Victoria - Furniture

A classic design by Villemot, this poster is advertising the brand of mineral water, ‘Contrex’. Contrexéville water was recognised as a Natural Mineral Water by the French Government...

A Chinese Brass Etched Lock with Key, Early 20th Century Provenance: Private Australian Collection. Dimension: Height: 2.5cm Width: 10cm Depth: 2cm.

An Italian Walnut Octagonal Library Table, 17th Century A small Italian walnut library table with moulded octagonal top and hollow rounded dentil cornice over a panelled square frie...

A Pair of Japanese Lidded Imari Vases, 19th Century Provenance: Private Melbourne Co...

The French Open, also known as Roland-Garros, is a tennis tournament organised by the French Tennis Federation annually at Stade Roland Garros in Paris, France. The French Tennis Fed...

Designed by Daniel Barbera, the 'Bronze' make-up mirror is made from a sandcast solid bronze form that is hand finished to a smooth mirror polish, with the option of a satin or black...

A Moroccan Decorative Lidded Box, 20th Century Provenance: Private Australian Collection. Dimensions: Height: 27cm. Width: 31cm. Depth: 18cm.

A striking blend of tradition and avant-garde design, the Uchiwa pendant lamp by Ingo Maurer for Design M exemplifies the artistic exploration of t...

A Spanish Walnut Vargueno with Base, 18th Century Provenance: Private Australian Collection. Description: ...

A Dutch Architectural Bird Cage, 19th Century Provenance: Private Australian Collection. Description: The birdcage comprising two levels, the upper floor with a trefoil gallery sur...

A Timber Moroccan Style Side Table Description: The octagonal moulded top surmounting base with Moorish arches carved to each lower edge, the whole in timber. Home decor and interio...

Statement lighting perfectly on trend? Look no further than the Dome. This new design is modern, cool and anything but a chandelier. Its simple shape exudes warmth to any interio...

A Giltwood Rope Stool After A.M.E. Fournier, 19th Century Provenance: Private Australian Collection. Description: A type of stool in vogue during the third quarter of the 19th cent...

Australian-Portuguese glass artist Julio Santos was an expert in his craft. This decanter is a lovely example of his work. Signed 'J. Santos' to the base ...

A total commitment to experimentation with materials. This piece is unsigned, but we note the muscular slab-built Brutalism of this piece and wonder about the influence of American Brutalist sculptor...

`Contemporary Pendant in Quartz Slices and Brass - Petra II Linear 900 by Christopher Boots PETRA (from the Greek, meaning stone) celebrates the subtleti...

A Chinese Turquoise Glazed Pottery Jar, 19th Century Provenance: Private Australian Collection. Dimensions: Height: 36.5cm. Diameter: 26cm.

An impressive set of twelve early nineteenth century Neoclassical knives and forks with Austrian Empire sterling silver handles and original early 19th century steel blades. Original...

A French Bronze Gueridon, 19th Century The bronze cross frame base to black stone inset top. A fine traditional Campaign form having Bronze Strap frames with the legs terminating in...

A Bronzed Metal Canopic Jar, Early 20th Century Provenance: Private Australian Collection Acquired in Rome in 2007. Description: The bronze jar with a lid in the form of a humanoid...

An Antique Silver 800 Napkin Holder, 19th Century Offers elegant design and craftsmanship. Home decor, Interior design and collectibles. Provenance: Private Australian Collection. ...

Original Vintage Poster, 'Relax' 1964 by Rene Gruau The fifties were the last flowering of the golden age of the ocean liner, which would soon be usurped by the jet plane. During th...

A Large Pair of Cast Iron Royal Coat of Arms, 19th Century Provenance: Important Private Melbourne Collection. Description: Each coat of arms rendered with polychrome application, ...

Designed by Daniel Barbera, the 'Lovelock' is made from a sandcast solid bronze base that is hand finished to a smooth mirror polish, with the option of a satin or blackened bronze. ...

A Vintage Stoneware Crab, Mid 20th Century Provenance: Private Australian Collection. Dimensions: Height: 9cm. Width: 28cm. Depth: 20.5cm.

A splendid brass example of the Chiavari style first developed in the coastal town of Chiavari, south of Milan, Italy. This particular specimen is in excellent condition, with a lovely recent restoration of the upholstery, well cushioned, in a tasteful dark green velvet. The chair is in very sound condition and is of a higher quality than others we have handled - notably the shaping of the feet and the back are particularly fine. The original Chiavari chair is a delicate-boned creature in light-weight timber, designed to be both light and strong. It’s turned timber frame gave the opportunity for elaborate decoration which was popular in the mid to late 1800s. The brass version was created in the 1950s as a playful reference to the original, the brass emphasising the elaborate framework. It’s intended as a decorative chair for hallways, as a bedside chair, or can be used as a feature chair...

