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2 Caithness glass flower vases, Delft windmill tile, blue Maling ware lidded biscuit casket, decorative water jug in cobalt blue and rust brown and 3 other pieces

Gilt framed 12 tile portrait of a Bullocks head

Pine wardrobe with tile inserts & other item, condition requests and additional images will not be given for lots in this sale.

A 20th-century oatmeal ground figural jajim rug with stylized animals and plants within a geometric tile border. 190 cm x 98 cmFormerly acquired from Harvey Nicholls

A late 19th century/ early 20th-century dark blue ground Caucasian possibly Gendje carpet runner. With an all-over pattern of geometric tile pattern within a knopped wine glass and calyx border. 363 cm x 104 cmCondition report: Some wear, down to the foundation in some spotsSee images and short video to see the damage /wearhttps://drive.google.com/drive/folders/19EkRD52xshYg88CDwZnHRRWIWT5SDxY0?usp=sharing

A SAFAVID CUERDA SECA BORDER TILE, IRAN, 17TH CENTURY opaque glazed buff earthenware, with a design of scrolling foliage and a Chinese cloud, yellow, blue and green bands above and below, mounted 21 x 23cm

Chinese roof tile from Tiananmen Square, the circular tile with a dragon in relief to centre, in light brown glaze. Provenance: the collection of Peter Boode, who worked in Shanghai in the early 20th century and subsequently opened an antique shop in the 1930s in Mount St, London, patronised by European Royals and other wealthy members of society, his expertise lay in antiques up to and including the Ming period and in 1943 he published notes for collectors of Chinese antiques from remote antiquity to the end of the Ming period and lectured at the Oriental Society in London. Most of his collection was sold by Sothebys in the 1970s. This and other lots were by family descent. 17cm diam

Vintage dolls to include Daisy with Mary Quant design accessories, a three-faced doll, three Oriental dolls, a Thai puppet, four Oriental painted tile pictures, a carved doll's crib and other items Location: A1M

A group of interesting antique majolica tiles, some signed Folichetti, tile size 31 x 16 x 3cm.

AN ASSORTMENT OF ITEMS TO INCLUDE TWO VINTAGE STYLE LIGHTS, A MODERN LIGHT FITTING AND A TERRACOTTA TILE ETC

AN ASSORTMENT OF ITEMS TO INCLUDE A WALLPAPER STRIPPER, AN ELECTRIC DRILL AND A TILE CUTTER

A vintage oak desk, a retro dressing table stool and a retro tile top nest of tables.

A retro teak coffee table and a retro teak and tile top coffee table.

Maw & Co framed tile knight, 64 x 24 cm. Not available for in-house P&P, contact Paul O'Hea at Mailboxes on 01925 659133

An Edwardian tile back wash stand, 126cm high, 122cm wide, c.1890**This lot is located at Cressbrook Hall, SK17 8SY; Collection is strictly by appointment only; Please phone 01629 730920**

A retro mid-20th century teak tile top coffee table, the tiles in the manner of Poul Hermann Poulsen, slatted undertier, 40cm high, 86.5cm long, 49cm wide

A box containing a collection of fragments of archaeological interest, to include a fragment of medieval tile 14th century, with slipware decoration, further slipware fragments, a small vessel, a glass wine seal, a limestone hand carving etc (Qty)

A Portuguese Devica Viana Do Castelo ware tile, designed as an ammonite, 31cm wide, on stand, with a further similar example, 31cm square (2)

A 1970's Tile Topped Sideboard with Sliding Doors to Fitted Interior, 190cm wide

A tin glazed and moulded polychrome tile, Middle Eastern, 20th c, 20 x 13.5cm, framed Good condition

