id: 135661 accession number: 1959.190 share license status: CC0 url: https://clevelandart.org/art/1959.190 updated: 2020-01-15 09:01:30.187000 Diana and Her Nymphs Departing for the Hunt, c. 1615. Peter Paul Rubens (Flemish, 1577-1640), and Workshop. Oil on canvas; framed: 261 x 225 x 11 cm (102 3/4 x 88 9/16 x 4 5/16 in.); unframed: 216 x 178.7 cm (85 1/16 x 70 3/8 in.). The Cleveland Museum of Art, Leonard C. Hanna, Jr. Fund 1959.190 title: Diana and Her Nymphs Departing for the Hunt title in original language: series: series in original language: creation date: c. 1615 creation date earliest: 1610 creation date latest: 1620 current location: 212 Baroque Painting and Sculpture creditline: Leonard C. Hanna, Jr. Fund copyright: --- culture: Flanders, 17th century technique: oil on canvas department: European Painting and Sculpture collection: P - Netherlandish-Flemish type: Painting find spot: catalogue raisonne: --- CREATORS * Peter Paul Rubens (Flemish, 1577-1640) - artist * Workshop - artist --- measurements: Framed: 261 x 225 x 11 cm (102 3/4 x 88 9/16 x 4 5/16 in.); Unframed: 216 x 178.7 cm (85 1/16 x 70 3/8 in.) state of the work: edition of the work: support materials: inscriptions: --- CURRENT EXHIBITIONS title: Rubens and His Time opening date: 1998-11-05T00:00:00 Rubens and His Time. Museo de San Carlos (INBA) (November 5, 1998-February 28, 1999); Palazzo dei Diamanti, Ferrara (Galleria d'Arte Moderna et Contemporanea) (March 1-June 1, 1999). --- LEGACY EXHIBITIONS * London, British Institution, 1821, cat. no. 61.
London, British Institution, 1839, cat. no. 141.
The Art Treasures of Great Britain, Manchester, 1857: cat. no. 549.
Four hundredth Anniversary of the Birth of Peter Paul Rubens, CMA, 1977: dossier show: no catalogue
Mexico City, Mexico: The Museo Nacional de San Carlos, INBA (11/5/98 - 2/28/99); Ferrara, Italy: Palazzo dei Diamanti (3/28/99 - 6/27/99) "Rubens and His Time" cat. no 18 (Mexico) cat. no. 16 (Italy)
Maltz Museum of Jewish Heritage (March 29, 2007 - July 8, 2007): "Masterpieces of European Painting from the Cleveland Museum of Art" --- PROVENANCE The Cleveland Museum of Art, Cleveland, Ohio date: 1959- footnotes: citations: (Rosenberg & Stiebel, New York, NY, sold to the Cleveland Museum of Art) date: 1959 footnotes: citations: * Gerald Stiebel, email to Victoria Sears Goldman, Sept. 19, 2013, in CMA curatorial file. page number: url: * Gerald Stiebel, email to Victoria Sears Goldman, June 26, 2013, in CMA curatorial file. page number: url: * Yeide, Nancy H., and Robert M. Edsel. Beyond the Dreams of Avarice: The Hermann Goering Collection. Dallas, Tex: Laurel Publishing, 2009. page number: url: * page number: url: Édouard [1868-1949] and Germaine [1884-1975] de Rothschild, Chantilly, sold to Rosenberg & Stiebel through Robert Leclerc1 date: 1948-1959 footnotes: * 1Leclerc was a banker for various members of the Rothschild family. citations: * Yeide, Nancy H., and Robert M. Edsel. Beyond the Dreams of Avarice: The Hermann Goering Collection. Dallas, Tex: Laurel Publishing, 2009. page number: url: * Gerald Stiebel, email to Victoria Sears Goldman, Sept. 19, 2013, in CMA curatorial file.

