Items Similar to David with the Head of Goliath, 19th Century Victorian Oil
Want more images or videos?
Request additional images or videos from the seller
1 of 6
John Rogers HerbertDavid with the Head of Goliath, 19th Century Victorian Oil1850
1850
About the Item
John Rogers Herbert RA
1810- 1890
Oil on canvas, dated '1850' lower right on sword strap
Image size: 33 ½ x 23 ½ inches
Gilt Watts frame
This striking painting, depicts David as a young boy holding behind his back the head of the champion of the Philistines, the giant Goliath, by the hair. The light catches on David's chest, arm and face, on the massive sword hilt of Goliath and the young tree behind, but everything else is quite dark. The two trees obviously represent David and Goliath, with the old larger tree dead and the green younger tree full of light and vigorous youth.
We see a very young courtier, a flamboyant youth of dazzling beauty and with a touch of arrogant defiance on his face. David is shown with his shepherds bag and stick, but also he holds a magnificently decorated but very heavy sword, given to him by King David. This sword evokes in the viewer the impression that the boy might have a great calling. David would indeed become the great warrior and king, the founder of the royal glory of Israel.
For a work painted in 1850 it has quite a surreal and modern feel to it and with its attention to detail you can see why he influenced the Pre Raphaelites.
The Artist:
John Rogers Herbert was born 23 January 1810 at Maldon in Essex. The family had enough money to send young Herbert to London when he was sixteen years old; and he was enrolled in the Royal Academy schools in December 1826. After the death of his father in 1828, Herbert was forced to give up the Academy school and began painting professionally – mostly book illustrations and portraiture. However, sketches from as early as 1829, such as Captives predict his later interest in larger historical subjects with challenging moral themes and complex compositions.
His first exhibit at the Royal Academy was in 1830, Portrait of a Country Boy.
Later in the decade, Herbert, like many of his contemporaries, displayed a growing interest in medievalism. One reason for this may be his friendship with A.W.N.Pugin who would become the co-architect of the Palace of Westminster and a proponent of medieval revival. Herbert and Pugin had known each other from childhood, and were very close, intimately involved in each other’s affairs.
At the age of 28 Herbert was already a success even painting a portrait of Princess Victoria in 1834. In 1841 Herbert was elected an Associate of the Royal Academy, and became a full member in 1846.
Herbert was a prolific teacher of art. In 1841 he became ‘master of the figure’ in the newly formed Government School of Design, a position probably owed to his artist friend William Dyce who was superintendent there, and with whom he collaborated in the illustration of Nursery Rhymes, Tales and Jingles.
Herbert was earnest and methodical in both his subjects and his technique. Evidence of this earnest practice can be found in the extensive research Herbert undertook for many of his paintings. He travelled to the East many times to paint the landscape, clothing and architecture of the area, in order to add authenticity to his biblical scenes.
Herbert’s innovative techniques, borrowing from mediaeval, German and Nazarene art influenced the young Herbert’s innovative techniques, borrowing from mediaeval, German and Nazarene art influenced the young Pre-Raphaelite Brotherhood. He instructed all the young members of the Brotherhood during their sojourn at the Royal Academy Schools, he gave personal support to James Collinson, and perhaps other members, during the formation of the Brotherhood, and was even a potential proprietor of The Germ. Yet, when W.M. Rossetti declared they wished to ‘out-Herbert Herbert’ he had more aesthetic and theoretical considerations in mind. The Pre-Raphelites drew on Herbert’s historical subjects of the 1840s for inspiration, and his influence can be especially seen in their early pictures.
- Creator:John Rogers Herbert (1810 - 1890, British)
- Creation Year:1850
- Dimensions:Height: 33.5 in (85.09 cm)Width: 23.5 in (59.69 cm)
- More Editions & Sizes:1 of 1Price: $30,429
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:London, GB
- Reference Number:1stDibs: LU5247319882
About the Seller
5.0
Vetted Seller
These experienced sellers undergo a comprehensive evaluation by our team of in-house experts.
Established in 2007
1stDibs seller since 2014
Typical response time: 4 hours
- ShippingRetrieving quote...Ships From: London, United Kingdom
- Return PolicyA return for this item may be initiated within 14 days of delivery.
