Collection

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 [1]; Noel Desenfans, his sale, March 18, 1802, according to Smith [2]; Lord Carrington, by 1842; The Reverend J. Staniforth, by 1857, according to Waagen 1857 [3]; Hart Davis collection, according to Waagen 1857, but unconfirmed; Probably lot 85, W. A. L. Fletcher sale, Christie’s, London, 1914; Bought Cohen; 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

Provenance Notes:

[1] 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.

[2] 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

[3] G. F. Waagen, Galleries and Cabinets of Art in Great Britain, 4. Vols. (London, 1857), 4:427–28

Washington, D.C., National Gallery of Art, 1982-83, Claude Lorrain, 1600-1682, cat. by H. Diane Russell, p. 159, no. 36, ill.

L. Caracciolo, with engraved reproductions by Richard Earlom, Liber Veritatis di Claudio Gellee (Rome, 1815); 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 (supplement to his Treasures of Art in Great Britain), 4 vols. (London, 1857), 4:427-28; Arthur Hind, British Museum: Catalogue of the Drawings of Claude Lorrain (London, 1926), no. 236; Marcel Rothlisberger, "New Light on Claude Lorrain," Connoisseur 145 (February 1960): 61., 62, fig. 4; id., Claude Lorrain: The Paintings, 2 vols. (New Haven, 1961.), 1:265-66, and 2: fig. 184; id., Claude Lorrain: The Drawings, 2 vols. (Berkeley, 1968), 1:239; D. Cecchi, with an introduction by Marcel Rothlisberger, L:opera completa di Claude Lorrain (Milan, 1975), no.168; Jean-Luc Bordeaux, "Baroque to Neo-Classicism," Apollo 215 (June 1982): 456, fig.16; Timken Art Gallery: European and American Works of Art in the Putnam Foundation Collection (San Diego, 1983), pp. 34-35, 1.18, no. 10, ill.; Helen Landon, Claude Lorrain (Oxford, 1989), p. 93, no. 75, ill.

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