Victoria - Furniture

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...

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...

Formation Stick Pendant is a sleek, minimalist extruded aluminum fixture ideally suited to hang above Kitchen islands, above works spaces and o...

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...

Brass and quartz crystal light sculpture - Prometheus I by Christopher boots. Prometheus stole fire from the Gods of Mt Olympus and gave it to humankind....

Superb set of 'Fisheaters', i.e. Six knives and six forks designed by Gerald Benney, in original box. The influence of Danish design is very clear, yet these are quintessentially midcentury British in their trim, measured and practical style. 'Gerald Benney CBE (21 April 1930 – 26 June 2008) was a British silver and goldsmith who along with David Mellor...

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...

This poster has been linen backed for preservation. The overall condition is good, however there are some natural signs of wear which is consistent with the age of the poster. Arti...

An Impressive 18th Century Painted Parchment Armorial Height: 260cm Width: 185cm Provenance: Private Melbourne collection.

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

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 ...

A Latched Wooden Box with Brass Overlay Decorations, 20th Century Descriptions: The ebon rectangular box decorated with overlaid Arabesque brass motifs punctuated by nailhead boss...

Original Vintage Poster, 'Jeunesse Au Plein Air' C. 1980 V. Morvan & L. Kouper "YOUTH IN THE OUTDOORS" This original poster was designed by Herve Morvan's wife, Veronique Morvan to ...

A Cast Bronze FW Wall Fountain Description: A Bronze Wall Fountain of Semi-circular form, the bowl with pronounced egg and dart meander at rim, the underside decorated with a semi-c...

Dining chairs by Afra & Tobia Scarpa for B&B- Campagnia delle Filippine division. The Basilan 1 series, crafted by Afra & Tobia Scarpa for B&B Italia in 1975, exemplifies Italian cra...

Le printemps a Paris Original Vintage French Poster c. 1960 This is an original vintage French poster, a beautiful snapshot of Paris in the Springtime! Artist Unknown Year Circ...

The klaylife sash is a handmade, modern chandelier with a Classic style with the added detail of a top band and belly band that accentuates the line and ...

Original vintage French Art Deco brides poster 'Les Bains' By Leon Benigni 1929 Brides-les-Bains is a commune in the Auvergne-Rhône-Alpes region in south-eastern France. It was on...

A Chinese Cloisonne Tray with Qianlong Mark, Early 20th Century Home decor, Interior design and collectibles. Provenance: Private Victoria Collection. ...

A Pair of Japanese Cloisonné Vases, 19th Century With enameled flowers. Provenance: Private Australian Collection. Dimensions: Height: 20cm. Diameter: 8cm.

An Octagonal Library Table Provenance: Private Australian Collection. Dimensions: Height: 80cm. Width: 107cm. Depth: 107cm.

A powerful LED light source reflects off a delicately curved dish, accenting a room with a soft indirect light. The in-house brushed brass showcases the subtle beauty of the raw ma...

Original vintage poster for the French Lottery, an iconic poster designed by Raymond Savignac in 1989 "On Holiday’s I am well subscribed" Artist Raymond Savignac Year 1989 Dime...

Campari Soda Corre Con Tempo Original Vintage Poster Beautiful and striking Campari Soda Corre Con Tempo. This poster suits any space! This is an original poster which has been line...

'Toni-Kola', Original Vintage Early 19th Century Colonial Propaganda Poster Toni-Kola, a colour lithographic poster from 1900; this poster is showing the influence of colonial icono...

Meteor 210 Pendant Light by Christopher Boots Dimensions: D 25 x W 210 x H 25 cm. Materials: Naturally uncut clear quartz crystals, naturally uncut smoky quartz crystals, aged brass....

A 19th Century bronze of the bronze Seated Hermes Based on the life-size bronze Roman statue found at the Villa of the Papyri in Herculaneum in 1...

A Spanish Wrought Iron and Copper Jardinière, 19th Century Description: The tazza form gadrooned copper bowl of the jardinière with an embossed acanthus leaf neck between rope moul...

A Florentine Parquetry Lacquer and Parcel Gilt Center Table, 16th Century Description: the top of rectangular form with inlaid cubic parquetry decoration, contained by a moulded edg...

An elegant, elongated wall light, offered in two lengths – 400 millimetres and 900 millimetres. Its shield-like form is characterised by a central sharp line or ‘pinch’ that allows l...

With clean intersecting forms and a brushed metal finish, the Bloc Pendant offers a refined architectural presence. The pendant is crafted from precisely machined brass or aluminium ...

A Solid Wooden Oak Three Legged Stool Interior design and Home Decor. Provenance: Private Australian Collection. Dimensions: Height: 38cm. Diamater: 33cm.

The bust has been sculpted from earthenware clay and fired with a Bronze glaze. It is sculpted in a mannered style, with a dramatic, expressively turned head and tender expression. ...

Important to note, this listing is specifically for the Petra II Linear Chandelier (Size 900, Clear Quartz Slice). Please inquire with our sales team abou...

Statement clay beaded lighting, that can be suspended as a single, or in a cluster for maximum impact. The klaylife barrel pendant has been specially ...