A collection of decorative ceramics to include a Royal Copenhagen figurine of a sleeping fox, stamped to the base; Royal Copenhagen Denmark DH438, 17cm diameter; a Rosenthal white figure of a bull, stamped to the base, 11cm high; a Lomonosov white figure of a stoat, stamped to the base 'Made in USSR', 18cm high; a Vintage Staffordshire hidden frog large mug, 12cm high; a black painted stoneware two handled cup and tankard, the two handled cup stamped to the base 'Ironbridge Jackfield England'; a Staffordshire style porcelain fairing inscribed 'The last in bed to put out the light', 8.5cm high; a white and purple pottery tile, 12.5cm square; a vase decorated with birds, insects and foliage, 28cn high; a figurine of a man returning from the hunt, 25cm high; a plate with blue floral decorative motifs, 25cm diameter; a Rosenthal matador, three Lladro ducks and a glass bottle with a stopper, 15cm high (18)Condition report: Fairing with candlestand broken off, losses to both figures, tile with large chips to two corners, hidden frog mug with cracks running down the side and chips to the rim

An Eastern red and green ground woollen rug with central floral and foliate medallion and geometric tile border, 217cm x 173cmCondition report: In good condition, would benefit from a clean

Chinese Ming blue and white porcelain tile 20cm

A Persian fritware tile panel, late 19th/early 20th century, incomplete, 55cm wide and another tile fragment

A vintage teak and tile top nest of three tables, stamped Denmark

A pine and tile top counter, with triple cupboard, width approx 135cm

Ca. 960–1279 AD. Song dynasty. A beautiful tile that may have been part of the decoration of an aristocratic tomb with three male attendants in high relief. The male attendant on the right-hand side wears a long red robe and a conical hat; the attendant at the centre wears a short tunic over red pantaloons and a soft cap; the attendant on the left wears the same attire but he also has a red belt tied at its waist and his hands are joined and held up to his chest. The faces bear traces of pink colour and capture a serene expression. The back of this tile has an impression of a handprint, which may have served as the signature of the artisan who made it. For the diversity and richness of its cultural achievements, the Song dynasty, which ruled most of China between 960 and 1279 AD, is remembered as one of China’s greatest. For more information on the Song dynasty, see Kuhn, D. (1987). The Song Dynasty, 960 to 1279: A new society reflected in its culture. Acta Humaniora, Weinheim. Provenance: From the private collection of a Somerset gentleman; previously in an old British collection, formed before 2000 on the UK /European art markets. Size: L:235mm / W:295mm ; 3.9kg

Ca. 386–534/535 AD. Northern Wei Dynasty. A terracotta tile featuring a beautiful depiction of a seated Buddha wearing garments whose red and green pigment is marvellously still preserved as is the black of the hair and the red drapery above the Buddha and behind his head. Buddha has a raised right hand, with the palm facing outwards and the fingers downwards while the left arm is held close to the body. In Buddhism and Hinduism, this is one of the 'Mudra' ("seal", "mark" or "gesture"), symbolic gestures of the hands and fingers used either in ceremonies and dance or in sculpture and painting. The Wei dynasty was the longest-lived and most powerful of the northern Chinese dynasties that existed before the reunification of China under the Sui (581-618 AD) and Tang (618-907 AD) dynasties. The Wei rulers were great patrons of Buddhism. They fostered Buddhism as a state religion, although the dynasty took particular care to control the religious hierarchy, trying to avoid any church-state conflicts. Buddhism held a great appeal for the Wei rulers, as it gave their leadership a legitimate base in a multiethnic society. Provenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1980s. Size: L:330mm / W:165mm ; 3.4kg

Ca. 1300–1500 AD. Persian, probably Kashan. A beautiful tile of rectangular form, decorated in yellowish lustre with a beast in the centre and geometric decorations around the edges. By the thirteenth century glazed tiles were widely used in Iran to decorate the facades and interiors of both religious and secular buildings. In addition to monochrome glazed tiles, lustre tiles enjoyed increasing favour from the beginning of the thirteenth century well into the next century. In mosques, mausolea and religious schools ('madrasas') the Muslim injunction against the use of human imagery resulted in tiles with non-figurative decoration and borders of Qur'anic inscriptions. By contrast, tiles with human and animal figures and well-known verses from Persian literature adorned the interiors of secular buildings. Provenance: Private UK collection; From an old London collection formed in the 1990s. Size: L:100mm / W:100mm ; 160g

