Jakob zegent Efraïm en Manasse - Veit Rudolf Specklin
Archival giclée
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Description
A sixteenth-century woodcut by Veit Rudolf Specklin depicting the biblical scene of Jacob blessing Ephraim and Manasseh.
This woodcut depicts the biblical narrative of Jacob blessing his grandsons, Ephraim and Manasseh. Veit Rudolf Specklin, a German artist active in the sixteenth century, employs the characteristic graphic language of the period to render this domestic scene. The composition centres on the elderly Jacob, who reclines in a bed, his hands extended to bestow a blessing upon the kneeling figures before him. Joseph, the father of the boys, stands to the right, guiding their position, while another figure observes from the left.
The work displays the technical conventions of mid-sixteenth-century printmaking. Specklin uses parallel hatching and cross-hatching to define form, shadow, and the folds of the garments. The spatial arrangement is relatively shallow, typical of woodcuts intended for book illustration, where the narrative clarity takes precedence over atmospheric perspective. The bed, with its simple frame and draped canopy, provides a domestic setting that grounds the theological event in a recognisable human context. The figures are rendered with a focus on gesture and posture, conveying the solemnity of the transmission of the patriarchal blessing.
Specklin, who was also known for his work as an architect and engineer in Strasbourg, brought a disciplined approach to his graphic output. This print reflects the broader tradition of German woodcut illustration, which sought to make biblical stories accessible through clear, readable imagery. The lines are firm and deliberate, reflecting the physical demands of carving into a woodblock. The print serves as a record of the stylistic preferences of the era, where the emphasis lay on the legibility of the narrative and the balanced distribution of figures within the frame. It is a representative example of the functional, illustrative art that circulated widely during the Reformation period.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Jakob zegent Efraïm en Manasse - Veit Rudolf Specklin
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