Late Roman Iron Socketted Javelin

The cheekpieces formed as winged deer with horns and small ears, a circular opening to the body for the bar to pass through, two loops and studs to the reverse; the bar with looped circular terminals. 543 grams, 17.5 cm



Ex old English collection. London art market, pre 2000. Property of a Lonodon, UK, gentleman.

The most admirable horse bits ever created by man are undoubtedly those from Luristan, a province which extended along the valleys that make up the central part of the Zagros mountains. Worked in cast bronze with the lost wax process, they almost always had a rigid cannon in round or square bars which were flattened and rolled up around themselves at the ends, but their exceptional feature were the figural side bars. The local metalsmiths, in a period of time between 1200 and 700 B.C. managed to create an infinite number of typologies: horses, oxen, ibex, roosters and various mythological animals.

Egg-shaped with spiked sleeves or prongs, the top of the weapon with narrow edge, the sleeves with small internal tangs for mounting. 237 grams, 14 cm



Acquired 1980-2015. Ex Abelita family collection.

The 'claw mace' was an enigmatic ancient bronze weapon from the Bronze Age Near East. The hollow bulbous head was trailed by tines of varying lengths. It is believed that it was affixed over a wooden shaft and used like a club in combat, and not necessarily used as ceremonial weapon. The knife edge bulb end could have broken bones and proven to be a formidable striking weapon requiring no skill to wield. The tines would have not only been decorative, but have served to add strength below the striking end to prevent breakage. In battle, maces were often used by commanders to display rank when giving orders in battle and leading soldiers, inspiring leadership and power.

Matched pair of Samnite triangular breast and backplates, a suite of 'triple-disc' type, each with three repoussé panels with carinated rim, flat spandrel above and curved on the lower sides, with perforated edges to affix to a separate mail garment; rivetted loops to the shoulders for attachment of supporting straps, and similar lateral loops with portion of round-link chain in situ; mounted on a custom-made stand. 2.72 kg total, 40 cm high including stand



Ex Axel Guttmann collection of ancient arms and armour, Germany (1944-2001). with Hermann Historica, Munich, Germany. Ex Art Ancient, London, UK, 2019. with Sotheby’s, London, Ancient Sculpture and Works of Art, Part II, 8 December 2021, lot 155. 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 no.11941-210864.

These breastplates (kardiophylax) were a reduced version of the muscled armour (statos). Many archaeological specimens of this type were found in South Italian graves (Paestum, Alfedena), and are represented on the famous statuette of a Samnite Warrior found in Sicily (Connolly, 1981, p.108) in the Louvre and on many frescoes from Paestum, or are visible on the Campanian and Lucanian pottery, representing warriors (Christie's, 2004, no.90). The triple cuirass is well attested in archaeology, and the finds of Alfadena and Paestum show that it was mainly used by the coastal Samnites. This example is fairly representative of those in which the shoulder and side plates were attached to the front and back plates by rings and hooks. Born suggested that the upper two discs of the cuirass represented the pectoral muscles, the disc below the abdominal muscles.