A collector’s guide to ancient Greek helmets

Ancient Greek helmets are a source of fascination for many in the modern world, providing a glimpse into a vanished civilisation and its approach to warfare. Primarily, helmets were physical protection worn into battle, beginning in the Archaic period (around the 9th-7th century B.C.), often with greaves, breast-plates, back-plates and shields.

Helmets were also symbols of status, with more ornate examples worn exclusively by the elite. ‘Many buyers are looking to understand the ancient world through physical objects,’ says Hannah Solomon, head of Ancient Art and Antiquities at Christie’s in New York. Ancient helmets are one way to achieve that.

The Illyrian helmet, one of two types to appear in the early 7th century B.C., is the most common. It is recognisable by its square face-guard and pointed, non-hinged cheek-pieces, as well as the smooth dome with raised parallel ridges to which a crest made from horsehair, wood or leather would be attached by a rivet at the crown.

The other 7th-century helmet is the Corinthian, with its characteristic almond-shaped eye-holes and rounded nose-guard. ‘I think the eyes are especially beautiful,’ says Solomon. ‘It’s an immediately recognisable shape: the domed head, the slightly flaring neck guard, the elongated eye openings. Aesthetically, it’s a beautiful form with a lyrical nature.’

The Pilos helmet, a later variation that emerged during the Hellenistic period, is one of the most varied forms. Many are simple, featuring a conical dome with a recessed band along the lower edge, most likely mirroring a felt or animal-skin cap worn by herdsmen. The Pilos is a lighter helmet, with hinged cheek-pieces, and it is more versatile, allowing for greater flexibility in battle. However, certain Pilos helmets are among the most ornate in the canon, with modelled decorations and other additions.

Helmets have much to tell us about ancient craftsmanship and technological advancements in bronzemaking. What began with one or two helmet prototypes evolved to encompass a wide range of shapes and sizes, designed for increased efficiency and functionality.

This kind of development can be seen, for example, in Corinthian helmets. They originally covered the face for maximum protection, but also restricted the ability to see, hear and breathe. Gradually, the eye-holes grew larger, and the nose-guard smaller, making the helmet easier to wear. In southern Italy, the form developed into a type known as the Apulo-Corinthian. While retaining the basic form of the Corinthian helmet, this later variation was worn cap-like, on top of the warrior’s head, and was often elaborately ornamented with incised details.

The Pilos helmet also shows an evolution from the Corinthian form. As Solomon explains: ‘The nose-guard disappears and the cheek-guards are no longer made in one part with the dome that protects the head. Instead, they are attached by hinges, which increased the helmet’s flexibility.’

As technology advanced, craftsmen would create helmets from a single sheet — so they were quicker to produce, as well as offering sturdier protection for the warrior.

As with many objects on the market, condition has a major impact on the value of a helmet. ‘Some helmets are perfect, but others have evidence of what we call the “death blow”,’ says Solomon, referring to damage on the side of the dome. ‘Though there is no way to know for sure, such damage may be the result of battle.’

Importantly, however, not all damage is immediately visible. Often helmets need to be X-rayed in order to establish their condition. This can reveal cracks, areas lost, or parts that have been repaired with modern material, all of which affects the value.

Ancient Greek helmets have, by definition, been around for a long time, and often need some extra care to ensure they remain in perfect shape.

‘A stable climate is necessary for keeping the bronze healthy,’ says Solomon. ‘You need to watch out for bronze disease, which can develop with a dramatic change in humidity.’ Bronze disease is a type of corrosion that leaves a powdery green residue on the surface of the metal and, once it sets in, it can destroy a helmet if untreated.

The patina or weathering of the bronze surface varies widely depending on its burial conditions. It will be affected, for example, by the minerals in the soil and whether the climate is humid or dry.

No two patinas are the same. ‘Different patinas appeal to different tastes: some people really like a crusty, textured surface, while others prefer a smoother finish. The colours range from malachite and azurite to maroon and shades of brown,’ says Solomon. ‘Sometimes you even get a golden colour, known as a ”river patina”. In some instances, the helmets were tinned, creating a reflective silver surface. It’s up to buyers to pursue what appeals to them.’

Ancient Greek helmets can have countless decorative embellishments, from mouldings and inscriptions to raised reliefs, bringing them to life and adding to their value at auction.

A particularly striking example is a bronze Chalcidian helmet that sold for a record $1,039,500 in 2017. This piece stands out for its elaborate decoration, including finely detailed ovolo moulding below the crown, intricate palmettes and striking spirals on the cheek-guards.

The embellishments on the helmet probably indicate the warrior’s status. ‘It is clear that the finely perforated border or the raised mouldings on the dome were not a matter of function, so these would have been an aesthetic rather than functional choice,’ says Solomon. It seems likely that those with more elaborate helmets would have been of higher rank than the average warrior.

While many collectors buy ancient Greek helmets to sit alongside Greek marble torsos, Roman portrait busts, Japanese swords or European calvary parade helmets from the Middle Ages, they fit in just as well next to contemporary paintings or sculptures.

‘Some people collect helmets because they like the silhouette and think they look great next to a modern painting,’ says Solomon, adding that artists like Henry Moore, Pablo Picasso and Cy Twombly were fascinated by ancient art and culture.

‘Helmets have a minimalist quality, which makes them versatile and easy to live with, in my opinion. At the same time, they offer a human connection, especially the eyes; you can feel an affinity with them, and a link to the ancient world, without them becoming too distracting.’

For those starting to collect ancient Greek helmets, it can be hard to know which sources to trust, and what to look out for.

‘People need to feel comfortable with what they’re buying in terms of its condition, quality and the ownership history,’ says Solomon. In practice, this means buying from a reputable source and learning as much as one can about a helmet’s provenance, following its history back as far as possible.

There are several considerations that come into play when bidding on a Greek helmet, but ultimately collectors should select something that speaks to them personally.

‘If you’re starting out, buy the helmet that appeals to you,’ says Solomon. ‘I personally like a rich, crusty patina with a bright blue-green hue, but other people’s tastes will vary. Buy the best you can in terms of quality and condition, and choose a style that you enjoy.’

Antiquities is on view from 27 November to 2 December 2025 at Christie’s in London

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