(Vienna 1793–1875)
The Imperial and Royal Steamboat Marianna in a Storm in the Black Sea, signed Tom. Ender, oil on canvas, 42 x 59 cm, framed

Provenance:
Dorotheum Vienna, 19 October 1939, lot 387;
Private Collection Germany;
Bassenge Gallery, 25 November 2011, lot 6100;
Dorotheum Vienna, 16 October 2012, lot 192;
Private Collection Austria.

Listed in:
Friedrich von Boetticher, Malerwerke des Neunzehnten Jahrhunderts,
Hofheim am Taunus 1979, vol. I., 1, p. 284, no. 45.

A copy of a certificate issued by Dr. Gerbert Frodl, July 2012, is available.

Dr. Gerbert Frodl writes in his letter of authentication: “Thomas Ender (1793–1875), distinguished landscape painter to the court of Archduke Johann (a brother of Emperor Franz I), was part of the Archduke’s entourage on his official journey to southern Russia, Constantinople and Greece. His task was to record the most important points and impressions of this visit in the form of watercolours and drawings. The ship “Marianne” was the travellers’ means of transport; launched in 1836, it was the Austrian navy’s first steamer. In the work here the painter depicts the dangerous, dramatic situation which he himself experienced as a passenger on the ship whilst on its way to Constantinople with the Archduke on 3 October 1837. (Boetticher dates it 4 October). The ship was caught in a severe storm and can be seen struggling in the angry sea. The shape of shore at the left hand edge of the painting suggests that the event took place at the entrance to the Bosphorus. This type of illustration is unusual for the landscape painter Ender, although the drama of the event - certainly intensified by the presence of Archduke Johann on board - was sufficient reason to portray this scene in all its horror. The picture was probably executed during the winter of 1837/1838, immediately after his return from the long journey. (...) Walter Koschatzky’s book contains several watercolour illustrations which Ender had painted on board the “Marianne” in calm weather, and which he was able to use for the composition of this painting. Amongst them is a small sheet of paper with a view of a diminishing storm at the entrance to the Bosphorus. Koschatzky’s book also publishes a watercolour (ill. 90) which depicts the same scene with the same composition as the oil painting, although by another hand and probably based on Thomas Ender’s work.”