View of Delphi with a Procession

1. Commissioned along with Coast View with Perseus and the Origin of Coral (LV 184) by Cardinal Carlo Camillo Massimi (died 1676), Rome, 1673, presumably to accompany two other paired paintings by Claude, identified as Landscape with Argus Gaurding Io (LV 86) and Coast View with Apollo and the Cumaean Sibyl (LV 99) [according to inscriptions that accompany the drawing after the painting in Claude’s “Liber Veritatis” (LV 182) that read “CLAVDIO fecit IV / Roma 1673” and “quadro facto per leminmo e Reve.ro / sigre Cardinale Massimo / A Roma 1673”]; at his death to his younger brother, Fabio Camillo Massimi [according to Röthlisberger 1979, vol. 1, p. 240, under LV 86]. Possibly John Drummond, first earl of Melfort, London, by 1690; possibly sold Whitehall, London, June 21, 1693 [suggested by Röthlisberger 1979, vol. 1, pp. 239–41, under LV 86, pp. 428–31, LV 182 on the basis that one of the pendants of the painting, Landscape with Argus Guarding Io, Holkham Hall, Norfolk, may be listed in an 1693 supplement to an 1692 inventory of the Melfort collection]. Humphrey Edwin, by 1746; probably sold by his widow, c. 1750 [according to Röthlisberger 1979, vol. 1, p. 430, under LV 182]. In the possession of the Earls of Derby, certainly by 1854 when it was lent to London 1854; by descent to Edward George Villiers, seventeenth earl of Derby; sold Christie’s London, July 26, 1940, no. 9, to Rothschild for £126, as Priests Proceeding with a Sacrificial Bull towards a Fortified City [price and buyer according to an annotated copy of the sale catalogue, Christie’s, London]. Arnold Seligmann, Rey, and Co., New York, by 1941; purchased by the Art Institute, 1941.

Recorded by Art Institute of Chicago.

• London, British Institution, Pictures by Italian, Spanish, Flemish, Dutch, French, and English Masters…, June 1854, no. 49.
• Nottingham, Midland Counties Art Museum, Pictures and Objects in the Midland Counties Art Museum, 1878, no. 91, as Landscape.
• New York, Wildenstein, Gods and Heroes: Baroque Images of Antiquity, October 30, 1968–January 4, 1969, no. 9, as Landscape with Sacrificial Procession.
• Paris, Galeries Nationales du Grand Palais, La Peinture française du XVIIe siècle dans les collections américaines, January 29–April 26, 1982, no. 62; traveled to New York, Metropolitan Museum of Art, May 26–August 22, 1982; Art Institute of Chicago, September 18–November 28, 1982.
• Washington, D.C., National Gallery of Art, Claude Lorrain, 1600–1682, October 17, 1982–January 2, 1983, no. P50; traveled to Paris, Galeries nationales du Grand Palais, February 15–May 16, 1983.
• Tokyo, National Museum of Western Art, Itaria no hikari: Kurōdo Roran to risō fūkei [Claude Lorrain and the Ideal Landscape], September 15–December 6, 1998, no. 59.

• John Smith, A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish, and French Painters…, vol. 8 (London, 1837), p. 293, under no. 178, p. 295, no. 182.
• Owen J. Dullea, Claude Gellée le Lorrain (New York, 1887), p. 81.
• Tancred Borenius, “A Liber Veritatis Claude,” Burlington Magazine 77 (1940), p. 195, frontispiece ill.
• “In the Auction Rooms,” Connoisseur 106, 470 (1940), p. 176.
• “Sale Notes,” Apollo 32 (1940), p. 108.
• Art Institute of Chicago, Report of the Year 1941, Bulletin of the Art Institute of Chicago 36, 4 (1942), pp. 11, 177, ill.
• Anthony Blunt, The French Drawings in the Collection of His Majesty the King at Windsor Castle (Oxford and London, 1945), p. 22, under no. 47.
• Marcel Röthlisberger, “Les Pendants dans L’oeuvre de Claude Lorrain,” Gazette des Beaux-Arts, 6th ser., 51 (1958), p. 225.
• Marcel Röthlisberger, “Les Pendants dans l’oeuvre de Claude Lorrain,” Gazette des Beaux-Arts, 6th ser., 55 (1960), p. 221.
• Art Institute of Chicago, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961), pp. 172, 230, ill.
• Francis Haskell, Patrons and Painters: A Study in the Relations between Italian Art and Society in the Age of the Baroque (London, 1963), p. 118, pl. 19b.
• Margaretta Salinger, French Painting: The Seventeenth Century (New York, 1965), p. 48, no. 24.

The Cowherd

Art Institute of Chicago

Panorama from the Sasso

Art Institute of Chicago

Study for Pilgrims at Emmaus

Art Institute of Chicago

The Rape of Europa

Art Institute of Chicago

A Wooded River Landscape with Jacob, Laban, and His Daughters

Art Institute of Chicago

The Four Goats

Art Institute of Chicago

Harbor Scene with Rising Sun

Art Institute of Chicago

A Rocky Hillside

Art Institute of Chicago

Museum holdings, not sale records. Auction results are only shown when a licensed price source is connected.