Angelica Kauffman, R.A.

half length, seated holding a pen in his right hand, an extensive landscape beyond

Bregenz Vorarlberger Landesmuseum, Angelika Kauffman und ihre Zetgenossen, 1968, no. 8;
Konstanz Staedisches Museum, Angelika Kauffman/Marie Ellenreider, 1992, no.3;
Vaduz, Lichtensteinsche Stattliche Kunstsammlung, Hommage an Angelika Kauffman, 1992, np. 45;
Rome, Accademia Nazionale San Lucca, Angelika Kauffman e Roma, 1998, no. 21;
Bregenz Vorarlberger Landesmuseum, Angelika Kauffman, 2007, no. 154

B. Baumgartel, Der Raphael unter den Weibern; Leben und Wek Angelika Kauffmans und Marie Ellenreigers im Vergleich, 1992, p. 378

STRUCTURE The canvas has been lined. PAINT SURFACE The painting appears to be in good condition. There are some very minor abrasion marks at the edges of the canvas where it meets the frame. ULTRAVIOLET Examination under ultraviolet reveals minor scattered retouching overall aswell as a thin layer of discoloured varnish. FRAME Held in a 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. 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."

In this intimate and touching portrait Angelica Kauffman portrays her husband. Dressed in travelling attire, captured at a moments repose, Zucchi gestures towards a distance building of which he appears to have been making a drawing.

Zucchi was born in Venice the son of Francesco Zucchi (1692-1764) an engraver. Zucchi's uncle and brother were also artists and in 1766 he and his brother moved to London commissioned to work for Robert Adam. As well as designing the frontispiece for The Works in Architecture of Robert and James Adam, 1773, they became Adam's decorative painters. Their work still survives at Harewood House, Yorkshire, Home House, London and the decoration for Lansdowne House, now in the Philadelphia Museum of Art.

Zucchi was elected an Associate of the Royal Academy in 1770 and it was here that he became acquainted with the beautiful and talented artist Angelica Kauffman (she was one of only two women who were founder members of the Academy). On the 14th July 1781 they were married following which Zucchi took his new bride and her father to their home town of Bregenz in Switzerland where this portrait was painted. 

This portrait demonstrates Kauffman's sensitivity and skill at capturing the character of an artist and makes an interesting comparison with her earlier self-portrait c. 1775-80 (sold Sotheby's London, 14 June 2002, lot 2 £421, 500). Also captured in a moment of contemplation and holding the attributes of their trade are her portraits of fellow artists for example, Joshua Reynolds, 1767 (The National Trust, Saltram House) and Antonio Canova, c. 1795-96 (Private Collection).