Relined. Overall lovely image with nice retention of paint surface, impastos and coloration. May be hung in its present state. There is a retouch in the curtain at mid-left and two small retouches in the curtain at right which are barely visible to the naked eye, but are not disturbing. Ultraviolet reveals these aforementioned retouches and two more tiny retouches are visible under ultraviolet at the top of the curtain. As is visible in the catalogue illustration, a crack in the paint surface runs down the chest of Venus. In a carved and gilt wood frame.
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.

The attribution to Regnault has been suggested based on comparison with a pen and ink drawing of this subject signed by Regnault offered at Sotheby's, Monaco, December 5, 1991, lot 66.  The Sleeping Venus was a frequent subject in French 18th century art and a particular favorite of François Boucher who addressed the subject several times during the mid and late 1730s, shortly after his return from Italy to Paris.  The Boucher composition of Venus Endormie sur un Lit de Repos that most closely relates to the present work is only known today through engravings, one by Michel Aubert [see Fig. 1] (with a quatrain by Lepicie beginning, "Ne cessons de craindre une belle"), and a further two by Nicholas Dufour and Petit. The engraving was clearly influential to man༺y artists since versions of this specific composition were painted by Lajoue, Huet and Fragonard.  Boucher's treatment of the subject differs from the present work in that he depicts the figure of Venus reclining on a bed with her face truned away from the viewer.  However, the pose of cupid in the present work is almost directly derived from the Boucher composition.  It is interesting to note that there is also a drawing by Boucher for the Cupid now in the Albertina, Vienna. 

1.  See Alexandre Ananoff, François Boucher,  vol I, p. 227, cat. no. 97.