We found 26544 price guide item(s) matching your search

A vintage teak and textured tile top coffee table

A wood framed tray with eight blue and white Delft tiles, 62 x 30cm; two framed tile teapot stands, each 17 x 17cm; a Delft tile; together with two other tiles. Estimate: £30-50

Bamboo three tier wotnot with ceramic tile shelves decorated with fish, 38 x 38 x 75cms. Estimate £20-40.

Square tile topped table, 20thC Bentwood Coat stand and a Ercol style chair

Various Chinese boxed calligraphy sets, brushes, Mah Jong set with lacquered tile-stands, embroidered robe etc (box)

A holy water font, a part of a collection box and a marble mounted tile

Chris Lewis Ceramics, South Heighton Pottery, A 20th century studio pottery table platform, glazed tile design on bun feet, studio marks to base, 41cm x 26cm

A vintage tile topped magazine rack. postage unavailable

A very rare early illustration to a mid-13th century obscene poem, Bukhara, Iran, late 16th century, ink and opaque pigments heightened with gold, depicting lovers including a figure in a distinctive black hat, in various coupling positions in a brightly coloured and patterned tile interior, with 2 lines of Persian nasta'liq above and below within cloudbands on a gold ground, and diagonal line of the same above and below, outer border decorated in gold with animals on a floral ground, signature top left, mounted, glazed and framed, painting 26.5 x 17cm. Provenance: Estate of costume designer Anthony Powell (1935-2021)Ostensibly, this single folio was part of a manuscript of the collected works (Kulliyāt) of the renowned Persian poet and mystic, Saʿdī of Shiraz (d. 1292 CE). The painting is partially framed by five couplets that belong to a short narrative poem (masnavī) that is found in the little-studied and unpublished collection of Saʿdī’s obscene works (khabīsāt), which are featured prominently in the earliest manuscripts of the Kulliyāt (see D. Ingenito, Beholding Beauty: Saʿdi of Shiraz and the Aesthetics of Desire in Medieval Persian Poetry). The poem, which comprises seventy couplets, recounts the story of a handsome young man who marries an uncomely and ill-mannered woman. Upon experiencing an erotic fiasco during their first night together, the young man begs his father-in-law to allow him to divorce his wife. The father rejects this request by telling the young man that he would have to spend time in jail in order to pay back his daughter’s dowry. After thinking at length about his miserable condition, the young husband resorts to the uncanny expedient of seducing and sexually subjugating his wife’s entire family and entourage, without discriminating between women and men of any age. Being the only family member who has not been assaulted by the young man, the father consents to the divorce of the couple with no further hesitation. The five couplets quoted in this folio pertain to the central part of the poem, which offers a detailed description of the orgiastic spree undertaken by the young man. As is often the case with Saʿdī’s obscene works, in these lines, explicit descriptions of sexual acts are juxtaposed with delicate similes and metaphors that are drawn from the poet’s inimitable lyric styleThe combination of high and low poetic registers in Saʿdī’s ludic narration in verse is reflected in the stylistic elegance with which the painting portrays scenes of sexual disinhibition. In fact, in this folio (if one takes into account the contents of the entire poem), the visual and literary texts simultaneously stage the lewd and the alluring dimensions of eroticism: intimate body parts are covered and uncovered by fine garments, while mechanical forms of sexual penetration reveal seductive tensions between bodies enraptured by desire. The decorative aspect of pieces of clothing, rugs, curtains, along with the delicate rotation of different limbs, seems to mimic the rhetorical embellishments with which Saʿdī’s lines describe multiple forms of vaginal and anal intercourse. Whereas the poem, line by line, offers a list of the young man’s sexual encounters with the members of his wife’s family in chronological order, the painting portrays all of them simultaneously. The orgiastic aesthetics of the visual representation does not allow onlookers to recognize specific details found in the poem (apart from a candle held by a young man on the bottom right). The young husband, as a serial penetrator, occupies a different timeframe in each section of the painting. While his physical features appear to be always the same, different erotic settings are distinguished by different garments. At the center of the painting, as a bizarre variation of the erotic scenes, the young husband appears to have a darker skin color. Moreover, instead of having sex with a beardless male or female youth, the darker boy seems to be penetrating a bearded man. A man with similar facial features and hair appears on the top right of the painting. One could assume that this adult male is the visual depiction of the young man’s father-in-law who, in the versified plot, fears the sexual intentions of his daughter’s husband after having been made aware of the erotic tumult he has brought to his family.Stylistic features of this painting suggest that it was produced in Shiraz between the 1560s and the 1570s CE (see, for instance, a Gulistān copied in Shiraz in 1575). Visual representations of Saʿdī’s bawdy verses (and, in general, of obscene poetry) are extremely rare before the 17th century. Nonetheless, a manuscript of Saʿdī’s Kulliyāt copied in Shiraz in 1566 (British Library, Add. 24944) presents a painting that is strikingly similar to this one [reproduced by Boone, see attachment] and illustrates exactly the same erotic masnavī. Even though both Lâle Uluç and Joseph Allen Boone misread Saʿdī’s poem as a text on “lovemaking techniques” and its visual representation found in Add. 24944 (f. 333) as a “brothel scene,” these documents attest to the existence of a Saʿdī-centric tradition of erotic iconography that developed in Shiraz during the second half of the 16th centuryWith special thanks for this cataloguing to Domenico Ingenito, Associate Professor of Persian Literature, University of California, Los AngelesFolio stuck down

