Australia

Imagine the kids relaxing in this eco-friendly and genuine sheepskin beanbag while they read, learn or play their favorite video game. This large and long wool shaggy bean bag chair is handcrafted from the finest long wool Icelandic sheepskin resulting in the most amazing shaggy and tactile appearance with a wool range of 5 to 6 inches (8 - 15cm) in length. The natural white color is unaltered, preserving the natural beauty of the original wool color, as the Natural white may come with hints of a rich creamy undertone. Sheepskin qualities are underestimated, as they are cool in the summer, as the wool hollow fiber absorbs heat and releases the heat over seven times faster than a synthetic fiber while in the colder months, the wool warming properties keep the body snuggle and warm making this sheepskin bean bag chair the perfect comfort décor for all year round. Whether styled in the kid's bedroom to help with learning, placed in the living room for additional seating, or in the cinema room for the ultimate gaming experience, this long wool shaggy bean bag will be loved and enjoyed by all. Our Icelandic sheepskins are carefully sourced directly from Europe, using only natural by-products and eco-friendly processing, without the use of harsh and toxic chemicals that are damaging to the environment and humans, making them safer and healthier inside the home for everyone to enjoy. Each Icelandic sheepskin beanbag chair is individually handcrafted in Australia by eluxury home with expertise and craftsmanship and most importantly made to strict child safety law. The sheepskin beanbags come with an additional internal cotton bean fill cover, a safety child lock zipper and a genuine leather base for extra durability and easy care. Eluxury home are artisan makers of authentic sheepskin beanbags and offers this design in a collection of long wool sheepskin colors, View image gallery for color selection. This sheepskin bean bag does not come with bean fill but can be requested upon additional charge. The dimensions of the sheepskin beanbag are calculated according to the pattern but will differ according to the amount of fill used. Features: handcrafted from genuine Icelandic sheepskins colour: natural white (may have a slight creamy yellow undertone) custom make in other colors dimensions: 990cm width x 80cm height (+ wool pile) long and shaggy wool pile r Individually handcrafted in Australia Made to strict Australian Child...

Boris Bucan was an internationally renowned graphic designer from Croatia. His graphic work has been widely exhibited all over the world. This is an original vintage poster which is...

Vintage Chloe yellow silk and mocha lace party dress. 1950s sweetheart bustier style with a- line skirt. Classic 1950s style with beautiful lace overlay. Fully lined in silk. Bespo...

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A white silver Australian South Sea Pearl strand It consists of 25 cultured south sea pearls in white silver Colour with pink blue overtone. The Pe...

Capella Sydney Hotel art collection Star Princess cruise Selling houses Australia 5 Fake- Paramount + Dream homes The Block Gran design Australia Magazine "Creating large-sca...

A Strand of Golden South Sea Pearl Necklace with 18K Gold Clasp. The pearls are of yellow golden colour with Green Overtone. This is a big necklace as the largest pearl measuring 16mm. The Golden South Sea Pearls are measuring from 12.1 mm to 16 mm It consists of 42 pieces Oval Shape Golden Colour South Sea Pearls with Very Good Lustre and Slightly Spotted Surface. The photo is taken by iPhone 11...

Mid 20th Century Original Theatre Poster, "Les Spectacles" November 1922 This is an original vintage poster which is linen backed for preservation. This poster is dated 1922, it li...

It's not a secret that we love work by Tiffany and Co here at The Antique Guild, and this pair of gold and lapis lazuli cufflinks are no exception. The cufflinks which date to the la...

A George III sterling silver coffee pot with a wooden handle likely by Charles Wright of London. The pot features what could be described as Rococo period repousse swags and floral s...

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...

Designer's Notes HK22 "Handelsmann and Khaw have long admired the quality and refinement of Dunlin's collections. Our first collection came about from where we found a need for fea...

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 ...

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

Oval amethyst and round brilliant diamond cocktail ring set in 9ct yellow gold. One mid purple faceted oval amethyst measuring 18mm x 14mm x 8.17mm and weighing 10.83ct 12 round brilliant diamonds weighing 0.30ct in total, GSI Setting - 4 claw 9ct yellow gold with grain set diamond shoulders, soft square profile shank Finger size N...

