¹ 1Leclerc was a banker for various members of the Rothschild family.

² 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:

³ 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.

⁴ 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).

⁵ 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).

⁶ 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.

⁷ 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.

⁸ 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.

⁹ 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.

¹⁰ 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.

¹¹ 1Clarke and Hibbert were business associates who purchased a number of paintings together.

¹² 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).

¹³ 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.

¹⁴ 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.