Claude Lorrain (born Claude Gellée), 1600-1682
Pastoral Landscape, 1646-47
Oil on canvas, 102.4 x 132.7 cm (40-3/8 x 52-1/4 in.)
Claude (given the nickname Lorrain after his birthplace in France) worked his entire career in Rome and is known for a landscape style that combines classical ideals of beauty and harmony with a sensitive and acute observation of nature. He was particularly fascinated by the effects of light and he spent countless hours in nature, studying the morning sky, sunset and sunrise.
In his painting, the long shadows and the pink tone of the clouds in this painting indicate that the time of day is evening or early morning.
During the last two centuries the picture changed hands fairly frequently, but precise details of the facts of ownership have not yet come to light in all cases. The available evidence is as follows:
Probably de Merval, his sale, Paris, May 9, 1768, lot 100
Sir Joshua Reynolds, by 1775, his sale, Christie’s, London, March 17, 1795, lot 84, according to Caracciolo and Earlom 
Noel Desenfans, his sale, March 18, 1802, according to Smith 
Lord Carrington, by 1842
The Reverend J. Staniforth, by 1857, according to Waagen 1857 
Hart Davis collection, according to Waagen 1857, but unconfirmed
Probably lot 85, W. A. L. Fletcher sale, Christie’s, London, 1914
Asscher, London, ca. 1941
Lady Dunsany, London, ca. 1954, her sale, Christie’s, London, November 25, 1966, lot 67
Bought Owen. The sale catalogue adds John Bolton and Annabella, Lady Boughey, to the list of previous owners, both unconfirmed
Acquired by the Putnam Foundation, 1969
 L. Caracciolo, with engraved reproductions by Richard Earlom, Liber Veritatis di Claudio Gelee (Rome, 1815). In 1775, while the painting was in the possession of Sir Joshua Reynolds, an engraving after it was made by John Pye the Elder.
 John Smith, A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish, and French Painters, 9 vols. (London, 1829–42), 8:245–46, perhaps also no. 346, and 9: supplement, p. 807, no. 12
 G. F. Waagen, Galleries and Cabinets of Art in Great Britain, 4. vols. (London, 1857), 4:427–28