A relief depicting the upper half of the Nile divinity facing right, sporting a slender beard with curved end, wearing a tripartite wig surmounted by a floral crown in the form of a clump of papyrus with bent buds, and an elaborate multi-strand beaded broad collar; the pendulous breast characteristic of this type of figure; with both upper arms angled right towards traces of a libation vase and possible stem of a lotus flower; traces of a vertical register line behind the figure’s head; mounted on a custom-made display stand. 10.85 kg total, 38.5 cm high including stand

From the estate of the late designer Anthony Powell (1935-2021).

This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.12497-230640.
This lot has been cleared against the Art Loss Register database, and is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D’Amato.

Cf. Arnold, D., Temples of the Last Pharaohs, New York/Oxford, 1999, pp.127–28, fig. 86, for a similar representation.

Representations of fecundity figures can be traced from the Old Kingdom through to the Roman Period. These figures serve as divine embodiments of Egypt’s fertile productivity and are commonly depicted in series on the lower registers of temple walls, symbolising the fertility of each province. Historically, they have often been mistakenly referred to as the ‘Nile God’; however, the term Hapi, which sometimes identifies these figures, actually refers to the inundation rather than the River Nile itself, highlighting the source of Egypt’s fertility.

Standing in advancing pose on a rectangular base; the god modelled with a disc representing the full-moon surmounting a crescent new moon atop his head and fronted by a uraeus, the falcon-head sports a finely striated tripartite wig and with beaded silver wire frames to the (once inlaid) eyes; wearing a broad wesekh collar; the left arm bent and fist drilled to grip a staff, right arm straight to the side with similar drilled fist; pleated shendyt kilt and belt to the hips; mounted on a tiered socle base. 896 grams total, 27 cm including standVery fine condition.

Smith family collection, Cambridge, UK since 1949.
Private UK collection since 1978.

Accompanied by a scholarly note by Egyptologist Paul Whelan.
This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.11033-183985.
This lot has been cleared against the Art Loss Register database, and is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D’Amato.

Cf. for a near identical example from Memphis and now in the Walters Art Museum, Baltimore, inventory no. 54.395.

The moon god Khonsu (whose name means 'wanderer', referring to the passage of the moon across the sky) is known as a blood-thirsty sky-deity in the Pyramid Texts. In New Kingdom Thebes, however, he was regarded as a far more benevolent deity, being the child of Amun and Mut, and provided with his own temple at Karnak. There, he was considered to control destiny. Khonsu can appear in human form with a side-lock of youth, wearing an enveloping garment, and holding royal regalia, and also as a falcon-headed man with the full moon and crescent new moon headdress, as with this fine example. In his falcon-headed form he frequently holds an ankh symbol and a was-sceptre, for which the hands of this piece were drilled to accept the god's well-known attributes.

Modelled in the round in a striding pose wearing a tight-fitting robe and sporting the Red (deshret) Crown of Lower Egypt; eyes inlaid with silver, an elaborate ornamental collar to the chest; the right arm hanging at the side, the left arm bent at the elbow with hand clenched to accept a staff, possibly a papyrus sceptre; mounted on a custom-made stand. 162 grams total, 12.7 cm including stand

From a 1940s collection based on the base and remains of label verso.
From the Keane private collection, Kent, UK.

This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12479-229477.
This lot has been cleared against the Art Loss Register database, and is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D’Amato.

Cf. Daressy, G., Catalogue général des antiquités égyptiennes du Musée du Caire N° 38001-39384 Statues de divinités, Cairo, 1906, pl. XLVIII no.38954, for a complete example with an elaborate collar; Tiribilli, E., The bronze figurines of the Petrie Museum from 2000 BC to AD 400, GHP Egyptology 28, London, 2018, p.117, for a discussion of this statuette type.

Neith is one of the oldest ancient Egyptian deities with roots in the Early Dynastic Period. She is often depicted as a woman wearing the Red Crown of Lower Egypt and carrying a sceptre, symbolising her divine power. As a warrior and mother figure, Neith embodies creation, wisdom, and warfare. Her cult rose in prominence during the Ramesside Period as she became linked with the sun god. The primary centre of her worship was the city of Sais in the western Nile Delta, which became a significant religious and political hub during the 26th Dynasty (664–525 B.C.). Kings of this era claimed her as their protector and identified with her in royal titles.

