German, early 17th century

Hercules with lion's mask on his head, mounted on circular bronze base cast with a mouse and a snake on grassy mound

Christies London 7th July 1987 lot 169

Overall condition good with wear consistent with age. Hercules' left hand has been repaired at the wrist . The little finger and third finger appear to have been restored at the junction with Cacus' right hand- alternatively this is a casting flaw. Black laquer worn in parts as is visible in the catalogue photograph . Overall condition good.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The twisting movement of this two figure group clearly reflects the inspiration of Giambologna and ultimately the Hercules from Michelangelo's model of Samson and the Philistine. Indeed the figure of Cacus is taken directly from the figure of the male philistine at the foot of Giambologna's Rape of the Philistine while the figure of Hercules is an adaptation of his figure of Samson from the marble Samson slaying a Philistine now in the Victoria and Albert Museum.  This rendition of  the struggle between Hercules and Cacus closely follows the same model as that in the ivory group of the same subject  by David Heschler, signed with his monogram and dating to circa 1645 in the Staatliches Museum Schwerin illustrated by Philippovich and Möller.  The ivory differs only in that Hercules does not wear a lion's mask headdress and is partially draped but again an almost circular base cast with foliage is present.

A similar base to that of the present cast is in the Royal Collection supporting a bronze of Hercules and Antaeus (inv. no. 21929).

RELATED LITERATURE 
E.Philippovich, Elfenbein, Munich, 1982, fig 155; C.Theuerkauff, " A note on the Ulm Sculptor, David Heschler," in Apollo, October 1967, pp.228-9, fig.2; K.A.Möller, Elfenbein, Kunstwerke des barock, Staatliche Museum Schwerin, 2001,no 17, pp.59-61