Aktualizacja: Listopad 2026 · ranking według naszego wskaźnika popularności (liczba wyszukiwań, wizyt i zamówień dla każdego dzieła) · 21 dzieł Henry Wyndham Phillips w naszym katalogu
W skrócie
Edward Hawke Locker (1777–1849) (1840) to obraz autorstwa Henry Wyndham Phillips, który przyciąga najwięcej spojrzeń; oryginał znajduje się w National Maritime Museum, Londyn. Następnie wzrok kieruje się na Head of a Young Woman (1849) i George Frederic Watts (1850). Spośród 21 dzieł Henry Wyndham Phillips w naszym katalogu, tych 21 jest najbardziej znanych – każde z nich to unikatowy oryginał, przedstawiony wraz z rokiem powstania, muzeum oraz powodem, dla którego przetrwało próbę czasu.
The face of Edward Hawke Locker emerges from a dark, indistinct void. He is caught in a three-quarter view, his presence defined by the soft, diffused light that falls from above and to the left. This illumination carves the lines of his features, casting gentle shadows that lend a sense of weight to his expression. He wears the heavy black of a nineteenth-century gentleman, a coat and cravat that absorb…
In this 1849 oil portrait, we encounter a young woman caught in a moment of profound introspection. The composition focuses closely on her head and shoulders, positioned slightly off-center to suggest a quiet, contemplative movement. Her gaze is directed downward, paired with a slightly furrowed brow that suggests a sense of longing or melancholy. The lighting is directional, appearing to emanate from the upper left, which casts soft shadows across…
This oil painting by Henry Wyndham Phillips depicts George Frederic Watts in a three-quarter profile view. The composition is centered on the subject's face and upper body, presenting the man from the chest up. He is positioned in the middle of the frame against a plain, dark background. This lack of environmental detail isolates the figure, focusing attention entirely on the sitter. The man is middle-aged or older, shown in…
The air in the studio feels still, held in a moment of quiet dignity as Susannah, Duchess of Roxburghe, turns her gaze slightly away from the viewer. She exists in a space of deep, muted greens and shadows, a dark backdrop that pushes her pale skin and the luminous sheen of her pearls into sharp relief. There is a profound sense of presence in her three-quarter profile, a poise that…
A soldier of the 18th Light Dragoons stands upon a hillside, his presence defined by the tension of a drawn sword. The subject, Major Norcliffe Norcliffe, is rendered with a focus on the weight of his uniform and the gravity of his station. He wears a dark coat, the heavy fabric suggesting the practical requirements of cavalry service. His posture is resolute, set against a landscape that provides a sense…
The air in the studio feels heavy with the scent of oil and the weight of a life lived in transit. Sir John Gardner Wilkinson sits upon the ground, his legs crossed in a posture of relaxed authority. He is forty-six years old, yet there is a sense of ancientness in his gaze. He wears a red turban that catches the light, a bold splash of color against the muted…
In "The Royal Commissioners for the Exhibition of 1851", Henry Wyndham Phillips depicts a group of men gathered around a table within a formal interior. The central figure is seated at the table, surrounded by papers spread out across the surface. Several other men stand around the perimeter of the table, their bodies oriented toward the seated individual. The attire of the figures, consisting of mid-19th century suits, establishes a…
The subject stares directly from a circular frame, his eyes meeting the viewer with a steady, unblinking intensity. He is a man of substance, his bald head catching the light to reveal the subtle textures of skin and age. Side whiskers frame a face etched with a serious, perhaps even weary, expression. He wears the formal attire of a bygone era: a dark suit, a crisp white shirt, and a…
A man sits in the quiet gravity of a studio, his gaze cast downward. He is Sir Charles Newton, a figure defined by the shadows of the past. His beard and mustache are rendered with a meticulous hand, catching the light in a way that suggests a mind preoccupied with things unearthed. He wears a dark suit and tie, the formal attire of a man who has navigated the halls…
This painting depicts John Scott Russell, a naval architect from the 1800s. He is portrayed in a moment of deep thought or contemplation, seated at his desk. The scene is filled with the tools of his intellectual labor, as he is surrounded by various books and papers. A pen rests upon the table, suggesting his active engagement in his work. He is dressed in a formal suit and tie, which…
Lucie, Lady Duff Gordon1851 · National Portrait Gallery
12
Mrs Stirling (1815–1895), as Peg Woffington (from 'The Merry Wives of Windsor')1850
13
General John Finch (1792–1861)1856
14
George, Lord Armitstead (1824–1915), MP for Dundee (1868–1873 1880–1885)1858
15
Owen Jones (1809–1874), RA1856 · Riba Library Drawings And Archives Collections
16
Charles Langton Massingberd (1815–1887)1864
17
Dean Milman1868
18
John Palgrave Simpson (1807-87)Royal Collection
19
Colin Campbell (1792–1863), Lord Clyde
20
George Borrow (replica of an original of 1843 by the artist)
21
Sir Joshua Reynolds (1723–1792), PRA (design for a mosaic in the Victoria and Albert Museum)
Cztery motywy najczęściej powracające w tych oryginałach, z których każdy doczekał się swojego najdoskonalszego przykładu.