The Bloc Wall Sconce's brutalist sculptural form takes inspiration from classic minimalist sculpture from the 1960s, reimagined through an interplay of solid, intersecting blocks. It...

A German Repousse Brass Alms Dish, 17th Century These dishes were originally used as everyday flatware by the wealthy during the Medieval period, serv...

A Chinese Hardwood Gnarled Root Brush Pot, Late 19th Century This decorative container is used to hold writing brushes and popular during the Qing dynasty (1644–1911). It was revere...

Original Vintage Poster Boris Bucan "GRAFICKI SERVIS ZAGREB", C. 1980 Boris Bućan stands as a towering figure in the realm of contemporary art, renowned for his bold and vibrant vis...

Bronze Bust of Johan Joachim Winckelmann on a Verde Marble Pedestal, 20th Century Provenance: Private Melbourne Collection. Description: Displaying in its sensitive treatment of ...

Description: A fine depiction of Guanyin, possessing the regal tranquillity that the Chinese Bodhisattva of compassion has come to be visually associated with. Marked by an urna signifying her spiritual enlightenment and crowned with a diadem depicting the Buddha Amitabha, the figure is immediately recognisable as Guanyin. Her androgynous figure is gracefully poised in the Lalit asana or “royal ease”, the pose classical in representations of the deity. The figure is asymmetric, with the weight of her supple form falling upon her left hand placed against the base, her right knee raised and left pendant. Her right hand rests upon her raised knee, delicately pinching at her draped attire. At first unassuming, this gesture may be suggestive of the Apana Mudra, the seal of purification. This Mudra is associated with physical wellbeing, fecundity and the cleansing of the body. Though she is adorned in the princely garb of dhoti, she bears features of idealised feminine beauty as prescribed in Asian art. With plump cheeks and near pouted lips, her full face gazes down upon the viewer with an empathetic and half-lidded gaze, upholding her title as ‘One who hears the cries of the world.’ Notes on the item: Guanyin is the Chinese interpretation of Avalokiteshvara, the Indian Bodhisattva of compassion. The term “Bodhisattva” is derived from the Sanskrit “Bodhi”, meaning ‘awakening’ or ‘enlightenment’, combined with “Sattva”, meaning ‘spirit’ or ‘being’, referring to one on the path to achieving enlightenment. Bodhisattvas in Mayahana Buddhism are recognised as figures who have effectively achieved enlightenment yet relinquish their accension to nirvana in order to remain amongst mankind in the ultimate act of compassion to aid as spiritual guides. As such, the Bodhisattva inhabit a liminal space between samsara and nirvana; enlightened beings that maintain a relationship with humanity that buddhas cannot, as attaining Buddhahood necessitates the abandonment of all worldly attachments, including mankind. Guanyin’s very name, ‘One who hears the cries of the world’ highlights this role as a compassionate figure who acknowledges the suffering and strife of man. Along with Mahāsthāmaprāpta, a fellow bodhisattva, Guanyin serves as an attendant to Buddha Amitabha, with these three deities recognised as the Three Sages of Western Pure Land Buddhism, a sect of Mayahana Buddhism popular in East Asia. Avalokiteshvara is commonly posited to have been adopted from Indian Buddhism into China as Guanyin around 200-400 CE, however it was the Tang dynasty (618-907) which saw the popularisation of the deity. By the Ming (1358–1644) and Qing (1644–1911) dynasties, Guanyin held the position as the most popular female deity in China. The unique state of religion in China held no monolithic canon regarding Buddhism and saw the assimilation of several belief systems, primarily Daoism, Buddhism and Confucianism. Consequently, Guanyin became a deity to be revered beyond Buddhism alone, appointed as both an official imperial deity and Daoist deity in the 12th century. Guanyin may also be seen to fulfil the role of idealised femininity as prescribed by Confucianism, with the scarcity of female Chinese deities perhaps accounting for the gradual gender shift Guanyin underwent. The Indian Avalokiteshvara is unequivocally recognised as male, whilst the supposed gender of Guanyin remains contentious. Although there is a clear shift from the masculine Avalokiteshvara towards a more feminine representation, it is unclear if Guanyin is understood to be entirely feminine, to inhabit qualities of both genders or to be elevated beyond gender entirely, embodying neither. Depictions of Guanyin are highly androgynous, which some believe lends credence towards Guanyin symbolising the unity of dualistic forces as recognised in Daoism, displaying the anthropomorphism of yin and yang. Comparative Analysis: Market comparisons of similar Qing Dynasty polychrome figures of Guanyin include lot 767 (no.2) From Christies ‘Important Chinese Ceramics and Works of Art,’ New York, 25 March 2022, with the price realised USD 52,920 (Estimate USD 20,000 – USD 30,000). Christies also auctioned a comparable polychrome Guanyin...

