Uppdaterad november 2026 · rangordnad efter vår popularitetspoäng (sökningar, besök och beställningar för varje verk) · 2 verk av Sam Stuart i vår katalog
Snabbt svar
The interior of a Maori pa in the olden time (1885) är Sam Stuarts mest kända målning; originalet finns på Auckland Art Gallery Toi o Tāmaki i Auckland. Vår katalog innehåller 2 verk av Sam Stuart; här är de 2 mest kända, rangordnade med år och museum för varje verk, för att hjälpa dig att välja det du vill beställa.
Museet som innehar flest av målningarna på denna sida.
| Museum | Stad | Verk av Sam Stuart | Målningar från denna lista |
|---|---|---|---|
 Auckland Art Gallery Toi o Tāmaki |
Auckland | 2 | The interior of a Maori pa in the olden time, Fort Britomart |
Från 1869 till 1885, 17 år av daterade Sam Stuart-målningar: bläddra år för år för att hitta den period du gillar.
Välj ett år för att se dess målningar.
The interior of a Maori pa in the olden time (1885) rankar först.
Sam Stuart var 30 år gammal: The interior of a Maori pa in the olden time är daterad 1885, och Sam Stuart föddes 1855.
2 verk av Sam Stuart finns i vår katalog, daterade 1869 till 1885.
Främst i Auckland Art Gallery Toi o Tāmaki (Auckland). Se museatabellen ovan för den fullständiga listan.
Tidigaste på denna sida: Fort Britomart (1869). Senaste: The interior of a Maori pa in the olden time (1885).
Auckland Art Gallery Toi o Tāmaki, Auckland har 2 av de målningar som finns med i denna ranking, inklusive The interior of a Maori pa in the olden time och Fort Britomart.
Ja. Varje målning på denna sida kan beställas som en handmålad oljereproduktion eller som ett tryck. Öppna målningen, välj storlek och lägg din beställning.
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.
