1761 Hof - Rome 1847

1761 Hof – Rom 1847

Six Vues d’Italie avec ruins des tombeaux – Die römischen Grabmäler – The Roman Tombs 1792

the complete set of six etchings on laid paper; each ca. 158/160 x 209/218 mm (6 1/4 x 8 1/2 inches)
Andresen 46-51; Feuchtmayr figs. 363-368; Pix W 512-517

Sepolcro antico vicino a Tivoli
Inferiore del sepolcro della famiglia de Nasoni sulla strada de Terni
Sepolcro antico in Via Nomentana (watermark fragment: letters)
Sepolcro antico in Via Nevia detto Torre de Schiavi
Sepolcro antico in Via Nomentana vicino al Ponte Nomentana (watermark fragment: letters)
Avanzo d’un sepolcro in Via Nevia fuor del Porta Pia

Michael Mayr (1796–1870), Vienna and Eisenstadt, Austria;
Marianne Fájt (d. ca 1955), Eisenstadt, Austria (Lugt 1804a)
János Scholz (1903–1993), New York (Lugt 2933b); sold to
Philadelphia Museum of Art (acc. nos. 1944-73-708 to 713)
de-accessioned in 2017

When Reinhart arrived in Rome in 1789, he had the financial support of Markgrave Alexander of Ansbach-Bayreuth. After the latter’s resignation in 1791 the artist was forced to look into alternative sources of income. The sale of drawings or of the occasional painting to visiting tourists was hardly sufficient and did not provide a steady income. He therefore reached out to the Nuremberg art dealer and publisher Johann Friedrich Frauenholz in the hope for a collaboration. Frauenholz asked for a sample of the artist’s work in the form of a small set of etchings but let Reinhart choose the subject matter. This led to the creation of the present series of prints depicting six ancient tombs on the outskirts of Rome. Views such as these appealed to visiting tourists as well as collectors back in Germany and beyond. The relatively small size of the prints made them affordable and easy to take back as souvenirs at a time when the print market in Rome was still dominated by the mostly large-format prints of Giovanni Battista Piranesi, who had died in 1778 but whose plates were continuously reprinted. Yet Reinhart’s views were not only smaller in size; their views also showed the classical monuments in a far less dramatic manner and gave more space to the surrounding landscape scenery. Frauenholz was very pleased with the etchings and published them with the French title Six Vues d’Italie avec ruins des tombeaux in 1792, thereby initiating a collaboration between artist and publisher that lasted for many years to come.