Lot 56
  • 56

Studio of François Boucher

Estimate
30,000 - 40,000 USD
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Description

  • François Boucher
  • Venus Disarming Cupid
  • bears indistinct signature lower left: Boucher 
  • oil on canvas, unframed

Condition

Relined. paint surface has generally been quite well preserved with only some slight thinness in clouds at bottom and around "signature." some scuffing can be seen along bottom edge. there is a small gouge with paint loss in her blue drapery to right of her upper knee and a very small scratch in clouds at lower right. craquelure can be seen throughout, but is not too distracting. under UV: some old retouches in sky upper left and an area of retouching in sky at far right center edge. not much else shows up under ultraviolet.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Catalogue Note

The present painting repeats a composition by Boucher, signed lower right f. Boucher, which was sold along with a companion, Cupid Caressing Venus, London, Phillips, 4 July 2000, lot 77. The original works, oval in format, were commissioned by Louis XV to decorate the "appartement des bains" at the royal Château de Choisy. Boucher used the theme of Venus Disarming Cupid in a number of compositions (see for example J. Baillio (ed.), The Arts of France from François Ier to Napoléon Ier: A Centennial Celebration of Wildenstein's Presence in New York, exhibition catalogue, New York 2005-6, p. 210, fig. 78b) and as Colin Bailey has recognized, he was inspired by Watteau's picture of the same subject in the Musée Condé, Chantilly (see Baillio, op.cit, p. 195).