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 3) (London: Smith and Son, 1831)

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SCHOLARS AND IMITATORS.

hand, was, a few years back, presented by the King of Holland
to the academy at Antwerp ; and such is its near approach to
Teniers, that it is (even there) ascribed to that master. The
period of his decease is not correctly known.
Henry Martin Rokes (surnamed Sorgh)—is said to have
been indebted to Teniers for his knowledge in the art, and that
he continued for some time to imitate, most successfully, the
style of his instructor. It is not, however, in the Writer’s power
to corroborate this statement; but, on the contrary, he feels
obliged to acknowledge his ignorance of any picture, by Sorgh,
that resembled, even in a moderate degree (other than in sub-
ject), the characteristics of his supposed master. His colour
and manner of finishing are purely Dutch, not Flemish, and
approach nearer in appearance the manner and effect of Ostade,
Bega, or Brauwer, than Teniers. He was born in 1621, and
died in 1682.
In addition to the preceding list should be noticed an artist,
whose works, although neither copies nor imitations from
Teniers, yet so nearly approach his style and manner, that they
are continually sold under his name—this is David Teniers
the elder ; he was father and instructor of the artist treated
of in this volume, and was born at Antwerp, in 1582 ; he is
believed to have learnt the art under Rubens; having afterwards
become acquainted with Adam Elshiemer, at Rome, he adopted
a style somewhat resembling that painter’s, but which he sub-
sequently changed to one peculiarly his own. His subjects
chiefly consist of pastoral scenes, fortune-tellers, peasants re-
galing, or enjoying their pastimes and recreations. There is, in
all his productions, great truth of character, natural effect, and
an agreeable tone of colouring; but, notwithstanding al] these
advantages, his pictures are in every respect much inferior to
his son’s, having neither the brilliant transparency of colouring,
the tasteful and elastic ease of drawing, nor the light and spirited
execution so peculiar to the works of the younger David. He
died in 1649, aged 67.