The Reflector pendant is a sophisticated soft lighting option suited for dining tables, workspaces, hallways, and other indoor environments that require a diffused and warm lighting ...

Bucky Vitrine Pendant Light by Christopher Boots Dimensions: D 110 x H 20 cm. Materials: Glass, brass, aluminum. Available in brass or stainless steel frame. Please contact us. BUC...

An intricate chinoiserie 'pagoda' chandelier finished with brass finial ball on the underside, detailed with bells, fretwork and ceiling canopy. Full drop is Inches 100cm or 39.37 ...

The Artona sideboard by Afra and Tobia Scarpa, produced by Maxalto in the 1970s, is a classic piece of furniture that exemplifies the elegant simplici...

The PETRA I Mono variation of the collection is shown as the main image and listed price. Twin and Triple variations are available. Please inquire for variations and upcharged Quartz...

A Chinese Imari Style Plate with Chenghua Mark, 19th century Provenance: Private Victoria Collection. Description: the central design comprising an unfurling blossom in hues of cob...

A powerful LED light source reflects off a delicately curved dish, accenting a room with a soft indirect light. The in-studio patina bronze features a deep, chocolatey finish, addi...

A Japanese Floral Imari Vase, 19th Century Provenance: Private Australian Collectio...

Designed by Daniel Barbera the Wishbone table base consist of two independent bases that create a base perfect for solid slabs of timber. Each of the or...

A Bronze Garden Statue Of A Crane, Japanese Realistically modelled with natural verdigris. Provenance: John Dunn Antiques. Dimensions: Height:...

Two available. Price per item. Belgo chrome and smoke glass tables dating from the late 1970s. We love their beautifully balanced propor...

A Chinese Carved Inkstone, 18th Century Provenance: Private Australian Collection Acquired in 1980s. Dimensions: Height: 12.5cm. Width: 28.5cm. Depth: 17.5cm.

The Basilan 1 series, crafted by Afra & Tobia Scarpa for B&B Italia in 1975, exemplifies Italian craftsmanship and design. Featuring rattan panels in various sizes, the collection of...

An exceptionally character-rich antique European woodworking bench, dating to the early 20th century. Crafted from solid, heavy timbers (likely European oak), this piece tells the r...

Original vintage David Hockney exhibition poster 'New York Film Festival', 1981 Step into the vibrant world of David Hockney, where every stroke of his brush tells a story of boundl...

This charger is very large, very beautiful and very rare. Roberto Ceccherini started his ceramics career young, as a designer for Fratelli Colzi. ...

A Chinese Bronze Tripod Censer with Mark, 19th Century With twisted handles. Provenance: Private Australian Collection. Dimensions: Height: 14cm. Diameter: 19cm.

A George II Lacquered-Brass and Chinese Coromandel Cabinet on Stand, Cabinet and stand mid 18th Century, the panels early 18th Century Provenance: Walter, 5th Duke of Buccleuch...

Year 1966 Dimensions 126 x 163cm Condition Good Artist Raymond Savignac.

Large Art Nouveau easel portrait picture frame of fine pressed brass. New ply backing with original camel velvet. Hand and machine made factory production, probably English, from the...

Antique Japanese 6 panel screen from the early Edo period (C1650). One of a pair (both available). This magnificent golden screen shows...

A Louis XV Style Carved And Painted Salon Canapé, 19th Century The frame painted in muted celadon colours with carved details picked out in gilt, lavishly upholstered in antique sty...

A Spanish Gilt and Polychrome Frame, 18th Century The finely carved green painted rectangular frame applied with gilt acanthus scroll moulding. Home decor, Interior design and colle...

Pendant lamp mod. 1274. Nickel-plated brass, crystal, enameled metal and colored glass. Produced by Stilnovo Circa 1960.

