Drum
ca. 1670-1720 (made)
| Artist/Maker | |
| Place of origin |
This oval tankard sleeve depicts a battle between male and a female mythological sea creatures. The style is reminiscent of David Heschler, and the drum may have been carved in South Germany, perhaps Ulm, by an artist in Heschler's circle.
Heschler's early works were large-scale altarpieces, executed with his father Sigmund Heschler (1548-after 1658). But he is more renowned for his smaller sculptures in wood and ivory. These figure groups and reliefs recall Georg Petel and South Netherlandish prototypes, as well as Giambologna and his followers, in their twisting poses and dramatic compositions. He also seems to have provided models for bronzes.
Heschler's early works were large-scale altarpieces, executed with his father Sigmund Heschler (1548-after 1658). But he is more renowned for his smaller sculptures in wood and ivory. These figure groups and reliefs recall Georg Petel and South Netherlandish prototypes, as well as Giambologna and his followers, in their twisting poses and dramatic compositions. He also seems to have provided models for bronzes.
Object details
| Categories | |
| Object type | |
| Materials and techniques | Ivory |
| Brief description | Drum for a tankard, ivory, Neptune and mythological sea figures, circle of David Heschler, South Germany (perhaps Ulm), ca. 1670-1720 |
| Physical description | This oval tankard sleeve depicts a battle between male and female mythological sea creatures; Neptune with his trident can be seen behind them. |
| Dimensions |
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| Object history | Given by Dr. W. L. Hildburgh, F. S. A., in 1953. |
| Subjects depicted | |
| Summary | This oval tankard sleeve depicts a battle between male and a female mythological sea creatures. The style is reminiscent of David Heschler, and the drum may have been carved in South Germany, perhaps Ulm, by an artist in Heschler's circle. Heschler's early works were large-scale altarpieces, executed with his father Sigmund Heschler (1548-after 1658). But he is more renowned for his smaller sculptures in wood and ivory. These figure groups and reliefs recall Georg Petel and South Netherlandish prototypes, as well as Giambologna and his followers, in their twisting poses and dramatic compositions. He also seems to have provided models for bronzes. |
| Bibliographic reference | Trusted, Marjorie, Baroque & Later Ivories, Victoria & Albert Museum, London, 2013, cat. no. 21 |
| Collection | |
| Accession number | A.34-1953 |
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| Record created | June 24, 2009 |
| Record URL |
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