6 muzeów, w których znajduje się najwięcej obrazów z tej strony.
| Muzea | Miasto | Dzieła artysty Henry Wyndham Phillips | Obrazy z tej listy |
|---|---|---|---|
 Royal Collection |
Londyn | 3 | Head of a Young Woman, Susannah, Duchess of Roxburghe (1814-1895), John Palgrave Simpson (1807-87) |
 National Portrait Gallery |
Londyn | 2 | George Frederic Watts, Lucie, Lady Duff Gordon |
 National Maritime Museum |
Londyn | 1 | Edward Hawke Locker (1777–1849) |
 National Trust |
Derby | 1 | Sir John Gardner Wilkinson (1797–1875), Aged 46, in Turkish Dress |
 Scottish National Portrait Gallery |
Edynburg | 1 | John Scott Russell (1808–1882), Naval Architect |
 Riba Library Drawings And Archives Collections |
Londyn | 1 | Owen Jones (1809–1874), RA |
Wybierz dekadę, aby zobaczyć dzieło, które ją definiuje.
The face of Edward Hawke Locker emerges from a dark, indistinct void. He is caught in a three-quarter view, his presence defined by the soft, diffused light that falls from above and to the left. This illumination carves the lines of his features, casting gentle shadows that lend a sense of weight to his expression. He wears the heavy black of a nineteenth-century gentleman, a coat and cravat that absorb…
This oil painting by Henry Wyndham Phillips depicts George Frederic Watts in a three-quarter profile view. The composition is centered on the subject's face and upper body, presenting the man from the chest up. He is positioned in the middle of the frame against a plain, dark background. This lack of environmental detail isolates the figure, focusing attention entirely on the sitter. The man is middle-aged or older, shown in…
The air in the studio feels still, held in a moment of quiet dignity as Susannah, Duchess of Roxburghe, turns her gaze slightly away from the viewer. She exists in a space of deep, muted greens and shadows, a dark backdrop that pushes her pale skin and the luminous sheen of her pearls into sharp relief. There is a profound sense of presence in her three-quarter profile, a poise that…
Edward Hawke Locker (1777–1849) (1840), National Maritime Museum, Londyn. Następne są Head of a Young Woman (1849) oraz George Frederic Watts (1850).
20 lat: Edward Hawke Locker (1777–1849) pochodzi z 1840, a Henry Wyndham Phillips urodził(a) się w 1820.
Edward Hawke Locker (1777–1849), Head of a Young Woman, George Frederic Watts, Susannah, Duchess of Roxburghe (1814-1895), Major (later Major General, Sir) Norcliffe Norcliffe (1791–1862), 18th Light Dragoons (Hussars), Sir John Gardner Wilkinson (1797–1875), Aged 46, in Turkish Dress, The Royal Commissioners for the Exhibition of 1851, William Prout (1784–1850), Sir Charles Newton (1816–1894), Keeper of Greek and Roman Antiquities (1861–1885) i John Scott Russell (1808–1882), Naval Architect. Powyższy ranking zawiera rok powstania oraz muzeum dla każdego z nich.
