Aktualizacja: Listopad 2026 · ranking według naszego wskaźnika popularności (liczba wyszukiwań, wizyt i zamówień dla każdego dzieła) · 143 dzieł George Hayter w naszym katalogu
W skrócie
Spośród wszystkich dzieł oryginalnych, które pozostawił George Hayter, najsłynniejszym jest Queen Victoria (1863), znajdujący się w kolekcji National Portrait Gallery w Londyn. Tuż za nimi znajdują się Portrait of Sophia S. Kiselyova (1801-1875) (1831) oraz Feodora, Princess of Hohenlohe-Langenburg with her daughter Princess Adelaide (1840). Nasz katalog zawiera 143 dzieł autorstwa George Hayter; galeria zachowała 100 najbardziej podziwianych na świecie prac, z których każda została przedstawiona wraz z datą powstania, informacją o muzeum oraz jej historią.
This portrait of Queen Victoria, painted by George Hayter, offers a formal study of the monarch during a significant period of her reign. Created in 1863, the work captures the sovereign in a moment of ceremonial dignity. It is an oil on canvas that seeks to document the presence of the Queen through the lens of official portraiture.
A Study in Crimson and Gold The sitter emerges from a dark, atmospheric void, her presence defined by the play of light across pale skin. She wears a deep red bodice, laced tightly across the chest, which anchors the composition with a heavy, saturated weight. A golden shawl drapes over her shoulders, its silken sheen catching the directional light from the upper left. Around her head, a wreath of autumnal…
The air in the portrait feels heavy with the scent of velvet and the quiet stillness of a private chamber. Feodora, Princess of Hohenlohe-Langenburg, sits with a poised grace, her presence anchored by a deep crimson dress that catches the light in its heavy folds. Beside her, the young Princess Adelaide offers a soft contrast, her small form draped in a gown of pure, luminous white. The two figures occupy…
The oil on panel titled Queen Victoria Taking the Coronation Oath, June 28, 1838, captures a singular moment of transition. Sir George Hayter rendered this scene in 1850, long after the actual ceremony took place. The work focuses on the young Queen Victoria, draped in her heavy coronation regalia. She is a figure of quiet gravity amidst the weight of her ceremonial robes.
In this 1835 portrait, George Hayter presents Victoria, Duchess of Kent, within a setting that feels both intimate and grand. The subject is positioned slightly off-center, standing amidst a lush, natural landscape that provides a sense of serenity. There is a quiet dignity in her posture, a stillness that suggests the weight of her station without the need for overt displays of power. The composition relies on the fluid, organic…
The artwork, titled The Assumption of the Virgin, is an oil painting that presents a vertically oriented, hierarchical composition. The scene depicts the Virgin Mary ascending toward heaven, surrounded by angels, while a group of apostles or saints watches from below. The structure of the piece follows an ascending arrangement, utilizing a low-angle perspective that looks upward to enhance the sense of spiritual ascension.
In this intimate collection of preparatory sketches, titled Studies for the Duke of Wellington, we encounter the focused, academic mind of George Hayter. Created around 1820, these studies offer a rare glimpse into the artist's process as he prepared to capture a figure of significant historical weight. The work centers on a military or noble figure, most likely the Duke of Wellington, presented in a formal equestrian pose that suggests…
A single man occupies the center of this 1823 oil portrait, his presence anchored in a sea of deep umber and sienna. George Tierney sits in a three-quarter view, his gaze directed toward the left of the frame as if contemplating a thought just out of reach. The light is a sharp, deliberate tool, striking the pale curve of his forehead and the crisp white of his cravat. This chiaroscuro…
This oil on canvas work, titled Thomas Brunton, 1774-1833, was executed by the English painter George Hayter. The portrait, which dates to 1832, depicts the subject in a three-quarter length composition. The figure of Brunton is positioned seated and slightly off-center within the frame. He is situated in a scholarly or professional setting, indicated by the presence of books and papers resting on a table beside him.
George Hayter painted this portrait of Charles Wood, 1st Viscount Halifax, in 1838. The subject was a prominent British Whig politician and Member of Parliament. His political career included significant roles such as Chancellor of the Exchequer and First Lord of the Admiralty.
