A detailed 18th-century etching by Matthijs Pool, depicting the biblical scene of Isaac and Rebecca observed by King Abimelech.

This etching and engraving depicts a scene from Genesis 26:8, where Isaac and Rebecca are observed by Abimelech, king of the Philistines. The composition is based on a painting by Barent Graat, with the print executed by Matthijs Pool. The figures occupy the foreground, seated upon a bench draped with animal skins. Isaac is shown embracing Rebecca, their posture suggesting an intimate moment of affection. The artist employs precise cross-hatching to define the folds of their garments and the texture of the fur, creating a sense of volume and weight.

In the background, the architectural setting provides a clear sense of space. A stone wall with a window is visible to the left, through which Abimelech and an attendant peer out, their expressions capturing the narrative tension of the discovery. To the right, a classical column and a stone balustrade topped with a sphinx-like ornament suggest a Mediterranean or ancient setting, typical of the period's interpretation of biblical history. The floor is rendered with a tiled pattern, which helps to ground the figures within the architectural frame.

Matthijs Pool was a Dutch engraver active in Amsterdam during the early eighteenth century. His work often involved the reproduction of paintings by contemporary masters, translating the tonal qualities of oil paint into the linear language of the printmaker. The technical proficiency displayed here, particularly in the rendering of light and shadow across the figures and the surrounding stonework, reflects the high standards of the Dutch printmaking tradition. This piece offers a glimpse into the way biblical narratives were visualised for a domestic audience, blending classical motifs with the dramatic storytelling characteristic of the era.