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 5) (London: Smith and Son, 1834)

SCHOLARS AND IMITATORS OF
John Asselyn, surnamed Crabaje. Although this artist,
according to biographers, was much older than Karel du
Jardin, yet it is evident that, either from the admiration
which the works of the latter excited, or from his own approval
of their merit, he was induced to imitate their style and
colouring. Among several examples of this class may be
instanced, one in the collection of the Baron Verstolk de Soelen ;
another which was formerly in the possession of a lady at
Reading; and a third is in the collection of the Right
Honourable Sir Charles Bagot, K.B., all of which are but little
inferior to the best productions of Du Jardin.
Asselyn was born in 1610, and died in 1660.
Bernard Graat was a painter of considerable merit, and
distinguished himself by a versatility of talent, in the several
branches of historical, fancy, and animal painting. His best
productions in the latter department show great approxi-
mation to those of Karel du Jardin’s, possessing, in an
extraordinary degree, the silvery gray tones and style of
handling peculiar to that master’s pictures. He is also said to
have imitated with deceptive skill the works of Bamboccio.
He was born at Amsterdam, in 1628, and died in 1709-
William Van Romyn. So little is known of the history
of this clever painter, that neither the date of his birth or
decease are given by biographers. Careful examination of his
productions in art, will leave no doubt on the mind of the
connoisseur butthat he made the works of Du Jardin his
models, and was a close and faithful imitator of their
peculiarities, both in style and colouring; so much so, indeed,
as to create a reasonable conjecture that he was a scholar of
that master.

William Schellincks was bom at Amsterdam, in 1632;
and having acquired a knowledge of the rudiments of painting