Louise, Queen of the Belgians (1812-1850)1837 · Royal Collection
12
William Lamb, 2nd Viscount Melbourne (1799-1848)1837 · Royal Collection
13
Queen Victoria (1819-1901)1837 · Royal Collection
14
Leopold I, King of the Belgians (1790-1865)1837 · Royal Collection
15
William Lamb, 2nd Viscount Melbourne (1779-1848)1837 · Royal Collection
16
Queen Victoria (1819-1901) when Princess1832 · Royal Collection
17
Queen Victoria (1819–1901)1838 · Queen's University Belfast
18
Frederick William IV, King of Prussia (1795-1861)1843 · Royal Collection
19
Ernest I, Duke of Saxe-Coburg-Gotha (1784-1844)1840 · Royal Collection
20
Duke Ferdinand of Saxe-Coburg-Gotha and his sons, Prince Leopold and Prince Augustus1842 · Royal Collection
21
Prince Albert (1819-61)1840 · Royal Collection
22
The Christening of Albert Edward, Prince of Wales, later Edward VII (1841-1910) at St George's Chapel, Windsor, 25 January 18421842 · Royal Collection
23
Queen Victoria (1819-1901)1855 · Pałac Buckingham
24
The Martyrdom of Ridley and Latimer1855
25
Portrait Study of Martha, Lady Hayter1863 · Yale Center for British Art
26
Amy Emily Sarah Fitzroy1858
27
The Coronation of Queen Victoria, 28 June 18381838 · Royal Collection
28
The Homage at the Coronation of Queen Victoria (oil sketch)1838 · Royal Collection
29
After the Storm1833 · Walters Art Museum
30
A Fête at Sanssouci1844 · Royal Collection
31
The Marriage of Queen Victoria, 10 February 1840 (oil sketch)1840 · Royal Collection
32
Franz Liszt1841 · Royal College of Music Museum
33
Portrait of Countess Yelizaveta Vorontsova1832 · Ermitaż
34
Portrait of Richard Burke, Son of Edmund Burke, Parliamentary Agent of the Catholic Committee (1758-1794)National Gallery of Ireland
35
Henry Winston Barron, M.P.Museum of Fine Arts
36
Fitzstephen French, M.P.Museum of Fine Arts
37
Two Arab ServantsRoyal Collection
38
Sketch In Oils Of Lady Louisa Stuart
39
Portrait Of The Duke Of Wellington
40
Lord Richard CavendishHardwick Hall
41
Portrait Of A Gentleman
42
Sir John Rae Reid
43
Lewis Weston Dillwyn
44
The Honourable George Rice Trevor
45
William Cavendish
46
Sir Charles Cockerell
47
James Welbore Agar-ellisHardwick Hall
48
Frederick William John HerveyIckworth
49
Portrait Of John, 6th Duke Of Bedford
50
Lord John Russell
51
Francis Thornhill Baring
52
Matthew RussellDudmaston Hall
53
The First Reformed House Of Commons,
54
Study Of Edward Bolton King
55
Queen Victoria seated on the throne in the House of Lords
56
Study Of The Right Honourable Michael
57
Thomas Francis KennedyScottish National Portrait Gallery
58
Thomas Babington Macaulay
59
The Angels Ministering To Christ
60
Robert Ingham Esq.
61
Lady Jane Gordon
62
Sir Thomas Gladstone Of Fasque
63
Charles Stuart, 1st Baron Stuart De Rothesay
64
Latimer Preaching at Paul's Cross
65
John Thomas
66
Portrait Of A LadyChastleton House
67
Study Of Benjamin Lester Lester
68
Captain William Stanway ParkinsonNational Maritime Museum
69
Lieutenant Waghorne
70
Thomas GrahamScottish National Portrait Gallery
71
Thomas William Booker
72
Self Portrait
73
Self Portrait
74
Lady Belgrave
75
Queen Victoria (8)
76
Thomas Brunton
77
Louisa Barbara Catherine PhilipsShugborough Hall
78
Sir William Hotham
79
John Henry Ley
80
Duke Of Wellington
81
The Sitter,
82
Reverend John Jennings
83
William John BankesKingston Lacy
84
Portrait Of A Boy
85
Mrs Greenwood
86
Sir John Willes
87
Lieutenant Colonel Thomas Peers Williams
88
James Chadwick
89
Lady Stuart de Rothesay and her daughters
90
Sir John Campbell
91
John William Montagu
92
Self PortraitHatchlands Park
93
Alex Bannerman
94
William Wilberforce
95
Trial Of Queen Caroline
96
The Trial Of William Lord Russell
97
Philip Stanhope, 5th Earl StanhopeNational Portrait Gallery
98
Alfred, Count D'orsayNational Portrait Gallery
99
Admiral Henry John Rous
100
Thomas WaghornNational Portrait Gallery
Cztery motywy najczęściej powracające w tych oryginałach, z których każdy doczekał się swojego najdoskonalszego przykładu.
8 muzeów, w których znajduje się najwięcej obrazów z tej strony.
