Christ and the Centurion of Capernaum

PROVENANCE:
M. Poullain, sale Paris, at Le Brun. 14 March 1781, lot 53, as one of Breenbergh's most precious works, bought by Comte de Merle for 1. 2000, a high amount;
W. Scott, sale London, Phillips, 14 April 1803, probably bought by;
Sir John Boyd, 2nd Bart;
his sale, Peter Coxe, London, 7th May 1805, lot 44, probably bought by;
Phillipe Panné;
his sale, Christie's, London, 26th - 29th March 1819, lot 78, sold for £ 42 to;
John Smith, dealer, London by whom sold to;
Christian William Huybens, February 15th 1820 for £ 60;
his sale London, G. Stanley, London, 26 March 1822, lot 116, sold for £ 35.14;
Dan Cevat, dealer, London, 1965;
Swiss Private Collection

LITERATURE:
M G Roethlisberger, 'Bartholomeus Breenbergh, The Paintings', New York, 1981, no. 146, illus.

EXHIBITING:
'Bartholomeus Breenbergh, Joseph distributing corn in Egypt', Barber Institute of Fine Arts, Birmingham, 29th Oct 2004 - 23rd Jan 2005 & Bredius Museum, The Hague 12th Feb - 1st May 2005, cat. no.4

NOTE:
Roethlisberger describes this as 'a notable work in Breenbergh's evolution as a figure painter', and dated the work to the early 1630's. The subject is taken from Matthew VIII, 5 - 13 and Luke VII, 1 - 10. He cites a great many influences on Breenbergh in this painting, notably Pieter Lastman in the architectural setting, Nicolaes Moyaert in the subject matter (he painted this subject twice, once in 1629 and secondly in 1632) and the 'heritage' of Bril and Poelenburgh.

The columns are taken from the Temple of Antoninus and Faustina in the Roman Forum while the open landscape to the left leading to Capernaum displays further classical elements - the arch of the Pantani in the Forum of Augustus, S. Teodoro and the Torre delle Milizie. The obelisk also has origins in paintings by Heemskerk, Lastman and Saenredam and alludes to the Centurion's old pagan faith.

Breenbergh treated this subject once more in 1637, repeating the figure of Christ turning to his right but placing the rather more diminutive figures in a more dramatic mountainous landscape. This painting is now in the Staatliche Kunsthalle, Karlsruhe.

Engraving: (Pietro Antonio) Martini, in reverse, 112 x 162 mm, in 'Collection de 120 estampes.... Cabinet de M. Poullain', Paris 1781, no. 19.