Copy after Claude Lorrain (Italian, Roman, 1630 or later)
Oil on canvas
22 3/4 x 32 in. (57.8 x 81.3 cm)
Bequest of Harry G. Sperling and The Alfred N. Punnett Endowment Fund, 1975 [deaccessioned]
Not on view
Inscription: Inscribed (lower right): CLAVDIO [AV in monogram] I.V. / ROMA / 1630
comte Mauduit, Nice (as by a French painter; sold to Spink); [Spink, London, by 1963]; [Spink, London, and Kleinberger, New York, 1963–75; sale, Sotheby's, London, July 10, 1974, no. 117, as by Claude Lorrain, bought in; half share bequeathed by Harry G. Sperling, last surviving partner of Kleinberger, and half share purchased by MMA]
Marcel Röthlisberger. "Additions to Claude." Burlington Magazine 110 (March 1968), pp. 115–16, fig. 2, attributes this painting to Claude and notes that despite several repaints in the sky and lower left, there is no reason to question the signature; relates the schematic composition to the work of Tassi and Poelenburgh; observes stylistic similarities with a group of larger Claude canvases, similarly signed in big capital letters and dating from 1629 to 1632.
Marcel Röthlisberger. "Nuovi aspetti di Claude Lorrain." Paragone 23 (November 1972), p. 25, pl. 14 (detail), suggests that the figures are the work of a specialist, probably Francesco Lauri.
Doretta Cecchi inL'opera completa di Claude Lorrain. Milan, 1975, p. 86, no. 15, ill., accepts the attribution to Claude.
Marcel Röthlisberger. Letter to John Pope-Hennessy. April 18, 1980, accepts as genuine both the painting belonging to the Spencer Museum and this one.
H. Diane Russell. Claude Lorrain, 1600–1682. Exh. cat., National Gallery of Art. Washington, 1982, pp. 70–71, 78 n. 6, p. 79 n. 12, figs. 23–24 (overall and detail), calls it "a copy, complete with false signature and date [of] . . . what seems to be the unsigned original" in the Spencer Museum of Art.
Marcel Röthlisberger. "Around a Landscape by Claude Lorrain." Register of the Spencer Museum of Art 5 (Spring 1982), pp. 11, 17–18, 26 nn. 1, 4–5, figs. 7–9 (overall and detail, and during restoration), observes that in both the Spencer Museum version and in ours "the execution seems to me compatible with other early paintings"; concludes that "both have a very good chance to qualify as autograph" and that the "minor differences throughout in design and handling . . . do not enable us to establish the precendence of one variant over the other".
Pierre Rosenberg. France in the Golden Age: Seventeenth-century French Paintings in American Collections. Exh. cat., The Metropolitan Museum of Art. 1982, pp. 277, 360, no. 7, ill. [French ed., La peinture française du XVIIe siècle dans les collections américaines, Paris, 1982], states that this painting is a copy of a slightly larger picture (65.5 x 95 cm) now in the Helen F. Spencer Museum of Art, University of Kansas, Lawrence.
Michael Kitson. "Review of 'Tercentenary of Claude Lorrain'." Burlington Magazine 125 (March 1983), p. 187, agrees with Russell [see Ref. 1982] that this is a copy of the picture in the Spencer Museum of Art.
J[ohn]. W[ilson]. inClaude to Corot: The Development of Landscape Painting in France. Exh. cat., Colnaghi. New York, 1990, pp. 31–32, 34, fig. 1, calls it a contemporary copy of the version in the Spencer Museum, and notes that, "while sharing the composition of the original, [it] is lacking in certain specific details which would have been significant to Caude, notably the arrangement of birds in the sky, the goats in front of the ruin, the careful composing of buildings in the middle distance and in the hills on the horizon".
Stephen D. Borys. The Splendor of Ruins in French Landscape Painting, 1630–1800. Exh. cat., Allen Memorial Art Museum. Oberlin, Ohio, 2005, pp. 83, 85 n. 5, as "now accepted as a contemporary copy by a follower of Claude".