Phoenician Bronze Scarab Pendant

Pale yellow, turquoise, and blue faience seated cat figures, each shown on a base plinth and with a suspension loop behind the head. 83 grams total, 47-52 mm including stands



Collection of a Lady, circa 1940. From a specialist collection.

In ancient Egypt, the cat was revered as the sacred animal of the goddess Bastet, whose main cult centre was Bubastis in the Nile Delta. Although cats were once part of folk customs, their formal worship expanded across Egypt during the Late Period. Bastet was closely connected to lion-headed goddesses such as Sekhmet, Tefnut, and Pakhet, and the cat itself became linked to solar imagery: the Book of the Dead depicts the sun god as a Great Cat defeating Apophis beneath the sacred Ished Tree. The cat could also represent the Eye of the Sun or, more commonly in Bastet’s case, the Eye of the Moon. Mummified cats were often offered as votive offerings, and some were decorated with finely crafted bronze heads to emphasise their divine likeness.

Carved miniature headrest with rectangular base. 1.14 grams, 12 mm



Ex Constable collection, 1990s. Ex Ancient & Oriental, UK. Ex P. Morris collection. Accompanied by an old photograph and a previous catalogue cutting.

The headrest, or weres amulet, was placed under the mummy's head to protect it from damage, and so ensure their rebirth. Most are made of haematite, though other materials, such as faience, were sometimes used. The headrest’s role is specified in Chapter 166 of the Book of the Dead. By the Late Period, they were attached to or inserted into the mummy wrappings.

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.