Uppdaterad november 2026 · rangordnad efter vår popularitetspoäng (sökningar, besök och beställningar för varje verk) · 2 verk av Sam Stuart i vår katalog
Kortfattat
Om du känner till ett verk av Sam Stuart, är det förmodligen The interior of a Maori pa in the olden time (1885), som hänger på Auckland Art Gallery Toi o Tāmaki i Auckland. Vår katalog innehåller 2 verk av Sam Stuart. Nedan följer de 2 mest kända verken, med årtal, var de finns och vad som gör dem speciella.
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 |
Sam Stuarts daterade verk här sträcker sig över 17 år, från 1869 till 1885. Bläddra igenom dem år för år, med de mest kända verken från varje år.
Välj ett år för att se dess verk.
Högst upp på listan står The interior of a Maori pa in the olden time (1885).
30 år gammal. Sam Stuart föddes 1855 och The interior of a Maori pa in the olden time är från 1885.
Vi har 2 verk av Sam Stuart i vår katalog, daterade från 1869 till 1885.
Du hittar de flesta av dem i Auckland Art Gallery Toi o Tāmaki (Auckland). Listan över museer ovan ger en fullständig sammanställning.
Det äldsta verket här är Fort Britomart (1869); det senaste är The interior of a Maori pa in the olden time (1885).
Du kan se 2 av verken på denna sida på Auckland Art Gallery Toi o Tāmaki, Auckland, inklusive The interior of a Maori pa in the olden time och Fort Britomart.
Ja. Varje målning på denna sida finns tillgänglig som en handmålad oljereproduktion eller som ett tryck, i den storlek som passar dig. Gå bara in på målningens sida för att beställa.
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.
