Italian, probably Florence, 18th century After the Antique

Overall the condition of the marble is very good with minor dirt and wear to the surface consistent with age. There is minor veining to the surface consistent with the material, particularly in the drapery at the back. There are a few small naturally occurring inclusions. There are one or two minor chips in the drapery and some chips and abrasions to the edges of the base.
"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."

This elegant statue of Venus copies a classical marble now in the Uffizi in Florence, the so-called Celestial Venus. First recorded in Bologna in 1656, the ancient statue entered Florence the following year and was much admired by contemporaries. It was compared favourably to the Venus de’Medici by some 17^th-century observers, and in the late 18^th century a cast in the Royal Academy proved successful with local audiences. Several marble replicas were made, for example the one for the Duke of Devonshire at Chatsworth, despite a decline in the statue’s reputation in Florence. This may have been due to its heavily restored state – the arms being later additions, and the head taken from a different statue – which made it difficult to determine the precise subject. The sculptor of the present version took care to adapt the original by lowering the gaze of the Venus, thereby creating a sense of coyness in the goddess’s gesture of suggestively balancing her drapery around her hips. With her delicate features and the smooth modelling of her torso, the present Venus is arguably both more appealing and more engaging than her antique predecessor.

RELATED LITERATURE
F. Haskell and N. Penny, Taste and the Antique. The Lure of Classical Sculpture 1500-1900, New Haven/London, 1981, pp. 320-321