Ventes d'œuvres le 1835.-.-

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  • 1835.-.-/ -. Vente de l'œuvre décrite comme [[Hobart Town, taken from the Artist's Garden. The Geraniums, Roses, &c., will give some idea to what perfection gardens may be brought in this country. To the left of the Church is the Government House; the Barracks are on the eminence to the right (John Glover)|Hobart Town, taken from the Artist's Garden. The Geraniums, Roses, &c., will give some idea to what perfection gardens may be brought in this country. To the left of the Church is the Government House; the Barracks are on the eminence to the right]] réalisée par John Glover, vendue par John Glover Esq. [243]
  • 1835.-.-/ -. Vente de l'œuvre décrite comme [[Benn Lomond, from Batman's Look Out; so named on account of Mr. Batman frequenting this spot to entrap the natives. Mr. B. and two Sydney Blacks are on the left of the Picture; a Native's Fire in the distance, and below, two Blacks catching Opossums (John Glover)|Benn Lomond, from Batman's Look Out; so named on account of Mr. Batman frequenting this spot to entrap the natives. Mr. B. and two Sydney Blacks are on the left of the Picture; a Native's Fire in the distance, and below, two Blacks catching Opossums]] réalisée par John Glover, vendue par John Glover Esq. [250]
  • 1835.-.-/ -. Vente de l'œuvre décrite comme [[The top of Benn Lomond, Van Dieman's Land. The Rocks called the Stacks, are of great height, and evidently split asunder by great violence: the small Lake is supposed to have been a Volcano; three-fourths of its sides remain perfect, the rest broken down by the water (John Glover)|The top of Benn Lomond, Van Dieman's Land. The Rocks called the Stacks, are of great height, and evidently split asunder by great violence: the small Lake is supposed to have been a Volcano; three-fourths of its sides remain perfect, the rest broken down by the water]] réalisée par John Glover, vendue par John Glover Esq. [254]
  • 1835.-.-/ maison de ventes : Pallmall Gallery. Vente de l'œuvre décrite comme [[The reception of James II. after his abdicaion, by Louis XIV. at the Court at Versailles. After the landing of William III. at Torbay, the unhappy Monarch sought refuge at the Court of Louis XIV.; and the manner in which he and his Queen were received by that Monarch sufficiently attests the natural goodness and generosity of his disposition. The period of time chosen by the Painter is the moment at which the royal exiles are being received at Versailles by the King and his assembled Court (Lewis Rutil, (Director of the Gallery of Hesse Cassel))|The reception of James II. after his abdicaion, by Louis XIV. at the Court at Versailles. After the landing of William III. at Torbay, the unhappy Monarch sought refuge at the Court of Louis XIV.; and the manner in which he and his Queen were received by that Monarch sufficiently attests the natural goodness and generosity of his disposition. The period of time chosen by the Painter is the moment at which the royal exiles are being received at Versailles by the King and his assembled Court]] réalisée par Lewis Rutil, (Director of the Gallery of Hesse Cassel). [281]
  • 1835.-.-/ maison de ventes : Pallmall Gallery. Vente de l'œuvre décrite comme [[The train of Titania singing her to sleep Oberon. I know a bank where on the wild thyme blows, Where oxlips and the nodding violet grows, Quite o'er canopied with lush woodbines, With sweet musk roses and with eglantine, There sleeps Titania. Midsummer Night's Dream, Act II. Sc. III. (Howard, R.A.)|The train of Titania singing her to sleep Oberon. I know a bank where on the wild thyme blows, Where oxlips and the nodding violet grows, Quite o'er canopied with lush woodbines, With sweet musk roses and with eglantine, There sleeps Titania. Midsummer Night's Dream, Act II. Sc. III.]] réalisée par Howard, R.A.. [344]
  • 1835.-.-/ maison de ventes : Pallmall Gallery. Vente de l'œuvre décrite comme [[The Grand Canal of Venice, with View of the Ducal Palace, &c. This picture, for freedom of pencil, breadth of shadow, arrangement of subject, and the exquisite drawing and character of the Figures in the fore-ground (the penciling of which is equal to Watteau), must be considered one of his most splendid works (Cannaletti)|The Grand Canal of Venice, with View of the Ducal Palace, &c. This picture, for freedom of pencil, breadth of shadow, arrangement of subject, and the exquisite drawing and character of the Figures in the fore-ground (the penciling of which is equal to Watteau), must be considered one of his most splendid works]] réalisée par Cannaletti. [506]
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