Jegher (Christoffel, 1596-1652/53). The Garden of Love, after Rubens, circa 1633-36, pair of large-scale conjoined wood blocks, printed in dark brown, white and black, signed Christoffel fec to extreme lower right corner, trimmed to image, overall sheet size 45.5 x 119 cm (17 7/8 x 46 7/8 ins), mounted on card, 20th century gilt frame, glazed (69 x 141 cm) (Quantity: 1) Provenance: Estate of Michael Jaffé (1923-1997) art historian and former director of the Fitzwilliam Museum, Cambridge. Wurzbach 14; Hollstein 17a and b. The rare complete set of two large-scale woodcuts by Christoffel Jegher after Ruben's famous painting entitled The Garden of Love, now in the Prado Museum, Madrid. an important forerunner of the fête champêtre genre which became widespread in French painting of the 18th century, and which is generally thought to be a celebration of the artist's second wife Hélène Fourment. The couple are depicted together on the right hand side of the composition. In the early 1630s Rubens, who had a keen interest in the dissemination of his art through prints, began a close collaboration with the printmaker Christoffel Jegher The original design (in reverse) for the right-hand portion of this panoramic woodcut scene, prepared by Rubens at his studio, is held by the Metropolitan Museum of Art, New York (accession number 58.96.1)
Jegher (Christoffel, 1596-1652/53). The Garden of Love, after Rubens, circa 1633-36, pair of large-scale conjoined wood blocks, printed in dark brown, white and black, signed Christoffel fec to extreme lower right corner, trimmed to image, overall sheet size 45.5 x 119 cm (17 7/8 x 46 7/8 ins), mounted on card, 20th century gilt frame, glazed (69 x 141 cm) (Quantity: 1) Provenance: Estate of Michael Jaffé (1923-1997) art historian and former director of the Fitzwilliam Museum, Cambridge. Wurzbach 14; Hollstein 17a and b. The rare complete set of two large-scale woodcuts by Christoffel Jegher after Ruben's famous painting entitled The Garden of Love, now in the Prado Museum, Madrid. an important forerunner of the fête champêtre genre which became widespread in French painting of the 18th century, and which is generally thought to be a celebration of the artist's second wife Hélène Fourment. The couple are depicted together on the right hand side of the composition. In the early 1630s Rubens, who had a keen interest in the dissemination of his art through prints, began a close collaboration with the printmaker Christoffel Jegher The original design (in reverse) for the right-hand portion of this panoramic woodcut scene, prepared by Rubens at his studio, is held by the Metropolitan Museum of Art, New York (accession number 58.96.1)
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