Byzantine Gold Strap End with Facing Figure

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. 931 grams, 16.1 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.

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.

Tear-shaped, carved with Chi Rho monogram within a central dimpled roundel, Greek letters 'Λ - ώ' in left and right field; pierced for suspension. 24.7 grams, 70 mm



From the collection of an EU gentleman formed in the 1990s. Acquired on the UK market.