Smith, John: A catalogue raisonné of the works of the most eminent Dutch, Flemish, and French painters: in which is included a short biographical notice of the artists, with a copious description of their principal pictures : a statement of the prices at which such pictures have been sold at public sales on the continent and in England; a reference the the galleries and private collections in which a large portion are at present; and the names of the artists by whom they have been engraved; to which is added, a brief notice of the scholars & imitators of the great masters of the above schools (Part 2) (London: Smith and Son, 1830)

RUBENS.

35

Catalogue of the Artist's Effects continued.
294 A Landscape, with cattle and figures. The landscape is
by another hand.
295 A Peasant’s Cottage, with figures. The latter only are by
Rubens.
296 A Peasant with Cattle.
297 A Landscape, in which are introduced a couple courting ;
the man has a bagpipe attached to his girdle. The
figures only are by Rubens.
This subject is engraved by Avril, Boel, and in mezzotinto
by Smith.
298 A Landscape, with a woman on a hill.
299 A Peasant feeding his Dog. The figure only by Rubens.
300 A Landscape.
301 A Ditto.
315 A triumphal Procession of Julius Caesar, painted from the
designs of Andrea Mantegna ; done on three pieces of
canvas glued on panel.
This beautiful production is now in the collection of Samuel
Rogers, Esq.-—'See description.
316 Six large unfinished Pictures, containing various Studies
of sieges of towns, battles, and triumphs of Henry IV.;
designs for a second series of pictures for Queen Marie
de Medicis.
317 A great number of Sketches and unfinished Pictures of
Heads, both on canvas and panel, done by Rubens and
Van Dyke.
318 A large quantity of Drawings and Sketches; studies for
many of the distinguished pictures by Rubens.
319 A great number of Copies done by Rubens, after pictures
by celebrated masters.
The author of The Lise of Rubens observes that, although the
number of pictures inscribed in the preceding catalogue may appear
very considerable, that there were also a great many which the
painter’s widow had previously selected from the collection, some of