An impressive depiction of Guanyin, the Bodhisattva of compassion, whose name bears the meaning ‘One who hears the cries of the world.’ The rather androgynous figure is adorned with beaded jewellery and the princely regalia of a dhoti, draped across her body and spilling out over to partially obscure what she is resting upon. The goddess’ profile exhibits idealised features of Asian artistic convention; her face is soft and rounded, with full lips and relaxed eyes that provide a serene quality of youthfulness to the figure. Adhering to Chinese iconography of Guanyin, the figure is marked by an urna on her forehead, denoting her own enlightenment, as well as a diadem displaying Buddha Amitabha, the spiritual teacher of Guanyin. Seated in the Lalit asana pose, translated as ‘royal ease’, the figure exudes a fine example of the relaxed majesty typical in the characterisation of Guanyin. Whilst the figure’s left hand is placed restfully upon the left leg pendant, the right is raised in the gesture shuni mudra, the second finger held gently against the thumb. Otherwise known as the seal of patience, this gesture indicates the figure as one intended to bestow this virtue, along with compassion and understanding, upon the beholder. Notes on the item: Guanyin is the Chinese interpretation of Avalokiteshvara, the Indian Bodhisattva of compassion. The term “Bodhisattva” is derived from the Sanskrit “Bodhi”, meaning ‘awakening’ or ‘enlightenment’, combined with “Sattva”, meaning ‘spirit’ or ‘being’, referring to one on the path to achieving enlightenment. Bodhisattvas in Mayahana Buddhism are recognised as figures who have effectively achieved enlightenment yet relinquish their accension to nirvana in order to remain amongst mankind in the ultimate act of compassion to aid as spiritual guides. As such, the Bodhisattva inhabit a liminal space between samsara and nirvana; enlightened beings that maintain a relationship with humanity that buddhas cannot, as attaining Buddhahood necessitates the abandonment of all worldly attachments, including mankind. Guanyin’s very name, ‘One who hears the cries of the world’ highlights this role as a compassionate figure who acknowledges the suffering and strife of man. Along with Mahāsthāmaprāpta, a fellow bodhisattva, Guanyin serves as an attendant to Buddha Amitabha, with these three deities recognised as the Three Sages of Western Pure Land Buddhism, a sect of Mayahana Buddhism popular in East Asia. Avalokiteshvara is commonly posited to have been adopted from Indian Buddhism into China as Guanyin around 200-400 CE, however it was the Tang dynasty (618-907) which saw the popularisation of the deity. By the Ming (1358–1644) and Qing (1644–1911) dynasties, Guanyin held the position as the most popular female deity in China. The unique state of religion in China held no monolithic canon regarding Buddhism and saw the assimilation of several belief systems, primarily Daoism, Buddhism and Confucianism. Consequently, Guanyin became a deity to be revered beyond Buddhism alone, appointed as both an official imperial deity and Daoist deity in the 12th century. Guanyin may also be seen to fulfil the role of idealised femininity as prescribed by Confucianism, with the scarcity of female Chinese deities perhaps accounting for the gradual gender shift Guanyin underwent. The Indian Avalokiteshvara is unequivocally recognised as male, whilst the supposed gender of Guanyin remains contentious. Although there is a clear shift from the masculine Avalokiteshvara towards a more feminine representation, it is unclear if Guanyin is understood to be entirely feminine, to inhabit qualities of both genders or to be elevated beyond gender entirely, embodying neither. Depictions of Guanyin are highly androgynous, which some believe lends credence towards Guanyin symbolising the unity of dualistic forces as recognised in Daoism, displaying the anthropomorphism of yin and yang. Comparative Analysis: Market comparisons of similar Qing Dynasty polychrome figures of Guanyin include lot 767 (no.2) From Christies ‘Important Chinese Ceramics and Works of Art,’ New York, 25 March 2022, with the price realised USD 52,920 (Estimate USD 20,000 – USD 30,000). Christies also auctioned a comparable polychrome Guanyin...

A Vintage Stoneware Crab, Mid 20th Century Provenance: Private Australian Collection. Dimensions: Height: 9cm. Width: 28.3cm. Depth: 22cm.

Simple but stylish Dark Green torchiere floor lamp from IKEA, circa 1985. Construction is light and economical as you would expect from IKEA. Molded plastic cream colored shade, meta...

A Spanish Carlos II Walnut Sidetable, 17th Century Provenance: Private South Australian Collection. Description: The plank top over a single panelled frieze drawer of four moulded ...