Fine Classic Antiques Furniture

A Vintage Large Natural South Pacific Giant Clam Shell The giant clams are the members of the clam genus Tridacna that are the largest living bivalve mollusks. The giant clam lives ...

A Vintage Natural South Pacific Giant Clam Shell The giant clams are the members of the clam genus Tridacna that are the largest living bivalve mollusks. The giant clam lives in fla...

A Chinese Timber Black and Gilt Lacquerware Pillow Box, Early 20th Century ...

A Solid Cast Bronze Japanese Figure of Bear, Early 20th Century Dimension: Height: 15cm Width: 26cm Depth: 11.5cm Provenance: Private Melbourne Collection.

A Cast Iron Cobbler's Shoe Anvil, Late 19th Century to Early 20th Century The cast iron foot mould mounted atop a rectangular timber base. Dimension: Height: 26cm Width: 40cm Depth...

Italian Figural Walnut Centrepiece of Dionysus 19th Century Provenance: Private Australian Collection. Description: A walnut figure modelled on the bronze ‘Narcissus’ found in N...

Plaster Figure of the Doryphoros of Polykleitos, Early 20th Century Cast of 5th century Classical Greek sculpture Description: A splendid plaster model of the Doryphoros or ‘spear-b...

Description: A rectangular credenza or dining room sideboard. The rectangular top with a dentil cornice above a horizontal panelled section with two concealed frieze drawers to the...

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...

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...

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 Taxidermy Hawksbill Sea Turtle Length: 57cm Height: 11cm Width: 28cm Provenance: Private Australian Collection. Note: This item may be subject to export/import restricti...

A very unusual and highly decorative parcel-gilt and coral-red lacquer cabinet-on-stand, Austrian circa 1780 Height: 210 cm Width: 140 cm Depth: 72 cm. Provenance: Private Australi...

A Pair Of Late 19th Century French Bronze Allegorical Figures Of Autumn & Spring Each figure cast as a draped maiden, standing with one arm upraised and the other holding a basket b...

A Large Directoire Period Painted Seven- fold Screen, French Late 18th century Height: 175 cm Width: 420 cm fully extended Depth: 3 cm each panel Provenance: Private Australian Col...

A Small Walnut Chest of Drawers, Italian circa 1700 Height: 78 cm Width: 60 cm Depth: 29 cm. Provenance: Private Australian Collection acquired in...

A Pair of French Empire Bronze, Gilt Bronze, and Verde Marble Tazzas, 19th Century Each tazza with a shallow bronze inner bowl with leaf-and-dart rim projecting from a lobed gilt br...

A pair of French Empire gilt bronze urns on marble stands, 20th Century Height: 32 cm Width: 22 cm Depth: 18.5 cm Provenance: Private New South Wales Collection.

Timber Trunk Stool Height: 44cm Diameter: 38cm Please note that due to the unique design and materials used, we cannot guarantee that every stool will ex...

A 19th Century French Carved Mirror The oval glass inserted into a mixed wooden frame adorned with finely carved applications, the whole with leaves. Further carved elements include...

A Late 18th Century Oval Painting Girl with a cat, original oil on canvas in gilt-wood frame. Height 68 cm Width 58 cm Depth: 5cm Provenance: Private ...

An Portrait of a Lady and her Dog, 18th Century, European School The oval painting within its original oak leaf and beaded gilt-wood frame, oil on canvas. Height: 101 cm Width: 85 ...

A Louis XV Style Marble Top Commode, French, 19th Century Height: 89.5 cm Width: 123 cm Depth: 64 cm Provenance: Private Melbourne Collection.

A Late 17th Century Painting Depicting A Cavalry Battle Height: 115 cm Width: 75 cm Depth: 6 cm. Provenance: Private Australian Collection.

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 Small Gilt-Wood and Marble Centre Table, Late 19th Century The circular veined rosso antico marble top encircled by a moulded gilt-wood border, supported by a shaped baluster stem...

A Carved and Polychrome-Painted Group of the Virgin and Christ, 18th Century The modelled standing in robes holding the Christ child, on a rockwork base with a seraphim mask to the ...

A Large Terracotta Statue of Discobolus, 19th Century A Terracotta statue of the classical Greek 'Discobolus" by Myron. This particular figure is modelled after the 2nd century Roma...

A Small Egyptian Bronze Statue of Harpocrates, Circa 1st Century B.C. / 1st Century A.D. The left hand holds the horn of abundance. Provenanc...

A Chinese Blue & White Brush Pot Depicting Figural & Landscape Scenes, 19th Century Provenance: The Collection of Dr. John Yu AC Dimension: Height: 9cm Diameter: 5cm. Dr. Yu was t...

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

A Tibetan Prayer Book in Wooden Casing, 19th Century Aged leaves bound with leather strapping between hard covers. Length: 53.5 cm Width: 13.5 cm...