page number: url: * Gerald Stiebel, email to Victoria Sears Goldman, June 26, 2013, in CMA curatorial file. page number: url: * France. List of Property Removed from France During the War, 1939-1945. Vol. 2: Pictures, Tapestries and Sculptures. [Berlin]: [Impr. nationale], 1947. page number: url: In possession of the Allies; restituted to Édouard and Germaine de Rothschild1 date: 1945-1948 footnotes: * 1According to the Munich Central Collecting Point Property Card (5133/B,gaden 95/3. 5057 Berchtesgaden 1 - 5490 Berchtesgaden 445. Records Relating to Property Accessions, compiled 1945 – 1949. Records Concerning the Central Collecting Points ("Ardelia Hall Collection"): Munich Central Collecting Point, 1945-1951, Record Group 260. National Archives Identifier 3725277. M1946, Roll 177, page 1. Fold3.com, http://www.fold3.com/image/312471209, retrieved January 22, 2015), the Allies found this painting at Berchtesgaden, where Goering had sent his collection when the Allies began their approach to Veldenstein. The painting appears in Tome II (no. 3294) of Le Répertoire des biens spoliés en France durant la guerre 1939-1945, which lists property removed from France by the Nazis during the war. The painting arrived at the Collecting Point on July 25, 1945 and was assigned number 5133. On June 3, 1948 the Rubens was repatriated to France and then returned to Édouard and Germaine de Rothschild.Provenance Footnote: citations: * Yeide, Nancy H., and Robert M. Edsel. Beyond the Dreams of Avarice: The Hermann Goering Collection. Dallas, Tex: Laurel Publishing, 2009. page number: url: * List of Property Removed from France During the War, 1939-1945. Vol. 2: Pictures, Tapestries and Sculptures. [Berlin]: [Impr. nationale], 1947. page number: url: * Nicholas, Lynn H. The Rape of Europa: The Fate of Europe's Treasures in the Third Reich and the Second World War. 1994. page number: url: * Mitchell, Arthur. Hitler's Mountain: The Führer, Obersalzberg and the American Occupation of Berchtesgaden. Jefferson, N.C.: McFarland & Co, 2007. page number: url: * Alford, Kenneth D. Nazi Plunder: Great Treasure Stories of World War II. Cambridge, Mass: Da Caporess, 2001. page number: url: * Cultural Plunder by the Einsatzstab Reichsleiter Rosenberg: Database of Art Objects at the Jeu de Paume, http://www.errproject.org/jeudepaume/card_view.php?CardId=8835

page number: url: * Datenbank zum Central Collecting Point München, Deutsches Historisches Museum, http://www.dhm.de/datenbank/ccp/dhm_ccp_add.php?seite=6&fld_1=5133/3&fld_1_exakt=exakt&suchen=Suchen page number: url: * Datenbank - Die Kunstsammlung Hermann Göring, Deutsches Historisches Museum, http://www.dhm.de/datenbank/goering/dhm_goering.php?seite=5&fld_0=RMG01394 page number: url: In possession of Hermann Goering [1893-1946], probably Carinhall, Brandenburg1 date: 1942-1945 footnotes: * 1On October 20, 1942, Goering selected works at the Jeu de Paume for his personal collection. This painting is No. 163 (as “Diana mit Gefolge") on the Liste der für die Sammlung des Reichsmarschalls Hermann Göring abgegebenen Kunstgegenstände, Oct. 20, 1942 (Liste der für die Sammlung des Reichsmarschalls Hermann Göring abgegebenen Kunstgegenstände October 20, 1942. Einsatzstab Reichsleiter Rosenberg (ERR): Consolidated Interrogation Report (CIR) No. 2 (Attachments And Index). Restitution Research Records. Records of the U.S. Occupation Headquarters, World War II, Record Group 260. National Archives Identifier 3725274. M1946, Roll 122, page 17. Fold3.com, http://www.fold3.com/image/114/269975002/, retrieved July 15, 2013). Throughout the war, Goering kept the selected works in his possession at his two residences, Carinhall and Kurfürst, but in February, March, and April of 1945, he sent them away for safekeeping: two shipments went to a castle in Veldenstein – the Rubens appears as No. 404, “Diana mit Gefährtinnen,” on the list of Goering’s paintings from Veldenstein (Bilder aus Kurfürst nach Veldenstein 1945-1950. Göring, Hermann: Paintings from Veldenstein. Restitution Research Records. Records of the U.S. Occupation Headquarters, World War II, Record Group 260. National Archives Identifier 3725274. M1946, Roll 127, page 21. Fold3.com, http://www.fold3.com/image/114/270007303/, retrieved July 15, 2013). Then, as the Allies approached Veldenstein on April 7, Goering ordered all of the art objects removed; they were packed into freight cars and sent to Berchtesgaden three days later (Annex 1: The Looting of the Göring Train 1945-1950. Berchtesgaden: Göring Train. Restitution Research Records. Records of the U.S. Occupation Headquarters, World War II, Record Group 260. National Archives Identifier 3725274. M1946, Roll 118, page 33-38. Fold3.com, http://www.fold3.com/image/#270038349/, retrieved July 15, 2013), where they would be found by the Allies. citations: * Yeide, Nancy H., and Robert M. Edsel. Beyond the Dreams of Avarice: The Hermann Goering Collection. Dallas, Tex: Laurel Publishing, 2009. page number: url: * List of Property Removed from France During the War, 1939-1945. Vol. 2: Pictures, Tapestries and Sculptures. [Berlin]: [Impr. nationale], 1947. page number: url: * Cultural Plunder by the Einsatzstab Reichsleiter Rosenberg: Database of Art Objects at the Jeu de Paume, http://www.errproject.org/jeudepaume/card_view.php?CardId=8835

page number: url: * Datenbank zum Central Collecting Point München, Deutsches Historisches Museum, http://www.dhm.de/datenbank/ccp/dhm_ccp_add.php?seite=6&fld_1=5133/3&fld_1_exakt=exakt&suchen=Suchen page number: url: * Datenbank - Die Kunstsammlung Hermann Göring, Deutsches Historisches Museum, http://www.dhm.de/datenbank/goering/dhm_goering.php?seite=5&fld_0=RMG01394 page number: url: * page number: url: In possession of the Einsatzstab Reichsleiter Rosenberg (ERR), selected by Hermann Goering for his collection1 date: 1940-1942 footnotes: * 1The ERR located Rothschild's hidden collection at the Chateau de Reux and confiscated it, including the Rubens, in September 1940, as is recorded in the Rothschild claim file (F185, Rothschild, Édouard Baron de. Cultural Property Claim Applications. Records of the Monuments, Fine Arts, and Archives (MFAA) Section of the Reparations and Restitution Branch, OMGUS, 1945-1951, Record Group 260. National Archives Identifier 1571289. M1949, Roll 13, page 5. Fold3.com, http://www.fold3.com/image/292890009/, retrieved January 26, 2015). After its confiscation, the painting was taken to the Jeu de Paume in Paris (ERR Card No. R 90). citations: * Yeide, Nancy H., and Robert M. Edsel. Beyond the Dreams of Avarice: The Hermann Goering Collection. Dallas, Tex: Laurel Publishing, 2009. page number: url: * List of Property Removed from France During the War, 1939-1945. Vol. 2: Pictures, Tapestries and Sculptures. [Berlin]: [Impr. nationale], 1947. page number: url: * Cultural Plunder by the Einsatzstab Reichsleiter Rosenberg: Database of Art Objects at the Jeu de Paume, http://www.errproject.org/jeudepaume/card_view.php?CardId=8835 page number: url: * Datenbank zum Central Collecting Point München, Deutsches Historisches Museum, http://www.dhm.de/datenbank/ccp/dhm_ccp_add.php?seite=6&fld_1=5133/3&fld_1_exakt=exakt&suchen=Suchen page number: url: * Datenbank - Die Kunstsammlung Hermann Göring, Deutsches Historisches Museum, http://www.dhm.de/datenbank/goering/dhm_goering.php?seite=5&fld_0=RMG01394 page number: url: Édouard [1868-1949] and Germaine [1884-1975] de Rothschild, Ferrières, confiscated by the Einsatzstab Reichsleiter Rosenberg (ERR)1 date: Probably 1905-1940 footnotes: * 1By 1940, Édouard de Rothschild had hidden much of his collection at the family’s Chateau de Reux in Calvados (French Documents — Misc. Subject Files. Records of the American Commission for the Protection and Salvage of Artistic and Historic Monuments in War Areas (The Roberts Commission), 1943-1946. Record Group 239. National Archives Identifier 1537311. M1944, Roll 86, page 216. Fold3.com, http://www.fold3.com/image/273365234/, retrieved January 26, 2015). citations: * Yeide, Nancy H., and Robert M. Edsel. Beyond the Dreams of Avarice: The Hermann Goering Collection. Dallas, Tex: Laurel Publishing, 2009. page number: url: * Jaffé, Michael. Rubens: catalogo completo. Milano: Rizzoli, 1989. page number: url: * List of Property Removed from France During the War, 1939-1945. Vol. 2: Pictures, Tapestries and Sculptures. [Berlin]: [Impr. nationale], 1947. page number: url: * Ludwig Burchard, letter, Nov. 19, 1958, in CMA curatorial file. page number: url: Mayer Alphonse de Rothschild [1827-1905], Ferrières, by descent to his son, Édouard de Rothschild date: Probably by 1899-1905 footnotes: citations: * Yeide, Nancy H., and Robert M. Edsel. Beyond the Dreams of Avarice: The Hermann Goering Collection. Dallas, Tex: Laurel Publishing, 2009. page number: url: * Jaffé, Michael. Rubens: catalogo completo. Milano: Rizzoli, 1989. page number: url: * Rosenberg & Stiebel, invoice, July 9, 1959, in CMA curatorial file. page number: url: * Gerald Stiebel, email to Victoria Sears Goldman, Sept. 19, 2013, in CMA curatorial file. page number: url: * Gerald Stiebel, email to Victoria Sears Goldman, June 26, 2013, in CMA curatorial file. page number: url: * Ludwig Burchard, letter, Nov. 19, 1958, in CMA curatorial file. page number: url: * L'Art 64 (1905): repr. p. 32. page number: url: Thomas George Baring, First Earl of Northbrook [1826-1904], sold to Mayer Alphonse de Rothschild1 date: 1873-probably by 1889 footnotes: * 1The Descriptive Catalogue of the collection of pictures belonging to the Earl of Northbrook does not include this painting, which indicates Baring had sold it to Rothschild by its publication in 1889. This is consistent with Ludwig Burchard's letter of Nov. 19, 1958, which notes that Rothschild purchased the painting from Baring c. 1890. The Northbrook catalogue does contain several other Rubens paintings that, like the CMA painting, were sold by C. Nieuwenhuys to Thomas Baring, and then passed to Thomas George Baring. citations: * Yeide, Nancy H., and Robert M. Edsel. Beyond the Dreams of Avarice: The Hermann Goering Collection. Dallas, Tex: Laurel Publishing, 2009. page number: url: * Jaffé, Michael. Rubens: catalogo completo. Milano: Rizzoli, 1989. page number: url: * Ludwig Burchard, letter, Nov. 19, 1958, in CMA curatorial file. page number: url: * Rosenberg & Stiebel, invoice, July 9, 1959, in CMA curatorial file. page number: url: Thomas Baring, Esq. [1799-1873], London, by descent to his nephew Thomas George Baring1 date: By 1857-1873 footnotes: * 1 Some versions of this provenance say the painting was owned by Alexander Baring rather than Thomas Baring, perhaps due to the inclusion in Treasures of Art in Great Britain (1854) of a Rubens Diana and Nymphs overtaking a stag (vol. II, p. 102), in the collection of Alexander Baring and formerly with Joseph Bonaparte. Both the provenance and the description of this painting make it clear, however, that it is not the CMA painting. Furthermore, several sources state that Thomas George Baring inherited the painting from his uncle: the Baring genealogy (http://www.baringarchive.org.uk/barings_people/baring_family_genealogy/) shows that his uncle was Thomas Baring, not Alexander. Thus, it can be concluded that the CMA painting was not in Alexander’s collection (by 1854 or otherwise), but rather was sold by Nieuwenhuys to Thomas Baring. citations: * Yeide, Nancy H., and Robert M. Edsel. Beyond the Dreams of Avarice: The Hermann Goering Collection. Dallas, Tex: Laurel Publishing, 2009. page number: url: * Jaffé, Michael. Rubens: catalogo completo. Milano: Rizzoli, 1989. page number: url: * Ludwig Burchard, letter, Nov. 19, 1958, in CMA curatorial file. page number: url: * Catalogue of the Art Treasures of the United Kingdom Collected at Manchester in 1857. London: Bradbury and Evans, 1857. page number: url: C. Nieuwenhuys, sold to Thomas Baring date: 1840-by 1854 footnotes: citations: * Christie, Manson & Woods. A Catalogue of the ... Gallery of Pictures of the Late Sir Simon H. Clarke, Removed from Oakhill, Herts. London: Christie, Manson & Woods, 1840. page number: url: * Jaffé, Michael. Rubens: catalogo completo. Milano: Rizzoli, 1989. page number: url: * page number: url: * Smith, John. Supplement to the Catalogue Raisonne of the Works of the Most Eminent Dutch and French Painters. London: Smith, 1842. page number: url: (Clarke sale, Christie's, London, May 8-9, 1840, no. 52, sold to C. Nieuwenhuys) date: 1840 footnotes: citations: * Yeide, Nancy H., and Robert M. Edsel. Beyond the Dreams of Avarice: The Hermann Goering Collection. Dallas, Tex: Laurel Publishing, 2009. page number: url: * Christie, Manson & Woods. A Catalogue of the ... Gallery of Pictures of the Late Sir Simon H. Clarke, Removed from Oakhill, Herts. London: Christie, Manson & Woods, 1840. page number: url: * Smith, John. Supplement to the Catalogue Raisonne of the Works of the Most Eminent Dutch and French Painters. London: Smith, 1842. page number: url: Sir Simon H. Clarke, 10th Baronet Clarke [1818-1849], Oakhill, Hertfordshire date: 1803-1840 footnotes: citations: * Yeide, Nancy H., and Robert M. Edsel. Beyond the Dreams of Avarice: The Hermann Goering Collection. Dallas, Tex: Laurel Publishing, 2009. page number: url: * Christie, Manson & Woods. A Catalogue of the ... Gallery of Pictures of the Late Sir Simon H. Clarke, Removed from Oakhill, Herts. London: Christie, Manson & Woods, 1840. page number: url: * Smith, John. A Catalogue Raisonnë of the Works of the Most Eminent Dutch, Flemish and French Painters. London: Smith and Son, 1830. page number: url: * Dallaway, James. An Account of All the Pictures Exhibited in the Rooms of the British Institution, from 1813 to 1823: Belonging to the Nobility and Gentry of England. 