Egyptian Basalt Kohl Pot

Rectangular plaque with a head of Bes modelled in low relief on one side and symbols on the reverse; pierced longitudinally. 3.54 grams, 20 mm



Ex early 20th century collection, London, UK.

From the New Kingdom onwards, Bes became one of ancient Egypt's most popular apotropaic deities. Despite his somewhat fearsome appearance, Bes served as the patron and protector of pregnant women and children, and was also believed to shield them from snakes. Double-sided Bes amulets appear during the Third Intermediate Period and continued into the Late Period, possibly perpetuated in part by Levantine demand (Cf. Pierrat-Bonnefois, G., ”Les questions d'identité culturelle que soulèvent certaines faïences de la première moitié du Ier millénaire”, dans Bonadies, L., Chirpanlieva, I., Guillon, É. (dir.), Les Phéniciens, les Puniques et les autres. Échanges et identités en Méditerranée ancienne, Orient & Méditerranée 31, Paris, 2019, pp. 58-60, fig. 5b).

Representing a slave or a dwarf in a crouched position, dressed in a short tunic leaving the left shoulder uncovered (exomis), a large curving phallus emerging from underneath the tunic topped with a large apotropaic eye; accompanied by a display stand. 64 grams, 81 mm (80 grams total, 10 cm high including stand)



The Erotica Collection Christian von Faber-Castell, Küsnacgt ZH, Switzerland, since the late 1970s.

Except for the enormous phallus, the figure is human in all aspects. The apotropaic aspect, symbolised also by the eye, is combined with the erotic. It should be pointed out that according to the physiognomic conceptions held in the ancient world, from the 4th century B.C. onwards, small-scale sculptures developed a rich repertoire of grotesque types. These so-called grotesques were a development of the Hellenistic interest in the human body and its imperfections. They range from representations of individuals with clinically diagnosable disfigurements to those with exaggerated physical features. According to some scholars, terracotta (and bronze) figurines of this kind were life-like representations of beggars and others who gathered at big feasts in temples or at the houses of the wealthy. In the latter case, they indicated the importance and wealth of the host because the more beggars an event attracted, the greater the fortune of the event organizer. By implication, the bronze and terracotta portraits of these marginal people could have become symbols and charms of good luck that would have been placed in private houses. 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.

Standing erect with dorsal pillar and rectangular base, arms straight and one leg advancing; lion-head wearing atef crown and a uraeus; mounted on a custom-made stand. 50.8 grams total, 84 mm including stand



Ex early 20th century London, UK, collection.

Mahes was an Egyptian lion-headed deity linked to divine protection, royal authority, and retributive justice. Considered a son of the goddess Bastet—or, in some traditions, Sekhmet—he embodied the fierce, solar power of the sun god Re and served as a fierce protector of cosmic order. Mahes was especially venerated in the Delta region, notably at Leontopolis, where his leonine form highlighted his role as a guardian and destroyer of enemies. Iconographically, he is commonly depicted as a lion or, as here, a man with a lion’s head, wearing an atef- crown.