls the viewer into a bustling, sheltered space where a group of at least fifteen individuals has gathered to share a meal and conversation. Under the shade of what appears to be a tent or…
A Britanny Wedding is a painting by Frederick Trevelyan Goodall. This work, dating to about 1844, captures a specific moment of communal celebration. The artist, Frederick Trevelyan Goodall, was a prominent British Victorian painter who achieved significant recognition through his detailed depictions of life and his election as a Royal Academician.
The Irish Piper is an oil on canvas work by Frederick Trevelyan Goodall. Created about 1848, this piece captures a moment of communal life in a rustic setting. It reflects the artist's early interest in genre scenes and the depiction of everyday existence within a rural landscape.
The Deserter1855
12
Conscription1851 · Guildhall Art Gallery
13
The Tired Gleaners1855 · Harris Museum - Art Gallery
14
The Village Post Office1849
15
The Relief of Lucknow (Jessie's Dream)1858
16
The Sick Child1856
17
Cranmer at Traitor's Gate1856
18
Bedouin Mother and Child (Afterglow)1871
19
The Rising of the Nile1865 · Bristol Museum - Art Gallery
20
The Sudden Rising of the Nile1865 · Harris Museum - Art Gallery
21
Sir Oscar Clayton (1816–1892)1870
22
Agriculture in the Valley of the Nile1874
23
The Subsiding of the Nile1873
24
The Subsiding of the Nile, Egypt1873 · Guildhall Art Gallery
25
An Arab Improvisatore1872
26
At the Well1872
27
Subsiding of the Nile1885 · Sunderland Museum - Winter Gardens
28
On the Fringe of the Desert1884
29
Self Portrait1883
30
Scene on the Nile1879
31
Sheep Shearing in Egypt1892 · Salford Museum - Art Gallery
32
The Thames from Windsor Castle1890 · Salford Museum - Art Gallery
33
Study for Susannah in Her Bath1886
34
The Water of the Nile1893
35
Desert Scene1893 · Wigan Arts And Heritage Service
36
The Ancient Causeway to the Pyramids, Egypt1898 · Nuneaton Museum And Art Gallery
37
The Ploughman and the Shepherdess Time of the Evening Prayer1897
38
The Artist's Daughter
39
Ready for the JourneyNationalmuseum
40
Sonning, Berkshire
41
Landscape Study
42
Rebecca at the Well
43
The Second Mrs GoodallBolton Museum And Art Gallery
44
Shepherdess and Her Flock at a Pool Left by the Subsiding of the Overflow of the NileTouchstones Rochdale
45
Winnowing Corn in Brittany, France1858
De fire motiver, der optræder hyppigst i disse originaler, hver med sit fineste eksempel.
De 8 museer, der rummer flest af malerierne på denne side.
| Museum | By | Værker af Frederick Trevelyan Goodall | Malerier fra denne liste |
|---|---|---|---|
 Guildhall Art Gallery |
London | 2 | Conscription, The Subsiding of the Nile, Egypt |
 Harris Museum - Art Gallery |
Preston | 2 | The Tired Gleaners, The Sudden Rising of the Nile |
 Salford Museum - Art Gallery |
Greater Manchester | 2 | Sheep Shearing in Egypt, The Thames from Windsor Castle |
 Towneley Hall Art Gallery - Museum |
Burnley | 1 | The Blind Beggar |
 Walker Art Gallery |
Liverpool | 1 | A Woman and Child |
 Fitzwilliam-museet |
Cambridge | 1 | Cottage Interior |
 Laing Art Gallery |
Newcastle upon Tyne | 1 | Merrymaking |
 Wolverhampton Art Gallery |
Wolverhampton | 1 | A Britanny Wedding |
Vælg et årti for at se det originale værk, der definerer det.
A rooster stands as the central figure, its plumage catching the light against the muted backdrop of a farmyard. Beside it, a chicken rests in the quiet shadow of a shed. The scene is anchored by the heavy presence of a barn, a structure that frames the birds within the geometry of rural life. On the ground, a simple bowl sits near the feet of the poultry, while a bottle…
We are looking at The Deserter, a work from 1855 by Frederick Trevelyan Goodall. This piece arrived during a formative period for the artist, who was born in London in 1822. It represents an early chapter in a career that would eventually become deeply associated with the study of Eastern life and the Bedouin tribes, though here we see the artist working within a different, perhaps more domestic or chaotic,…
The Rising of the Nile is an oil painting by Frederick Trevelyan Goodall, executed in 1865. This work emerged during a period when the artist was establishing his reputation within the British art establishment, following his early training and his election as an Associate of the Royal Academy. The piece reflects the specific interests that defined his career, particularly his fascination with the landscapes and people of the East.
In this 1872 oil painting, we find ourselves drawn into a moment of profound human connection. Two men occupy the center of the composition, their presence commanding the viewer's attention amidst a bustling, sun-drenched setting. One man, clearly sightless, rests his hand upon the shoulder of his companion. This gesture is not one of burden, but of a quiet, mutual reliance. The guide moves with purpose, his hand steady, while…
The Blind Beggar (1872), Towneley Hall Art Gallery - Museum, Burnley. Derefter følger A Woman and Child (1878) og Poultry (1842).
