The canvas has been relined, re-stretched, cleaned, and restored. No major damages are visible to the naked eye. The paint surface is in very good overall condition. Inspection under ultraviolet reveals only a limited number of local retouchings and repairs, the largest being a 7 cm. diagonal damage on the top of the cliffs, and a 4 x 5 cm. area just above the lover’s shelter. In overall very good condition. Offered in a fine French carved and gilt wood frame in 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."

A copy after Claude Lorrain's original painting of almost identical dimensions, dated 1657, in the Gemäldegalerie, Dresden.¹ Although not conceived as a pair, Claude's autograph works from which this and the following lot derive, have been together since they were in the collection of Comtesse de Verrue, Paris (1670–1736). They later came into the possession of Comte de Hoym, the Saxon ambassador in Paris until 1729. On his death in 1736, they both went to the Dresden gallery, where they are first mentioned in the inventory of 1754.

1 Inv. no. 731; see M. Roethlisberger, Claude Lorrain. The paintings, London 1961, vol. I, pp. 336–38, under LV 141, reproduced vol. II, fig. 236.