| Muzea | Miasto | Dzieła artysty George Hayter | Obrazy z tej listy |
|---|---|---|---|
 Royal Collection |
Londyn | 20 | The Assumption of the Virgin, Louise, Queen of the Belgians (1812-1850), William Lamb, 2nd Viscount Melbourne (1799-1848) |
 National Portrait Gallery |
Londyn | 18 | Queen Victoria, Charles Wood, 1st Viscount Halifax, Philip Stanhope, 5th Earl Stanhope |
 Pałac Buckingham |
Londyn | 5 | Feodora, Princess of Hohenlohe-Langenburg with her daughter Princess Adelaide, Victoria, Duchess of Kent (1786-1861), Queen Victoria (1819-1901) |
 Yale Center for British Art |
New Haven | 3 | Queen Victoria Taking the Coronation Oath, June 28, 1838, Studies for the Duke of Wellington, Portrait Study of Martha, Lady Hayter |
 Ermitaż |
Sankt Petersburg | 2 | Portrait of Sophia S. Kiselyova (1801-1875), Portrait of Countess Yelizaveta Vorontsova |
 National Gallery of Ireland |
Dublin | 2 | Portrait of George Tierney (1761-1830), MP and English Statesman, Portrait of Richard Burke, Son of Edmund Burke, Parliamentary Agent of the Catholic Committee (1758-1794) |
 National Maritime Museum |
Londyn | 2 | Thomas Brunton, 1774-1833, Captain William Stanway Parkinson |
 Museum of Fine Arts |
Houston | 2 | Henry Winston Barron, M.P., Fitzstephen French, M.P. |
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The artwork, titled The Assumption of the Virgin, is an oil painting that presents a vertically oriented, hierarchical composition. The scene depicts the Virgin Mary ascending toward heaven, surrounded by angels, while a group of apostles or saints watches from below. The structure of the piece follows an ascending arrangement, utilizing a low-angle perspective that looks upward to enhance the sense of spiritual ascension.
In this intimate collection of preparatory sketches, titled Studies for the Duke of Wellington, we encounter the focused, academic mind of George Hayter. Created around 1820, these studies offer a rare glimpse into the artist's process as he prepared to capture a figure of significant historical weight. The work centers on a military or noble figure, most likely the Duke of Wellington, presented in a formal equestrian pose that suggests…
A Study in Crimson and Gold The sitter emerges from a dark, atmospheric void, her presence defined by the play of light across pale skin. She wears a deep red bodice, laced tightly across the chest, which anchors the composition with a heavy, saturated weight. A golden shawl drapes over her shoulders, its silken sheen catching the directional light from the upper left. Around her head, a wreath of autumnal…
The air in the portrait feels heavy with the scent of velvet and the quiet stillness of a private chamber. Feodora, Princess of Hohenlohe-Langenburg, sits with a poised grace, her presence anchored by a deep crimson dress that catches the light in its heavy folds. Beside her, the young Princess Adelaide offers a soft contrast, her small form draped in a gown of pure, luminous white. The two figures occupy…
The oil on panel titled Queen Victoria Taking the Coronation Oath, June 28, 1838, captures a singular moment of transition. Sir George Hayter rendered this scene in 1850, long after the actual ceremony took place. The work focuses on the young Queen Victoria, draped in her heavy coronation regalia. She is a figure of quiet gravity amidst the weight of her ceremonial robes.
This portrait of Queen Victoria, painted by George Hayter, offers a formal study of the monarch during a significant period of her reign. Created in 1863, the work captures the sovereign in a moment of ceremonial dignity. It is an oil on canvas that seeks to document the presence of the Queen through the lens of official portraiture.
Queen Victoria (1863), National Portrait Gallery, Londyn. Następne są Portrait of Sophia S. Kiselyova (1801-1875) (1831) oraz Feodora, Princess of Hohenlohe-Langenburg with her daughter Princess Adelaide (1840).
71 lat: Queen Victoria pochodzi z 1863, a George Hayter urodził(a) się w 1792.
Queen Victoria, Portrait of Sophia S. Kiselyova (1801-1875), Feodora, Princess of Hohenlohe-Langenburg with her daughter Princess Adelaide, Queen Victoria Taking the Coronation Oath, June 28, 1838, Victoria, Duchess of Kent (1786-1861), The Assumption of the Virgin, Studies for the Duke of Wellington, Portrait of George Tierney (1761-1830), MP and English Statesman, Thomas Brunton, 1774-1833 i Charles Wood, 1st Viscount Halifax. Powyższy ranking zawiera rok powstania oraz muzeum dla każdego z nich.
Nasz katalog zawiera 143 dzieł artysty George Hayter, datowanych od 1818 do 1863.
W większości znajdują się w Royal Collection (Londyn), National Portrait Gallery (Londyn) i Pałac Buckingham (Londyn). Powyższa tabela muzeów zawiera ich pełną listę.
W 1830s: 15 z 100 dzieł na tej stronie powstało w tym czasie, w tym Portrait of Sophia S. Kiselyova (1801-1875).
Na tej stronie najwcześniejszy to The Assumption of the Virgin (1818), a najpóźniejszy Queen Victoria (1863).
Portrait (20), Victorian era (15) i Woman (12), w ramach 100 dzieł na tej stronie.
Oil On Canvas, dla 18 z 100 dzieł na tej stronie.
Neoclassicism, sądząc po oryginałach na tej stronie.
The Assumption of the Virgin, Louise, Queen of the Belgians (1812-1850) i William Lamb, 2nd Viscount Melbourne (1799-1848): Royal Collection, Londyn posiada 17 dzieł widocznych na tej stronie.
