Fine Classic Antiques Asian Art and Furniture

A Canton Famillie Rose Punch Bowl, Late 19th Century Provenance: Private Australian Collection Dimensions: Height: 13cm. Diameter: 33.5cm.

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 in...

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

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

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 ...

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

A Japanese Wooden Carved Bear, 20th Century Home decor, interior design and collectibles. Provenance: Private Australian Collection. Dimensions: Height: 37cm Width: 32cm Depth: 27cm

A Japanese Tanuki, Early 20th Century Provenance: Private South Australian Collection. Description: The rotund ceramic Tanuki depicted in typical fashion, with large testes and ...

A Chinese Green Glazed HU Vase, Han Dynasty The globular body with incised horizontal ribes, decorated with two mock-handles in the shape of 'taotie' masks, rising to the slender ne...

A Pair of Chinese Double Groud Vases, Late 20th Century Home Decor, Interior Design and Collectibles. Provenance: Private Australian Collection. Dimension: Height: 35cm Diameter: 2...

A Chinese Tea-dust Glazed Baluster Vase with Yongzheng Mark, 20th Century Home decor, Interior design and collectibles. Provenance: Private Australian Collection Acquired in Local M...

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

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

An Unusual Chinese Cloisonne Vase with Elephant Shaped Handles, 19th Century Home decor, Interior design and collectibles. Provenance: Private Perth Collection. Dimension: Height: ...

An Antique Bronze Figure of a Standing Buddha, 19th Century Provenance: Private Australian Collection. Description: The figure standing upright and exhibiting a serene facial exp...

A Chinese Wucai Plate, 19th Century Home decor, Interior design and collectibles. Provenance: Private Victoria Collection. Dimension: Height: 4cm Width: 20cm Depth: 14cm.

A Pair of Imari Vases, 19th Century Provenance: Private Australian Collection. Description: Each with an octagonal everted rim alternating between cobalt bands centred by two plu...

A Pair of Japanese Imari Cornet Shaped Vases, 19th Century Provenance: Private Victoria Collection. Description: Each cornet shaped vase with two central chrysanthemum designs be...

A Round Chinese Red and Black Lacquer Box, 19th Century Provenance: Private Old Melbourne Based Chinese Collection. Description: The shaped lid of equal proportions to the base an...

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

A Japanese Fluted Imari Vase with Mark and Metal Cover, 19th Century Provenance: Private Melbourne Collection. Description: The fluted Imari vase wi...

A Japanese Imari Vase, 19th Century Provenance: Private Australian Collection. Description: The body embellished with a repeating design of flowers and dragon cartouches united by ...

A Japanese Imari Plate, 19th Century Home decor, Interior design and collectibles. Provenance: Private Australian Collection. Dimension: Height: 4.5cm Diameter: 30cm

A Japanese Fluted and Covered Imari Baluster Vase, 19th Century Provenance: Private Australian Collection. Description: The domed co...

A Chinese Qingbai Incised Flower Bowl, Song Dynasty, Ex Christie's Provenance: Private Melbourne Collection. Christie's Melbourne, 6/7/1999, lot 638. Dimension: Height: 6.2cm Diam...

A Pair of Japanese Imari Beaker Vases, 19th Century Provenance: Private Brisbane Collection. Description: Each decorated with alternating panels of garden pavilio...

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

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 Pair of Japanese Imari Chargers, 19th Century Provenance: Private Australian Collection. Description: Each charger with a lobed border and comprising four fan-shaped panels, with...

A Japanese Imari Charger, 19th Century Provenance: Private Australian Collection. Description: The central floral basket motif within a border of hou-ou bird cartouches to a cobalt...

A Japanese Imari Platter, Late 19th Century Provenance: Private Melbourne Collection Description: With the conventional Imari palette, depicting six alternating floral and avian sc...

A Japanese Imari Charger, 19th Century Provenance: Private Australian Collection. Description: The central double hou-ou bird in cobalt surrounded by shaped cartouches within a cob...

A Pair of Chinese Cloisonne Vases, 19th Century Provenance: Private Australian Collection. Description: Each on rolled foot with undulating standard rising to a tape...

A Chinese Bronze Tripod Censer with Handles with Ming Xuande Mark, 19th Century Home decor, Interior design and collectibles. Provenance: Private Sydney C...

A Pair of Imari Hexagonal Jardinieres, 19th Century Provenance: Private Melbourne Collection. Description: The flat lip of each decorated with lotus cartouche panels, the tapering...

An Indian Silver Foil Overlaid Palaquin, Early 19th Century The open scroll and foliate embossed seat with a shaft to each end (one detached). Provenance: Estate of Gol, Rajasthan,...

One Chinese Black Lacquer Rectangular Lidded Jewelry box, Late 19th Century Provenance: Private Melbourne Collection. Dimensions: Width: 37cm Height: 10.5cm Depth: 20.5cm.

A Vintage Chinese Brass Lock with Key The rectangular lock with incised maple leaves, blossoms and characters; together with a key Provenance: Pri...

A Chinese Brass Lock in the Form of a Turtle, Early 20th Century The lock in the form of a turtle with moving legs, the lock mechanism beneath work...

A Chinese Jade Carving of Piqiu, Late 19th Century Dimension: Height: 11.5cm Width: 14.5cm Depth: 5.5cm Provenance: Private old Australian coll...

A Chinese Red Lacquer Baby Bath with Mark, Late 19th Century Provenance: Private Australian Collection. Diamension: Height: 14cm Diameter: 42cm.

A Chinese Hand-Carved Red Lacquered Basket with Handle, Late 19th Century Provenance: Private Australian Collection. Dimension: Height: 31cm Width: 27cm Depth: 30cm.

A Chinese Two-Tiered Bamboo and Rattan Lidded Dessert Basket with Handle, Mid 20th Century Provenance: Private Australian Collection. Dimension: Height: 18cm Width: 15.5cm Depth: 1...

A Chinese Silver Apple Shaped Lidded Jewellery Box, Early 20th Century Provenance: Private Australian Collection Acquired in 1970s. Dimension: Diameter: 7.5cm Height: 5cm

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

A Chinese Red Lacquer Lidded Box, Early 20th Century Provenance: Private Melbourne Collection. Dimension: Width: 16cm Height: 9.5cm Depth: 10cm

A Chinese Brass Jewellery Lidded Box, Early 20th Century Provenance: Private Australian Collection Acquired in 1980s. Dimension: Width: 11cm Height: 7cm Depth: 9cm.

A Large Chinese Brass Fish Lock with Key, Early 20th Century Provenance: Private Perth Collection. Dimension: Width: 20cm Depth: 10cm Height: 3cm. Note: The lock is not in working...

A Chinese Metal Lock with Key, Late 19th Century Provenance: Private Brisbane Collection. Dimension: Height: 5cm Length: 14cm Depth: 2cm.

A Chinese Brass Double Fish Shaped Lock with Key, Early 20th Century Provenance: Private Australian Collection. Dimension: Width: 13cm Height: 1cm Depth: 7cm.

A Chinese Brass Fish Shaped Lock, Early 20th Century Provenance: Private Australian Collection. Dimension: Length: 10cm Height: 1.5cm Depth: 6cm.

A Chinese Brass Etched Lock with Key, Early 20th Century Provenance: Private Australian Collection Acquired in 1980s Dimension: Width: 11cm Height: 2.5cm Depth: 1.5cm

A Chinese Red Lacquer Lidded Jewelry Box, Early 20th Century Provenance: Private Australian Collection. Dimension: Width: 19cm Height: 22.5cm Depth: 21cm.

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.

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 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.