With Didier Aaron, Inc., Paris, 2000 (as Etienne Jeaurat).

B. Demarest et. al., Didier Aaron: Catalogue VI, London, Paris, New York, 2000, no. 9, reproduced (as Etienne Jeaurat).

Relining is firm and stable. painting is presentable as is. there is generally very good preservation of the paint surface with nice detail throughout. ultraviolet light reveals some small retouches to torso, shoulder and arms of Venus; some retouches scattered in sky and in a few in draperies. these have been well applied and there is no need for further work. In a gilt wood frame with an elaborately carved piece at upper center in the form of a cartouche surrounded by stlyized leaves. Some nicks to gilding.
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.

Although given to Jeaurat when it was with Didier Aaron, this beautiful and delicate depiction of The Birth of Venus has been convincingly attributed to his contemporary, Jean-Baptiste Marie Pierre.  The stylistic similarities between this work and others by Pierre are striking, particularly with his Triumph of Galatea, which was with Galerie Ségoura, Paris in 2000 (see N. Lesur and O. Aaron, Jean-Baptiste Marie Pierre 1714-1789:  Premier peintre du roi, Paris 2008, p. 272, no. P.155, reproduced; reproduced in color p. 94).