Juda en Tamar to Goltzius by Weigel, rejected by Hirschmann (and thus also in TIB and Hol). New Hollstein Dutch describes the picture in the "doubtfull attributions. The prints in Nova Zembla collection during an expedition of William Barendsz and Jacob van Heemskerk in 1596-1597 forced into the winter camp, "Preserve House ', left behind on the island. The prints were in one or more stacks as a commodity: brought from Amsterdam. Almost three centuries later, in 1871, the Norwegian Elling Carlsen returned to Nova Zembla and finding the remains of the "Preserve house, including a large part of
Juda en Tamar to Goltzius by Weigel, rejected by Hirschmann (and thus also in TIB and Hol). New Hollstein Dutch describes the picture in the "doubtfull attributions. The prints in Nova Zembla collection during an expedition of William Barendsz and Jacob van Heemskerk in 1596-1597 forced into the winter camp, "Preserve House ', left behind on the island. The prints were in one or more stacks as a commodity: brought from Amsterdam. Almost three centuries later, in 1871, the Norwegian Elling Carlsen returned to Nova Zembla and finding the remains of the "Preserve house, including a large part of the inventory. A portion of the prints, in the form of caked lumps, was then also recovered. The paper clods were sometimes broken in several places. Between 1975-1979, the prints are separated from one another. This yielded a total of approximately 1000 fragments of about 400 punches of approximately 150 different prints on. As far as possible, the fragments are pooled and the prints are gereconstrueerd. Subject: story of Judah and Tamar (Genesis 38) Tamar changes from her widow's clothes and covers her face with a veil after the manner of the prostitutes; sitting at the entrance of a city on the road to Timnath she awaits JudahReis of Barendsz and Van Heemskerck in 1596
Size: 1399px × 1785px
Photo credit: © Art World / Alamy / Afripics
License: Licensed
Model Released: No
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