歐根‧拿破侖‧諾伊羅伊特

The artist’s estate;

Sale Munich, Montmorillon, 23 July 1883;¹

Private collection;

Anonymous sale ('Property from a European Private Collection'), New York, Sotheby's, 30 January 2014, lot 74, where acquired by the present owner.

Paris, Grand Palais, Paysages d'Italie, les peintres du plein air (1780–1830), 3 April – 9 July 2001, no. 149.

T. Sharman, in Paysages d'Italie, les peintres du plein air (1780–1830), exhibition catalogue, Paris 2001, p. 245, no. 149, reproduced.

The following condition report is provided by Hamish Dewar who is an external specialist and not an employee of Sotheby's: Structural Condition The artist's board is very slightly bowed but appears entirely stable. The reverse of the board is extensively inscribed. Paint Surface The paint surface has an even varnish layer and inspection under ultra violet light shows a number of small scattered retouchings predominantly in the sky. There are more concentrated retouchings on the upper and lower horizontal framing edges and small retouchings on the left and right vertical framing edges. There are few retouchings on the details of the buildings which appear to be well preserved. Summary The painting would therefore appear to be in good and stable condition.
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."

Likely painted from the window of the artist’s lodgings in Rome, the composition depicts the towers of Santissima Trinità dei Monti at the top of the Spanish Steps and the other buildings of the quarter. Executed with a plein air adherence to the realities of light and shadow on stone and tile, and without any ideal viewpoint or central focus to the composition, this canvas demonstrates a realist tendency in Neureuther’s art that is absent from the later and more extravagant Romantic visions of Rome and its buildings and monuments that the artist painted in the 1860s as part of a decorative cycle for one of his patrons, Count Adolf Friedrich von Schack, in Munich. Here, only the hyper-saturated blue of the sky, which modulates from heavy clouds at left to clearer skies at right, hints at Neureuther’s Romantic sensibilities.

An inscription on the reverse of the present painting, written by Heinz Braune, Director of the Neue Pinakothek, Munich, in the early twentieth century, indicates that the composition was still in Neureuther’s possession at the time of his death in 1882, and was among the contents of the artist’s studio sold at auction in Munich the following year. Furthermore, Braune’s inscription dates the composition to Neureuther’s first Roman sojourn of 1836–1837. 

Both the inscription and the view itself suggest that Neureuther lived near the Church of Sant’Andrea delle Fratte. Indeed, the present canvas depicts the heart of the artists’ quarter in Rome: the via Sistina, partially depicted at left, contained many accommodations for the foreign artists who flocked to Rome during this period.

1. T. Sharman 2001, p. 244.