Mostly Yongzheng period, ca. 1730, China Including a cup and saucer with figures, two lids, a bowl, a vase (with associated cover), two saucers with a floral pattern, two cups (with a duck pattern) and a set of nine saucers with four matching cups.

Yongzheng or early Qianlong period, ca. 1730-50, China A small bulbous teapot with goldfish, in orange-red with gilt, also grisaille seaweed and famille rose floral sprigs. Not marked.

Qinalong period, 1735-1796, China The double walled cups and edges of the saucers with a pierced and gilded trellis pattern containing four cartouches with various scenes including fish and deer. The centres of the saucers with groups of fruits and flowers. Not marked.

Qianlong period, 1735-1796, China The surface with encrusted florals, grapes and squirrels. The borders with enamelled decoration. Not marked.

Mid 18th century, China/Netherlands The coupe shaped plates of Chinese porcelain, shipped as blanks to the Netherlands where they were decorated, so called 'Amsterdams Bont'. The pattern featuring a man and woman outside a pavilion in Japanese style, possibly after a contemporary print.

Qianlong period, 18th century, China Both on an octagonal base after a European silver-metal prototype. With floral decoration in famille rose, a spearhead border and not marked.

Possibly 18th century, China Decorated with archaic motifs in relief and a deep brownish green patination. Not marked.

18/19th century, China A richly decorated round box with cover, the top of the lid showing a garden scene with five scholars and servants, four scholars are shown awaiting a fifth scholar who is approaching with his servant holding a scroll under his arms. The sides profusely decorated with many different flowers and foliage. The interior and underside is black. Not marked.

First half 19th century, China Based on a European model, with two loose inserted inkwells and cover, a pen tray and a covered recess. Decorated with various colourful florals on a blue ground.

Probably 19th century, China A light-blue glaze monochrome Hu-form vase with two foo-dog face masks as handles. Not marked.

Probably mid 19th century, China A five-clawed dragon depicted in gold-thread and small details of silver-thread. On a silk backing with silk embroidered embellished clouds, waves, flames and pearl. The edge with scrolling foliage going through a meandering geometric border in gold- and silver wire thread.

Late Qing dynasty, 19th century, China Two bulbous vases with domed lids, in mirrored design, featuring pheasants on rocks under a tree. Executed in famille verte enamels over a creamy yellow translucent glaze. Marked with an apocryphal Kangxi six character mark in underglaze blue but made in the late 19th century.

19th century, China A saucer with Daoguang mark (in overglaze iron-red) and probably of the period featuring florals and a Buddhist white elephant carring a flower vase. Also a saucer with unusual characters, bats and gourds marked with a blue seal mark. Another similar saucer with shou characters, lotus, peaches and pomegranate. A fourth saucer with butterflies and iron-red four character mark to base. Also a five-sided tazza with cranes and marked with an iron-red seal mark.

Late Qing Dynasty, 19th or early 20th century, China A finely decorated low bulbous vase with a tall slender flaring neck. Decorated with a bird on a rock amidst branches and lush florals in an extensive palette of colourful overglaze enamels. Marked with an apocryphal Kangxi mark but probably made in the late 19th century.

Early 20th century, China The exterior with a dense fretwork pattern of black and gold with scattered flowers, with four round reserve panels containing delicate florals. The inside with a five-clawed dragon in a roundel of flames. Marked with a six-character Guangxu mark in iron-red but probably Republic period.

20th century, China The main body and the neck with butterflies and small floral sprays. The shoulder with shou-characters and stylized lotus flowers. Marked with a Guangxu mark in overglaze iron-red, but later.

