Byzantine Gold Filigree Amulet Holder

Rectangular in plan with ornament to all four faces; Side A: facing bust in a stepped square recess, with band of textured short hair, broad face with fleshy features, below this a severe undercut with median D-section column supporting the frame formed as openwork vine-leaves with couchant stag and fawn flanked by two panels of flowering creepers; Side B: facing female bust with band of straight hair, some remains of raised border, deep recessed vertical slot below; Side C: upper panel largely absent, undercut with D-section column of vine-leaves and bunch of grapes flanked by scrollwork; Side D: facing female bust with band of straight hair, remains of fluted border to one side, deep recessed vertical slot below; upper face with one large drilled socket and two smaller; mounted on a custom-made stand. 72.7 kg total, 58.5 cm high including stand



Ex UK art market. Acquired London in 2009. Ex central London gallery. Accompanied by an academic report by Prof. Neritan Ceka. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.202057.

The treatment of the hair on portraits with the hair combed straight and raised on the forehead, covering the ears, refers to the portraits of sculptures, mosaics, coins, or ivory plaques of Justinian period (527-568 A.D.) and namely to the portrait of Byzantine Empress Theodora (500-548 A.D.) in the Musei del Castello Sforzesco, Milan, Italy. The decorative sculpture of that period was relatively limited in the presentation of human portraits and our object takes on a special meaning in the framework of the anthropomorphic art of the early Byzantine period.

Comprising two narrow hinged plates and articulated suspension loop with two vertical ribs; obverse with Jesus on the cross, dressed in a long robe with standing Virgin and Saint John on his side, Greek inscription 'ἴδε ὁ υἱός σου.Ἰδοὺ ἡ μήτηρ σου' (John 19:27-28: 'Here is your son. Here is your mother') under the arms; titulum, the sun and the moon above; on the tabula ansata of the titulum a Greek inscription 'Χ fur XΡΙΣΤΟΣ'; reverse with Theotokos (Mother of God) in orans pose and the four busts of the evangelists, at the four arms of the cross. 82 grams, 83 mm



Acquired on the German art market around 2000. From the collection of Surrey, UK, gentleman.

This enkolpion is a beautiful example of the type of pendant cross widespread in the 11th-12th centuries. Many variants of enkolpia reflected the new artistic fashions in vogue at Byzantium, influenced by the political and artistic vigour of the Macedonian dynasty. This enkolpion corresponds to type I of the Pitarakis classification.

Of piriform shape, with raised inverted tear-shaped bulbs over the body; intended to be filled with explosive liquid and wick, used as a hand grenade. 824 grams, 15.5 cm



Acquired 1990s-early 2000s. East Anglian private collection. Accompanied by an academic paper by military specialist Dr Raffaele D'Amato, dated 15 July 2019 and titled 'Eastern Roman Empire - Greek Fire Bomb or Hand Grenade (μεσαίον kακάβιον) 9th-11th century AD'.

Apart from the use of siphons or manual flame-throwers called cheirosiphona, special corps of Roman soldiers employed terracotta grenades, in the form of small jars, abundantly evidenced in archaeological excavations. Such were the γανωτα, vessels (sometimes also of bronze) used for Greek fire. They were called μεσαία kακαβιά or κυτροκακάβια where the former had a bulbous shape and the latter a more cylindrical form.