The Study of King Louis-Philippe at Neuilly, James Roberts, British, active France, ca. 1800–1867

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Credit
Thaw Collection
Licence
CC0-1.0
Evidence
api.si.edu openaccess v1.0: content.descriptiveNonRepeating.metadata_usage.access=CC0 on record chndm_2007-27-37 (read 2026-09-01)
Record
https://collection.cooperhewitt.org/view/objects/asitem/id/229934
The Study of King Louis-Philippe at Neuilly, James Roberts, British, active France, ca. 1800–1867
The Study of King Louis-Philippe at Neuilly — James Roberts, British, active France, ca. 1800–18671845

Within fifty years of 1845

4026
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Ferdinand VII (1784–1833), When Prince of AsturiasGoyaca. 1800Metropolitan Museum of Art, New York, NY
Waistcoat, Unknown
WaistcoatUnknownca. 1795Cooper Hewitt, Smithsonian Design Museum
Sampler, Unknown
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Komurasaki of the Miuraya and Shirai Gompachi (Miuraya Komurasaki, Shirai Gompachi)Kitagawa Utamaroc. 1800The Art Institute of Chicago
Les Losanges, Jean-Baptiste Huet, French, 1745 – 1811
Les LosangesJean-Baptiste Huet, French, 1745 – 18111795–1810Cooper Hewitt, Smithsonian Design Museum
Textile, Unknown
TextileUnknown1795–1810Cooper Hewitt, Smithsonian Design Museum
Textile, Unknown
TextileUnknownca. 1795Cooper Hewitt, Smithsonian Design Museum
Textile, Unknown
TextileUnknown1795–1805Cooper Hewitt, Smithsonian Design Museum

Also at Cooper Hewitt, Smithsonian Design Museum

6947
Tiraz fragment, Unknown
Tiraz fragmentUnknownca. 1000Cooper Hewitt, Smithsonian Design Museum
Textile, Unknown
TextileUnknown700–1000Cooper Hewitt, Smithsonian Design Museum
Textile, Unknown
TextileUnknown500–1000Cooper Hewitt, Smithsonian Design Museum
Textile, Unknown
TextileUnknown1000–1450Cooper Hewitt, Smithsonian Design Museum
Vessel, Unknown
VesselUnknown500–1000Cooper Hewitt, Smithsonian Design Museum
Vessel, Unknown
VesselUnknown500–1000Cooper Hewitt, Smithsonian Design Museum
Textile, Unknown
TextileUnknown1100–1400Cooper Hewitt, Smithsonian Design Museum
Textile, Unknown
TextileUnknown1100–1500Cooper Hewitt, Smithsonian Design Museum

Similar picturesFound by visual likeness

8 pictures

Visual resemblances suggested by the model. A match does not establish a shared subject or historical connection.

The Green Drawing Room of the Earl of Essex at Cassiobury, William Henry Hunt, British, 1790–1864
The Green Drawing Room of the Earl of Essex at CassioburyWilliam Henry Hunt, British, 1790–18641823Cooper Hewitt, Smithsonian Design Museum
0.90
Large Salon with Organ, Unknown, English
Large Salon with OrganUnknown, English1830Cooper Hewitt, Smithsonian Design Museum
0.88
A Room in the Reuss Palace, Dresden, C. M. Fredro, Polish
A Room in the Reuss Palace, DresdenC. M. Fredro, Polish1835–37Cooper Hewitt, Smithsonian Design Museum
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Drawing Room, Unknown, English
Drawing RoomUnknown, Englishca. 1842Cooper Hewitt, Smithsonian Design Museum
0.87
Design for a Bourgeois Biedermeier Interior, R. Haes
Design for a Bourgeois Biedermeier InteriorR. Haes1853–58Cooper Hewitt, Smithsonian Design Museum
0.87
The Drawing Room at Middleton Park, Oxfordshire, William Alfred Delamotte, 1775 – 1863
The Drawing Room at Middleton Park, OxfordshireWilliam Alfred Delamotte, 1775 – 18631839Cooper Hewitt, Smithsonian Design Museum
0.87
Drawing Room of a Sportsman, Emanuel Stöckler, Moravian/Czechoslovakian, 1819 – 1893
Drawing Room of a SportsmanEmanuel Stöckler, Moravian/Czechoslovakian, 1819 – 18931856Cooper Hewitt, Smithsonian Design Museum
0.87
Interior with a Curtained Bed Alcove, Unknown, Austrian
Interior with a Curtained Bed AlcoveUnknown, Austrianca. 1853Cooper Hewitt, Smithsonian Design Museum
0.86

In the stacks

Not yet checked1

Passages in the library’s own holdings that name this maker. The model ranked them; nobody has checked that the name means this person.

  1. Modern Painters, Volume 1 (of 5) · John Ruskin

    Roberts, in particular, there has of late appeared more ground for it than is altogether desirable in a smoothness and over-finish of texture which bears dangerous fellowship with the work of our Gallic neighbors. The fidelity of intention and honesty of system of Roberts have, however, always been meritorious; his drawing of architecture is dependent on no unintelligible lines, or blots, or substituted types: the main lines of the real design are always there, and its hollowness and undercuttings given with exquisite feeling; his sense of solidity of form is
    0.68

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Made in the nineteenth century, like The Study of King Louis-Philippe at Neuilly.

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