Commissioned by abate Gian Maria Roscioli (died 1644), Rome, and paid for, with its pendant (Landscape with Saint Mathew, now Berlin, Gemäldegalerie) on October 28, 1640 for 40 écus [documents published by Barroero 1979 and Corradini 1979). Probably in a French collection by 1680 [when engraved by Louis de Châtillon, c. 1680]. François-Antoine Robit, Paris, sold Paillet and Delaroche, Paris, May 11 and following, 1801, no. 91, to Naudou acting for Michael Bryan, for Fr 7,100 [see Edwards 1996, pp. 299, 304]; sold by Bryan, probably shortly thereafter, to Sir Simon Clarke, Bt (died 1832), Oakhill, Hertfordshire, for 1,000 gns. [see Buchanan 1824; with George Hibbert, Clarke had provided financial support for Bryan’s purchases at the Robit sale]; sold Christie’s, London, May 8-9, 1840, no. 39, to Geddes for 86 gns. [price and buyer in annotated catalogue at the Frick Art Reference Library]; Andrew Geddes, A.R.A. (died 1844), London; by descent to his widow, Adela Plimer Geddes (died 1881), offered for sale, Christie’s, London, April 12, 1845, no. 651, bought in; offered for sale, Christie’s, London, November 30, 1867, no. 56, bought in [annotated catalogue from Christie’s archive, copy in curatorial file]. Acquired on the London art market by Max Rothschild, 1918 [according to Blunt 1966; in London 1960 Blunt stated that Rothschild acquired the picture in 1928]. Possibly identical with the picture that was sold at Christie’s, London, December 16, 1927, no. 86, to Leger for £21[see Art Prices Current, n.s. 7 London, 1928, p. 105, the dimensions given as 40 x 52 1/2 inches; see also Posse 1930]. E. A. Fleischmann Gallery, Munich, by 1930; sold to the Art Institute, 1930.

London, British Institution, Works of Ancient Masters and Deceased British Artists, 1861, no. 22.

Art Institute of Chicago, A Century of Progress, 1933, no. 226.

Art Institute of Chicago, A Century of Progress, 1934, no. 147.

Art Institute of Chicago, Masterpiece of the Month, October 1939 (no cat.).

The Arts Club of Chicago, Origins of Modern Art, 1940, no. 35.

Worcester Art Museum, Massachusetts, Fiftieth Anniversary Exhibition of the Art of Europe during the XVIth – XVIIth Centuries, 1948, no. 7.

The Toledo Museum of Art, Nicolas Poussin, 1594-1665, 1959, pp. 27-28, traveled to Minneapolis.

Paris, Musée du Louvre, Exposition Nicolas Poussin, 1960, no. 68, traveled to Rouen.

Northampton, Massachusetts, Smith College Museum of Art, 1961 (no cat.).

New York, Wildenstein, Works of Art Lent from American Collections: The Italian Heritage, 1967, no. 68.

The Art Institute of Chicago, The Artist Looks at the Landscape, 1974 (no cat.).

New York, Wildenstein, Nature as Scene: French Landscape Painting from Poussin to Bonnard, 1975, no. 51.

Accademia di Francia a Roma, Villa Medici, Nicolas Poussin, 1594-1665, 1977-78, no. 28, traveled to Dusseldorf (no. 27 in German cat.).

Paris, Galeries Nationales du Grand Palais, La Peinture française du XVIIe siècle dans les collections américaines, 1982, no. 91, traveled to New York, Metropolitan Museum of Art and Art Institute of Chicago.

Paris, Galeries Nationales du Grand Palais, Nicolas Poussin, 1594-1665, 1994-95, no. 94, traveled to London, Royal Academy of Arts.

Chicago, Museum of Contemporary Art, Negotiating Rapture: The Power of Art to Transform Lives, cat. by Richard Francis et al., 1996, no. 68.

New York, Metropolitan Museum of Art, Poussin and Nature: Arcadian Visions, cat. by Pierre Rosenberg,2008, no. 36.

Paris, Galeries Nationales du Grand Palais, Nature et Idéal: Le Paysage à Rome, 1600-1650, no. 80, 2011, traveled to Madrd, Museo National del Prado.