50 år gammel: The Blind Beggar er fra 1872, og Frederick Trevelyan Goodall blev født i 1822.
The Blind Beggar, A Woman and Child, Poultry, The Village Holiday (after David Wilkie), The Tired Soldier Resting at a Roadside Well, Spanish Peasants Retreating from the French Army, Cottage Interior, Merrymaking, A Britanny Wedding og The Irish Piper. Ranglisten ovenfor viser det enkelte værks årstal og museum.
Vores katalog indeholder 62 værker af Frederick Trevelyan Goodall, dateret fra 1841 til 1898.
Primært i Guildhall Art Gallery (London), Harris Museum - Art Gallery (Preston) og Salford Museum - Art Gallery (Greater Manchester). Museumslisten ovenfor viser dem alle.
I 1870s: 10 af de 45 værker på denne side blev skabt dengang, herunder The Blind Beggar.
På denne side er det tidligste Merrymaking (1841) og det seneste The Ancient Causeway to the Pyramids, Egypt (1898).
People (13), Dog (6) og Man (6), fordelt på de 45 værker på denne side.
Oil, for 15 af de 45 værker på denne side.
Conscription og The Subsiding of the Nile, Egypt: Guildhall Art Gallery, London har 2 af værkerne på denne side.
Born in London in 1822, Frederick Trevelyan Goodall’s artistic journey was deeply intertwined with a lineage of creative talent and a fascination for the exotic. The son of Edward Goodall, a highly respected steel line engraver who had worked closely with William Turner, Frederick inherited not only a skilled hand but also an appreciation for meticulous detail and a connection to the world of art. His upbringing within a family steeped in artistic tradition – his father’s work alongside Turner, his brothers' own artistic pursuits – provided him with an unparalleled foundation for his future career.
Early education at the Wellington Road Academy instilled in him a solid grounding in technique, but it was his time sketching in Regent’s Park Zoo and along the banks of the Thames that truly ignited his passion. These early observations, capturing the nuances of everyday life and the beauty of the natural world, would later inform his distinctive style. He quickly developed an eye for composition and color, hallmarks that would become synonymous with his work.
Goodall’s artistic development was further shaped by a formal apprenticeship under his father, honing his skills in oil painting. Crucially, he also joined a life class at St. Martin's Lane, immersing himself in the competitive environment of the London art scene and learning from established artists like Etty. This early exposure to the academic tradition provided him with essential training while simultaneously allowing him to develop his own unique voice.
His talent was quickly recognized, culminating in his first exhibition at the Society of Arts in 1836, followed by a silver medal for his painting “The Drowning of the Miner” at the Society of Arts in 1839. This early success established him as a promising young artist and paved the way for future recognition within the Royal Academy.
A pivotal moment in Goodall’s career arrived with his first visit to Egypt in 1858, undertaken in partnership with fellow artist Carl Haag. This journey proved transformative, profoundly influencing his artistic direction and subject matter. The experience of immersing himself in the vibrant culture of Cairo, the stark beauty of the desert, and the daily lives of the Bedouin tribes ignited a deep fascination that would dominate much of his later work.
He shared a house and studio with Haag, sketching together amidst the bustling streets of Cairo and the surrounding pyramids. His second visit in 1870 saw him living amongst the Bedouins near Saqqara, meticulously observing their customs and lifestyles. This dedication to authenticity is evident in his paintings, which are remarkably detailed and imbued with a sense of genuine understanding.
To further enhance the realism of his depictions, Goodall famously brought back live sheep and goats from Egypt, incorporating them into his studio as models for his paintings. This commitment to accuracy reflected his desire to capture not just the visual appearance but also the essence of the Eastern world he had come to admire.
Goodall’s artistic achievements culminated in his election as an Associate Royal Academician (ARA) in 1852 and, more significantly, as a full Royal Academician (RA) in 1863. He exhibited at the Royal Academy for over four decades, consistently producing works that garnered critical acclaim and substantial sales. His paintings were highly sought after by collectors and patrons alike.
His output during this period was vast, encompassing a wide range of subjects – from bustling street scenes in Cairo to intimate portraits of Bedouin figures, dramatic landscapes, and biblical narratives. He exhibited over 170 works at the Royal Academy, demonstrating his sustained dedication to his chosen subject matter.
Frederick Goodall’s artistic legacy lies primarily in his evocative depictions of Egypt and the Bedouin people. His paintings are characterized by their meticulous detail, vibrant colors, and a remarkable ability to capture the atmosphere and spirit of the Eastern world. He skillfully blended elements of Orientalism with a distinctly British sensibility, creating works that were both exotic and familiar.
His home at Grims Dyke in Harrow Weald became a gathering place for prominent figures of the era, including Prince Edward (later King Edward VII), further cementing his position as a respected artist and socialite. Despite facing financial difficulties towards the end of his life, Goodall’s artistic contributions remain significant, offering a unique window into Victorian perceptions of the East and showcasing the enduring power of observation and skillful execution.
