M. Roethlisberger, "Quelques Tableaux Inédits du XVII Siècle Français: LeSeur, Claude Lorrain, La Fosse", in Revue de L'art, vol. 12, 1971, p. 77, fig. 7 (as School of Agostino Tassi (Claude Gellée?).

The canvas has a firm relining, which has somewhat flattened the paint surface. The paint surface is secure, though dirty and under a discoloured varnish. A fine craquelure runs throughout the painting. No major damages to the work are apparent. There is a small surface crack, measuring approximately 4cm., running across the upper left hand corner, and two old restored surface cracks measuring approximately 3cm. each are discernible in the trees and sky upper right, due to the unevenness of the painting's surface. In the trees to the left, a curved old restored surface crack measuring approximately 5cm. can be similarly discerned, and there is a small old restored knock to the painting measuring approximately 1cm2 in the trees centre right, where the retouchings have become a little discoloured. Inspection under UV light is greatly impeded by the aforementioned old varnish, but some filling in of craquelure is evident. Offered in a stained wood slip frame in fairly good condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

We are grateful to Professor Marcel Roethlisberger for his recent first hand inspection of this painting and his help in cataloguing this lot.  Since publishing the present painting in 1971 as "School of Tassi" new material on both Tassi and Claude has come to light and Professor Roethlisberger now believes the present work to be attributable to the young Claude. He dates it to circa 1627-8 when Claude's youthful style was close to that of the Roman artist Agostino Tassi, in whose studio he previously worked.  Close stylistic comparison can be made with a 1628 landscape (see M. Roethlisberger, Tout l'oeuvre peint de Claude Lorrain, Paris, 1986, pl. 1) and with the 1631 signed and dated painting The Mill in the Museum of Fine Arts, Boston (see M. Roethlisberger, Claude Lorrain. The Paintings, London 1961, pp. 140-142, no. LV 22, Plate 66).