16e eeuw Een zandstenen hoofd van Boeddha uit Centraal Thailand met neergeslagen ogen en een glimlach. Op houten sokkel.

16e eeuw Een Ayuthaya stenen hoofd van Boeddha met sporen van lakwerk en verguldsel. Op houten sokel.

17th century. One from Ayuthaya with bow-shaped mouth, arching brows, flanked by pendulous earlobes and an aquiline nose, the other a small hardstone head of Buddha from Northern Thailand, both mounted on a wooden base. .

Tibet, late 18th century. Seated in dhyanasana on a double lotus base, Sitatara is cast with her left hand raised in vitarkamudra and her right in varadamudra. Her dhoti reaches her ankles and her dark painted hair is formed into a chignon. On her forehead and both hand palms the third eye is applied. The jewellery is inlaid with hard stones.

19th century. Set of tiara and ornaments made of repoussee brass.

Nepal, mid 20th century. With both hands in the dharmacakramudra, symbolising the turning of the wheel (chakra) of the Buddhist law (dharma), Buddha is seated on a double lotus base and his uttarasanga (outer robe) is elaborated with floral patterns On the forehead the urna is applied and his curly hair ends in a round ushnisha on the top of his head.

Nepal, mid 20th century. This Green Tara is seated in rajalilasana on a lotus base with her right leg pendant and wearing a dhoti, necklaces, armlets and a tiara with the hair coifed in a chignon. Holding both hands in the dharmacakramudra.

19th century. A Mandalay style standing Buddha from Burma depicted as a prince with a juvenile appearance. With traces of gold paint, lacquer and glass and mirror inlays. Fine face with painted eyes. His right-hand holds a small object as a symbol of spiritual understanding or „grasping a grain of truth“, also known as the cincihna mudra.

India Karnathaka, 12th/13th century. Standing in kayotsarga on a lotus blossom beneath a parasol. This thirthankara, with hair curling at his shoulders, is one of the 24 Jain tirthas and belongs to the Digambara sect who are depicted naked and without ornaments (alamkara). A foliate arch issued around the head is centred by a kirtimukha above while two camaras are depicted on both sides of the figures face. Both earlobes are elongated of the thirthankara who is flanked by a yakshi and a yaksha depicted on the base. This Jain stele originates from a Jain sanctum and resembles the style of the Jain temple at Lakkundi in Karnataka.

South India, late 18th century. A bronze Saivite goddess standing in samabhanga with a typical South Indian conical headdress (mukuta), wearing a long dhoti, secured with a sash around the waist and the tripundra, the mark of Shiva, applied on the forehead. With bulbous eyes and a sharp aquiline nose, this form of Kali is elaborated with several pieces of jewellery. In her left hand, she holds the kapala (human skull) while the object in her right hand, probably a trisula, is damaged.

India, Western Deccan, late 17th century. Vishnu standing under a kirtimukha in the samabhanga pose with his 10 reincarnations (Dasavataras) surrounding his head. In Hinduism, Vishnu came to earth in 10 different forms to fight evil. The row of ten (das) incarnations (avataras) starts with Matsya the fish on his right and ends with Kalkin, the warrior on the horse who is yet to come. In four hands Vishnu holds his weapons the conch (sankha), the disc (chakra), the mace (gada) and the broken sword (khadga) in his lower right hand. Around his neck, he wears a garland of flowers (mala). The sculpture holds several hard stones.

South India, early 19th century. A local depiction of Parvati in the form of Nagamata, the mother of snakes. In Hinduism, Parvati is the spouse of Shiva associated with destruction. Standing in the samabhanga pose with incisions in her body to suggest an emaciated form of the normally beautiful Parvati. She is surrounded by hooded cobras and also the lotus or camara (flywhisker) in her right hand is wrapped with cobras. The worship of snakes as a symbol of death and ephemerality in South India is not uncommon. She wears a typical South Indian conical mukuta and on her forehead, the third eye is applied.

Second half 20th century. A bronze/copper alloy four armed Ganesha holding the akshamala and sankha while sitting on a double lotus base. Around his upper body he wears the yajnopavita, the sacred thread here in the form of a snake.

South India, 18th and early 20th century. Set of three Saivite depictions consisting of a four-armed Shiva Virabhadra holding the khadga (20th century), a square bronze votive Shiva lingam and a two-armed standing figure of Parvati holding the camara (flywhisk). Parvati is Shiva’s spouse. (3)

South India, 18th/19th century. Krishna Kaliya holding the butterball while keeping his right foot on the snake demon Kaliya, a standing four-armed Vishnu, Garuda, the mount of Vishnu, holding his hands in anjalimudra and a small standing four armed Vishnu. (4)

Late 18th century. With a narrative depiction of a flying archer in the centre fighting an archer on a horse on the right and with a female deity resembling Durga Mahishasuramardini on the left.

Late 19th century. Fine curved single-edged steel Indian sabre with inlaid gold, iron hilt and black leather scabbard. With a brown leather belt.

Murshidabad, Bengal, India, early 19th century. Two detailed composite paintings of a bull and an elephant,, combining elements of Company School and Mughal painting. Due to the small, meticulous details probably from Murshidabad, Bengal.

Ca. 1900, Java Indonesia and Thailand. Consisting of a standing male figure, four-armed standing Shiva and a two-armed sitting Ganesha. (3)

Ca. 1900. A rectangular case with brass bands, grips and ornaments, the lid with a carved rack on the inside, the interior with fitted carved compartments and under the large removable box a space with three secret drawers.

Perzie of Midden-Oosten, 19e eeuw Het metaalbeslag rijk bewerkt

Ottoman Empire, early 19th century. A one-handed, single-edged and curved Ottoman kilij with a high-quality steel blade with fine gold inlaid intricate patterns and inscriptions in cartouches, probably verses from the Koran. The hilt is made of whale tooth and the scabbard of wood, black leather and repousse metal.

Li Kui , a Hero of the classical Novel "Outlaws of the Marsh", visiting his Mother. Signed in Chinese characters.