bronze with high pewter content ; length 95mm. ; weight 27,73

This is a fibula from the Penkovka culture. The Penkovka culture is an archaeological culture in Ukraine, Moldova and reaching into Romania. Its western boundary is usually taken to at the middle Prut and Dniester rivers, where contact with the Korchak culture occurs. Its bearers are commonly identified as the Antes people of 6th-century Byzantine historiography.

It is considered that the metalwork betrays a variety of influences, especially the world of the steppe nomad which in turn showed Caucasian, Byzantine, and Sassanian inspiration. Yet other elements showed affinities with the ′Balto-Slavic′ world of the forests of Eastern Europe. Kazanski concluded it has eastern Germanic (Goths, Gepids, Lombards), Byzantine, steppe nomadic and forest zone roots and influences. He also noted that the Byzantine military influences are lacking among steppe nomads, neither the Turkic nomands wore brooches between the 5th-7th century. Penkovka culture′s fall, and deposition of Martynivka type hoards, is considered to be related to the invasion of the steppe nomads, the Bulgars and Khazars, who probably acted on the behest of the Byzantine Empire. Its disappearance can be archaeologically dated around the second-half of the 7th century.

A very rare and highly interesting large size fibula from the dark ages.

provenance; Ukranian collection, acquired from
the Russian art market in the 1970 and 1980′s

The iron pin is missing, otherwise intact.

circa 82 x 31mm. ; weight 42,92gr. ; bronze 

On the front a rich decoration with a yet unexplained symbolism. This decoration shows a strong affinity with decorations on Frankish art objects. Two loops at the top and three on the back.

Like the belt itself, the earliest known buckles date back to ancient times, around 2000 BC, with early examples found in regions like China and ancient Mesopotamia. These early buckles were crafted from Bronze and were essential items for soldiers, helping to secure clothing and carry weapons. The designs were simple yet functional, reflecting the utilitarian needs of the period.

As civilizations progressed, so did the design and significance of belt buckles. By the era of our good friends, the Romans, belt buckles had become more ornate, often depicting scenes from mythology or showcasing the wealth and status of the wearer. The Romans also improved the functionality of buckles by introducing new designs that provided better security and ease of use.

Belt buckles were in use in the Byzantine Empire by the 5th century, when the Roman toga began to be replaced by trousers as part of the cultural influence of the northern migratory peoples. During the Middle Ages, belt buckles became larger and more decorative. They were often crafted from precious metals and adorned with jewels, reflecting the social status of the wearer. With a revival in art and culture, buckles displayed intricate designs and craftsmanship. This period also saw the rise of heraldic designs, with buckles displaying family crests and other symbolic imagery.

Highly interesting object.
One loop on the back is slightly broken off, otherwise intact.

weight 103,78gr. ;  Ø circa 10,6cm.

Bronze openwork disc with an eagle with spread wings between two small birds, probably ducks. The eagle has a snake in its beak. Very richly decorated with fine details. Three original mounting holes in the rim. This object may have served as furniture decoration. This object was found in the Danube area in central Europe and was probably made by one of the migratory peoples, most likely the Visigoths, who moved from eastern Europe to southwestern Europe. Depictions of eagles and birds were very common in pre-Romanesque Visigothic art. Highly interesting and important object and very rare.

Provenance; from a German private collection, acquired from the German art marked in the 1970′s

dark green patina
intact

height 64mm. ; width48mm. ; weight 38,57gr.

A bronze pendant cross with a suspension loop attached to the top.

provenance: from a private Dutch collection

intakt with dark patina

black glass ; weight 5,64gr. ; Ø ca. 27mm.

On the obverse a stamped Islamic legend in 3 lines

Glass weight are, almost without exception, coin weights. While some bear busts and inscriptions, by far the majority bear only monograms or text inscriptions. They were widely used in the 6th and 12th centuries in the Byzantine and Islamic world.

The colour of the glass used is, not surprisingly, the same colour as that used in glass vessels. The basic colours are therefore: blue, blue-green, green, black and colourless. The survivability rate of glass weights must have been quite low due to their fragility, and attractive pieces such as this one are, as a result, quite rare.

provenance: Dutch private collection. Acquired on the Dutch art market in the 1990′s.

Bibliography: cf. Miles 1951a ; cf. Morton 1985 ; cf. Bates 1993, 1981; cf. Balog 1981.

a very rare glass coin weight in an excellent condition
intact

weight 12,45gr. ; bronze circa Ø 20mm. (inner size) 

Solid bronze ring. Bezel engraved with unidentified design.

provenance; found in Anatolia. From a private German collection.

Dark patina. Very attractive
intact

height ca.50mm. ; width ca. 47mm. ; gilt silver 12,04gr and 11,48gr.

A pair of Byzantine silver gilt earrings, each with three open-work spheres
enhanced with filigree decorations. Originally the spheres were also decorated
with inlaid stones or glass paste, but these are now missing

provenance: from an old Belgian private collection.
Acquired on the Belgian art market in the 1980′s

An interesting pair of Byzantine jewelry.

cup size; height36mm. ; width 60mm. ; weight 95,78gr.

