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 (Band 9): Supplement (London: Smith and Son, 1842)

644 KAREL DU JARDIN.
18. A Muleteer and a Woman with Cattle passing a sord.
A landscape, representing an open country, with a stream
flowing along the foreground, bounded by a high rugged
bank, on the right of which is a row of beech, poplar, and
other trees. A muleteer leading his burthened beast is
approaching through the stream, followed by a woman with
a laden ass, two goats, three sheep, and a dog. The distant
country is destitute of trees, and the aspect is that of early
morning.
1 st. 8 by 1 st. 6.—C.
Exhibited for private sale in the Collection of the Duchess de
Berri, at Messrs. Christie and Manson’s, 1834, price 480Z. Not
sinding a purchaser at that sum, it was put up at auction in Paris,
1837, and sold for 5,365/r. and 5 per cent. (225Z.)
In the Collection of Mr. Vander Hoop, Amsterdam.

19. A Herdsman pulling on his stocking. On the fore-
ground of a bald, mountainous country, divided in part by a
reed fence, are a sheep and a lamb lying down; and on the
right side is a herdsman, wearing a sheepskin jacket with red
sleeves, seated, pulling up his stocking. Painted in a free
and masterly style.
10 in. by 13^.—P.
In the Collection os the Baron Verstolke de Soelen, Hague.

20. Travellers watering their cattle at a fountain. See
No. 104, Vol. v. This picture was quoted from the Cata-
logue of the Berri Collection, when in the palace of the Ely-
see Bourbon; it was there erroneously attributed to Karel
du Jardin, when, in fact, it is a choice production of Jan
Asseylin.