Modelled in the round as a votive ithyphallic figure wearing a double-plumed crown with a sun disc, holding a flail in his outstretched right hand and his erect phallus in the left; mounted on a custom-made display base. 538 grams total, 21 cm high including stand

Acquired on the London art market.
Ex 'K' collection, 1990-2020s.
This lot has been cleared against the Art Loss Register database, and is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D’Amato.

Cf. The Royal Ontario Museum for a similar figure (inv. no. 910.17.14); cf. Daressy, G., Catalogue général des antiquitéségyptiennes du Musée du Caire N° 38001-39384 Statues de divinités, Cairo, 1906, pl. XXVII, no. 38479, for a similar example.

Amun-Min-Kamutef was a syncretic deity combining the attributes of Amun, the supreme god of the Egyptian pantheon, and Min who represents sexual procreation. The iconography of Amun's ithyphallic form Kamutef is essentially that of Min, and serves to emphasise the sexual prowess of the god. Kamutef means 'bull of his mother' and appears to refer both to Amun's sky-goddess mother in her cow form and to the bull's sexual prowess and strength.

A pale blue-green faience mummiform shabti, with arms crossed and holding a hoe in each hand, wearing a tripartite wig with a headband with ties hanging down at the back; a seed bag suspended below the wig; the outline of the eyes, eyebrows, hoes, and seed bag painted black; a central column of hieroglyphs on the front reading: wsı͗r šmꜤyt n ı͗mn ns-ḫns.w ‘The Osiris, chantress of Amun, Nes-Khonsu.’ 166 grams, 12.2 cm

Ex German private collection.
Acquired from Galerie BB-Antiken & Asiatika with stock reference no.366/08.
From the private collection of a Belgian collector.
Ex TimesAncient, Bristol, UK.

Accompanied by a copy of the Galerie BB-Antiken & Asiatika certificate dated 1 December 2008.
Accompanied by a copy of a previous catalogue entry.
This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D’Amato.

For the name Nes-Khonsu, see Ranke, H., Die Ägyptischen Personennamen, Band I, p. 178, no.20.

Nes-Khnosu (and the variant Nesy-Khonsu) were common names during the Third Intermediate Period. However, the combination of the name and title in the dedication on this shabti is less common. It is possible that this shabti comes from tomb 339 at Deir el-Medineh in Western Thebes. The tomb was discovered by Bernard Bruyère in 1929 (Rapports préliminaires Deir el Médineh, Cairo, 1930, p. 89, 92), from where blue faience shabtis bearing the same dedication were recovered. Traditionally, chantresses were female performers who acted as dancers and rhythmic musicians. Like Nes-Khnosu, many were associated with temples and played significant roles in religious festivals.

D-shaped in section with tongue-shaped base, slender, long-limbed female figure modelled in the half-round with tightly curled, shoulder length hair, the chest and abdomen with linear and dotted decoration. 69 grams, 14.6 cm

From an old English deceased estate.
Property of a London, UK, collector.
This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D’Amato.

Standing on a pillar and wearing a feather crown and a panther skin cloak, his hands resting on his knees, large protruding ears and grimacing expression. 362 grams, 24 cm

The Erotica Collection Christian von Faber-Castell, Küsnacgt ZH, Switzerland, since the late 1970s.
This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D’Amato.

Cf. Weber, W., Die ägyptisch-griechischen terrakotten, Berlin, 1914, pl.25, no. 251, for similar.

Christian von Faber-Castell (born 1950) is a renowned German entrepreneur and art collector, best known as a member of the prominent Faber-Castell family, famed for their iconic writing instruments. A passionate advocate for art and culture, Christian von Faber-Castell curated an extensive and diverse private collection of erotica spanning centuries and cultures. His collection reflects a deep appreciation for the interplay of beauty, sensuality, and artistic expression, bringing together rare and unique works that explore themes of intimacy and human connection. Pieces from this collection have been featured in notable exhibitions and are celebrated for their artistic and historical significance. This offering represents a rare opportunity to acquire works from one of the most fascinating and eclectic private collections of its kind. Bes became one of ancient Egypt's most popular apotropaic deities from the New Kingdom onwards. Despite his somewhat fearful appearance, Bes was the patron and protector of pregnant women and children and was also believed to protect from snakes.

