| 中文版 English

具体要求

其它要求

-
关闭
THE FALCON'S NEST: A MASSIVE GOLD BOX AND COVER (0.85 KG), PROBABLY ACHAEMENID OR PARTHIAN, CIRCA
奥地利
11月21日 晚上8点 开拍 / 11月19日 下午3点 截止委托
拍品描述 翻译
550 BC-224 ADAlloy composition range: A metal analysis was carried out using a portable Oxford Instruments XMET8000 X-ray fluorescence device. The first reading, taken at the flat base, indicates an alloy composition of 91.8% gold, 5.3% silver, and 2.9% copper. A second reading, taken from a different area, shows 90.39% gold, 5.43% silver, and 4.17% copper. A third analysis, performed on another section, reveals 90.96% gold, 5.65% silver, and 3.38% copper. Copies of all three reports accompany this lot.Expert's note: The inhomogeneity of the alloy, as demonstrated by the three analyses conducted on this vessel, reflects the technological limitations inherent in ancient goldsmithing. During casting, the relatively low and inconsistent furnace temperatures would have prevented complete homogenization of the molten metal.As a result, microsegregation occurred within the alloy matrix: heavier elements such as gold solidified first, while copper and silver, with lower melting points, migrated toward the remaining liquid phase. This process led to localized enrichment of copper in certain areas, which over time underwent selective oxidation, producing visible patination.In the present vessel, one such area is clearly visible at the base, where the higher copper concentration has resulted in deeper corrosion and the formation of characteristic malachite encrustations.This metallurgical heterogeneity is typical of premodern gold alloys, which were produced by repeatedly melting naturally occurring electrum or recycled metal without precise control of temperature or composition. Modern non-destructive analyses, such as X-ray fluorescence studies, consistently reveal comparable microchemical variations, confirming that ancient gold vessels rarely exhibit the level of homogeneity expected from modern metallurgical refining techniques.The cylindrical box is encircled by openwork layers of applied branches, ingeniously arranged in several tiers to mimic the natural structure of a bird's nest. The fitted lid continues this motif, forming an actual nest in which a mother falcon tends to two young gathered around their prey, likely a goose or duck. The birds are depicted with curved beaks beneath circular eyes, finely detailed plumage across their wings, and strong, sinewy feet terminating in sharp claws. The concept—building the vessel as if constructed like a real nest—is both naturalistic and remarkably inventive.Provenance: From an old private collection in Italy. Leonardo Vigorelli, Bergamo, Italy, acquired from the above. Leonardo Vigorelli, a retired Italian art dealer and renowned collector, once specialized in African and ancient Hindu-Buddhist art. With a background in anthropology and decades of travel and field research across India, the Himalayas, Southeast Asia, and Africa, he founded the prestigious Dalton Somaré art gallery in Milan, now managed by his two sons.Condition: Very good condition overall, with expected ancient wear. Minor surface irregularities include small dents, a few nicks, tiny tears, light scratches, and traces of soil encrustation. There are also a few small losses and one localized area exhibiting deeper corrosion with associated malachite encrustations (see expert's note above for further details). Both the lid and the base show slight warping, resulting in the lid not always fitting perfectly flush with the base, depending on its position.Weight: 845 g Dimensions: Height 14.2 cmFalconry held a powerful symbolic and practical role in pre-modern Persia. From the Zoroastrian Avesta onward, falcons were tied to divine sovereignty and victory, linked with deities like Verethraghna and the sacred concept of xwarenah (royal glory). In Achaemenid and Parthian times (550 BC-224 AD), falcons appeared on coins and seals as emblems of rulership. By the Sasanian period (3rd-7th centuries AD), falconry as a sport is clearly documented. Kings wore crowns adorned with falcon imagery and employed falcons in elite hunts, as seen in silver vessels and rock reliefs. The practice symbolized the king's role as protector, just as the falcon destroyed evil creatures in Zoroastrian belief. After the Islamic conquest, falconry continued as a royal and aristocratic pastime, losing some of its religious meaning but retaining its prestige. Medieval texts and art show falcons as companions of rulers, gifts at festivals like Nowruz, and symbols of fortune and noble status. Manuals on falconry were still being produced in Iran as late as the 19th century, showing the enduring significance of the practice.Goldwork from the Oxus region is best known through the celebrated Oxus Treasure, a collection of Achaemenid-period objects dating to the 5th-4th centuries BC. These pieces, now largely in the British Museum, demonstrate that local artisans were masters in gold work, achieving remarkable refinement in shaping, casting, and decorating precious metal. The treasure includes finely crafted gold and silver vessels, jewelry set with semi-precious stones, and small figurines of animals and humans, often linked to courtly or religious life. The craftsmanship reveals a fusion of traditions: Persian imperial motifs blend with local Central Asian styles, reflecting the cultural interactions along this frontier of the Achaemenid Empire. The Oxus goldwork not only showcases technical mastery in repoussé, granulation, and filigree, but also embodies the political and religious symbolism of wealth and power in this important crossroads of the ancient world.Literature comparison:Compare a related gold vessel in form of a fish, Achaemenid 5th-4th century BC, 24.5 cm long, in the British Museum, Museum number 123917. Note the finely detailed scales that have a similar form to the plumage of the present lot's falcons.

