Ca. 19th century The central field depciting a bird in brown (lustre) glaze. The border showing texts on a blue band. Not marked or signed on the back.

India, Uttar Pradesh, 16/17th century A rare male torso of a noble man dressed in a jama / angarkha holding a misbaha, the string of beads used by Muslims to track of counting in tasbih, repetitive utterances of short sentences in the praise and glorification of Allah. Provenance: Private collection, Amsterdam.

Ca. 1800, India (Jaipur or Avadh) Opaque pigments on paper. Baz Bahadur and the shepherdess Rupmati riding a horse and galloping after a herd of deer at night. Bayazid Baz Bahadur Khan, the last sultan of the Malwa Sultanate, ruled from 1555 to 1562 and succeeded his father, Shuja'at Khan.

Late 18th century, India Opaque pigments heightened with gold on paper,with a floral sprays border, depicting a princess flanked by her female servants and a guest, most likely from Avadh Province, India. In many Avadhi paintings female figures are depicted with elongated lower torsos, sharp noses, and oval faces. The elongation of the female body was perhaps an extension of Persian poetics who compared women's bodies to a slender cypress tree (sarv).

19th century, Nepal Standing in the tribhanga pose on a singe lotus base. This Bodhisattva Padmapani is wearing an elaborated dhoti with voluminous folds falling between the legs and adorned in ornate jewelry. The right hand in the varadamudra pose, the other in vitarkamudra while delicately holding the lotus stem. The face with full lips, aquiline nose, elongated eyes centered by a raised urna and surmounted by a tall carved crown with flared ribbons. Three lines in Padmapani’s neck symbolizing conduct, concentration and wisdom. Cast in two parts and joined at the waist.

Central Java, Indonesia, possibly 9th century, probably later With downcast eyes centered by a raised urna, flanked by pierced earlobes, the hair in snail-shell curls over the conical ushnisha.

Central Java, Indonesia, possibly 9th century, probably later Seated with his left hand in dhyana mudra, his other arm held to the front and originally exhibiting the vitarka or varada mudra, a slender figure and serene face framed by a coiffure of large circular curls continuing over the domed usnisha. With extensive weathering and erosion.

Java, Indonesia, probably 15th-16th century, or later The Bodhisattvadevi Prajñāpāramitā in the meditative vajrasana posture, sitting on a double padmasana (lotus pedestal) performing the dharmachakra-mudra, the gesture symbolizing turning the wheel of dharma.

Java, Indonesia, 15th-16th century, or later

Java, Indonesia, probably 19th century

Java, Indonesia, 15th-16th century or later

Java, Indonesia, probably 19th century

Java, Indonesia, 15th-16th century or later

Java, Indonesia, probably 19th century

Java, Indonesia, 15th-16th century or later

Java, Indonesia, 18th century or later

Java, Indonesia, probably 15th-16th century

Ca. 1900 The outer painted panels decorated with flowers and animals, the inner panel with a landscape featuring herons, peacocks and smaller birds.

Ca. 1900 The shaped panelled top above a frieze drawer, above a pair of panelled doors.

Late 19th century The rosewood case embellished with inlaid mother of pearl emblems, set in a pierced carved stand, the enamel dial with Roman numerals, set on a richly engraved brass back plate, the mechanism with verge escapement and a double fusee.

Late 19th or early 20th century, Burma (Myanmar) Elaborately decorated with many mythical figures and creatures. The gong made of a bronze like metal that is painted on the front with figures.

First half 20th century The cabinet of circular form, comprising two sliding doors, an open compartment with five shelves, two hinged doors, and a drawer, surmounted and supported by a carved panel, centred by a dragon and clouds, on four curved legs and a rectangular plinth.

First half 20th century Decorated overall with dragon and cloud motifs, the high backrest with two relief panels surmounted by a pierced panel centred by a mountain top, on five curved legs.

20th century Each with a backrest and arms carved with dragon ornaments, on four curved legs, the table with round top carved with foliate motifs, on a braided stem ending in three dragon-shaped feet.

20th century The round top with marble inset, above four pierced and foliate carved legs joined by an undertier, on claw feet.

Late 19th/early 20th century The three-panelled shaped back with three marble panels and inlaid with foliate ornaments, over a panelled seat, above a pierced and inlaid apron, on four square legs.

Late 19th/early 20th century Each with a shaped and pierced back inlaid with foliate ornaments and centred by a circular marble panel, over a panelled seat, the four legs joined by stretchers, on claw feet.

Late 19th/early 20th century The shaped black and white marble top above a pierced and foliate carved frieze, on four curved legs ending in ball and claw feet, on an associated platform.

Early 20th century Decorated with inlaid female figures holding parasols, set in an ebonised frame, the reverse decorated with painted branches and grass in red and black, on castors.

Early 20th century The stem carved in the shape of a dragon, its mouth issuing a hanging pink glass shade, the base with bat-shaped supports, on three claw feet.

Early 20th century The rectangular plate within a carved frame decorated with foliage and elephant heads, surmounted by a central panel with crane birds and foliage.