1824. page number: url: (Sale, Greenwood & Co., London, Feb. 19, 1803, probably sold to Simon H. Clarke)1 date: 1803 footnotes: * 1The Rubens painting is not printed in the Greenwood sale catalogue, but rather is handwritten on page 3 of the Courtauld copy of the 1803 sale, along with Rubens's Rape of the Sabine Women. "Clarke" is written in as the buyer for the CMA painting; "Angerstein" for the Sabine Women. Written above both paintings is the notation: ""Mr.___d that Mr. Birch [sic?] sold 2 Picts. by Rubens." See note 6 for additional information. citations: * Yeide, Nancy H., and Robert M. Edsel. Beyond the Dreams of Avarice: The Hermann Goering Collection. Dallas, Tex: Laurel Publishing, 2009. page number: url: * Greenwood (Leicester-Square, London, England). Pictures ... of the Italian, Dutch, Flemish, and English Schools. 1803. page number: url: * Martin, Gregory. The Flemish School, Circa 1600-Circa 1900. London: National Gallery, 1970. page number: url: (Michael Bryan, London?)1 date: 1802-1803 footnotes: * 1There are suggestions both in the museum's files and in the provenance of another Rubens painting, The Rape of the Sabine Women, also sold in the 1803 sale and currently in the National Gallery, London, that the consignor in the 1803 sale was an individual by the name of "Birch," identified by Gregory Martin in his 1970 catalogue of the Flemish paintings in the National Gallery as Charles Birch, a dealer at the time (p. 116). However, it seems probable that "Birch" is in fact "Bryan," and perhaps the result of a misreading of the handwritten notation in the 1802 sale catalogue. If Bryan was indeed the consignor, this would account for the small provenance gap from 1802-1803, and would, of course, make sense chronologically, given that Bryan purchased the painting at the 1802 sale. Evidence situating the Sabine Women in Bryan's possession prior to 1803 would provide confirmation that "Birch" is in fact "Bryan," and that the former was an error on the part of the author of the catalogue notation. Of course, it is also possible that after purchasing the painting from Christie's in 1802, Bryan transferred the painting to Birch, who then put it up for auction at the 1803 Greenwood sale. citations: * Handwritten note re: Clarke & Hibbert sale, May 14-15, 1802, in CMA curatorial file. page number: url: * Martin, Gregory. The Flemish School, Circa 1600-Circa 1900. London: National Gallery, 1970. page number: url: (Clarke/Hibbert sale, Christie's, London, May 14-15, 1802, no. 71, sold to Michael Bryan)1 date: 1802 footnotes: * 1This sale included paintings from "the united cabinet of Sir Simon Clarke, Bart. and George Hibbert, Esq." Some sources, including the Getty Provenance Index, indicate the Rubens was bought in at this auction, while the buyer notation in the catalogue lists Bryan. Because Bryan was a dealer as well as a collector, he could have had an arrangement with Christie's whereby he purchased the painting after it failed to sell; he may then have put it up for auction at Greenwood & Co. in 1803.
citations: * Yeide, Nancy H., and Robert M. Edsel. Beyond the Dreams of Avarice: The Hermann Goering Collection. Dallas, Tex: Laurel Publishing, 2009. page number: url: * Christie, Manson & Woods. Most Superb and Truly Valuable Pictures, Containing Admirable and Celebrated Specimens, Chef D'oeuvres of the Principal Masters of the Italian, Flemish, Dutch, and French Schools. 1802. page number: url: * Christie. A Catalogue of a Most Superb and Truly Valuable Collection of Pictures, Containing Admirable and Celebrated Specimens, Chef D'œuvres of the Principal Masters of the Italian, Flemish, Dutch, and French Schools, Being the United Cabinet of Sir Simon Clarke, Bart. and George Hibbert, Esq.: Selected by Them with Distinguished Taste, and at a Considerable Expence, Out of the Collections of the Duke of Orleans, Mr. Gildemester of Amsterdam, Mr. De Calonne, Mr. Woodhouse, &C. &C. [London]: [J. Christie], 1802. page number: url: * Handwritten note re: Clarke & Hibbert sale, May 14-15, 1802, in CMA curatorial file. page number: url: * "Sales History - Rubens' Diana and her Nymphs," in CMA curatorial file. page number: url: Sir Simon Haughton Clarke, 9th Baronet Clarke [1764-1832], Oakhill, Hertfordshire, and George Hibbert [1757-1837]1 date: Probably 1798-1802 footnotes: * 1Clarke and Hibbert were business associates who purchased a number of paintings together. citations: * Christie, Manson & Woods. Most Superb and Truly Valuable Pictures, Containing Admirable and Celebrated Specimens, Chef D'oeuvres of the Principal Masters of the Italian, Flemish, Dutch, and French Schools. 