A decorative terracotta roof tile with bird surmount, the white painted bird with wings outspread, 74cm high

A set of four late medieval period terracotta floor tiles, with restoration to pattern, c. 1200; a reconstructed medieval tile fragment, (2). Provenance: collection label to verso

A 19th century Sevres porcelain dished bowl, central panel painted with a Riverside Cottage scene, turquoise and gilt banded rim, painted and impressed marks, 127mm diameter; Meissen cup and side plate, decorated with a trailing band of green and black vines, gilt lip, painted marks; Quimper bowl; painted blue and white tile (5)

A box of sundry items to include, Welsh Highland Railway ticket stubs, photo, a tile of Locomotive No.11 'Moel Tryfan' 0-6-4 and others

A 19th Century Delft framed tile group. Features a scene after Anton Mauve in blue and white with shepherd & flock. Signature to lower right corner. Set to a stepped oak frame. Measures approx; 41cm x 55cm.

Victorian treacle glazed tile 15.5 cm marked J & J G Low , art tile works Chelsea , a tile with a bird 15 cm and a Delft style tile 13 cm . (3)Condition chips on edges

A 91cm Victorian stained walnut washstand with damaged tile inset splash back and marble top over frieze drawers and undertier, set on turned supports and casters

A 92cm Edwardian satin walnut marble topped washstand with decorative tile set splashback, two frieze drawers and central cupboard under, set on turned legs and casters

The coiled striding dragon carved in high-relief coloured in turquoise, ochre and green glazes, on black-metal stands Length: 120cm Height: 40cm Combined weight: 46.3kg For a similar Ming Dynasty two-piece tile panel see Christie’s New York, Fine Chinese Ceramics and Works of Art, 14th September 2018, lot 1332, sold for $12,500 相似一例2018年9月14日售於紐約佳士得拍品號1332，售價12，500美金 Such tiles were used to decorate and ornament a wide variety of buildings from the Yuan Dynasty onwards. An excellent example is the Flying Rainbow pagoda, Hongtong (Shanxi), Guangshengsi, illustrated and discussed by Christoper Tadgell, The East, Buddhists, Hindus and the Sons of Heaven, Architecture in context II, London, 2008, p.633, pl.2.69a.Condition ReportOverall in good condition for an architectural fragment. Please be aware there are glaze losses and chips to high relief elements, in particular claws, dragon’s scales, tongue and teeth. Please see photos for further reference

