An elderly man with a long white beard sits propped up in bed, his eyes closed as he rests his right hand on the head of a fair-haired boy kneeling before him. Beside the older man, a younger man in a turban leans forward, guiding the hands of his two sons, who kneel at the bedside with solemn expressions. A richly dressed woman stands to the right, her hands clasped and her gaze lowered, adorned with a pearl necklace and an elaborate headdress that contrasts with the subdued tones of her gown.

The figures are gathered closely within a shadowy, tent-like space, with heavy drapery framing the scene and a deep red coverlet dominating the lower half of the composition. Light falls most strongly on the faces and hands of the central group, creating a dramatic contrast with the darker background and emphasizing the emotional intensity of the moment. The brushwork is thick and textured, especially in the highlights on the faces and fabrics, giving a sculptural quality to the surface and a sense of depth to the folds of cloth.

The composition draws the viewer’s attention to the gesture of blessing, with the arms of the elderly man crossing deliberately as he places his right hand on the younger boy and his left on the elder. This scene illustrates the biblical episode from Genesis 48, in which Jacob blesses the sons of Joseph, placing his right hand on Ephraim, the younger, contrary to tradition. The painting was created in 1656 by Rembrandt during the Baroque period, and is recognized as a work of Dutch Golden Age painting. The museum, however, is sceptical of these identifications, considering the faces too generalized to be true portraits.

Asenath’s ornate headdress, visible in the painting, is not typical of Dutch fashion of the period and has been compared by some to earlier Burgundian styles.