A hexagonal Cintimani tile, Ottoman Syria, 16th century, painted in black under a transparent glaze, 29cm. highProvenance: The Estate of costume designer Anthony Powell (1935-2021)Another example is in the Brooklyn Museum, New York (accession no. 86.227.194)Please refer to department for condition report

A blue and white pottery tile in the Iznik style, late 19th-early 20th century, of rectangular form, with design of scrolling vegetation, 20 x 10cm. Provenance: The Estate of costume designer Anthony Powell (1935-2021)Please refer to department for condition report

An Ilkhanid cobalt blue glazed Kufic pottery inscription tile, Iran, 14th century or later,of square form, underglaze painted with a large Kufic inscription and vegetal scroll in white on a blue ground, in two parts, 24.5 x 24.5cm. Provenance: US trade 2002Please refer to department for condition report

A rare Ottoman 'Miletus' ware pottery bowl, Turkey, 14th-15th century, slip-decorated earthenware body with dark and lighter blue, mauve, the foliate stylised designs against a cream ground, fragments reconstructed into bowl with infill, underside of foot handwritten 'Miletos ware, see page 142, The Iznik Tile, Kiln Excavation, 1981-88', 19.1cm, diam.Provenance: Private Collection of Theo Sarmas (1938-2018). Theo Sarmas was a London businessman who was a passionate collector of Byzantine ceramics and Greek coinage. Princeton University, New Jersey holds the Theo Sarmas collection of medieval Greek coinage.This type of pottery, a pre-curser to Iznik ceramics, came to be known as 'Miletus' because examples were first excavated in the ancient town of Miletus in South-West Turkey, but have subsequently also been found in Iznik (Carswell 1998, p.29). Further examples of this type of rare pottery are in the Victoria and Albert Museum, London, inv. nos. C.17-1982 and inv. no. 792-1905. Please refer to department for condition report

A Damascus Iznik tile, 17th century, of square form, part of a repeating design, painted under the greenish glaze in green and cobalt blue and raised red, with a large lozenge and interlace of smaller flower heads, framed, tile 23.3 x 23cm. Provenance: Private UK collectionCentral break running across entire width

Five Timurid cuerda seca tile fragments from a spandrel archway, Persia, 15th century, underglaze painted in turquoise, cobalt and white with large flowers, largest 27 x 25.5cm. (5)Please refer to department for condition report