Jewad Selim (Iraq, 1919-1961)Good and Evil, An Abstraction oil on canvas, framedexecuted circa 195150 x 75cm (19 11/16 x 29 1/2in).Footnotes:'GOOD AND EVIL, AN ABSTRACTION' - A RARE AND MAGNIFICENT 1951 OIL PAINTING BY JEWAD SELIM COMMISSIONED FOR THE IRAQI RED CRESCENT SOCIETYProvenance:Property from the collection of the renowned architects Nizar Jawdat (1920-2017) and Ellen Jawdat (1921-2020), acquired directly from the artist, thence by descent to the present ownersNote:The present work is a study for a tile mural planned for the entrance to the Iraqi Red Crescent Society headquarters in Baghdad, a building designed by Nizar and Ellen Jawdat'The ladies of the Women's Red Crescent asked us to design the headquarters for their charitable society. It would occupy a prominent position on a main thoroughfare in the south of the city. In addition to their administrative offices, the project would incorporate their most ambitious charity, an orphanage for about 50 young girls. Fresh from our studies and uncorrupted by caution, we designed a building that provided for their needs in a way that was new to Baghdad —a striking, functional modern design. Jawad Selim, now Iraq's foremost artist, agreed to design a mural in small ceramic, colored tiles that would fill the entrance wall to the offices: He produced an abstract design based on the theme of Good and Evil, which incorporated —appropriately, the symbol of the crescent moon.'- Unpublished Memoirs of Ellen Jawdat'The spectacle of the sky overwhelms me. I am overwhelmed when I see a crescent moon or the sun in an immense sky'- Joan MiroBonham's are proud to present perhaps one of the rarest and most sought-after Iraqi paintings to come to auction in recent history, from the father of Iraqi Modernism, Jewad Selim.Selim painted Good and Evil in 1951 as a study for a mosaic-mural commissioned by the Iraqi Red Crescent society for their Baghdad headquarters, a building designed by the Jawdat's themselves. While the mural itself was never constructed the painting remained in the hands of the family since its composition and its appearance at international auction seventy years later marks an immensely important re-emergence of a major oil painting by Selim Compositionally, Good and Evil is perhaps the archetypal Jewad Selim; painted at the zenith of his career, the work flawlessly expresses the aesthetic and conceptual agenda of the 'Baghdad Group of Modern Art' which Jewad himself co-founded. The Baghdad group was defined by an attempt to reconcile the grand visual legacy of the past within the contemporary cultural and nationalistic narrative of 20th century Iraq.Mixing traditional Iraqi and Islamic motifs with a modernist visual language, Selim weaves a form of 'folk modernism' which is both vernacular and universal. Focusing on the florid landscape of downtown Baghdad, Selim's composition is populated with abstract interpretations of the humorous and extravagant characters encountered in Iraqi everyday life. Light-hearted and boisterous, the Good and Evil is in part a stylistically sophisticated example of a burgeoning modernist movement in Iraq and in part a playful take on the mood and feel of life in Baghdad.The current work is the only known appearance at auction of a Jewad Selim composed with the artists iconic monochromatic silver backdrop, seen most prominently in his superlative painting, Baghdadiyat, now in the collection of the MATHAF: Arab Museum of Modern Art in Qatar. Inspired both by indigenous artistic vocabulary and the great European modernists that Selim studied during his artistic training, Good and Evil seamlessly combines oriental and modernist motif's. The monochromatic background and abstracted line-drawn forms are reminiscent of Spanish modernist Joan Miro, who curiously also had a fascination with crescent forms and used them extensively in his compositions on the constellations. The star and crescent motif itself is a common feature of Sumerian iconography, the crescent usually being associated with the moon god Sin (Nanna) and the star with Ishtar (Inanna), often placed alongside the sun disk of Shamash. In this manner, Selim demonstrates his ability to simultaneously borrow from ancient and modern artistic traditions. Selim's subject matter, an abstract interpretation on the struggle between Good and Evil, is a perennial component of ancient Mesopotamian art and mythology. A slender, horned, devil like figure towers almost comically on the left-hand side of the composition, while more benign winged creatures float on the foreground. The iconography of the ancient Middle East is rife in precisely this kind of abstracted 'dualism', specifically in the ancient Zoroastrian tradition where the universe was characterised as a constant struggle between the forces of Good and Evil. Selim's composition therefore pays homage to a rich artistic legacy in a composition which deftly marries the ancient and the modern in his inimitable style. Jewad Selim (1919-61)It is impossible to understand the modern art movement in Iraq without taking into account the works of this pioneer sculptor and painter, who was undoubtedly the most influential artist in Iraq's modern art movement. To him, art was a tool to reassert national self-esteem and help build a distinctive Iraqi identity. He tried to formulate an intellectual definition for contemporary Iraqi art. In charting his country's contemporary social and political realities, he was committed to combining the indigenous historical and folkloric art forms, with contemporary Western trends.Born in Ankara, Turkey in 1919 to Iraqi parents who moved to Baghdad in 1921, Jewad Selim came from a strongly artistic family: his father was an accomplished amateur painter, whose work was influenced by the European old masters, and his brother Nizar and sister Neziha were also accomplished painters, becoming well-known in their own right.Jewad was sent to Europe on government scholarships to further his art education, first to Paris (1938-39) and then to Rome (1939-40). The effects of World War II resulted in Jewad cutting short his studies and returning to Baghdad, where he began part-time work at the Directorate of Antiquities, where he developed an appreciation and understanding of ancient art of his country, and he also taught at the Institute of Fine Arts and founded the sculpture department.In 1946, he was sent to the Slade School of Art, London. At the Slade, Jewad met his future wife and fellow art student, Lorna. Jewad returned to Baghdad in 1949 to become Head of the Department of Sculpture at the Institute of Fine Arts, where he taught his students to draw on the heritage of their country to create a distinctive Iraqi style and artistic identity, which would become the ethos of an influential art movement just a few years later. In 1950 Lorna joined Jewad in Baghdad, where they were married.In 1951, Jewad Selim formed The Baghdad Modern Art Group.. Modern Iraqi art began with the first exhibition of the Baghdad group where they announced the birth of a new school of art that would 'serve local and international culture'.After painting his most mature works in the 1950s, the artist gave up painting and focussed on sculpture, the culmination of which was his Monument for Freedom in Tahrir Square in Baghdad of 1960-61. This was the largest monument built in Iraq in 2500 years '. The time frame presented by the President was unrealistic and the project did not run smoothly. Immense pressure was put on Jewad to finish his work and he suffered a heart-attack. He died one week la... This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

