THE FALCON’S NEST: A MASSIVE GOLD BOX AND COVER (0.85 KG), PROBABLY ACHAEMENID OR PARTHIAN, CIRCA 550 BC–224 AD

Alloy 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 cm

Falconry 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 19^th 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 5^th–4^th 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 5^th-4^th 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.