id: 135661 accession number: 1959.190 share license status: CC0 url: https://clevelandart.org/art/1959.190 updated: 2025-02-09 02:23:20.199000 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 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). title: Masterpieces of European Painting from the Cleveland Museum of Art opening date: 2007-03-29T00:00:00 Masterpieces of European Painting from the Cleveland Museum of Art. Maltz Museum of Jewish Heritage, Beachwood, OH (March 29-July 8, 2007). --- LEGACY EXHIBITIONS * {'description': 'London, British Institution, 1821, cat. no. 61.', 'opening_date': None} * {'description': 'London, British Institution, 1839, cat. no. 141.', 'opening_date': None} * {'description': 'The Art Treasures of Great Britain, Manchester, 1857: cat. no. 549.', 'opening_date': None} * {'description': 'Four hundredth Anniversary of the Birth of Peter Paul Rubens, CMA, 1977: dossier show: no catalogue', 'opening_date': '1977-01-01T00:00:00'} * {'description': '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)', 'opening_date': '1998-11-05T00:00:00'} * {'description': 'Maltz Museum of Jewish Heritage (March 29, 2007 - July 8, 2007): "Masterpieces of European Painting from the Cleveland Museum of Art"', 'opening_date': '2007-03-29T00:00:00'} --- 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: 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: 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: 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: 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: 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: Mayer Alphonse de Rothschild [1827-1905], Ferrières, by descent to his son, Édouard de Rothschild date: Probably by 1899-1905 footnotes: citations: 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: 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: C. Nieuwenhuys, sold to Thomas Baring date: 1840-by 1854 footnotes: citations: (Clarke sale, Christie's, London, May 8-9, 1840, no. 52, sold to C. Nieuwenhuys) date: 1840 footnotes: citations: Sir Simon H. Clarke, 10th Baronet Clarke [1818-1849], Oakhill, Hertfordshire date: 1803-1840 footnotes: citations: (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: (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: (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: 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: (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: 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: 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: (C. Blasius, et.al., Amsterdam, Hooft estate sale, August 31, 1796, no. 32, sold to van Coevorden) date: 1796 footnotes: * citations: Elisabeth Hooft [c. 1711-1796], Amsterdam date: 1784-1796 footnotes: citations: Wouter Valckenier and family [1705-1784], Amsterdam, by descent to his widow, Elisabeth Hooft date: Until 1784 footnotes: citations: --- fun fact: digital description: wall description: --- RELATED WORKS --- CITATIONS Cleveland Museum of Art, “Recent Acquisition Press Release,” September 14, 1959, Cleveland Museum of Art Archives. page number: url: https://archive.org/details/cmapr0433 S. E. L. “Year in Review.” The Bulletin of the Cleveland Museum of Art 46, no. 10 (December 1959): 210–231. page number: Reproduced: p. 210; Mentioned: p. 230 url: http://www.jstor.org/stable/25142366 Rubens, Peter Paul, and Henry S. Francis. “Diana and Her Nymphs Departing for the Chase.” The Bulletin of the Cleveland Museum of Art 47, no. 2 (February 1960): 19–27. page number: Mentioned and reproduced: p. 19-27 url: http://www.jstor.org/stable/25142378 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: Jaffé, Michael. Rubens:Catalogo Completo. Milano: Rizzoli, 1989. page number: 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: Neils, Jenifer. "A Strange Diana: The Roman goddess as painted by Rubens bears more than a passing resemblance to a god.” Cleveland Art: Cleveland Museum of Art Members Magazine vol. 56, no. 4 (July/August 2016): 10-11. page number: Reproduced: p. 11; Mentioned: p. 10-11. url: https://archive.org/details/CMAMM2016-04 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: Wieseman, Marjorie E. "Collecting Rubens in America." In America and the Art of Flanders: Collecting Paintings by Rubens, Van Dyck, and Their Circles. Esmée.Quodbach, ed., 144-157. University Park, Pennsylvania: The Pennsylvania State University Press, 2020. page number: Mentioned: P. 153-154; reproduced: P. 156, fig. 89 url: Faroult, Guillaume, Sophie Barthélémy, Sandra Buratti-Hasan, and Jenny Gaschke. Absolutely bizarre !: les drôles d'histoire de l'école de Bristol (1800-1840). 2020, 23. page number: Mentioned and reproduced; pp. 22-23, fig. 1. url: Borggrefe, Heiner, Michael Bischoff, and Vera Lüpkes. Hofjagd: Privileg und Spektakel. 2021, 15. page number: Mentioned and reproduced: pp. 14-15, abb. 5. url: Balis, Arnout, Peter Paul Rubens, Elizabeth McGrath, and P. van Calster. Thinking Through Rubens: Selected Studies. Turnhout ; London : Harvey Miller Publishers, 2023. page number: Mentioned: p. 69 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