“Two pivotal biblical narratives, Isaac meeting Rebekah and Esau selling his birthright, are brought together in this single, intricately detailed wood engraving. Notice the stark differences in setting and emotion between the two scenes.”
This wood engraving presents two dramatic biblical narratives, side by side, within a single frame. On the left, a veiled Rebekah, riding a camel, meets Isaac for the first time in a desert landscape. Her posture suggests surprise and modesty as she dismounts. To the right, a more intimate domestic scene unfolds: Esau, weary from hunting, sells his birthright to his younger brother Jacob for a bowl of lentil stew. The contrast in settings—one vast and open, the other confined to a tent—highlights the different stakes of each encounter. The intricate lines and deep shadows, characteristic of wood engraving, lend a solemn gravity to these pivotal moments from the Book of Genesis. Produced for "Dalziels' Bible Gallery," a significant Victorian publication, this image reflects a widespread interest in illustrating biblical stories with detailed, emotive realism.
- Artist
- Thomas Dalziel
- Date
- 1865
- Medium
- Wood engraving on India paper, mounted on thin card
- Location
- The Metropolitan Museum of Art
- Dimensions
- Image: 4 5/16 × 6 13/16 in. (10.9 × 17.3 cm) Image: 3 1/2 × 5 7/8 in. (8.9 × 15 cm) India sheet: 11 1/8 × 8 1/4 in. (28.3 × 21 cm) Mount: 16 3/8 in. × 12 15/16 in. (41.6 × 32.9 cm)
- Collection
- Drawings and Prints
- Credit line
- Anonymous Gift, 1926
What to Notice
Five details hide in plain sight. Here’s where to look.

Rebekah's veil and modest posture as she dismounts her camel.
The empty quiver and bow slung over Esau's shoulder, signaling his exhaustion.
Jacob's focused gaze as he offers the bowl of stew to his brother.
The detailed patterns on the tent fabric in the Esau scene.
1 more detail is waiting.
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Further Works by Dalziel
Jacob and the Flocks of Laban–Jacob's Departure from Laban, from "Dalziels' Bible Gallery"
1865 · The Metropolitan Museum of Art
The Departure of the Israelites–Destruction of Pharoah and His Host, from "Dalziels' Bible Gallery"
1865 · The Metropolitan Museum of Art
The Water Turned Into Blood–The Boils and Blanes, from "Dalziels' Bible Gallery"
1865 · The Metropolitan Museum of Art
More works to explore
Beyond Dalziel: works from the same years.
Same era · 1850s–1880s
The Backgammon Players
Philip Webb · 1861 · The Metropolitan Museum of Art
Same era · 1850s–1880s
Two Boats in a Storm
Léon-Victor Dupré · 1870 · Art Institute of Chicago
Same era · 1850s–1880s
Paris Street; Rainy Day
Kawabata Gyokushō · 1877 · Art Institute of Chicago
Same era · 1850s–1880s
A Woman Seated beside a Vase of Flowers (Madame Paul Valpinçon?)
Edgar Degas · 1865 · The Metropolitan Museum of Art
Same era · 1850s–1880s
Cliffs on the Sea Coast: Small Beach, Sunrise (Falaise au bord de la mer, vu Petite Plage, soleil levant)
Gustave Courbet · 1865 · Art Institute of Chicago
Same era · 1850s–1880s
Jesus Mocked by the Soldiers
Édouard Manet · 1865 · Art Institute of Chicago
Same era · 1850s–1880s
Mirope Savati Gaye
Mariano Fortuny Marsal · 1865 · The Metropolitan Museum of Art
Same era · 1850s–1880s
Valley of the Bedford
William Hart · 1865 · Fogg Museum
Same era · 1850s–1880s
Alfred Sisley
Pierre-Auguste Renoir · 1864 · Foundation E.G. Bührle Collection
Same era · 1850s–1880s
Peasants Bringing Home a Calf Born in the Fields
Jean-François Millet · 1864 · Art Institute of Chicago
Same era · 1850s–1880s
The Banks of the Marne in Winter
Camille Pissarro · 1866 · Art Institute of Chicago
Same era · 1850s–1880s
The Beach at Sainte-Adresse
Claude Monet · 1867 · Art Institute of Chicago