1802. page number: url: * Yeide, Nancy H., and Robert M. Edsel. Beyond the Dreams of Avarice: The Hermann Goering Collection. Dallas, Tex: Laurel Publishing, 2009. page number: url: * page number: url: * Ludwig Burchard, letter, Nov. 19, 1958, in CMA curatorial file. page number: url: * Buchanan, William. Memoirs of Painting: With a Chronological History of the Importation of Pictures by the Great Masters into England Since the French Revolution. London: Printed for R. Ackerman, 1824. page number: url: (Coxe, Burrel & Foster, London, Bryan sale, May 17, 1798, no. 42, sold to Simon H. Clarke)1 date: 1798 footnotes: * 1According to the Getty Provenance Index, this painting may have been bought in; however, William Buchanan's Memoirs of Painting (1924) says that the painting sold to "Sir S. Clarke." Clarke indeed most likely purchased the painting at the 1798 sale, as it makes sense in terms of timing, and furthermore, his name does follow this sale in the provenance in the case of at least one other painting (Salvator Rosa's Pythagoras Emerging from the Underworld, currently in the Kimbell Art Museum). citations: * Yeide, Nancy H., and Robert M. Edsel. Beyond the Dreams of Avarice: The Hermann Goering Collection. Dallas, Tex: Laurel Publishing, 2009. page number: url: * Peter Coxe, Burrell, and Foster (London, England), and Michael Bryan. A Catalogue of All That Valuable and Magnificent Collection of Italian, French, Flemish, and Dutch Pictures, Selected with Singular Taste and Admitted Judgement, the Property of Mr. Bryan: And Comprising the Original Works and Great Performances of the Following Masters: Rubens, Vandyke, Titian ... &C. : Which Will Be Sold by Auction by Peter Coxe, Burrell, and Foster, at Mr. Bryan's Celebrated Gallery in Pall Mall, Where They Are Displayed, on Thursday, May 17, 1798 and Two Following Days at Twelve O'clock. 1798. page number: url: * Buchanan, William. Memoirs of Painting: With a Chronological History of the Importation of Pictures by the Great Masters into England Since the French Revolution. London: Printed for R. Ackerman, 1824. page number: url: Michael Bryan [1757 – 1821], London1 date: Until 1798 footnotes: * 1The 1798 sale catalogue of Bryan's collection says that Bryan, an art historian, dealer, and connoisseur, purchased the painting from a descendant of the Valckenier family. If a "van Coevorden" indeed purchased the painting from Elisabeth Hooft's estate sale, this would suggest that van Coevorden was a descendent of the Valckenier family; however, a connection between them has yet to be identified. Another possibility is that Bryan was the buyer at the Hooft sale and van Coevorden acted as his agent. citations: * Yeide, Nancy H., and Robert M. Edsel. Beyond the Dreams of Avarice: The Hermann Goering Collection. Dallas, Tex: Laurel Publishing, 2009. page number: url: * Peter Coxe, Burrell, and Foster (London, England), and Michael Bryan. A Catalogue of All That Valuable and Magnificent Collection of Italian, French, Flemish, and Dutch Pictures, Selected with Singular Taste and Admitted Judgement, the Property of Mr. Bryan: And Comprising the Original Works and Great Performances of the Following Masters: Rubens, Vandyke, Titian ... &C. : Which Will Be Sold by Auction by Peter Coxe, Burrell, and Foster, at Mr. Bryan's Celebrated Gallery in Pall Mall, Where They Are Displayed, on Thursday, May 17, 1798 and Two Following Days at Twelve O'clock. 