Mid-20th Century Tibetan Khaden Wool Rug with Central Medallion and Cloud Spandrels This is more than just a beautiful rug; it's a piece of history, representing the end of a thousa...

A Chinese Elm Side Table / Stool, Early 20th Century Description: With framed plank top over squared base with carved scrolls to apron. Provenance: Private Australian Collection. ...

Original vintage poster Marcello Nizzoli Campari 1927 linen backed lithographic poster Linen (backed on acid-free paper and cotton canvas) Printer, publisher or brands: DAVIDE ...

Presenting an exceptionla example of Italian Mid-Century modern design: rare lounge chairs by Ico Parisi for MIM. The legs are cast aluminium and the seat and backrest has been newly...

A Small Chinese Carved Timber Gilt and Polychrome Figure, Ming Dynasty Provenance: Private Old Australian Collection Acquired in Beijing Market in 1980s. Description: The cavity ...

Description: A singular example of Guanyin. Deviating from the Bodhisattva’s conventional pose of ‘royal ease’, the figure is instead seated in the meditative padmasana, or ‘lotus position’, rendering this Guanyin something of a rarity. An Apana more typically associated with depictions of Buddhas, Guanyin assuming this pose immediately signifies this figure as one of particular spiritual reverence. Both feet are revealed crossed upon one another from beneath fabric which spills before her, her left palm turned upward with her hand resting upon her left knee and her right raised in a relaxed gesture. Adorned with a diadem housing a depiction of Amitabha Buddha, her own spiritual guide, she exudes an air of tranquil regality, further characterised by her numerous strings of beads and elaborately fastened dhoti, attire traditionally reserved for Indian princes. Though the figure’s dress is Indian her face is undoubtedly exemplifying artistic Chinese beauty standards. Her face is soft and rounded, full in both the lips and cheeks, with eyes that restfully peer down, as though she is watching over the worries of mankind with compassion. 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...

An earthenware carafe by Joe Finch, respected British studio potter. Joe is the son of Ray Finch of Winchcombe Pottery, where he began his career in...

A Spanish Silver-Plated Crucifix, 19th Century Provenance: Casa Santapola, S.L., Ronda (Málaga), November 2018. Description: Each crossbar with floral band terminating in f...

Formation wall sconce is a luxury wall-mounted LED light fixture ideally suited for hallways, powder rooms and other domestic and commercial spac...

A Solid Cast Bronze Goose with Open Mouth Provenance: Private Australian Collection. Dimensions: Height: 59cm. Width: 38cm. Depth: 16cm.

A rare pair of antique Japanese Karashishi paintings in a landscape of rocks and peony flowers on gold leaf ground in fine handmade frames, Edo period, early 18th century. The Karash...

A Royal Crown Derby Square Imari ‘383’ Dish, 19th Century Provenance: Private Australian Collection. Description: The chamfered square dish applied with the ‘383’ design, otherwi...

A complete set of fifteen vintage Japanese hina ningyo. These ornamental dolls are displayed for the Girls Day Festival Hinamatsuri, on the 3 March each year in Japan. The set repres...

A powerful and minimalist hand-carved soapstone bear sculpture by Canadian artist Ross Parkinson. Handmade in Quebec, this piece is a sophisticated exa...

A highly collectible and sculptural "Venus" vase designed by the celebrated German artist Uta Feyl for Rosenthal's progressive "studio-linie" (Studio Line) circa the 1970s. This str...

A Greek Black Figure Style Grand Tour Hydria, 19th Century Provenance: Private Australian Collection. Description: Depict a heroic subject, possibly related to figures like Achille...

Jean Dubuffet was one of the most famous European artists of the postwar era, “I have a great interest in madness, and I am convinced art has much to do with madness,” Dubuffet said ...

A vintage Japanese Tsuzuri bako, writing box. with an unusual, deeply carved relief of Japanese sarcandra glabra, a woody herbal sub-shrub native to Asia with deep green glossy leave...

A Pair of Green Glazed Jardinieres with Ormolu Mounts, 19th Century Provenance: Private Australian Collection. Dimensions: Height: 18cm. Width: 21.5cm. Depth: 15.5cm.

A Pair of Oil Paintings on Copper, Bolognese School, 18th Century XVII century, in the style of Annibale Carracci (1560–1609), Circa 1660-1680's. Provenance: Formerly with Cesare de...

A Chinese Glass Snuff Bottle, 20th Century Dimension: Height: 9 cm Diameter: 9 cm. Provenance: Private Western Australian Collection.

An Iron Chinoiserie Box, 19th Century Description: The iron box rectangular in form, with brass drop handle affixed to flat top with gilt work figurative scene, further gilt work s...

A Large and Impressive Louis XV period carved beech and tapestry canape, French circa 1750 Height: 109 cm Width: 202 cm Depth: 72 cm Provenance: Private Australian Collection acqui...

Petra I Triple Clear Quartz Sconce by Christopher Boots Dimensions: D 12 x W 30 x H 60 cm. Materials: Aged brass, slices of polished clear quartz. Available in clear, rose, or smoky...

A Flemish Faux Tortoiseshell and Repousse Mirror, 19th Century Description: The bevelled glass held within a triple frame, the central frame of faux tortoiseshell with repousse flor...