JACOB JORDAENS | The standing figure of Ceres, holding a Cornucopia

Louis Maudet (d. 1956), Lyon (L.3582, now hardly visible);
Nicos Dhikeos (1896-1987), Lyon and Cyprus (L.3529);
sale, Amsterdam, Christie's, 11 November 1996, lot 27,
where purchased by the late owner

Laid down. Two brown spots, left side towards top. Other small, light stains throughout. Otherwise reasonably good overall condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Though previously described as an image of Flora, this drawing clearly represents the figure of Ceres, goddess of agriculture, with her traditional attributes of cornucopia and sickle (the latter seen here by her feet).  Though in reverse, and nude, rather than draped, the figure bears a more than passing resemblance to the image of Ceres in Jan Saenredam's 1596 print after a design by Hendrick Goltzius.¹  Joost vander Auwera already suggested that Jordaens looked at this well known print when conceiving his own early painting, Homage to Ceres, in the Prado², and it is entirely possible that the present, unpublished drawing also relates to the development of this painted composition.  The Prado painting is believed to have been executed around 1624-25, a plausible dating, stylistically, for the present drawing, as it is mainly in his early drawings that Jordaens combined black chalk and brown wash in the manner seen here.  ^1.  Hollstein 69; Jordaens and the Antique, exhib. cat., Brussels, Royal Museums of Fine Arts of Belgium, and Kassel, Museum Fridericianum, 2012-13, pp. 184-5, no. 70, reproduced
^2.  Madrid, Museo Nacional del Prado, inv. PO15470; Jordaens and the Antique, exhib. cat., op. cit., pp. 182-3, no. 69