THE PROPERTY OF THE HEIRS OF DR WILHELM MAUTNER
Franz Timmerman
THE BEHEADING OF SAINT JOHN THE BAPTIST
Details & Cataloguing
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Franz Timmerman
ACTIVE IN HAMBURG CIRCA 1540
THE BEHEADING OF SAINT JOHN THE BAPTIST
signed with initials and dated lower left: 1534. FT. and inscribed lower left: AVDENT PR...CL...P.. CV DICEREIVRA TYRANNIS/ INTERRIS SAN... PRAMIA TANTA FERVNT./ SEDTAMEN IN COELOMERCES PERMAGNA REPOSTAES./ ILLIS QVAM TANDEM TV PIE CHRISTE DABIS.
oil on pinewood panel
48.6 by 35.6 cm.; 19 1/8 by 14 in.
Leer informe de condiciones
Leer informe de condiciones
oil on pinewood panel
48.6 by 35.6 cm.; 19 1/8 by 14 in.
Procedencia
Anonymous sale, Lempertz, Cologne, 14 May 1926, lot 196;
With C. van der Feer Ladèr, Baarn;
Dr. Wilhelm Mautner (1889-1944), Amsterdam;
Erhard Göpel, acquired from the above for Adolf Hitler's "Sonderauftrag Linz" (inv. no. 2996) in July 1943 for hfl. 24.000;
Recovered by the Allied forces and deposited with the Munich Central Collecting Point (inv. no. 3727) in 1945;
Returned to the custody of the Stichting Nederlandsch Kunstbezit, Holland in 1946 (inv. no. NK1655);
On loan to the Bonnefantenmuseum, Maastricht;
Restituted to the heirs of Dr. Wilhelm Mautner in 2010.
With C. van der Feer Ladèr, Baarn;
Dr. Wilhelm Mautner (1889-1944), Amsterdam;
Erhard Göpel, acquired from the above for Adolf Hitler's "Sonderauftrag Linz" (inv. no. 2996) in July 1943 for hfl. 24.000;
Recovered by the Allied forces and deposited with the Munich Central Collecting Point (inv. no. 3727) in 1945;
Returned to the custody of the Stichting Nederlandsch Kunstbezit, Holland in 1946 (inv. no. NK1655);
On loan to the Bonnefantenmuseum, Maastricht;
Restituted to the heirs of Dr. Wilhelm Mautner in 2010.
Documentación
Rijksdienst Beeldende Kunst, Old Master Paintings, An Illustrated Summary Catalogue, The Hague 1992, p. 290, no. 2556
Nota del catálogo
This is an exceptionally rare signed work by Franz Timmerman and indeed would appear to be his earliest dated painting. In its style and figure types it is dependent on the work of Lucas Cranach the Elder and is proof of his knowledge of Cranach’s paintings prior to his spending the period 1538-41 in the great master’s workshop in Wittenberg. Timmerman may have had in mind Cranach's own depiction of the subject from nearly twenty years earlier, one of a pair of panels painted in 1515 for Stanislav Thurza, Bishop of Olmutz, and now in the Archiepiscopal Palace in Kromeritz. Timmerman had been sent to Wittenberg by the city council of his native Hamburg and was recalled by them, at their expense, sometime in 1541 or soon after, and certainly no later than 1543 when he was officially appointed Painter to the Hamburg City Council.
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