Grosvenor Prints

[The Satyr and the Peasant.] Iste frigus & ardorem [...]
J. Jordaens, pinxit. Vosterman scul:
Cum Privilegÿs Reg: [n.d., c.1621.]
Engraving. 415 x 405mm (16¼ x 15¾). Thread margins, repairs to left platemark.
A satyr chastises a peasant for blowing on his food, after he had blown on his hands to keep them warm. The satyr says ''I can no longer consider you as a friend, a fellow who with the same breath blows hot and cold". One of several paintings by Jacob Jordaens (1593-1678) based on one of Æsop's fables. According to the BM the original painting is in the Kunstmuseum in Göteborg, with another version in the Musées Royaux des Beaux-Arts, Brussels.
BM 1873,1213.588.
[Ref: 57441] £320.00 (£384.00 incl.VAT)

[The Bean King.] Jüng gewohnt alt gethan. Adeo a teneris assuescere, multum est.
Jordans inv.
Joh. Elias Ridinger excud. aug. Vind. [n.d, c.1720.]
Mezzotint. Sheet 425 x 535mm (16¾ x 21"). Trimmed to image.
A mezzotint based on one of the four paintings by Jacob Jordaens (1593-1678) of 'The Bean King'. The subject is a 'bean feast', a traditional Dutch feast held on January 6, the day that the Three Kings or Magi came to worship the Christ Child. A pie or cake containing a bean was baked for the festivities and he who found the bean in his piece of pie or cake became Bean King.
Ex: Collection of the Hon. Christopher Lennox-Boyd.
[Ref: 35573] £440.00

Filial Piety. Cimon, condemned to famish in Prison is privately suckled by his Daughter Pero. The Judges, in order to transmit to Posterity their approbation of so rare an example of filial piety, pardon'd the Father for the Daughters Virtue.
Put:r Jordaens Pinx.t. Geo.e Keating Sculp.t.
London, Published 26th March, 1790, by Geo:Keating, No 18 Warwick Street, Golden Square,
Mezzotint. 440 x 540mm (17¼ x 21¼") very large margins
A story told by Roman historian Valerius Maximus (c.AD 50): Cimon, sentenced to stave to death in prison, is suckled by his daughter Pero.
[Ref: 11599] £480.00

[Portrait of an old woman]
[Andrew Geddes after Jacques Jordaens]
Etching with very large margins, platemark 145 x 125mm (5¾ x 5").
Portrait of an old woman inspecting a ring, after the Flemish painter and contemporary of Rembrandt, Jacques Jordaens (1593-1678). Etched by the Scottish painter and etcher Andrew Geddes (1783-1844). The Oxford DNB states that 'as an etcher Geddes ranks higher than as a painter; his plates may be regarded as among the very earliest examples in modern British art of the brilliancy, concentration, and spirited selection of line proper to a ‘painter's-etching''. This plate was one of ten published by Geddes in 1826.
CD 37.iii; Ex: collection of the Late Hon. C. Lennox-Boyd.
[Ref: 36804] £95.00 (£114.00 incl.VAT)

Quid mirum natura Iouis si cedat Amori [/] Et vaga per tkalamos ambulet illicitos. [/] ecce inter satyros nutritur lacte caprino, [/] Naturam capre, suxerat et sequitur.
Iac: Iordaen inuent. S. a Bolswert Sculpsit.
A Blooteling Excudit Cum Privilegio.
Engraving. Plate: 465 x 360mm (18¼ x 14"). Paper tone. Foxing in very large margins. Pinholes in lower left corner. Some very slight creasing not seen from front.
A later copy of Bolswert's engraving of Jacob Jordaens' (1593-1678) 'Infancy of Zeus' c.1630. The nymph Adrastea milks the goat Almathea in order to feed the infant-god who sits beside her beneath a tree. A satyr sits beside them playing a tambourine. On verso in ink "The original picture of Jordaens is said to be at Sir Gregory Pages"
[Ref: 37825] £260.00 (£312.00 incl.VAT)

[The Elderly Fool and his Cat.] Chat malin et Fou dangereux MOMUS. Sont bien ensemble tous les deux; Mais je les prie avec instance. De ne souffrir Vivre loin d'eux: Il Faut pour Chérir leur présance, Avoir ausri le Cerveau Creux.
Jordance Pinx. Molien Sculp.
a Londres ches Major. [n.d., c.1745.]
Engraving. Sheet size: 230 x 170mm (9 x 6¾"). Trimmed inside plate and to image at top edge.
An elderly man at a window, dressed as a jester, wearing a fools cap, holding a cat. After Flemish painter, draughtsman and tapestry designer Jacob Jordaens (1593 - 1678). Jordaens was known for his history paintings, genre scenes and portraits. After Peter Paul Rubens and Anthony van Dyck, he was the leading Flemish Baroque painter of his day.
[Ref: 38663] £130.00 (£156.00 incl.VAT)

