A hand-coloured engraving by Hans Collaert the Elder depicting Joseph interpreting the dreams of the cupbearer and baker in an Egyptian prison.

This hand-coloured engraving depicts the biblical narrative of Joseph during his imprisonment in Egypt. Hans Collaert the Elder, a Flemish engraver active in Antwerp, demonstrates the technical precision characteristic of the period. The composition is structured around three figures seated within a stone cell, their postures conveying a sense of quiet deliberation. Joseph, positioned in the centre, gestures as he interprets the dreams of the two royal officials who share his confinement.

The architectural setting is rendered with a focus on geometric clarity, using stone blocks to define the interior space. Two circular vignettes appear above the figures, illustrating the specific dreams of the cupbearer and the baker. These elements provide a visual shorthand for the narrative, a common device in sixteenth-century print culture. The use of colour, applied by hand to the original engraving, adds a layer of definition to the garments and the surrounding environment, distinguishing the figures from the cool tones of the prison walls.

Collaert was part of a significant tradition of printmaking in the Low Countries, where such works were often produced for educational or devotional purposes. The inclusion of Latin and French text at the base of the image provides context for the scene, referencing the fortieth chapter of Genesis. The work reflects the period's interest in combining classical human form with narrative clarity. The figures are depicted with a degree of anatomical awareness, their drapery falling in folds that suggest volume and weight. This print offers a view into the visual storytelling methods employed by Northern Renaissance artists, who sought to make complex theological texts accessible through structured, readable imagery. The preservation of the original page margins and handwritten annotations adds a sense of historical continuity, showing how such prints were integrated into larger volumes or personal collections during the late sixteenth century.