Byzantine Silver Swan-Necked Ligula Spoon with Cross

Trichinopoly cord with coiled wire finials, hook-and-eye fastening. 18.3 grams, 57.2 cm



Acquired on the London art market in the late 1980s-1990s. From the family collection of an East London, UK, gentleman. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D’Amato.

The chain is a multiple 'loop-in-loop' type, a general type of necklace, especially in use in the Romano-Egyptian Jewellery of 3rd-7th century A.D. The early examples were done in Alexandria and the production lasted until the Arab conquest of 641 A.D.

A large bulbous missile with impressed chevron motifs to the shoulder, intended to be filled with explosive liquid and a wick, and used as a hand grenade. 1.51 kg, 16 cm



From an important specialist collection, London, UK, 1990s onwards. 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'. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D’Amato.

Sub-rectangular in form with raised rectangular panel to centre, cells forming X-motif inlaid with red glass(?) against a blue field, central nacre(?) roundel engraved with a perched bird with polychrome enamelled detailing; trace remains of gilding to upper and side edges; piercing to each corner. 20.6 grams, 38 mm



Acquired in London, early 1980s. Purchased in Europe before 1992. Private collection, Europe. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.11811-206495. This lot has been cleared against the Art Loss Register database, and is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D’Amato.

The small square plaque was possibly part of the decoration of an Evangeliary, such as the enamels covering the binding of Henry II's Perikopenbuch, or the Siena Evangeliary (11th-13th century). Byzantium brought the enamel and cloisonné technique to its most perfect, refined and skilful expression. Between the 10th and 11th centuries, it spread its forms in the East and West and after some infiltration in the Romanesque-Lombard sphere, precious Eastern Roman cloisonnes were found in Russian art, reaching their apex in the Roman Empire during the 10th-12th centuries, in the decoration of icons and other artworks.