Probst, Story of Joseph in Egypt, Hand-Colored Prints, 1770s, Set of 6

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Set of Six Hand-Colored Optical Prints of the Life of Joseph – Vue d’Optique Series by Georg Balthasar Probst, Augsburg, … Read more Set of Six Hand-Colored Optical Prints of the Life of Joseph – Vue d’Optique Series by Georg Balthasar Probst, Augsburg, circa 1770 This remarkable and visually unified set of six hand-colored 'vues d’optique' illustrates the dramatic rise, fall, and redemption of Joseph, as told in the Book of Genesis. Published circa 1770 in Augsburg by Georg Balthasar Probst (1732–1801), one of the leading creators of perspective prints in 18th-century Europe, these works were originally designed for viewing through an optical device known as a zograscope. Their strong architectural lines, deep vanishing points, and reversed title inscriptions mark them as quintessential examples of this once-popular art form. Each print in this series captures a pivotal episode in Joseph’s biblical narrative, rendered with theatrical flair and rich hand-coloring: 1. Joseph relates his dream to his brothers – Set in an open pastoral landscape, Joseph describes his prophetic vision of the sun, moon, and stars bowing to him. The symbolic imagery and subtle foreshadowing are enhanced by the depth of the layered countryside. 2. Joseph is cast into a pit – In a dynamic wilderness scene filled with rocky cliffs, flocks, and expressive figures, his brothers seize and throw him into a dry well, plotting to rid themselves of him. 3. Joseph is sold to the Ishmaelites – This transitional scene bridges the betrayal and Joseph’s departure. The caravan of camels and merchants, along with carefully staged body language, underscores the emotional and physical separation from his homeland. 4. Joseph is sold in Egypt to Potiphar – The story shifts to an imagined Egyptian palace courtyard with classical architecture. Joseph is seen being bartered in the open square, with monumental colonnades and linear paving that draw the eye deep into the composition. 5. Joseph is tempted by Potiphar’s wife – One of the most visually dramatic plates in the series, this scene shows Joseph fleeing the richly decorated chamber of Potiphar’s wife as she clutches his robe. The tension is heightened by ornate interior design, checkered floors, and layered chambers that amplify the sense of escape. 6. Joseph interprets Pharaoh’s dreams and is elevated – The final print features an enthroned Pharaoh seated beneath an opulent canopy, receiving Joseph. Through his gift of interpretation, Joseph is raised to power, a moment of vindication and divine providence captured in vibrant color and regal symmetry. Each print includes captions in Latin, French, Italian, and German, and the reversed upper titles are typical of optical prints, designed to be legible through mirrored viewing lenses. This complete cycle not only tells a compelling biblical story but also serves as an important historical document of 18th-century visual culture. Condition: Overall in fair condition for prints of this age and size. The paper is soft in places with some natural waviness and wrinkling from age and past handling. No major losses or tears are visible within the image areas. The hand-coloring remains vivid and appealing, with some expected toning or spotting in the margins. These are stable and ready for conservation-friendly framing. Framing Tips: When framed as a complete set, these prints can create a stunning visual narrative. Consider framing them in matched classical wooden frames—walnut, ebonized, or gilded—and use museum-grade UV glass to protect the pigments. For a cohesive look, select neutral mats in cream or light parchment tone. The prints can be arranged in two rows of three or a long horizontal sequence, depending on wall space. For larger interiors—libraries, stairwells, or gallery-style halls—this set tells a unified and engaging story that speaks to both biblical tradition and Enlightenment-era artistry. Their theatrical depth and architectural fantasy make them as decorative as they are devotional. See less