Egyptian Body of Anubis Glass Inlay

Plano-convex in section with stepped profile to dome and underside. 16.52 grams, 32 mm



Found in Lebanon before 1980. From the private collection of Kenneth Machin (1936-2020), Buckinghamshire, UK; his collection of antiquities and natural history was formed since 1948; thence by descent. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.

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. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D’Amato. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.

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.

Carved in the round with detailed tripartite wig, hands crossed at the chest; some painted and gilded(?) plaster surface; mounted on a later base. 332 grams, 26.9 cm



From the collection of Mrs Kilvert, who fled from France to England during the French Revolution. Received by gift to the Hodge family from Mrs Kilvert at Bath in 1864-1865; thence by descent to the grandchildren of Mr John Hodge, a private London tutor. From the collection of a New Zealand family; thence by descent. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12846-239090. 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.

A shabti, also known as ushabti or shawabti, is a small funerary figurine found in ancient Egyptian tombs, dating from around 2000 BCE to 30 BCE. Its main purpose was to serve as a servant for the deceased in the afterlife, carrying out manual tasks such as farming or irrigation. Shabtis were often inscribed with a magical formula from the Book of the Dead to ensure they would animate when summoned. The distinctive, lighter-coloured, and previously part-gilded upper body decoration, contrasting with the black used for the rest of the figure, may symbolise the moment of rebirth, when the face of the deceased was bathed in the sun's rays.