Angelica Kauffmann, R.A.

Theodore Hämmerle (1859–1930), Vienna, 11 November 1912;
Thence by family descent.

Vaduz, Liechtensteinische Staatlichen Kunstsammlung, Hommage an Angelika Kauffmann, June - September 1992, no. 48;
Rome, Accademia Nazionale di San Luca e L'Istituto Nazionale per la Grafica, Angelika Kauffmann e Roma, 11 September – 7 November 1998, no. 33;
Saint Petersburg, The Hermitage, Dal mito al progetto: la cultura architettonica dei maestri italiani e ticinesi nella Russia neoclassica; 5 October 2003 – 18 April 2004, no. 43;
Bregenz, Vorarlberger Landesmuseum, and Schwarzenberg, Angelika Kaufmann Museum, Angelica Kauffmann, A woman of immense talent; 14 June – 5 November 2007;
Schwarzenberg, Angelika Kaufmann Museum, Angelika Kauffmann, Wahlverwandte, 12 June – 26 October 2010;
Karlsruhe, Staatliche Kunsthalle, Die Meister-Sammlerin. Karoline Luise von Baden, 30 May - 6 September 2015, no. 211.

O. Sandner, Hommage an Angelika Kauffmann, exh. cat., Milan 1992, cat. no. 48;
O. Sandner, Angelika Kauffmann e Roma, exh. cat., Rome 1998, p. 38, cat. no. 33, reproduced;
N. Navone and L. Tedeschi, Dal mito al progetto: la cultura architettonica dei maestri italiani e ticinesi nella Russia neoclassica, vol. I, exh. cat., Mendrisio 2004, p. 158, cat. no. 43, reproduced fig. 108;
T. Natter, Angelika Kauffmann, A woman of immense talent, exh. cat., Ostfildern 2007, p. 166, reproduced p. 167, fig. 79;
P. Zudrell, in Angelika Kauffmann, Wahlverwandte, exh. cat., Hobenems 2010, p. 114;
C. Frank, in Die Meister-Sammlerin. Karoline Luise von Baden, exh. cat., Berlin 2015, pp. 420–21, cat. no. 211, reproduced in colour p. 421.

The canvas has been recently relined. The paint surface is clean. UV inspection reveals a thin although uneven layer of varnish. There is a single and very subtle retouching to the hat. Overall the picture is in excellent condition. The picture is offered in a carved ebonised 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."

This portrait of Angelica Kauffmann's close friend Johann Friedrich Reiffenstein (1719–1793) remained in her possession until her death. Kauffmann was so fond of the sitter and of his portrait that it was mentioned in her will as a bequest to her cousin and confidant Johann Kauffmann, to whom she also left an unfinished portrait of her beloved husband Anton Zucci, a portrait of her father, and her own portrait by Joshua Reynolds.

Kauffmann and Reiffenstein first met in Italy in 1762 when Kauffman executed an etched portrait of him.¹ When Kauffmann later moved permanently to Rome in 1782, she and Reiffenstein struck up a friendship. In his capacity as cicerone, Reiffenstein was the first stop for German and Russian travellers in Rome. As a part of his introduction to life in Rome, Reiffenstein would take tourists to the studios of the principle painters, including that of Kauffmann. He is known also to have acted as an art agent, handling sales and willingly sharing his knowledge. He and Kauffmann became very close, and his death in 1793 was a severe blow to her.

A drawn study for the present portrait is in the collection of the Vorarlberger Landesmuseum, Bregenz.²

1. B. Baumgärtel, Angelika Kauffmann, exh. cat., Ostfildern 1998, p. 122, cat. no. 15, reproduced.
2. Inv. no. Z389; Natter 2007, p. 166, reproduced fig. 78.