19th century Minton tile, Ronson lighter, hallmarked silver inkwell, silver mounted scent bottle. bottle coasters, French ladle, other Frrench silver-plate, 19th century ivory handled fork and miscellanea in one box

A 19TH CENTURY PERSIAN QAJAR TILE PANEL, comprising four square tiles forming a picture depicting an urn of flowers and exotic birds, in a later ebonised frame, 44cm x 44cm.

15TH / 16TH CENTURY KASHAN IRANIAN LUSTRE POTTERY TILE SECTIONS - In two parts forming sections of a larger piece, with a central mihrab encapsulating Quranic script, the tile with a profuse amount of calligraphy / script upon a copper lustre - AF - 58cm x 57cm approx. Note: property of a private collection since 1950

A Mid 20th century G Plan tile top open bookcase with single drawer, 75cm high x 85cm wide x 45cm deep Condition Report: Available upon request

A mid 20th century tile top coffee table and another 20th century glazed coffee table with single drawer (2) Condition Report: Available upon request

An Edwardian tile back and marble top washstand, with two frieze drawers, on turned legs with side towel rails, 128cm high, 119cm wide, 56cm deep.

A DAMASCUS POTTERY TILESyria, 18th centuryFoliate design picked out in manganese and turquoise against a blue washed ground, 21.5cm squareOverall crazing to the glaze. Some surface scratches. Minor rim chips. Some chips to back of tile

An antique tile with an image of a dove and mounted in a wrought iron frame. 18th century. (20 x 13 cm)

Charles Emile PINSON (1906-1963) a mid-century ceramic tile painting. (32 x 22 x 3 cm)

MEISSEN; a rectangular tile decorated with a figure upon horseback with birds in flight, painted marks, impressed number T298, with further indistinct impressed number to the reverse, 30.25 x 18.75cm.Additional InformationMinor rubbing to the edges and light rubbing to the gilding, but basically in good order.

A white painted wood dovecote, of triangular form with wood tile roof and four tiers with ten apertures, height 111cm, with label to the top for the Beautiful Bird House Company,Additional InformationWear to the paint throughout and rusting to the metal fitting to the top apex of the triangle.

A Chinese ceramic polychrome decorated tile/plaque in stained wood frame with brass handle depicting a scene of three men and women amongst the clouds, 32x32cm good condition but not examined out of the frame

20 kg bags of Ultra Tile Fix adhesive together with three tins of Leyland Trade wall and ceiling paint

A box of assorted framed pictures, cut glass water jug, framed pottery tile, gilt table lamp

A Vitrex Torque-Master power compact tile cutter, in original box

Chinese Ming-style pottery roof tile in the form of a galloping horse with green and ochre glazes, 26cm high.

Including altar tile, tabernacle, altar cross, banners and Antependiums, 200 x 96 x 90 cm.

Consisting of 7 pieces of tile, with manganese decor of landscapes, 18th - 19th century, approx. 13 x 13 cm.

Consisting of, among other things, an altar bell, miniatures, rosary and altar tile, 34 x 34 cm.

Consisting of 3 pieces, including tulip vase and tile from Westraven.

Including devotional bottles, devotionals and small reliquary tile, 11 x 11 cm.