A blue and white Iznik pottery border tile, Ottoman Turkey, circa 1530, of rectangular form, the surface painted in cobalt-blue and turquoise on white ground with a central cusped medallion containing white clouds reserved against a cobalt blue ground within turquoise border, on a ground of elegant scrolling vine issuing rosettes and leaves, chips to glaze, intact, on stand, 24.5cm. x 12cm. Provenance: Private French collection, De Baecque, Paris 23 June 2015, Lot 56 (part lot)Please refer to department for condition report

A European Iznik-style tile, France or Italy, 19th century, of square form, underglaze painted in cobalt blue, green and red with a fish-scale motif vase issuing forth three large tulips and two red carnations, with smaller flowers surrounding, framed, tile 24 x 24.5cm. Please refer to department for condition report

A blue and white Iznik pottery border tile, Ottoman Turkey, circa 1540, of rectangular form, the surface painted in cobalt-blue and turquoise on white ground with a central cusped medallion containing white clouds reserved against a cobalt blue ground within turquoise border, on a ground of elegant scrolling vine issuing rosettes and leaves, chips to glaze, areas of repainting, intact, on stand, 24cm. x 11.5cm. Provenance: Private French collection, De Baecque, Paris 23 June 2015, Lot 56 (part lot)For a hexagonal tile with similar cloudbands, see Hülya Bilgi, Dance Of Fire: Iznik Tiles and Ceramics in the Sadberk Hanim Museum and Ömer M. Koç Collections, 2009, p. 91. Similar blue and white tiles can also be seen in the Sünnet Odasi at the Topkapi Palace in Istanbul.Please refer to department for condition report

JOHN MALTBY (1936-2020); 'Two Longboats', a square stoneware tile, impressed M marks, 17 x 17cm. (D)Additional InformationAppears good with no obvious signs of faults, damage or restoration.This lot qualifies for Artist Resale Rights. For further information, please visit https://www.dacs.org.uk or https://artistscollectingsociety.org

Leach Pottery; a square stoneware tile decorated with a griffin, painted pottery mark, 10 x 10cm, framed.Additional InformationAppears good with no obvious signs of faults, damage or restoration. 

A Sid Dickens T-139 "Butterflies" 2004 memory block tile

An assortment of china etc including Royal Crown Derby jug, ostrich egg, antique tile etc.

A nest of tile topped coffee tables

Bill Reid, Haida Salmon Print, Laffanki (Howard Parkin) Mountain Print limited edition 1 of 100, singed with details verso, other prints, frames, tile; Walter Endicott, Moored Fishing Boats, watercolour, 14 x 21cm, signed lower right, T. Girton, Fountains Abbey Watercolour, 12 x 16.5cm.

Mahogany wall clock bracket with inset tile

A late Victorian satin walnut washstand with tile back

Studio Pottery and Art Glass, including an Andrew Hague wall mirror, David Williams bowl, Minton Hollins & Co. tile, bottles, mugs, vases, Linthorpe inkwell shape No. 1475, millefiori paperweight, together with a Keswick School of Industrial Arts Staybrite dish, carved wooden half-length bust etc (three trays)

A 1920’s oak fire screen inset with nine Dutch 18th/19th century blue and white tiles, 88cm high   Cond: one tile cracked.OBJECT LOCATION: THE DINING ROOM

William de Morgan, two large BBB tiles, one painted with blue flower head, Merton Abbey mark, the other with yellow flower head, Sands End mark20.5 x 20.5cmProvenance:The estate of Margaret Finch (1925-2021)Both with all over crazing, blue tile with some glaze chipping to upper right corner and minor rim fritting, a couple of blisters in the glazer, the yellow with some rim fritting and blistering to the glaze

An Antique Delft pottery tile, decorated in blue and white with Adam and Eve, together with two other tiles

Wet tile saw, Draper socket set, small socket set etc

A Persian pottery tile, 19th century. Mounted in an oak stand, on turned feet, size of tile 19 x 18.5cm.

