19th century Decorated in low relief with various vig nettes showing animal and floral motifs. With gilded highlights. Provenance: Private collection, Amsterdam.

Ca. late 19th century, Japan A woman with a basket on her back, filled with vegetables. Marked on the base. Provenance: The property of an old family from The Hague.

Early 20th century, Japan A Plique-à-jour (French for "letting in daylight") small size vase. This special technique is similar to cloisonné, but with no backing in the final product, so light can shine through the transparent or translucent enamel. Not marked.

Ca. late 1800's, Japan A lobed shaped teapot with fine floral enamel inlay on a dark green base. Not marked. Provenance: A Dutch noble family.

Ca. 19th century, Japan The four-case inro decorated with flowering chrysanthemums. With a box netsuke decorated with two bats. Signed on the underside of the inro and on the netsuke for Koenshi OSAI.

Ca. early 20th century, China The dish in gourd shape. Not marked.

Ca. early 20th century, China The box with a pierced and carved floral pattern. The silk embroidered cloth case with figures and animals (the back a plain black).

Ca. early 20th century, China Two carved jade belt buckles (garment hooks) with reliefs of dragons. The amulet with carved bats and a Shou character.

Ca. 19th century, China Two carved jade amulets, one of a Buddha, the other amulet showing a deer and bird.

20th. century, China Two carved jade belt buckles (garment hooks) with reliefs of dragons. The pendant shaped as a dragon fish.

Ca. late 19th century, China Featuring a Guanyin sitting on a goat. On a custom made wooden base. Provenance: The property of an old family from The Hague.

Ca. 18th century, China The rectangular ivory screen incised and painted in black with an official and servant boating on a river past two small pavilions, the reverse with a three-line inscription and seal. Provenance: Christie's Amsterdam 8-12-1998 lot 578. Private collection, Amsterdam.

Ca. 18th century The brush washer carved as a cup in magnolia bud shape. The handle and base carved and pierced in high relief with a magnolia branch. The greyish white stone of beige tone with black inclusions. Provenance: Christie's Amsterdam 8-12-1998 lot 339. Private collection, Amsterdam.

Ca. 19th century, China The amulet featuring two boys beside a rock holding lotus leafs and flowers. Also a flying bat and lingzhi are depicted.

Ca. early 20th century, China Not signed.

20th century, China Signed Shan Ta Shang, carved wood relief.

Ca. 18th century, China A smooth wooden brush holder made of Huanghuali wood. Not signed. Provenance: Private collection, Amsterdam.

Ca. 20th century, China Carved with figures on a branch and a large peach at the end. Not signed.

Ca. 19th century or earlier A round carved stone disc of terra and orange brown colour on a metal stand. Provenance: Private collection, Amsterdam.

20th century, China The stone with a finely carved relief of figures in a landscape. The underside of the stone with carved characters to act as a stamp.

kangxi period, ca. 1700, China A marbled stone carved and incised floral pattern. Traces of gilding remain. Cups and saucers not marked.

20th century, China Carved with flowering prunus in relief. Not marked.

Qing Dynasty, ca. 19th century, China A metal base with overlay two colour cinnabar laquer (red and black), carved with depictions of dragons and phoenix. A four character mark in the centre and on the back a metal seal mark. Provenance: The property of descendants of Anton Philips.

Ming dynasty, ca. early 17th century, China Possibly Laozi or an immortal. Mounted in a wooden hutch with velvet lining.

Ca. 17th century, China The outside decorated with standing figures. Not marked. Provenance: -Christie's Amsterdam. -Private collection, Amsterdam.

Han dynasty (206 BC - 220 AD), China With original lid and loose ring handles hanging from taotie mask. Nice green patination.

India, Madhya Pradesh Chandela period, 10th/11th century A narrative scene in buff sandstone depicting an elephant adorned with a bell with two mahouts on its back. Behind the elephant two male figures are depicted, most likely soldiers. Carved in high relief from a single block of buff sandstone, this elephant stratum or frieze (gajathara) is a feature of many Rajput temples in Madhya Pradesh constructed in the 10th to 12th century. Provenance: Private collection, Amsterdam.

