Luristan Bronze Arrowhead

From the right side of the face mask, the upper edge with an embossed band of diagonal lines, Jupiter’s eagle embossed to the centre, looking back and holding a laurel crown in its beak; a hole for the fastening thongs at ear-level. 87 grams, 19.7 cm



Acquired 1960s-1990s. Late Alison Barker collection, a retired London barrister.

The decoration of Roman weaponry contained themes that were directly associated with state propaganda, as well as with the Imperial cult. As the god-protector of the state and the army, Jupiter was the most esteemed. The combination of an eagle (helmet), Minerva and bust of Mars (armour) can also be understood as an image of dii militares.

From the right side of the face mask, the upper edge with a band of embossed diagonal lines, probably intending to represent stylised hair, embossed spiral to the centre, a symbol clearly connected with the worship of the sun; a hole for the fastening thongs at ear-level which originally linked the face-guard to the bowl. 75 grams, 13 cm high



Acquired 1960s-1990s. Late Alison Barker collection, a retired London barrister.

The spiral decoration of the face-guard is connected with the solar cult. The spiral represents the rotary movement of the sun, and the spiral is probably the oldest known spiritual symbol connected with the sun, together with the swastika or tetragammadion. The connection can also be seen in Celtic art, where the representation of the spiral also follows the path of the sun, describing the movements of the heavenly body over the course of a solar year. The third century was characterised by diffusion of the solar cult, the Sol Invictus, among the Roman soldiers, with its symbols often represented on arms and weapons as an apotropaic element of protection.

Displaying a corrugated rim above and below; two advancing soldiers, each striding forwards over the headless body of a dead enemy, carrying a severed head in each hand; the soldiers shown bearded and each wearing a pointed and segmented helmet with a recess to accommodate the ears, a cuirass and thigh-length tunic, with a bow over one shoulder and a sword slung from a waist belt; mounted on a custom-made display stand. 72 grams, 10.8 cm wide (277 grams total, 11 cm high including stand)



Ex S. Moussieff collection, London, UK. Acquired from C.J. Martin (Coins) Ltd. 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.203209.

Battle-scenes - and especially images where the Assyrians overrun their enemies and achieve outright victory - appear to make up a large part of 'official' art of the period. Subjecting a defeated foe to torture and death is the theme of much of the wall-decoration of the palace of Nineveh. A battle-scene depicting the siege of a walled city shows similarly equipped infantrymen; it is in the Metropolitan Museum of Art, New York, under accession no.55.121.4a, b.