Minton butchers shop display tile, with the head of the bull in brown, 41cm wide

Furniture to include a mid century style nest of tables, 2 hall tables, tile top table on hairpin legs etc

Kaffee-/Teeservice "Roter Drache". Kästner. Stempelmarke, um 1930 und Malereistempel "W. Hauswald", 6x gemarkt "AP Meißen handgemalt". Rote Drachenmalerei, Goldstaffage. 29 Teile. Kaffeekanne (H 19 cm), Teekanne, Milchkännchen, Zuckerdose, 6 Tassen, 6 Untertassen, 6 Frühstücksteller, 1 Butterdose, 1 Rechteckdose, 2 verschiedene Ascher, 2 kleine Vasen und 1 Keramikfliese im Holzrahmen. Minimale Bestoßung am Zuckerdosenrand, Bestoßung am Knauf des Teekannendeckels. Coffee / tea set "Red Dragon". Kästner. stamp, circa 1930 and painting stamp "W. Hauswald", 6x marked "AP Meissen hand painted". Red dragon painting, gold staffage. 29 pieces. Coffee pot (h 19 cm), teapot, creamer, sugar bowl, 6 cups, 6 saucers, 6 breakfast plates, 1 butter dish, 1 rectangular dish, 2 different ashtrays, 2 small vases and 1 ceramic tile in a wooden frame. Minimal bumping on the rim of the sugar bowl, bumping on the knob of the teapot lid. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

"Vögel". Salvador DALÍ (1904-1989 Figueres)Limitierte Auflage 1954, Edition "El Siglo". Im Bild signiert. Fliese mit kleisterblauer Glasur, Bemalung in Schwarz, Gelb, Rot, Blau und Grün. Gerahmt : Fliese 19 x 19 cm, goldgepinselter Holzstuckrahmen 47,7 x 47,7 cm. 1 von 6 Einzelmotiven aus der Serie "Spanische Impressionen" mit fantasievoller Komposition von Vögeln im Fluge. Verso Zertifikat. Rahmen mit Bestoßungen. "Birds". Salvador DALÍ (1904-1989 Figueres)Limited edition 1954, Edition "El Siglo". Signed in the picture. Tile with paste blue glaze, painting in black, yellow, red, blue and green. Framed : Tile 19 x 19 cm, gold-brushed wood stucco frame 47.7 x 47.7 cm. 1 of 6 single motifs from the series "Spanish Impressions" with imaginative composition of birds in flight. Verso certificate. Frame with bumps. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

A pair of Staffordshire figures ‘Jobson & Nell, Cobbler and wife’ 31.5cm tall, c.1850; a 19th century painted tile ‘Mammon’s Rents’, by Annie Fletcher, dated 1884, 26cm x 26cm, (3).

A set of six 18th century style Dutch Delft tiles, mounted in a later metal tray, each tile measuring 13cm x 13cm.

A CHINESE BLUE AND WHITE GLAZED TEMPLE TILE. 19.5cm square

A FINE 19TH CENTURY MULTAN CALLIGRAPHIC TILE, 23cm x 23.5cm.

A CONTEMPORARY GILDED CALLIGRAPHIC MOSAIC TILE, 64.5cm x 34.5cm

A Chinese terracotta tile, of typical Yuan Dynasty form, 31.5cm x 26cm; another, similar, framed as a pair (2)

A Minton tile, designed by John Moyr Smith, Edward the Martyr, 15cm square; another, The Merchant of Venice, Act II Scene II; another, in tones of blue and white, 15cm square, mounted in a teapot stand (3)

A Minton tile, designed by John Moyr Smith, The Taming of the Shrew, Act IV Scene III, 15.5cm square; others, Antony and Cleopatra, Act IV Scene IV and Act V Scene II (3)

A Minton, Hollins & Co tile, decorated with a red sepia photographic portrait of a young girl, 20.5cm square; other photographic plaques; a tile or panel, depicting King George V, 15.5cm x 11cm (4)

A 19th century Continental (possibly Spanish) framed ceramic relief decorated two tile panel of the Madonna (A/F) frame size 30 x 46cm.

