The depiction of Jacob and his sons in epic portraits in unusual for the era. More commonly, artists, including Ribera and Velázquez, included these men in narrative painting of Biblical episodes. According to art historianJeannine Baticle, a series of Jacob and his sons survives in the possession of the Orden Tercera de San Francisco in Lima, Peru, which she describes as a "fairly close replica" of the Auckland Zurbarán series. An additional series, "a more distant and awkward imitation" by an imitator, is in the possession of the Academia de Bellas Artes in Puebla, Mexico.
History
It is not known how the paintings reached England, although some speculate that they may have been captured by English pirates while traveling from the painter's studio in Seville to a buyer in a Spanish colony in the Americas. The series is first recorded in 1722 as part of the estate of one William Chapman. It was later owned by London Banker James Mendez, whose heirs sold twelve of the thirteen to Richard Trevor, Bishop of Durham in 1757. Bishop Trevor, a political liberal and a backer of the Jewish Naturalization Act 1753, acquired the paintings, and redesigned and reconstructed the Long Dining Room at Auckland Palace, as a public statement of his support for Jewish naturalization rights. Although the Bill was quickly repealed, the paintings still hang in the Long Dining at Auckland. The portrait of one of Jacob's sons, Benjamin, was sold separately to the Peregrine Bertie, 3rd Duke of Ancaster and Kesteven; it hangs in Grimsthorpe Castle, Lincolnshire. Bishop Trevor commissioned Arthur Pond to produce a copy painting of "Benjamin". It hangs, with Jacob and the other eleven sons, in the Castle's Long Dining Room, which Bishop Trevor rebuilt for the purpose of displaying the pictures.
21st century
In 2001 the Church Commissioners voted to sell the paintings, a decision that was revoked in 2011 following a donation of £15 million by investment manager and philanthropist Jonathan Ruffer; new arrangements placed the paintings, along with the castle, under the Auckland Castle Trust, making them available to the public after centuries during which they hung in a private home where they could be seen only by invited guests or by special arrangement with the Bishop's staff.