Just as with the topographical engravings of London, in his letters of 26 May 1770 (‘I hope to bring back with me some copper engravings of the sights and curiosities of Naples, similar to those I already have of Rome’) and 7 July (‘I’ve bought some more engravings for 5 ducats’), Leopold writes of engravings of Naples and Rome that he collected on his first tour of Italy with Wolfgang (December 1769-March 1771). The engravings from Rome are lost; the engravings from Naples survive (possibly incompletely) in the library of the Salzburg Museum. The original catalogue card reads: 'Copper engravings owned by the Mozarts'. A further note, in an different hand, describes: ‘A number of copper engravings that father Leopold Mozart purchased during his artistic tour in London, Brussels, Paris and Naples in 1763, as well as an English pryaer book purchased in London.’ The Brussels, Paris and Rome engravings do not survive; nor does the small prayer book. It is likely that the surviving engravings derive from the estate of Mozart’s sister, Nannerl, whose estate inventory included '28 Italian prospects with glass and frames', 2 Dutch pieces, 12 landscapes, 2 landscapes showing the Tower and Calais, 2 ditto Italian, 3 prospects of the city of London.'
 Now in the Salzburg Museum; see Rudoph Angermüller and Gabriele Ramsauer, ‘”du wirst, wenn uns Gott gesund zurückkommen läst, schöne Sachen sehen.” Veduten aus dem Nachlaß Leopold Mozarts in der Graphiksammlung des Salzburger Museums Carolino Augusteum’, Mitteilungen der Internationalen Stiftung Mozarteum 42/1-2 (1994), 1-48
 See Rudolph Angermüller, ‘Testament, Kodizill, Nachtrag und Sperrelation der Freifrau Maria Anna von Berchtold zu Sonnenburg, geb. Mozart (1751-1829)', Mozart-Jahrbuch 1986, 121.