A pair of 1970's teak ceramic tile and smoked glass coffee tables, 121 x 50 x 44cm.

A PINE FRAMED MIRROR WITH TILE INSERT DECORATION 69CM X 63CM

A HAND PAINTED TILE OF THE FAIRY GLEN BETWSY COED NORTH WALES SIGNED W YALE 46CM X 31CM

A MODERN TILE TOP KITCHEN TABLE, 47X30" AND FOUR CHAIRS

A HAND PAINTED TILE OF THE FAIRY GLEN BETWSY COED NORTH WALES SIGNED W YALE 46CM X 31CM

Three trays of ceramics, to include: Art Deco circular floral wall plaque, Majolica floral framed tile, terracotta floral wall charger, Beswick figural moto plate 'Romeo and Juliet', other plates and bowls. (3) (B.P. 21% + VAT)

A Persian dignitary wearing a green coat, standing on a palace terrace with a landscape beyond, by Abu'l-Hasan Ghaffari, Sani' al-Mulk, Chief Painter (naqqash-bashi) Qajar Persia, dated AH 1262/AD 1845-46watercolour on paper, signed and inscribed in nasta'liq script at upper left, the Chief Painter (naqqash-bashi), and dated AH 1262/AD 1845-46 350 x 256 mm.Footnotes:A rare and important newly-discovered early portrait of a court official by Abu'l Hasan al-Ghaffari, Sani' al-Mulk.ProvenanceGeorge Kidston CMG, Head of the Eastern Department of the British Foreign Office, 1919-20.Thence by descent to the estate of the late Hon. Mrs Patricia A. Kidston (1927-2021).In this newly discovered painting by Abu'l Hasan Ghaffari, Sani' al-Mulk - 'arguably the greatest artist of the Qajar period' (B. W. Robinson, in R. W. Ferrier (ed.), The Arts of Persia, London 1989, p. 229) - a nobleman is shown in green courtly garb with black headgear, and a colourful waist-shawl in which a scroll of paper is inserted as a sign of his position in court. As with all Abul-Hasan's signature works, meticulous attention has been paid to detail and patterning. The subject stands in an interior lavishly decorated with wallpaper in a rich palette of dark red and a boldly patterned blue and white floor made up of a well known type of Qajar tile that imitated ikat patterned silk garments, a composition similar to those seen in the later portrait of Prince Ardeshir Mirza, 1269AH/1853-4 (see L. Diba (ed.), Royal Persian Paintings: the Qajar Epoch, 1785-1925, Brooklyn 1998, pp. 250-251); and also Murad Hesam al-Saltaneh's portrait, 1273AH/1856-7 (see G. Fellinger et al, L'Empire des Roses: chef-d'oeuvre de l'art persan du XIXe siecle, Lens 2018, pp. 232-233). The artist's careful and dexterous treatment of the towering trees in the background of the scene is also particularly noteworthy. Abu'l-Hasan Ghaffari Kashani (d. 1282/1865-6) was a painter of the Muhammad Shah and Nasir al-Din Shah period. In AH 1258/AD 1842, during the reign of Muhammad Shah, he received the title of Naqqash-bashi. A year later, in 1845, he was sent to Italy to study painting. After his return, Abu'l-Hasan painted the murals of Nizamiyah Hall for Mirza Aqa Khan Nuri in 1857-58 by which time his fame was such that Nasr al-Din Shah rewarded him with a gold box studded with a large diamond, and installed him in various posts including that of the title 'Sani' al-Mulk' in 1861. He is most well known for the paintings of the famous 'One Thousand and One Night' in the Gulistan Library, Tehran. His recorded work is dated between AH 1258/AD 1842-43 and AH 1282/AD 1865-666, and this painting therefore represents the discovery of an early work, executed during the reign of Muhammad Shah.During this period, Abu'l-Hasan painted superlative portraits which also testify to the early effect of photography on Persian painting, in contrast to its impact in Europe, where it supplanted portraiture. This painting also bears features which point to his future style, showing that he was a keen painter with a refined sense of humour who strove to capture the eccentricities of his subjects, in contrast to more rigid, academic and stylized earlier trends in Qajar portraiture.For a painting of a court official, attributed to Abu'l Hasan Ghaffari, circa 1850-60, see Sotheby's, Persian and Islamic Art: the Collection of the Berkeley Trust, 12th October 2004, lot 33, where it is noted that typical features of his work include the textured surface of the Astrakhan hat, and the voluminous robe of the sitter.See also the portrait of Mirza Abdullah Mostufi, in the Reza Abbasi Museum, Tehran (inv. 20443), which has the same signature and date.For more on his work, see (in addition to the works already cited):M. A. Karimzadeh, The Lives and Art of Old Painters of Iran, Vol. I, London 1985, pp. 23-34.Zoka, The Lives and Art of Sani-al-Molk, Tehran 2003, pp. 136-144.Important Notice to BuyersSome countries e.g., the US, prohibit or restrict the purchase by its citizens (wherever located) and/or the import of certain types of Iranian-origin works. As a convenience to buyers, Bonhams has marked with the symbol R all lots of Iranian (Persian) origin. It is each buyer's responsibility to ensure that they do not bid or import a lot in contravention of the sanctions or trade embargoes that apply to them.This lot is subject to the following lot symbols: RR This lot is subject to import restrictions when shipped to the United States.For further information on this lot please visit Bonhams.com