Le Roy de le Feve. Dedie a son excellence Dimitry Prince de Galizin...
Jac. Jordaens Pinxit 1639. J.F. Poletnick Sculpsit 1769.
Se vend a Paris ches Basan et Poignant M.ds d'Estampes, rue et Hotel Serpente.
Engraving. Stamp of bibliothèque Talhouet, du cabinet de la Lambardais in lower left. Platemark: 450 x 610mm (17¾ x 24") very large margins. Later impression.
This lavish interior scene at the' Feast of the Three Kings', in which the person finding a bean hidden in his tart is proclaimed king for the evening, selecting his court from among those present. The figure in the centre is identified as Jordaens' father-in-law, the painter Adam van Noort (1561/62 - 1641). The original painting is now in the Musées Royaux des Beaux-Arts, Brussels.
[Ref: 40099] £180.00 (£216.00 incl.VAT)

[Netherlands] Frederick Henry and Emilia Van Solms, Prince and Princess of Orange. In the Collection of his Grace the Duke of Devonshire.
Ja: Jordaens pinxt. J.V. Rymsdyk fecit.
J. Boydell excudit, 1767.
Mezzotint, 505 x 410mm. 19¾ x 16". Surface slightly scuffed/rubbed. Tear along right platemark.
Double portrait of Frederick Henry, Prince of Orange (1584 - 1647) standing, and Amalia van Solms, Princess of Orange (1602 - 1675) seated to left. They are placed in an interior with a parrot on a bar across the top of an arched window behind the princess, and a little toy dog at the prince's feet. After Jacob Jordaens (1593 - 1678), painter and etcher in Antwerp. Frederick Henry was son of William the Silent, the principal leader of the Dutch struggle for indendence against Spain. When his half-brother, Maurice Prince of Orange, died in 1625, Frederick became the third hereditary stadholder of the United Dutch Provinces. He married a lady-in-waiting to the exiled Queen of Bohemia, and their son, William II, married in 1641 Mary, the daughter of Charles I of Great Britain. The Dutch Wars against the Spanish continued until the end of his reign. Shortly following his death in January 1648, peace was formally declared between the two countries. With a crest bearing the motto 'Cavendo Tutus', and dimensions of the original painting lower left.
Chaloner Smith (1).II
[Ref: 10407] £650.00

[Trompe l'oeil with armour and military gallery] Alt: 25. Lat: 41, unc.
Ioann Iordans Pinxit
[Vienna, n.d., c.1728.]
Etching with engraved ornamental border printed from a separate plate; small margins; outer platemark 260 x 320mm (10 x 12½"). Laid paper. Few slight stains not visible.
Scene after Jacob Jordaens from the 'Theatrum Artis Pictoriae' (often referred to as the 'Galerie Impériale de Vienne'), a series of plates of paintings in the Imperial collection in Vienna executed by Anton Joseph Prenner (Austrian, 1683 - 1761) and published in Vienna in four parts, each of 40 plates, from 1728 to 1733.
[Ref: 33070] £260.00 (£312.00 incl.VAT)

The Satyr and Traveller.
Jordaens, Pinx.t. On Stone by F. Sexton.
London, Drawn, Printed & Published at Friedel's Lithographic Establishment, 252, Tottenham Court Road & at the Polytechnic Insitution, 308 Regent Street London. [n.d., c.1838.]
Lithograph. Printed area 370 x 440mm (14½ x 17¼"), with large margins.
A satyr chastises a peasant for blowing on his food, after he had blown on his hands to keep them warm. The satyr says ''I can no longer consider you as a friend, a fellow who with the same breath blows hot and cold". A lithographed version of 'The Satyr and the Peasant', one of several paintings by Jacob Jordaens (1593-1678) based on one of Æsop's fables . The Polytechnic Insitution opened in 1838, receiving a Royal charter in 1839; it is now the University of Westminster. Adam Friedel (1780- death date unknown) was a Danish artist, printmaker and publisher who, after serving in the Napoleonic wars, voluntarily joined the Greek army at the start of the Greek War of Independence, fashioning himself as Danish nobility. He was exposed by a real noble who proved his backstory to be a lie. After spending a year in Egypt he took refuge in London in 1824 where he opened a lithographer's shop. Between 1825 and 1826 Friedel printed and published, both in Paris and London, twenty-four lithographs with portraits of politicians and prominent military figures of the Greek War of Independence. He had drawn the portraits himself, in most cases from nature, while J. Bouvier coloured and lithographed these images. The series was a success and he was awarded for his contributions to the Greek Struggle for Independence with two decorations. For health reasons he travelled around a lot. He travelled to Smyrna and taught at a Greek school. He stayed at the Ottoman Capital during the Crimean War and painted several portraits of various politicians. In 1865 he asked for a pension for his services to Greece however little is known about what happened to him after that and his place and date of death is unknown.
[Ref: 52149] £140.00 (£168.00 incl.VAT)

[Allegory of Vanity.] Stulta, quid ad speculum fastis assumis ianes...
Iac. Iordans pinxit. [Alexander Voet.]
Engraving, fine. Plate: 280 x 345mm (11 x 13½").
Small margins.
An allegory of vanity showing a young woman combing her hair while looking in a mirror held by a jester while on the left an old man points to a skull.
[Ref: 47567] £380.00

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