Nasz katalog zawiera 21 dzieł artysty Henry Wyndham Phillips, datowanych od 1840 do 1868.
W większości znajdują się w Royal Collection (Londyn), National Portrait Gallery (Londyn) i National Maritime Museum (Londyn). Powyższa tabela muzeów zawiera ich pełną listę.
W 1850s: 10 z 21 dzieł na tej stronie powstało w tym czasie, w tym George Frederic Watts.
Na tej stronie najwcześniejszy to Edward Hawke Locker (1777–1849) (1840), a najpóźniejszy Susannah, Duchess of Roxburghe (1814-1895) (1868).
Man (10), Portrait (5) i Suit (5), w ramach 21 dzieł na tej stronie.
Oil On Canvas, dla 9 z 21 dzieł na tej stronie.
Head of a Young Woman, Susannah, Duchess of Roxburghe (1814-1895) i John Palgrave Simpson (1807-87): Royal Collection, Londyn posiada 3 dzieł widocznych na tej stronie.
In the grand tapestry of Victorian portraiture, few names evoke the intimate connection between lineage and artistic mastery quite like Henry Wyndham Phillips. Born in London around 1820, Phillips entered a world where the brushstroke was a tool for both social documentation and psychological revelation. As the younger son of the esteemed portraitist Thomas Phillips, Henry’s very existence was steeped in the scent of linseed oil and the quiet gravity of the studio. His early years were not merely spent observing art, but living within its mechanics, receiving his primary tuition from a father who had already captured the likenesses of legends like Lord Byron. This profound inheritance provided more than just technical skill; it bestowed upon him a deep-seated respect for the Neoclassical tradition and a meticulous eye for the subtle nuances that define human character.
The development of Phillips’s style was a sophisticated blend of inherited tradition and the evolving naturalism of his era. While his father provided the foundational discipline, the influence of Sir Joshua Reynolds—the titan of British portraiture—loomed large over his artistic conscience. From this lineage, Phillips adopted a commitment to capturing the psychological essence of his subjects, moving beyond mere physical resemblance to find the soul beneath the skin. His early forays into scriptural subjects demonstrated a burgeoning interest in narrative and light, yet it was in the realm of portraiture that he truly found his voice. He possessed a rare ability to balance the formal dignity required by his aristocratic patrons with an expressive brushwork that breathed life into every sitter.
The oeuvre of Henry Wyndham Phillips is characterized by a profound sense of presence, achieved through a masterful command of light and shadow. His work often serves as a window into the social hierarchy of mid-19th century Britain, documenting the faces of power, intellect, and grace. One cannot discuss his achievements without mentioning his commanding depiction of Colin Campbell, Lord Clyde, a painting that captures both military resolve and a dignified posture. Similarly, his portrait of Lucie Duff Gordon stands as a testament to his ability to render soft beauty alongside an unmistakable inner composure. Through these works, Phillips did not merely paint individuals; he painted the very spirit of the Victorian age.
His technical approach was marked by several defining elements:
Tragically, the trajectory of Phillips’s career was halted by the onset of tuberculosis, claiming his life in 1868 at the tender age of forty-eight. Despite a life cut short, the impact of his work remains indelible. He occupied the studios at 8 George Street, Hanover Square, for much of his adult life—a space that served as both a sanctuary and a laboratory for his creative evolution. His marriage to the poet Susan K. Phillips further connected him to the vibrant literary and artistic circles of the time, embedding his legacy within the broader cultural movement of the nineteenth century.
Today, the works of Henry Wyndham Phillips are cherished not only as historical artifacts but as profound studies in human dignity. He remains a vital link in the chain of British portraiture, representing a bridge between the monumental traditions of the late eighteenth century and the more intimate, naturalistic sensibilities of the Victorian era. To look upon a Phillips portrait is to encounter a moment of stillness captured forever, a testament to an artist who sought to find the eternal within the ephemeral.