1798. page number: url: * Smith, John. A Catalogue Raisonnë of the Works of the Most Eminent Dutch, Flemish and French Painters. London: Smith and Son, 1830. page number: url: * Jaffé, Michael. Rubens: catalogo completo. Milano: Rizzoli, 1989. page number: url: Van Coevorden1 date: 1796= footnotes: * 1This buyer's identity is unknown. The name is written next to the painting in the catalogue of the Hooft sale and appears to read "van Coevorden." He may have been the agent for Michael Bryan. citations: * Bergveld, Hendrik Cornelis (Amsterdam). Catalogus van een uitmuntende collectie schilderyen, door allerberoemste Nederlandsche meesters. Benevens een keurlyke verzameling gecouleurde en ongecouleurde teekeningen, capitaale prent-konst, en gebonden en losse prent-werken.: Alles naargelaaten door wyle vrouwe Elizabeth Hooft, weduwe den heere Wouter Valckenier. Welke verkocht zullen worden op Woensdag den 31ste Augustus 1796 en volgenden dag, ten huize van de overleedene, op de Kolveniers Burgwal, by de Nieuwmarkt. Door de makelaars: C. Blasius, Ph. van der Schley, J. de Bosch, Jeronimusz. I. Hen, B. de Bosch, Jeronimusz. W. H. Stoopendaal, J. Yver en J. J. Rycken. By wien de catalogus, zoo in het Fransch, als Nederduitsch zal te bekoomen zyn, mits betaalende 2 stuyvers. Te Amsterdam: by Hendrik Cornelis Bergveldt, boek- en papierverkooper, in de Pieterjacobsstraat, het zevende huis van de Fluweele-Burgwal, 1796. page number: url: * Yeide, Nancy H., and Robert M. Edsel. Beyond the Dreams of Avarice: The Hermann Goering Collection. Dallas, Tex: Laurel Publishing, 2009. page number: url: (C. Blasius, et.al., Amsterdam, Hooft estate sale, August 31, 1796, no. 32, sold to van Coevorden) date: 1796 footnotes: * citations: * Ludwig Burchard, letter, Nov. 19, 1958, in CMA curatorial file. page number: url: * Schley, Philippe van der. Schilderyen; teekeningen; prent-konst; prent-werken. 179 page number: url: * Bergveld, Hendrik Cornelis (Amsterdam). Catalogus van een uitmuntende collectie schilderyen, door allerberoemste Nederlandsche meesters. Benevens een keurlyke verzameling gecouleurde en ongecouleurde teekeningen, capitaale prent-konst, en gebonden en losse prent-werken.: Alles naargelaaten door wyle vrouwe Elizabeth Hooft, weduwe den heere Wouter Valckenier. Welke verkocht zullen worden op Woensdag den 31ste Augustus 1796 en volgenden dag, ten huize van de overleedene, op de Kolveniers Burgwal, by de Nieuwmarkt. Door de makelaars: C. Blasius, Ph. van der Schley, J. de Bosch, Jeronimusz. I. Hen, B. de Bosch, Jeronimusz. W. H. Stoopendaal, J. Yver en J. J. Rycken. By wien de catalogus, zoo in het Fransch, als Nederduitsch zal te bekoomen zyn, mits betaalende 2 stuyvers. Te Amsterdam: by Hendrik Cornelis Bergveldt, boek- en papierverkooper, in de Pieterjacobsstraat, het zevende huis van de Fluweele-Burgwal, 1796. page number: url: * Jaffé, Michael. Rubens: catalogo completo. Milano: Rizzoli, 1989. page number: url: * Yeide, Nancy H., and Robert M. Edsel. Beyond the Dreams of Avarice: The Hermann Goering Collection. Dallas, Tex: Laurel Publishing, 2009. page number: url: Elisabeth Hooft [c. 1711-1796], Amsterdam date: 1784-1796 footnotes: citations: * Yeide, Nancy H., and Robert M. Edsel. Beyond the Dreams of Avarice: The Hermann Goering Collection. Dallas, Tex: Laurel Publishing, 2009. page number: url: * Jaffé, Michael. Rubens: catalogo completo. Milano: Rizzoli, 1989. page number: url: * Schley, Philippe van der. Schilderyen; teekeningen; prent-konst; prent-werken. 1796. page number: url: * Bergveld, Hendrik Cornelis (Amsterdam). Catalogus van een uitmuntende collectie schilderyen, door allerberoemste Nederlandsche meesters. Benevens een keurlyke verzameling gecouleurde en ongecouleurde teekeningen, capitaale prent-konst, en gebonden en losse prent-werken.: Alles naargelaaten door wyle vrouwe Elizabeth Hooft, weduwe den heere Wouter Valckenier. Welke verkocht zullen worden op Woensdag den 31ste Augustus 1796 en volgenden dag, ten huize van de overleedene, op de Kolveniers Burgwal, by de Nieuwmarkt. Door de makelaars: C. Blasius, Ph. van der Schley, J. de Bosch, Jeronimusz. I. Hen, B. de Bosch, Jeronimusz. W. H. Stoopendaal, J. Yver en J. J. Rycken. By wien de catalogus, zoo in het Fransch, als Nederduitsch zal te bekoomen zyn, mits betaalende 2 stuyvers. Te Amsterdam: by Hendrik Cornelis Bergveldt, boek- en papierverkooper, in de Pieterjacobsstraat, het zevende huis van de Fluweele-Burgwal, 1796. page number: url: * Ludwig Burchard, letter, Nov. 19, 1958, in CMA curatorial file. page number: url: Wouter Valckenier and family [1705-1784], Amsterdam, by descent to his widow, Elisabeth Hooft date: Until 1784 footnotes: citations: * Yeide, Nancy H., and Robert M. Edsel. Beyond the Dreams of Avarice: The Hermann Goering Collection. Dallas, Tex: Laurel Publishing, 2009. page number: url: * Schley, Philippe van der. Schilderyen; teekeningen; prent-konst; prent-werken. 