A finely modelled pale turquoise glazed Ushabti, Circa 26th Dynasty 664-525BC Provenance: Sotheby’s London Lot 76 14/12/1981 for 725.00 Pounds sterling as part of a group lot.

A Famille Verte Baluster Jar, 19th Century Decorated with shaped panels of landscapes and mythical beasts reserved on a floral decorated black ground. Height: 45 cm Diameter: 37 cm...

A Dutch Cast Brass Chandelier, Early 20th Century Of eighteen lights raised on two tiers of scrolling arms, radiating from a knopped stem, the stem and pans decoratively pierced. P...

A very fine pair of carved limewood and gilt torcheres, Italian circa 1780 Height: 112 cm Diameter: 25cm Provenance: Private Australian Collection.

A 19th Century Dutch Naive Needlework in Ebonized Timber Frame Depicting a woman in regal attire with child greeting a figure dressed in draped gown, in the background, an architect...

A Framed Faux Stumpwork Tapestry, Late 18th / Early 19th Century The oval tapestry depicting a couple and a dog passing through an archway from wooded to architectural land. Height...

A Stunning Louis XV Period Carved Walnut Bombe Commode, French Mid 18th Century Height: 88 cm Width: 118 cm Depth: 61 cm Provenance: Private Australian Collection.

A Pair of Chinoiserie Chippendale Style Wing Chairs in Red Velvet, 20th Century Dimension: Height of Back: 103 cm. Height of Seat: 43 cm. Width of Seat: 58.5 cm Depth of Seat: 53.5 ...

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...

A Pair of Chinese Gilded and Lacquered Cabinets, Qing Dynasty Rectangular, decorated with bat and cloud motif to body, with gilded and relief car...

A very impressive Tuscan gilt and polychrome painted Neo-Classical mirror, Italian circa 1760 Height: 173 cm Width: 140 cm Depth: 13 cm Provenance: Old Australian Collection acquir...

A Large and Impressive Vintage Double Storey Doll House, 20th Century Height: 84 cm Width: 118 cm Depth: 63 cm Provenance: Private Australian Collection.

A Victorian Marquetry Inlaid Three Tier Whatnot, Late 19th Century Height: 100 cm Width: 59 cm Depth: 44 cm. Provenance: Private Melbourne Collection.

A Good Carved and Ebonised Picture-easle, French Circa 1880 Height: 170 cm Width: 72 cm Depth: 75 cm Provenance: Private Australian Collection.

A Chinese QINGBAI BOWL, Song Dynasty Height: 6.5 cm Diameter: 17.5 cm Provenance: Sotheby's, London, Oriental Ceramics and Works of Art, Lot 77, 06/02/1979

One Blue and White Dish, Yongzheng Period, Qing Dynasty Painted figures on bridge in landscape Diameter: 11.5cm Height: 2cm Provenance: Made in Imperial China Porcelain from the C...

One Blue and White Dish, Yongzheng Period, Qing Dynasty Painted figures on bridge in landscape Diameter: 11.5cm Height: 2cm Provenance: Made in Imperial China Porcelain from the C...

A highly decorative and finely carved Sienna and Cararra marble urn in two sections, Italian 18th century Height: 85 cm Diameter: 73 cm Provenance: Private Australian Collection ac...

A superb terracotta lion, French 18th century Height: 70 cm Width: 38 cm Depth: 82 cm. Provenance: Private Australian Collection acquired in 1990s.

A Northern Italian Polychrome Pine Prie-Dieu Circa 1784 The prie-dieu or inginocchitorio with a projecting knee rest above a drawer with a turned wooden handle, rising to a wupboard...

A Figured Walnut Veneered Prie-dieu, Italian Circa 1700 The walnut prie-dieu with canted corners and panelled with burred walnut, the moulded plank top giving way to a single frieze...

A Marquetry and Walnut Prie Dieu, Northern Italy circa 1680 The prie-dieu with canted corners and decorated with walnut and scrolling floral marquetry, the plank top sitting above a...

A Large Louis XV Style Gilded Overmantel Mirror, French, 19th century with an elaborately pierced crest and pendent elements Height: 176cm Width: 96cm Depth: 6.5cm Provenance: Priv...

A Pair of Chinese Cloisonne Baluster Vases, Late 19th Century Each of baluster form with an everted lip and trumpet neck descending to broad shoulders and a flared base, the enamelw...

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

An Antique Brass Mortar with Pestle, 19th Century Dimension: Mortar: Height: 8.4 cm Diameter: 13 cm. Pestle: Height: 20.5 cm Diameter: 4.2 cm (Wi...

A Wooden Carved Treen Nutcracker, 19th Century Dimension: Height: 12 cm Diameter: 4 cm. Provenance: Private Australian Collection.

A Chinese Longquan Celadon Lotus Bowl, Ming Dynasty Diameter: 16.7 cm Height: 5.5 cm Provenance: The Collection of Dr. John Yu AC Dr. Yu was the Foundi...