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LOT 0789
Byzantine Redware Bread Seal
CIRCA 6TH CENTURY A.D.
4 in. (239 grams, 10.2 cm).
Bearing a central hand motif and surrounding inscription in Greek letters 'K E R A Y I O I T H I M (?)' probably the mark of the producer. [No Reserve]
ProvenanceAcquired 1990s-early 2000s.
East Anglian private collection.
Cf. Friedenberg, D.M., ‘The evolution and Uses of Jewish Byzantine Stamp Seals’ in The Journal of the Walters Art Gallery, Vol. 52/53 (1994/1995), pp.1-21, figs. 18,18b, for similar stamps.
FootnotesMuseum collections hold many stamps or seals of different forms, materials and shapes, some bearing inscriptions or images. These could have been used on bread, dough or on fresh clay to stamp amphoras, bricks, lamps and other clay objects.
CONDITIONTimeLine Auctions follows a vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: Our Vetting Process
AUCTIONS:
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Byzantine Gold Filigree Ring with Monogram Amethyst Gemstone
5th-7th century A.D.Sold for (Inc. bp): £3,380
Composed of a delicate opus interrasile hoop, cup bezel with ribbed underside, granules to the rim, inset amethyst with monogram. 5.18 grams, 28.06 mm overall, 18.23 mm internal diameter (approximate size British N, USA 6 1/2, Europe 13.72, Japan 13)
Acquired 1970s-1980s. From the property of a deceased lady collector. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.202957. -
Byzantine Ceramic 'Greek Fire' Fire Bomb or Hand Grenade
9th-11th century A.D.Sold for (Inc. bp): £234
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. -
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Byzantine Marble Column Capital
Circa 6th century A.D.Sold for (Inc. bp): £4,160
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.
