Posts: 592
Mon 04 May, 2020 11:51 am
Dear Caleb,
I strongly doubt that this is authentic.
In your photos, the peen looks absolutely fresh. It also doesn't seem to have been made over any sort of washer or nut, which makes this at least unusual.
The finish on the hilt is too smooth. The exposed grain of very old ivory opens slightly, like wood's grain; bone does the same. See
the ivory Roman hilt in the British Museum for an example. Also, while ivory will yellow over time if it's exposed to sunlight (it stays white when protected from light), the brown color here seems too dark. This looks more like mineralized mammoth ivory, or modern ivory with a stain applied, than ancient elephant ivory. Finally, it's not clear why the guard and pommel would be ivory but the grip would be bone.
The blade has a flat triangular area where it joins the hilt, where the central ridge widens toward the blade's shoulders. No surviving Roman blade is known to have a similar feature.
The blade's profile isn't right. It looks as though the maker wanted to give it a waisted shape, but put the waist too close to the hilt. To be fair, this could be an illusion produced by loss of the edges to corrosion, with the blade intended to have straight edges.
Finally, it seems very unlikely that were it authentic you could have gotten it for a price that wouldn't make you cry (OK, it would make
me cry; you may well be more stoic about such things) if it's not. I have difficulty imagining that an original
gladius in this condition wouldn't be a famous piece, the highlight of a major museum's collection or of one of the great private collections (such as Axel Guttmann's). In either case it would have a strong provenance and a correspondingly high price.
I can't say this is actually a forgery. It's perfectly possible that this was never meant to be be anything other than a reproduction, even in its aged state; but that its history was at some point lost, leading to confusion.
I'm sorry for the unfavorable opinion, but I hope this proves helpful.
Best,
Mark Millman