Valentin Lefèvre

Probably Lonardo or Pio Turco, Verona, last quarter of the seventeenth century;
Probably thence by family descent to Francesco Turco;
Probably thence by descent to his daughters Maria Turco, married to Antonio Carlotti (b. 1773), and Teodora Turco (d. 1807), married to Girolamo Bevilacqua (1780–1825), when divided to one branch of the family in 1808;
Prof. Publio Podio, Bologna;
Acquired by the father of the present owner;
Thence by descent.

Probably S. dalla Rosa, Inventario delli quadri della fu Galleria Turco, e successiva divisione tra gli eredi Carlotti, e Bevilacqua, MS, 15 June 1808, in the 'Camera sopra la strada': 'Venere che dorme e due satiri con amorino di Valentino Lefebre Fiammingo';
Probably E.M. Guzzo, 'Quadrerie barocche a Verona: le collezioni Turco e Gazzola', in Studi Storici Luigi Simeoni, vol. 48, 1998, p. 160;
U. Ruggeri, 'Per la fortuna di Paolo Veronese nella pittura veneziana del Seicento: nuovi dipinti di Valentin Lefèvre' in Nuovi Studi su Paolo Veronese, M. Gemin (ed.), Venice 1990, pp. 146–47, reproduced fig. 126 (in reverse);
U. Ruggeri, Valentin Lefèvre. Dipinti Disegni Incisioni, Manerba 2001, pp. 108–09, cat. no. Q.46, reproduced p. 109 (in reverse).

The canvas has been relined. The paint surface is slightly dirty. There is some minor surface wear at all four margins from contact with the frame. There is also some old discoloured varnish at the margins, visible to the naked eye. There is a 2 cm paint loss in the upper left corner. There is further retouching visible in the right hand faun beyond, Venus' lower proper right arm and in her chest. There is a horizontal join in the canvas approximately 1/3 of the way down which is visible to the naked eye. Inspection under ultra violet light reveals a thick layer of varnish. The areas of restoration which were visible to naked eye are confirmed: the majority of Venus' chest and leg and below her right leg; near the faun's elbow; and to the foreground below Venus. There is also substantial retouching to the ground on the right hand side of the painting. The work is offered in a carved and gilt wood frame in good 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."

Lefèvre's paintings, drawings and engravings were largely inspired by the great Renaissance masters of Venice, the city in which he spent most of his career. This work represents a shift in the artist's habitual focus on the work of Veronese towards Titian: the figure of Venus must surely derive from the reclining nymph in the foreground of Titian's The Andrians, probably known to Lefèvre through engravings or, as Ruggeri notes, through Padovanino's copy in Venice at that time.¹ 

Lefèvre explored the idea of this subject in two drawings,² in addition to the preparatory drawing directly related to the present composition.³ In this, the artist includes such details as Venus's bracelet but the still-life in the foreground and the placement of Venus's drapery, for example, were clearly new ideas formed in the execution of the painting. Venus also bears much resemblance to the female nudes in Lefèvre's paintings of mythological couples,⁴ and Cupid similarly reappears in his preparatory drawing for a depiction of Jupiter and Semele.⁵

1. Bergamo, Accademia Carrara, inv. no. 58AC00005; see F. Rossi, Accademia Carrara. Catalogo dei dipinti sec. XVII–XVIII, Bergamo 1989, p. 163, reproduced fig. 425.
2. Dresden, Staatliche Kunstsammlungen, Kupferstichkabinett, inv. nos C690 and 7492; see Ruggeri 2001, p. 167, cat. nos D.79 and D.80, reproduced. 
3. Dresden, Staatliche Kunstsammlungen, Kupferstichkabinett, inv. no. C7526; see Ruggeri 2001, p. 168, cat. no. D.81, reproduced.
4. Hercules and Omphale; Venus with an allegorical figure; Jupiter and Callisto; all in private collections; see Ruggeri 2001, pp. 110–11, cat. nos Q.47–Q.49, reproduced.
5. See Ruggeri 2001, p. 170, cat. no. D.88, reproduced.