This cup includes 1 round weight, 8 square weights and 2 polyhedronic
weights varying from 1,40 to 29,63gram. The largest and heaviest weight
of 29,63 gram is a 1 uncia or 10 dirhems weight (see Hendin 413)

Uncleaned with earthen deposits and dark patina.
Intact

weight 4,26gr. ; silver circa Ø 20mm. (inner size)

Oval bezel engraved with hart-shaped floral design.

provenance; found in east Anatolia. From a Belgian private collection.

Acquired on the Belgian art-market in the 1970′s.
intact

height 55mm. ; lead ; 51,24gr.

This example has ribbing on the obverse and a round medaillon
with W on the reverse. Two ringlets / lug-handles at the sides.

This ″flask and shell-shaped″ lead-aloy ampulla pilgrim badge refers to Saint James (Pecten Jacobaeus). Abandoning one′s daily life to go on pilgrimage to a shrine of a saint was an act of religious devotion performed by a substantial number of medieval Christians. One of the most popular souvenirs were ampullae, small vessels containing oil or water sanctified at a pilgrimage shrine. These souvenirs often were mass-produced casts in lead or its alloys. Many of these ampullae are said to be ″shell-shaped″, assuming the shape and treatment referred in the medieval mind to the scallop, the symbol initially of one of the greatest medieval pilgrimages, to Santiago de Compostela in northwest Spain, and eventually of pilgrimage generally. The ″shell-shaped″ ampullae exhibit a wide range of styles and features.

literature; Kenyon College (Gambier, Ohio, U.S.A.), Journal of Medieval Art and Architecture, Ampullae, re-imbured: a formal analysis of medieval ″shell-shaped″ lead-alloy pilgrim ampullae by Greg Campbell.
provenance; a Dutch private collection
Rare and very interesting object of medieval Christianity.
intact

silver ; weight 14,84gr. ; Ø ca. 43mm.

Silver pendant with fine decoration on the bottom and three
loops from which other (missing) decorations hung.

Found in the Eastern Danube region (Bulgaria).

provenance: from an old German private collection.
Acquired on the German art market in the 1980′s

decorations from loops missing, otherwise intact

length 51,5cm. ; wide 25/35mm. ; weight 27,48gr.
These type of combs were used in the textile production, for making yarn

provenance; found in the Netherlands in the medieval city of Dordrecht.

literature; J.Baart, opgravingen in Amsterdam, page 131, no.109
In most cases we see only fragments of these type of combs because they are
very vurnerable. This specimen is in a wonderful condition. Rare this nice.
intact

messing Ø 26mm. ; weight Ø 15,47gr.

Saint Barbara standing left, holding martyr-palm in right hand and with
tower building in front. Unidentified text around.

Saint Barbara was born in the third century in Nicomedia, today′s Izmir, Turkey. Died in 306 AD in Nicomedia. Patron Saint protecting against a sudden and unexpected death, patroness of miners, stone cutters, artillerymen, firefighters, bell-founders, blacksmiths and further branches of human activities.

St. Barbara′s curriculum is completely covered with legends. They say that the girl lived in the end of the third century as a daughter of wealthy Dioscuros in Nicomedia, today′s Izmir, Turkey. It was the time of the prosecution of Christians by the Roman emperors Diocletian and Maximian. Barbara′s exceptional beauty was admired everywhere, as well as her scholarship and bright intelligence. The richest and most handsome boys of the town sued for beautiful daughter from the pagan house, but she felt, that there must be something else in the life, so far uncovered to her, and refused every man.

Again and again left Barbara for the group of Christians living hidden, in permanent fear of Emperor′s persecutors. In the course of long talks the young girl tried to understand the faith and teaching of those people and more and more she became convinced that her further way of life is shown here. Barbara′s Father Dioscuros, Christians′ fanatic enemy, became aware of the change with his daughter and decided to prevent his daughter from contacts with Christians. He had a tower built at his house to put Barbara there. When he returned from a short journey he could see that Barbara had directed the bricklayers to brick in three windows into the tower instead of two windows, planned by him. Wild with rage, Dioscuros asked his daughter about the meaning of that change and Barbara answered him it was a symbol of the Holy Trinity. When Barbara told him that in the meantime he had been away she adopted Holy Baptism in secret, Dioscuros flared up with anger. He stepped to her wanting to beat her, but suddenly a crack opened in the earth and hid the girl. Then Dioscuros dragged his daughter to the Prefect, a wrathful persecutor of Christians. The Prefect had Barbara scourged, beaten with clubs, burned with torches and cut her breasts away. When the Prefect learned that he reached nothing through that torture, he ordered that Barbara be beheaded. Dioscuros carried out that execution over his daughter with his own hands. No sooner had Dioscuros laid down the killing tool when he himself was struck with lightning and killed.

Saint Barbara became the Patron Saint in the end of the Middle Ages; the patronage relates to the legend, that a rock suddenly opened rendering a cover for Barbara on her run from her Father. There is also a song among the miners devoted to Barbara ″Song to St. Barbara″. To avoid disaster and death in mines, the miners light the ″Barbara′s Light″.

Since the fourteenth century Saint Barbara has belonged among the most popular and presented Saints. Also in the Netherlands Saint Barbara was worshiped. The feast of Saint Barbara falls on December 4th.

provenance; found in Netherlands in Leiden with a metal detector, mid 1980′s 

Highly interesting and rare.
intakt