Composed of polished carnelian beads including spherical, conical, drum, oval and other types, etched with geometric designs. 41 grams total, 6-14 mm

UK gallery, early 2000s.

Rectangular card panel with painted scene of a landscape with two huntsmen; in the foreground a mounted archer holds his bow ready to nock an arrow while a fox and deer flee from him, and another deer lies dead with an arrow in the throat; the huntsman with brightly coloured tunic and trousers, dark riding coat, quiver at his hip; in the background, a fowler prepares to send out his bird of prey perched on his wrist, while his horse advances into undergrowth where a deer is hiding; mounted in a dark green card reveal. 354 grams, 46 x 36 cm

Acquired on the UK art market.
Scottish private collection.

Of bulbous shape with low neck; a painted frieze of stylised zebus with emphasised humps and curving horns, ring-and-dot motifs to the field. 875 grams, 17 cm

Ex London, UK, art market, 1990s.

Restrung; composed of green-coloured beads of mainly spherical types. 20.4 grams, 71 cm long

UK gallery, early 2000s.

Rectangular card with inked border and reveal, liquid gold border with flower and tendril motif to each corner; detailed scene with a princess in the foreground advancing left but looking right towards three peacocks following her; in each of her hands a cord with a bell; waterway extending from centre to right edge and returning across lower edge, with waterlilies and other vegetation, swans (right) and ducks (top); to the rear, a group of trees, and another at right beyond the waterway; at the middle top, trees, rocky hills and a city in the distance; liquid gold to the princess's outer garments, black ink outline to her hair and face. 19 grams, 26.2 x 21 cm

Acquired on the UK art market.
Scottish private collection.

Composed of restrung graduated and polished beads, each etched with a white geometric design on both faces. 14.6 grams, 48 cm long

UK gallery, early 2000s.

Each a zebu with hump to the shoulders and dewlap beneath the neck. 313 grams total, 78-88 mm

From a collection acquired on the UK art market from various auction houses and collections mostly before 2000.
From an important Cambridgeshire estate; thence by descent.

Modelled in the round with large D-shaped headdress, pinched nose, applied eyes, multi-strand applied collars; seated pose with knees slightly bent, arms extended; repaired. 56 grams, 12.4 cm

Ex Martin Schoyen London collection, previously with Alexander Gotz, London, UK.

Cf. The Metropolitan Museum, New York, accession number 2001.794.247a, b, for similar.

A carved schist head with tightly curled hair, wreath to the brow with a vine-leaf at each temple, curled moustache and beard, ears with long lobes; mounted on a custom-made stand. 3.75 kg, 29.5 cm

Acquired 1960-1980s.
From an important London, W1, collection.
Private collection, England.

For a similar head, in terracotta, see The Metropolitan Museum of Art, accession no.1979.507.2.

With the arrival of Greek colonists into Central Asia and Northern India and the establishment of the Indo-Greek kingdom, came Greek culture and religion which merged with that of the local population. Greek deities, such as Dionysus, were often merged with Buddhist deities, or worshipped in their own right. The image of Dionysus as a mature male with beard and wreath is often referred to as the Indian Dionysus as it depicts the god after his triumphant return from the East with his retinue of Maenads. The adventures of Dionysus in India are recounted in the Greek epic poem, the Dionysiaca. The image of Dionysus returning from India in a chariot pulled by tigers was a favourite for Classical artists and often appeared on sarcophagi as an allegory for the rebirth of the soul. Drinking wine, dancing, and music making were popular subjects for the embellishment of early Buddhist religious centres. The Buddha condemned intoxicants, and music and dance were considered unfit for the monastic community, although they were tolerated in lay contexts. The reason for the depiction of scenes of revelry, along with the Greek god Dionysus, may be the earlier, pre-Buddhist practices celebrating abundance and agricultural prosperity, which involved wine drinking. Dionysus may have been transformed and and understood in the Gandharan context as the South Asian god Indra, whom lay followers would have known as the deity who rules over the paradise known as the Trayastrimsa heaven. As the lay Buddhist community was more concerned with having a positive rebirth (enlightenment being out of reach for all but the most learned of monks) the idea of being reborn in a heaven associated with Indra would no doubt have been attractive. It is thought that the influence of Dionysus on Indian culture may have inspired the development of the Hindu deities Shiva and Krishna, both of whom share similar characteristics to the Greek god.

In a rectangular white card reveal with ellipsoid opening, hand-painted watercolour scene depicting a noblewoman in a garden, resting against a large decorated pillow, wearing a transparent shawl with floral detailing over a lavender-coloured robe, sitar and water vessel beside her and two red pillows on a decorated yellow mat with flowers and tendrils; fences in foreground and behind the figure, and willow tree beyond; liquid gold detailing to the shawl, sitar and vessel. 152 grams, 31 x 25.2 cm

Acquired on the UK art market.
Scottish private collection.

Biconvex in profile with basal ring and slightly flared mouth, painted geometric panels to the shoulder. 324 grams, 97 mm high

Acquired 1980-2015.
Ex Abelita family collection.

Featuring a squat body, domed lid with hinge and central spike, strap handle with cat's head detailing, long spout with writhen mouth and flared foot; spout repaired. 2.4 kg, 33 cmFair condition; spout repaired.

Acquired on the European art market in the 1990s.
Ex property of a Suffolk collector.