Oppdatert November 2026 · rangert etter vår popularitetsscore (søk, besøk og bestillinger for hvert verk) · 2 verk av Sam Stuart i vår katalog
Kort svar
The interior of a Maori pa in the olden time (1885) er Sam Stuarts mest kjente maleri; originalen tilhører Auckland Art Gallery Toi o Tāmaki, Auckland. Vår katalog inneholder 2 verk av Sam Stuart; her er de 2 mest kjente, rangert med årstall og museum for hvert verk, for å hjelpe deg med å velge det du vil bestille.
Museet som innehar flest av maleriene på denne siden.
| Museum | By | Verker av Sam Stuart | Malerier fra denne listen |
|---|---|---|---|
 Auckland Art Gallery Toi o Tāmaki |
Auckland | 2 | The interior of a Maori pa in the olden time, Fort Britomart |
Fra 1869 til 1885, 17 år med daterte malerier av Sam Stuart: bla år for år for å finne perioden du liker.
Velg et år for å se maleriene fra det året.
The interior of a Maori pa in the olden time (1885) rangerer som nummer én.
Sam Stuart var 30 år gammel: The interior of a Maori pa in the olden time er datert 1885, og Sam Stuart ble født i 1855.
2 verk av Sam Stuart finnes i vår katalog, datert fra 1869 til 1885.
Hovedsakelig i Auckland Art Gallery Toi o Tāmaki (Auckland). Se museumstabellen ovenfor for den fullstendige listen.
Eldste på denne siden: Fort Britomart (1869). Nyeste: The interior of a Maori pa in the olden time (1885).
Auckland Art Gallery Toi o Tāmaki, Auckland har 2 av maleriene som er rangert her, inkludert The interior of a Maori pa in the olden time og Fort Britomart.
Ja. Alle malerier på denne siden kan bestilles som en håndmalt oljereproduksjon eller som et trykk. Åpne maleriet, velg størrelse og legg inn din bestilling.
In the mid-nineteenth century, a painter emerged from the landscapes of New Zealand to capture the shifting realities of a developing colony. Born in 1855, Sam Stuart lived through a period of profound transformation, observing the world with a steady eye that sought to document the essence of his surroundings. His life, which reached its end in 1920, was defined by this quiet dedication to the visual record, translating the textures of the land and the structures of human habitation onto canvas.
His brushwork was not merely a pursuit of aesthetics but a method of preservation. Through his work, the specificities of a particular time and place were held fast against the inevitable passage of years. He moved through the world as a witness, translating the light and the shadows of his era into a permanent visual language.
The works that remain of his hand offer a window into the mid-to-late Victorian era of New Zealand. His compositions often focused on the intersection of the built environment and the natural world, or the intimate details of cultural life. His output during the latter half of the nineteenth century reveals a keen interest in the structural and social landscapes of his home.
The following works represent the significant pieces of his legacy held within institutional collections:
In these pieces, one finds a commitment to the specificities of his subject matter. Whether depicting the fortifications of a settlement or the interior life of a Maori pa, Stuart sought to render the truth of the scene. His 1885 work, in particular, provides a rare glimpse into the domestic and social arrangements of the past, captured with a sense of historical gravity.
The importance of Stuart's contribution is felt most strongly in the halls of the Auckland Art Gallery Toi o Tāmaki. It is within these walls that his vision is most clearly preserved, with multiple works finding a permanent home in their collection. His ability to document the nuances of New Zealand life ensures that his perspective remains accessible to those who study the history of colonial art.
He remains a figure of historical significance for his role in the early development of the nation's visual identity. By focusing his talent on the immediate reality of his surroundings, he helped create a foundation for the art that would follow in the decades after his death.
