Claude Gellée, called Claude Lorrain

Earl Spencer (L.1530), his mount and inventory number 'G/No43';
sale, London, T. Philipe, 10 June 1811 (to Esdaile);
William Esdaile (L.2617, partly erased) his inscription 'SW374 Lord Spencer's Coll 1811 P33' on the mount;
Samuel Woodburn (L.2378a);
Jackson, according to Oppé's notes;
sale, London, Puttick and Simpson, 19 December 1924 (£5);
Paul Oppé (1878-1957);
thence by descent until sold, London, Christie's, 5 December 2006, lot 63,
purchased by the present owner

London, Royal Academy, Landscape in French Art, 1950, no. 517;
London, Royal Academy, The Paul Oppé Collection, 1958, no. 335

M. Roethlisberger, Claude Lorrain, The Drawings, Los Angeles and Cambridge, 1968, p. 84, no. 25, reproduced

Laid down on an 18th Century mount. There is a loss to the lower left corner which has been made up. There is a vertical crease to the sheet running down the left edge, circa 45 mm long and an old repair to the centre of the sheet. There are areas of light brown staining to the bottom and lower left edge. The sheet has discolored somewhat and there are areas of surface dirt throughout. The pen and ink medium remains strong throughout this charming work.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Professor Roethlisberger suggests that this drawing was once part of an early sketchbook used by Claude in Rome in about 1630.  Approximately forty other drawings of the same dimensions, and stylistically also dating from the artist's early years of activity, are known; seventeen are now in the British Museum and twelve are at Windsor.  As Roethlisberger points out, the majority of upright sheets that once constituted this early sketchbook portray narrow or detailed views of ancient or medieval buildings.  The present sheet seems to be an exception to this rule and Roethlisberger acknowledges this in his entry for the drawing, in which he draws connections with a drawing at Windsor¹ and another early work fom Claude's "Animal Album".²

1. Inv. no. 13, 089; Roethlisberger, op. cit., reproduced, no. 20
2. Ibid., no. 207, reproduced