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Lot Essay
Born in Kӧnigswinter in 1813, Franz Ittenbach entered the Düsseldorf Academy in 1832, where he studied under Friedrich Wilhelm Schadow. Whilst there, he befriended Karl and Andreas Müller, and Ernst Deger; with whom he painted, studied and travelled around Germany. The artist later journeyed to Italy from 1839 to 1842, before returning to Germany where he spent a period in Munich before settling in Düsseldorf.
Ittenbach, a devout Roman Catholic, was considered one of Germany’s leading religious painters in the 19th century. As a member of the Nazarene movement, Ittenbach aimed to revive religious subjects in art, gaining inspiration from late medieval and early Renaissance works.
From 1874 onwards, Ittenbach painted the subject of the Mater Christi eight times. The present lot is listed by Dr. Finke as being commissioned and painted in 1874 for Knodler, the famous New York dealer, and can therefore be considered one of the first versions of the composition. The Mater Christi’s composition is reminiscent of Raphael’s Madonna Tempi (fig. 1), reflected in the delicate colouring and traditional Christian symbolism.
This work can be identified as the version commissioned by Knoedler, which was intended to leave on the steamer “Deutschland” heading for America in late 1875. The boat was destroyed off the English coast. The artwork was considered lost until 1878, when the picture resurfaced for sale at Christie’s in London. Once recognized, the artwork was sent back to Düsseldorf, where it was identified by Ittenbach as autograph.. It is believed that the artwork had been stolen before being put on the steamer, as it had incurred no water damage.
Ittenbach, a devout Roman Catholic, was considered one of Germany’s leading religious painters in the 19th century. As a member of the Nazarene movement, Ittenbach aimed to revive religious subjects in art, gaining inspiration from late medieval and early Renaissance works.
From 1874 onwards, Ittenbach painted the subject of the Mater Christi eight times. The present lot is listed by Dr. Finke as being commissioned and painted in 1874 for Knodler, the famous New York dealer, and can therefore be considered one of the first versions of the composition. The Mater Christi’s composition is reminiscent of Raphael’s Madonna Tempi (fig. 1), reflected in the delicate colouring and traditional Christian symbolism.
This work can be identified as the version commissioned by Knoedler, which was intended to leave on the steamer “Deutschland” heading for America in late 1875. The boat was destroyed off the English coast. The artwork was considered lost until 1878, when the picture resurfaced for sale at Christie’s in London. Once recognized, the artwork was sent back to Düsseldorf, where it was identified by Ittenbach as autograph.. It is believed that the artwork had been stolen before being put on the steamer, as it had incurred no water damage.