Byzantine 'Greek Fire' Ceramic Fire Bomb or Hand Grenade

Flat hoop with beaded wire borders and braided filigree ornament; discoid box bezel with seed pearls on a wire to the outer edge; upper face a (modern) cloisonné enamel panel depicting Mary in orans posture. 6.37 grams, 23.84 mm overall, 18.95 mm internal diameter (approximate size British R, USA 8 1/2, Europe 18 3/4, Japan 18)



From a collection formed in Antwerp, Belgium. Acquired in France in the early 2000s. Accompanied by a copy of a previous illustrated catalogue information page.

With a short shank and oblate pierced finial, hexafoil base; to the underside a reversed legend 'ANAL[Γ} / ΦOΔ[D]O / ***'. 12.3 grams, 19 mm



Acquired on the London, UK, art market in the 1990s. From a gentleman's private collection.

The seal was probably used for stamping bread in a church. Usually these stamps had two parts: a flat surface with inscriptions or geometric shapes, and a handle. The inscription is an enigma: the upper part can be read [Aθ]ANA[TOC] = Immortal and (if we accept the L like an inversed Γ (gamma) [A]Γ[ΙΟϹ] i.e. Saint = Saint Immortal, one of the three invocation to God (Saint God, Saint Mighty, Saint Immortal). However, the second row of letters is in Greek and Latin (φο-do) if we accept the letter D as a transliteration of the Greek letter Delta.

Flat-section ring with nine round holes and attachment fittings for three substantial chains with suspension hook, forming a polycandelon chandelier with multiple candles. 1.52 kg, 68 cm hanging height



Ex Surrey, UK, collection of a gentleman, 1960-2000s. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12111-217545.

In 563 AD, Paul the Silentiary visited Hagia Sophia in Constantinople and described the wondrous lighting effects, ‘Thus is everything clothed in beauty…no words are sufficient to describe the illumination in the evening: you might say that some nocturnal sun filled the majestic church with light.’ The church was lit by polycandela, an early type of candelabra that held glass oil lamps rather than candles. The lamps were either conical or shaped like round bowls with an elongated stem attached beneath. An effective and very atmospheric source of lighting, polycandela required considerable skill in casting and glasswork. Amidst the burning of incense and the chanting of prayers, the flickering light must have helped to inspire pious devotion. Contemporaries certainly attest to this feeling and among the surviving accounts, that of Arculf, Bishop of Gaul, is particularly affecting. In 670 he went on a pilgrimage to Jerusalem and visited the Church of the Ascension, ‘…to the customary light of the eight lamps…on the night of the feast of the Lord’s Ascension it is usual to add innumerable other lamps; and under the terrible and wondrous gleaming of these, pouring out copiously through the shutters of the windows, all Mount Olivet seems not alone to be illuminated, but even to be on fire, and the whole city, situated on the lower ground nearby, seems to be lit up.’