Discoid with keeled upper face, underside with a crouching two-headed beast, open mouths with lolling tongues, the second head reaching towards a smaller hunting dog above. 6.36 grams, 22 mm

From the late R. Priday collection, formerly of Brookmans Hall, Hertfordshire, UK, formed in the 20th century.

Accompanied by an academic report by Dr Raffaele D'Amato.
This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12514-231463.
This lot has been cleared against the Art Loss Register database, and is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D’Amato.

Cf. similar seals in Betts, J.F., Corpus der Minoischen und Mykenischen Siegel, Band X, Die Schweizer Sammlungen, Berlin, 1980, no.41 (for the shape), p.84, and nos.150-151, pp.156, for similar lions; Boardman, J., Greek Gems and Finger Rings, Early Bronze Age to Late Classical, London, 1970 (2001), nos.138 [lioness suckling a cub], 178 [contorted lion], 193 [a contorted lion and a tree].

Of lentoid form with domed reverse, showing a lion attacking a bull from above with its jaws and claws sunken into the bull's hindquarters, the bull shown standing with its head turned towards the lion in the act of trying to pry it off with its long horns; pierced horizontally. 7.45 grams, 26 mm

With Münzen und Medaillen A.G., Basel, prior 1980.

Accompanied by an academic report by Dr Raffaele D’Amato.
This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12465-228767.
This lot has been cleared against the Art Loss Register database, and is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D’Amato.

See similar seals in Betts, J.F., Corpus der Minoischen und Mykenischen Siegel, Band X, Die Schweizer Sammlungen, Berlin, 1980, no.218, p.193; Boardman, J., Greek Gems and Finger Rings, Early Bronze Age to Late Classical, London, 1970 (2001), nos.86 [lion attacking a goat also in red jasper], 138, 159 [agate lentoid],169 [lion attacking bull, from Mycenae],172, 182 for Minoan gems with similar scenes; see a lioness attacking a bull, in Museum of Fine Arts, Boston, lentoid shape seal (about 1470-1410 B.C.), accession no.23.576.

John H. Betts, Corpus der Minoischen und Mykenischen Siegel, Band X, Die Schweizer Sammlungen, (Berlin 1980) 194, cat. nr. 219, doubted by the author.

Formed with a squat globular body, everted rim and three lug handles to the shoulder; painted reddish-brown over a cream slip with concentric bands and rings to the mouth, neck, shoulder and base, larger solid undulating forms covering the lower body. 70 grams, 69 mm

Acquired from Royal Athena Gallery, 2003.

This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.11851-206833.
This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D’Amato.

Cf. Sadberk Hanım Museum, Istanbul, for a very similar example.

Mould-made figure of a female upper body with tall headdress and arms spread, hands palm-upwards; beneath, a C-section channel for attachment to a roof. 78 grams, 13.1 cm

Acquired in the mid 1980s-1990s.
Private collection, Switzerland, thence by descent.
Private collection, since the late 1990s.
This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D’Amato.

Cf. a more elaborately modelled example in the British Museum under accession no.1884,1011.2.

Depicting the goddess seated on a high-backed throne and wearing a long dress, her hands resting on the lap. 412 grams, 18.2 cm

Acquired in Europe before 1996.
This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D’Amato.

Cf. Biers, W.R., The Archaeology of Greece. An Introduction, Ithaca-London, 1987, fig.8.63, p.236, for similar.

The typical 5th century B.C. terracotta female figurine was a standing or seated woman wearing a chiton and a himation. It usually represented the goddess Demeter, and it was a votive figure offered to the shrines or temples. Attica was one of the principal centres of figurine production, but Corinth continued to produce solid standing or seated females with moulded fronts and flat backs.