An Iznik pottery tile Turkey, circa 1570of square form, decorated in raised red, cobalt blue, turquoise and green with black outline on a white ground with split-palmettes over spiralling tendrils with saz leaves, flowerheads and composite blossoms 24.3 x 24.5 cm.Footnotes:A tile panel formed of four comparable tiles to the present lot is in the Victoria and Albert Museum, Acc. No. 988-1884. Another similar example is in the Ömer M. Koç Collection, see H. Bilgi, Dance of Fire: Iznik Tiles and Ceramics in the Sadberk Hanim Museum and Ömer M. Koç Collections, Istanbul, 2009, pp. 218-219, no. 116. For a similar tile sold at Sotheby's, see Arts of the Islamic World, 23 October 2019, lot 276.For further information on this lot please visit Bonhams.com

An Art Nouveau Tile and Mirror Back Hall Stand with Centre Glove Compartment Having Hinged Lid, Metal Liner and Six Coat Hooks, 70cm wide

A box of extension lead, hydraulic bottle jack, Bosch electric drill, door numbers, Star 50 tile cutter in case etc

FURNITURE ASSORTMENT - to include G Plan narrow three drawer chest, 52cms H, 51cms W, 46cms D, a large leather effect foot stool, 32cms H, 93cms W, 58cms D, also, tile top nest of three tables, a pine towel rail and a bean bag

A Danish teak coffee table,1960s, designed by Arne Hovmand-Olsen for Mogens Kold Møbelfabrik, the superelliptical top inlaid to one side with a tile mosaic, raised on tapering supports joined by a floating woven string undertier, labelled with manufacturer's mark,149cm wide49cm deep43cm highCondition ReportWith some stains to the support. The top with some scratches and marks.string undercarriage.

A Morris & Co. 'Daisy' tile, designed by William Morris, painted in green with yellow details, inscribed 'No.9' and with two symbols, 15.5 x 15.5cmLiterature: Richard and Hilary Myers, 'William Morris Tiles', Richard Dennis Publications, p.36, for three variations on this design.Condition ReportCrazing and minor nibbles to the edge of the tile.

A William De Morgan, Sands End Pottery, 'Bedford Park Daisy' tile, painted in shades of blue and green on a white ground, impressed mark, 15.5cm squareLiterature: For a similar design, see Jon Cateugh, 'William De Morgan Tiles', Richard Dennis, 2002, p.52.Condition ReportMinor chips and crazing. Bottom right corner with a restuck chip.