Benjamin Franklin Steel-engraving by WJ Edwards after Joseph Siffred Duplessis. C1860. . Vignette below image titled 'Declaration of Independence'. When Franklin arrived in France ...

TO U.S.A BUYERS: DON’T SWEAT ABOUT 15% TRUMP’S TARIFF - WE COVER IT BY GIVING YOU 15% DISCOUNT! Of an exquisite timeless design, this vintage dress ring is set with an oval Natur...

NOT A 2000 SERIES Since its first appearance, the Up Series, designed in 1969 by Gaetano Pesce, has been one of the most talked about examples of modern furniture design. The excep...

PAIR OF DROP 16 MM PEARLS, FLAWLESS AFTER SETTING COMPLEXION, GEM LUSTRE, SILVER. GUARANTEED NATURAL COLOUR AND LUSTRE These pearls display their natural colour and lustre and have...

'Canard Nyroca - Canard Milouinan' (Ferruginous Duck) French chromolithograph, published in 1931. Printed title lower right of sheet. Plate number top right. From a French series o...

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...

Organic, minimal, sculptural, refined, this very large, handcrafted solid timber table lamp makes a sculptural statement. Frank Fringe Lamp is an example of 21st century organic modernism inspired by Arp's and Brancusi's minimal 20th century sculptures. Designed and made to order one at a time in Australia on a single lathe by a master craftsman, Frank table lamp’s sinuous, tactile base is made of solid, sustainable, rock maple to complement a perfectly proportioned white raffia fringe...

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The Rob Roy Tartan Chromolithograph. 1886. From 'The Tartans of the Clans of Scotland', by James Grant, 1886. 365mm by 265mm (sheet). Accompanied by a sheet of descriptive text.

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A Chinese Cloisonné Enamel Tripod Censer with Mark, 20th Century Description: Featured with a tripod form, standing on three feet. The body is decorated with vibrant enamel floral a...

VINTAGE MISSONI 1980s. Beautiful Vintage MISSONI Dress in rust red with gold lurex MADE IN ITALY SIZE SMALL -LARGE. ITALIAN 42 but will fit most sizes. GOOD CONDITION. CONSISTE...

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Elevate your summer styling with this vibrant Hermès silk scarf, creatively worn as a top. Rendered in a striking orange palette with contrasting navy and turquoise, the print celebr...

Elegant tall vase in pink with controlled bubbles internally decorated with polychromatic speckles and murines.

This refined Sergio Asti bowl in Italian red marble (marmo rosso) embodies the warmth, material richness and organic softness typical of 1970s Italian design. Carved from a single bl...

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Antoni Clavé Le Gant, 1975 Lithograph Hand signed lower right Edition 59/170 Image size: 36 x 59 cm Frame size: 50.5 x 66 cm One of the most internationally renowned contemporary Ca...

'Middle Ages - Moyen-Age - Mittel Alter' Late 19th century interior design chromolithograph, from Racinet’s ‘L’Ornement Polychrome’, 1887. Published in Paris. Albert Racinet's 'L' ...

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This large sheepskin throw rug will create an atmosphere of stylish design and luxurious comfort, handcrafted from the finest quality short wool Icelandic Sheepskin. This charming and endearing grey sheepskin throw rug expresses the beauty of natural and sustainable living bringing signature styling to both Classic and modern interiors suitable for the styling of a sofa, bed or flooring. Each sheepskin throw rug is crafted in Australia by eluxury home, using individual and carefully sourced Icelandic sheepskins creating distinguished and organic curved edges formed by the natural shape of each sheepskin used...

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...

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A Spanish Carlos II Walnut Chest of Drawers, 17th Century Provenance: Christie's Melbourne, 2000. Description: A rectangular plank top with some exposed rounded iron nail heads an...

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Create an atmosphere of style with this striking cowhide lumbar pillow. Whether layering with other cushions or styled on its own the tan cowhide pillow will help transform rooms in an instant. Each cowhide cushion is individually handcrafted in Australia from a pre-selected young cowhide which ELuxury home...

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1ct Natural Pear Cut Emerald Pendant Necklace Claw set Pear cut emerald Zambian Emerald Extender style chain 50cm extender chain Sharp Ohliguer claws Ethically sourced gold Stampe...

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