1796. page number: url: * Peter Coxe, Burrell, and Foster (London, England), and Michael Bryan. A Catalogue of All That Valuable and Magnificent Collection of Italian, French, Flemish, and Dutch Pictures, Selected with Singular Taste and Admitted Judgement, the Property of Mr. Bryan: And Comprising the Original Works and Great Performances of the Following Masters: Rubens, Vandyke, Titian ... &C. : Which Will Be Sold by Auction by Peter Coxe, Burrell, and Foster, at Mr. Bryan's Celebrated Gallery in Pall Mall, Where They Are Displayed, on Thursday, May 17, 1798 and Two Following Days at Twelve O'clock. 1798. page number: url: * Smith, John. A Catalogue Raisonnë of the Works of the Most Eminent Dutch, Flemish and French Painters. London: Smith and Son, 1830. page number: url: * Jaffé, Michael. Rubens: catalogo completo. Milano: Rizzoli, 1989. page number: url: * Ludwig Burchard, letter, Nov. 19, 1958, in CMA curatorial file. page number: url: --- fun fact: digital description: Diana, the Roman goddess of the hunt, wears a crescent on her forehead, also identifying her as the moon goddess. Diana lived apart from men, accompanied by a group of nymphs; she often represented unattainable beauty or chastity. With a nymph at left fending off a lustful satyr, Rubens refers to a struggle between vice and virtue, combining a sensual display of female bodies with a moral undertone. To bring the viewer more fully into the narrative, Rubens pulls the full-bodied figures to the front of the picture plane, and Diana steps forward, activating the space between viewer and subject. The nymph at the right has the features of Isabella Brant, the artist’s wife, and can be compared with Rubens’s portrait of her, also in the museum's collection. wall description: Diana, the Roman goddess of the hunt, wears a crescent on her forehead, also identifying her as the moon goddess. Diana lived apart from men, accompanied by a group of nymphs; she often represented unattainable beauty or chastity. With a nymph at left fending off a lustful satyr, Rubens refers to a struggle between vice and virtue, combining a sensual display of female bodies with a moral undertone. To bring the viewer more fully into the narrative, Rubens pulls the full-bodied figures to the front of the picture plane, and Diana steps forward, activating the space between viewer and subject. The nymph at the right has the features of Isabella Brant, the artist’s wife, and can be compared with Rubens’s portrait of her, also in the museum's collection. --- RELATED WORKS --- CITATIONS page number: url: page number: url: Cleveland Museum of Art, “Recent Acquisition Press Release,” September 14, 1959, Cleveland Museum of Art Archives. page number: url: https://archive.org/details/cmapr0433 The Cleveland Museum of Art. Handbook of the Cleveland Museum of Art/1966. Cleveland, OH: The Cleveland Museum of Art, 1966. page number: Reproduced: p. 119 url: https://archive.org/details/CMAHandbook1966/page/n143 The Cleveland Museum of Art. Handbook of the Cleveland Museum of Art/1969. Cleveland, OH: The Cleveland Museum of Art, 1969. page number: Reproduced: p. 119 url: https://archive.org/details/CMAHandbook1969/page/n143 The Cleveland Museum of Art. Handbook of the Cleveland Museum of Art/1978. Cleveland, OH: The Cleveland Museum of Art, 1978. page number: Reproduced: p. 154 url: https://archive.org/details/CMAHandbook1978/page/n174 The Cleveland Museum of Art. The Cleveland Museum of Art Catalogue of Paintings, Part 3: European Paintings of the 16th, 17th, and 18th Centuries. Cleveland, OH: The Cleveland Museum of Art, 1982. page number: Mentioned: p. 27-32; Reproduced: p. 29 url: McGrath, Elizabeth, et. al. Rubens: Mythological Subjects. Achilles to the Graces. London: Harvey Miller Publishers, 2016. page number: Reproduced: pl. 242, no. 27a url: Jonckheere, Koenraad. "Aertsen, Rubens and the questye in early modern painting." Nederlands kunsthistorisch jaarboek 68 (2018): 72-99. page number: Reproduced: p. 70, 82 url: Arendsee, M., and M. Steinman-Arendsee. "Take the CAN disability aesthetics tour, at the Cleveland Museum of art." CAN Journal (Winter 2019/20): 76-87. page number: Mentioned & reproduced: p. 77 url: --- IMAGES web: https://openaccess-cdn.clevelandart.org/1959.190/1959.190_web.jpg print: https://openaccess-cdn.clevelandart.org/1959.190/1959.190_print.jpg full: https://openaccess-cdn.clevelandart.org/1959.190/1959.190_full.tif