More From This SellerView All
- Ophelia, Victorian 19th Century Royal Academy Oil PaintingLocated in London, GBOil on canvas, signed lower right Image size: 33 1/2 x 56 1/2 inches (85 x 143 cm) Original gilt frame Provenance With the artist's son, Millie Dow Stott Esq., until 1912. Artist's Studio Sale, Christies, November 1913. Private Collection Exhibitions London, Royal Academy, 1895, no. 679. Paris, Societe de la Nationale des Beaux-Arts, 1896, no. 1179. Berlin, VII Internationale Kunstausstellung 1897. no. 3533. Manchester, City of Manchester Art Gallery, 1912, no. 339. In the 1890s William Stott exhibited regularly at the Royal Academy, mainly highly decorative works with subjects derived from classical mythology and literature. This painting was Stott's 1895 entry to the Royal Academy and was subsequently exhibited at the Paris Salon of 1896 and then on to the Berlin, VII Internationale Kunstausstellung 1897. Shakespeare was a favourite source for Victorian painters, and the tragic romance of Ophelia, from Hamlet, was an especially popular subject, featuring regularly in the Royal Academy exhibitions. The most popular and iconic image of Ophelia's death was, and is to this day, John Everett Millais's 1851 painting showing the confused and tragic Ophelia floating downstream on her back in a state of mad ecstasy, arms raised in a gesture of inevitable submission. However, although Stott chose not to pastiche this image, it seems highly likely that he was prompted to take up this subject, which had almost become a 'rite of passage' among Victorian painters, by the fact that in 1894 Millais's Ophelia was presented to the National Gallery of British Art by Sir Henry Tate. It appears that Stott was much influenced by John William Waterhouse...Category
Late 19th Century Victorian Figurative Paintings
MaterialsOil, Canvas
- Study for Eastward Ho!, Oil on Panel 19th Century PaintingLocated in London, GBOil on panel Image size: 20 x 16 inches (51 x 40.5 cm) Handmade gilt frame Provenance Family estate This preliminary oil sketch for one of O'Neil's most famous works, "Eastward Ho!...Category
19th Century Victorian Figurative Paintings
MaterialsOil, Panel
- Dolly Varden, Victorian Figurative Signed Oil Painting, William Powell Frith RALocated in London, GBWilliam Powell Frith 'Dolly Varden' signed and dated 'W.P.Frith, 1876' (lower left) oil on canvas Provenance Anon. sale, Sotheby's, Billinghurst, 19 May 1999, lot 783. With The Bour...Category
1870s Victorian Figurative Paintings
MaterialsCanvas, Oil
- Looking across Buttermere, Victorian 19th Century Oil LandscapeBy John Atkinson GrimshawLocated in London, GBJohn Atkinson Grimshaw 1836 - 1893 Looking across Buttermere Oil on canvas, signed & dated '1868' lower right Image size: 13 ½ x 20 ½ inches (34.2 x 50.5 cm) Hand made gilt frame This work is dated 1868 making it one of his early works, painted during the same period as Grimshaw's other Lake District paintings...Category
1860s Victorian Landscape Paintings
MaterialsOil
- The River Thames at Twickenham, 19th Century English Oil paintingLocated in London, GBOil on panel Image size: 11 3/4 x 16 inches (30 x 40.5 cm) Original gilt frame, with old labels verso William Havell Havell was the son of a Reading drawing-master, and he partici...Category
19th Century Victorian Landscape Paintings
MaterialsOil, Panel
- HMY VICTORIA AND ALBERT INSPECTING THE FLEET OFF PORTSMOUTH, maritime, shippingLocated in London, GBBRITISH SCHOOL 19th Century HMY VICTORIA AND ALBERT INSPECTING THE FLEET OFF PORTSMOUTH Oil on canvas, dated Image size: 22 ½ × 33 inches (57 ×84 cm) Contemporary gilt frame HMY Victoria and Albert was a twin-paddle steamer launched 25 April 1843. It functioned as a royal yacht of the sovereign, owned and operated by the Royal Navy. She was laid down in 1842 at Pembroke Dock and was designed by William Symonds. She measured 1,034 tons burthen, carried two guns, and was the first royal yacht to be steam powered, being fitted with a 430 horsepower engine. One of the notable features that distinguished the Royal Yacht from other paddle steamers of the time, was the extremely tall masts she carried. This was in order to fly the over-sized ensigns when Queen Victoria was onboard - the Royal Standard...Category
19th Century Victorian Landscape Paintings
MaterialsCanvas, Oil
You May Also Like
- Cornish Fisherwoman with Net, Victorian Painting by D.W. HaddonBy David W. HaddonLocated in Long Island City, NYA late Victorian period painting by British artist, David W. Haddon, active (1884-1914). The canvas measures 20 x 14 inches and is signed low...Category
Late 19th Century Victorian Figurative Paintings
MaterialsOil, Canvas
- Ezekiel in the Valley of Dry BonesBy Philip Burne-JonesLocated in New York, NYProvenance: Christie’s, London, 3 March 1922, lot 46 (with The Tower of Babel); James Nicoll Private Collection Sotheby’s, London, 29 March 1983, lot 157 Private Collection, New Yo...Category
Late 19th Century Victorian Figurative Paintings
MaterialsCanvas, Oil
- Breton ChoresLocated in Missouri, MOClement Nye Swift "Breton Chores" 1870 Oil on Canvas Signed and Dated Lower Right Canvas Size: approx 27 x18 inches Framed Size: approx 34 x 35 inches Provenance: Private Midwes...Category
1870s Victorian Figurative Paintings
MaterialsCanvas, Oil
- Very Fine Victorian Scottish Signed Oil Painting Panoramic Loch Scene MountainsBy Charles LeslieLocated in Cirencester, GloucestershireArtist/ School: Charles Leslie (British 19th century), signed and dated 1875 Title: The Panoramic Loch. Beautiful and majestic Scottish Highlands loch scene with figures walking alo...Category
19th Century Victorian Landscape Paintings
MaterialsOil
- 19thC. French Oil Ladies Praying to Madonna Statue South of France LandscapeLocated in Cirencester, GloucestershireArtist/ School: French Romantic School, 19th century. There is an artists label verso, "P. Grimaud, Toulon". Title: Ladies in Southern French landscape praying to a statue of the M...Category
19th Century Victorian Landscape Paintings
MaterialsCanvas, Oil
- Antique Victorian, Impressionist 19th century English oil, Fishings boat at SeaBy Adolphus KnellLocated in Woodbury, CTAntique Victorian, Impressionist 19th century English oil, Fishings boat at Sea. Adolphus Knell was a superb painter of marine subjects during the middle of the 19th century. His w...Category
1860s Victorian Figurative Paintings
MaterialsOil, Board
Recently Viewed
View AllMore Ways To Browse
The Head
With The Head Of
Great Art Of The 19th Century
David M
David Head
Black Painted Victorian
Victorian Black Art
Paintings Victorian London
Head Of David
German 19th Century Oil
Oil Victorian Royal
Victorian King
King David
Chest With Painting
Oil W Royal
Very Large 19th Century Oil Painting
Victorian Family Painting
Large Victorian Gilt