Byzantine 'Greek Fire' Ceramic Fire Bomb or Hand Grenade

Blade widened at the base, ribbed, conical socket with wooden remains. 277 grams total, 43 cm including stand (lance 25.8 cm)



From the famous arms and armour collection of Axel Guttmann (1944-2001), Berlin, Germany. Ex Hermann Historica, Munich, Germany, 4 May 2011, no.1783 (lot). From a private specialist collection, London, UK. Accompanied by copies of the relevant Hermann Historica catalogue pages.

The spear finds an almost identical parallel in two spearheads from Lavello, found associated with a Corinthian helmet and a sword, as part of Burial objects, dating back to around the middle of the 6th century BC. This type of hoplite weaponry was used by individual warriors, who, in Daunia (South Italic Apulia), while adopting Greek models, fought on horseback, according to a fighting style centred on the heroic duel between leaders.

A double-edged spatha with a lentoid parallel-sided blade and pointed tip; evidence of battle nicks on both cutting edges; long tang and traces of wooden scabbard on the blade; signs of damask pattern running along the length of the blade, especially on the upper part; cleaned and conserved. 694 grams, 86.5 cm



From the private collection of a London gentleman, from his grandfather's collection formed before the early 1970s. Accompanied by an academic report by Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12919-245174.

Usually the term ‘damascened’ is only used for blades, describing the way in which their individual rods are forged to create a desired pattern effect that remained visible on the surfaces of the finished product (technique B.II.1.2.). The shape and regularity of the pattern was essentially dependent on the number and nature of the individual rods and on the skills of the blacksmith. The scholars differentiate on this basis more or less careful and complicated variants (e.g. striped, diamond, herringbone, angular, rosette, mosaic, etc.), in which the individual rods from different iron lamellae, which are parallel or twisted (torsion pattern-welding), were built up often in connection with each other (technique B.II.1.2.1-2). Combining striped rods that were partially straight and partially twisted - clockwise or counter-clockwise - allowed the formation of a very decorative blade.

Comprising a crescentic blade with two spurs at each end intended to brace against the shaft, a narrow neck, flared socket with vertical spurs and a knop finial projecting from the rear; ribbed decoration on the rear edge; one side of the blade incised with a symbol of the god sun Shamash, depicted as a four-pointed star with wavy rays alternating with straight rays, a winged solar disc inside. 294 grams, 12.7 cm



UK private collection before 2000. Acquired on the UK art market. Private collection, London, UK. Accompanied by an academic report by Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.13043-248308.

This specific type of weapon is called an ‘anchor’ axe because of its shape. Anchor axes have been excavated in Egypt, at Byblos and Ur. Many of them have been said to come from Iran as well, especially from the area of Gilan. The present specimen, in which the shaft hole is joined to the blade by the central tang, is of the same specific type as that excavated in Ur. According to Calmeyer, these axes developed in Mesopotamia. Moorey further explains that the large numbers of these axes reported from Iran could derive from Mesopotamian imports. The Mesopotamian origin of our axe could be further confirmed by the incised motif on the blade, the symbol of the sun god Shamash. The ‘star of Shamash’, typically represented as a four-pointed star with wavy lines placed between the points, is attested as early as the period of Sargon of Accad, who dominated Mesopotamia in 2200 B.C. This symbol can be visible on various Mesopotamian artworks, like the ‘Kudurru’ of Ritti-Marduk at the British Museum; however, dated to 1125-1104 B.C. Another representation is visible on the Tablet of Shamash at the BM, dated 800 B.C. It is also possible, therefore, that the symbol of Shamash was incised on the axe in a later period, but not later than 800 B.C.