Height: 27 1/2" (70 cm); Width: 5" (12.5 cm).

Each engraved image highlighted with watercolors, depicting classical friezes of allegories from mythology.

The Austrian painter Anton von Maron (1733-1808) was a pupil of the Akademie der bildenden Künste in Vienna before relocating to Rome in 1755. He studied in the workshop of Anton Raphael Mengs as pupil and assistant from 1756-1761, and quickly became one of his favorite students. Maron later married Mengs’ sister Therese Concordia, an artist in her own right, in 1765. He became a member of the Accademia di San Luca in 1766 and was appointed director in 1784, remaining in Rome for the rest of his life.

In 1761 Mengs left Rome to become court painter to Charles III of Spain, and Von Maron gained numerous commissions which would otherwise have gone to his teacher. By the end of the decade Maron established his reputation as a portrait painter, catering to the demands of the Grand Tourists, particularly English nobility, passing through Rome. Sir William and Lady Hamilton are known to have sat for portraits by Maron, and Robert Grimston of Neswick Hall, Yorkshire, wrote home to his guardian on an extended Grand Tour that he sat for a full-length portrait “to the best painter here and who is now reckond [sic] as good a painter as any in Europe.”1 Most paintings presented full-length, life-size portraits of their sitters in fashionable dress, against backgrounds of classical sculpture and views of Rome. After executing portraits for the Tuscan branch of the Habsburg family, Maron was engaged by the Archduchess Maria Theresa of Austria for a series of portraits, including her first as a widow and that of her son Joseph II, Holy Roman Emperor. Other notable sitters included Leopold Friedrich Franz, Duke of Anhald, Sir Robert Clive, and Johann Joachim Winckelmann.

Full research report available on request.

Full research report available on request.