Cambodia, 12-13th century A Bayon style Khmer Buddha seated in samādhi (concentration) on the coils of the snake Muchalinda, with a seven-headed hood sheltering Buddha, his face with a serene expression with downcast eyes and hands held in his lap in Dhyānamudrā. A narrative image referring to the story of the meditating Buddha who was protected by a seven-headed snake during heavy rains. According to the Vinaya-piṭaka text the snake Muchalinda sheltered the Buddha by winding his coils seven times round the Buddha's body and holding his hood over the Buddha's head [1] which follows a different description than this Khmer Buddha Muchalinda, sometimes also called Nāga-Buddha. The event of Muchalinda protecting Buddha happened in the sixth week after the enlightenment of the Buddha [2] in the 6th Cen. B.C. when the Buddha was seated under a Nighrodha tree in the city of Muchalida. The Nighrodha tree is also called the Muchalinda tree (possibly denoting the place) under which or near the roots of which (Muchalindamūle) the Buddha sat to meditate. The earliest narrative image referring to Buddha Muchalinda is from Pauni, Maharashtra India discovered in 1967. [3] This image is dated to the 2nd Cen B.C., when there were references in (Hīnayāna) aniconic art to Buddha, but Buddha himself was not depicted. The sculpture from Pauni therefore shows only Buddha's throne being protected by Muchalinda. From the Gāndhāra period onwards, Buddha Muchalinda is depicted as described above and in the Vinaya-piṭaka, where Buddha's body is wrapped by the snake Muchalinda. Only a few, probably four [4] depictions exist of the “original” form of Buddha Muchalinda, while the rest, including this Khmer Buddha Muchalinda, are the region-influenced or doctrine-influenced depictions. With the rise of Mahāyāna Buddhism, new forms and iconography of Buddha Muchalinda appear in various schools of art like Mathurā, Amarāvatī, Gupta and Vākāṭaka including the base form of this Buddha Muchalinda from Khmer Cambodia where Buddha is sitting on the nāga. The earliest known depiction of this form appears in the Indian village Goli, Andhra Pradesh, dated to 3rd-4th century A.D., now in the Los Angeles County Museum of Art. The shape of this Goli Buddha corresponds to the Khmer Buddha, except for the fact that the Indian Buddha sits on four rings of snake instead of three. Most likely by the sixth century, images of the Nāga enthroned Buddha had been introduced to mainland Southeast Asia simultaneously from Sri Lanka [5]. In Khmer mythology, it is not unlikely that the description and therefore depiction of Buddha sitting on a nāga was highly subject to new interpretations by the sculptor and patron. The Muchalinda episode is never quoted in Khmer inscriptions, but the relationship between the Khmer people and nāgas go long back. In one of the versions, a local Nāgini princess, Somā, who was conquered by an Indian Brahmin, Kauṇḍinya (or Preah Thaong) rose an army to defend her island of Khok Thlok. Both fell in love and married. As a marriage gift, the Nāgarāja father of Somā, Phaya Nakh, drank the waters to create the land of Kambuja. In both India and Kambuja, nāgas are believed to be agricultural and fertility deities that live either in rivers or the underworld. The original iconography of Buddha Muchalinda from India could well have appealed to the ancient Khmers because of its resonance with indigenous beliefs, which may have been the main motivation for its adoption. After a long absence since the introduction in the 6th century, Buddha images reappeared in Khmer art in the second half of the 10th century when Jayavarman VII (1181–1220 AD, Bayon period) converted the state religion from Śaivaism to Vajrayāna Buddhism. Almost all of the Buddha depictions represent the Nāga-Buddha, which is the preferred representation of the Buddha in Khmer art during the Angkor period and this became the central deity of the empire during the reign of Jayavarman VII. [6] Stylistically this Buddha Muchalinda depiction appears to have derived from the Baphuon prototype. The three nāga coils of this Bayon Khmer Buddha Muchalinda are of equal size, just as those of the Baphuon style, but the nāga hood is rounder and lower, resembling a tree leaf with a shriveled edge, features typical for the Bayon period. While most of the larger stone Nāga-Buddha images are without jewels or regalia, or display only earrings and a conical tiered chignon-cover, the smaller bronze images like this Buddha Muchalinda are mostly crowned and diademed, in some instances fully bejeweled like the Angkor Vat images. Most metal images of the Bayon Nāga-Buddha’s like this sculpture bear a small object on the right palm, with their hands placed on their lap in the gesture of meditation. Most likely a lotus bud is depicted here. Such objects never appear in stone images whose hands are only adorned with the lotus-cakra symbol. Most of the smaller images of the Bayon Nāga-Buddha appear as the central element of the Khmer Mahāyānic Triad where it is flanked by a four-armed Lokeśvara and Prajñāpāramitā. Very likely, this Buddha Muchalinda was also part of a similar Triad.

Late 19th century, Japan An elephant with a raised trunk being attacked by three tigers. Standing on a wooden base. Marked with Japanese characters in the bronze, the text was translated in 1934 by R.H. van Gulik as "The Great Empire Japan Yokohama, studio Tsunoha Taka-chika". This large figure was exhibited in the central hall of the 'Tropenmuseum ' in Amsterdam from 1934 until 1983 and was damaged during WWII by the nazi occupier (later restored).

Meiji Period (1868-1912), Japan A large storage box to hold personal effects, a so called 'tebako'. The exterior with a very richly decorated surface in gilded relief takamaki-e and hiramaki-e on a black ground. The underside of the lid decorated with two Minogame (hairy-tailed turtles).