Attributed to Antonio Zucchi

New York, Colnaghi, 7-30 May 1998; and London, Colnaghi, 10 June-11 July 1998, no. 25 (as Angelica Kauffmann).

Old Master Paintings, exhibition catalogue, New York/London, Colnaghi, 1998, cat. no. 25, reproduced in colour (as Angelica Kauffmann and as a set of three);
B. Baumgärtel, Angelika Kauffmann, exhibition catalogue, 1998, p. 180 (as attributed to Zucchi).

The canvas support is stable and there are no apparent damages to the paper. The paint surface is in very good condition overall, with restoration limited to the sky (and here only in the shape of sporadic retouchings, e.g. to the area immediately around the leftmost figure's head and in the sky above the harpist). The paint in the sky seems to have been applied thinly, in any case. The painting has been relatively recently cleaned and varnished and is ready to hang. This lot is offered in a 19th-century gilt 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."

The painting originally formed part of a decorative series with at least two other works of similar format: The Judgement of Paris and Cupid leading Paris to Helen. When the painting was at Colnaghi's a tentative connection was made with Kauffmann's project at Hare Hall.¹  These paintings were once attributed to Angelica Kauffmann, an attribution endorsed by Dr. Wendy Wassyng Roworth after recent inspection of this painting in the original. Dr. Bettina Baumgärtel after seeing all three paintings in the original, believed them to be closer to Kauffmann's husband, Antonio Zucchi.² Alastair Laing, who recently saw this work in the original, is also inclined to attribute the painting to Zucchi.

1. W. Angus, The Seats of the Nobility and Gentry..., London 1787-1815. 
2. See Baumgärtel, under Literature, p. 181, figs. 112 and 113 as 'Attributed to Antonio Zucchi'.