South India, Chola period, 12th century A finely carved sculpture depicting the Sun God Surya standing in samabhanga. His hands holding the lotus, wearing a tall karanda-makuta on his head backed by a sun halo, an ensemble of layered semi-circular kanthi necklaces, stacked one atop one another and the upavita (sacred thread). He is clad in a closely fitted dhoti secured at his waist by an elaborate kati-bandha girdle centering a kirttimukha and realistically depicted bows and ends of cloth on either side. Mounted on a hard-stone pedestal. South Indian Chola depictions of Surya are rare. The only Chola temple thus far known to be dedicated to Surya is the Suriyanarkoyil in the Tanjore District in Tamil Nadu. According to ancient architectural texts, statues of Surya are placed in the garbha-grha (inner-sanctum) in the southern part of the temple while facing east. Two holes are drilled under his ears, probably to secure the statue to the temple wall. Provenance: Claude De Marteau Collection, Brussels.

Northeast India, Pala period, 12th century A fragment of a colossal Vishnu stele depicting Sarasvati standing in tribhanga (triple-bend position) holding a vina standing on a double lotus and an attendant or worshipper. Sarasvati is the Hindu goddess of knowledge, music, art, wisdom, and learning and consort of Vishnu.

Northeast India, Pala period, 12th century A black stone stele of Vishnu with four arms, standing on a double lotus, flanked by Lakshmi with a flywhisk and Sarasvati with a vina. In Vishnu's lower left hand probably a sankha (conch), in the upper hands gada (mace) and cakra (disc), wearing an upavita (sacred thread) and garland.

Northeast India, Pala period, 12th century Goddess Manasa seated in rajalilasana holding a snake in her left hand, her pendent right foot resting on her attribute the kalasha. She is flanked by her husband the sage Jaratkaru and her son Astika. A seven-headed naga rises up and spreads its hood above the serpent goddess. Manasa is worshipped chiefly for the prevention and cure of snakebite and for fertility and prosperity.

Northeast India, mid-20th century A depiction of Surya’s head without explicit symbols or iconographical details but in comparison with Northeast Indian sculpture the head is consistent with other images of the sun god Surya.

India, Odisha, 18/19th century Standing with his right leg crossed over his left, hands aloft as if holding a flute, the face with large inlaid almond-shaped eyes.

Northeast India, Pala period, 12th century A black stone fragment depicting Ganesha, Surya, various gods and attendants.

Second half 18th century, China Chinese Inscriptions written across the base read: "Reverently made in the Kang-yin year of Qianlong (1770) during the great Qing Dynasty." The separate flaming aureole is missing. While holding his hands in the Dhyanamudra, the vase containing the Nectar of Immortality (kalasha), which he held in his lap is missing. Provenance: The property of descendants of Anton Philips.

Tibet, 19th century The wrathful Vajrabhadra is shown striding in alidhasana on prostrate figures on a single lotus base. In his primary hands he holds a skull cup, curved knife and in the multitude of other outstretched hands he holds various implements. His main face is in the form of a ferocious buffalo, with bulging eyes and flaming brows, and he is flanked and surmounted by additional human faces, the head of bodhisattva Manjushri at the top. Vetali stands before him with her leg wrapped around his waist, holding a skull cup and knife.

Ming Dynasty, early 17th century, China Seated in padmasana on the original separate bronze pedestal stand holding a willow stem in the raised right hand, a cup in the left, wearing elaborate jewelry and a crown centered with a seated figure of Amitabha Buddha. Traces of original gilding. Provenance: Brought back by an ancestor of the current owners who worked on the railways in China during the 19th century, thence by descent through the family.

Late 18th century, Edo period, Japan A small size standing figure of Sho-Kannon on a double lotus base, with the right hand depicting abhaya mudra, the unopened lotus in the left hand is missing. The unopened lotus represents the nature of Buddhahood in all (tathagatagarbha), the gesture of abhaya mudra "fear not". On the back of the pedestal inscriptions mentioning the sculptor Kogawa Ichimasa (of Kanda). The sculpture is probably cast for the Choshoji temple, Gyotoku around 1780. Provenance: The property of descendants of Anton Philips.

Himalaya, late 19th Century A meditational thangka in the Gelugpa tradition depicting the deity Vajrabhairava at centre holding a sword standing in pratyalidhasana and surrounded by Tsongkhapa above and flanked by Guhyasamaja and Cakrasamvara. Matted and framed (behind glass).