本场其它拍品

  • 竞价阶梯
  • 快递物流
  • 拍卖规则
  • 支付方式
竞价区间 加价幅度
0
10
50
50
600
100
1,600
200
4,000
500
8,000
1,000
16,000
2,000
40,000
5,000
80,000
10,000
160,000
20,000
+

价格信息

拍品估价:40,000 - 80,000 欧元 起拍价格:40,000 欧元  买家佣金: 30.00%

拍卖公司

Galerie Zacke
地址: Sterngasse 13, 1010 Vienna, Austria
电话: 0043-1-5320452
邮编: 1070
向卖家提问

小贴士

1. 一般拍卖公司接受的付款方式有以下几种:
现金、信用卡、转账汇款、银行支票、个人支票以及PayPal支付。
使用PayPal支付时,请留意需要在账单金额的基础上额外加上 4% 的手续费。
2. 信用卡的种类有以下几种:
3. 转账汇款时请注意银行手续费
海外拍企会要求足额到账,所以请您在汇款时,选择足额到账,或在汇款金额的基础上加上汇款手续费(如25美金)。
4. 国际转账汇款时, 您需要知道海外拍卖行以下汇款信息:
* 收款人名称
* 收款人地址
* 收款人银行账号
* 收款银行国际编码(8位字母数字组合,必填项, 如: BFKKAT2K)
* 收款银行清算码(9位数字组合,选填项)
* 收款银行名称
* 收款银行地址
5. 运输相关事项
有的海外拍卖行会替您安排和协调运输, 您只需要支付相关的运费及保险费(如您需要)即可;有的海外拍卖行会推荐几家长期合作的运输公司, 这些运输公司有着良好的信誉和高质量的工作效率,您大可放心。您只需要提供您的收货地址, 竞得拍品账单。 运输公司会根据您提供的信息给您报价, 您可以在其中选择最优的报价者来承担运输任务。然后就是付款了, 信用卡是最常用的支付手段, 当然还有其他像PayPal,转账等。
6. 进口通关可能出现的关税
国际运送的包裹在进口清关过程中如需支付关税,需由包裹接受人(即买家)自行承担。 征收标准:具体征收标准和额度以海关通知和解释为准。
7. 禁拍拍品
海外拍卖会可能会出现中国法律禁止交易的物品,如枪支、管制刀具、象牙、犀角等;中国买家不得通过本平台参与上述物品的拍卖活动;任何情形下,买家均须对自己的竞拍行为独立承担责任。
服务热线:400-608-1178
查看全部小贴士